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As you will note throughout this issue, the continued leader-ship of UMMA’s stellar curatorial team, complemented by the exciting work of our guest curators, has resulted in an upcoming season of intriguing exhibitions that reflect the diversity of our audiences and our commitment to a forward-thinking mindset. Equally evident is the omnipresent work of our education department that broadens our efforts to create meaningful dialogue around UMMA’s exhibitions and collections. I hope you will take part in some of these exciting explorations with us this fall.

As we welcome all faculty, staff, and students to Ann Arbor and the U-M campus, allow me to extend particularly warm greetings to the new President of the University of Michigan, Mark S. Schlissel. The UMMA family and I look forward to partnering with the President to further extend the Museum's mission into the academic life of the University and beyond.

Warmest Regards,

Joseph Rosa

his Spring UMMA had the tremendous fortune of sharing its message with a broader audience in two key locations: California’s Bay Area and New York

City. Thanks to the generous hospitality of Trish Turner and Tom McConnell (in Atherton, CA) and Ellen and Bill Taubman (in Manhattan, NY), friends of UMMA and U-M gathered to hear about the Museum’s vision for the next five years and beyond. It is always a joy for me to meet Michigan alumni who are passionate about their alma mater and what our Museum is doing to enliven the community and to broaden the horizons of U-M students—our future global leaders. Both Trish and Ellen serve on UMMA’s National Leadership Council, and their advocacy has been key to building important new relation-ships for the Museum.

In a similar vein, this fall I will launch a new advocacy oppor-tunity for friends of UMMA: the Director’s Acquisition Committee. Chaired by longtime UMMA supporter and passionate art collector Lisa Applebaum of New York City, this new group will help guide acquisitions for the Museum’s collections. I look forward to sharing more details in future issues of the magazine.

Significant progress on our Advancing a University Art Museum for the World campaign continues: as of this writing we have reached $17.4 million or 44% of our $40 million goal. These results are further extended by more than $1.5 million in government grants and campus partner support. Yet, we still have much to accomplish in order to sustain and grow UMMA’s top priorities. Turn to page 26 to read more about how endow-ment gifts can impact the Museum in perpetuity.

T

Cover: Paramodel, paramodelic-graffiti, 2012, Tokyo Station Gallery, Tokyo, Japan, ©paramodel

contents

FROM THE DIRECTOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

UMMA NEWS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

EXHIBITIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

EDUCATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

UMMA HAPPENINGS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

UMMA CAMPAIGN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

UMMA STORE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

from the director

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UMMA GLOW: APRIL 16, 2015Mark your calendars for UMMA GLOW, a biennial event that illuminates the important role that University of Michigan alumni art collectors and patrons have played in the interna-tional arts landscape and in UMMA’s evolution. On Thursday, April 16, 2015, UMMA will celebrate Peter Benedek (BA ‘70) at an event that includes a seated dinner in the Apse and features a special guest artist. Peter and his wife Barbara are signifi-cant art collectors and tireless advocates for the arts in the Los Angeles area, particularly the Hammer Museum at UCLA. Peter is a member of UMMA’s National Leadership Council, serves as Co-Chair of U-M’s Los Angeles Campaign Council, and has long been involved with LSA's Screen Arts and Culture program. Proceeds from UMMA GLOW will support future Museum exhibitions and educational programs. Event invita-tions will be mailed in early 2015.

PARTNERSHIP WITH YPSILANTI UNIVERSITY HIGH SCHOOL SUPPORTS ARTS-FOCUSED PROGRAMSOver the last school year, UMMA’s partnership with Ypsi-lanti’s University High School (YUHS), which is made up of the recently merged Ypsilanti and Willow Run School Districts, welcomed visits from all 300 students enrolled at the school. YUHS lead teacher Pam Vincent worked with UMMA’s Curator for Teaching and Learning Pamela Reister to plan these visits, tailored to support the goals of their new arts-focused program. Vincent commented, “The activities that UMMA organized were so wonderfully engaging,” noting that many students had never visited an art museum before. Thanks to a generous private donor committed to Museum education, UMMA was able to provide funds for bus transportation to this fledging program.

UMMA WELCOMES NEW ADJUNCT CURATORUMMA is thrilled to welcome Kathleen Forde as the Museum’s new Adjunct Curator of Media Arts. Forde is currently the Artistic Director at Large for Borusan Contemporary, a collection-based space for media arts exhibitions, commissions, and public programming in Istanbul, where she has collaborated with the San Francisco Museum of Modern Art, Espacio Telefonica Madrid,

La Boral Gijon, and the Kunsthalle Darmstadt. Previously, Forde was the Curator of Time-Based Visual Arts at the Experi-mental Media and Performing Arts Center in Troy, NY and the Curatorial Director for Live Arts and New Media at the Goethe Institut Internaciones in Berlin and Munich. See pages 6–7 to read about her fall exhibition Amie Siegel: Provenance.

MAX BECKMANN WORK TRAVELS TO GERMANYUMMA’s Still Life with Toys and Shell by Max Beckmann will be on view at the Hamburger Kunsthalle in Hamburg, Germany from September 5, 2014 to January 18, 2015 as part of Max Beckmann. The Still Lifes. The exhibition will focus on the still life work of the artist and is the first of its kind. Still Life with Toys and Shell, like most of Beckmann’s work, is figurative in nature but maintains a fantastical quality rooted in the imagery of medieval stained glass. Roughly eighty paintings and watercolors will be featured in the Hamburger Kunsthalle's exhibition, ranging in creation from 1906 to 1949.

NEW SISLEY GIFT ON VIEWNow on view in UMMA’s Thomas H. and Polly W. Bredt Gallery is Le Givre à Veneux (Frost at Veneux) by French painter Alfred Sisley, who lived near Fontainebleau, a region southeast of Paris

that attracted painters throughout the nineteenth century. Sisley’s wintry view of nearby Veneux-les-Sablons shares a concern with simple country life that is found in the work of other artists who spent time in Fontainebleau, notably Camille Corot and Jean-François Millet. The Museum received this painting through a bequest gift from Elise Reeder Olton, who attended the University of Michigan in 1938 and 1939, and had a lifelong appreciation of both music and art. It is one of a group of nineteenth century and early twentieth century works that came to UMMA through Mrs. Olton’s bequest, representing an important addition to the collection.

Alfred Sisley, Le Givre à Veneux (Frost at Veneux), 1880, oil on canvas, Bequest from the Estate and Trust of Elise Reeder Olton, 2014/1.618

UMMA AFTER HOURS FRIDAY, OCTOBER 10, 7–10PM · ART, MUSIC, ATMOSPHERE

UMMA FRIDAYS AFTER 5 FRIDAY, OCTOBER 31 · GALLERIES OPEN UNTIL 8PM

L E A D S P O N S O R

L E A D S P O N S O R

umma news

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REDUCTIVE MINIMALISMWOMEN ARTISTS IN DIALOGUE, 1960–2014Nearly fifty years after its heyday, Minimalism is enjoying a resurgence of critical attention, though much of the focus continues to be on male artists, or on a small number of women sculptors. Reductive Minimalism: Women Artists in Dialogue, 1960–2014 offers a fresh perspective on the movement and its evolution, bringing together formative works from two generations of women Minimalist painters, to examine and celebrate the dialogue between them.

Minimalism was born in the late 1950s as a reaction to the perceived hubris and theatricality of Abstract Expressionism. But even though its most prominent, mostly male, practitio-ners favored an aesthetic of simplicity, clean geometry, and essential forms, the hubris remained—in oversized works with grandiose themes. Artists such as Frank Stella, in his tremen-dous Black Paintings, created austere, imposing composi-tions that overpowered the viewer both in scale and physical aggression. Similarly, the cleanly painted surfaces of Brice Marden’s monochromatic paintings from the 1960s revealed little of the artist’s hand or his emotive experiences as a painter.

The first generation of women Minimalist painters, however, took a more restrained or reductive approach than their male counterparts, one more intimate in scale, more personal in narrative, and more open-ended in its experimentation with pure surface, color, grid structure, and texture. Whether by instinct or by deliberate strategy, the work was seductive and inviting rather than bombastic or controlling. Dorothea Rockburne’s Fire Engine Red, for example, used an uneven application of paint to outline the surface support, demysti-fying the structure of a work that was still imposing in scale. Likewise, Eleanore Mikus covered irregular wood or synthetic surfaces with monochromatic pigmentation, enhancing and drawing attention to beautiful imperfections within a flat and seemingly pristine planar structure.

Many of these women—Agnes Martin and Anne Truitt among them—worked for much of their careers outside the New York art world, and outside the critical discourse that would have offered them support and recognition. Though gender politics was not necessarily the impetus for their work, it played a role in the circumstances of where and how they practiced. But

exhibitions a. alfred taubman gallery i | october 4, 2014–january 25, 2015

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in spite of their relative isolation, their work had a profound influence on the next generation of women Minimalist painters working today—including Iranian Shirazeh Houshiary and German Tomma Abts—who have international exposure and who are celebrated in a varied and robust critical environ-ment. It is unlikely that without their predecessors’ tenacity these women would be embraced without marginalization or gender classification.

In the gallery, Reductive Minimalism traces the conversation between these two generations in an installation of nine pairs of paintings, to reveal the call-and-response of their artistic symbiosis through a series of formal, aesthetic, and narra-tive themes. In identifying these connections, the exhibition explores a strain of Minimalist practice that is still vital and provocative in contemporary painting; and offers a long-overdue critical context for the original generation of women Minimalist painters, whose work, even today, is alive in its fearlessness, its generosity, and its power to inspire.

Erica BarrishGuest Curator

Lead support for this exhibition is provided by the University of Michigan Office of the Provost, the University of Michigan Health System, and the Richard and Rosann Noel Endowment Fund. Additional generous support is provided by the Susan and Richard Gutow Fund, Elaine Pitt, the University of Michigan CEW Frances and Sydney Lewis Visiting Leaders Fund, Department of the History of Art, the Katherine Tuck Enrichment Fund, and the Doris Sloan Memorial Fund.

Above: Anne Truitt, Sandcastle, 1963, acrylic on wood, UMMA, Gift of Mrs. H. Gates Lloyd, 1984/2.57, ©annetruitt.org / Bridgeman Art Library, Photograph by Charles Edwards Opposite: Ann Pibal, FXMT, 2013, oil on aluminum, Courtesy of Richard S. Marcus, Los Angeles, CA, Courtesy of the artist, Photograph by Jeffrey Sturges

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Amie Siegel’s Provenance traces in reverse the global trade in furniture from the Indian city of Chandigarh. Conceived in the 1950s by architects Le Corbusier and Pierre Jeanneret, Chan-digarh’s controversial modernist architecture includes original pieces of furniture created specifically for the buildings’ inte-riors. Recently these pieces have appeared at auction houses around the world, commanding record prices. Starting with Chandigarh furniture in the present, the film begins in New York apartments, London townhouses, Belgian villas, and Paris salons of avid collectors. From there, it moves backward to the furniture’s sale at auction, preview exhibitions, and photog-raphy for auction catalogues, to restoration, cargo shipping containers, and Indian ports—ending finally in Chandigarh, a city in a state of entropy.

On October 19, 2013, Siegel auctioned Provenance at Christie’s in London, turning the film into another object at auction, inseparable from the market it depicts. Lot 248, a second film, captures the auction of Provenance, becoming a mirror of the first, repeating and completing the circuit of design and art that defines speculative markets.

In much of her practice, as in Provenance, Siegel explores the psychological complexities of the act of spectatorship. In an interview for the Winter 2014 edition of Bomb magazine, she stated, “The kind of films that I make . . . solicit an active engagement but also provoke a certain amount of discom-fort derived from the act of looking. . . . In Provenance there is a layered sense of complicity—we are tasked with figuring

exhibitions media gallery | august 16–december 7, 2014

PROVENANCEAMIE SIEGEL

Amie Siegel, Provenance (Still), 2013, HD video, color, sound, 40 minutes, 30 seconds, Courtesy of the artist and Simon Preston, New York

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out where we are, what these objects are, and how they are connected. . . . The project makes demands on the viewers’ complicity on multiple levels—and on my own complicity as an artist, as with the auctioning of the work itself.”

Amie Siegel was born in 1974 in Chicago. Her work has been exhibited internationally at MoMA/PS1, the Walker Art Center, the Hayward Gallery, the Whitney Museum of American Art, KW Berlin, ICA Boston, and the Kunstmuseum Stuttgart. Screenings include Cannes Film Festival, Berlin Film Festival, New York Film Festival, the Museum of Modern Art, the National Gallery of Art, and the Harvard Film Archive, among many other museums and cinematheques. She has been a fellow of the DAAD Berliner Künstlerprogramm, the Guggen-

heim Foundation, and the Film Study Center at Harvard University, as well as a recipient of ICA Boston’s Foster Prize and, most recently, a Sundance Institute Film Fund award for Provenance.

Kathleen FordeAdjunct Curator of Media Arts

Lead support for this exhibition is provided by the Herbert W. and Susan L. Johe Endowment. Additional generous support is provided by the University of Michigan Penny W. Stamps School of Art & Design, Taubman College of Architecture + Urban Planning, and Institute for the Humanities.

exhibitions

Amie Siegel Proof (Christie's, 19 October, 2013) 2013 Ink jet, lucite Exhibition view Simon Preston, New York

Amie Siegel Provenance (Still) 2013 HD video, color, sound 40 minutes, 30 seconds Courtesy of the artist and Simon Preston, New York

Amie Siegel Lot 248 (Still) 2013 HD video, color, sound 5 minutes, 25 seconds Courtesy of the artist and Simon Preston, New York

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I’m a news junkie who consumes a variety of sources, while not wholly trusting any of them. What passes for the news doesn’t necessarily reflect what’s going on in the world so much as it spotlights what is noticed. Newspapers are seemingly democratic, but are actually a product of editors who tell the story of what they think is important while omitting information they deem unworthy. There are those who think of news organizations as merely ideological mouthpieces, and in many cases they are right. There are those that see the news as merely a commodity, and maybe Warhol was one of them. I, however, see a healthy news media, in spite of its deficits, as vital to our democracy, and worth every penny we throw at it.

For years now, there’s been talk of the death of the news-paper. We’ve been told that the industry is in a crisis as the Internet grabs ad revenue and good reporters are laid off in the interest of the bottom line. Newspapers are limping along and getting thinner. Every year there are less of them. For a news junkie, and one that loves newspapers, these are dark and perilous times. It was in this gloomy atmosphere in 2005 that I began working over the front page of The New York Times.

I am a longtime subscriber to The New York Times and read its hard-copy version in the morning and check in with it on the Internet throughout the day. Despite the Democratic tilt of its editorial pages, I really do think their news division tries to be even-keeled. When they get it wrong, like their cheerleading during the run-up to the Iraq war, I’m apoplectic. I expect them to act like adults, not like Fox & Friends. But like any dysfunctional relationship, I always end up forgiving them, because I know I can’t do much better.

a. alfred taubman gallery i | october 4, 2014–january 25, 2015

FRED TOMASELLI

THE TIMESLeft: Fred Tomaselli, July 4, 2009, 2009, gouache, collage, and archival inkjet print on watercolor paper, private collection, Aspen, Colorado Center: Fred Tomaselli, Aug. 31, 2005 #3, 2009, gouache and archival inkjet print on watercolor paper, Private collection, New York Right: Fred Tomaselli, Oct. 16, 2010, 2011, gouache, collage, and archival inkjet print on watercolor paper, Private collection, Santa Monica, California

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For the last quarter of a century, my work has oscillated between what some have called “the visionary” and my own self-conscious criticality. I always heap a lot of information, personal obsessions, and history into my own work. Much of this inspiration has been contradictory and it’s always been my intention to let various ideologies battle it out in my pictures. I’m interested in creating a maximized conceptual and visual space that’s inexhaustible. Normally, the various histories I insert in my work are percolating in my head for a while—I make connections that zing through time, but I rarely land on things as they are happening.

Ronald Reagan was still president when I began publicly showing my work. Much of my early work was an attempt to address a sense of dislocated reality that colored my life in that particular era. Gradually, things seemed to get a little better, but after 9/11, I couldn’t ignore the curdling in our national discourse. With increasing discomfort, I read my Times every morning as our world hurtled from one self-imposed disaster into another. Sometimes I would deface the news with whatever writing implement was at hand.

Then, on March 16, 2005, I saw a picture on the front page of the Times by Louis Lanzano. It depicted a stunned Bernie Ebbers and his wife leaving a Manhattan courtroom after he was found guilty of an 11 billion dollar fraud as the CEO of WorldCom. I couldn’t get the photo out of my head. Coinci-dently, Creative Time had asked me to make a benefit print for them. Within a week, the thing was pretty much figured out.

Fred Tomaselli

An excerpt from Fred Tomaselli: Mass, Collectivity, and all the rest…, presented at the National Gallery of Art in Washington, DC, on October 22, 2011.

Lead support for this exhibition is provided by the Herbert W. and Susan L. Johe Endowment. Additional generous support is provided by the University of Michigan Department of American Culture, Department of the History of Art, Institute for the Humanities, and Penny W. Stamps School of Art & Design.

Fred Tomaselli, Guilty, 2005, inkjet print, perforated archival paper, Edition of 100, Published by James Cohan Gallery, New York

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exhibitions irving stenn, jr. family gallery | august 30, 2014–january 4, 2015

PARAMODEL

Bright blue lines crawl up and down, left and right, straight and curved, haphazardly and methodically. They run on the walls, the ceiling, the floor, and even into the space beyond the door, invading the hallway. As we realize that the blue lines are actually plastic toy rail tracks, we become aware of other elements—toy cranes, small animal figures, Styrofoam mountains, pasture-like paper patches, and white sands. Our perception suddenly shifts from the abstracted network of lines to the tangible reality of the miniature world. However, we soon notice that the rail tracks do not really function as tracks for running trains—in fact, there are no trains. The rail tracks abruptly stop and circle around, and the recognizable miniature world is now disintegrated and abstracted again.

Meticulously designed and crafted using toy rail tracks and other materials, paramodelic-graffiti is a site-specific work by Paramodel, an art collaborative based in Kansai, Japan. Estab-lished in 2001 by two former college classmates, Yasuhiko Hayashi (born in 1971) and Yusuke Nakano (born in 1976), Paramodel’s diverse body of work encompasses photography,

painting, sculpture, video, and site-specific installation. First conceived in 2004, the large paramodelic-graffiti installation represents the essence of the complex and fantastical world of the two versatile artists. UMMA has commissioned a new installation of the popular work for Paramodel’s first exhibi-tion in the United States.

There are many aspects of Paramodel’s work that resemble children’s play. In paramodelic-graffiti, the artists draw inspiration especially from the open-endedness of how children play—the way in which a block construction or a chalk drawing can infinitely expand as long as time, energy, and resources permit. When the work is installed at venues near the artists’ home bases and at artist residencies, they have been known to take the concept even further. After the opening of a group exhibition at the National Museum of Art, Osaka, in 2011, Hayashi and Nakano continued to add more parts and rail tracks to the installation of paramodelic-graffiti, commuting from their homes nearby. Even when there are time constraints, the artists try to leave the impression of a

Left: Paramodel, rolling tommy sushi, 2009, mini cars, sushi sample dishes (64 pieces), Private collection, ©paramodel

Above: Paramodel, Please, may this construction continue free-wheelingly...(concrete volcano), 2006, pencil, col-ored pencil and acrylic paint on wood board, Private collection, ©paramodel

Opposite: Paramodel, paramodelic-graffiti, 2012, Tokyo Station Gallery, Tokyo, Japan, ©paramodel

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work still being “under construction” by extending toy train tracks into the exterior of a gallery space, as seen in UMMA’s presentation, for example.

Although Paramodel’s images are drawn from Japanese popular culture, the art historical references are more diverse. Borrowing strategies from Dada, Surrealism, and Pop Art, the work places pop culture images and found objects in unexpected juxtapositions. As an enormous site-specific “drawing,” paramodelic-graffiti is specifically indebted to the development of American art post-World War II, from Jackson Pollock’s all-over painting and Abstract Expressionism to color field painting and Minimalism. The artists describe the work as “a gigantic drawing and simultaneously an ‘object d’art’ because of the thickness and shapes of [the rail tracks]. It could also be a diorama model or just a kid’s messy play. Or graffiti. It moves indecisively between various realms.” In the gallery space, viewers are invited to immerse themselves in the different realms of discovery and surprise that Paramodel has carefully laid out.

Natsu OyobeAssociate Curator of Asian Art

Lead support for this exhibition is provided by the University of Michigan Office of the President, Office of the Provost, and Center for Japanese Studies, the Japan Foundation, and the E. Rhodes and Leona B. Carpenter Foundation. Additional generous support is provided by the University of Michigan Credit Union, the Herbert W. and Susan L. Johe Endowment, and Taubman College of Architecture + Urban Planning.

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George Brigham (1889–1977) was one of the first architects to bring the ideology and practice of twentieth-century Interna-tional Style modern architecture to Ann Arbor. Born in Massa-chusetts in 1889, Brigham graduated from the Massachusetts Institute of Technology with a degree in architecture in 1913. A decade later he moved to Pasadena, California, becoming one of the many young American and European architects who went to the West Coast to experience an emerging trend: a new modern domestic architecture aesthetic being practiced there by noted European designers and architects—among them J. R. Davidson, Richard Neutra, Rudolph Schindler, and Kem Weber.

While in Pasadena, Brigham taught at the California Institute of Technology and worked in the architecture offices of Marston, Van Pelt and Maybury, Architects. This prominent practice was noted for their spectrum of architectural styles—from Spanish Revival to Moderne. Aside from these aesthetic styles, most of the firm’s homes in Southern California were built either in the vocabulary of simple wood-frame construction or concrete blocks. It was this new sense of construction assembly and materials, and the progressive, European modern ideology, that Brigham brought with him to Ann Arbor when he was hired to teach at the University of Michigan’s architecture program in 1930 (which would

officially become the College of Architecture the following year), and when he opened his own architecture practice in Ann Arbor in 1935. Brigham’s arrival in Ann Arbor predated the seminal 1932 MoMA exhibition on modern architecture—better known as the International Style—curated by Philip Johnson and Henry-Russell Hitchcock, which showcased the European modern aesthetic to the American public and architectural profession for the first time.

Brigham taught at the University of Michigan for 29 years and was a central figure in the pedagogy of modern architecture. His professional practice spanned from 1935 to 1958 and mostly comprised residential commissions. His earliest works are some of the first homes in Ann Arbor that showcase this modern ideology and are considered landmarks for their inno-vative use of materials and technology (radiant heated floors, for example), and their design aesthetic.

While many of Brigham’s homes employed flat-roof profiles—a signature of the International Style idiom—it was his use of concrete-block and wood-frame construction that made his modern homes unique in their time. In the early 1930s in the U.S. many young architects considered themselves to be building pre-fab architecture. Unlike today’s concept of literally prefabricated building components, the 1930s notion

THREE MICHIGAN ARCHITECTS PART 3

GEORGE BRIGHAM

George B. Brigham, Architect, Mueschke Residence exterior, Ann Arbor, MI, 1941, Courtesy of the U-M Bentley Historical Library

George B. Brigham, Architect, Hazen Residence exterior, Ann Arbor, MI, 1949, Courtesy of the U-M Bentley Historical Library

Opposite: George B. Brigham, Architect, La Porte Residence interior, Ann Arbor, MI, 1941, Courtesy of the U-M Bentley Historical Library

jan and david brandon family bridge | july 19–october 12 2014

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of pre-fab was aligned with the principle of Taylorization that transformed the auto industry between 1905 and 1915. It was based on building materials fabricated in a standard 4-in. module of measurement. The module is seen in 4 x 8 in. sheets of plywood, lumber sizes such as 2 x 4, 2 x 6, and 2 x 8 in., and the standard door height of 6 ft. 8 in. This modular fabrication allowed architects to envision a progressive modern home as a collection of standard-sized parts—from construction mate-rials to doors and windows.

Brigham’s career-long interest and research in prefabrica-tion resulted in beautiful, tranquil modern dwellings that embrace the landscape and were designed to be contextual to their sites. Throughout his career his work was marked by an evolving refinement in the use of materials and an elegant design aesthetic that culminated in an important early body of modern domestic architecture in Ann Arbor.

Co-Curators

Joseph RosaUMMA Director

Nancy BartlettU-M Bentley Historical Library Associate Director

Three Michigan Architects: Part 3—George Brigham is the last in a series of three consecutive exhibitions. Part 1 of the series presented the work of David Osler (December 21, 2013–March 30, 2014) and Part 2, the work of Robert Metcalf (April 5–July 13, 2014).

This exhibition is part of the U-M Collections Collaborations series, which showcases the renowned and diverse collections of the University of Michigan. This series inaugurates UMMA’s collaboration with the Bentley Historical Library, and is generously supported by the Andrew W. Mellon Foundation. Lead support for Three Michigan Architects is provided by the University of Michigan Office of the Vice President for Research.

RELATED PROGRAMThree Michigan Architects: Osler, Metcalf, and Brigham A Symposium on their Domestic Architecture in Ann ArborOctober 5, 2014, 2–6 pm

UMMA’s Helmut Stern Auditorium

Join us in exploring the importance of this circle of Ann Arbor-based architects, as symposium participants situate their regional body of domestic work into the larger context of modern architecture in the U.S. that developed on the East Coast and West Coast from the 1930s to the 1980s.

Symposium participants include Joseph Rosa, UMMA Director; Nancy Bartlett and Nancy Deromedi, Associate Directors at the U-M Bentley Historical Library; and Monica Ponce de Leon, Dean of the U-M Taubman College of Architecture and Urban Planning; as well as Taubman Collage faculty Claire Zimmerman, Greg Saldaña, Craig Borum, and Robert Beckley. For more information, visit www.umma.umich.edu/insider/3ma-symposium

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ARTISTIC IMPOSITIONS

In 1908 Auguste Rodin invited American photographer Edward Steichen to Meudon, France, to photograph his sculpture of the great French writer Honoré de Balzac. Rodin was commis-sioned to create the sculpture of Balzac in 1891. The work was publicly unveiled in 1898 in Paris to mixed, though generally unfavorable, reviews. The work was described as “a block of salt caught in a shower” and “a snowman in a bathrobe whose empty sleeve suggests a strait jacket.” The commissioners ulti-mately rejected the work and Rodin took it home with him to Meudon. Despite the criticism, Rodin proclaimed that Balzac was “the result of a lifetime, the pivot of my aesthetic.” When Steichen presented his finished photographs of the sculpture to Rodin, which included Balzac, The Silhouette—4 a.m., Rodin declared, “You will make the world understand my Balzac through these pictures.”

Of the sixteen photographs assembled from UMMA’s collec-tion for this exhibition, Steichen’s photograph of Balzac is the only one that does not feature a portrait of a then-living artist. Nevertheless, the photographer’s image of the sculptor’s

portrait of the great writer illustrates the layers of complexity that arise when an artist is faced with the task of representing another artist. This exhibition explores ways in which photo-graphic portraiture has engaged this longstanding tradition.

Susan Sontag claimed that photographs “owe their existence to a loose cooperation (quasi-magical, quasi-accidental) between photographer and subject.” Any photographic portrait marks an encounter between the person executing the image and the person posing for it. When a photographer is faced with a subject who is as thoroughly invested in artistic representation as another artist, how might this especially charged collaboration between photographer and model impact his or her own aesthetic?

In this suite of remarkable photographs we witness different manifestations of this phenomenon at work. The encounter between photographer Manuel Álvarez Bravo and Frida Kahlo took place in Bravo’s studio, yet Kahlo is depicted seated frontally and staring fixedly out at the viewer as she does in

photography gallery | july 5–october 19, 2014

IN THE PHOTOGRAPHIC PORTRAITFar left: Philippe Halsman, Dalí Atomicus, 1948, Gelatin silver print, UMMA, Museum Purchase, 1978/2.30

Left: Arnold Newman, Piet Mondrian, from the portfolio "Portraits," 1942, portfolio 1972, gelatin silver print, UMMA, Gift of The Morris and Beverly Baker Foundation, in memory of Morris D. Baker, a graduate of The University of Michigan School of Architecture, 1952, 2000/2.138.3

Opposite: Edward Jean Steichen, Balzac, The Silhouette—4 A.M., 1908, photogravure on laid Japan tissue, UMMA, Museum purchase made possible by the Sarah and Otto Graf Endowment and the Friends of the Museum of Art, 2006/1.155

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her many painted self-portraits. Arnold Newman, on the other hand, regularly photographed his subjects in their own envi-ronments and indeed Newman’s portrait of Piet Mondrian was executed in the painter’s studio. In the photograph, Mondrian is positioned within a grid-like composition of vertical and horizontal lines reminiscent of the artist’s own abstract paint-ings. This effect was not accidental. When Newman first met Mondrian in this space he remarked upon its resemblance to Mondrian’s canvases, claiming, “My God, his environment is his own painting.” While appearing magical, the photographic collaboration between Philippe Halsman and Salvador Dalí was elaborately staged and laboriously produced. Inspired by Dalí’s painting, Leda Atomica, which appears in the right of the image, the photograph plays with the notion of surreal suspen-sion. It took Halsman and Dalí—and unfortunately for the three cats in the image—no fewer than twenty-eight attempts before they achieved a composition that satisfied them. This cooperation resulted in one of the most iconic portraits of Dalí ever produced.

Artistic Impositions invites viewers to explore the complex representational dynamics that can be discerned in these portraits as they play with multiple collaborative, compelling, and potentially competing influences—such as the vision of the photographer, the figure of the artist, and the presence of the artist’s work.

Monique JohnsonCharles H. and Katharine C. Sawyer Fellow

with

Carole McNamaraSenior Curator of Western Art

Lead support for this exhibition is provided by the University of Michigan Health System.

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exhibitions

Detroit is still perceived by most Americans as the cradle of the automotive industry and the testing ground for twentieth-century innovations in manufacturing that changed the world. “Motown,” however, was already two centuries old by the time the Model T rolled off the first assembly line. Detroit Before the Automobile examines the first 200 years of the city’s history using rare books, manuscripts, maps, and graphics from the extensive collection of the University of Michigan’s William L. Clements Library.

Detroit was founded by the French in 1701 as a trading center and agricultural settlement. In 1760 it was passed to the British and became an important post for them during the American Revolution. It was ceded to the United States by the peace treaty of 1783, although the United States did not actually take control of the city until 1796. In 1805, Detroit became the capital of the Michigan Territory, but it was destroyed by fire the same year. Rebuilt to a radical new design, the town and fort were taken by the British at the outset of the War of 1812 and then recovered by the United States in 1813, just before the birth of the University of Michigan in 1817.

jan and david brandon family bridge | october 18, 2014–january 18, 2015

DETROIT BEFORE THE AUTOMOBILETHE WILLIAM L. CLEMENTS LIBRARY COLLECTION

Above left: Author unknown, Fort Leanue, circa 1809, Courtesy of the U-M William L. Clements Library

Above right: Philu Judd, Plan of Detroit, 1825, Courtesy of the U-M William L. Clements Library

Opposite: Edward Walsh, View of Detroit and the Straits, taken from the Huron Church, 1804, Courtesy of the U-M William L. Clements Library

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exhibitions

During the nineteenth century, Detroit matured and grew in importance as a shipping center with a developing industrial base of shipbuilding, rail-car construction, stove manufac-turing, and similar industries that ensured the city would have the infrastructure and transportation network needed to greet the infant auto industry at the dawn of the twentieth century.

The Clements Library has a rich variety of primary sources documenting the history of Detroit before 1900, from maps outlining the distinctive “ribbon farm” land pattern of the French, to plans of the town, and prints charting the city’s increasing size and the height of its buildings. Together this array of primary documents brings to life the early history of one the oldest cities in the Midwest.

guest curators

Brian Leigh DunniganAssociate Director, William L. Clements Library

Clayton LewisCurator of Graphic Materials, William L. Clements Library

umma coordinating curator

Carole McNamaraSenior Curator of Western Art

The exhibition is part of the U-M Collections Collaborations series, co-organized by and presented at UMMA and designed to showcase the renowned and diverse collections at the University of Michigan. The U-M Collections Collaborations series is generously supported by the Andrew W. Mellon Foundation.

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Park Su-geun (February 21, 1914–May 6, 1965) is one of the most popular, influential modernist painters in Korea. Largely self-taught, he focused on depicting farmers and ordinary people engaging in everyday activities.

He used a distinctive technique to enhance the surface of his paintings, building them up by repeatedly layering and scraping the paint. This technique was developed after Park moved to Pyongyang (the capital of present-day North Korea) in 1940, where he encountered archeological photographs in reports prepared by the Japanese. He was particularly fascinated by the Goguryeo period (37 BCE–668 CE) rock tombs of Anak and their wall paintings, which inspired his characteristic stone-like surface.

Because he did not receive a formal art education, Park Su-geun’s style is often considered naïve. It is more likely that he consciously deployed it to resonate with his subject matter. His interest in depicting ordinary people was initially kindled by quiet images of peasants by the French painter Jean-François Millet (1814–1875). This evolved into his unique vision of modern Korea. The surface of People on the Street, coupled with the minimalist rendition of five men

engaging in a conversation, seems to suggest the perseverance of the people who lived through the difficulties of Japanese colonial rule (1910–1945) and then the devastations of the Korean War (1950–53).

This painting was recently gifted to UMMA by the family of the late Joseph T. A. Lee, who taught at the U-M College of Architecture and Urban Planning for over three decades. In 1962, Professor Lee toured Korea with Elder Sang-Yong Nam, future U-M graduate student in urban planning and generous UMMA benefactor, who acted as his guide and translator. Lee purchased this painting

by Park Su-geun because to him it embodied the quintessential character-istics of Korea and its people. UMMA is pleased to have this important modern-ist’s work in the collection, and to be able to make known the story of the wonderful friendship between these two extraordinary people.

Natsu OyobeAssociate Curator of Asian Art

This recent acquisition will be on view in the first-floor connector between the Museum’s historic wing and the Maxine and Stuart Frankel and the Frankel Family Wing from October 13, 2014 to January 11, 2015.

in focus

PARK SU-GEUN

RELATED PROGRAMPark Su-geun and Contemporary Korean ArtLecture by Christine Hahn, Associate Professor of Art History, Kalamazoo College

Wednesday, November 19, 2014 5 pm, UMMA's Multipurpose Room Reception to follow

For more information, visit www.umma.umich.edu

Park Su-geun, People on the Street, 1962, oil on canvas, UMMA, Gift of the Joseph T. A. and Elise Choy Lee Family, 2013/2.525

new acquisition

fall 2014 19

education

For more than a decade UMMA has built partnerships across campus to offer faculty, students, and the public at large a series of dynamic and engaging programs. These programs offer a broad range of opportunities to learn and explore. Over the past year we worked with 22 different partners to deliver 115 programs, including artist residencies with the Penny W. Stamps School of Art and Design that serve the teaching and learning mission of the University, concerts and performances for the

public developed by the U-M School of Music, Theatre & Dance (SMTD) faculty and students in response to themes in our exhibitions, student projects and competitions that invite students to express their own creativity, and much more. Turn to page 21 to see the full list of partners. This 2014–15 year, we look forward to working with these and other partners to offer an exciting lineup of events and initiatives with something for everyone. Here’s a sampling of what’s to come in fall.

UMMA PUBLIC PROGRAMS

LOOKING AHEAD

ENGAGING CAMPUS AND THE COMMUNITYartscapade • friday, august 29

Every fall, UMMA partners with Arts at Michigan to welcome over 3,000 incoming freshmen at Artscapade, a museum-wide art-filled event. This year the Japanese art collective Paramodel will be on site to extend their playful 3D installation in the Stenn Gallery to the areas outside the Museum, with hands-on help from students. Paramodel will be on view from August 30, 2014 to January 4, 2015

Paramodel, paramodelic-graffiti, 2012, Tokyo Station Gallery, Tokyo, Japan, ©paramodel

fred tomaselli stamps lecture • thursday, october 2

Celebrated artist Fred Tomaselli will deliver a public talk for the Penny W. Stamps Speaker Series at the Michigan Theater. During his residency, Mr. Tomaselli will also participate in studio visits and meetings with Stamps School of Art and Design faculty and students. Fred Tomaselli: The Times will be on view from October 4, 2014 to January 25, 2015.

Fred Tomaselli, May 13, 2013, 2013, gouache, marker, and archival inkjet print on watercolor paper, Courtesy of the artist and James Cohan Gallery, New York / Shanghai

umma dialogue: amie siegel and kathleen forde • friday, october 17

Artist Amie Siegel and exhibition curator Kathleen Forde will convene for an UMMA Dialogue to discuss the themes in Siegel’s recent video work Provenance. Partnering with the U-M Insti-tute for Humanities and Penny W. Stamps School of Art and Design, Siegel and Forde will also meet with students and faculty during their residency. Amie Siegel: Provenance will be on view from August 16 to December 7, 2014.

Amie Siegel, Lot 248 (Still), 2013, HD video, color, sound, 5 minutes, 25 seconds Courtesy of the artist and Simon Preston, New York

ARTISTS RESIDENCIES

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ALUMNI AND CURRENT STUDENTS FEATURED IN PUBLIC PROGRAMS

programs

In addition to serving the broader educational mission of the University of Michigan through our public programming, UMMA also engages students past and present as speakers and performers.

smtd@umma • saturday, december 6

Every year, students from the U-M School of Music, Theatre & Dance (SMTD) create and perform new work delighting Museum visitors with a music-filled gallery experience. This year’s annual SMTD@UMMA student installation concert Over the Line, is inspired by the Museum’s works and spaces. Student composers from classical and jazz traditions premiere new music for their small ensemble featuring the saxophone, an instrument whose unique tone perfectly suits our galleries. Concerts in conjunction with many of the exhibitions above will also be featured throughout the series.

umma dialogue: changing hands • thursday, september 4

The 2014 Doris Sloan Memorial Program is an UMMA Dialogue with Changing Hands exhibition curator Ellen Taubman, U-M Associate Dean and Carroll Smith Rosenberg Collegiate Professor of History and Native American Studies Philip J. Deloria, and a panel of artists including U-M’s own mother-daughter pair of black ash basket weavers Kelly Church (class of 1998) and Cherish Parrish (current LSA student), Canadian-based new media artist Skawennati, and Michigan ceramics and mixed media artist Jason Wesaw. Changing Hands: Art Without Reservation 3 / Contemporary Native North American Art from the Northeast and Southeast will be on view until September 14, 2014.

Mother-daughter artists Kelly Church (left), Cherish Parrish (right)

umma dialogue: erica barrish and alison gass • sunday, november 9

In this UMMA Dialogue we look forward to an exciting conversation between exhibition curator and U-M alumna Erica Barrish (BFA, 1998) and Associate Director for Collections, Exhibitions, and Curatorial Affairs at Stanford University's Cantor Arts Center, Alison Gass. Reductive Minimalism Women Artists in Dialogue, 1960–2014 will be on view from October 4, 2014 to January 25, 2015.

Ann Pibal, FXMT, 2013, oil on aluminum, Courtesy of Richard S. Marcus, Los Angeles, CA, Courtesy of the artist, Photograph by Jeffrey Sturges

For more information about UMMA’s programs, please visit www.umma.umich.edu.

U-M INSIDE AND OUT

fall 2014 21

REFLECTIONS FROM 2013–14

programs

u-m partners

arts at michigan

avant garde interest group

center for chinese studies

center for japanese studies

center for russian, east european, & eurasian studies

center for south asian studies

center for world performance studies

cew frances and sydney lewis visiting leaders fund

confucius institute

department of american culture

department of english

department of history of art

institute for the humanities

insitute for research on women and gender

islamic studies program

kelsey museum of archaeology

lesbian-gay-queer research initiative

lsa honors program

lsa theme semester

nam center for korean studies

native american studies program

office of the president

office of the provost

office of the senior vice provost for academic affairs

pakistan student association

penny w. stamps school of art and design

school of music, theatre & dance

residential college

taubman college of architecture + urban planning

university musical society (ums)

university of michigan health system

university of michigan medical school

wcbn 88.3 fm

community partners

ann arbor film festival

american romanian festival

ann arbor art center

southeast michigan jazz association

In addition to looking forward to the exciting programs to come, here’s a look back at what we accomplished and the audiences we served through public programs organized by UMMA, including concerts, readings, lectures and dialogues, symposia, film screenings, and family programming, including art-making workshops and Storytime.

UMMA PUBLIC PROGRAMS

7,500 PEOPLE ATTENDED 27 STUDENT PROGRAMS, SPECIFICALLY ORGANIZED BY STUDENTS, FEATURING STUDENTS AS PERFORMERS, AND/OR DESIGNED FOR THE STUDENT AUDIENCE.

UMMA EDUCATION DELIVERED 115 PUBLIC PROGRAMS WITH A TOTAL ATTENDANCE OVER 17,500.

OUR WORK WITH 37 DIFFERENT CAMPUS AND COMMUNITY PARTNERS BROADENED THE IMPACT OF PUBLIC PROGRAMS ACROSS AUDIENCES.

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programs

With the beginning of a new term at the Univer-sity, UMMA enters the third year of its Mellon Foundation-supported campus outreach initia-tives. Last year, class-related visits to the Museum increased by nearly 25%, doubling the number student visits in the initiative’s first year. Behind the total of 4,725 student-visitors last year, there are compelling stories of powerful experiences

with works of art that both transformed classroom learning and turned large numbers of undergradu-ates into lifetime appreciatiors of the arts. For this look back at last year’s campus engagement, we highlight the experiences of some of the instruc-tors and students who visited UMMA with univer-sity classes last year.

EXPANDING THE FRAME OF UNIVERSITY LEARNINGINCREASING NUMBERS OF UNIVERSITY INSTRUCTORS ARE INTEGRATING UMMA’S COLLECTION INTO THEIR COURSES IN EXCITING AND CREATIVE WAYS. INSTRUCTORS AND STUDENTS TELL US WHAT IT’S BEEN LIKE.

“When you walk out of the typical classroom and into an object study room, the artwork becomes real. The hand of the artist comes alive through visible brushstrokes and deci-pherable mediums. Simply put, the interac-tive, unparalleled resources available to U-M students through UMMA provides us with yet another reason to become enamored by the promise of new knowledge.”

Andrea Calvert, Senior, English Language and Literature, Course: Representing Fashion: Costume and Dress in the Visual Arts

“It was a very unique opportunity to be able to analyze a set of paintings through the lens of themes we discussed in our course. Comparing the literary characteristics of a demon with the visual characteristics of a demon allowed me to think more critically about how a demonic figure is represented in both mediums. Discussing the literary representation of the uncanny and comparing it to the visual representation of the uncanny, provided me with a greater depth of under-standing of this theory and how it can be used to interpret works of art.”

Julia Kortberg, Sophomore, German and Organizational Studies, Course: Introduction to Literary Studies: Dreamers, Detectings, and Demons

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programs

UMMA's increased outreach on campus, made possible by a grant from the Andrew W. Mellon Foundation, has resulted in significantly more class visits to the Museum. UMMA welcomed 77 class visits during 2012, 153 class visits in 2013, and 209 class visits in 2014.

Class visits

STUDY ROOM & STUDY CASE USAGE

“The opportunity for my students to visit UMMA and spend time with art by women in the Works Project Administration definitely added a new dimension to my course, Working-Class Women's Writing. Students were able to make insightful and really compelling connections between the written texts on which our course focused and the art created by female WPA artists; in the different media, they identified similar issues, themes, and complexities.”

Gina Brandolino, Lecturer, U-M Sweetland Writing Center, English Language and Literature, Course: Women and Literature: Working-Class Women’s Literature

“Integration of the UMMA collection into my course curricula has proven an invaluable resource for my students and myself as an instructor. The whole process of creating a display for students to study is streamlined and easy to develop. As the entire collection is available to preview online, it was simple to search for items (often not displayed in the galleries) that, in my case, had unusual attributes. As a twenty-first century educator, I feel it is important to provide opportunities to learn about additional contexts and new modes of acquiring information.”

Christianne Myers, Assistant Professor of Performing Arts, Theatre and Drama, Course: Costume Crafts

“In historical studies, there is nothing better than the feel of working with originals. The fact that digital images are available at one's fingertips hasn't changed the lure of objects from the time period under discussion, be it the Reformation, as in my class, or any other. Introducing students to the rich treasure trove of prints in the Museum's collections was the high point of the semester. The change of venue, the different dynamic, as well as the experience outside the classroom are part of a novel experience—crucial to fostering a sense of appreciation for the past and to triggering questions or novel forms of engagement. It was a learning experience for all of us.”

Helmut Puff, Professor of Germanic Languages and Literatures, History, and Women’s Studies, Course: Martin Luther’s Reformation

“Seeing the work in person at UMMA is such an intimate experience. Instead of seeing something on the screen or on a wall (and behind a frame) we have the opportunity to truly see the work as the photographer meant it to be seen. For many of my students, this is the first time they've had that experience and often they mention the power of it. It is a favorite part of the class for all of us.”

Lisa Steichmann, Lecturer, Penny W. Stamps School of Art & Design, Course: Digital Photography for Non-Majors

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Once a month, children ages four to seven are invited to hear a story in the galleries for UMMA's Storytime at the Museum program. This summer, student docents and UMMA staff brought art to life through stories relating to Changing Hands: Art Without Reservation 3, an exhibition on contemporary Native North American art.

UMMA's annual Student Late Night event, planned by students for students, drew a crowd of more than 1,100 on April 10, 2014. The event featured art-making activities centered around UMMA's ongoing Love Art More student engagement project, music by WBCN DJs, a photo booth, and more.

Over the summer, 30 fifth graders from Ypsilanti Community Schools toured UMMA as part of the Elementary Mathematics Laboratory, an exciting teaching and professional development initiative offered by the U-M School of Education program Teaching Works.

Artist Yasuhiko Hayashi (pictured below) of the Japanese art collective Paramodel, along with a crew of eight, worked for one month to install a site-specific installation from their famous paramodelic-graffiti series in UMMA's Stenn Gallery. For more information about the exhibition, see pages 10–11.

umma happenings

umma.umich.edu26

4.5%

THE POWER OF ENDOWMENTEndowment funds are invested for the long term. You can designate the purpose of your endowment, and then earnings from those investments will grow over time to fund your philanthropic priorities forever. Here are few examples of what your gift can do.

HOW A GIFT GROWSThe Charles H. and Katherine C. Sawyer Endowment Fund

The Charles H. and Katherine C. Sawyer Endow-ment Fund began with a $5,000 gift in 1984 from Charles Sawyer, UMMA’s second Director (from 1957 to 1972), and today continues a legacy of Museum education and training by providing important annual support for student intern-ships. During his years at Michigan, Charles Sawyer created a landmark program in museum practice to train museum administrators, one of the first of its kind in the United States; gradu-ates of that program have filled leadership posi-tions in major museums throughout the country, including the Toledo Museum of Art, the Cincin-nati Art Museum, and the Berkeley Art Museum, among others. The Sawyer endowment grew slowly in its first decade, with annual contribu-tions bringing the principal to $100,000 in 1993. Two decades later, and after additional gifts, the fund is now worth $755,939 and provides more than $30,000 in annual internship support.

For more information about how you can support UMMA’s campaign goals, please contact Carrie Throm at cthrom@umich.edu or 734-763-6467.

campaign

GENERATES ABOUT* THE POSSIBILITIES

U-M student events and online engagement

A year-long fellowship for History of Art students (at UMMA)

An exhibition of newly commissioned work

A groundbreaking Media Gallery video installation

A collections installation in UMMA's Photography Gallery

Conservation of an Old Master painting

Outreach activities for K-12 students and teachers

A brief residency by a nationally known artist

Artmaking workshops for families

A dynamic humanities learning project on UMMA's website

A semester of School of Music, Theatre & Dance performances

Storytime program that engages children and families

$45,000 / Year

$11,250 / Year

$4,500 / Year

$2,250 / Year

$1,000,000

$250,000

$100,000

$50,000

GIVING LEVEL

›››

›››

›››

››› or

or

or

or

or

or

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A BLUE CHIP INVESTMENT

will grow to

over 20 years

An endowed gift of

$100,000$254,847 for UMMA in that time

generating

$130,805

plus it keeps growing in perpetuity é estimated market value ê

Annualized rate over 14 years

Annualized rate over 14 years

9.6%U-M endowment

payout rate from the endowment

3%Standard & Poor’s 500

SHOP LOCAL, BUY LOCAL

The UMMA Store is dedicated to offering a variety of unique, handcrafted items from local Michigan artists year-round. This fall, find jewelry from Lori Pickard of Ann Arbor, sterling and acrylic Michigan necklaces by Stevie K. of Paw Paw, brushed vases by Tom Krueger of Traverse City, ceramics from Francesc Burgos of Ann Arbor, silk screen printed ties by Bethany Shorb of Detroit, and digital photography prints by Jan Kaulins of Manitou Beach, among many others. There's something for everyone, so stop by and shop local today!

All UMMA members receive a 10% discount in store and online at www.store.umma.umich.edu.

STORE HOURS MON–SAT 11AM–5PM, SUN 12–5PM SHOP ONLINE! STORE.UMMA.UMICH.EDU

featured item

This wheel-thrown Classic Bud Vase measures approximately 5-6" in height, and is available in a variety of colors. Each vase is individually handcrafted by artisans at Pewabic Pottery in Detroit, which is one of three historic Arts & Crafts era potteries still in existence today. Founded in 1903 by Mary Chase Perry Stratton, Pewabic is nationally renowned for its handmade ceramic tile and vases in unique glazes. Find a selec-tion of Pewabic items in store during your next visit.

University of Michigan Board of Regents: Mark J. Bernstein, Ann Arbor; Julia Donovan Darlow, Ann Arbor; Laurence B. Deitch, Bloomfield Hills; Shauna Ryder Diggs, Grosse Pointe; Denise Ilitch, Bingham Farms; Andrea Fischer Newman, Ann Arbor; Andrew C. Richner, Grosse Pointe Park; Katherine E. White, Ann Arbor; Dr. Mark S. Schlissel, ex officio

Contributors: Lisa Borgsdorf, David Choberka, Anne Drozd, Erin Forsythe, Mark Gjukich, Sydney Hawkins, Courtney Lacy, Carole McNamara, Natsu Oyobe, Ruth Slavin, Leisa Thompson, Carrie Throm, Benjamin Weatherston

Editor: Sydney HawkinsDesigner: Kevin Woodland

N o n - P r o f i t O r g a n i z a t i o n U. S . P o s t a g e PA I D A n n A r b o r, M I P e r m i t N o . 14 4

through october 12, 2014

Three Michigan Architects: Part 3—George Brigham through october 19, 2014

Artistic Impositions in the Photographic Portrait through december 7, 2014

Amie Siegel: Provenance august 30, 2014–january 4, 2015

Paramodel october 4, 2014–january 25, 2015

Reductive Minimalism: Women Artists in Dialogue, 1960-2014october 4, 2014–january 25, 2015

Fred Tomaselli: The Times october 18, 2014–january 18, 2015

Detroit before the Automobile: The William L. Clements Library Collectionoctober 25, 2014–february 15, 2015

Suspended Moments: Photographs from the David S. Rosen Collection

For up-to-date details on UMMA exhibitions and programs, visit umma.umich.edu or follow UMMA on Facebook or Twitter!

525 South State Street Ann Arbor, Michigan 48109-1354 734.763.UMMA umma.umich.edu

connect onlinefacebook.com/ummamuseum twitter.com/ummamuseum instagram.com/ummamuseum

become a memberumma.umich.edu or umma-giving@umich.edu

gallery hours (September–April)Tuesday through Saturday 11 am–5 pm Sunday 12–5 pm Closed Mondays

building hours (September–April)The Forum, Commons, and selected public spaces in the Maxine and Stuart Frankel and the Frankel Family Wing are open daily 8 am–8 pm.

Admission to the Museum is always free. $10 suggested donation appreciated.

university of michigan museum of art

EXHIBITIONS ON VIEW