The IU Eskenazi Museum of Art in Texas!

Riberia 57.7
Jusepe de Ribera (Spanish 1591-1652). Study for Martyrdom of Saint Sebastian, ca. 1626. Red chalk on paper. William Lowe Bryan Memorial, Eskenazi Museum of Art 57.7

Two major works from the IU Eskenazi Museum of Art’s collection are now on view in the Dallas / Fort Worth area.

After premiering at the Museo del Prado in Madrid, Spain, Between Heaven and Hell: The Drawings of Jusepe de Ribera recently opened at the Meadows Museum of Art in Dallas, Texas. Curated by Gabriele Finaldi, former Associate Director of Conservation and Research at the Museo del Prado, and current Director of the National Gallery in London, the exhibition celebrates the first catalogue raisonné of Ribera’s drawings. The aim of the catalogue is to give a complete vision of Ribera as a draughtsman and to document all of the known drawings by his hand (around 160 in total). Among the drawings in the catalogue and exhibition is Saint Sebastian seated and attached to a Tree from the Eskenazi Museum of Art’s permanent collection. The drawing is highlighted in the catalogue as “One of Jusepe de Ribera’s most beautiful drawings, this work demonstrates the artist’s expert handling of the chalk medium for shading and contour, his understanding of human anatomy, and his dramatic use of contortion in the figure’s sinuous pose.” We are very happy to contribute to this new look at a major Spanish artist. Other loaning institutions beyond the Eskenazi, include the Metropolitan Museum of Art (New York), British Museum (London), Fitzwilliam Museum (Cambridge), and the Istituto Centrale per la Grafica (Rome). The exhibition at the Meadows is on view now through June 11, 2017.

“Swing Landscape” Installation from Amon Carter Museum on Vimeo.

Stuart Davis’s masterpiece Swing Landscape, a perennial favorite of visitors to the Eskenazi Museum of Art, is currently on loan to the Amon Carter Museum of American Art in nearby Fort Worth, Texas. Produced under the auspices of the Works Progress Administration, the 1938 mural portrays the Gloucester, Massachusetts, waterfront through the lens of Davis’s exuberant brand of abstraction.  As the New York Times’s art critic Holland Cotter recently wrote,  “we see bits of Gloucester—ships, buoys, lobster traps—but basically we’re in a whole new universe of jazzy patterns and blazing colors, a landscape defined not by signs but by sensations: sound, rhythm, friction.” Swing Landscape recently anchored Stuart Davis: In Full Swing, a major retrospective organized by the Whitney Museum of American Art in New York and the National Gallery of Art in Washington, DC. Swing Landscape will remain on view at the Amon Carter Museum throughout the Eskenazi Museum of Art’s renovation, which is set to be completed by fall of 2019.

Eskenazi Museum of Art Website

2017 MFA Thesis Exhibitions Artist Spotlight: David Ondrik

sketch
David Ondrik, MFA Thesis Sketch, 2017


Every spring the Eskenazi Museum of Art at Indiana University partners with the IU School of Art and Design to present thesis exhibitions of graduating Masters of Fine Arts (MFA) candidates in the visual arts. Exhibitions take place in three groups, March 29- May 7, 2017. Today we spotlight one of our 2017 exhibitiors, photographer David Ondrik, whose work will be on display in Group One, from March 29 to April 9, 2017.

Hi David, tell us a little about yourself, where you are from, and why you came to Indiana University?

I was born in Bloomington, although I grew up in Albuquerque, New Mexico. I picked up photography in high school and continued my education at the University of New Mexico, where I studied with Thomas Barrow, Patrick Nagatani, and Betty Hahn. After a few years in private industry doing graphic design, I got a teaching certificate and became a high school art teacher. Throughout my ten years of teaching I continued to create and exhibit my own photographic art, which is in a handful of museum and public art collections in New Mexico. I came to IU to work with James Nakagawa and dedicate time to my art practice, with the benefit of being able to teach at the college level when I’m through.

What will you be featuring at your upcoming exhibition at the art museum?

Physically, I’ll be exhibiting a large-scale (10’ x 30’) installation of nearly 250 unique gelatin silver prints made in a chemical darkroom.

install-main_1400
David Ondrik, Inheritance (in-progress), 2017. Unfixed gelatin silver prints.

What themes are you exploring through your upcoming exhibition? 

My recent work is an exploration of the Sublime through the inheritance of tools both real and metaphorical. The Sublime is a visual-spiritual experience with roots in 19th-century Romanticism that refers to “experiences of awe, terror, boundlessness, and divinity.” The impetus for this work came in the aftermath of my father’s death and the struggle to make sense of what was passed along to me. On a physical level, I inherited his woodworking tools, including old-fashioned hand planes and saws. They are simultaneously a treasured gift and an uncomfortable burden. Not being particularly skilled in woodworking, I endeavored to find a way to use the tools for photographic image making.

They are perfect for photograms, a technique that goes back to the beginning of photography where physical objects are arranged on a light-sensitive material (usually paper) and the composition is exposed to light. The shadows cast by the objects create the light shapes while the dark shapes are formed by direct exposure to the light source.

In my photograms, the image of the originating object is completely lost. So not only is the original use of the hand plane subverted, so too is its form. The black shapes reference an event horizon, the outer boundary of a Black Hole beyond which light cannot escape. This is a metaphor for death — the deceased have entered a realm the living cannot understand, but their presence is still felt. The voids float within neutral earth tones, a textural murk that references our body’s cells, bones, and skin. Each image is assembled from smaller pieces into a larger whole, much like the accumulation of individual events into the memories and experiences that make up a life. The images are not properly “fixed,” so they remain sensitive to light. They will change over time, mirroring the way memories and experience shift and evolve. In front of these images, there is room for quiet meditation and reflection, an opportunity to safely confront the traumas of existence.

detial1_1400
David Ondrik, Inheritance (detail), 2017. Unfixed gelatin silver prints.

Who is your favorite artist, and what about their work inspires you?

It’s hard to say as I think it changes. But based on my bookcase, my favorites are Anselm Kiefer and Joel-Peter Witkin. Both of them address disturbing issues with seductive beauty. They also both challenge the conventions of photography; Kiefer’s photographic work ignores technical standbys like tonal range, clean negatives, and proper exposure, while Witkin scratches negatives and bleaches prints as part of his aesthetic.

What are your plans after IU?

I want to return to teaching, either at the college or secondary level.

You can learn more about David and his work at his website, davidondrik.com. David’s work will be on view along with additional work by fellow MFA candidates, photographer Zandra Raines, and textile artist Molly Evans Fox, at the Eskenazi Museum of Art from March 29-April 9, 2017. There will be a gallery talk with the artists from noon to 1 p.m. on Friday, March 31, and a reception on Friday, March 31, from 6 to 8 p.m. Find out more about the MFA Thesis Exhibitions here

The Fountain at 100

fountain
Marcel Duchamp (French, active in the United States 1887-1968). Fountain, 1964 edition (original 1917). Painted ceramic. Partial gift of Mrs. William H. Conroy. Eskenazi Museum of Art 71.37.7

One of the jewels of the Eskenazi Museum of Art at Indiana University’s collection is a complete set of the 1964 edition of Marcel Duchamp’s Readymades. Duchamp was a French artist who was associated with the Dada movement, which sought to redefine traditional artistic practices. During World War I, Duchamp moved to New York City, where he became a central figure in that city’s artistic community. Duchamp’s major contribution to Dada—and to modern art more generally—were the Readymades, mass-produced objects that he presented as works of art. Duchamp undermined the original functionality of the objects through slight alterations or by installing them in an unusual way. By emphasizing an intellectual approach to art over craftmanship or stylistic expressivity, Duchamp posed a serious challenge to long-accepted definitions of art. His radical thinking of artistic practice inspired the development of conceptual art and the use of nontraditional materials within the realm of fine art.

The year 2017 marks the centennial of Fountain, the most famous—and notorious—Readymade. One hundred years ago, in April 1917, the Society of Independent Artists in New York refused to display Fountain—a urinal turned on its back and signed “R. Mutt”—in its annual exhibition. Because Fountain and many other original Readymades were lost not long after their creation, Duchamp and the Milan gallerist Arturo Schwartz decided to produce a replica edition of these works in 1964. The reproduction of the Readymades acknowledged their significance to the development of modern art. The Eskenazi Museum of Art is one of only three museums worldwide that holds all thirteen Readymades reproduced in the 1964 edition. The installation Fountain at 100 celebrates the Readymades, with special emphasis on Fountain, on view in the museum’s first floor Gallery of Art of the Western World from January 24 through May 7, 2017. Works by artists inspired by Duchamp—Man Ray, Joseph Cornell, and Lucas Samaras—will also be on view. We hope you take this opportunity to visit and see Duchamp’s Readymades in person for yourself.

The Eskenazi Museum of Art will also be hosting a free Noon Talk on February 15, 2017 from 12:15-1:00 p.m. entitled “Out of the Box: The Legacy of the Readymade,” presented in conjunction with Fountain at 100. Andrew Wang, graduate assistant for European and American art, will discuss the influence of Marcel Duchamp’s Readymades on Jospeh Cornell, Louise Nevelson, and Lucas Samaras. This Noon Talk will take place in the Gallery of the Art of the Western World, first floor, and is free and open to the public. No prior reservation is necessary to attend.

Please visit the Eskenazi Museum of Art’s Website for gallery hours and more information on visiting the museum. Admission at the Eskenazi Museum of Art is always FREE. 

 

Eskenazi Museum of Art Represented at Important Conference in Jerusalem

shrine-of-the-book
Shrine of the Book, Israel Museum, Jerusalem. Photo: Jenny McComas

By Jenny McComas, Curator of European and American Art, Eskenazi Museum of Art, Indiana University

Engaging with the wider academic and professional communities is an important part of a curator’s job. Participating in conferences is one way to stay abreast of current trends in the field, meet new colleagues, and present one’s own research. Since I established the Eskenazi Museum of Art’s Nazi-Era Provenance Research Project in 2004, I have taken advantage of opportunities to participate in the broader field of provenance (the ownership history of works of art) whenever possible. In November, I participated in an international conference on Provenance and Collecting organized by the London-based International Research Forum on Collecting and Display in conjunction with the Israel Museum and the Hebrew University of Jerusalem. The conference was held at the Israel Museum, the largest and most comprehensive art and archaeology museum in Israel. The museum has extensive wings devoted to antiquities, fine art, and Jewish art and life, but is perhaps best known for housing the Dead Sea Scrolls. These scrolls, written in Hebrew and Aramaic on parchment and papyrus, were found in caves in Qumran on the northwest shore of the Dead Sea in 1947. Dating from the third century BCE to the first century CE, they are the earliest written biblical texts to have survived. The scrolls are displayed on a rotating basis in the Shrine of the Book on the Israel Museum’s campus. This unusual building, designed in 1965 by the American architects Armand P. Bartos and Friedrich Kiesler, is meant to evoke the lids of the clay jars in which the scrolls were discovered. It was thrilling to present my conference paper in the Shrine of the Book’s auditorium, just steps from the famous scrolls.

jenny-conference-presentation
Jenny McComas discusses two objects from the Eskenazi Museum of Art, Israel Museum, November 2016. Photo: Yair Hovav

With the aim of exploring the myriad ways that provenance and provenance research impact scholarship, ethics, and the law, the Provenance and Collecting Conference was attended by a range of art historians, archaeologists, museum professionals, archivists, and lawyers from Israel, North America, and Europe. In my presentation, I described how I recovered the long-lost provenance histories of two objects in the Eskenazi Museum’s collection: Merzbild 13A (1919) by German Dadaist Kurt Schwitters and Head of a Girl, Turning (1913-14) by German Expressionist sculptor Wilhelm Lehmbruck. My research had revealed that both objects played significant roles in the introduction of modern German art to American audiences in the 1920s and 1930s, a discovery that, in my opinion, increases their art historical value and significance. In my presentation, I argued that provenance research conducted on museum collections has critical implications for the art historical interpretation of objects. Learning more of the specifics of an object’s past helps us to understand more about historical patterns in collecting, the public display of art, and how artistic canons are formed. In addition to sharing my research with other scholars in the field, the conference provided a wonderful opportunity to introduce the Eskenazi Museum of Art and its collections to an international audience.

hanukkah-lamp-display-israel-museum
Conference attendees learning about a display of Hanukkah lamps from Jewish communities worldwide in the Israel Museum’s galleries. Photo: Yair Hovav

The Israel Museum’s own collections played an important role throughout the conference, providing a break from the more traditional lectures and offering a constant reminder of the object-oriented nature of provenance research. The conference began with a guided tour of the museum’s three main wings, and included extended discussions of particular objects with remarkable—or troubled—provenances. In the Jewish Art and Life wing, for example, we learned about “ownerless” objects sent to the Israel Museum’s predecessor, the Bezalel National Museum, by the Jewish Restitution Successor Organization (JRSO) after World War II. Most often, these were ceremonial objects from synagogues destroyed or looted during the Holocaust. Today, the museum continues to research these objects’ provenances in the hopes of finding their rightful owners. The conference organizers also arranged a variety of workshops that focused on objects in the Israel Museum’s collections. Engaging with original works of art in an intensive session and hearing the insights of the curators was a unique opportunity for conference attendees.

de-waal-keynote
Edmund de Waal giving the conference keynote lecture, Israel Museum. Photo: Yair Hovav

The conference concluded with a moving keynote lecture by Edmund de Waal, acclaimed British ceramic artist and author of the bestselling 2011 memoir The Hare with the Amber Eyes. In his book—and in the lecture—de Waal recounted his research into the history of his Jewish ancestors, the Ephrussis of Paris and Vienna, and their collection of Japanese netsuke (miniature carvings), which he inherited as a young man. This was the only part of the family’s once vast art collection to escape Nazi looting during World War II. A powerful speaker and storyteller, de Waal had the audience laughing and crying in turn.

fountain-at-israel-museum
Installation of Marcel Duchamp’s Fountain at the Israel Museum. Photo: Jenny McComas

Engaging in fruitful dialogue with fellow scholars, curators, and provenance researchers, viewing the museum’s rich collections, and exploring Jerusalem itself—a city that certainly figures prominently in the history of art and culture—were reasons enough to make this a successful conference experience. Yet there was one more thing that made my visit to the Israel Museum special. Like the Eskenazi Museum of Art, the Israel Museum houses one of only three complete sets of the 1964 authorized replica edition of the Readymades by Marcel Duchamp. The original Readymades, among them the iconic Fountain (a porcelain urinal that Duchamp submitted to a New York art exhibition in 1917), were produced by Duchamp between 1913 and 1921 and epitomize the anti-establishment artistic movement known as Dada. Although most of the original Readymades were lost, the techniques and concepts pioneered by Duchamp—including the use of found objects, assemblage, and a general rethinking of Western artistic traditions—have proven extremely influential, providing a model for minimalism, conceptualism, and performance art. In 1964, the replica edition consisting of thirteen of Duchamp’s most important Readymades was designed and produced under the supervision of Duchamp and the Milan gallerist Arturo Schwarz; this project made Duchamp’s early twentieth-century innovations visible to a much wider audience. The Israel Museum’s set of Readymades, along with a major collection of Dada and Surrealist art, was donated in 1998 by Schwarz himself. I was curious to see how these objects would be installed and was particularly interested in the placement of Fountain high up on a wall separating two gallery spaces. As David Rockefeller Senior Curator Adina Kamien-Kazhdan explained to me, her presentation of the object references a photograph showing the original 1917 Fountain hanging above a doorway in Duchamp’s studio. I appreciated Adina’s creative installation choices, which I will certainly keep in mind as we prepare to reinstall our galleries as part of the Eskenazi Museum of Art’s upcoming renovation project.

Eskenazi Museum of Art Website

How An Exhibition Comes Together

focalpoint3
Emma Kessler, curatorial assistant for the Art of Africa, the South Pacific, and the Americas at the Eskenazi Museum of Art at Indiana University

Ever wonder what goes into planning and installing an exhibition at a museum? Today’s blog post answers that question. Emma Kessler, curatorial assistant for the Arts of Africa, the South Pacific, and the Americas, takes us through the process of envisioning and installing the museum’s new Focalpoint exhibition Hats as Materials of Culture on view now through May 7, 2017 in the museum’s third floor gallery of Arts of Africa, the South Pacific, and the Americas.

The Raymond and Laura Wielgus Gallery houses the Eskenazi Museum of Art’s collection of art from Africa, the South Pacific, and the Americas. While the vast majority of the objects in this gallery remain on continuous display, the Focalpoint section features a series of rotating exhibitions. Here we create two or three exhibitions a year on a range of topics. Recent displays include the art of ancient Peru, a look at fakes and forgeries, costumes and ornaments from New Guinea, and an investigation into tradition and authenticity in Native American art.

When deciding on a new Focalpoint exhibition, we first consider whether the topic can be linked to another exhibition, an event occurring on campus, or a new collection that has come to the museum. Our current Focalpoint, Hats: Materials of Culture, corresponds with the course Art, Craft, and Technology in Sub-Saharan Africa, which is being offered by the Department of Art History this spring. Even after the topic was selected, there was still a lot to narrow down. For example, would the exhibition look at one type of material or one kind of technology? One of the ideas I considered was a focus on beadwork. I would have looked at a wide range of objects from across Africa and made by a variety of peoples, but out of a single material—beads.

In preparation for Focalpoint, I put together several proposals, one for each of my exhibition ideas. They included 20 to 30 objects that could be used in the exhibition along with a short paragraph of the ideas and topics that could be addressed. Interestingly, this step in the process often reveals whether or not an exhibition will work. As it turns out, the beadwork idea did not work. While the objects were extremely interesting, they did not work together as well as I had hoped. As it turned out, a different idea worked much better—to create an exhibition centered on a single object type, but featuring a wide range of materials and a number of different techniques. In this case, the object type was hats.

Continue reading “How An Exhibition Comes Together”

IU Eskenazi Museum of Art Now Home to the Largest Rainwork in the World!

Rainwork in rainstorm
Mandala Rainwork at the IU Eskenazi Museum of Art. Photo by Abe Morris

What is a Rainwork?
Rainworks are rain-activated street art that are completely invisible when dry, and only appear when they are wet. Rainworks are designed to make rainy days happier. They are created by using a super hydrophobic spray called Rainworks Invisible Spray. Rainworks typically last 2 to 4 months.

Who Created Rainworks?
Artists named Peregrine Church and Xack Fischer developed Rainworks in their hometown Seattle, WA (ie. rain capital U.S.A). After a video of Rainworks went viral on the Internet, Rainworks have appeared all over the world.

What Is The Largest Rainwork Ever Created?
The Indiana University Eskenazi Museum of Art in Bloomington, Indiana, commissioned Church and Fischer to install a Rainwork in the plaza in front of the art museum. The result is Mandala, the largest Rainwork ever created, at almost thirty-four feet in diameter. Mandala was installed in eleven hours by Church and Fischer, with additional assistance from Emelie Flower and Abe Morris. It was unveiled before a crowd of hundreds who launched almost 150 water balloons at the Rainwork to make it visible. Find more photos of the installation and unveiling of Mandala below. Church and Fischer are also teaching workshops on how to create Rainworks during their stay in Bloomington. The IU Eskenazi Museum of Art is actively working with organizations and individuals to create more Rainworks in Bloomington, to use this project to take art out into the community and make art a fun and surprising part of people’s daily lives. Many thanks for Peregrine, Xack for their brilliant ideas, and for bringing Rainworks to our community.

Watch a video of the Rainworks unveiling at the IU Eskenazi Museum of Art:

https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2Fseattlerainworks%2Fvideos%2F516426055220410%2F&show_text=0&width=560

Find out more information about  Rainworks at Rain.works, including how to create your own.

Rainworks at the Eskenazi Museum of Art is made possible in part by the generous support of Linda Watson. Additional thanks to IU Eskenazi Museum of Art director David Brenneman, and the entire museum staff, the Monroe County Public Library, the IU Henry Radford Hope School of Fine Arts, and the City of Bloomington.

Questions? Contact Abe Morris at the IU Eskenazi Museum of Art at: abamorri@iu.edu

IU Eskenazi Museum of Art Website

Rainworks install8 8-17-16
Rainwork installation in progress, L to R: Peregrine Church, Emelie Flower. Photo by Abe Morris.
rainwork install- perry xack
Installation in progress, from L to R: Rainworks founders Peregrine Church and Xack Fischer. Photo by Kevin Montague.
RainworksUnveilWaterBalloons
Rainwork unveiling by water balloon. Photo by Kevin Montague.
Rainwork-mandalaXandP
Rainworks founders Peregrine Church and Xack Fischer with Mandala at the IU Eskenazi Museum of Art. Photo courtesy of Rainworks.

First Thursdays This Fall at the Eskenazi Museum of Art

First Thursdays Image

Expanding on the Eskenazi Museum of Art’s popular Coffeehouse Nights program, on Thursday, September 1, the museum will launch a monthly night of extended evening hours and entertainment. On the first Thursday of every month during the university school year, the museum will be open extended hours from 5 to 8 p.m. Programming will vary, with a variety of unique offerings, including art-making activities, gallery tours, live musical performances, and more. Activities will be tailored for both people brand new to the museum and dedicated art lovers looking for an immersive experience. Food and libations will be available for purchase.

September 1, at 5:15 p.m., art fans will delight in a progressive tour led by the five curators of Spotlights, the museum’s current special exhibition. World music will be featured in the museum atrium starting at 6 p.m. You will also be able to view Rainworks, a rain-activated artwork newly installed near the museum’s iconic Light Totem, by the front entrance of the museum. The galleries will be open to explore and there will be additional opportunities to try new art interactions throughout the evening. It will be a night for casual art fans and people new to the museum, as well as dedicated fans of fine art and museum-going. Details about programming for First Thursdays later this year will be forthcoming. Check in at the museum’s website for updates and the most current information.

Rainwork Image3Example of a Rainwork. Image courtesy of Rainworks.

The Eskenazi Museum of Art’s First Thursdays will coincide with a larger university program that will take place on the Arts Circle around Showalter Fountain, just north of the museum, when weather permits. These events are designed to highlight the amazing offerings in the arts and humanities available at Indiana University and include campus arts organizations such as the IU Auditorium, Grunwald Gallery, IU Cinema, Jacobs School of Music, Lilly Library, Mathers Museum, IU Theatre, and more. More information about First Thursdays at Indiana University is available through the new Arts & Humanities Council website.

If you have an idea for First Thursdays, send us your thoughts at iuam@indiana.edu. First Thursdays at the Eskenazi Museum of Art is made possible in part by the generous support of Gregg and Judy Summerville.

IU Art Museum gallery interior

Eskenazi Museum of Art Website