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ESKENAZI MUSEUM OF ART INDIANA UNIVERSITY admission is always free ESKENAZI MUSEUM OF ART 1133 E. 7th st. bloomington, in 47405 INDIANA UNIVERSITY 6 8 12 gallery hours Monday - Closed Tuesday - 10 a.m.–5 p.m. Wednesday - 10 a.m.–5 p.m. Thursday - 10 a.m.–5 p.m. Friday - 10 a.m.–5 p.m. Saturday - 10 a.m.–7 p.m. Sunday - 12 p.m.–5 p.m. café hours Monday - 8 a.m.–5 p.m. Tuesday - 8 a.m.–5 p.m. Wednesday - 8 a.m.–5 p.m. Thursday - 8 a.m.–5 p.m. Friday - 8 a.m.–5 p.m. Saturday - 10 a.m.–7 p.m. Sunday - 12 p.m.–5 p.m. contact us iuam@indiana.edu 812.855.5445 artmuseum.indiana.edu connect with us f t i Sign up for our email newsletter: artmuseum.indiana.edu/newsletter CONTENTS 3 FROM THE DIRECTOR 4 WHAT’S NEW IN THE GALLERIES 5 FEATURED EXHIBITIONS Jim Dine: Pinocchio, Geppetto, and Other Personal Metaphors 8 CENTER FOR CONSERVATION magazine staff David A. Brenneman Wilma E. Kelley Director Mariah Keller Director of Creative Services Shanti Knight Photographer Kristin Londergan Marketing and Communication Coordinator Cassi Tucker Manager of Museum Technology Jennifer Witzke Graphic Designer 10 CENTER FOR PRINTS, DRAWINGS, AND PHOTOGRAPHS 12 EVENTS Grand Reopening Celebration Social Saturdays 14 CENTER FOR CURATORIAL STUDIES 18 CENTER FOR EDUCATION 22 ART AND A MOVIE 24 UPCOMING SPECIAL EXHIBIT Costume Collection of Actress Glenn Close on the cover Vassily Kandinsky, Russian, 1866– 1944, Small Worlds (Kleine Welten) VII from Small Worlds (Kleine Welten) 1922, Color lithograph on paper, Image: 10 11/16 x 9 1/8 in. (27.1 x 23.1 cm); sheet: 13 7/8 x 11 3/16 in. (35.2 x 28.4 cm), Sidney and Lois Eskenazi Museum of Art, Collection of Diether Thimme, 98.360 thank you 100% of the museum’s annual funding for special exhibitions, educational programs, special events, and publications is provided by individuals like you, and we are grateful for your support.
FROM THE DIRECTOR DEAR FRIENDS OF ESKENAZI MUSEUM OF ART, As we near the reopening of our world-class teaching museum, I am reminded of the first masterpieces of visual art that I was able to examine intimately. This occurred during my early years as a graduate student at Brown University while I held fellowships in OM the THE print rooms DIRECTOR of the Rhode Island School of Design Museum of Art and the Fogg Art Museum at Harvard University. These direct engagements with incredible objects were lifechanging. Through the privilege of being in close proximity to my subjects, I realized that original, great works of art are not just ephemeral images, like slides on a screen, but also tangible, durable things that communicate the sublime ideas and consummate skills of their makers. I also realized that these works are authentic and that their makers Eskenazi Museum of Art, were real, too, not just fictional personalities. And finally, I recognized that this epiphany could only have happened as a result of my engagement with original works of art. reopening of our world-class teaching R m reminded of the first masterpieces After graduate school, I built a career as a curator and museum administrator, and always that I was able to examine intimately. tried to transmit my fascination and passion for original works of art to others. When the g ng my early years as a graduate student opportunity to lead a great university art museum presented itself, I was eager and ready while I held fellowships in the print for the challenge. I was especially interested in engaging students with original works Island School of Design Museum of of art, knowing that the world had changed significantly since I was a university student. Technology and the proliferation of digital imagery is a mixed blessing. On the t nt Museum at Harvard University. These with incredible objects were lifehe privilege of being in close proximity one hand, it makes vast amounts of information available at the touch of a button. LETTER FROM THE DIRECTOR On the other, it simply cannot function as a viable substitute for the direct multisensory experience of the original. How can a museum full of great original works se lized that original, great works of art ral images, like slides on a screen, LETTER FROM THE DIRECTOR Dear friend of the IU Eskenazi Museum of Art, of art make the case for the intimate, ty rable things that communicate the direct experience of great art when so As we near the reopening of our world-class teaching Dear friend of the IU Eskenazi Museum of Art, museum, I am reminded of the first masterpieces onsummate skills of their makers. I of visual art that I was able to examine intimately. much can be seen and learned on the As This occurred we near the during reopening my early of years our world-class a graduate teaching student ese works are authentic and that Brown museum, their University I am reminded while I held of the fellowships first masterpieces in the print of visual art that I was able to examine intimately. Internet? rooms of the Rhode Island School of Design Museum of This occurred during my early years as a graduate student o, not just fictional personalities. Art and And the Fogg Art Museum at Harvard University. These at Brown direct University engagements while with I held incredible fellowships objects in the were print life- rooms that this epiphany could only have changing. of the Rhode Through Island the privilege School of of Design being in Museum close proximity of Art to and my the subjects, Fogg Art I realized Museum that Harvard original, University. great works Digital These of art technology is an incredible tool, and direct ir are engagements not just ephemeral with incredible images, like objects slides were on a lifechanging. but also Through tangible, the durable privilege things of being that communicate in close reconceiving proximity the the Eskenazi Museum of Art, we screen, t of my engagement with original to my d sublime subjects, ideas I realized and consummate that original, skills great of their works makers. of art I are also not just realized ephemeral that these images, works were like are slides authentic on guided a screen, and that their by the fact that technology undergirds but makers also tangible, were real, durable too, not things just that fictional communicate personalities. the And and influences everything sublime finally, ideas I recognized and we consummate do. that this Understanding epiphany skills of their could makers. only have I the full potential and limits of technology as is a also curator key and makers also happened realized that as a these result works of my are engagement authentic with and that original their l, I built a career to managing works were of art. real, too, not just fictional personalities. And and “curating” the art museums of the future. How can Gallery technicians Brandon Alexander, finally, I recognized that this epiphany could only have or, and always we harness tried to transmit digital technology my happened After graduate as a result school, of my engagement with original to I built awaken a career as a curator new and generations of students and learners Gallery technicians Brandon Alexander, Max Shaw, and Kaila Austin take some time to view newly installed works in the Sidney and Lois Eskenazi Gallery. works museum of art. administrator, and always tried to transmit my on for original to the works wonders of art to of others. great fascination works and passion of for original art? works That of art to others. is our challenge and that is how we went After When graduate the opportunity school, I built to lead a career a great as a university curator and art museum Gallery technicians Brandon Alexander, Max Shaw, and Kaila Austin take some time to view newly installed works in the Sidney and Lois Eskenazi Gallery. y to lead a about great university reshaping art our museum presented administrator, itself, I was and eager always and tried ready to for transmit the challenge. my I was Sidney and Lois Eskenazi, there is so much potential incredible museum. fascination and passion for original works of art to others. Gallery technicians Brandon Alexander, Max Shaw, and Kaila Austin take some time to view especially interested in engaging students with original works for learning and inspiration that we can finally unleash eager and ready for the challenge. When of art, the I knowing opportunity was that to the lead world a Sidney great had university changed and significantly art museum Lois since Eskenazi, through four new there study centers, is so three much new art study potential rooms, presented I was a itself, university I was student. eager and Technology ready for and the challenge. the proliferation I was of in engaging I am students very excited with original especially digital about works imagery interested is a in mixed engaging blessing. our museum for students learning On the with one original hand, and its and works makes magnificent inspiration for learning with the and IU community. inspiration that Through that collections. we can the can finally renovation finally unleash and our Thanks unleash of art, to tremendous changed support significantly On a the university vast knowing amounts that of the information world had available changed at significantly the touch of since a button. through recommitment four new study to being centers, a teaching three new museum, art study we are rooms, honoring I was e world had from since other, it student. simply cannot Technology President through function and as the a proliferation viable Michael four substitute of educational A. new McRobbie study the original programming, centers, vision of our and founders, staff who and a three Herman are eager transformative new B Wells to engage art and Henry study gift rooms, digital from for imagery the direct is multisensory a mixed blessing. experience On the of one the hand, original. it makes How can with Radford the IU community. 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I hope Hope. you centers, Through will In recognition join me for the of this three new the grand legacy, s renovation unveiling we have of our named teaching the for learning and inspiration that we can finally unleash art study and rooms, our a museum full of great original works of art make the case for west museum wing of for the the building twenty-first after Henry century Hope. and sample some of the the Digital intimate, technology direct experience is incredible of great tool, art and when in so reconceiving much can amazing works of art that are just waiting for you to connect e mation through available educational four the new touch programming, study of centers, a button. three and staff new recommitment who study are rooms, eager to being to engage a teaching with museum, the IU we community. are honoring be seen the Eskenazi and learned Museum on the of Internet? 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Through technology How undergirds vision can the and of renovation influences our Radford everything founders, Hope. and we do. our Herman In recognition B Wells of this and legacy, Henry we Radford have named Hope. the future. How can we harness digital technology to awaken new Understanding generations the of students full potential and learners and limits to of the technology wonders of is great With my warmest and most enthusiastic regards, n. t original recommitment In works recognition of art make to being of the this a also case teaching key to managing legacy, for and we museum, “curating” have west the art wing named we museums are of the honoring the building west wing after of Henry the building Hope. works of art? That is our challenge and that is how we went after Henry future. about How reshaping can we harness our incredible digital museum. technology to awaken new perience the Hope. of original great art vision when of our so much generations founders, can of students Herman and learners to B the Wells wonders of great and Henry works I am of very art? excited That is our about challenge our museum and that and is its how magnificent we went n the Internet? Radford Hope. In recognition about reshaping of this our incredible legacy, I museum. David A. Brenneman collections. Thanks to tremendous hope support we you have from President will named join me the for the grand unveiling of our teaching Wilma E. Kelley Director Michael A. McRobbie and a transformative gift from I am very excited about our museum r west I hope wing of you the will building join me after for Henry the grand Hope. and its magnificent unveiling for the of twenty-first our teaching century museum and David A. sample Brenneman for the some of the collections. Thanks to tremendous support from President 1 Wilma E. Kelley Director Michael A. McRobbie and a transformative n n incredible twenty-first tool, and in century reconceiving and sample amazing gift from some of works the amazing of art that works are just of waiting art that for are you just to connect of Art, I hope we waiting were you guided will for join you by me to the 1for connect fact the that grand with unveiling in with meaningful of meaningful our teaching ways. ways. s and influences museum for everything the twenty-first do. century and sample some of the ll potential amazing With and my limits works warmest of of technology art that and are most is just waiting enthusiastic With for my you warmest regards, to connect and most enthusiastic regards, and “curating” with meaningful the art museums ways. of the arness digital technology to awaken new ts and With learners my warmest to the wonders and most of great enthusiastic regards, DAVID A. BRENNEMAN our challenge and that is how we went Wilma E. Kelley Director ncredible museum. Sidney educational and Lois programming, Eskenazi, there and is so staff much who potential are eager to engage During a cleaning of the museum’s Resting Satyr (Roman, ca. 320 BCE), freelance object conservators Amy and Greg Byrne discover previously undetected pigment. above Gallery technicians Brandon Alexander, Max Shaw, and Kaila Austin take some time to view newly installed works in the Sidney and Lois Eskenazi Gallery. For more on the museum’s research into polychromy, visit our website: artmuseum.indiana.edu. During a cleaning of the museum’s Resting Satyr (Roman, ca. 320 BCE), freelance object conservators Amy and Greg Byrne discover previously undetected pigment. For more on the museum’s research into polychromy, visit our website: artmuseum.indiana.edu. below During a cleaning of the museum’s Resting Satyr (Roman, ca. 320 BCE), freelance object conservators Amy and Greg Byrne discover previously undetected pigment. For more on the museum’s research into polychromy, visit artmuseum.indiana.edu. 2 2 ut our museum and its magnificent tremendous support from President and a transformative gift from David A. Brenneman Wilma E. Kelley Director ESKENAZI MUSEUM OF ART 3 During a cleaning of the museum’s Res
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