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FEATURED ARTISTSAlison Bechdel

Dan ClowesR. Crumb

Chris WareMORE INSIDE...

FEATURED ARTISTSAlison Bechdel

Dan ClowesR. Crumb

Chris WareMORE INSIDE...

5 From the Director

6 Graphic Language • Exhibition Overview

• Events and Programming

10 UIMA@IMU

12 Lectures • Art and Museum

• Elliott Society

16 Education • New Learning Objects

Iowa Memorial Union, third floorUIMA@IMU (Richey Ballroom)125 North Madison St., Iowa City319.335.1742

An on-campus visual classroom featuring an expansive installation of art from the Museum’s permanent collection.

Black Box TheaterOn-campus space for UIMA special exhibitions.

Free admissionHours: Tuesday, Wednesday, and Friday 10 a.m.–5 p.m.Thursday 10 a.m.–9 p.m. Saturday and Sunday 12–5 p.m.

Sign up to receive our E-newsletter at uima.uiowa.edu.

MUSIC THAT'S BEEN CATCHY FOR 300 YEARS.Conversations that provoke thought. Stories that reveal the artist’s inner secrets. And live performances of the world’s greatest music. Iowa’s only true Classical station.

Listen with all your heart.

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Temporary locations:

19 Collection News • On- and Off-Campus Partnerships

20 First Fridays

22 Future of the UIMA • Sponsorship Opportunities

• Strategic Plan

24 pARTy! Time

26 Vounteers

27 From the University of Iowa Foundation • Friend-raising before Fund-raising

TA B L E O F C O N T E N T S

Cover: Enrique Chagoya (American, born in Mexico 1953)The Headache, after The Headache by George Cruikshank, c. 1830, 2010Etching and chine collé, 16 1/2’’ x 20 1/2’’, Museum purchase© Enrique Chagoya

Contemporary Mexican-born artist, Enrique Chagoya (cover), combined a number of modern and traditional print techniques in homage to George Cruikshank (left), a prolific and controversial British printmaker of the 19th century. Both artists exemplify the artistic tradition of employing satire to address important social issues. The cover image depicts President Barack Obama tormented by the problems he inherited with his presidency, such as healthcare reform, the war in Iraq, and the recession. Both works are included in the Graphic Language exhibition.

Edited by Erika Jo Brown | Written by Erika Jo Brown, Meghan Centers, and Steven Parrott

Illustrations by Steve Erickson | Design and layout by Rodrick D. Whetstone

Copyright 2011

Guest Lecture Series

Figge Art Museum225 West Second St. Davenport, IA 52801563.326.7804

Gallery space and storage for 11,000 pieces from the UIMA’s permanent collection, located one hour east of Iowa City.

Free admission for University of Iowa students, faculty, and staff with UI ID cards and UIMA donors with their Donor Courtesy Cards.

Hours: Tuesday through Saturday 10 a.m.–5 p.m.Thursdays 10 a.m.–9 p.m.Sundays 12–5 p.m.

Iowa Memorial Union, third floorUIMA@IMU (Richey Ballroom)125 North Madison St., Iowa City319.335.1742

An on-campus visual classroom featuring an expansive installation of art from the Museum’s permanent collection.

Black Box TheaterOn-campus space for UIMA special exhibitions.

Free admissionHours: Tuesday, Wednesday, and Friday 10 a.m.–5 p.m.Thursday 10 a.m.–9 p.m. Saturday and Sunday 12–5 p.m.

Sign up to receive our E-newsletter at uima.uiowa.edu.

MUSIC THAT'S BEEN CATCHY FOR 300 YEARS.Conversations that provoke thought. Stories that reveal the artist’s inner secrets. And live performances of the world’s greatest music. Iowa’s only true Classical station.

Listen with all your heart.

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University of Iowa Museum of ArtTemporary offices at the Studio Arts Building:1375 Highway 1 West/1840 SAIowa City, IA 52242-1789 319.335.1727uima.uiowa.edu

Levitt Center for University AdvancementOne West Park Rd,, Iowa City

A selection of art from the UIMA’s African art collection. Open by appointment only. Call 319.335.3232 for more information.

Temporary locations:

Edited by Erika Jo Brown | Written by Erika Jo Brown, Meghan Centers, and Steven Parrott

Illustrations by Steve Erickson | Design and layout by Rodrick D. Whetstone

Copyright 2011

Supportwww.uifoundation.org/uima

Museum MerchandiseShop for UIMA merchandise onlineat book.uiowa.edu

Connect Find us on FacebookFacebook.com/UIMuseumofArt

Follow us on TwitterTwitter.com/UIMuseumofArt

NEW! Scan with a QR Readeron your smartphone

The UIMA Magazine is sponsored by Hands Jewelers: William Nusser and Elizabeth Boyd

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E X H I B I T I O N SFall Semester Labyrinths and Other Daily Exits: The Art of Tom Aprile, UI Main Library

Fall Semester Video Classrooms, Studio Arts and UI Main Library

Sept. 2–Dec. 10 Life and Death on the Prairie: Photography by Stephen Longmire, Humanities

Gallery, Old Capitol Museum

Sept. 24–Dec. 11 Graphic Language: The Art and Literature of Comics, Black Box Theater, IMU

Ongoing UIMA@IMU, Third Floor, IMU

Ongoing A Legacy for Iowa: Pollock’s Mural and Modern Masterworks from the UIMA, Figge Art Museum, 225 W. Second St., Davenport, IA

P R O G R A M S August 5 5:00 p.m. First Friday, hotelVetro, 201 S. Linn St., Iowa City

August 14 UIMA@Iowa State Fair, Iowa State Fairgrounds, Des Moines, IA

September 2 5:00 p.m. First Friday, hotelVetro

September 6 7:45 p.m. Art and Museum Education Speaker Series: James Elkins, W151 Pappajohn Business Building

September 28 7:30 p.m. Gallery Talk: John Dilg on the legacy of Tom Aprile, Second Floor North Reading Room, UI Main Library

October 2 2:00 p.m. Public Reception: Graphic Language, South Room, IMU

October 5 Class Act Comics: Workshop for grades 7–12, Main Lounge, IMU

October 6–7–8 Graphic Language Symposium, Main Lounge, IMU

October 7 5:00 p.m. First Friday, Englert Theatre, 221 E. Washington St., Iowa City

October 18 7:30 p.m. Art and Museum Education Speaker Series: Doris M. Srinivasan, Shambaugh Auditorium, UI Main Library

October 20 7:00 p.m. Visiting Artist Talk: Tibetan Artist-in-Residence Tenzig Rigdol, Shambaugh Auditorium, UI Main Library

October 29 5:30 p.m. The Museum Party!, Main Lounge, IMU (call 335-1725 for tickets)

November 3 7:30 p.m. Graphic Language Curators’ Panel Discussion, Black Box Theater, IMU

November 4 5:00 p.m. First Friday, Takanami Restaurant, 219 Iowa Ave., Iowa City

November 17 6:00 p.m. UIMA/Figge College Night, Figge Art Museum

December 2 5:00 p.m. First Friday, Raygun, 103 E. College St., Iowa City

D O N O R / V O L U N T E E R E V E N T SAugust 23 4:00 p.m. Volunteer Tea, The University Club, 1360 Melrose Ave., Iowa City

August 27 5:30 p.m. Director’s Circle, The University Club

September 13 5:30 p.m. David Watkin Lecture (Sponsor Level and above), The University Club

September 23 4:00 p.m. Donor Preview: Graphic Language, North Room, IMU

October 12 5:00 p.m. Elliott Society Lecture: Kathy Edwards, The University Club

November 9 5:00 p.m. Elliott Society Lecture: David Riep, The University Club

FALL 2011 Calendar of Events

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What a fascinating year so

far! Negotiating with federal bureaucrats to manage flood recovery. Working to stop

politicians from hocking our Iowa masterpieces. But what opportunities at the

same time! Collaborating with professors and students to

integrate real objects in the classroom. Educational activities across the state, from

elementary schools to retirement homes. Art Events in popular venues in Iowa City

and the surrounding communities. There are a lot of exciting initiatives to

pursue as we start planning our new museum facility. Looks like

2011 is only the beginning of great things to come.

Onward!

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E X H I B I T I O N O V E R V I E WGraphic Language: The Art and Literature of Comics

September 24 - December 11, 2011 | Black Box Theater, Iowa Memorial Union

Corey K. Creekmur

Associate Professor, English and Cinema and Comparative Literature

The original art of comics was never meant to be seen by the public, much less displayed for aesthetic appreciation in museums. Comics—the awkward term now encompasses newspaper strips, comic books, and graphic novels—were seen as mass culture, intended for diverting consumption in cheaply printed, ephemeral formats. Created through a series of distinct stages and often through an industrial model involving many hands, original comic art typically derives from an unfinished phase of the full sequence of production, unlike most “polished” works of art deemed worthy of public exhibition. For this very reason, however, original comic art exerts a distinct fascination: it provides a vivid glimpse of the creative process itself. Most people only encounter comics after they have rolled off the printing press and been distributed in published formats. But the rare opportunity to examine the original pencil lines and brush strokes of comics legends like Winsor McCay, Hal Foster, Milton Caniff, Jack Kirby, or Steve Ditko, as well as remarkable contemporary talents such as Alison Bechdel or Gilbert Hernandez, places us just one step away from the skilled hands that began the sequence we usually only experience in its final form. And because comics

Félix de la Concha (American, born in Spain 1962)Diary of portraits with an object, Madrid, 2000Oil on canvas11’’ x 9’’ (from a series of 80 pieces of the same size)© Félix de la Concha

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narrative and elegant publication. Original pages by Chris Ware, viewed in conjunction with their final versions, provide a compelling illustration of the artist’s creative options during the process of crafting an ambitious, major work. In virtually every example on display, original comic art summarizes the delicate balancing act of creative imagination and technical skill that yields the unique form we call comics.

That form, scholars now emphasize, may constitute a rather unique combination of visual and verbal elements: most comics are written and read as well as drawn and viewed. Comics may therefore be approached as a form of literature as well as visual art, and while many earlier comics divided duties between writers and artists, most independent comic creators, ranging from underground legends like Robert Crumb and Kim Deitch to their spiritual heirs such as Daniel Clowes and Phoebe Gloeckner, write and draw with a highly self-conscious awareness of their juxtaposition of word and image. Graphic Language thus locates comics solidly within the mission of the UIMA as well as within the “writing university” tradition of the University of Iowa, itself embedded within the UNESCO City of Literature that Iowa City became in 2008. Still, this exhibit considers lingering if increasingly residual

were often published without much concern for visual quality, original comic art also allows us to directly witness the precise details—as well as the human flaws and skillful corrections—eventually hidden from the view of millions of fans of this popular art and craft. Original comic art returns us to the artists at the source of the works we otherwise experience far removed from the material traces of pencils, ink, and the drawing board.The UIMA exhibition Graphic Language: The Art and Literature of Comics allows audiences to peer over the shoulders of some of the greatest comics artists in history, as well as contemporary creators who will be visiting campus (see page 8). Drawing upon two extraordinary local collections as well as the Museum’s rich resources, Graphic Language stages a long-delayed encounter between the humble “funny pages” of the newspaper, or of the comic book, and the space and function of a university museum serving the goal of art education. As the exhibit forcefully demonstrates, placing original art next to its published versions yields revealing comparisons: an original page by the legendary Wally Wood for a 1952 war comic shows the extraordinary attention to detail he must have known would be lost in the cheap paper and blurry color of the era’s comic books. On the other hand, a rare view of all of the original drawings for one of the last stories created by the great Will Eisner leads us through the steps towards a carefully crafted visual

questions about the meaning of comics within the rarified setting of an art museum. In addition to the original material on display, this exhibit extends a historical context to include canonical precursors such as Goya, Blake, and Picasso. As the exhibit blurs easy distinctions between comics and fine art, it also embeds comics within a commercial environment that includes a wide variety of publication formats as well as material artifacts that

extend popular characters from the page to the toy box. In this exhibition, comics are thus presented as an increasingly vast, cross-cultural, and

historically varied form found in a range of shapes, sizes, and materials. This exhibit finally attempts the impossible task of both containing comics for public consideration while allowing them to stretch beyond their always expansive panel borders.

“...a rather unique combination of visual and verbal elements...”

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Extraordinary collaborations have resulted in a series of extraordinary events focusing on comics this fall at the University of Iowa.The Museum of Art will kick off its major autumn exhibition, Graphic Language: The Art and Literature of Comics, featuring original comic arts, at the Black Box Theater in the Iowa Memorial Union (IMU), September 24 through December 11. Joint events include a symposium featuring talks by over a dozen major comics creators and scholars, a special course for UI graduate students, and outreach efforts to junior high and high school students from fifteen cities and towns across the state.Three faculty members from the UI College of Liberal Arts and Sciences are the prime movers: Corey Creekmur, associate professor of English, and Cinema and Comparative Literature; Ana Merino,

EXTRAORDINARY COLLABORATION, EXTRAORDINARY EVENTSassociate professor of Spanish and Portuguese; and Rachel Williams, associate professor of Art, and Gender, Women’s and Sexuality Studies.“The coordination of these events represents an inspired collaboration between programs, centers, and funding sources at the University of Iowa, as well as welcome support from local businesses and individuals,” Creekmur notes. “The goal of involving a wide-ranging audience—from area school children to University faculty and the surrounding community—is underway, as enthusiastic support from a uniquely diverse group has already demonstrated.”Here’s a rundown of the events:Graphic Language: The Art and Literature of Comics, an exhibition at the Black Box Theater in the IMU, September 24 through December 11The show, guest-curated by Creekmur, Merino, Williams, and UIMA curator Kathy Edwards, will feature original comic art, including works by historical figures such as Winsor McCay, Milton Caniff, Steve Ditko, and Jack Kirby; legendary EC Comics artists like Wally Wood, Harvey Kurtzman, Jack Davis, Johnny Craig, and Bernard Krigstein; contemporary creators including Robert Crumb, Kim Deitch, Chris Ware, Alison Bechdel, Gilbert Hernandez, Jessica Abel, Jeff Lemire, and Dan Clowes; and historic prints from the UIMA collection by Blake, Goya, Hogarth, and Picasso.“Comics, Creativity, and Culture: International and Interdisciplinary Perspectives,” a symposium featuring major comics creators and scholars, October 6–8This symposium, free and open to the public, will bring together international scholars and artists to discuss comics—broadly defined to include comic strips, comic books, and graphic novels—to foster exchanges about the creative practices of making and publishing comics, and the critical practice of analyzing the cultural function of comics for readers around the world. Keynote speakers include Gilbert and Jaime Hernandez (Love and Rockets), Joe Sacco (Palestine and Footnotes in Gaza), Jessica Abel (Artbabe and La Perdida), Matt Madden (Odds Off and 99 Ways to Tell a Story: Exercises in Style), James Sturm (The Golem’s Last Swing and Market Day), and Phoebe Gloeckner (A Child’s Life and Other Stories).

Matt Madden (American, born 1968) Odds Off, page 117 Highwater Books, 2000 Non-photo blue pencil, ink on Bristol board 11” x 14.5”© Matt Madden Courtesy of UIMA School Programs Collection

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Without critical support from the following sponsors, Graphic Language would not have been possible. The UI Museum of Art • Daydreams Comics • The Obermann Center for Advanced Studies

UI International Programs • UI Lecture Committee • UI Center for the BookThe Ida Beam Visiting Lecture Program • The Office of the Vice President for Research

UIMA Education Partners

A special presentation on editing and publishing comics will feature Craig Yoe of Yoe! Studios and Yoe! Books, who has been described as “the Indiana Jones of comics historians” by Vice magazine.Visiting scholars will include Jeet Heer, Toronto; Craig Fischer, Appalachian State University; Charles Hatfield, California State University, Northridge; Frency Lunning, Minneapolis College of Art and Design; John Lent, Temple University; Jose Alaniz, University of Washington; and Bart Beaty, University of Calgary. A special one-credit course for graduate students, The Obermann Center Special Topics Seminar (650:280:001): “Comics, Creativity, and Culture: Interdisciplinary and International Perspectives,” led by Creekmur, Merino, and WilliamsThis course represents a new effort on the part of the Obermann Center to offer graduate students the chance to experience in-depth preparation for participating in its annual Humanities Symposium. Students will meet for four weeks before the symposium, read and discuss the work of visiting artists and scholars, interact with those visitors at the symposium, and debrief following the symposium.“Comics in the Classroom,” June 22 and “Class Act Comics Conference,” October 5Rachel Williams and Dale Fisher, UIMA director of education, have made arrangements with teachers in fifteen Iowa middle, junior high, and high schools to sponsor two on-campus events: a workshop for art teachers on June 22 and a mini-conference and workshop for both teachers and students on October 5. Williams and Fisher have also offered to go to Iowa schools for workshops prior to the October conference.The October 5 workshop will provide students with opportunities to display their own art, and to share their work with other students and professional comics artists who will give them critical feedback. The one-day conference includes public presentations by James Sturm, Phoebe Gloeckner,

Jeff Lemire (Canadian, born 1976) Tales from the Farm, page 41 Top Shelf, 2007 (Later in The Collected Essex County, Top Shelf, 2009) Pencil, ink on Bristol board Size: 15” x 22”© Jeff LemireCourtesy of UIMA School Programs Collection

and Jessica Abel and Matt Madden, co-authors of Drawing Words and Writing Pictures.Students and teachers are attending from Bondurant, Cedar Rapids, Columbus Junction, Fairfield, Glidden-Ralston, Grundy Center, Iowa City, Marion, Muscatine, Solon, Spencer, Storm Lake, Waukee, West Branch, and West Des Moines.

• American modernist jewelry • Japanese Ukiyo-e woodblock prints on loan from UIMA donor, volunteer, and former Iowa City Mayor Naomi Novick• Prints by prominent African-American artists Elizabeth Catlett, Glenn Ligon, and Kara Walker• Dutch and Flemish paintings on loan from Davenport’s Figge Art Museum

In addition, the UIMA@IMU stores over 3,000 prints, drawings, and photographs available to view by appointment. Within the space is a separate study room

designated for closer examination of the works.

The UIMA@IMU is located on the third floor of the Iowa Memorial Union in the Richey Ballroom. Admission is free and open to the public. Hours are Tuesday, Wednesday, and Friday, 10 a.m.–5 p.m.; Thursday, 10 a.m.–9 p.m.; and Saturday and Sunday, 12–5 p.m.

Class visits can be arranged by calling 319-335-3232 or using the online form at uima.uiowa.edu/book-a-tour.

This semester, the Museum’s on-campus visual classroom—the UIMA@IMU—will feature one hundred newly-installed paintings, prints, illuminated manuscripts, ceramics, silver, modernist jewelry, and sculpture from the permanent collection and on special loan from UI and private collections.

The UIMA@IMU provides a laboratory for exploration and investigation that complements conventional curriculum with hands-on, object-based discussions. Objects on display cover a range of locales and periods, including sections devoted to ancient art, 16th–20th century European and American art, contemporary art, modern studio ceramics, and the arts of Africa, Oceania, and the Ancient Americas.

During the 2010–2011 academic year, the UIMA@IMU served over 3,800 students, in over 205 classes, from 11 academic programs, including visits from four other academic institutions.

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Rotating displays have served a variety of UI academic departments, including Art History, Studio Arts, Music, Library Science, English as a Second Language, the Center for Diversity and Enrichment, the Iowa Writers’ Workshop, Cinema and Comparative Literature, the Center for the Book, American Studies, Art Education, History, Foreign Languages, and more.

UIMA staff work with instructors to create optimal visual experiences based on individual course objectives.

UI faculty members Chunghi Choo, Julie Hochstrasser, and Barbara Mooney have provided guidance throughout the planning for the Fall semester installation. Works on display will include:

• Masterpieces from the UIMA’s collection of English and American silver• Medieval illuminated manuscripts on loan from UI Libraries Special Collections

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Ray Graves (American, active 1960s–1970s)Ring, n.d.21K gold with amethyst and opal2’’ Gift of Don and Helen M. Sulentic 1980.194

Elizabeth Catlett (American, born 1915)A Second Generation, 1992Lithograph22 3/4’’ x 18 3/4’’Museum purchase 2006.74h

John Langlands (English, active in New-castle 1796–1802)Teapot, 1789–1799Silver 6.5’’ x 9.5’’ x 4.5’’Gift of Owen and Leone Elliott 1969.135

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James Elkins“Strategies of

Museum Display”

Tuesday, September 6, 7:45 p.m.

W151 Pappajohn Business Building

Imagine going to an art museum with the aim of spending

an hour in front of only one work of art. You don’t go with friends, and you avoid other people by going during off-peak hours. You don’t even read the labels describing the work, but you promise yourself you’ll go back to see it again.This is what James Elkins calls “immersion,” a very different way of approaching art. Elkins will discuss the techniques of immersion as well as its philosophical and practical problems during his lecture, “Strategies of Museum Display.” James Elkins is Professor and E.C. Chadbourne Chair in the Department of Art History, Theory and Criticism at the School of the Art Institute of Chicago. A native of Ithaca, N.Y., he earned bachelor’s degrees in English and art history at Cornell University. After earning a graduate degree in painting, he went on to earn both a master’s degree and doctorate in art history, all from the University of Chicago. He has taught at the School of the Art Institute since 1989. Elkins’ writing focuses on the history and theory of images in art, science, and nature. Current projects include a series called the Stone Summer Theory Institutes, a book called The Project of Painting: 1900–2000, a series called Theories of Modernism and Postmodernism in the Visual Arts, and a book written against Camera Lucida.

Doris M. Srinivasan“Alexander’s Legacy in South Asia”

Tuesday, October 18, 7:30 p.m.

Shambaugh Auditorium, Main Library

The dawning of Hindu and Buddhist images

nearly avoids trial-and-error in the usage of religious symbols. Gods such as the Buddha, Bodhisattvas, Vishnu, Siva, and Devi, arising in Greater India during the 1st–3rd centuries A.D. were, almost from the start, fashioned in an iconographic language so stable that some of the conventions remained in use for centuries. But where did this mode of religious expression originate? This talk will discuss Western influences, specifically Hellenistic and Roman traditions, which passed through the ancient regions of Parthia (modern Iran) and Bactria (northern Afghanistan and Central Asia), before being adopted—or adapted—in Greater India. Srinivasan will discuss how motifs were incorporated into South Asian art because either no precedent existed for a needed symbolic expression, and/or because the foreign symbol also carried meaning in the indigenous culture. Srinivasan has published extensively on Hindu iconography, and Western and local expressions in Gandharan art. She is the author of the seminal texts Many Heads, Arms and Eyes: Origin, Meaning and Form of Multiplicity in Indian Art and On the Cusp of an Era: Art in the Pre-Kusana World. One of her current works in progress focuses on icons (in Gandhara and Mathura) of deities who possess children. She is a research fellow at the Center for India Studies at the State University of New York, Stony Brook.

A R T A N D M U S E U M G U E S T L E C T U R E S E R I E S

Both lectures are free and open to the public.Sponsored by Mary Calkin, Buffie and Dick Tucker, and Margaret C. Clancy

Kathy Edwards

“Acquiring Works on Paper”Wednesday, October 12,

5:00 p.m.University Club

Each year the Museum brings new works of art into its collections through gifts and purchases. Chief Curator Kathy Edwards will discuss prints by artists such as Antoni Tàpies, Fanny Palmer, Diana Mantuana, Lyonel Feininger,

and others recently added to the UIMA permanent collections. Edwards will discuss particular pieces resulting from fascinating biographies. For instance, Diana Mantuana was the first woman to sell her prints under her own name. She received papal permission to publish her engravings in 1576 and eventually established her own successful art production workshop. Advertised as ‘Coloured Engravings for the People,’ prints published by Currier & Ives were colored by hand on a production line, usually one assistant to each color. Fanny Palmer was one of the most talented and prolific artists employed by Currier & Ives, completing over 7,500 lithographs. Kathy has been UIMA Chief Curator since 2006. She began her work at the UIMA in 1998, as Curator of Prints, Drawings, and Photographs. During her tenure at UIMA, she has overseen the addition of hundreds of works of art to the collection, and curated numerous exhibitions, including the acclaimed Lil Picard and Counterculture New York; Acting Out: Invented Melodrama and Contemporary Photography; From Hayter to Pettibon: American Workshop Prints; and Life is Art/Art is Life: The Graphic Work of Dieter Roth. Prior to coming to the UIMA, Kathy was the Director of The Print Center in Philadelphia.

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Both lectures are open to UIMA donors at the Elliott Society level ($150 and above). Join us for a brief social time at 5:00 p.m. Lectures begin at 5:30 p.m. Please reply to attend these events by

calling (319) 335-3676. For information on becoming a donor, call the Museum at (319) 353-2847 or visit our website at uima.uiowa.edu.

Sponsored by Robert E. and Karlen M. Fellows

Diana Mantuana Italian (before 1542–1612)The Madonna and Child with the Infant Saint John the Baptist, after Raffaelino da Reggio, c. 1576Engraving, 11 3/8’’ x 8 1/2’’ The Leola Bergmann Fund, 2010.25

David Riep

“Acquiring African Art”Wednesday, November 9, 5:00 p.m. University Club

The UIMA is fortunate to have one of the finest collections of African art throughout the world. Since the first Ph.D. in African art history was awarded to Dr. Roy Sieber by the University of Iowa

in 1957, the collection has developed into a rare teaching resource with countless masterworks. The UIMA recently acquired a number of significant pieces from southern Africa—some of which are especially unique—in order to bolster the collection in an area that is typically underrepresented in museum holdings.Several South Sotho artworks were collected by David Riep during his fieldwork between 2008 and 2011. The stories of these acquisitions are informative and intriguing, highlighting the notions of how, where, and why we look for objects, and their significance in building a representative collection of African art.Riep received his Ph.D. in Art History from the University of Iowa in 2011, with a focus on the arts of Africa. While completing his coursework, Riep served as the Assistant Curator of African art at the UIMA, where he developed two gallery installations, and broadened the permanent collection. In 2008, he was awarded a Fulbright grant to South Africa, where he conducted dissertation research among South Sotho populations for nearly two and a half years. Aside from his written work, Riep has produced several documentary films on the arts of southern Africa, including titles on pot making and mural arts.

Dr. David Riep (right) posing with Ntate Pusetso Khoali, a healer who practices in South Africa and Lesotho.

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1 Ho Che Anderson (British, born 1969)King 3, pages 10–11, panel 5Pencil, ink, color pigment, and comic book art board7.25” x 12”King is an illustrated biography that recounts the life of Martin Luther King, Jr., from his childhood in Atlanta to his leadership in the civil rights movement. It even includes a moving rendering of King’s “I Have a Dream” speech, delivered from the steps of the Lincoln Memorial. In this graphic novel, Anderson artfully blends historical nonfiction with expressionistic brushstrokes.

2 Jeff Lemire (Canadian, born 1976)Tales From the Farm, page 44Pencil, non-photo blue pencil, ink on Bristol board15” x 22”Lemire’s Tales from the Farm depicts a fictionalized coming-of-age account, grounded in a rural setting—in this case, the author’s hometown in Essex County, Ontario. His black-and-white illustrations are equally powerful in re-creating the solitary nature of farm life, as well as a young boy’s fantasy world of superheroes and alien invaders.

3 Bryan O’Malley (Canadian, born 1979)Street Angel PinupNon-photo blue pencil, ink on watercolor paper11” x 15”O’Malley, better known for his graphic novel series Scott Pilgrim vs. the World, composes compelling stories and drawings. Dale Fisher, Director of Education, explains: “Street Angel Pinup by Bryan Lee O’Malley portrays a homeless orphan. In the narrative, she takes on an assortment of nefarious characters (from ninjas to mad scientists, from spacemen to a giant squid), using her wits and skills as a skateboarding prodigy. In conquering these foes (perhaps a metaphor for the harsh realities of life on the streets), her victories offer hope needed for her day-to-day struggle for survival.”

4 AnonymousPabuji Phada Hanging TextilePainting on cotton Rajasthan, India236.22” x 52.75”The artist of the Pabuji Phada Hanging Textile used a gum-based gouache to paint a scene in a variety of vibrant colors: blue, green, yellow, pink, orange, maroon, red,

and grey. This textile served as an illustration for a traveling bard, who told tales based in Hinduism, often accompanied by live music and dance. Fisher notes that “this scroll was used as a traveling backdrop for storytelling in India. Now we’re taking it school to school, teaching its history. So, in sense, it’s being used for its original function.”

5 Devendra Kumar Jha (Indian, born 1969)Rama & Sita Nuptials PaintingPaint on paper36.6” x 26.5”The folk tradition of Madhubani-style paintings was handed down by generations of women, who depicted mythological events and traditional designs on the floors and walls of their houses using crushed wet rice and natural dyes. This practice influenced contemporary Madhubani painters, who still use a canvas of handmade paper or pure mulberry silk fabric and organic fabric colors. Jha, whose painting celebrates a Hindu marriage rite, was mentored from an early age by his mother.

Through the support of Education Partners, 4,870 students were able to experience—see, handle, compare, and contrast—original works of art last year, through presentations on UIMA Collections, African Art, and American Indian and First Peoples Art. New programs this year will include the Art of India and the Art of Comics and Graphic Novels, which showcase purchases specifically suited to the pedagogical needs of the community. Below are some examples of recent acquisitions.

Sponsored by UIMA Education Partners: Anonymous Family Foundations (2), Mary K. Calkin, E. Anthony Otoadese and Claudia L. Corwin, Rob and Paulina Treiger

Muzzin, Polly S. and Armond Pagliai, Douglas J. and Linda Paul, Mary Frances Ramsey Memorial Fund, Scheels All Sports,William and Marlene W. Stanford, Gordon B. and

Faye Hyde Strayer, US Bank, Gail P. Zlatnik and Frank J. Zlatnik

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Pierre Bonnard (1867–1947)France-Champagne, 1891LithographKrannert Art Museum and Kinkead Pavilion, University of Illinois at Urbana–Champaign

Henri de Toulouse-Lautrec (1864–1901)Divan Japonais, 1893Crayon, brush, spatter, and transferred screen lithographKrannert Art Museum and Kinkead Pavilion, University of Illinois at Urbana–Champaign

Henri de Toulouse-Lautrec (1864–1901)Le Photographe Sescau, 1894Crayon, brush, and spatter lithographKrannert Art Museum and Kinkead Pavilion, University of Illinois at Urbana–Champaign

Hey, UI students—

to the Figge Art Museum!

Thursday, November 17FREEBUS TRIP

Bus trip sponsored by Lynne Lanning and Richard Smith

includes work by Pierre Bonnard, Alphonse Mucha, Jan Toorop, and Henri de Toulouse-Lautrec. The show features a range of color lithographs, from mass-produced consumer ads to intimate prints for literary journals and playbills.

UI students are invited to sign up for a FREE bus trip to College Night at the Figge Art Museum in Davenport, Iowa, located one hour east of Iowa City. The trip gives students the opportunity to see highlights from the UIMA collection currently on view at the Figge in the ongoing exhibition, A Legacy for Iowa: Jackson Pollock’s Mural and Modern Masterworks from the University of Iowa Museum of Art .

College Night at the Figge is a unique program that gives museum visitors the opportunity to experience an art talk and a tour in a convivial atmosphere. Meet your friends, enjoy live music, indulge in a bite to eat, then head to the galleries. This evening will be centered around the exhibit, Turn of the Century Posters from the Krannert Art Museum Collection, which

Bus ScheduleLeave: 6:00 p.m. From UI Studio Arts* 1375 Highway 1 West Iowa City, IowaReturn: 12:00 a.m. Back at Studio Arts

Individuals with disabilities are encouraged to attend all University of Iowa-sponsored events. If you are a person with a disability who requires an accommodation in order to participate in this program, please contact the University of Iowa Museum of Art in advance at (319) 335-1727.

Bring your UI ID card for free admission to the Figge Art Museum.

Seating is limited! Reserve your seat by calling (319) 335-3676.

For more information, visit uima.uiowa.edu.

Buses from downtown and parking at the Studio Arts Building are available.

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Collection News

Lyonel Feininger (1871–1956), In a Village Near Paris (Street in Paris, Pink Sky), 1909Oil on canvasGift of Owen and Leone Elliott, 1968.1539.75’’ x 32’’

Beatrice Wood (1893–1998)Come to Europe, Helen, 1932Journal (67 pencil and watercolor drawings, collaged typewritten letters)Gift of Francis M. Naumann, 1985.10316 1/2’’ x 12 1/2’’ x 1 1/2’’

Thomas R. Aprile (1953–2010)Untitled (detail), 2010 (unfinished)Wood and other materials

Eastern Nigeria Kaka or Mambika peopleTerracotta, 19”Gift of Robert Lubetkin, 2000.89

Did you know that you can see selections from the UIMA’s collection at museums around the country? Loan requests made by other museums illustrate the significance of UIMA artwork and

enrich the scholarship of objects through catalogs and re-contextualizations.

The UIMA will be lending a “visual journal” of Beatrice Wood to the Santa Monica Museum of Art, which will mount an exhibition, Beatrice Wood: Career Woman–Drawings, Paintings, Vessels, and Objects, September 7, 2011–January 7, 2012. In her long career as an artist, Wood was known as “the Mama of Dada” before focusing her creative energies on clay. Her roles as an educator, cinematic muse (said to be the inspiration for the characters of Rose in Titanic and Catherine in Jules and Jim), writer, and painter will be revisited with this addition. The Whitney Museum of American Art is exhibiting the UIMA’s seminal painting, In a Village Near Paris (Street in Paris, Pink Sky) in a major retrospective, Lyonel Feininger: At the Edge of the World, June 30–October 16, 2011. Primarily recognized

campus outreach, the UIMA has improved access to extraordinary video art. Last semester, a new screen was installed at the Oasis Fix in Studio Arts, which looped highlights from the collection, including shorts by innovators like Man Ray, William Wegman, Bill Viola, and Charles and Ray Eames. This fall, look for new screens in the Food for Thought Café area in the UI Main Library. Labyrinths and Other Daily Exits: The Art of Tom Aprile, an exhibition of work by the late School of Art and Art History professor and sculptor, guest-curated by SAAH Professor John Dilg, is open in the second floor north reading room of the UI Main Library. Aprile, who passed away in September 2010, was a passionate voice and presence for excellence in teaching and the world of sculpture. On September 28, Dilg will present a

for his geometric oil paintings, this exhibition aims to illustrate Feininger’s breadth and diversity as a caricaturist, photographer, woodcarver, and violinist. Our loan reveals his German Expressionist influences, reflecting a nuanced blend of abstraction and imagery. Several ancient ceramic pieces will be loaned to Kirkwood Community College, as part of the inaugural Iowa Clay Conference, “River to River.” An exhibition, 4000 Years of Ceramics, co-curated by local artists Clary Illian and Conifer Smith, Assistant Professor of Glass and Ceramics at Kirkwood, will display a survey of historical and ethnic pottery from local collections. Located in the Iowa Hall Gallery at Kirkwood’s Cedar Rapids campus, the show will run September 1–28, 2011.As part of its ongoing

gallery talk on “Retracing the Path of the Labyrinth: A Close Look at Tom Aprile’s Real & Mythic Daily Exits,” at 7:30 p.m. The UIMA has partnered with the Old Capitol Museum for an exhibition entitled Life and Death on the Prairie, September 2–December 10, 2011 in the Hanson Family Humanities Gallery. Landscape photographer and historian, Stephen Longmire, documented local plant species and historical burial markers in Rochester Cemetery, a patch of native Iowa that’s been left wild for nearly two centuries. The site has become the center of controversy, with some citizens petitioning for the land to be mowed, while naturalists fight for the preservation of brush and tall grasses that have existed since the first European settlements.

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The UIMA Bureau of Friend-Raising Affairs wants you to friend them. But this is no virtual community. The Bureau, a subcommittee of the UIMA’s Members Council, has developed monthly “First Fridays,” an ideal chance to usher in the weekend and mingle with other art-enthusiasts for a great cause. The idea is to create opportunities for people with a passion for the arts to connect on a regular basis—and to build a stronger base of support for the UIMA.So far it’s working. Hundreds have attended First Friday events since its inauguration this past April. A variety of artists from the community have displayed work at these receptions—from UI M.F.A. students in ceramics and printmaking to talented young photographers who exhibited under the

FIRST FRIDAYS...

auspices of We Are the World, a local nonprofit dedicated to engaging at-risk youth.First Fridays feature highlighted shorts from the UIMA’s video collection. Looped screenings have included such greats as Der Lauf der Dinge (The Way Things Go) by the contemporary collaborative duo Fischli/Weiss, a compendium of early footage by video pioneer Nam June Paik, as well as Man Ray’s controversial 1926 “cinepoem,” Emak Bakia (Leave Me Alone). Curated music, either spun by area deejays or performed by live bands, are an integral component of First Fridays, as well. Furthermore, organizers have found willing partners in Marc Moen of hotelVetro, George Etre of Formosa Asian Cuisine, and Brett DePue of Raygun, a downtown apparel shop.

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The Bureau of Friend-Raising Affairs is a decidedly welcoming group, including Anna Moyers Stone (chair), David Bright, Catherine Champion, Craig Eley, Scott Finlayson, Leslie Hollis, Kumi Morris, Mark Seabold, and Pope Yamada.As Stone recalls, “We were having lunch, and Catherine brought up the idea of an after-hours party. Even though the UIMA doesn’t have a building in which to do that right now, we wanted to create the same connections.”“It goes back to a passion for the arts,” adds Finlayson. “It’s really important to maintain connections in Iowa City and beyond—to keep the Museum of Art in front of people and to let them know that we’re still a relevant part of the culture.”In other words, this group is serious about “friend-raising” as a step towards “fund-raising.”

Bureau members are well versed in the theory of the “pyramid” of philanthropy, in which most funds come from a few very generous donors. Their ultimate goal is to build a larger base for the pyramid. Getting more people to become UIMA members at $25 a year will help not only now, but also in the future. “Over time, we’ll expand the base of the pyramid, and eventually people will offer more of their time, talent, and money to the Museum,” Stone says.In the meantime, it’s a great opportunity to have a blast while contributing to a great cause!

...an ideal chance to usher in the weekend and mingle with other art-enthusiasts...

Above photo (clockwise from bottom left)

Some members of the Bureau: Anna Moyers Stone, Pope Yamada, Scott Finlayson, Leslie Hollis, Catherine Champion, Kumi Morris, and Mark Seabold

All photos by stef shuster

the Art and Museum Guest Lecture Series. Additionally, the Elliott Society presents four lectures a year, exclusively for UIMA donors, on acquisitions and other collection topics.Examination and conservation projects, made possible through research sponsorships, are

vital to the maintenance of our world-renowned collection, which requires extra management without a permanent facility. This year, we’re committed to documenting UIMA activities through our Online Publishing Initiative. Our goal is to increase access to our programs and exhibitions, through both public and behind-the-scenes footage. In collaboration with the UI Nonfiction Writing Program, four graduate student Word Painters will be provided with the opportunity to produce brilliant essays relating to the UIMA collection, complete with a public reading alongside members of distinguished UI writing faculty, plus publication in this very magazine. First Fridays are our principal “friend-raising” affairs. Each month, a Bureau of young professionals organize a reception in an elegant location, with food, cocktail specials, live music, artwork from the community, and a video screening from the UIMA collection. We hope that you will consider supporting one our great projects!

Museum programs and exhibitions are blossoming in scope and significance this year, due to the generosity of our patrons. Now in its fourth year, the UIMA fundraising approach dovetails the urgent needs of the Museum with the specific interests of donors, allowing us to deliver art to the community despite the lack of a permanent exhibition space. The UIMA has pinpointed four areas of interest—Exhibitions, Collections, and Marketing; Education, Programs, and Outreach; UI Research and Scholarship; and, Philanthropy and Patron Appreciation—to enable direct financial support to programs that most appeal to individuals. Donor support enables special exhibitions, such as the recent shows, Two Turntables and a Microphone, Ere Ibeji, In the Footsteps of Masters, and Lil Picard and Counterculture New York. Upcoming plans include the spring 2012 Black Box Theater installation and long-term loan, The Technology of Chinese Art: Selections from the Arthur M. Sackler Foundation; the fall 2012 cross-campus exhibition Napoleon and the Art of Propaganda; and the spring 2013 interdisciplinary project Carnivale!, which will include exhibitions and artist residencies, culminating in a parade.During the 2010–2011 academic year, the UIMA@IMU served over 3,800 students, in over 205 classes, from 11 academic programs.

Museum fans can sponsor a masterpiece from the UIMA collection; previous options included Grant Wood’s Plaid Sweater, Juan Gris’s The Black Guitar, and Albrecht Dürer’s Portrait of Maximilian I. This fall, our on-campus visual classroom will feature newly installed paintings, prints, bound illuminated manuscripts, ceramics, silver, jewelry, and sculpture. A Family Day is in the works, which would provide hands-on activities and delightful interactions between children and their caregivers as they experience art. The UIMA hosts campus visits by national scholars on cutting-edge topics during

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Sponsorship Opportunities

Graffiti artist Lady Pink conducts a graffiti workshop in conjunction with the Two Turntables and a Microphone exhibition.

Dale Fisher, Director of Education, leads an interactive talk about African art at the Kalona Public Library.

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UIMA strategic plan: New building and lots of experimentation

The UIMA’s new four-year strategic plan starts with two basic concepts. “First, we want to be in our new building and be in full swing operationally by 2015,” UIMA Director Sean O’Harrow explains. “Second, before we move into our new building, we want to experiment with new ways of being as effective as possible in serving the most people possible, including within the University and across the state.”

The strategic plan builds on the report of the Envisioning Committee, which was appointed by UI President Sally Mason to chart a future for the UIMA in the wake of the flood of 2008. The subsequent closing of the former UIMA building has created a vacuum on campus, the committee concluded, adding, “There is a great urgency to bring back the University’s premier collection and to house it in a building worthy of it and the community.”The plan assumes that a new building and its contents will allow the UIMA to aim for being considered among

the nation’s top dozen university art museums. The UIMA collection makes that possible with “significant representation” in 20th century American art, early 20th century European art, and Sub-Saharan western African art, O’Harrow says.These resources will be further enhanced with a renewed emphasis on teaching and research, not only by UIMA staff but also by reconnecting with faculty in the UI School of Art and Art History, whom O’Harrow calls “our main partners.”The UIMA continues to find ways to provide art experiences across campus. New works will be exhibited this fall in the UIMA@IMU Visual Classroom, and a new initiative to create “video classrooms” across campus will be launched during the fall 2011 semester.The UIMA will continue to reach out to Iowans beyond Iowa City with exhibits at the Figge Art Museum in Davenport, where a large portion of the UIMA collection is being housed, and through the development of a loan and exhibition program with other Iowa art museums.The strategic plan will be a “living document” subject to continuous update, O’Harrow notes. Indeed, feedback from UI administrators, faculty and staff, members of the UIMA Advisory Board, the Members Council, volunteers and docents was essential in refining the document

produced by O’Harrow and UIMA staff.Meanwhile, the UI’s efforts to obtain federal help for a new building are at the third stage of appeals with the Federal Emergency Management Agency (FEMA). After the regional FEMA office denied the UI’s request for funding, a further appeal has been submitted to FEMA headquarters in Washington, D.C.

FEMA’s regional office took the position that the UIMA building suffered less than 50 percent damage and could be restored to use as a museum. But the UI contends that the former building, even after repairs, cannot be used to house fine art. Lloyds of London, which insures the UIMA’s artwork, has stated it would not insure the collection if it were returned to the building, and the other viable fine art insurers have also declined. The UI appeal is supported by Senators Harkin and Grassley and Representative Loebsack.

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Join us at the annual UIMA Museum Party! on Saturday, October 29, 2011, in the Iowa Memorial Union, Main Lounge. This Party! promises to be an action-packed evening celebrating Graphic Language: The Art and Literature of Comics, a cutting-edge exhibition of original comic art, located in the IMU’s Black Box Theater, just two levels above the Museum Party!, running September 24–December 11.There is no better time to show your support for the Museum than during this spectacular annual event, which—through

or one-year pledge. Generous giving during the Museum Party! is crucial to our dual missions of research and community outreach (see Sponsorship Opportunities article on p. 22).Over the past two years, the Museum Party! has raised more than $300,000 in support for the Museum. With your help, we can sustain this incredible effort. And partygoers will learn about the UIMA’s exciting plans for 2012. “This is a unique time for the Museum,” said Finlayson. “There is an inherent need to ensure that the community is

innovative sponsorship opportunities—provides vital private funds for UIMA exhibitions, programs, and activities.

This year, experience the fantasy of comic books brought to life, thanks to Scott Finlayson and Kay Irelan, Museum Party! co-chairs, who have joined forces to create an otherworldly wonderland for guests. Our honorary chairs will be Dick and Mary Jo Stanley.On October 29, demonstrate your own superpowers by choosing one or more projects, or works of art, to sponsor through either an outright gift

TIMEDr. O’Harrow,

you say

is when?

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reminded that we’re still here. Planning this extraordinary fundraiser is the way to do it.”“We’re without a building,” Irelan added. “But since we’ve been without a building, many more creative options have been developed. The Museum has become more things to more people as we are constantly challenged to keep the UIMA’s mission alive.”For the first time, the UIMA is offering a two-tiered ticket structure. Guests have the option of buying a ticket for a formal, sit-down dinner, complete with a preceding social hour beginning at 5:30

p.m., with a ball to follow, for the price of $125. Or, attendees can opt out of dining and just come to have a ball starting at 8:00 p.m., at an evening that will include music, hors d’oeuvres, unique photo opportunities, and elegant decorations, for just $35. If you’d like to get involved, or order tickets, please contact Betty Breazeale at the University of Iowa Museum of Art, 319-335-1725.

We would like to thank the following for their support:Party! Sponsor Integrated DNA Technologies

Party! HostsAlan and Liz SwansonGerald and Leesa ElsemanGerry Ambrose and Kristin HardyH. Dee and Myrene HooverHayes Lorenzen Lawyers, PLCKristin SummerwillLowell DoudMargaret C. ClancyMary WestbrookNeumann Monson ArchitectsOaknoll Retirement ResidencePhelan, Tucker, Mullen, Walker, Tucker, & Gelman, L.L.P.Pleasant Valley Flower ShoppeRob and Paulina MuzzinRohrbach Associates PC ArchitectsShive-Hattery, Architecture-Engineering

TIME

October 29th! Order your tickets now and I will

see you there!

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Every year, the UIMA relies on a team of loyal volunteers to staff events and exhibitions. Last Spring, UIMA Members Council Volunteer Chair Teresa Kelly was faced with the challenge of scheduling gallery attendants for Lil Picard and Counterculture New York, an exhibition which was open for thirteen weeks. Kelly gratefully acknowledges all of the volunteers who generously donated their time throughout the semester, especially the student volunteers who filled in at the Black Box Theater. “Without the students, gallery hosting would have been a very different job for me,” Kelly said. “I mean it when I say that I couldn’t have filled the attendant schedule without the student volunteers.”And the benefits seem to go both ways. While Kelly and the entire University of Iowa Museum of Art benefited from their volunteer hours, the students, too, gained valuable experience and appreciated the value

their role played in the success of Lil Picard and Counterculture New York.Emily Lennon, a recent University of Iowa graduate studying Studio Art and Art History, became interested in volunteering as a way to stay involved in the community. The Iowa City native has a lot of pride in her hometown and understands the importance of art in a local setting.“I’m from Iowa City and plan on staying in the area,” said Lennon, who became a UIMA volunteer in March. “I think it’s important to stay involved and this has been the perfect way to do so. Being able to help support the Museum during this unstable time has been infinitely rewarding.”And for Lennon, volunteering didn’t seem like a time-consuming job. She plans on continuing her work with the UIMA by becoming a docent.“I was able to meet a lot of art enthusiasts and influential people in the Iowa City area by working here,” she said.

“I have made a lot of great connections by working in the exhibition.”Lennon’s co-volunteer, Alyss Vernon, agrees. Vernon, who spends much of her time in the Studio Arts building as a Photography graduate student, saw flyers requesting volunteers and inquired.“I’m interested in Museum work, being behind the scenes, and wanted to learn more,” Vernon said. “This was the chance to see a variety of art and meet many different people.”No matter what their reason for wanting to volunteer for the UIMA, both Lennon and Vernon agree that anyone who is looking to get involved in the community should consider giving their time to the University of Iowa Museum of Art.“It’s not always the most glamorous job,” explained Vernon, “but it gives you a unique chance to be surrounded by one-of-a-kind art and see all the different reactions it acan create.”

Jeova Flores first became interested in volunteering for the UIMA after taking a class taught by Professor Christopher Roy, where he learned about the Ere Ibeji and the Fall 2010 exhibition which featured more than 300 of the spiritual figures. Flores was immediately intrigued and signed up to become a student volunteer. He has been giving his time to the UIMA since then and most recently worked in the Lil Picard and Counterculture New York exhibition.

“The Lil Picard and Counterculture New York exhibition was simply amazing! I was able to bring people from my rhetoric class as an extra credit opportunity, as well as a big group of my friends. We toured the exhibit as well as the gorgeous pieces at the Richey Ball Room . . . they had no idea there was an art gallery at the IMU; and they absolutely loved it!”

—Jeova Flores, student volunteer since October 2010

Thank You, Volunteers! Spotlight

Alyss VernonPhotography Graduate Student

Jeova FloresSophomore studying Microbiology

Emily LennonArt Graduate Student

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All of us who love the University of Iowa Museum of Art (UIMA) are eager to begin earnest conversations about creating a new Museum. We continue to wait patiently—while the appeal process works through the Federal Emergency Management Agency—to determine, once and for all, the possibility of funding for our building. In the meantime, we are wondering what else we could be doing.The answer? Friend-raising. While you have heard more about “fundraising” than you have about “friend-raising,” both are absolutely essential to the Museum’s future. While private gifts support the UIMA’s daily operations, the Museum’s long-term success depends upon us expanding the UIMA community of friends and supporters. And the best way to achieve that goal is to continue making new friends. That’s why we’re asking our patrons like you to renew your personal involvement with the UIMA—and to bring your friends with you. We’re asking you to get excited about the enriching Museum events described in this current issue and talk them up with your peers and colleagues. Start a conversation that will bring your chums to the UIMA to experience for themselves what you care about, and go out of your way to welcome unfamiliar faces while you’re there. Friends often share similar passions and are willing to invest in their mutual interests. Making friends—and growing our patron base—is an essential step along the path that leads to increased charitable giving. The UIMA has many loyal friends and is actively seeking more (see First Fridays article on p. 20). By helping the Museum make new friends, you will be ensuring an exciting present, and a vibrant future, for a place that brings people together and connects them with a world of art and inspiration. We remain truly grateful for your enduring commitment to one of Iowa’s most significant cultural resources and promise to initiate a Museum building campaign as soon as the time is right. Meanwhile, you gotta have friends.

Pat HanickDirector of DevelopmentUniversity of Iowa Museum of ArtThe University of Iowa Foundation

P.S. Please know that deferred and outright gifts to the UIMA remain an undeniable statement about the Museum’s promising future. For more information about how private support can benefit the UIMA during this transitional period, please visit www.uifoundation.org/uima.

Friend-raising before Fund-raising

What to wear to aUIMA First Friday?

109 E. Washington • Downtown Iowa City319-351-0333 • 800-728-2888

www.handsjewelers.comFacebook: facebook.com/Hands Jewelers

Twitter: @handsjewelers

Hands is proud tosupport the UIMA

and encourages yoursupport, too.

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1375 Highway 1 West/1840 Studio ArtsIowa City, Iowa 52242-1789(319) 335-1727 uima.uiowa.edu