January - August 2018 - Snite Museum of Art
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January – August 2018
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F RO M TH E D IR ECTO R
Raclin Murphy Museum of Art at Notre Dame
Longtime philanthropists in the greater South Bend community Raclin is a Trustee Emerita of Notre Dame, a formidable commu-
— Ernestine Raclin and her daughter and son-in-law Carmen nity leader for many years on the local, state, and national levels
and Christopher Murphy — made a lead gift for the construc- and a generous supporter of the University. She, the Carmichael
tion of the Raclin Murphy Museum of Art at Notre Dame to be Foundation, and her family made a lead gift to Notre Dame in 2011
located within the University’s new arts district on the south to fund the renovation of the Morris Inn, the full-service on-cam-
end of the campus. pus hotel that was originally constructed in 1952 with a gift from
At 70,000 square feet, the Raclin Murphy Museum of Art her parents, the late Ernest M. and Ella L. Morris. She also contrib-
will be the first phase of what will ultimately become a uted to Raclin-Carmichael Hall, the home to Notre Dame’s W.M.
132,000-square-foot museum. Construction will begin by early Keck Center for Transgene Research and the Indiana University
2020 with an anticipated completion in late 2021 or early 2022. School of Medicine-South Bend.
It will join the DeBartolo Performing Arts Center, Charles B. Chris Murphy is chair, president, and chief executive officer of 1st
Hayes Family Sculpture Park, Matthew and Joyce Walsh Family Source Corp. A 1968 Notre Dame graduate, he has served as CEO
Hall of Architecture, and O’Neill Hall of Music in Notre Dame’s of the bank since 1977 and on its board for 45 years. In addition to
new arts district. the Morris Inn, he and Carmi have supported Raclin-Carmichael
The Snite Museum of Art will continue to operate until the Hall, the 1st Source Bank Commercialization Award, and multiple
entire new museum is one day constructed. other projects at Notre Dame.
I am deeply moved by this transformative gift that fulfills the Chris Murphy serves on Notre Dame’s College of Arts and
museum’s primary vision –to place art at the heart of Notre Letters Advisory Council, and he and Carmi are members of the
Dame. This new museum will make the arts central to a Notre President’s Circle and Gift Planning Advancement Committee.
Dame education, enhance collaboration between Notre Dame’s In addition to serving on the Indiana Commission for Higher
arts units, and better share campus resources with the local Education, he is chair of the Medical Education Foundation and
community. It will also resolve serious space shortages we are the Indiana Academy Board of Regents, and he is a member of the
experiencing within the current building and it will address the board of the Independent Colleges of Indiana.
absence of visitor parking. Carmi Murphy has served on the Snite Museum Advisory Council
We are presently turning down some requests for tours and since 2007 and is a life board member of WNIT. She served for 15
programs because the building is at capacity. We cannot dis- years on the Saint Mary’s College Board of Trustees and now sits
play certain temporary exhibitions offered to us because of lim- on the President’s Circle. Among others, she serves on the boards
ited gallery space, and as the collection has grown we have had of the Michiana YMCA, Memorial Health Foundation, and the
to convert some galleries to art storage vaults. In short, the new Family and Children’s Center. Four of Chris and Carmi’s children
building will allow us to better fulfill the University’s mission as have Notre Dame degrees.
it relates to the arts. — Charles R. Loving
Judy Pfaff (American, b. 1946 in England), “…wind-deer and the honey-grass…”, 2017 Director, Snite Museum of Art
woodcut, hand painted dye and ink, archival inkjet, plastic film, 44 x 99.50 inches, varied edition of 12. Curator, Charles B. Hayes Family Sculpture Park
To be acquired in 2018 with funds provided by the Humana Foundation Endowment for American Art. Curator, George Rickey Sculpture Archive
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APRIL MAY — AUGUST
JANUARY FEBRUARY MARCH
3 RD THURSDAYS @ THE SNITE EXHIBIT LECTURE Family Programs Jazz Series
Connections: Money Worries SPRING BREAK FAMILY NIGHT SUMMER 3 RD THURSDAYS @ THE SNITE
Art, Community, Action “Money Immaterial: @ THE SNITE: ARTIST STORIES Spend four summer evenings with us grooving to jazz in the Mary Loretto
THURSDAY, JANUARY 18 The Cashless Past, a Cashless THURSDAY, APRIL 5 & Terrence J. Dillon Courtyard. Stephen and Mary Merriman of Merrimans’
5:00 – 7:30 p.m. Future, and the Public Good,” 5:00 – 7:00 p.m. Playhouse will again bring artists from around the country to the Museum
Honor the life and legacy of Rev. Martin WEDNESDAY, MARCH 7 Explore how artists share their personal for a summer jazz series that you won’t want to miss. Enjoy a cash bar,
Luther King by participating in a 5:00 p.m. stories through their artworks during this freshly popped popcorn, and featured works of art for every concert.
community celebration. Join a uniting by Bill Maurer, Dean of Social Sciences, special evening event. Join us for some amazing jazz in the courtyard.
drum circle, talk with members of the Prof. of Anthropology and Law, University
THURSDAY, MAY 17 THURSDAY, JUNE 21
community about their lives and the role of California, Irvine. Co-sponsored with
PUBLIC EXHIBITION RECEPTION THURSDAY, JULY 19 THURSDAY, AUGUST 16
that art plays in them, create a work of the Department of Anthropology and the
art that will bring beauty and healing Institute for Scholarship in the Liberal Arts. 2018 BFA/MFA Each event runs from 5:00 until 7:30 p.m.
into the world, and learn more about Candidates Thesis Exhibit
your community. FRIDAY, APRIL 13
EXHIBIT LECTURE 5:00 – 7:00 p.m.
3 RD THURSDAYS @ THE SNITE
PUBLIC RECEPTION
Money Worries Join us for an evening of live music, the
Mark your calendars for the third Thursday each month for
“Precious Metals in the Age departmental awards presentation, and
Winter Special Exhibitions of Terror: Goldsmiths at Work complimentary refreshments exciting programs, interesting people, and amazing works of art.
FRIDAY, JANUARY 26 All 3rd Thursdays are from 5:00 – 7:30 p.m., free, open to all,
5:00 – 7:30 p.m.
during the French Revolution,” include refreshments, and are a great way to connect with art
TUESDAY, FEBRUARY 6 in new ways. The entire Museum is open and waiting for you.
Friends of the Snite Museum will 5:00 p.m.
host the winter reception offering A free shuttle runs 4:45 – 7:45 p.m. from Compton Family Ice Arena
by Iris Moon, Assistant Curator in
refreshments, and entertainment by lot to Snite Museum or park in B or C lots south of the Stadium and
the Department of European
Eli Kahn, local jazz musician. Cash bar walk to the Museum.
Sculpture and Decorative Arts,
available. Enjoy an evening at the Snite
Metropolitan Museum of Art.
Museum mingling, listening to music,
Co-sponsored with the Nanovic
and viewing two special exhibitions ND Students can receive weekly event schedules and special
Institute for European Studies
opening in January – Modern Women’s emails about the Snite Salon series, Snite@Nite, Reading Days
Prints and Money Worries. Free parking in the Museum, the annual Wham! Bam! Poetry Slam! and other
on campus after 4:30 p.m. in lots south events designed for them by sharing their email address with
3 RD THURSDAYS @ THE SNITE 3 RD THURSDAYS @ THE SNITE 3 RD THURSDAYS @ THE SNITE
of the stadium near Legends. Hoyt.14@nd.edu.
Artist Talk: Judy Pfaff Figure It Out Sonic Borders 2 by
THURSDAY, FEBRUARY 15 THURSDAY, MARCH 15 Guillermo Galindo For more information on how university students can become
5:00 – 7:30 p.m. 5:00 – 7:30 p.m. involved with the Snite Museum’s educational and social programs
THURSDAY, APRIL 19
Pfaff will give an illustrated talk of Explore the complexity of the human visit: sniteartmuseum.nd.edu/learn/university/students
5:00 – 7:30 p.m.
her work in Annenberg Auditorium form during facilitated nude figure Artist and experimental composer Guillermo
and then spend time in the Modern drawing sessions in the 18th and 19th Galindo creates instruments that look like
Women’s Prints exhibition talking century galleries (which will be open sculptures using discarded items found at
about her piece ...wind-deer and the only to those drawing). No experience the U.S./Mexico border. This sonic ritual
honey-grass. is required. Guidance will be provided performance will explore the challenging For more information about upcoming events visit our
by Notre Dame MFA students, and all physical and emotional realities of the border. website, sniteartmuseum.nd.edu
materials will be supplied.
*This event is for adults 17 and over. All events are free (unless noted) and open to all.
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WINTER EXHIBITIONS Money
Modern Worries
Women’s O’Shaughnessy Galleries II and III
and the Scholz Family Works on
Prints Paper Gallery
January 21 – March 25
O’Shaughnessy Gallery West
January 14 – March 18
“Thinking about money, and money itself,
has the power to evoke despair,” wrote
Modern Women’s Prints includes over
Michael Phillips in his 1974 book The
30 works selected from the permanent
Seven Laws of Money. That observation
collection of the Snite Museum, some of
was the starting point for a new exhibi-
which have never been on public view in
tion, Money Worries.
the Museum. The prints are by female
artists whose styles are drawn from many Co-organized by an anthropologist, a
cultural traditions, and reflect the full professor of French, a curator, a local
array of printmaking techniques. Among numismatist, and an emerging technol-
the artists represented are Jennifer ogies librarian, the exhibition includes
Bartlett, Deborah Muirhead Dancy, Grace old master and contemporary paintings,
Hartigan, Lee Krasner, Koo Kyung Sook, sculptures, prints, photographs, antique
and Emmi Whitehorse. and modern currencies from Europe,
America, and Africa in addition to inter-
Late in the nineteenth century, many
active games that encourage visitors to
artists in Europe and the United States
reimagine money and their relationship
became interested in printmaking
to it.
as a creative process. Unlike their
predecessors, these printmakers A case at the entrance of the gallery
designed their own images, created displaying bank notes from revolution-
their printing matrices, and pulled their ary France, pre-World War II Germany,
own multiple originals by hand or at the antebellum Indiana, and even The Walt
Artemio Rodriguez (Mexican, b. 1972), Avaricia, 2005
press. The notion of self-reliance was Disney Company reveals the arbitrary screenprint, 33.75 x 33.25 inches. Gift of Dr. Gilberto Cardenas, 2011.045.069. © Artemio Rodriguez
comfortable to Americans, and many way that value is assigned and wealth is
women and men pursued printmaking designated. The beautifully illustrated,
craft: hobbies that often grew into a colorful notes introduce concepts such as
profession. During the 1910s and 1920s, hyperinflation, micro-currencies, and the
women helped organize the spread of whitewashing of colonial exploitation. RELATED LECTURES
print clubs across the United States, and The curators invite visitors to play games
Using radically anachronistic juxtapo- featuring money, one designed specifi-
Iris Moon, Assistant Curator in the
during the Great Depression they worked sitions, the curators arranged a section Department of European Sculpture
in the government-sponsored Works cally for this exhibition. The digital game
on portraits acknowledging their use as and Decorative Arts, Metropolitan
Progress Administration printshops. Spent is available online and allows play-
Emmi Whitehorse (American, b. 1957) Untitled (from Untitled Series), 2011 a form of cultural currency that signals Museum of Art, New York
However, when the market for fine prints ers to run through microeconomic simu-
monotype, 29.75 x 22.25, inches. Acquired with funds provided by the Humana Foundation political and social capital, culminat- lations of urban living to test their ability “Precious Metals in the Age
evaporated during World War II, the Endowment for American Art, 2013.022.002. © Emmi Whitehorse ing in the ubiquitous “selfie” and the
graphic media approached extinction. to manage money. In addition, Randal of Terror: Goldsmiths at Work
accumulation of “likes” on social media. Harrison, emerging technologies librar- During the French Revolution.”
In 1957 Tatyana Grosmann opened her Julia Douthwaite Viglione, professor of ian at the University of Notre Dame’s Tuesday, February 6 at 5:00 p.m.
print workshop, Universal Art Limited French and Francophone Studies at the Hesburgh Libraries, custom redesigned
University of Notre Dame and guest Co-sponsored with the Nanovic
Editions (ULAE), on Long Island. She a board game called Landlord that recog- Institute for European Studies.
invited artists working in other media to co-curator, explained, “The purpose of nizes inequalities built into our economic
visit and collaborate with a professional the exhibition is to foreground money as a system. Players assume different statuses,
printer on their own fine prints. gauge of our value and to disrupt visitors’ start with different amounts of money, Bill Maurer, Dean of Social
received notions of wealth.” Sciences, Prof. of Anthropology and
Soon thereafter, the painter June Wayne Over the next 60 years, an unprecedented and use different dice with varying Law, University of California, Irvine
opened Tamarind Lithography Workshop flourish of graphic art followed in this Other sections of the exhibition explore numbers on them so they move around
banks as temples to money and financial the board at various paces. Set in a gallery
“Money Immaterial:
in Los Angeles, with the support of the country, as artists from many other visual
Ford Foundation. Aside from establishing media tried their hand at printmaking. transactions, such as paying taxes or with glass walls, the players themselves The Cashless Past, a Cashless
a professional studio for the complex This exhibition includes both works tithes, that are evidence of how relation- become part of the exhibition on display Future, and the Public Good.”
method of lithography, Tamarind was printed and published by ULAE, and ships between the classes are structured. for passersby to behold and contemplate. Wednesday, March 7 at 5:00 p.m.
designed to train master printers, and others produced by Tamarind-trained Co-sponsored with the Department
thereby revitalize printmaking practice in Master Printers. of Anthropology and the Institute for
the United States. Scholarship in the Liberal Arts.
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SPRING EXHIBITION FALL EXHIBITION RECENT ACQUISITIONS
2018 BFA/MFA There’s No Place Like Time:
Candidates Thesis A Retrospective
Exhibition A Collaborative, Multimodal
O’Shaughnessy Galleries II, III and West Installation by Lance & Andi Olsen
April 13 – May 20 Scholz Family Works on Paper Gallery
September 1 – December 2
There’s No Place Like Time is a novel you can walk through.
It takes the form of a real retrospective of videos
dedicated to the career of Alana Olsen, one of America’s
most overlooked experimental video artists who never
existed. An interplay of videos, texts, books, and inter-
ventions, There’s No Place Like Time forms a multimodal
installation that translates Alana’s life (which began as
a fictional character in Lance Olsen’s novel, Theories of Judy Pfaff (American, b. 1946 in England) During the Art 21, Season 4, October 28, and manipulated images in this large
Forgetting, 2014) into a three-dimensional reality. began the MFA degree program at Yale 2007 videotaped interview Pfaff states print the Snite Museum acquired. Judy
From Alana Olsen’s videos and the language surrounding University as a painter studying under that since a two-week vacation in the Pfaff activates the composition through
them (including a full-length fictional catalogue) you are faculty member Al Held (American, 1928- Mexican state of Yucatán in 1980 much her handling of color. She is quoted by
invited to infer her development, obsessions, and relation- 2005) who became her life-long mentor. of her work is inspired by trips to other Tandem Press as stating she likes to
This annual exhibition is comprised of the culminating thesis Held had gained fame in the 1950s with cultures and environments. “smash colors together” and her frequent
ship with her equally fictive daughter, Aila, a Berlin art
projects created by the students graduating with either his abstract expressionist paintings and use of hand-painted dyes or inks is seen
critic and conceptual artist who curates the exhibit. There’s “…when you go to other countries,
a BFA or MFA degree from the University of Notre Dame by the 1970s had transitioned to creating in this print and others made by her in
No Place Like Time remembers an oeuvre of fewer than they don’t have this rhetoric of the
Department of Art, Art History & Design. It is typically large, hard-edged, geometric paintings. 2017 at Tandem Press.
20 videos (some which are already missing) that span New York art world. They don’t
provocative and demonstrates a broad awareness of the By the time Pfaff graduated in 1973 paint-
roughly four decades and have, despite the paucity of their see things the same way. Fuchsia This large horizontal print also includes
themes and processes of contemporary art. Museum visitors ing was no longer her medium of choice,
numbers, influenced artists as varied as Lars von Trier, is not gauche. Color is not forbid- Pfaff ’s signature layering of images
are often challenged and always intrigued by the aspiring “I found when I was a painter I couldn’t
Douglas Gordon, and Martin Arnold den, not provocative. The birds through a physical layering of paper. In
graduate’s creations which range from industrial and graphic stop and until it was finished another
One of Alana Olsen’s videos, Theories of Forgetting, are colorful, the plants are colorful, both, …wind-deer and the honey-grass…
design projects, videos, and complex multi-media installa- thought didn’t enter. With the sculpture,
appears as a link in Lance Olsen’s novel by the same title. all the houses and the plastics 2017, and another in the series inspired
tions, to more traditional art forms such as paintings, photo- they go on for months. It tells different
Olsen’s novel, which forms the genesis of this exhibition, in the market are colored. It’s so by the trip to India–Evening Raga, 2017–
graphs, prints, ceramics, and sculpture. kind of stories…” From 1976-78 Pfaff
is itself based on another piece of art: Robert Smithson’s delicious, full, and rich and lively. I Pfaff used a clear plastic film to create
learned woodworking and welding while went snorkeling, and I think there the layered effect over a woodcut print.
Spiral Jetty, 1970, a 1,500-foot long basalt-stone earthwork teaching at the California Institute of Arts
located in Utah’s Great Salt Lake. was something about having no An image was printed onto the clear
and began sculpting. She soon had three gravity—I saw billions of colors film using a wide-format archival inkjet
There’s No Place Like Time takes part in a larger conceptual or four major exhibitions of her small, missing one another, floating by, printer. Then to the back of the film she
conversation investigating the problematics of identity simple, wooden stick figures; some were things being kind of dangerous. painted white ink behind the printed
construction and historical knowledge. painted, others were not, but to Pfaff each You have to understand: I don’t images to highlight details and patterns in
Composed of various hypotheses, interventions, and was a specific person. Some of these early swim. I don’t climb trees. I don’t do the design. The piece of painted film was
troublings, the exhibition doesn’t seek to replicate, replace, exhibition installations were composed much of anything. But this was an then layered over the background of the
or stand in for a past that never happened. Rather, it is of as many as 60 figures and she became extraordinary experience, snorkel- woodcut print.
meant to problematize the very idea of pastness — in known as an installation artist. ing off of the Yucatán. So, I never The print, “…wind-deer and the honey-
today’s sad jargon, we might call it an investigation into Pfaff has continued to expand her reper- did another figure. That was the grass…”, is on view until March 18 in the
the idea of alt-facts — while inviting a sort of choreog- toire of skills and mastery of a variety of end of that.” Modern Women’s Prints exhibition and
raphy, a way of moving through experience, through the materials and mediums. She currently This fascination with other cultures during the 3rd Thursday @ the Snite event
complications of identity, history, genre, and textuality. creates sculptures, large multi-media outside the United States continues on the evening of February 15 Judy Pfaff
Andi Olsen is the guest curator of this exhibition requested installations, drawings, and prints, such according to Judy Pfaff and the will speak about her body of work.
as the one illustrated on this page and
Public Reception and Departmental by ND Professor Steve Tomasula, Department of English,
the Creative Writing Program. It will be the focus of his the front cover, and continues to teach
printmakers at Tandem Press, Madison,
Wisconsin, who together created, “…
Awards Presentation fall 2018 class on hybrid writing and be on view during the art. Since 1994 Pfaff has been a faculty
member of the Bard College, Department
wind-deer and the honey-grass…”, Judy Pfaff (American, b. 1946 in England),
Friday, April 13, 5:00 – 7:00 p.m. October 6-8 &NOW Festival of Innovative Writing. 2017. Tandem Press states Pfaff was “…wind-deer and the honey-grass…”, 2017
of Art, located in Annandale-on-Hudson, enthralled by the brightly colored and woodcut, hand painted dye and ink, archival inkjet,
Join us as we celebrate the May 2018 graduates of the Art, New York. In 2004 she was named a intricately patterned kantha blankets plastic film, 44 x 99.50 inches, varied edition
Art History & Design Department and their completed MacArthur Fellow and in 2007 was she encountered during a recent trip of 12. To be acquired in 2018 with funds provided
thesis projects, and learn the winners of the department’s featured in PBS’s Art 21 series. to India and the results are the colors by the Humana Foundation Endowment for
annual awards. American Art.
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RECENT ACQUISITIONS
De Staebler Foundation
Contributes Sculpture
This sculpture by American artist Stephen De Staebler
(American, 1933 – 2011) is of particular interest because
it is a type made late in his career, which he called “bone
yard sculptures.” Ceramic artworks sometimes break or
explode during the firing process. Over the years when
such accidents occurred in De Staebler’s kiln, he buried the
broken body parts (arms, legs, torsos, heads, etc.) in his
studio garden, literally creating a retaining wall, figuratively
creating an archaeological site (“bone yard”) of discarded
body parts. Beginning in 2006, he had his assistant dig up
these body parts and they reassembled them into composite
figurative sculptures such as this one. Commenting on this
phenomenon, his widow Danae Mattes indicated: “These
new works are akin to a private archeological excavation,
recollection, and culmination of Stephen’s life endeavors.
Stephen’s bone yard . . . has acted as a ‘sublimation field’
from which to draw from later in life.”
All of De Staebler’s artworks juxtapose the frailty and
transience of individual lives against the remarkable
resilience of mankind. Their forms are rooted in Western
sculpture, memorial steles, and architectural friezes. Classical
sculpture’s defiance of absolute decay became De Staebler’s
metaphor for mankind’s yearning to connect with eternity—
in our shared quest for spiritual transcendence.
De Staebler’s bronze sculpture entitled Single Winged Figure
on Plinth, 2010, is installed within the Charles B. Hayes Family
Sculpture Park. His ceramic sculpture entitled Figure Column
IX, 2001, is on view in the Snite Museum of Art.
Seven sculpted forms created by Oceanic and African artists in the twentieth century
—six masks and one shield–were recently donated by Mr. Robert LaCasse. They were
created for ceremonial use by members of various Sepik tribes of Papua New Guinea;
the Baule of the Ivory Coast; the Bamana of Mali, and the Dan of Liberia.
Stephen De Staebler (American, 1933 – 2011), Figure with Extended Leg, 2008 Coastal Sepik (Papua New Guinea) Wogeo Mask, 20th century
fired clay, 69.5 x 14 x 20.5 inches. Gift of the Stephen De Staebler Foundation, 2017.048 wood, plant fibers, pigment, 16 x 7.5 inches. Gift of Mr. Robert LaCasse, 2017.046.001
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RECENT ACQUISITIONS
Irish Paintings from the Keough Family
Donald and Marilyn Keough were The gift includes fine examples by some of
extraordinary friends of the University of Ireland’s most recognized artists. Two figural
Notre Dame. To them the University owes paintings by Jack Butler Yeats (1871–1957)
the Donald R. Keough School of Global are chief among the group. Yeats, the brother
Affairs, the first new school founded at of the Nobel laureate in literature W.B. Yeats,
Notre Dame in nearly a century, and developed an expressionistic style that
the long-established Keough-Naughton introduced modernism into Ireland in the
Institute for Irish Studies, regarded as twentieth century.
the premier Irish studies program in the Roderic O’Conor (1860–1940) is represented
country. These programs are distinguished by two landscapes, one from early in his
in part by their multidisciplinary approach career around 1880 and the other from his
to teaching and learning. Now, with mature period in 1935. O’Conor was born
the Keough gift of 19 Irish paintings to in County Roscommon, studied at the Royal
the Snite Museum joined with other Hibernian Academy (RHA), and then left
recent acquisitions of Irish prints and Ireland for the continent. He traveled first
photographs, the Irish Studies program can to Antwerp and later moved to Pont Aven in
add a visual component to the resources it Brittany where he became friends with Paul
offers its students and faculty. Gauguin and Paul Serusier.
Jack B. Yeats (Irish, 1871–1957), Driftwood in a Cave, 1948 Roderic O’Conor (Irish, 1860–1940), Torremolinos, 1935
oil on canvas, 14 x 21 inches (canvas). On loan from the Donald and Marilyn Keough Family, L2017.052.013 oil on canvas, 15 x 18 inches (canvas). On loan from the Donald and Marilyn Keough Family, L2017.052.012
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Irish Paintings from the Keough Family, continued
Two works by Nathaniel Hone (1831 – 1917) The group includes a mid-career painting The collection also includes paintings by
illustrate the lure of France in the nine- by one of the few women artists, Mary such popular Irish artists as Paul Henry,
teenth century. Hone studied in Paris with Swanzy (1882–1978), working in the first Maurice Canning Wilks, Markey Robinson,
the renegade academic artist Thomas half of the twentieth century. She studied and James O’Halloran. Together with the
Couture and settled in the Barbizon for a while with Nathaniel Hone at the acquisition of the William and Nancy
countryside with Jean-François Millet, RHA before heading to Paris where she Pressly Collection of James Barry Prints
Théodore Rousseau, and Camille Corot. attended some of the salons held by in 2015, mezzotints by the portraitist Mary Swanzy (Irish, 1882–1978), Young Claudius, 1942, oil on canvas, 20 x 24 inches (canvas)
He returned to Ireland taking with him a Gertrude Stein. Introduced to the work of Thomas Frye, and dozens of photographs On loan from the Donald and Marilyn Keough Family, L2017.052.017
realist approach to landscape painting. Picasso, Cézanne, Matisse, and Gauguin by Alen MacWeeney, this gift from the
He became a member of the RHA and among others, she adopted many of the Keough family lays a solid foundation for
was made professor of painting in 1894. dominant trends in modern art: cubism, expanded studies of Irish culture from the
fauvism, and orphism. In 1926 she settled eighteenth through the twentieth century,
in London and exhibited at the Dublin in addition to modern European art more
Painter’s Gallery and was featured at the broadly.
first Irish Exhibition of Living Art in 1943.
Nathaniel Hone (Irish, 1831–1917), Cattle at Moldowney, ca. 1890s
oil on canvas, 24 x 40 inches (canvas). On loan from the Donald and Marilyn Keough Family, L2017.052.015
(opposite bottom left and right)
Paul Henry (Irish, 1876 – 1958), Roadside Village, n.d.
oil on canvas, 14 x 16 inches (image). On loan from the Donald and Marilyn Keough Family, L2017.052
Markey Robinson (Irish, 1918–1999), Sail, n.d.
oil on canvas, 18 x 24.5 inches. Gift of the Donald and Marilyn Keough Family, 2017.052.002
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RECENT ACQUISITIONS
Photographs
Since the 1960s, Alen MacWeeney MacWeeney was in Ireland in 2014, The absence of people in these images
(Irish, b. 1939) has divided his career as when he chanced upon the O’Neill accentuates the lingering characters of
a commercial and creative photographer House in Southwestern County Kerry. people who once lived in these rooms.
between New York and his native This Victorian residence had stood empty The 12 prints from the series donated by
Ireland. He became celebrated for his for many years, before the builder’s Douglas Wetmore ’79 are the first color
photographs of Irish Travellers, who grandson arrived, to inhabit the building photographs by Alen MacWeeney in
welcomed him into their community, and just as he found it. In visits over two the Snite Museum of Art’s permanent
made it possible to capture revealing summers, MacWeeney photographed collection.
images of their close-knit families. its rooms, seeming arrested in time.
In New York, the artist took his camera The photographer captured the
among his neighbors in the streets. eccentric memories of the place, and
Illustrated is one photograph of twelve its original inhabitants. Like the house’s
from the resulting series, Return to owner, MacWeeney believes in the
Paradise, that were donated to the Snite importance of history, and he wants his
Museum by Douglas Wetmore ’79. All of photographs to be part of this process
the images in the series represent events of preservation. As MacWeeney started
in the subways of New York, taken from taking pictures in the house, memories
the perspective of everyday commuters, of his Irish childhood surfaced. He had
in underground corridors and platforms, both the distance and the knowledge
and inside the subway cars. MacWeeney of Irish customs to take in the details of
pieced together shots from different domestic life.
times and places, splicing them vertically His suite of color photographs of interior
into wide panoramic images. This format views–Village House, Kerry County–evoke
evokes the low, broad, illuminated the age of the building, and the frugal,
perspective along subway platforms, and traditional lives of the people who have
from the cars’ horizontal windows. These lived there. The bright colors of the walls
photographs demonstrate his continuing contrast with the grey Irish sky, and the
observation of society around him. solid furniture is typical of Irish country
houses from a bygone era.
Alen MacWeeney (Irish, b. 1939), Old Couple and WHN, New York, from the series Return to Paradise, 1977 Alen MacWeeney (Irish, b.1939), Goulding’s Clock, from the series Village House, County Kerry, 2015
digital pigment print, 18.07 x 52.76 inches (image). Gift of Douglas Wetmore ’79, 2017.044.001 digital pigment print, 16.46 x 16.02 inches (image). Gift of Douglas Wetmore ’79, 2017.045.004
16 17
When Man Ray (American, 1890 – 1927), lived
in Paris during the 1920s, he associated with the
pioneers of Dada and Surrealism, particularly
Marcel Duchamp. Supporting himself as a
fashion and commercial photographer, he
experimented with abstract, poetic, imagery
in his creative work. He developed a darkroom
method of solarization to create unique works he
called “Rayographs.” Man Ray arranged objects
like keys, tacks, and paper coils to cast their
shadows on the photosensitive paper when he
flashed on the darkroom lights. He used similar
techniques for his contemporary experiments in
film. Despite their rarity, the Rayographs became
well known and influential. As unique objects,
however, they were not lucrative for the artist.
Man Ray addressed this situation in 1963, when
he published copies of 12 of his Rayographs of
the 1920s in a limited edition. This haunting,
poetic image, recently acquired by the Snite
Museum, was one of them.
Long before computers and digital photography
made it easy to combine fragmentary imagery
into new compositions, artists used the
darkroom techniques of combination printing. In
the nineteenth century Oscar Gustave Rejlander
and Henry Peach Robinson superimposed
negatives to create historic and melodramatic
tableaux. In the 1960s, Jerry N. Uelsmann
(American, b. 1934), established himself as
master of this technology, and thus creator of
an alternate visual reality. With meticulous
craftsmanship, modern equipment and materials,
he made expressive advanced combination
printing, by sandwiching acetate film negatives
to combine their imagery. Uelsmann spliced
Man Ray (American, 1890 – 1927), Untitled, from the portfolio other negatives together to create seamless Jerry N. Uelsmann (American, b. 1934), Untitled, 1969
Man Ray Rayographs, 1921 – 1928 dreamlike images that defy the laws of physics gelatin silver print, 13.46 x 9.53 inches (image).
gelatin silver print, 1963, 11.10 x 8.54 inches (sheet). Acquired with funds Acquired with funds provided by the Milly and Fritz Kaeser
and time. In 1967 Uelsman was awarded a Foundation for Photography, 2017.042.002
provided by the Milly and Fritz Kaeser Endowment for Photography,
2017.041.001 Guggenheim Foundation fellowship for his
experiments in multiple printing techniques
in photography, and a solo exhibition of
Uelsmann’s photographs was presented at the
Museum of Modern Art.
Thanks to the generosity of Frank E. Smurlo ’58
another Lenny Foster (American, b. 1951) image
of the American Southwest has been added
to the permanent collection. After a two-week
vacation in the southwest Foster was so inspired
by the beauty and spiritual qualities of the
landscape, architecture, and Native Americans
living there that in 1993 he gave up a career in
the automobile industry and moved from the
Washington, DC, area to Taos, New Mexico, to
focus his energy on documenting and sharing Lenny Foster (American, b. 1951), Sprit of the Dunes
with others his sublime experiences in that (Great Sand Dunes, Colorado), 2016
environ through his camera. digital pigment print, edition 2/25, 23.97 x 26.10 inches
(image). Acquired with funds provided by the Frank and
Joan Smurlo American Southwest Art Endowment for
Excellence, 2017.043
18 19Art Purchase Recommended by ND Students Art Out & About
Works from the Snite Museum Collection on Loan
In his 2015 appeal Laudato Si: On Care for Our Common Home, “Water traps air within it when it freezes, creating bubbles that
Pope Francis reminds us that, “we ourselves are dust of scientists use today to sample the chemical composition and
the earth (Genesis 2:7); our very bodies are made up of her temperature of prehistoric era air. And these ice cores are melting
John Singer Sargent’s Madame Errázuriz (ca. 1883–84) will be on view A woodcut by Leopoldo Méndez entitled Lo que puede
elements, we breathe her air and we receive life and refresh- at alarming rates due to our warming climate. These vanishing
at the Dixon Gallery and Gardens in Memphis from January 28 through venir [What may come], (1945) will be included in the
ment from her waters.” The theme of the 2017 Photo- Futures glaciers take their stories with them. The bubbles of air that give us
April 8 as part of the exhibition The Real Beauty: The Artistic World exhibition Arte Diseño Xicágo [Art Design Chicago]:
class was climate change, and human interconnectedness an insight into the atmosphere of our ancient past and the stories
of Eugenia Errázuriz. Errázuriz was born in Chile in 1860 to a silver Mexican Inspiration from the World’s Columbian
with the natural world and the current crisis of that relation- and incredible knowledge they contain will not exist for much
magnate. She married the landscape painter José Tomás Errázuriz Exposition to the Civil Rights Era at the National
ship was at the heart of the photographic projects by nine longer if we continue to deny and ignore the ability of our actions
who came from a family of wealthy winemakers. The couple moved in Museum of Mexican Art in Chicago from March 23
photographers that students considered for acquisition into to fundamentally change our environment. Not only do these
1882 to Paris where Eugenia became a trendsetter among the glitterati through August 19, 2018.
the Snite Museum’s permanent collection. microscopic pockets of air provide evidence of the changing climate,
and an influential patron of modernism. The exhibition traces her life
Challenged with selecting a contemporary photograph that but they demonstrate how the very thing that sustains our life - air -
through her portraits and her own art collection and addresses the
helps visualize the complex issue of climate change, students is changing as well.”
broader issue of the role of South Americans in turn-of-the-century
ultimately recommended the Snite Museum purchase James Europe. A catalog by Julie Pierotti is scheduled to appear in April 2018.
Balog’s Greenland Ice Sheet, 14 July 2008, Bubbles of ancient air,
possibly 15,000 years old, are released as the ice sheet melts, from
ICE: Portraits of Vanishing Glaciers. This striking image makes
particularly visible one of the many consequences of global
climate change: as glaciers retreat due to warming global PhotoFutures 2017 participants were Carlos Celis Rivero ’18,
temperatures, the ancient history they safeguard irretrievably Caroline Cox ’20, Sarah Harper ’20, Sophie Lillis ’18,
melts away, too. Justifying their selection, students explained, and Danielle Partyka ’18.
John Singer Sargent (American, 1856–1925) Leopoldo Méndez (Mexican, 1902–1964)
James Balog (American, b. 1952), Greenland Ice Sheet, 14 July 2008, Bubbles of ancient air, possibly 15,000 years old, Madame Errázuriz, ca. 1883 – 84, Lo que puede venir [What May Come], 1945
are released as the ice sheet melts from ICE: Portraits of Vanishing Glaciers oil on canvas, 26.5 x 22.25 inches (framed). woodcut, 13.88 x 9.5 inches (sheet).
digital pigment print, 20 x 30 inches, Acquired with funds provided by the Humana Foundation Endowment for American Art, 2017.055 Gift of the Estate of Edward Fowles, 1971.018.004 Gift of Charles S. Hayes ’65, 2009.007.022
20 21MU S EUM NEWS Charles B. Hayes Family Sculpture Park
Welcome New Museum Staff Members Watch for Reclaimed
New Museum
Hours in June 2018
Starting in June 2018 the Snite Museum
galleries will be open for public viewing
every Thursday until 7:30 p.m., and
closed on Sunday afternoons.
These schedule changes will
accommodate both a marketing The transformation from construction The first 100 guests who planted a
Meet Our New Assistant Meet Our New Registrar survey response on how to increase dirt storage site during the three-year Little Bluestem grass plug received
Curator of Education, Victoria Perdomo general museum attendance, and Campus Crossroads Project back to a a complimentary t-shirt. Sarah
an increase in requests from the sculpture park was informally celebrated Longenecker, County Conservationist
Academic Programs Victoria Perdomo joined the Snite Museum academy and public schools for more in late-August with members of the for the St. Joseph County Soil and
Rachel Heisler staff as registrar in December 2017. She morning and evenings guided tours, Charles B. Hayes Family, the campus, Water Conservation District, gave a
previously worked as the collections class sessions in the museum, and and area community. The Friday short presentation about the history,
In late January, the Snite Museum of management assistant registrar at Crystal evening special events. evening event was held just before the life cycle, and rationale for using prairie
Art will welcome Rachel Heisler as the Bridges Museum of American Art, fall semester began, and organized grass in the sculpture park. Guests
inaugural assistant curator of education, Bentonville, Arkansas, where she managed by the Friends of the Snite Museum were welcome to sample the offerings
academic programs. This new position large-scale traveling exhibitions. Prior to in collaboration with co-sponsors of ice cream stations and frozen treat
will make it possible for the Museum that she worked in the registrar’s office of Planting a prairie grass plug.
VisitSouthBend.com and the South Bend carts roaming the park.
to better serve Notre Dame students the Cleveland Museum of Art. She has a Mayor’s Office of Parks and Venues.
in a co-curricular capacity Rachel will M.A. in art history and museum studies
be responsible for supporting the Snite from Georgetown University; a M.A. in
Museum Student Advisory Group in addi- contemporary art from Sotheby’s Institute
tion to working with student clubs, resi- of Art; and a B.A. in art history and criticism
dence halls, and other campus partners. from Case Western Reserve University.
Rachel comes to the Snite Museum from Victoria is pursuing a career as a registrar
the Williams College Museum of Art because she wants to play a role in
where she was the Manager of Student protecting and safekeeping artworks for
and Visitor Engagement. There she grew future generations. Similarly, she sought
the WALLS program that lends original the registrar’s position at the Snite Museum
works of art to students to live with for a of Art because artworks collected by
semester and mentored participants in universities and colleges are made available
two student programs — Gallery Guides for examination, dialogue, research, and
and Think Tank — among other initiatives scholarship within a community of scholars.
that more deeply connect students to the She is presently most interested in Abstract
museum. Expressionism, especially the ways it
Previously, Rachel worked in the educa- evolved in Latin America.
tion departments of the Massachusetts Victoria’s husband Kyle Gisser is a special
Museum of Contemporary Art and the education teacher. When not pursuing
Tweed Museum of Art at her alma mater, their careers, they enjoy running, kayaking, Joseph C. Tilson, RA, (English, b. 1928),
the University of Minnesota Duluth. dining, and playing board games. Victoria is Three Wrist Watches, 1965
also an avid reader and an art maker—with screenprint, 26.75 x 39.25 inches, Gift of Mr.
Anthony Harris, 1979.083.035
primary interests in painting and drawing.
Charles S. Hayes (center) and extended family members. Over 200 people attended the informal reopening in late August.
22 23Mr. and Mrs. William W. Cushwa Mr. & Mrs. Patrick Murphy Ms. Nancy Racine Anne McCollam Pendl
Ms. Carolyn D’Andrea Elaine and Walter Nicgorski Ms. Jan Rattenbury Becky Penn
Mr. and Mrs. David Deahl Lisa O’Brien Ms. Gail Schroeder Ms. Norma Jean Rhoades
Mary & Dale Deditch Mary B. O’Toole John J. Shields Ms. Geraldine Ritchhart
I N 2 01 7 Mr. & Mrs. Richard S. Dennen Mr. and Mrs. James Olson Susan Shields Blake Rodman
Sharon Donlon June Pabst Mrs. Rosalind Tucker Mrs. Denise B. Roemer
GRI FFO N SU PPO RTIN G Mrs. Jan Durand Mr. John Pruzin Jr. Mr. Raymond A. Vander Heyden Mrs. Mary J. Rummel
Mr. and Mrs. David A. Eckrich Rita & Dick Reinbold Helen and James Voth Mrs. Joyce Skillern
Mr. Arthur J. Decio Mr. and Mrs. Roger Aiello
Kathleen English Dr. & Mrs. J. R. Reineke Mr. Robert H. Waechter Mr. Ted Z. Stanley
Mr. & Mrs. Stephen A. Anella
Joanne Fahey Michael Riemke Ms. Kathleen Welsh Bill and Sally Stockton
I VA N M ESTROVIC Mr. Richard Atkinson
Jim and Susie Farrington Mr. & Mrs. J. Peter Ritten Ms. Marilyn Wood Prof. William Strieder & Mary Watt-Strieder
Mr. Michael McLoughlin Pamela J. Austin
Dr. and Mrs. Fred Ferlic Mr. and Mrs. David Rowley Ms. Elizabeth Zapf Cheryl Walberg
Kathy Beeler & Brian Regan
Ms. Ramona Payne & Mr. Anthony Fitts Mr. & Mrs. Joseph Ruppe Kathy Walsh
Mr. and Mrs. Robert J. Bernhard S E N IOR /ST UD E N T
EMI LE JACQ UES Mr. & Mrs. George Freese Dr. Jan Sanders Susan M. Ward
Dr. & Mrs. Ikaros Bigi
Pat & Bob Kill Mr. and Mrs. John C. Frieden Ruth M. Schmitz Ms. Pamela Alderton Mrs. Eugene Weiss
Mr. & Mrs. Todd Bruce
Ms. Mitsuko Furuhashi Ms. Joan L. Schweiger Ms. Kari Black Frederick Greiner & Margaret Whitmer
Dr. & Mrs. Joseph J. Casey
Julie Graham Robert P. Sedlack, Sr. Ms. Martha E. Black Mr. Robert Williams
GEORGE RICKEY Ann and Fred Dean
Dr. and Mrs. Paul Grimstad Mr. & Mrs. Charles Simon Emma Bosch Mrs. Gloria Wolvos
Mr. Robert P. Doyle Mr. and Mrs. Robin Douglass
Mr. & Mrs. Edward Hardig Mr. & Mrs. Thomas Sopko Anita Brown Ms. Nanci Yokom
Mr. & Mrs. Ronald V. Emanoil Mr. & Mrs. William Dunn
Jackie Hardman Mr. & Mrs. Don Sporleder Judith Carlson
Mr. and Mrs. Howard Emmons
Honorable Douglas Hunt Charles S. Hayes Mr. Paul Stevenson Ms. Peg Coffey LITTLE F RIENDS
Mr. and Mrs. Anthony Germano
Thomas D. Paulius Prof. & Mrs. Eugene Henry Ms. Bronwyn Stoner Mrs. Tom Cohen The Claudeanos Family
Mrs. Anne Hillman
Mr. & Mrs. John Phair Barb & Geoff Henry Mr. & Mrs. George C. Stump Ms. Elizabeth Cotter Liam and Jenna Coulter and Family
Mr. & Mrs. Stephen Hrabrick
Mrs. Joan Hofman Mr. Michael Szymanski Mrs. Rosemary Crowell Sophia Dalton and Family
Richard and Karen Kettler
Vicky Holaway Mr. & Mrs. Laurence Taylor Ms. Judy Daniels Nadia and Shyla Donlon and Family
DONOR Mr. & Mrs. James G. Lauck
Holly Curley and Jim Host Tom Thomas Ms. Audrey M. Davis Jordan Egyhazi and Family
Ms. Janette Burkhart-Miller Mary Lou Linnen
Gordon & Phyllis Hostetler Mr. & Mrs. Richard Trafas Mrs. Mary Derwent Henry Essig and Family
Mr. Thomas H. Corson Mr. & Mrs. K.R. Palmer
Mr. & Mrs. Matthew Kahn Elizabeth Trantowski Janet Egyhazi Will Frank and Family
Carol & Jack Regan
Kitty Rose & Ed Everett Juli Kalisik Jack and Ann Turnock Mr. & Mrs. Kent Emery Lacey Frye and Family
Mr. and Mrs. William J. Reinke
Mrs. Joyce M. Hank Kelli Kalisik Mr. and Mrs. John Ulrich Dr. & Mrs. Howard R. Engel Leo Grimm and family
Dr. & Mrs. David M. Sabato
Mr. & Mrs. Thomas J. Lee Barbara M. Kelly Mr. & Mrs. James C. Vanderkam Ms. Irene M. Engel Gabriel and Isaiah Harvey and Family
Rica Simmons Spivack
Dr. & Mrs. James P. Kelly Anthony and Misel Vasoli Ms. Winifred Caponigri Farquhar Emma Hesiben and Family
Mrs. Charlotte Mittler Mr. & Mrs. Paul Weaver
Dr. Peter Kesling Mr. and Mrs. Thomas Villing Kathleen Flynn Fox Meadow Mager and Family
Mr. & Mrs. Raymond M. Stout Jr. Dr. Cheryl Snay and Mr. Patrick Weber
Bill and Jan Killilea Mr. and Mrs. Michael Vogel Ms. Lea Goldman The Pavnica Family
Mrs. Carole Walton Dr. & Mrs. Jonathan E. Kintner Mark Walsh, MD Mr. and Mrs. Edward Healy Ava Perez and Family
FRIEND
Chris Kintzele Mary Kay and John Welle Ms. Sally L. Hendricks The Rowley Family
Mr. and Mrs. Thomas Anderson
PATRON Maureen L. Kleiderer Kathleen Welsh Mrs. Joan Henning Lea Schmidt and Family
Ms. Mary Mahank Barnes
Ms. Kay Antonelli Rosemary Bell & Prof. T. Kosel Mr. & Mrs. Timothy Welsh Michael R. Hill, Ph.D. The Swoboda Family
Nancy Barrett
Mr. and Mrs. Andrew Kresnak David Wemhoff Ms. Kay Hokanson Clare Umhey and Family
Mr. & Mrs. James F. Cooke Mr. and Mrs. James D. Bock
Mr. & Mrs. Brian J. Lake Mr. Paul Wendzonka Ms. Joan Jaworski The Wyskochil Family
Dr. Donald Crafton & Dr. Susan Ohmer Tatiana Botero
Elizabeth Lankford Mrs. Jean Wenke F. Patrick Kelly
Mr. and Mrs. Philip Faccenda Jr. Mr. & Mrs. John E. Butkovich CORPORATE
Jan Lazzara Kathy & Gary White Mrs. Susan Y. Kiang
Mr. & Mrs. John T. Bycraft
Mr. & Mrs. Edward Fishburne Edward C. Levy Dr. & Mrs. Craig F. Williams Ms. Natalie H. Klein 1st Source Bank
Mr. & Mrs. Thomas Cahir
Joyce & Roger Foley Mr. and Mrs. Christopher Lowe Mr. and Mrs. Gary Wuslich Mary Knoll Anella & Anella Group of Wells Fargo
Mr. & Mrs. John Calcutt
Mr. & Mrs. Charles Loving Ms. Sue Lowe Mrs. Maria Younes Kathleen Knopick Advisors
Mr. and Mrs. Michael Carroll
Mr. and Mrs. James L. Lyphout Phyllis R. Kubale Barnes & Thornburg
Mr. and Mrs. Martin Naughton Dru W. Cash A SSOCIAT E
Ms. Patricia G. MacDonald Ms. Phoebe Jo Lykowski Beacon Health System
Mr. Brian Nordan Mr. and Mrs. Eugene Cavanaugh John Beck
Mrs. John F. Magrames Mr. & Mrs. Bruce Marshall Century Builders
Mrs. Linda Rakow Joan Cecrle Mr. Louis J. Behre
Dr. & Mrs. Paul Manoguerra Mr. Glenn Martin Electronics, Inc.
Angie Chamblee Ms. Mary Jane Buzolich
Ms. Celeste Ringuette Mr. & Mrs. Donald Marti Jeanne Mattei Holladay Properties
Mr. John Chapleau Kathleen Desmond
Ms. Gale McCarty Ms. Mary Ann Matthews-Derda IOI Payroll Services
Mary Anne Cilella Mr. & Mrs. Leo Despres
Mr. & Mrs. William K. McGowan Jr. William J. McCall Lake City Bank
Ms. Margaret Claeys Sharon Donlon
Dr. & Mrs. Stephen T. McTigue Ms. Catherine McCormick Palmer Funeral Homes
Ms. Gina Claudeanos Ms. Rose Marie Hengesbach
Mr. & Mrs. Tim McTigue Emily McKnight Ben Roseland Studio and Gallery
Mary V. Clemency, M.D. Peg Larson
Mr. & Mrs. William L. McVey Ms. Tamara McNally
Suzanne Cole Wendy Little
Dr. & Mrs. Anthony N. Michel Ms. Mary Ann Moran
Mr. and Mrs. Peter D. Connolly Veronica M. Malone
Douglas & Karen Mick Micheline and Norman Nilsen
Mr. & Mrs. Christopher Craft Mr. Sam Mirkin
Mr. and Mrs. Robert Miller Ms. Barbara Obenchain
Sarah Craig Mr. & Mrs. John L. Morgan
Ms. Brenda Moran Ms. Rebecca Parker
Mr. and Mrs. Daniel Crossen Mr. & Mrs. Thomas Morris
Dr. & Mrs. Asokendu Mozumder Mrs. Adele Paskin
Annabelle & James Curran Dr. P. Nacu-Brandewie
Mr. & Mrs. Peter Mullen
Memberships support art education outreach programs.
24 2536th Annual Christmas Benefit Dinner
at the Palais Royale, Morris Performing Arts Center
Carmen and Christopher Murphy were selected as the 2017 Chris is chair, president, and chief executive officer of 1st Source
honorees for their longstanding, generous support of the Corporation. He serves on Notre Dame’s College of Arts and
Museum and University. The announcement of their family’s lead Letters Advisory Council and he and Carmi are members of the
gift for the new Raclin Murphy Museum of Art at Notre Dame President’s Circle and Gift Planning Advancement Committee.
was a wonderful surprise that set the ballroom abuzz and added Carmi has served on the Snite Museum of Art Advisory Council
to the evening’s festive atmosphere (see article on page 3). for 10 years.
Annually, Carmi and Chris support the Museum’s community Carmi’s mother Ernestine Raclin is also a Snite Museum patron.
outreach programs. They lent their Dietrich Klinge sculptures to She was the 1990 Benefit honoree, is an emerita Notre Dame
the Snite Museum for a special exhibition. They also provided trustee, and is a generous benefactor to Notre Dame. Among
financial support for the major George Rickey kinetic sculpture other gifts, Ernestine donated fifteen artworks to the Museum.
exhibition that was on view outdoors in downtown South Bend, Not only has this family provided essential support to the Snite
at the South Bend Museum of Art, and at the Snite Museum Museum of Art, they have also made transformative gifts to the
of Art, and which featured an associated symposium and University of Notre Dame, and they support education, health,
collection catalog. They have hosted numerous dinners within and social service programs within our community.
their beautiful home for advisory council members and for artists
invited to campus by the Museum, such American sculptor The Murphys attracted a large group to the Dinner, resulting in
Deborah Butterfield, celebrated author Julia Alvarez, and Nobel the most funds ever raised at that event for Museum education
laureate and visual artist Gao Xingjian, to name just a few. programs.
Pictured with their children standing behind (left to right): Carmen Murphy, Ernestine Raclin, and Christopher Murphy;
back row: Erin and Kevin Murphy, Christopher and Lauren Murphy, and Dillon Murphy.
26 272017 Christmas Benefit Donors
CHRISTMAS BENEFIT FOUNDERS TABLE SPONSOR DONOR PATRON
Patricia and Arthur J. Decio 1st Source Bank Barnes & Thornburg Zoreen and Rafat Ansari
Louise and Steve Anella JoAnn and Joe Blazek Richard Atkinson
LEADERSHIP
Beacon Health System Dru Cash Anna Jean and William Cushwa
Arthur J. Decio
Joe Bisignano Angie and Phil Faccenda Ann and Fred Dean
PREMIER Century Builders Joyce Hank Lisa and Robin Douglass
Carmi and Chris Murphy Susan Ohmer and Donald Crafton Catherine and John Hiler Robert Doyle
1st Source Bank Maureen and Patrick Dore Karen and Doug Mick Susan and Justin Driscoll
NIBCO, Inc. Mindi and Greg Dugard Eileen and Chris Millard Tracy and Buell Duncan
Electronics, Inc. Brian Nordan Cindy and Bill Dunn
CONTRIBUTOR
Holladay Properties Barb and Jim O’Connell Kitty Rose and Ed Everett
Melvin Hall
IOI Payroll Services Beverly O’Grady Joyce and Roger Foley
Kurt Janowsky
Lake City Bank Kathy Beeler and Brian Regan Mary and Al Harding
Charlotte Mittler Stephanie and Todd Schurz Mary and Jim Hesburgh
Palmer Funeral Homes Pamela Johnson
Ben Roseland Studio and Gallery Pat and Bob Kill
Betty Gallagher and John Snider Judy Kinney
University Relations Ginger and Brian Lake
Ruby and Jim Larkin
Gigi and Jay Larson
Mary Gerry and Thomas Lee
Linda Rakow 2017 Christmas Benefit Chairs 2017 Christmas Benefit Committee
Celeste Ringuette
Cindy and Bill Dunn Todd Bruce Susie Farrington Mary Rattenbury
Sue and Pat Ruszkowski
Angie and Roland Chamblee Barb Henry Michael Riemke
Cari and Barry Shein Anne and Dan Crossen Kelli Kalisik Michael Szymanski
Steve Spretnjak Ann and Fred Dean Jan Lazzara Cheryl and John Ulrich
Lisa and Robin Douglass Rose and Jim Lyphout Mary Kay Welle
Angie and Phil Faccenda Mary Lou and Pete Mullen
Friends Board President Angie Faccenda Seasonal songs were performed by the St. Mary’s College Madrigal Choir
and her husband Phil Faccenda to conclude the event.
28 29FRIENDS OF THE SNITE MUSEUM OF ART IN MEMORIAM
2018 ART & ARCHITECTURE TOURS Friends of the Remembering
On March 13–14 we will take a two-day trip to Louisville Kentucky. Snite Museum Marion Knott McIntyre
We will tour Churchill Downs, the Derby Museum, and the Speed Annual Meeting Notice Snite Museum of Art Advisory Council
Art Museum, which is located on the campus of the University of Monday May 21, 2018 member Marion Knott McIntyre passed
away on December 12, 2017. Marion
Louisville. There will be two very special exhibitions at the Speed. 1:00 p.m.
was a member of the Advisory Council
Women Artists in the Age of Impressionism: Featuring over 80 The annual meeting and election of since 1980, where she is remembered
board members will be held at the Snite as a dynamo of enthusiasm, creativity,
exceptional paintings by 37 women artists, this groundbreaking
Museum of Art following the regu- and positive energy. Before her service
exhibition focuses on the exciting historical moment when long- lar May board meeting. The election on the Advisory Council, she cofounded
standing social and cultural barriers began to give way, revealing results are announced at the end of the Friends of the Snite Museum of Art
the breadth and strength of their artistic achievements. the meeting. Attendance of the annual membership organization. She earned
meeting is free of charge, but advance a M.A. from the University of Notre
Thoroughly Modern: Women in 20th Century Art and Design:
reservations are required. Dame in 1968.
The advent of modernism was a game-changer, which upended
All members of the Friends of Snite are
traditional notions of art and design. Drawn from the Speed’s
eligible to nominate board members
permanent collection, this exhibition celebrates the women whose using the nomination form available
work influenced both the visual arts and new ways of living. from the Friends office. Please call
(574) 631-5516 for more information
on the Friends annual meeting, upcom-
In May we will visit the Toledo Museum of Art to view: ing tours, or how to become a member.
The Mummies: From Egypt to Toledo. This special installation
will trace the history of Egyptian mummies, from their lives
and burial rituals in Late Dynasty Egypt to their rediscovery
during the Napoleonic era and the resulting Egyptomania for
subsequent generations. New Friends of the Snite Museum Board Members
Before Audubon: Alexander Wilson’s Birds of the United States. attended their first meeting September 18, 2017 and will serve a three-year term.
Though Wilson had no background as an artist, he taught
himself printmaking and illustrated his nine volumes of careful
observations of the birds of the northeastern U.S. with 79 hand-
colored engraved and etched plates of 262 species—39 of
which he was the first to describe. This impressive achievement
was the inspiration for John James Audubon to publish his
Birds of America. We hope to include a stop to “birdwatch” the
songbird migration.
In October we will visit Meijer Gardens during the
10th year of ArtPrize in Grand Rapids.
One of the nation’s most significant sculpture and botanic
experiences, Meijer Gardens includes Michigan’s largest tropical
conservatory; five indoor theme gardens; outdoor gardens,
nature trails and boardwalk; and permanent sculpture collection.
We will have lunch there, and spend all day taking in the gardens
and the ArtPrize competition.
Call the Friends Office (574) 631-5516 to register or to obtain
more information.
From left to right: Dru Cash, Mary Kay Welle, Susie Farrington, Jan Lazzara.
Not pictured: Sal Moya.
30 31You can also read
