PUAMMag_Winter2017_05-pages_cg

Winter 2017 Magazine Brilliant to extend green background at top of image

Director’s Letter TK Director's Letter 2 Summer 2016

Five Essentials for Winter Willem de Kooning at Princeton Don’t miss the opportunity to see a suite of never before exhibited paintings by the renowned Abstract Expressionist Willem de Kooning. On loan from the Willem de Kooning Foundation, these works are also the focus of an undergraduate seminar taught by John Elderfield, Allen R. Adler, Class of 1967, Distinguished Curator and Lecturer. Artist Talk On February 9, the South African artist and activist Zanele Muholi discusses how she uses photography, video, and installation art to raise visibility for black lesbian and transgender communities. Stunning portraits from her series Faces and Phases will be on view in the exhibition Revealing Pictures. HI RES TK Minor White More than 5,000 images and related photographic material from the archive of Minor White—a seminal figure in shaping a distinctly modern American photographic style—are now available on the Museum’s website. The new online resource provides public access to the most significant photographic content of the artist’s archive, housed at the Museum. Global Images Explore themes of identity, culture, and secrecy in the exhibition Revealing Pictures: Photographs from the Christopher E. Olofson Collection. A member of Princeton’s Class of 1992, Olofson drew upon his own background in international studies in assembling HI RES TK this diverse collection of contemporary photography. Splendors of Shalimar The Museum invites you to an elegant evening of dinner and dancing on February 4 in support of its special exhibitions and educational programs. Drawing inspiration from the exhibition Epic Tales from India and from the art, cuisine, music, and colorful exuberance 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 on canvas, 58.4 x 74.9 cm. Collection The Willem de Kooning Foundation. © 2016 The Willem de Kooning Foundation / Artists Rights Society, NY / Caption TK / Caption TK / 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

Exhibition Epic Tales from India Paintings from the San Diego Museum of Art November 19, 2016–February 5, 2017 Aniruddha 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 Collection Epic Tales from India includes ninety-one paintings from from exile, triumphant, to claim the throne to the kingdom the collection of the San Diego Museum of Art—tiny of Ayodhya. treasures only a few inches in dimension but outsized in For those interested in taking a deeper dive into the their impact. In this exhibition, the main objective is world of illustrated manuscripts, the exhibition also offers to present the paintings as illustrations to works of the opportunity to think critically about how narrative is literature, attempting to recapture something of their conveyed in visual form. As the variety of paintings on view original intent. The paintings are organized according to demonstrates, the artist had many options even within the stories they illustrate, and newcomers to the world of the confines of a static image—he could focus on a single Indian painting will be able to trace the entire narrative moment to stand in for the longer narrative, or he could arc of such classics as the Ramayana, following the hero choose to combine several moments in the same image. He Rama from the divine conference that prefaced his birth, could devote several images to a single story, to emphasize through to the moment when he and his wife, Sita, return its importance while drawing out the action, or he could 4 Summer 2016

Vishnu Comes to Shiva’s Aid (detail), 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 Collection choose to skip or elide a certain episode. As we learned in Such an example is a copy of the Bhagavata made in the course of preparing for the exhibition, there are many Nepal, illustrated to the left. The action-packed painting ways that text, image, captions, and numerical notations again includes several chronologically distinct moments play into the reading of a manuscript; there is no standard within a unified composition. The story is about a princess format for an Indian manuscript, and even canonical texts named Usha who dreams of a young man with whom she could be presented in a multiplicity of ways. falls in love. Awakening to find him gone, Usha asks her Three examples of the Bhagavata Purana provide just a attendant Chitralekha to sketch portraits of gods and other hint of the variety in Indian manuscript form. The first was classes of beings so that she might identify him. Through made about 1800 in a manner typical of traditional Sanskrit this process, Usha recognizes her nighttime visitor as a manuscripts—its folios have a horizontal format with prince named Aniruddha, and Chitralekha flies to his palace painting on one side and writing on the other. The painting to abduct the sleeping prince and bring him back to Usha. Vishu Comes to Shiva’s Aid works in a complicated manner The lovers delight in each other’s company until their requiring a certain amount of detective work on the part of discovery by Usha’s enraged father. In the painting, Usha the viewer. The narrative commences on the bottom left, and Chitralekha appear first on the right; we then see and the key figure, a demon named Vrikasura, appears Chritralekha at Aniruddha’s palace, carrying his bed into repeatedly as he makes sacrifices to Shiva but is ultimately the night; and at left, Usha and Aniruddha are pictured bested by Vishnu. The narrator of the scene and his listener together in a palace pavilion. At the bottom, a caption in a also appear at the top of the painting. This story is told in Nepali vernacular can be roughly translated as “Here chapter eighty-eight of the tenth book of the Bhagavata, Chitralekha comes to Dwarka and from his chamber, together which is transcribed on the reverse of the painting in its with his bed, picks up the sleeping Aniruddha, and brings original Sanskrit. In this case, the text and the image are him to Shonitapura near Usha.” The back of the folio is clearly linked and help elucidate each other. Interestingly, blank—the Sanskrit text of the Bhagavata does not appear an additional page attached to the painting contains a at all in this manuscript—and in this instance, much retelling of the action in a northern Indian vernacular interpolation is required by the viewer to connect the action language. Study in preparation for this exhibition revealed represented to the original Bhagavata text. The folio is that the use of vernacular synopses was a routine and numbered 128 on the top left, giving its sequence in the widespread practice. And while here the vernacular text is series; this is a helpful inclusion given that the manuscript lengthy and closely follows the Sanskrit original, there are to which this folio belongs was never meant to be bound. many instances in which the vernacular version differs Yet another type of manuscript is represented by the from or offers details not in the standard text. third example, a rare, illustrated copy of a Persian-language 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 and gold on paper, folio: 36.2 × 27.9 cm; painting: 22.7 × 22.9 cm. The San Diego Museum of Art, Edwin Binney 3rd Collection Bhagavata. As is typical for Persian-language manuscripts, the 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 has page, and the calligrapher has left spaces for the painters to been made possible by generous support from the National Endowment insert illustrations where instructed by the book workshop for the Arts; the E. Rhodes and Leona B. Carpenter Foundation; Susan and director, as seen above. Thus in this manuscript, a reader John Diekman, Class of 1965; and the New Jersey State Council on the Arts, would read the text while looking at the picture, as opposed with additional support from the Allen R. Adler, Class of 1967, Exhibitions Fund; Amy and Robert Poster, Class of 1962; the Chopra Family Youth and to the other examples discussed here in which the Community Program Fund; and the Friends of the Princeton University Art experiences of reading and viewing are separated. A single Museum. Further support has been provided by the Program in South Asian moment is captured in the painting, and the reader could Studies, the Center for the Study of Religion, the Department of Comparative easily refer to the surrounding text to decipher the action Literature, and the Office of Religious Life, Princeton University. (although in its current detached state, we have not been able to identify the subject of this particular folio). Surely the colorful and vivid paintings themselves will Related Publication be the highlight of the exhibition, but the question of how Epic Tales from Ancient India Marika Sardar is Associate Curator of Southern Asian and Islamic art at The San Diego Museum of Art. neeraja poddar is the Andrew Epic Tales from Ancient India: Paintings from The San Diego Museum of Art W. Mellon—Anne d’Harnoncourt Postdoctoral Fellow in South Asian Art at the Philadelphia Museum of Art. qaMar adaMjee is Associ- Edited by Marika Sardar ate Curator of South Asian and Islamic art at the Asian Art Museum, With contributions from Neeraja Poddar, San Francisco. alka patel is Associate Professor of South Asian and Qamar Adamjee, and Alka Patel Islamic Art at the University of California at Irvine.  each type of manuscript functioned was a delightful puzzle Exploring the topic of narrativity in Indian art, this beautiful and Paintings from The San Diego deeply researched book considers illustrations to the Bhagavata Purana, the Ramayana, the Ragamala, and a range of texts in the Persian language, notably the Shahnama. Featuring stunning reproductions of paintings made between the sixteenth and nineteenth centuries from Museum of Art for those of us working behind the scenes. Visitors to the the Edwin Binney 3rd Collection at The San Diego Museum of Art, the publication includes thorough and fascinating explanations of the narrative of each text, including how that narrative is visually con- veyed. Essays examine why these particular stories are so enduring, why patrons may have chosen to have a copy of a particular text made for their own collections, and how artists responded to the challenge By Marika Sardar, with exhibition will be able to enjoy the fruits of this research and of creating new versions of venerable classics. contributions by Neeraja Poddar, admire these different illustration techniques, which attest Qamar Adamjee, and Alka Patel Published by The San Diego Museum of Art Distributed by Yale University Press, New Haven and London 127 color illustrations to the great ingenuity Indian painters brought to their craft. Hardcover Jacket illustration: The demon Dhumraksha leads his army; Kulu or Bahu, 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) Edwin Binney 3rd Collection, 1990.1107 Jacket design by Zach Hooker 156 pages, XX illustrations Retail $45 Marika Sardar Associate Curator for Southern Asian and Islamic Art, The San Diego Museum of Art 6 Summer 2016

Exhibition Contemporary Stories Revisiting South Asian Narratives October 22, 2016–January 22, 2017 This exhibition features a range of contemporary art practices that mine and reinterpret visual and narrative traditions from the Indian subcontinent. Envisioned as a conversation with Epic Tales from India: Paintings from the San Diego Museum of Art, an exhibition of traditional manuscript paintings and drawings, Contemporary Stories examines the ever-shifting meanings of such narratives as the Ramayana and the Mahabharata in contemporary life. On display are prints, paintings, and a digital animation by the artists Nilima Sheikh, Gulammohammed Sheikh, Nalini Malani, Shahzia Sikander, and Chitra Ganesh. Living and practicing variously in India and New York, the artists arrived on the international stage at slightly different moments and demonstrate a range of approaches to art making. Gulammohammed Sheikh and Nilima Sheikh, both of whom served as teachers at the famed arts institution the Maharaja Sayajirao University of Baroda in the 1960s and ’70s, have educated a generation of artists in art history and practice. Nalini Malani, the subject of an upcoming retrospective at the Centre Pompidou in Paris, has contributed to gallery and museum exhibitions around the world for more than three decades. Shahzia Sikander and Chitra Ganesh, both based in New York and (at least partially) trained in the United States, emerged in the late 1990s and early 2000s as cultural instigators and powerful “new historians” of art. Gulammohammed Sheikh’s Mappa Mundi provides a point of entry into thinking about the layered meanings of Chitra Ganesh (American, born 1975), Shimmering Pulse, 2009. the featured works. Sheikh combined scanned and digitally Exhibition print from a digital file, 147.3 x 139.7 cm. Courtesy of the artist. © Chitra Ganesh manipulated imagery and hand-painting to create Mappa Mundi, in which the visual references span multiple periods and geographies, denying cultural specificity. Rama, the In a sense, the featured artists play with the burdens protagonist of the epic Hindu narrative on duty and right­ their images and styles carry. In the contemporary eousness, the Ramayana, occupies the same plane as Saint imagination, Indo-Persian miniature painting, which has Francis (as depicted by the great Italian painter Giotto) and been most famously associated with the imperial Mughal Majnun, the grieving lover of the tale “Layla and Majnun,” dynasty of North India (1526–1858), has come to symbolize famously retold by the Persian poet Nizami in the twelfth a South Asian classical past. In the South Asian context, the century. Sheikh rescripts these figures with their entrenched classical associations have fostered cultural nostalgia; in the historical, religious, and cultural associations as a cast of international context, Indo-Persian visual idioms have come characters in a world of comingling spiritualities and unity to serve as fossilized cultural markers, rendering its current across borders. practitioners traditional South Asian artisans, rather than contemporary artists. artmuseum.princeton.edu 7

Gulammohammed Sheikh (Indian, born 1937), Mappa mundi, 2003. Gouache on digital inkjet paper, 58.4 x 71.1 cm. Umesh and Sunanda Gaur Collection. © Gulammohammed Sheikh Shahzia Sikander brings her rich historical knowledge This exhibition is not intended as a survey of and training in miniature painting to bear on her works, contemporary South Asian art; rather, it looks at citing its forms within new aesthetic framings that pry open contemporary artists who have chosen to bring richly these contemporary meanings and associations. Similarly, associative styles, icons, or narratives from South Asia Chitra Ganesh peels away layers of meanings attached to to bear on their practice, their varied projects directly images with cultural resonance, reconfiguring aesthetics addressing contemporary issues through the use of associated with Amar Chitra Katha, a popular Indian comic historically potent languages of art. book series that was created in the late 1960s as a means of teaching Indian children about their heritage. Selectively Rashmi Viswanathan quoting styles and images from the comic—which is itself a Guest Curator selective retelling of Indian (and largely Hindu) mythology— Ganesh challenges its biases and agendas as a site of history-telling. Both artists draw attention to the capacities Contemporary Stories: Revisiting South Asian Narratives has been made possible by support from the Bagley Wright Jr., Class of 1946, Contemporary of images to create a sense of nationhood, nationalism, Art Fund and by Stacey Roth Goergen, Class of 1990, and Robert Goergen. and cultural identity and, most importantly, to shape histories. In the process, they invite the viewer to think about how histories are written, and who has had the right to (re)write them. 8 Summer 2016

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 Legacy On 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 Shakespeare’s status as a distinctly British literary icon drawings, jointly curated blossomed in the eighteenth century with the publication of by the Princeton annotated editions of the dramatic works and the broad University Library and popularity of theatrical performances as entertainment. The the Art Museum, prints and drawings on view trace the growth of Shakespeare’s commemorates the four reputation along three lines: the dramatic works as inspiration hundredth anniversary for British history painting, illustrations of performances as of the death of William they appeared to audiences, and consideration of the tragedies Shakespeare in 1616. as theatrical productions. The exhibition concludes with a “Remember Me”: striking photograph of the legendary Princeton-born actor, Shakespeare and His Legacy singer, and political activist Paul Robeson, who in 1931 offers the chance to became the first black actor in over a century to play Othello see some of the earliest on the London stage—a groundbreaking role he repeated publications of for American audiences in a production of the play at Shakespeare’s plays and poems, including one of the Princeton’s McCarter Theatre in the summer of 1942. Library’s greatest treasures: a copy of the legendary “First Carl Van Vechten (American, 1880–1964), Paul Robeson as Othello, dated “Remember Me”: Shakespeare and His Legacy has been jointly organized by 1944. Gelatin silver print, 3.9 x 18.6 cm. Princeton University Library, the Princeton University Art Museum and the Department of Rare Books Graphic 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 Galleries Coinage of Antiquity and the Middle Ages This fall, Princeton students, working with Alan Stahl, The installation, curator of numismatics at the Princeton University Library, on view in the Museum’s curated an installation of coins drawn from the collections galleries of medieval art, of the Art Museum, the Department of Near Eastern traces this fascinating Studies, and the Library’s Department of Rare Books and history through a selection Special Collections. of 33 coins from the Throughout Antiquity and the Middle Ages, coins sixth century b.c. to the provided a critical opportunity for political legitimation and fourteenth century a.d. for the display of cultural and religious traditions. Coinage Also featured is a hoard— served as a form of mass communication, distributing visual a group of coins buried for safety by someone in antiquity and textual messages which were carefully controlled by the and discovered in modern times—of 155 drachmas from powerful. The patterns of minting and currency distribution the Parthian Empire of the Iranian plateau, the main rival have enabled scholars to reconstruct the economies of of Rome in the period from the third century b.c. to the the ancient and medieval Mediterranean worlds, from trade third century a.d. routes to inflation rates during times of economic crisis. Egypt, Ptolemy vi, 181–145 B.C., In name of Arsinoe ii Philadelphos, died The installation was curated by Hannah Baumann, Class of 2018, ca. 270 b.c. Gold octadrachm. Numismatic Collection, Department of Daniel Elkind, Class of 2017, and Constantin Weickart, Class of 2017. Rare Books and Special Collections, Princeton University Library 10 Summer 2016

In the Galleries Going to Extremes: Physiognomy, Caricature, and Studies of Expression October 14, 2016–March 5, 2017 Anna, possible to cut 2 additional lines? This selection of prints, drawings, and photographs from several centuries and diverse cultures examines artists’ continuing fascination with depicting and interpreting faces. Works on view by Guercino, Giovanni Battista Tiepolo, and Thomas Rowlandson demonstrate the influence of Leonardo da Vinci’s grotesque figures and the development of caricature in early modern Europe. The art of caricature (from the Italian caricatura, meaning a “loaded portrait”) featured an exaggerated and humorous representation of a specific individual and often built upon Renaissance theories of physiognomy, which claimed that an individual’s character could be judged through his or her facial attributes. HI RES TK Different attitudes toward a viewer’s perception and interpretation of a face are explored in the installation. Photographs from the experiments of French neurologist Guillaume Duchenne de Boulogne, in which he applied electrical currents to facial muscles, reveal the systematic approach of scientists studying faces in the nineteenth century. Two Japanese woodblock prints from Osaka focus on close views of Kabuki actors whose exaggerated theatrical expressions are made more legible for beholders through the use of traditional white makeup and black and red face paint. Two photographs on display are from a powerful performance in which the artist Ana Mendieta pressed a piece of glass against her face and different areas of her naked body. Across from Leonardo’s distorted faces, Mendieta’s works are a daring modern reinterpretation of the grotesque as a commentary against the societal biases she had experienced as a Cuban American female artist. Going to Extremes inspired a panel discussion that approached the works of Guercino and Duchenne from the perspectives of art history, psychology, and neuroscience. In addition, numerous classes have incorporated the installation into their Museum visits. Veronica Maria White Curator of Academic Programs top to bottom: Thomas Rowlandson (British, 1756/57–1827) Man’s head and sheep’s head, Pen and brown ink, brown wash with watercolor over graphite, 10.4 x 16.8 cm. Bequest of Dan Fellows Platt, Class of 1895 / Shunkōsai Hokuei (active 1829–1837), Japanese, Edo period, 1600–1868, Mitate: Arashi Rikan II as Hachiman Taro and Nakamura Utaemon III as Abe no Sadato. Woodblock print (ōban yoko-e format); ink and color on paper, 26.5 x 39.3 cm. Museum purchase, Anne van Biema Collection Fund / Ana Mendieta (American, born Cuba, 1948–1985), Two prints from Glass on Body Imprints–Face, 1972. Gelatin silver prints, 24.3 x 19.5 cm each. Museum purchase, Fowler McCormick, Class of 1921, Fund. © Estate of Ana Mendieta Collection, Courtesy Galerie LeLong, New York artmuseum.princeton.edu 11

In the Galleries Echoes of One Hand Clapping Picturing Sound in Asian Art October 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 tatee triptych); ink and color on paper, overall: 34.9 x 70.3 cm. Princeton University Art Museum, Allen R. Adler, Class of 1967, Japanese Print Collection Sound cannot be seen, but it can be heard and felt as poetry can evoke or activate the echoes of sound, as in the vibrations, and it has the ability to move the spirit through case of Shitao’s Echo. The brevity of Shitao’s brush and ink music and memory. These experiences allow the knowledge expresses an intimate dialogue with lonely mountains and and presence of sound to be visualized in painting, calligraphy, silent clouds. Like the sound of one hand clapping, here poetry, and photography. Featured in this special installation the poem fills the land with quiet reverberations. The artist’s are Chinese, Japanese, Vietnamese, and Asian-inspired calligraphy quotes a couplet by the famed Song dynasty works 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 from the collection of Gérard and Dora Cognié. An echo rebounds with every whisper; Artists picture sound in various ways. Some depict actions Startling, on the empty mountain, the white cloud. or things that generate noise, such as a gurgling stream or The question of picturing sound also resonates in Minor booming 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 well process 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 the mimics ritual chants. Inspired by the sound of Buddhist monk Hakuin Ekaku (1686–1768). White wrote, “After several prayer chants in Himalayan monasteries—and their months of intensive work on this kōan, I saw rather than heard purpose of focusing the mind—Li began painting vertical any sound.” On seeing his earlier photograph, The Sound of and horizontal lines as a visual, instead of aural, means of One Hand Clapping, Pultneyville, New York, the kōan sprang to achieving mental focus. White’s mind, and later another nine photographs were Calligraphy captures in traces of the brush and ink added to his sequence of echoes. the sounds of languages, some almost forgotten. A barely remembered calligraphic script in Vietnam captures the Cary Y. Liu sound of the past and joins it to the country’s rapidly Nancy and Peter Lee Curator of Asian Art changing present. Married to painting and calligraphy, 12 Summer 2016

Li Huasheng (Chinese, born 1944), Untitled, 1998–2000. Ink on paper, framed: 144 × 183 cm. Collection Gérard and Dora Cognié. Copyright line TK Shitao (1642–1707), Chinese, Qing dynasty, 1644–1912, Echo, about 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 x 29.4 cm. Pultneyville, New York, 1957. Gelatin silver print, image: 25.5 x 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 Galleries Contemporary Reflections on the Celestial November 12, 2016–xx, 2017 inspired Katherine Bussard, Peter C. Bunnell Curator of Photography, and me to use the Murakami and the Nara as a means 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 demonstrate 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 Yoshitomo Nara (Japanese, born 1959), The Little Star Dweller, 2006. Curatorial Associate, Modern and Contemporary Art Acrylic and glitter on canvas, 227.3 x 181.3 cm. Collection of Mitchell and Joleen Julis. Image credit TK © Yoshitomo Nara This fall’s installation in Marquand Mather Court, our gallery dedicated to the display of contemporary art, revolves around two important paintings currently to the Museum— Tan Tan Bo – In Communication (2014) by Takashi Murakami and The Little Star Dweller (2006) by Yoshitomo Nara. Although both monumentally scaled works are painted by leading artists of Japan’s Neo Pop movement and feature up-close portraits of their protagonists, they differ greatly in tone, palette, and subject matter. One is bright, chaotic, and post-apocalyptic, while the other is dark, quiet, and ethereal. Our challenge therefore became how to create an installation that could orbit around these two stunning Thomas Ruff (German, but thematically distinct works. Inspiration, as usual, was born 1958), Stars, found in an unexpected place—the sleepy farmland of New 1989–92. Chromogenic print, 257.7 x 186.6 cm. Jersey. Tucked away in a nearby town are several Chelsea­ Collection of Peter worthy galleries filled with an impressive private collection Josten and Sam Trower. that heavily features works by renowned contemporary Image credit TK © photographers. It was a selection of Thomas Ruff pieces that Thomas Ruff 14 Summer 2016

Exhibition Previews Revealing Pictures: Photographs from the Christopher E. Olofson Collection February 4–July 2, 2017 Revealing Pictures will feature Works by Edmund Clark, Daniel and Geo Fuchs, Pieter approximately thirty Hugo, Liu Zheng, Zanele Muholi, Robert Polidori, and photographs from the others serve as striking examples of some of the driving collection of Christopher E. themes behind Olofson’s collecting: identity, investigation, Olofson, Class of 1992, and representation. Muholi’s series Faces and Phases, for whose own background in example, began ten years ago as a form of visual activism in international studies response to the increasing crimes against gays and women informs his acquisition of in her native South Africa. Muholi’s series, which spans the contemporary photographs. globe and contains hundreds of works, ensures black queer With this exhibition, the visibility through bold individual portraits that also serve as Museum continues its a collective archive. As part of Revealing Pictures, Muholi will engagement with collections speak about this project and others on February 9 (see p. 18 NEW IMAGE TK with close ties to Princeton for details). and recognizes a collector Pieter Hugo, South African, born 1976. Portrait #1, Rwanda, from the whose generosity has series 1994, 2014. <Chromogenic print?>. Collection of Christopher helped to shaped the Museum’s holdings. [Save room for one Olofson © Pieter Hugo more sentence here re. number of Olofson gifts] The Berlin Painter and His World: Athenian Vase-Painting in the Early Fifth Century b.c. March 4–June 11, 2017 This spring an exhibition of ancient Athenian vase-painting focuses on an anonymous artist known as the Berlin Painter, whose long career extended from about 505 b.c. well into the 460s. The first exhibition devoted to the artist, it will examine the Berlin Painter’s work in detail, placing him within the larger context of Athenian society and describing the elements of his style that allow the attribution of unsigned or fragmentary objects to his hand. Fifty-four works by the Berlin Painter will be exhibited alongside vases and cups by other artists of the period, as well as eight statuettes in bronze and terracotta. The works come from an array of lenders, including museums in the Greek, Attic, ca. 490–480 B.C., attributed to the Berlin United States, Germany, France, Britain, and Italy. The Painter, Red-figure neck-amphora with ridged handles, Berlin Painter treated a full range of subjects, with a particular with an Amazonomachy with Herkales (detail). Ceramic. devotion to the gods and goddesses of Olympus. Nearly every Antikenmuseum und Sammlung Ludwig, Basel (BS 453) shape that he decorated will be represented, with subjects extending from scenes of cult, athletics, and musical of Berlin. Beazley identified the artist’s hand on 284 vases performance to encounters between gods and heroes. and fragments in collections around the world. The painter’s The Berlin Painter was named by the Oxford scholar Sir oeuvre now has grown to more than 350 works, and esteem John Beazley after a splendid amphora in the State Museums for his elegant, approachable style has never lessened. artmuseum.princeton.edu 15

In the Classroom Benvenuti 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 on between literature and the visual arts. Engaging with the Museum’s panel to later oil paintings. Examining Nosadella’s 1560s rich collection of Italian works strengthens my students’ language skills Annunciation, the students and I pointed out the changes and 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 to This past academic year, numerous Italian language and the modern and contemporary galleries, students were literature courses visited the Art Museum to discuss Italian amazed to see the elongated forms and minimal lines in style and culture while engaging with original works of art. Amedeo Modigliani’s avant-garde Portrait of Jean Cocteau. For The classes varied widely in scope and pedagogic approach, the visits of “Advanced Italian” (ITA 107), organized by and the instructors and I adapted different plans for each of lecturer Daniele de Feo, the students proved willing to test the visits, with the shared experience being one of close their Italian language skills in the galleries. Il Baciccio’s looking. painting The Triumph of the Name of Jesus transported us to With “Beginner’s Italian” I and II (ITA 101 and ITA 102), seventeenth-century Rome and spurred a discussion of High the focus was to have most of the conversations take place in Baroque drama. Students searched for words to convey their English, while also familiarizing students with key terms in thoughts, slowly becoming more confident and creative with Italian. We began our visits in the Medieval and Renaissance their descriptions. Our next stop was the Works on Paper 16 Summer 2016

Study Room, where we considered prints and drawings from the Renaissance to the early twentieth century. As the class had recently read The Manifesto of Futurism by Filippo Tommaso Marinetti, they were particularly interested in seeing Umberto Boccioni’s print Portrait of His Mother—an early decorative and domestic scene radically opposed in style to Boccioni’s fully developed Futurist paintings. Three of the Italian classes that came to the Museum were organized around particular themes and were taught using a combination of English and Italian. For associate professor Simone Marchesi’s course “Dante’s Inferno” (ITA 303/MED 303), we analyzed William Blake’s engravings after Dante’s Inferno as well as a contemporary rendition of Dante’s universe by the architect and illustrator Matteo Pericoli, who joined us as a guest speaker. “Italy: The Land of Slow Food” (ITA 401), taught by professor Pietro Frassica, led us to explore representations of food and dining, including the third-century a.d. Roman mosaic of The Drinking Contest of Herakles and Dionysos and the fifteenth-century Desco da Parto: The Garden of Youth, an ornamental tray used to bring food to a mother after childbirth. Finally, Alessandro Giammei (postdoctoral fellow, Society of Fellows in the Liberal Arts) visited twice with his class “A Gendered History of the Avant-Garde” (ITA 305/COM 375/GSS 308), which featured works by Italian artists but also extended to other cultures. We began with the Master of the Greenville Tondo’s painting Saint Sebastian to discuss gender in the Renaissance and worked our way to Andy Warhol’s polaroid photos of a male nude to consider his reinterpretation of the classical Nosadella (Giovanni Francesco Bezzi; Italian, active ca.1549–1571), contrapposto pose (a subtly twisting position suggesting The Annunciation, 1560s. Oil on wood panel, 107.3 x 78.8 cm. Museum purchase, Fowler McCormick, Class of 1921, Fund movement, named after the Italian word for “counterpose”). Co-teaching these classes was an opportunity to reflect upon the challenge of learning a language, and the rigorous amount of repetition involved in committing different nouns, verb tenses, and sentence constructions to memory in order to effectively communicate. These class discussions all focused on careful visual analysis, and I continuously observed the unifying effect that a work of art has on a group of students, as well as its ability to encourage each student to form his or her own interpretation. The process of synthe­ sizing and rephrasing our thoughts enabled us to reinforce both the art historical concepts we were discussing and the Italian vocabulary we were using. This semester Italian 101 and 107 returned to the galleries, and two other classes— “Italian Civilization through the Centuries” (ITA 220) and “20th-Century Italian Fiction” (ITA 308)—visited the Museum for the first time. As each class visit comes to an end, it seems particularly appropriate to say goodbye in Italian, as Arrivederci can loosely be translated as “to see one another again.” Veronica Maria White Curator of Academic Programs artmuseum.princeton.edu 17

Program Highlights Unless otherwise noted, all events take place at the Art Museum. For complete program and event listings, please visit artmuseum.princeton.edu COMMUNITY EVENT Annual Faculty and Staff Open House LATE! Thursday, February 2, 5–8 p.m. There is no better time to experience the Art Museum than during our annual Open House. Drop in after work or bring your family after dinner for music and highlights tours led by our newest class of student tour guides. ARTIST TALK Zanele Muholi LATE! Thursday, February 9, 6 p.m. 10 McCosh Hall HI RES TK Zanele Muholi, whose photographs are featured in the exhi- bition Revealing Pictures, will discuss her work. Muholi is best Caption TK known for an ongoing series of portraits made to ensure to the visibility of black lesbian women, even as her work insists that no individual is reducible to a category. Begun in the townships PANEL DISCUSSION of South Africa in 2006, the series now includes more than 250 Willem de Kooning: A Colloquium Friday, December 9, 2 p.m. portraits from around the world. 10 McCosh Hall COMMUNITY EVENT • Cecily Brown, artist Failed Love LATE! • James L. Coddington, The Agnes Gund Chief Conservator, Thursday, February 16, 7–9 p.m. Museum of Modern Art Heartbreak can be a great muse. Whether you are happily • John Elderfield, Allen R. Adler, Class of 1967, Distinguished in love, boycotting it forever, or somewhere in between, the Curator and Lecturer, Princeton University Art Museum Museum’s Student Advisory Board invites you to share your • Peter Schjeldahl, art critic, The New Yorker pain at Failed Love, an annual event featuring live music, poetry readings, lots of chocolate, and great art! Join us for an investigation of the work of the Abstract Expressionist painter Willem de Kooning, held in conjunction CONCERT with an installation of works by the artist on loan to the Museum from the Willem de Kooning Foundation. A reception Princeton Laptop Orchestra (PLOrk) LATE! Thursday, February 23, 5:30 p.m. and opportunity to see the installation will follow. The Princeton Laptop Orchestra (PLOrk) engages with the celestial theme of the Museum’s installation of contem porary STUDY BREAK art with its new piece Epicycles. A second piece titled Weightless Yoga: Finals Edition LATE! (Scrape the Ceiling), composed by Princeton graduate student Thursday, January 12, 6:30 p.m. Need a break from studying? Join us for an exploration of the Chris Douthitt, will also be performed. A reception in the Museum will follow. healing benefits of yoga with Debbi Gitterman of YogaStream. You are encouraged to bring your own mat. Refreshments in the galleries will follow. LATE THURSDAYS Spend your evening with great art every Thursday, when the galleries and Museum Store are open until 10 p.m. Look for the icon for special programs offered in conjunction with Late Thursdays. Late Thursdays are made possible by the generous support of Heather and Paul G. Haaga Jr., Class of 1970. Yoga in the galleries 18 Summer 2016

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

Museum News Online Exhibition Explores Solar Eclipses Staff Announcements and the Paintings of H. R. Butler Cara Bramson recently joined the Museum as student outreach and The first total solar eclipse of the twenty-first century visible in the United States will occur next summer, on August 21, 2017. programming coordinator. Cara serves as the liaison between the Museum In anticipation of this astronomical event, the Museum has launched Transient Effects, a multimedia online exhibition that and Princeton University’s student community and is committed to focuses on the remarkable career of Howard Russell Butler (1856–1934). engaging students with diverse backgrounds and interests. She A graduate of Princeton University’s first school of science, Butler was a portrait and landscape artist known for his ability oversees the Student Advisory Board, Student Tour Guides, and student to record transient phenomena. In 1918, he was invited to join an eclipse expedition from Baker City, Oregon, organized by volunteers and develops partnerships with other student organizations on campus. Working with the education team, the U.S. Naval Observatory. At a time when photography could not yet capture the nuances of the eclipsed sun, Butler’s she also coordinates Museum programming, including lectures, film screenings, and performances. Previously, Cara was the remarkable painting of the eclipse was considered a tour de force, providing astronomers and the public with perhaps the director of education and community engagement at the Visual Arts Center of New Jersey. She has also worked at the best record of eclipses at the time. Butler would go on to paint the eclipses of 1923, 1925, and 1932 and was invited to consult American Museum of Natural History, the New York Public Library, the Fenimore Art Museum, and the Zimmerli Art for the American Museum of Natural History, where his celestial paintings would dazzle and inform the public for years. Museum. She earned her B.A. in American studies from Rutgers University and her M.A. in museum studies from the Transient Effects (artmuseum.princeton.edu/transient- effects) explores Butler’s life and work through the contexts Cooperstown Graduate Program at SUNY-Oneonta. of the science surrounding solar eclipses and the history of artistic portrayals of the eclipse from around the world. Aric Davala recently joined the Museum staff as facilities manager A selection of Butler’s paintings will also be on view at the Art Museum from July 22 to October 15, 2017. after serving in this position in an interim capacity since May 2016. Aric has been with the University for more than twenty-eight years and brings significant supervisory experience as well as project management and trade 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. Aric has served on the Facilities Culture and Inclusion Committee since 2015, and we are delighted to welcome him to the Museum. Howard Russell Butler (American, 1856–1934), Solar Eclipse, Connecticut- New York, 1925. Oil on canvas, right panel of a triptych: 83 x 122.3 cm. Princeton University, gift of H. Russell Butler Jr. 20 Summer 2016

Membership Mattersbership Matters Mem Annual Benefit Gala Saturday, February 4, 2017 Escape the midwinter chill on February 4 as we celebrate Splendors of Shalimar, the Museum’s 2017 Gala. Inspired by the exhibition Epic Tales from India, on view in the Museum’s galleries, Splendors of Shalimar will transport guests to the Mughal gardens of India, awash with lush flora and fauna, reflective pools, and jeweled pathways. Join Director James Steward and the 2017 Gala Host Committee to view great art, enjoy delectable cuisine, and dance the night away. More than just an elegant party, the Gala is the Museum’s sole fundraising event of the year, an evening to celebrate and support the treasured art museum that is at the heart of our community. The Gala generates essential financial support for the exhibitions and education and outreach programs that the 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 at 609.258.3762 or [email protected]. The Museum is grateful to the following early sponsors for their leadership support Faria 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 Roth Goergen, Class of 1990, and Robert B. Goergen • Cheryl and Elliot Gursky • Heather and Paul Haaga Jr., Class of 1970 • Julis Rabinowitz Family • Stephen and 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 and David 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 • Christopher E. Olofson, Class of 1992 • H. Vincent Poor, Graduate School Class of 1977, and Connie H. Poor • PSEG • David Rago Auctions Inc. • Louise Sams, Class of 1979, and Jerome Grilhot • Inez and Richard Scribner, Class of 1958 • Sharon Stamm and Jerome Zeldis • James Christen Steward • Enea and Dave Tierno A portion of each ticket is a tax-deductible contribution to the Princeton University Art Museum. Give the gift of art this holiday season! If membership matters to you, it will matter to someone you love, too. Friends memberships Membership 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 Store This season, we celebrate the many talented artists featured in the Museum Store—more than one hundred, in fact! ADVISORY COUNCIL John D. Diekman, Class of 1965 Chair Christine Mackellar from Brooklyn, Allen R. Adler, Class of 1967 New York, is one of our favorites. This Diane W. Burke Robbert Dijkgraaf acclaimed studio jeweler has been part Sarah Lee Elson, Class of 1984 of the Museum Store artisan family for Doris F. Fisher William S. Fisher, Class of 1979 years now, with visitors collecting her Christopher C. Forbes, Class of 1972 pieces. Christine takes inspiration from Stacey Goergen, Class of 1990 Heather Sturt Haaga flowers and fauna, elevating them to Nancy Lee sculptural works of jewelry art. Coffee Thomas W. Lentz Philip F. Maritz, Class of 1983 beans, blossoms, and twigs are Nancy A. Nasher, Class of 1976 transformed into exquisite earrings. She Christy Eitner Neidig Christopher E. Olofson, Class of 1992 begins her trademark bracelets with a Louise S. Sams, Class of 1979 hand-forged oxidized or polished silver Anne C. Sherrerd, Graduate School Class of 1992 bangle and then twists and embellishes Mark W. Stevens, Class of 1973 the piece—adding gold, sapphires of Trevor Traina, Class of 1990 HONORARY MEMBERS many colors, diamonds, pearls, or simple Jonathan Brown, Graduate School Class 18K-gold discs. of 1964 Lloyd E. Cotsen, Class of 1950 Stuart P. Feld, Class of 1957 Retail $295–$895 Alice C. Frelinghuysen, Class of 1976 Marco Grassi, Class of 1956 Preston H. Haskell, Class of 1960 Herbert Schorr, Graduate School Class of 1962 and 1963 An exclusive to the Museum Store— Duane E. Wilder, Class of 1951 two revered artists have collaborated to COMMUNITY LEADERSHIP COUNCIL Kristin Appelget create one-of-kind masterpieces in Kate Bech wearable art. Famed handbag designer Stephen Cochrane, Class of 1981 Jessica Durrie Elaine Arsenault from SoHo is a longtime Patricia Hart favorite of the Museum Store known Shing-Fu Hsueh Martin Johnson, Class of 1981 for her orange basketball leather bags. Nancy Kieling Ram Kolluri Gail Garcia, from upstate New York, Liz Lempert is a designer of hand-painted ceramics, David Rago David Tierno wall art, and home decor, who also has Rev. Dr. John E. White a tremendous following with us. Together Nick Wilson, Class of 1951 Richard Woodbridge, Class of 1965 these artists crafted the two handbags pictured here. Made of deeply gusseted The magazine is published quarterly by the Princeton University Art Museum linen canvas, these special pieces are Curtis R. Scott, Associate Director fully lined and feature inside zipper for Publishing and Communications pockets and leather trim and straps. Anna Brouwer, Associate Editor Laura Santiago, Proofreader Brilliant Graphics, Exton, Pennsylvania, Printer Retail $450 and $495 cover image Caption TK phone 609.258.1713 | toll free 1.844.331.1241 | e-mail [email protected] 22 Summer 2016

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

Nonprofit Organization U.S. Postage PAID Princeton, NJ 08544-1018 Princeton, New Jersey Permit No. 97 Information Admission to the Museum is always free. Donations are appreciated. general information 609.258.3788 group/school tours 609.258.3043 friends 609.258.4057 museum store 609.258.1713 website artmuseum.princeton.edu Museum Hours Tuesday, Wednesday, Friday, Saturday, 10 a.m.–5 p.m. Thursday, 10 a.m.–10 p.m. Sunday, 1–5 p.m. Closed Mondays and major holidays Public Parking Areas sh St Spring StfiLocation, Parking, and Transportation Hul The Museum is located at the heart of the Princeton Bayard Ln (RT. ) Bank St Chambers St Palmer Witherspoon St Vandeventer Ave Square University campus, and only a short walk from the shops and restaurants on Nassau Street. Parking is available in metered Nassau St (RT. ) spaces in town or in public garages on Spring, Chambers, and Richardson Nassau Hall Hulfish Streets. Special parking arrangements may be made in Mercer St Auditorium Library advance for visitors with special needs by calling 609.258.3157. University Place Chapel Drive Chapel Princeton is easily accessible by public transportation or by Washington Rd car. For directions or bus and rail information, please visit Alexander St ART McCarter MUSEUM artmuseum.princeton.edu or call 609.258.3788. Theatre For more information, visit artmuseum.princeton.edu TO RT. 1 Princeton TO RT. 1 Station Elm Drive facebook.com/princetonuniversityartmuseum twitter.com/PUArtMuseum 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.