Winter Magazine

Winter 2017 MagazineBrilliant to extend green background at top of image

Director’s Letter Text TK2  Winter 2017

Five Essentials for WinterWillem de Kooning at Princeton HI RES TKDon’t miss the opportunity to see a suite of never beforeexhibited paintings by the renowned Abstract ExpressionistWillem de Kooning. On loan from The Willem de KooningFoundation, these works are also the focus of an undergraduateseminar taught by John Elderfield, Allen R. Adler, Class of 1967,Distinguished Curator and Lecturer.Artist TalkOn February 9, the South African artist and activist ZaneleMuholi discusses how she uses photography, video, andinstallation art to raise visibility for black lesbian and transgendercommunities. Stunning portraits from her series Faces andPhases will be on view in the exhibition Revealing Pictures.Minor WhiteMore than five thousand images and related photographicmaterial from the archive of Minor White—a seminal figure inshaping a distinctly modern American photographic style—arenow available on the Museum’s website. The new online resourceprovides public access to the most significant photographiccontent of the artist’s archive, housed at the Museum.Global ImagesExplore themes of identity, culture, and secrecy in the exhibitionRevealing Pictures: Photographs from the Christopher E. OlofsonCollection. A member of Princeton’s Class of 1992, Olofson drewupon his own background in international studies in assemblingthis diverse collection of contemporary photography.Splendors of ShalimarThe Museum invites you to an elegant evening of dinner anddancing on February 4 in support of its special exhibitions andeducational programs. Taking inspiration from the exhibitionEpic Tales from India and from the art, cuisine, music, and colorfulexuberance of South Asia, this year’s Gala is not to be missed!top to bottom: Willem de Kooning (American, born The Netherlands,1904–1997), Paris Review (poster design), 1979. Oil on newspaper oncanvas, 58.4 × 74.9 cm. Collection The Willem de Kooning Foundation.© 2016 The Willem de Kooning Foundation / Artists Rights Society, NY /Caption TK / Daniel and Geo Fuchs (German, born 1966 and 1969), BStU,Gauck/Birthler, Behorde, Archiv, from the series Stasi Secret Rooms, 2004.Chromogenic print, frame: 78.7 × 63.5 cm. Collection of Christopher E.Olofson. © Daniel and Geo Fuchs / Minor White (American, 1908–1976),San Rafael Desert, Utah, September 1964. Gelatin silver print, image: 18.3× 23.2 cm. The Minor White Archive, Princeton University Art Museum,bequest of Minor White. © Trustees of Princeton University artmuseum.princeton.edu  3

ExhibitionEpic Tales from IndiaPaintings from theSan Diego Museum of ArtNovember 19, 2016–February 5, 2017Aniruddha Is Abducted by Usha’s Handmaiden, Nepal, ca. 1800. Opaque watercolor and gold on paper, folio: 37.6 × 55 cm; painting: 33 × 50 cm.The San Diego Museum of Art, Edwin Binney 3rd CollectionEpic Tales from India includes ninety-one paintings from from exile, triumphant, to claim the throne to the kingdomthe collection of the San Diego Museum of Art—tiny of Ayodhya.treasures only a few inches in dimension but outsized intheir impact. In this exhibition, the main objective is For those interested in taking a deeper dive into theto present the paintings as illustrations to works of world of illustrated manuscripts, the exhibition also offersliterature, attempting to recapture something of their the opportunity to think critically about how narrative isoriginal intent. The paintings are organized according to conveyed in visual form. As the variety of paintings on viewthe stories they illustrate, and newcomers to the world of demonstrates, the artist had many options even withinIndian painting will be able to trace the entire narrative the confines of a static image—he could focus on a singlearc of such classics as the Ramayana, following the hero moment to stand in for the longer narrative, or he couldRama from the divine conference that prefaced his birth, choose to combine several moments in the same image. Hethrough to the moment when he and his wife, Sita, return could devote several images to a single story, to emphasize its importance while drawing out the action, or he could4  Winter 2017

Vishnu Comes to Shiva’s Aid, India, Datia, ca. 1800. Opaque watercolor and gold on paper, folio: 32 × 43.8 cm; painting: 25.2 × 39.1 cm. The San Diego Museum of Art, Edwin Binney 3rd Collectionchoose to skip or elide a certain episode. As we learned in Such an example is a copy of the Bhagavata made inthe course of preparing for the exhibition, there are many Nepal, illustrated to the left. The action-packed paintingways that text, image, captions, and numerical notations again includes several chronologically distinct momentsplay into the reading of a manuscript; there is no standard within a unified composition. The story is about a princessformat for an Indian manuscript, and even canonical texts named Usha who dreams of a young man with whom shecould be presented in a multiplicity of ways. falls in love. Awakening to find him gone, Usha asks her attendant Chitralekha to sketch portraits so that she might Three examples of the Bhagavata Purana provide just a identify him. Through this process, Usha recognizes herhint of the variety in Indian manuscript form. The first was nighttime visitor as a prince named Aniruddha, andmade about 1800 in a manner typical of traditional Sanskrit Chitralekha flies to his palace to abduct the sleeping princemanuscripts—its folios have a horizontal format with and bring him back to Usha. The lovers delight in eachpainting on one side and writing on the other. An example other’s company until their discovery by Usha’s enragedfrom this manuscript is Vishnu Comes to Shiva’s Aid, which father. In the painting, Usha and Chitralekha appear first onworks in a complicated manner, requiring detective work on the right; we then see Chritralekha at Aniruddha’s palace,the part of the viewer. The narrative commences on the carrying his bed into the night; and at left, Usha andbottom left, and the key figure, a demon named Vrikasura, Aniruddha are pictured together in a palace pavilion. Atappears repeatedly as he makes sacrifices to Shiva but is the bottom, a caption in a Nepali vernacular can be roughlyultimately bested by Vishnu. The narrator of the scene and translated as “Here Chitralekha comes to Dwarka and fromhis listener also appear at the top of the painting. This story his chamber, together with his bed, picks up the sleepingis told in chapter eighty-eight of the tenth book of the Aniruddha, and brings him to Shonitapura near Usha.” TheBhagavata, which is transcribed on the reverse of the back of the folio is blank—the Sanskrit text of the Bhagavatapainting in its original Sanskrit. In this case, the text and the does not appear at all in this manuscript—and muchimage are clearly linked and help elucidate each other. interpolation is required by the viewer to connect the actionInterestingly, an additional page attached to the painting represented to the original Bhagavata text. The folio iscontains a retelling of the action in a northern Indian numbered 128 on the top left, indicating its sequence in thevernacular language. Study in preparation for this exhibition series; this is a helpful inclusion given that the manuscriptrevealed that the use of vernacular synopses was a routine to which this folio belongs was never meant to be bound.and widespread practice. And while here the vernacular textis lengthy and closely follows the Sanskrit original, there are Yet another type of manuscript is represented by themany instances in which the vernacular version differs third example, a rare, illustrated copy of a Persian-languagefrom or offers details not in the standard text. Bhagavata. As is typical for Persian-language manuscripts, artmuseum.princeton.edu  5

Recto and verso of Six Demons and Nine Gods Approach a House Where a Man Sleeps, India, Possibly Deccan, ca. 1675–1700. Opaque watercolor andgold on paper, folio: 36.2 × 27.9 cm; painting: 22.7 × 22.9 cm. The San Diego Museum of Art, Edwin Binney 3rd Collectionthe text has been copied onto the recto and verso of each Epic Tales from India: Paintings from the San Diego Museum of Art has been organized by the San Diego Museum of Art. The exhibition at Princeton haspage, and the calligrapher has left spaces for the painters to been made possible by generous support from the National Endowment for the Arts; the E. Rhodes and Leona B. Carpenter Foundation; Susaninsert illustrations where instructed by the book workshop and John Diekman, Class of 1965; Padmaja Kumari and Kush M. Parmar, class of 2002; and the New Jersey State Council on the Arts, with additionaldirector, as seen above. Thus, in this manuscript, a reader support from the Allen R. Adler, Class of 1967, Exhibitions Fund; Amy and Robert Poster, Class of 1962; the Chopra Family Youth and Communitywould read the text while looking at the picture, as opposed Program Fund; and the Friends of the Princeton University Art Museum. Further support has been provided by the Program in South Asian Studies,to the other examples discussed here, in which the the Center for the Study of Religion, the Department of Comparative Literature, and the Office of Religious Life, Princeton University.experiences of reading and viewing are separated. A single Related Publicationmoment is captured in the painting, and the reader could Epic Tales from Ancient Indiaeasily refer to the surrounding text to decipher the action Epic Tales from Ancient India:PaintingsfromTheSanDiegoMuseumofArt(although in its current detached state, we have not been Edited by Marika Sardar With contributions from Neeraja Poddar,able to identify the subject of this particular folio). Qamar Adamjee, and Alka Patel Surely the colorful and vivid paintings themselves will Paintings from The San DiegoExploring the topic of narrativity in Indian art, this beautiful andbe the highlight of the exhibition, but the question of how deeply researched book considers illustrations to the Bhagavata Marika Sardar is Associate Curator of Southern Asian and Islamic Purana, the Ramayana, the Ragamala, and a range of texts in the Persian language, notably the Shahnama. Featuring stunning reproductions ofeach type of manuscript functioned was a delightful puzzleartatTheSanDiegoMuseumofArt.neerajapoddar istheAndrew W. Mellon—Anne d’Harnoncourt Postdoctoral Fellow in South Asian Museumpaintings made between the sixteenth and nineteenth centuries from of Art Art at the Philadelphia Museum of Art. qaMar adaMjee is Associ- ate Curator of South Asian and Islamic art at the Asian Art Museum, the Edwin Binney 3rd Collection at The San Diego Museum of Art, San Francisco. alka patel is Associate Professor of South Asian and the publication includes thorough and fascinating explanations of Islamic Art at the University of California at Irvine.  the narrative of each text, including how that narrative is visually con- veyed. Essays examine why these particular stories are so enduring,for those of us working behind the scenes. Visitors to the why patrons may have chosen to have a copy of a particular text madeexhibition will be able to enjoy the fruits of this research and By Marika Sardar, withfortheirowncollections,andhowartistsrespondedtothechallengeadmire these different illustration techniques, which attest of creating new versions of venerable classics.to the great ingenuity Indian painters brought to their craft.PublishedbyTheSanDiegoMuseumofArt contributions by Neeraja Poddar, Distributed by Yale University Press, New Haven and London Qamar Adamjee, and Alka Patel 127 color illustrations Jacket illustration: The demon Dhumraksha leads his army; Kulu or Bahu, Hardcover ca. 1700–1710; Opaque watercolor on paper; Folio 9 × 131⁄4 in. (22.9 × 33.8 cm); painting 73⁄4 × 12 in. (19.7 × 30.6 cm) 156 pages, 125 illustrations Edwin Binney 3rd Collection, 1990.1107 Retail $45 Jacket design by Zach HookerMarika SardarAssociate Curator for Southern Asian and Islamic Art,The San Diego Museum of Art6  Winter 2017

ExhibitionContemporary StoriesRevisiting South Asian NarrativesOctober 22, 2016–January 22, 2017This exhibition features a range of contemporary art Chitra Ganesh (American, born 1975), Shimmering Pulse, 2009.practices that mine and reinterpret visual and narrative Exhibition print from a digital file, 147.3 × 139.7 cm. Courtesy of the artist.traditions from the Indian subcontinent. Envisioned as a © Chitra Ganeshconversation with Epic Tales from India: Paintings from the SanDiego Museum of Art, an exhibition of traditional manuscript In a sense, the featured artists play with the burdenspaintings and drawings, Contemporary Stories examines the their images and styles carry. In the contemporaryever-shifting meanings of such narratives as the Ramayana imagination, Indo-Persian miniature painting, which hasand the Mahabharata in contemporary life. been most famously associated with the imperial Mughal dynasty of North India (1526–1858), has come to symbolize On display are prints, paintings, and digital animations a South Asian classical past. In the South Asian context, theby the artists Chitra Ganesh, Nalini Malani, Nilima Sheikh, classical associations have fostered cultural nostalgia; in theGulammohammed Sheikh, and Shahzia Sikander. Living international context, Indo-Persian visual idioms have comeand practicing variously in India and New York, the artists to serve as fossilized cultural markers, rendering its currentarrived on the international stage at slightly different practitioners traditional South Asian artisans, rather thanmoments and demonstrate a range of approaches to art contemporary artists.making. Gulammohammed Sheikh and Nilima Sheikh,both of whom served as teachers at the famed artsinstitution the Maharaja Sayajirao University of Baroda inthe 1960s and ’70s, have educated a generation of artistsin art history and practice. Nalini Malani, the subject of anupcoming retrospective at the Centre Pompidou in Paris,has contributed to gallery and museum exhibitions aroundthe world for more than three decades. Shahzia Sikanderand Chitra Ganesh, both based in New York and (at leastpartially) trained in the United States, emerged in the late1990s and early 2000s as cultural instigators and powerful“new historians” of art. Gulammohammed Sheikh’s Mappa mundi provides apoint of entry into thinking about the layered meanings ofthe featured works. Sheikh combined scanned and digitallymanipulated imagery and hand-painting to create Mappamundi, in which the visual references span multiple periodsand geographies, denying cultural specificity. Rama, theprotagonist of the epic Hindu narrative on duty and right­eousness, the Ramayana, appears in miniature multipletimes as does Saint Francis (from a painting by the greatItalian artist Giotto). Majnun, the grieving lover of the tale“Layla and Majnun,” famously retold by the Persian poetNizami in the twelfth century, features prominently inthe upper left. Sheikh rescripts these figures, with theirentrenched historical, religious, and cultural associations,as a cast of characters in a world of comminglingspiritualities and unity across borders. artmuseum.princeton.edu  7

Gulammohammed Sheikh (Indian, born 1937), Mappa mundi, 2003. Gouache on digital inkjet paper, 58.4 × 71.1 cm. Umesh and Sunanda GaurCollection. © Gulammohammed Sheikh Shahzia Sikander brings her rich historical knowledge This exhibition is not intended as a survey ofand training in miniature painting to her works, citing its contemporary South Asian art; rather, it looks atforms within new aesthetic framings that pry open these contemporary artists who have chosen to bring richlycontemporary meanings and associations. Similarly, in associative styles, icons, or narratives from South AsiaShimmering Pulse, Chitra Ganesh peels away layers of meanings to bear on their practice, their varied projects directlyattached to images with cultural resonance, reconfiguring addressing contemporary issues through the use ofaesthetics associated with Amar Chitra Katha, a popular historically potent languages of art.Indian comic book series that was created in the late 1960sas a means of teaching Indian children about their heritage. Rashmi ViswanathanSelectively quoting styles and images from the comic—which Guest Curatoris itself a selective retelling of Indian (and largely Hindu)mythology—Ganesh challenges its biases and agendas as Contemporary Stories: Revisiting South Asian Narratives has been madea site of history-telling. Both artists draw attention to the possible by support from the Bagley Wright Jr., Class of 1946, Contemporarycapacities of images to create a sense of nationhood, Art Fund and by Stacey Roth Goergen, Class of 1990, and Robert Goergen.nationalism, and cultural identity and, most importantly,to shape histories. In the process, they invite the viewer tothink about how histories are written, and who has had theright to (re)write them.8  Winter 2017

Campus Art The acclaimed Pakistani-American artist Shahzia Sikander oversees the installation of an immense multilayered glass painting at the newly designed Louis A. Simpson *60 International Building at 20 Washington Road. The nine-paneled, twenty- five-foot-tall piece is one of a pair of commissions created for the space by Sikander, whose work is also on view in the exhibition Contemporary Stories: Revisiting South Asian Narratives. artmuseum.princeton.edu  9

Final Weeks“Remember Me”: Shakespeare and His LegacyOn view through December 31 This extraordinary Folio”—the first publication of Shakespeare’s collected exhibition of twenty-one plays, compiled just seven years after the playwright’s death. rare books, prints, and drawings, jointly curated Shakespeare’s status as a distinctly British literary icon by the Princeton blossomed in the eighteenth century with the publication of University Library and annotated editions of the dramatic works and the broad the Art Museum, popularity of theatrical performances as entertainment. The commemorates the four prints and drawings on view trace the growth of Shakespeare’s hundredth anniversary reputation along three lines: the dramatic works as inspiration of the death of William for British history painting, illustrations of performances as Shakespeare in 1616. they appeared to audiences, and consideration of the tragedies “Remember Me”: as theatrical productions. The exhibition concludes with a Shakespeare and His Legacy striking photograph of the legendary Princeton-born actor, offers the chance to singer, and political activist Paul Robeson, who in 1931 see some of the earliest became the first black actor in over a century to play Othello publications of on the London stage—a groundbreaking role he repeatedShakespeare’s plays and poems, including one of the for American audiences in a production of the play atLibrary’s greatest treasures: a copy of the legendary “First Princeton’s McCarter Theatre in the summer of 1942.Carl Van Vechten (American, 1880–1964), Paul Robeson as Othello, dated “Remember Me”: Shakespeare and His Legacy has been jointly organized by1944. Gelatin silver print, 3.9 × 18.6 cm. Princeton University Library, the Princeton University Art Museum and the Department of Rare BooksGraphic Arts Collection and Special Collections, Princeton University Library. The works on view were selected with the assistance of Bradin Cormack, professor of English.In the GalleriesCoinage of Antiquity and the Middle AgesThis fall, Princeton students, working with Alan Stahl, The installation,curator of numismatics at the Princeton University Library, on view in the Museum’scurated an installation of coins drawn from the collections galleries of medieval art,of the Art Museum, the Department of Near Eastern traces this fascinatingStudies, and the Library’s Department of Rare Books and history through a selectionSpecial Collections. of 33 coins from the sixth century b.c. to the Throughout antiquity and the Middle Ages, coins fourteenth century a.d.provided a critical vehicle for political legitimation and for Also featured is a hoard—the display of cultural and religious traditions. Coinage a group of coins buried for safety by someone in antiquityserved as a form of mass communication, distributing visual and discovered in modern times—of 155 drachmas fromand textual messages which were carefully controlled by the the Parthian Empire of the Iranian plateau, Rome’s leadingpowerful. The patterns of minting and currency distribution rival in the period from the third century b.c. to the thirdhave enabled scholars to reconstruct the economies of century a.d.the ancient and medieval Mediterranean worlds, from traderoutes to inflation rates during times of economic crisis. The installation was curated by Hannah Baumann, Class of 2018, Daniel Elkind, Class of 2017, and Constantin Weickart, Class of 2017.Egypt, Ptolemy vi, 181–145 b.c., In name of Arsinoe ii Philadelphos, died ca.270 B.C. Gold octadrachm. Numismatic Collection, Department of RareBooks and Special Collections, Princeton University Library10  Winter 2017

In the GalleriesGoing to Extremes: Physiognomy,Caricature, and Studies of ExpressionOctober 14, 2016–March 5, 2017This selection of prints, drawings, and photographs fromseveral centuries and diverse cultures examines artists’enduring fascination with depicting and interpreting faces.Works on view by Guercino, Giovanni Battista Tiepolo, andThomas Rowlandson demonstrate the influence of Leonardoda Vinci’s grotesque figures and the development of caricaturein early modern Europe. The art of caricature (from theItalian caricatura, meaning “loaded portrait”) centered onthe exaggerated and humorous representation of a specificindividual. It was largely built on Renaissance theories ofphysiognomy, which posited that an individual’s charactercould be judged through his or her facial attributes. Different approaches to the face are explored in theinstallation. In the nineteenth century, artists continued tomanifest an interest in extreme expressions using a varietyof media. Photographs by Clarence White, in which heexperimented with capturing emotions such as fear andgrief, reveal an interest in pose and encourage interpretationby the viewer to complete the scene. Two Japanese woodblockprints from Osaka feature close-up views of Kabuki actors,whose exaggerated theatrical expressions are made morelegible through the use of traditional white makeup andblack and red face paint. The final two works are photographs from a powerfulperformance in which the artist Ana Mendieta pressed apiece of glass against her face and different areas of her nakedbody. Across from Leonardo’s distorted faces, the imagesare a daring modern reinterpretation of the grotesque ascommentary on the societal biases Mendieta experiencedas a Cuban American female artist. Going to Extremes inspired a panel discussion this fall thatconsidered works on view from the perspectives of art history,psychology, and neuroscience. In addition, numerous classeshave incorporated the installation into their Museum visits.Veronica Maria WhiteCurator of Academic Programstop: Thomas Rowlandson (British, 1756/57–1827), Man’s Head and Sheep’s bottom: Ana Mendieta (American, born Cuba, 1948–1985), Two printsHead, Pen and brown ink, brown wash with watercolor over graphite, from Glass on Body Imprints–Face, 1972. Gelatin silver prints, 24.3 × 19.5 cm10.4 × 16.8 cm. Bequest of Dan Fellows Platt, Class of 1895 each. Museum purchase, Fowler McCormick, Class of 1921, Fund. © Estate of Ana Mendieta Collection, Courtesy Galerie LeLong, New Yorkmiddle: Shunkōsai Hokuei (active 1829–1837), Japanese, Edo period,1600–1868, Mitate: Arashi Rikan II as Hachiman Taro and NakamuraUtaemon III as Abe no Sadato. Woodblock print (ōban yoko-e format);ink and color on paper, 26.5 × 39.3 cm. Museum purchase, Anne van BiemaCollection Fund artmuseum.princeton.edu  11

In the GalleriesEchoes of One Hand ClappingPicturing Sound in Asian ArtOctober 8, 2016–January 29, 2017 Kobayashi Kiyochika (1847–1915), Japanese, Meiji period, 1868–1912, Private Onoguchi Tokuji Destroying the Gate at Jinzhou, 1894. Woodblock print (ōban tate-e triptych); ink and color on paper, 34.9 × 70.3 cm. Princeton University Art Museum, Allen R. Adler, Class of 1967, Japanese Print CollectionSound cannot be seen, but it can be heard and felt as poetry can evoke or activate the echoes of sound, as in thevibrations, and it has the ability to move the spirit through case of Shitao’s Echo. The brevity of Shitao’s brush and inkmusic and memory. These experiences allow the knowledge expresses an intimate dialogue with lonely mountains andand presence of sound to be visualized in painting, calligraphy, silent clouds. Like the sound of one hand clapping, herepoetry, and photography. Featured in this special installation the poem fills the land with quiet reverberations. The artist’sare Chinese, Japanese, Vietnamese, and Asian-inspired calligraphy quotes a couplet by the famed Song dynastyworks of art ranging from the twelfth century to the present poet and calligrapher Su Shi (1036–1101):day that are drawn from the Museum’s collections and fromthe collection of Gérard and Dora Cognié. An echo rebounds with every whisper; Startling, on the empty mountain, the white cloud. Artists picture sound in various ways. Some depict actionsor things that generate noise, such as a gurgling stream or The question of picturing sound also resonates in Minorbooming waterfall. In Kobayashi Kiyochika’s rendering of a White’s photographic sequence The Sound of One Hand Clapping.wartime explosion, a flash of light, fire, and flying debris Paradoxical statements of questions, known in Japan as kōan,are used to convey the impact of sound. Sometimes the very are used in Zen Buddhist meditative practice. White was wellprocess of applying ink or color is used to emulate sound, acquainted with the kōan “two hands clap and there is a sound;as in Li Huasheng’s brooding grid, painted in a way that what is the sound of one hand?” which is attributed to themimics ritual chants. Inspired by the sound of Buddhist monk Hakuin Ekaku (1686–1768). White wrote, “After severalprayer chants in Himalayan monasteries—and their months of intensive work on this kōan, I saw rather than heardpurpose of focusing the mind—Li began painting vertical any sound.” On seeing his earlier photograph, The Sound ofand horizontal lines as a visual, instead of aural, means of One Hand Clapping, Pultneyville, New York, the kōan sprang toachieving mental focus. White’s mind, and later another nine photographs were added to his sequence of echoes. Calligraphy captures in traces of the brush and inkthe sounds of languages, some almost forgotten. A barely Cary Y. Liuremembered calligraphic script in Vietnam conjures Nancy and Peter Lee Curator of Asian Artthe sound of the past and joins it to the country’s rapidlychanging present. Married to painting and calligraphy,12  Winter 2017

Li Huasheng (Chinese, born 1944), Untitled, 1998–2000. Ink on paper, framed: 144 × 183 cm. Collection Gérard and Dora Cognié. Copyright line TKShitao (1642–1707), Chinese, Qing dynasty, 1644–1912, Echo, ca. 1677–78. Minor White (American, 1908–1976), The Sound of One Hand Clapping,Album leaf mounted as a hanging scroll; ink on paper, 22.1 × 29.4 cm. Pultneyville, New York, 1957. Gelatin silver print, image: 25.5 × 30.3 cm.Princeton University Art Museum, gift of the Arthur M. Sackler Foundation Princeton University Art Museum, museum purchase, gift of David H. McAlpin, Class of 1920. © Trustees of Princeton University artmuseum.princeton.edu  13

In the GalleriesContemporary Reflections on the CelestialNovember 12, 2016–April 16, 2017Yoshitomo Nara (Japanese, born 1959), The Little Star Dweller, 2006. inspired Katherine Bussard, Peter C. Bunnell Curator ofAcrylic and glitter on canvas, 227.3 x 181.3 cm. Collection of Mitchell Photography, and me to use the Murakami and the Nara as aand Joleen Julis. © Yoshitomo Nara vehicle to investigate notions of the celestial. In Ruff’s ma.r.s. and Stars series, the photographer appropriates information and images from NASA, the European Southern Observatory, and other sources, reinterpreting them through an artistic lens and calling attention to how our understanding of the universe relies on the coexistence of science and fiction. From representational to conceptual, the works on view reveal how artists are exploring the cosmos, the stars, and the unknown. Pat Steir’s large-scale painting Winter Sky (2002), for example, engulfs viewers, encouraging them to physically engage with the infinite universe while contemplating its ephemerality. Coin Noir (1977) by James Rosenquist sets up a tension between the macrocosmic and the microcosmic, while Vic Muniz reflects on society’s attraction to the stars of the silver screen in Elizabeth Taylor (2004). As Stephen Hawking suggests—and these artists demonstrate—it is worthwhile to always “Look up at the stars and not down at your feet. Try to make sense of what you see and wonder about what makes the universe exist. Be curious.” Heather Cammarata-Seale Curatorial Associate, Modern and Contemporary ArtThis fall’s installation in Marquand Mather Court, our Thomas Ruff (German,gallery dedicated to the display of contemporary art, revolves born 1958), Stars,around two important paintings currently on loan to the 1989–92. ChromogenicMuseum—Tan Tan Bo – In Communication (2014) by Takashi print, 257.7 × 186.6 cm.Murakami and The Little Star Dweller (2006) by Yoshitomo Collection of PeterNara. Although both monumentally scaled works are painted Josten and Sam Trower.by leading artists of Japan’s Neo Pop movement and feature © 2016 Thomas Ruff /up-close portraits of their protagonists, they differ greatly in Artists Rights Society,tone, palette, and subject matter. One is bright, chaotic, and New York / VG Bild-post-apocalyptic, while the other is dark, quiet, and ethereal. Kunst, Germany Our challenge therefore became how to create aninstallation that could orbit around these two stunningbut thematically distinct works. Inspiration, as usual, wasfound in an unexpected place—the sleepy farmland of NewJersey. Tucked away in a nearby town are several Chelsea-worthy galleries filled with an impressive private collectionthat heavily features works by renowned contemporaryphotographers. It was a selection of Thomas Ruff pieces that14  Winter 2017

Exhibition PreviewsRevealing Pictures: Photographs from theChristopher E. Olofson CollectionFebruary 4–July 2, 2017Revealing Pictures features more than thirty photographs Pieter Hugo (South African, born 1976), Portrait #1, Rwanda, from thefrom the collection of Christopher E. Olofson, Class of 1992. series 1994, 2014. Chromogenic print, frame: 78.7 × 63.5 cm. CollectionWorks on view by Edmund Clark, Daniel and Geo Fuchs, of Christopher E. Olofson. © Pieter HugoPieter Hugo, Liu Zheng, Zanele Muholi, Robert Polidori,and others serve as striking examples of the driving themesbehind Olofson’s collecting: identity, investigation, andrepresentation. Muholi’s series of portraits Faces and Phases,for example, began as a form of visual activism in responseto crimes against gays and women in her native South Africaand has grown to span the globe. (See page 19 for Muholi’stalk in February.) Hugo, another South African artist, hascreated a series of photographs of children born in SouthAfrican and Rwanda after 1994, a year of political and socialupheaval for both countries. This exhibition represents thelatest act of generosity on the part of Olofson, an activesupporter of the Museum who has served on its AdvisoryCouncil since 20XX.The Berlin Painter and His World:Athenian Vase-Painting in the Early Fifth Century b.c.March 4–June 11, 2017This spring an exhibition of ancient Athenian vase-painting Greek, Attic, ca. 490–480 b.c., attributed to the Berlin Painter, Red-figurefocuses on an anonymous artist known as the Berlin Painter, neck-amphora with ridged handles, with an Amazonomachy with Herakleswhose long career extended from about 505 b.c. well into (detail). Ceramic. Antikenmuseum und Sammlung Ludwig, Baselthe 460s. The first exhibition devoted to the artist, it willexamine his work in detail, placing him within the larger and fragments in collections around the world. The painter’scontext of Athenian society and describing the elements of oeuvre has now grown to more than 350 works, and esteemhis style that allow the attribution of objects to his hand. for his elegant, approachable style has never lessened. Fifty-four works by the Berlin Painter will be exhibitedalongside vases and cups by other artists of the period, aswell as statuettes in bronze and terracotta. The works comefrom an array of lenders, including museums in the UnitedStates, Germany, France, Britain, and Italy. The BerlinPainter treated a full range of subjects, with a particulardevotion to the gods and goddesses of Olympus. Nearly everyshape that he decorated will be represented, with subjectsextending from scenes of cults, athletics, and musicalperformance to encounters between gods and heroes. The Berlin Painter was named by the Oxford scholar SirJohn Beazley after a splendid amphora in the State Museumsof Berlin. Beazley identified the artist’s hand on 284 vases artmuseum.princeton.edu  15

In the ClassroomBenvenuti al Museo!(Welcome to the Museum!)In my teaching it has always been important to define the relationship galleries, moving from the earlier medium of tempera onbetween literature and the visual arts. Engaging with the Museum’s panel to later oil paintings. Examining Nosadella’s 1560srich collection of Italian works strengthens my students’ language skills Annunciation, the students and I pointed out the changesand enriches their knowledge of Italian culture. made to the holy dove and angel and introduced the term —Pietro Frassica pentimento (the Italian word for “regret,” used to refer to a visible change in a composition). As we worked our way toThis past academic year, numerous Italian language and the modern and contemporary galleries, students wereliterature courses visited the Art Museum to discuss Italian amazed to see the elongated forms and minimal lines instyle and culture while engaging with original works of art. Amedeo Modigliani’s avant-garde Portrait of Jean Cocteau.The classes varied widely in scope and pedagogic approach, For the visits of “Advanced Italian” (ITA 107), organized byand the instructors and I adapted different plans for each of lecturer Daniele de Feo, the students proved willing to testthe visits, with the shared experience being one of close their Italian language skills in the galleries. Il Baciccio’slooking. painting The Triumph of the Name of Jesus transported us to seventeenth-century Rome and spurred a discussion of High With “Beginner’s Italian” I and II (ITA 101 and ITA 102), Baroque drama. Students searched for words to convey theirthe goal was to have most of the conversations take place in thoughts, slowly becoming more confident and creative withEnglish while also familiarizing students with key terms in their descriptions. Our next stop was the Works on PaperItalian. We began our visits in the medieval and Renaissance16  Winter 2017

Study Room, where we considered prints and drawings from Nosadella (Giovanni Francesco Bezzi; Italian, active ca.1549–1571),the Renaissance to the early twentieth century. As the class The Annunciation, 1560s. Oil on wood panel, 107.3 x 78.8 cm. Museumhad recently read The Manifesto of Futurism by Filippo purchase, Fowler McCormick, Class of 1921, FundTommaso Marinetti, they were particularly interested inseeing Umberto Boccioni’s print Portrait of His Mother—an Students in Professor Frassica’s ITA 308 class view late nineteenth-early decorative and domestic scene radically opposed in and early twentieth-century works on paper by Italian artists.style to Boccioni’s fully developed Futurist paintings. Three of the Italian classes that came to the Museumwere organized around particular themes and were taughtusing a combination of English and Italian. For associateprofessor Simone Marchesi’s course “Dante’s Inferno”(ITA 303/MED 303), we analyzed William Blake’s engravingsafter Dante’s Inferno as well as a contemporary rendition ofDante’s universe by the architect and illustrator MatteoPericoli, who joined us as a guest speaker. “Italy: The Landof Slow Food” (ITA 401), taught by professor Pietro Frassica,led us to explore representations of food and dining, includingthe third-century a.d. Roman mosaic The Drinking Contest ofHerakles and Dionysos and the fifteenth-century Desco da Parto:The Garden of Youth, an ornamental tray used to bring food toa mother after childbirth. Finally, Alessandro Giammei(postdoctoral fellow, Society of Fellows in the Liberal Arts)visited twice with his class “A Gendered History of theAvant-Garde” (ITA 305/COM 375/GSS 308), which featuredworks by Italian artists but also extended to other cultures.We began with the Master of the Greenville Tondo’s paintingSaint Sebastian to discuss gender in the Renaissance, andworked our way to Andy Warhol’s Polaroid photos of a malenude to consider his reinterpretation of the classicalcontrapposto (a subtly twisting position suggesting movement,named after the Italian word for “counterpose”). Co-teaching these classes was an opportunity to reflectupon the challenge of learning a language, and the rigorousamount of repetition involved in committing differentnouns, verb tenses, and sentence constructions to memoryin order to effectively communicate. These class discussionsall focused on careful visual analysis, and I was able toobserve the unifying effect that a work of art has on a groupof students, as well as its ability to encourage each studentto form his or her own interpretation. The process of synthe­sizing and rephrasing our thoughts enabled us to reinforceboth the art historical concepts we were discussing and theItalian vocabulary we were using. This semester, Italian 101and 107 returned to the galleries, and two other classes—“Italian Civilization through the Centuries” (ITA 220)and “20th-Century Italian Fiction” (ITA 308)—visited theMuseum for the first time. As each class visit comes to anend, it seems particularly appropriate to say goodbye inItalian, as arrivederci can loosely be translated as “to seeone another again.”Veronica Maria WhiteCurator of Academic Programs artmuseum.princeton.edu  17

Program HighlightsUnless otherwise noted, all events take place at the Art Museum.For complete program and event listings, please visit artmuseum.princeton.eduWillem de Kooning (American, born The Netherlands, 1904–1997), COMMUNITY EVENTMan on the Dunes, 1971. Oil on paper on canvas, 106.4 × 151.8 cm. Annual Faculty and Staff Open House  LATE!Collection The Willem de Kooning Foundation. © 2016 The Willem Thursday, February 2, 5–8 p.m.de Kooning Foundation / Artists Rights Society, New York There is no better time to experience the Art Museum than during our annual Open House. Drop in after work or bring yourPANEL DISCUSSION family after dinner for music and highlights tours led by ourWillem de Kooning: A Colloquium newest class of student tour guides.Friday, December 9, 2 p.m.10 McCosh Hall ARTIST TALK Zanele Muholi  LATE!• Cecily Brown, artist Thursday, February 9, 6 p.m.• James L. Coddington, The Agnes Gund Chief Conservator, 10 McCosh Hall Zanele Muholi, whose photographs are featured in the exhi­ Museum of Modern Art bition Revealing Pictures, will discuss her work. Muholi is best• John Elderfield, Allen R. Adler, Class of 1967, Distinguished known for an ongoing series of portraits made to further the visibility of black lesbian women, even as her work insists that Curator and Lecturer, Princeton University Art Museum no individual is reducible to a category. Begun in the townships• Peter Schjeldahl, art critic, The New Yorker of South Africa in 2006, the series now includes more than 250 portraits from around the world.Join us for an investigation of the working processes of theAbstract Expressionist painter Willem de Kooning. This COMMUNITY EVENTprogram is held in conjunction with an installation of de Failed Love  LATE!Kooning’s work presented by the Museum in collaboration Thursday, February 16, 7–9 p.m.with The Willem de Kooning Foundation. A reception and Heartbreak can be a great muse. Whether you are happilyopportunity to view the installation will follow. in love, boycotting it forever, or somewhere in between, the Museum’s Student Advisory Board invites you to share yourSTUDY BREAK pain at Failed Love, an annual event featuring live music, poetryYoga: Finals Edition  LATE! readings, lots of chocolate, and great art!Thursday, January 12, 6:30 p.m.Need a break from studying? Join us for an exploration of the CONCERThealing benefits of yoga with Debbi Gitterman of YogaStream. Princeton Laptop Orchestra (PLOrk)  LATE!You are encouraged to bring your own mat. Refreshments in Thursday, February 23, 5:30 p.m.the galleries will follow. The Princeton Laptop Orchestra (PLOrk) engages with the celestial theme of the Museum’s installation of contemp­ oraryLATE THURSDAYS art with its new piece Epicycles. A second piece titled Weightless (Scrape the Ceiling), composed by Princeton graduate studentSpend your evening with great art every Thursday, when the Chris Douthitt, will also be performed. A reception in thegalleries and Museum Store are open until 10 p.m. Look for the icon Museum will follow.for special programs offered in conjunction with Late Thursdays.Late Thursdays are made possible by the generous support of Yoga in the galleriesHeather and Paul G. Haaga Jr., Class of 1970.18  Winter 2017

Greek, Attic, ca. 480–470 b.c., attributed to the Berlin Painter, ART FOR FAMILIESBlack-figure Panathenaic prize amphora with runners. Ceramic, Join us on Saturday mornings for family fun in the Art Museum.h. 62.3 cm. Collection of Gregory Callimanopulos Drop in anytime between 10:30 a.m. and 1 p.m. and enjoy an engaging gallery activity followed by a related art project.CONCERT Come for fifteen minutes or two hours—whatever yourThe Princeton Singers: As the Lily among the Thorns schedule allows! All ages are welcome; no tickets orSaturday, February 25, 5:30 and 8 p.m. reservations are needed.An all-sacred concert presented in the medieval gallery ofthe Art Museum, with works by William Billings, Arvo Pärt, and Art from the HeARTmore. Tickets are $15 and may be purchased at http://asthelily.brownpapertickets.com/ February 11 Learn about the love stories that inspired some of the worksLECTURE & RECEPTION in the Museum’s collections and create a love-inspiredThe Berlin Painter and His World: masterpiece.Athenian Vase-Painting in the Early Fifth Century b.c. Storyknifing: A Yup’ik TraditionExhibition Celebration February 18Saturday, March 4 Learn about this Yup’ik storytelling tradition and craft aLecture: 5 p.m., Dodds Auditorium, Woodrow Wilson School storyknife to use when telling your tales.Reception: 6–7:30 p.m., Art MuseumJoin us for the opening of The Berlin Painter. A lecture by J. Michael All in the FamilyPadgett, curator of ancient art, explores ancient Athenianvase-painting through the work of the Berlin Painter, examining February 25how is it that we continue to recognize “new” works by this What do you notice when you examine The Hartley Family bytalented but still anonymous artist. A reception in the Museum Henry Benbridge? How will you dress the members of yourwill follow. family when you create your group portrait? Go Van Gogh March 4 Look closely at Van Gogh’s vivid colors and swirling brushstrokes and be inspired to create your own masterpiece. Spirit Beasts: Ancient Chinese Tomb Guardians March 11 Create a mythical beast inspired by these fantastic creatures. My Side of the Mountain March 18 Consider Cézanne’s use of basic shapes and forms in his paintings. Use these elements to create your own colorful composition. Stories and Glories: Ancient Greek Vase-Painting March 25 Learn about the history of vase-painting, discover the stories told on the works in The Berlin Painter exhibition, and decorate a vase to take home. artmuseum.princeton.edu  19

Museum NewsOnline Exhibition Explores Solar Eclipses Staff Announcementsand the Paintings of Howard Russell Butler Cara Bramson recently joined theThe first total solar eclipse of the twenty-first century visible in Museum as student outreach andthe United States will occur next summer, on August 21, 2017. programming coordinator. Cara servesIn anticipation of this astronomical event, the Museum has as the liaison between the Museumlaunched Transient Effects, a multimedia online exhibition that and Princeton University’s studentfocuses on the remarkable career of Howard Russell Butler community and is committed to(1856–1934). engaging students with diverse backgrounds and interests. She A graduate of Princeton University’s first school of science, oversees the Student Advisory Board,Butler was a portrait and landscape artist known for his ability Student Tour Guides, and studentto record transitory phenomena. In 1918, he was invited to join volunteers and develops partnerships with other studentan eclipse expedition from Baker City, Oregon, organized by organizations on campus. Working with the education team,the U.S. Naval Observatory. At a time when photography could she also coordinates Museum programming, including lectures,not yet capture the nuances of the eclipsed sun, Butler’s film screenings, and performances. Previously, Cara was theremarkable painting of the eclipse was considered a tour de director of education and community engagement at theforce, providing astronomers and the public with perhaps the Visual Arts Center of New Jersey. She has also worked at thebest record of eclipses at the time. Butler would go on to paint American Museum of Natural History, the New York Publicthe eclipses of 1923, 1925, and 1932 and was invited to consult Library, the Fenimore Art Museum, and the Zimmerli Artwith the American Museum of Natural History, where his Museum. She earned her B.A. in American studies fromcelestial paintings would dazzle and inform the public for years. Rutgers University and her M.A. in museum studies from the Cooperstown Graduate Program at SUNY-Oneonta. Transient Effects (artmuseum.princeton.edu/transient-effects) explores Butler’s life and work through the contexts Aric Davala recently joined theof the science surrounding solar eclipses and the history Museum staff as facilities managerof artistic portrayals of the eclipse from around the world. after serving in this position in anA selection of Butler’s paintings will also be on view at the interim capacity since May 2016. AricArt Museum from July 22 to October 15, 2017. has been with the University for more than twenty-eight years and bringsHoward Russell Butler (American, 1856–1934), Solar Eclipse, Connecticut- significant supervisory experience asNew York, 1925. Oil on canvas, right panel of a triptych: 83 × 122.3 cm. well as project management and tradePrinceton University, gift of H. Russell Butler Jr. skills. As lead maintenance technician assigned to the Physics Department, he worked closely with campus partners in coordinating major construction projects, including McDonnell Hall and Lewis Library and the renovation of Jadwin Hall, as well as addressing the ongoing needs for departmental operations and special events. Working with the Physics Department afforded Aric exciting opportunities to use new technologies in building renovations and the construction of high-tech clean rooms and labs. Aric has served on the Facilities Culture and Inclusion Committee since 2015, and we are delighted to welcome him to the Museum.20  Winter 2017

Membership MattersAnnual Benefit GalaSaturday, February 4, 2017Escape the midwinter chill on February 4 as we celebrateSplendors of Shalimar, the Museum’s 2017 Gala. Inspired bythe exhibition Epic Tales from India, on view in the Museum’sgalleries, this year’s gala will transport guests to the Mughalgardens of India, awash with lush flora and fauna, reflectivepools, and jeweled pathways. Join Director James Stewardand the 2017 Gala Host Committee to view great art, enjoydelectable cuisine, and dance the night away.More than just an elegant party, the Gala is the Museum’ssole fundraising event of the year, an evening to celebrate andsupport the treasured art museum that is at the heart of ourcommunity. The Gala generates essential financial support forthe exhibitions and education and outreach programs thatthe Museum delivers year-round—free of charge—to students,scholars, and visitors from near and far.For information about sponsorship opportunities, table packages,or to reserve your tickets, please contact Gabrielle Markand at609.258.3762 or [email protected] Museum is grateful to the following early sponsors for their leadership supportFaria Abedin and Gregory Brennan • Allen R. Adler, Class of 1967, and Frances Beatty Adler • Laura and Len Berlik • Bloomberg Philanthropies •Mrs. James E. Burke • Susan and John Diekman, Class of 1965 • Mrs. David S. Dodge • Christopher L. Eisgruber, Class of 1983, and Lori A. Martin • Celia A.Felsher, Class of 1976, and John L. Cecil, Class of 1976 • Frederick Fisher and Partners Architects • The Glenmede Trust Company, N.A. • Stacey RothGoergen, Class of 1990, and Robert B. Goergen • Cheryl and Elliot Gursky • Heather and Paul Haaga Jr., Class of 1970 • Julis Rabinowitz Family • Stephenand Julie Kim, Class of 1992 • Dr. Christina H. Lee, Graduate School Class of 1999, and Dr. David S. Lee, Graduate School Class of 1999 • Catherine andDavid Loevner, Class of 1976 • Denise and Denis McDaniel • Valerie and Jim McKinney • Munich Re America • Nancy A. Nasher, Class of 1976, and David J.Haemisegger, Class of 1976 • Neiman Marcus Short Hills • Office of Corporate Engagement and Foundation Relations, Princeton University • ChristopherE. Olofson, Class of 1992 • H. Vincent Poor, Graduate School Class of 1977, and Connie H. Poor • PSEG • David Rago Auctions Inc. • Louise Sams, Class of1979, and Jerome Grilhot • Inez and Richard Scribner, Class of 1958 • Sharon Stamm and Jerome Zeldis • James Christen Steward • Enea and Dave TiernoA portion of each ticket is a tax-deductible contribution to the Princeton University Art Museum.Membership Give the gift of art this holiday season! If membership matters to you, it will matter to someone you love, too. Friends memberships are a great way to support your museum while also giving a thoughtful gift to art-loving friends and family members. Current members at the Dual/Family level and higher receive a 20% discount on gift memberships. Purchase a gift membership or renew your own today! ONLINE  artmuseum.princeton.edu/support/membership PHONE  609.258.4057 IN PERSON  Stop by the Museum Store artmuseum.princeton.edu  21

Museum StoreThis season, we celebrate the many talented artists featured ADVISORY COUNCILin the Museum Store—more than one hundred, in fact! John D. Diekman, Class of 1965 Chair Christine Mackellar from Brooklyn, New York, is one of our favorites. This Allen R. Adler, Class of 1967 acclaimed studio jeweler has been part Diane W. Burke of the Museum Store artisan family for Robbert Dijkgraaf years now, with visitors collecting her Sarah Lee Elson, Class of 1984 pieces. Christine takes inspiration from Doris F. Fisher flowers and fauna, elevating them to William S. Fisher, Class of 1979 sculptural works of jewelry art. Coffee Christopher C. Forbes, Class of 1972 beans, blossoms, and twigs are Stacey Goergen, Class of 1990 transformed into exquisite earrings. She Heather Sturt Haaga begins her trademark bracelets with a Nancy Lee hand-forged oxidized or polished silver Thomas W. Lentz bangle and then twists and embellishes Philip F. Maritz, Class of 1983 the piece—adding gold, sapphires of Nancy A. Nasher, Class of 1976 many colors, diamonds, pearls, or simple Christy Eitner Neidig 18K-gold discs. Christopher E. Olofson, Class of 1992 Louise S. Sams, Class of 1979 Retail $295–$895 Anne C. Sherrerd, Graduate School Class of 1992 An exclusive to the Museum Store— Mark W. Stevens, Class of 1973 two revered artists have collaborated to Trevor Traina, Class of 1990 create one-of-kind masterpieces in wearable art. Famed handbag designer HONORARY MEMBERS Elaine Arsenault from SoHo is a longtime Jonathan Brown, Graduate School Class favorite of the Museum Store known of 1964 for her orange basketball leather bags. Lloyd E. Cotsen, Class of 1950 Gail Garcia from upstate New York Stuart P. Feld, Class of 1957 is a designer of hand-painted ceramics, Alice C. Frelinghuysen, Class of 1976 wall art, and home decor, who also has Marco Grassi, Class of 1956 a tremendous following with us. Together Preston H. Haskell, Class of 1960 these artists crafted the two handbags Herbert Schorr, Graduate School Class of pictured here. Made of deeply gusseted 1962 and 1963 linen canvas, these special pieces are Duane E. Wilder, Class of 1951 fully lined and feature inside zipper pockets and leather trim and straps. COMMUNITY LEADERSHIP COUNCIL Kristin Appelget Retail $450 and $495 Kate Bech Stephen Cochrane, Class of 1981 Jessica Durrie Patricia Hart Shing-Fu Hsueh Martin Johnson, Class of 1981 Nancy Kieling Ram Kolluri Liz Lempert David Rago David Tierno Rev. Dr. John E. White Nick Wilson, Class of 1951 Richard Woodbridge, Class of 1965 The magazine is published quarterly by the Princeton University Art Museum Curtis R. Scott, Associate Director for Publishing and Communications Anna Brouwer, Associate Editor Jane Friedman, Proofreader Miko McGinty Inc., Graphic Designer Brilliant Graphics, Exton, Pennsylvania, Printer cover image  Caption TKphone  609.258.1713 | toll-free  1.844.331.1241 | e-mail [email protected]  Winter 2017

Art MattersWhenever life is kind enough to grant me a few moments of IMAGE TKsolace and reflection to peruse the collection at the PrincetonUniversity Art Museum, I am always drawn to the grand George These essential services support New Jersey’s creativeWashington at the Battle of Princeton by Charles Willson Peale. industry, which includes 20,120 arts-related businesses thatThose of you familiar with the Museum know the figurative employ more than 75,000 people. These strong nonprofitthrone that this stunning work of art sits upon. With sword organizations— theaters, museums, symphonies—and excellentraised and ready for action, General Washington peers out from companies—architecture and design firms, commercialthe Mary Ellen Bowen Gallery into Sterling Morton, surveying filmmaking and music businesses—help stimulate innovation,all that lays before him—Nassau Hall, Princeton, and even strengthen New Jersey’s competitiveness in the marketplace,New Jersey and the rest of America beyond that. and play an important role in building and sustaining economic vitality. Beyond Washington’s posture, Peale’s composition hasalways been intriguing to me. The painting clearly shows the On more localized levels, we work to help municipalitiesbrutalities of the tide-turning battle of 1777. In the foreground, tie the arts to economic development as part of their targetedwe are laid witness to the death of General Hugh Mercer, for strategy. Smart communities are mindfully engaging with theirwhom Mercer County—home of Princeton—is named. In the cultural assets, leading to public and private partners workingbackground, smoke and darkness set the tone and context collaboratively to spark local economic growth, social inclusion,of war. and community pride. It is the sacrifice of those who fought for our freedom Let us not be ungrateful for the gift of art that is sothat strikes me when reflecting on this work. I am reminded prevalent in the Garden State. As a citizen, it’s your civic dutyof the patriots who gave birth to our country with honor and to make sure that the arts play an integral role in the shapingdistinction, and the great responsibility we each bear, as of future generations. Push for the inclusion of cultural assetscitizens and guests of the republic, to honor the spirit of our in the planning of your local downtown. Insist on the presencenation. Though our personal preferences on parties and of music, visual arts, and theater in your school districts. Askpolicies may differ, together we agree that the defense of your healthcare provider how they are infusing the arts intopluralistic thought is at the heart of our country’s values. treatment. Urge your local legislator to support creative collaborations in their policies. We can’t be certain that Peale constructed this work toremind us of our duty as citizens, but that is certainly an Don’t retreat from what you believe in. Forge ahead.emotion it evokes for many—including me. Art is addressing Peale and Washington would expect that of you.complex issues in our cities, as well as helping revitalizedivested suburban downtowns. Art helps our youngest citizens Adam Perlefind academic achievement through creativity and assists our President and CEO, ArtPride New Jerseyeldest neighbors to reduce the depression and anxiety of aging.Art is providing relief for the grieving, release for the healing,reprieve for the struggling. Art is powerful, and we are lucky tohave it as a part of the fabric of our lives as New Jerseyans. As the president and CEO of the state’s largest arts serviceassociation, ArtPride New Jersey, I spend my work days leadinga team of staff and volunteers in efforts to advance the artsacross the state. Together we ensure that the arts continue tobe an essential part of our lives by playing a key role in thesuccess of our communities—particularly in our downtowns,our schools, our healthcare systems, and our homes. Byworking with community leaders, elected officials, nonprofitexecutives, businesses and residents, we defend and advocatefor the increase in public funding of the arts at the municipal,county, state, and federal levels. In addition, we partner withthe New Jersey State Council on the Arts to implement severalprograms designed to promote the value of, and increaseparticipation in, the arts in our state. artmuseum.princeton.edu  23

Princeton, NJ 08544-1018 Nonprofit Organization U.S. Postage PAID Princeton, New Jersey Permit No. 97Information Chambers St Public Parking Areas Witherspoon St Spring St Vandeventer AveAdmission to the Museum is always free. Bank St Hulfish StDonations are appreciated. Palmer Bayard Ln (RT. ) Squaregeneral information 609.258.3788group/school tours 609.258.3043 Richardson Nassau St (RT. )friends 609.258.4057 Auditoriummuseum store 609.258.1713 Nassau Hallwebsite artmuseum.princeton.edu Mercer St University Place LibraryMuseum Hours ChapelTuesday, Wednesday, Friday, Chapel Drive Washington RdSaturday, 10 a.m.–5 p.m.Thursday, 10 a.m.–10 p.m. Alexander St McCarter ARTSunday, 1–5 p.m. Theatre MUSEUMClosed Mondays and major holidays TO RT. 1 Princeton Elm Drive TO RT. 1Location, Parking, and Transportation StationThe Museum is located at the heart of the PrincetonUniversity campus, and only a short walk from the shops andrestaurants on Nassau Street. Parking is available in meteredspaces in town or in public garages on Spring, Chambers, andHulfish Streets. Special parking arrangements may be made inadvance for visitors with special needs by calling 609.258.3157.Princeton is easily accessible by public transportation or bycar. For directions or bus and rail information, please visitartmuseum.princeton.edu or call 609.258.3788.For more information, visit artmuseum.princeton.edu facebook.com/princetonuniversityartmuseum twitter.com/PUArtMuseumFPO This magazine was printed by a Forest Stewardship Council certified printer. The paper is 100 lb. Galerie Art Silk text, which contains 10% post consumer waste and FSC chain of custody certification. The lamination is made from natural cellulose sources, cotton linters and wood pulp, from managed forests with replanting programs. It is recyclable and bio-degradeable.