VAL AKULAAmerican, b. 1955

The Language of Sleep, n.d.linocut on cream wove paper20 x 16 inchesGift of Joseph Urtz SUAC 2014.0436

We All Wear Goggles to See the World, c2013linocut on laid paper23 x 29 inchesCollection purchase SUAC 2014.0434

OTTO HENRY BACHERAmerican 1856-1909

Venice Night, 1880from the Venice Set, no. 21etching on chine collé6 3/4 x 14 inches Collection Purchase, Robert Bradley Fritz ’51 Purchase FundSUAC 2014.0012

ROBERT BIRMELINAmerican, b. 1933

Community of the Moment, 1986from the series Harsh Truths 5 Intagliosthree-color etching and aquatint on Fabriano wove paper27 3/4 x 35 1/4 inchesGift of Dr. Lucas BirmelinSUAC 2014.0473.05

No Agreement, 1986from the series Harsh Truths 5 Intagliosfour color etching and aquatint on Fabriano wove paper27 ¾ x 35 ¼ inchesGift of Dr. Lucas BirmelinSUAC 2014.0473.03

Selective Attention, 1986from the series Harsh Truths 5 Intagliosthree-color etching and aquatint on Fabriano wove paper27 3/4 x 35 1/4 inchesGift of Dr. Lucas BirmelinSUAC 2014.0473.04

FÉLIX BONFILSFrench, active in Middle East 1831-1885

View of the Sphinx, Nubia, n.d.albumen print11 3/8 x 8 7/8 inches Gift of Dr. Claude ‘49 and Lucienne S. BlochSUAC 2015.0599

DARRYL CURRANAmerican, b. 1935

On Parade, 1972 cyanotype solvent transfer rubbing silkscreen on wove paper 15 x 15 inchesGift of the artistSUAC 2014.0449

AL HIRSHFELDAmerican 1903-2003

Charlie Chaplin, 1981lithograph on wove paper29 1/2 x 21 1/2 inchesCollection purchase, Mary Petty and Alan Dunn FundSUAC 2014.0014

Judy Garland, 1963, printed 1985etching on wove paper23 1/4 x 19 1/2 inchesCollection purchase, Mary Petty and Alan Dunn FundSUAC 2014.0016

Woody Allen and Diane Keaton, 1983etching on wove paper13 x 10 inchesCollection purchase, Mary Petty and Alan Dunn FundSUAC 2014.0015

RANI JHAIndian, District of Madhubani, Mithila region, dates unknown

South Asian Indian Women Moving Forward with Help from Others, 2013 acrylic on wove paper 23 x 35 1/2 inchesGift of Susan S. Wadley SUAC 2014.0007

CLARE LEIGHTONAmerican, b. England 1898-1965

[Landscape], n.d.wood engraving on wove Japanese paper3 1/4 x 3 7/8 inchesGift of Clare Buchbinder de NeymanSUAC 2014.0418

JULES MANIASGerman 1866-1944

Place Brogile, n.d.from the Strasbourg Views albumalbumen print10 x 12 9/16 inches Gift of Dr. Claude ‘49 and Lucienne S. BlochSUAC 2015.0553

MAZATLSpanish, b. Mexico 1984

La Autonomía es la Vida [Autonomy is Life], 2013from La Autonomía es la Vida, la Sumisión es la Muertelinocut on wove paper42 3/4 x 27 5/8 inchesGift of Andrew Saluti SUAC 2014.0008

THOMAS NASTAmerican, b. Germany 1840-1902

Christmas Furlough, 1863published in Harper’s Weekly, December 26, 1863, pages 824-825wood engraving on newsprint16 5/8 x 22 3/4 inchesGift to the collection SUAC 2014.0032

Over the years the Syracuse University Art Galleries

and the Graduate Program in Museum Studies

have developed a very close association that has

benefited both organizations. Students in Museum

Studies work closely with the professional staff

at the galleries in many different capacities, as

graduate associates who work in the galleries on

a daily basis, as curatorial assistants working to

develop exhibitions or gallery programming, and

as interns working alongside staff to get in-depth

experience working with museum objects. Most

of our professional staff has taught classes in the

Museum Studies program and this association

of working with them in the classroom and the

gallery creates a unique relationship with the

students when they move on to professional

careers. We try to communicate to them that

museum professionals are stewards of their

collections and have a responsibility to future

generations to make sure these artifacts are

properly maintained. We believe that the museum

or gallery offers an opportunity to our community

to be informed, inspired, and enriched both

intellectually and emotionally. As graduating

Museum Studies students the experiences they

have had over the last 2 or 3 years make them

uniquely aware of the myriad tasks that take

place as part of our mission to acquire, preserve,

interpret, and exhibit objects in our collection.

From the Director...

DOMENIC IACONO

Director, Syracuse University Art Galleries

THOMAS NASTAmerican, b. Germany 1840-1902

Honor the Brave, 1863published in Harper’s Weekly,October 24, 1863, pages 680-681wood engraving on newsprint16 3/4 x 23 inchesGift to the collection SUAC 2014.0031

TIMOTHY O’SULLIVANAmerican, b. Ireland c1840-1882

Pontoon Bridge Across the Rappahanock, 1863albumen print11 1/4 x 14 15/16 inchesGift of Dr. Claude ‘49 and Lucienne S. BlochSUAC 2015.0598DUNCAN PHYFE [attributed to]American, b. Scotland 1768- 1854

[Empire chair], c1810mahogany and: ash 32 x 20 x 18 inchesGift of The Hascoe Charitable FoundationCourtesy of Syracuse University Libraries

[Hepplewhite chair], c1875mahogany, ash and cherry 37 3/4 x 22 x 18 inchesGift of The Hascoe Charitable FoundationCourtesy of Syracuse University Libraries [Sheraton desk], c1800mahogany, tulip and poplar 32 x 27 x 23 1/4 inchesGift of The Hascoe Charitable FoundationCourtesy of Syracuse University Libraries

GRANT MILES SIMONAmerican 1887-1967

Ships, 1940lithograph on wove paper14 7/8 x 12 3/8 inchesCollection purchase, Robert Bradley Fritz ’51 Purchase FundSUAC 2014.0009

RENA SMALLAmerican, b. 1954

Alexis Smith, Artist’s Hands, 1986from the series Artists Hand Grid Continuumgelatin silver print 10 x 8 inchesGift of the artistSUAC 2014.0461

HARRY STERNBERGAmerican 1904-2001

Smoke Stacks in the Moonlight, 1937mezzotint on cream-colored wove paper11 1/2 x 15 3/4 inchesCollection purchase, Robert Bradley Fritz ’51 Purchase FundSUAC 2014.0011

UNKNOWN ARTIST, AfricanDemocratic Republic of the Congo

[Bembe figure], n.d.wood, fabric, cord and shell24 1/2 x 7 x 5 1/2 inches Gift of Dr. Claude ‘49 and Lucienne S. BlochSUAC 2015.0548

UNKNOWN ARTIST, Japanese

Nagoya Castle, n.d.hand colored albumen print 8 1/8 x 10 9/16 inches Gift of Dr. Claude ‘49 and Lucienne S. BlochSUAC 2015.0572

UNKNOWN ARTIST, Mexican Colima, c200 BCE- 300 CE

[Standing figure with hands on hips], n.d.polychromed terracotta6 1/4 x 3 3/4 x 1 3/4 inchesGift of Dr. Claude ‘49 and Lucienne S. BlochSUAC 2015.0544

UNKNOWN ARTIST, Mexican Colima, c200 BCE- 300 CE

[Standing female figure wearing a skirt and headdress], n.d.polychromed terracotta7 1/2 x 4 x 2 inchesGift of Dr. Claude ‘49 and Lucienne S. BlochSUAC 2015.0545

UNKNOWN ARTIST, OneanicNew Hebrides [Vanuatu]

[Janus Head], n.d.polychrome clay, wood, bone, fibers, feathers52 x 19 x 10 inchesGift of Dr. Claude ‘49 and Lucienne S. BlochSUAC 2015.0539

JAMES ABBOTT MCNEILL WHISTLERAmerican 1834-1903

Longshoremen, 1859etching on laid paper8 1/4 x 11 inchesCollection purchaseSUAC 2014.0025

HENRY J. WINSLOWAmerican 1874-1953

Cos Cob, 1906etching on laid Japanese paper9 3/4 x 13 3/4 inchesCollection Purchase, Robert Bradley Fritz Purchase FundSUAC 2014.0010

EXHIBITION CHECKLISTNote: height preceeds width.

All the objects follow a similar process as they become part of an exhibition, but there are differences in how each is acquired, preserved, exhibited, and interpreted. In the first category, Acquire, the curators describe several different ways that a work can enter the collection, including direct purchase or gifts from donors. In the next section, Preserve, the curators explain that each object must be kept safe from environmental hazards to prolong its life. These preservation concerns require certain types of storage and handling that vary by medium. In the third category, Exhibit, the curatorial team describes how proper framing, lighting, and overall display, keeps works of art safe during an exhibition. In the final category, Interpret, the curators address one of the most important aspects of their profession. When curators interpret a work, they must explain the object’s significance in a way that also leaves room for the viewers’ own thoughts and opinions.

Since the curatorial process mostly happens behind closed doors, [Re] Framed: An Object’s Journey into the Collections gives visitors the opportunity to peek into the specialized world of museum work and see the metaphorical life of an art object unfold.

Exhibition curated by:

Alexis D’AddioLynne PearsonMichael ApplebyStacey GawelKendall HarterAmanda Sterling

and Dr. Edward A. AikenGraduate Program in Museum Studiesbrochure design by Kendall Harter

Al Hirschfeld, Charlie Chaplin, 1981.Syracuse University Art Collection 2014.0014. © Al Hirschfeld Foundation

It may seem ordinary to walk in the Syracuse University Art Galleries today and see works of art in black frames next to crisp white labels, but have you ever wondered how they got there? In order to answer this very question, a team of twelve Museum Studies graduate student curators worked closely with SUArt Galleries’ staff and Dr. Edward Aiken, coordinator of the Graduate Program in Museum Studies. The resulting exhibition, [Re] Framed: An Object’s Journey in the Collections, uses recently accessioned works in the Syracuse University Art Collection and the Syracuse University Library’s to explain the curatorial process that is central to every display. By dividing the exhibition into four categories, titled: Acquire, Preserve, Exhibit, and Interpret, the curators illustrate the complex process behind each object’s inclusion in an exhibition.

The group of objects in this show came to Syracuse University in several different ways. Some works of art, like James McNeill Whisler’s Longshoremen, were purchased directly by using the SUArt Galleries to help expand the collection in key areas. Other works on display were the result of gifts to the collection by generous donors or were purchased with funds that were established by donors to SUArt Galleries.

Acquire

Preserve

It is typically the job of the museum registrar and/or curator to consider where objects will be placed in the museum’s storage facility and to determine if special conditions are required for the long-term preservation of the objects under their care. It is the museum’s responsibility to follow proper storage methods in order to maintain the integrity of the objects in the collection.

Exhibit

Once objects have been selected for an exhibition, the curator consults with the registrar to determine how and if the objects can be displayed based on their media, condition, or any other object-specific issues. How an object gets displayed does not only help to preserve the object for future generations, but aids in telling a story about the object.

InterpretIn an exhibition, curators create a narrative using the objects to tell the story. The narratives must capture the importance and meaning of the objects on display, while presenting them in a way that leaves room for each viewer to form their own thoughts and feelings. One viewer may see it as distasteful and controversial.

Rena Small, Alexis Smith, Artist’s Hands, 1986. Syracuse University Art Collection 2014.0461. © Rena Small

APRIL 7- MAY 15, 2016

For more information

suart.syr.edufacebook.com/SUArtGalleries

framed: An Object’s Journey Into the Collections

[RE]framed: An Object’s Journey Into the Collections

[RE]

SYRACUSE UNIVERSITY ART GALLERIES

APRIL 7 – MAY 15, 2016

[RE]framed: An Object’s Journey Into the Collections

James Abbott McNeill Whistler, Longshoremen, 1859. Syracuse University Art Collection 2014.0025.

Sarah RaffurtyNicholas FosterNicole CarpenterMonica LipinskiKwadwo Nkansah KusiCourtney Eppel