The Formative YearsCultivating & Expanding the Colorado State University Art Museum

The Formative YearsCultivating & Expanding the Colorado State University Art Museum

2

The Formative Years: Cultivating and Expanding the Colorado State University Art Museum

Published for the University Art Museum at Colorado State University

University Art MuseumColorado State UniversityFort Collins, CO 80523-1778Tel: 970-491-1989Artmuseum.colostate.edu

© 2012 University Art Museum, Colorado State University

Design: Makenna Dubler

Printed and bound by: MagCloud

Cover Images: Utamaro Kitagawa (1754-1806), Young Man Shaving Neck of Courtesan, 1802, Color woodcut on paper, 15 1/8 in. x 10 9/16 in., University Art Museum CSU, gift of George and Alice Drake, 1989.1.3. William J. Forsyth (1854-1935), Title unknown, Early 20th century, Watercolor with graphite on paper, 21 in. x 25 in., University Art Museum, CSU, gift of Dr. Keren Call Rosser and E. Michael Rosser (CSU 1964) from the estate of Dr. Herbert Call and Katherine East Call, 2010.1.1. Akan, Linguist Staff Finial, Early 20th century, Wood with silver and gold leaf, 18 1/4 in. x 5 3/4 in. x 7 1/8 in., University Art Museum, CSU, gift of Richard and Jan DeVore, 1999.1.46. Richard TumSuden (1936-), Swim Trunks, 1964, Acrylic on linen, 19 7/8 in. x 20 1/8 in. x 7/8 in., University Art Museum, CSU, gift of John and Kimiko Powers, 2006.112. Nan McKinnell (1913-), Vase, 1980, Porcelain with glaze, 7 1/2 in. x 7 3/8 in. x 7 3/8 in., University Art Museum, CSU, gift of Teresa and Paul Harbaugh, 2009.9.1. Valeriy Gerlovin (1945-) and Rimma Gerlovina (1951-), Serpent, 1990, Chromogenic print, 36 in. x 36 in., University Art Museum, CSU, Collection of Mark and Polly Addison, 2009.2.33. Honoré Daumier (1808-1879), Des Parisiens dans l’attente du plaisir..., 19th century, Lithograph on paper, 9 5/8 in. x 14 in., University Art Museum, CSU, gift of Phaedra Harbaugh and Boris Sepesi, 2011.3.4. Zwelethu Mthethwa (1960-), Untitled (From Empty Beds Series), 2002, Chromogenic print, 24 1/2 in. x 34 in., University Art Museum, CSU, collection of Mark and Polly Addison, 2009.2.28. Andy Warhol and Collaborators (1928-1987), Soup Can, 1981, Steel with paint, 132 in. x 72 in. x 72 in., University Art Museum, CSU, gift of John and Kimiko Powers, 2008.5. Paul Soldner (1921-2011), Platter, 20th century, Ceramic, 4 in. x 18 in. x 17 in., University Art Museum, CSU, T070.

Contents

Art Museum Advisory Board....................................................................................................................5

Art Museum Staff.....................................................................................................................................6

Acknowledgements...................................................................................................................................7

Mission ....................................................................................................................................................9

Vision ....................................................................................................................................................11

History...................................................................................................................................................13

Collections .............................................................................................................................................17 African Collection.....................................................................................................................18 Japanese Prints Collection.........................................................................................................20 South Seas Collection................................................................................................................21 Modern & Contemporary Collection........................................................................................22 Outdoor Sculpture Collection...................................................................................................24 Hartford-Tandstad Collection....................................................................................................25

Collections Management........................................................................................................................27

Exhibitions.............................................................................................................................................29

Research & Publications .........................................................................................................................31

Education & Programs ...........................................................................................................................33

Art Museum Advisory Board

5

Dr. Patricia Coronel2009-2013

Kaitlin Bergner2009-2010

Mikie Cameron2010-2012

Laura Cronen2009-2011

Whitney Crutchfield2009-2010

Corey Dreith2009-2010

Brianna Faircloth2012-2013

Ginny Fanning2010-2011

Paul Flippen2009-2013

Gregory Graham2011-2013

Larry Hartford2012-2013

Gwen Hatchette2009-2011

Keith Jentzsch2009-2011

Ashley Kasprzak2012-2013

Dr. Marie Livingston2012-2013

Anna Maddocks2010-2012

Jim Martell2012-2013

Dr. Todd Queen2009-2011

Joel Rutstein2009-2013

Dr. Deborah Shields2012-2013

Steve Simons2009-2013

Dr. Michelle Stanley2012-2013

Torleif Tandstad2012-2013

Dr. Michael Thaut2009-2010

Kim Tobin2010-2012

Gary Voss2009-2013

Becky Wareing2010-2013

Maddy Weisz2009-2011

Dave Yust2009-2013

Linny FrickmanEx-Officio

6

Art Museum StaffLinny FrickmanDirector

Keith JentzschPrograms & Exhibitions Coordinator

Jennifer ClaryDirector of Marketing & Publicity, School of the Arts

Suzanne HaleCollections Manager/Registrar

Dr. Eleanor MosemanAdjunct Curator of Modern Art

Dr. Patrick FaheyAdjunct Curator of Education

Dr. Patricia CoronelAdjunct Curator of Non-Western Art

Acknowledgements

7

The University Art Museum would like to thank the board members,

staff, donors, and supporters of the Museum.

Shoson Ohara (aka Ohara Koson) (1877-1945), Untitled (Two Cranes), Color woodcut on paper, 15 in. x 6 7/8 in., University Art Museum, CSU, gift of Editha Todd Leonard, 1983.1.66.

Mission

9

The University Art Museum at Colorado State University enriches the academic, cultural, and intellectual life of Colorado by cultivating visual

literacy and fostering interaction with the arts of our world. Exhibitions, collections and programs enhance access to resources for the study of art and its history

by the campus, the community and the people of Colorado.

Susan Point (1952-), Time, 2004, Screen print on paper, 30 in. x 30 in., University Art Museum, CSU, gift of the artist, 2007.8.

Vision

11

Teaching and Outreach: i. Utilize collection resources for educational purposes ii. Actively use collection, research and exhibitions iii. Support University mission through learning, instruction and study iv. Develop programming for diverse community and campus activitiesCollections: i. Actively collect works of art ii. Preserve, interpret and exhibit permanent collection iii. Build upon our current resources and expand the breadth of the collection to further our educational mission iv. Enrich current strengths in non-western, modern and contemporary artExhibitions: i. Organize rotating exhibitions of permanent, traveling and curated resources ii. Utilize exhibitions for relevant programmingResearch: i. Advance scholarship through publication and dissemination of research of the visual artsExcellence: i. Continue and expand the standards of excellence maintained by the museum ii. Develop best-practice policy in all areas, by continuing participation in the MAP (Museum Assessment Program) iii. Achieve AAM accreditation by 2017, to facilitate our own development and access to quality exhibitions and collectionsDevelopment: i. Cultivate donors and sponsors ii. Build support network

Gary Voss (1950-), Untitled, 1977, Bronze, 18 in. x 36 in. x 18 in., University Art Museum, CSU, gift of the artist, 2010.8.1.

Colorado State University’s roots began in 1870 when the institution was founded as the Agricul-tural College of Colorado. The school first opened its doors to students in 1879 with President Elijah

Edwards and two faculty members. From these humble origins, a world-class institution grew. Today, CSU has more than 24,700 students, is a Carnegie Class I research institu-tion, and has approximately 1,400 faculty members in eight colleges and 55 academic departments. The Department of Art is the largest department in the College of Liberal Arts with over 650 undergraduate and graduate majors. The Uni-versity Art Museum began as a program of the Department of Art and is now governed by the College of Liberal Arts. The Department of Art’s history, academic, exhibition, and collecting programs date to the 1920s when the first courses

in design and art history were held under the College of Home Economics. The art department, as a discrete unit, focusing on studio art and art history, was founded in 1949 and its first chairperson was Clara Hat-ton, a noted printmaker and educator. Under her leadership the department was transferred in 1962 from the College of Home Economics to the College of Arts and Sciences, and began to offer a B.A. in design, drawing, painting, graphic de-sign, interior design, ceramics, weaving and art history. Courses in printmaking and sculpture were added shortly thereafter. Art education was also incorporated. The first CSU Art Gallery came into being in the late 1950s. In the late 1960s and early 1970s the department added B.F.A. and M.F.A. degree programs. These programs were soon housed in a new visual arts facility, developed under the direction of chairperson Perry Ragouzis. The building was completed in 1974 and for the first time in CSU history brought the Department of Art under one roof.

History

13

Clara Hatton (1901-1991), Fisherman’s Breakfast, 20th century, Oil on Linen, 20 in. x 24 in. x 1 in., University Art Museum, CSU, 2006.120.

Pard Morrison (1975-), Budding, 2010, Patinated aluminum, 18 in. x 18 in. x 2 in., University Art Museum, CSU, purchased with funds from Patrick Fahey, the FUNd, Murdine Lilyblade, Christine Martell, D.M. Sanford, & Judy and Gary Voss, 2010.7.2.

The Clara Hatton Gallery, an 1800 square foot exhibition space, opened in 1975 with the completion of the Visual Arts Building to offer Coloradoans access to excellence in the visual arts through a schedule of four to six exhibitions and related programs each academic year. CSU’s adventurous exhibition program took off in the 1970s with the involvement of col-lectors John and Kimiko Powers and the Special Visual Arts Program. The Powers entered into a long term relationship of lending and assisting in the organization of shows, including The Collector’s Eye: Kimiko and John Powers Collection (1975), Jasper Johns Prints (1979), Rauschenberg in the Rockies (1981), Warhol at Colorado State University (1981), James Rosenquist at Colorado State University (1982), Roy Lichtenstein at Colorado State University (1982), and Sam Francis at Colorado State University (1983).

The level of programs expanded again in 1997 when the Department of Art received an anonymous gift, entitled the FUNd at CSU, to inaugurate the Critic and Artist Residency Series. The series brings prominent artists, critics, curators and writers to the Colorado State University campus and allows the community to engage in dialogue with important figures in contemporary art through exhibitions, public lectures, open forums, classroom interactions and critiques. Past visitors include writers Peter Plagens of Newsweek, Christopher Knight of the Los Angeles Times, Eleanor Heartney, Janet Koplos and Nancy Princenthal of Art in America, John Hanhardt of the Guggenheim Museum and independent writers and curators including Robert C. Morgan, Helaine Posner, A.D. Coleman, and David Pagel. Artists have included Byron Kim, Binh Danh, Tim Rollins and

History

14

Wolfgang Volz (1948-), Columbus Circle, 20th century, Gelatin silver print on vinyl coated paper, 49 in. x 68 in., University Art Museum, CSU, gift of the artist, T302.

History

15

the Kids of Survival, Laurie Fendrich, the Reverend Ethan Acres, Russian photographer Igor Moukhin, Alan Rath, Northwest Coast artist Susan Point, and De Wain Valentine.

In 1995 Colorado State University purchased the historic 1924 Old Fort Collins High School, located just adjacent to the main campus and plans developed for the facility to house a multi-disciplinary art cen-ter. Recognizing the importance of the arts, shifting demographics, and cultural needs, the University was committed to taking the presence of the arts to a new level. In 2003 the first phase of the University Center for the Arts began with the groundbreaking for the Edna Rizley Griffin Concert Hall.

This was followed in 2005 by the construction of the Bohemian theatre complex. In 2008 the University opened the final phase of the renovated building as the University Center for the Arts. The University Art Mu-seum, located immediately inside the historic entrance of the building, opened on April 2009. The museum, like its predecessor,the Hatton Gallery, was originally governed by the Department of Art. In 2011 museum governance was shifted to the college level. This 4000 square foot space is divided into four discrete galleries to house a rotating schedule of exhibitions including permanent collection, traveling, and loan exhibitions. The Museum opened to the public with four exhibi-tions– Reflection, Refraction, Reconfiguration: Selections from the Collection of Mark and Polly Addison; African Art: Highlights from the Permanent Collection; A Float-ing World: The Art of the Japanese Print; and New and Promised Gifts. The Critic and Artist Residency Series hosted renowned environmental artist Mel Chin as the keynote speaker for opening festivities.

Sun Ping (1953-), Acupuncture A78 (Laocoon), 1992-2009, Copper, propylene, acupuncture needles, 30 in. x 24 in. x 33 1/2 in., Installation photograph, From East/West: Visually Speaking, February 1 - April 9, 2011, Univeristy Art Museum, CSU, Collection of China Visual Arts, Ltd.

In June of 2011 the University Art Museum became the recipient of a promised gift from the Hartford-Tandstad Collection. This gift includes over 200 works of art, including major works by pivotal figures in the history of European Art, and an extensive art research library.

The collection will enable the University Art Museum to provide remarkable cultural programming and exhibitions for the people of Northern Colorado and the Colorado State University community. The bequest is made with the understanding that the University Art Museum will expand the existing museum-standard facility with additional exhibition galleries and support space.

History

16

Honoré Daumier (1808-1879), Des Parisiens dans l’attente du plaisir..., 19th century, Lithograph on paper, 9 5/8 in. x 14 in., University Art Museum, CSU, gift of Phaedra Harbaugh and Boris Sepesi, 2011.3.4.

The University Art Museum’s permanent collections consist of fine arts and ethno-graphic artifacts. The collection is comprised of approximately 3500 objects in a variety of media including prints, photographs, paintings, sculpture, textiles, and ceramics. Over half of these objects are 20th century works of art. Other focus

areas include a collection of approximately 200 19th century and early 20th century Japanese prints and over 800 19th and 20th century African objects and textiles. These collections are particularly significant in reflecting Colorado State University’s long-standing dedication to international research, development and understanding. This tradition is perhaps best exemplified in the critical role that CSU played in the formation of the Peace Corps. In 1960-1961, three CSU faculty members co-authored the book, “New Frontiers for American Youth–Perspective on the Peace Corps,” which set up the basic design for the Peace Corps. The spirit of international cooperation and communication evident in the Peace Corps is also seen in the formation of collections.

In the 2007/2008 academic year the Museum Advisory Board drafted and finalized a Col-lections Policy directing acquisition of works of art to support the Museum’s mission, and

to build upon the strengths of the existing collection. As stated in the policy collecting will focus on “global modern and contemporary art including new media and formats, works by artists of international and national stature, emerging and recognized art-ists and on non-western art with current focus on Africa, South Seas, Native America, and Japan.” When identifying a work appropriate for acquisition emphasis is placed on compel-ling works of excellence that fall within focus areas.

In 2009 the Board appointed an acquisitions sub-committee to evaluate the suitability of proposed acquisitions.

Collections

17

Mutsuo Yanagihara (1934-), Vase, 20th century, Glazed stoneware with gold luster, 17 1/4 in. x 10 in. x 7 1/2 in., University Art Museum, CSU, gift of the artist, 1975.1.1.

Richard Basil Mock (1944-2006), Alligators–From Swamp to Home Plate, 1986, originally cut 1981, Linoleum cut on paper, 19 3/4 in. x 26 in., University Art Museum, CSU, gift of AFE Canada, 2006.324.1.

18

Collections

The Univeristy Art Museums' African collection was also formed through the generous donations of faculty and alumni. The pieces originated primarily in Mali, Nigeria, Ghana, Burkina Faso, Côte d’Ivoire, Republic of Be-nin, The Democratic Republic of Congo, and Kenya. Although the collection does not represent the whole conti-nent, it represents numerous cultural lifestyles including pastoral, agrarian, and royal; a diverse use of materials

and motifs; and multiple artistic conventions. The collection is thus ideal for introducing viewers to the rich and complex artistry of Africa and for primary source research in intro-ductory and upper level courses on African Art directed by faculty member and Adjunct Curator of Non-Western Art, Dr. Patricia Coronel.

Three major gifts form the majority of this collection. The Udall family donated a significant gift of works from Kenya from the Maasai, Pokot, Turkana and Kamba peoples. Rob Udall, a professor at Colorado State, went to Kenya as Chief of Party for the USAID Vet Med Project. With his wife Dorothy he collected jewelry and textiles. Dorothy Udall worked with the National Museum in Nairobi, purchas-ing works for their permanent collection in the field. She also established Maridadi Fabrics in Kenya in order to help women establish self-sufficiency. Following Dorothy’s death Rob married a family friend, Mary, who had spent signifi-cant time in the Congo. They continued to collect African art. The Udall gift focuses on beaded jewelry and portable household objects.

A second significant African gift to the collection focuses on West Africa, including key pieces from the Akan, Yo-ruba, Dogon, Kuba and Lobi peoples. The collection was amassed by Jan and Richard DeVore in the 1980s and 1990s. Richard DeVore, a long standing faculty member in the art department and internationally recognized potter, devel-

Yaka, Kholuka Mask, c. 1970 (collected), Wood with cloth, pigment, raffia, and blue turaco feathers and skull, 36 in. x 20 1/2 in. x 9 in., University Art Museum, CSU, gift of John A. and Mary Pat Carlen, 2008.2.337.

African Collections

Collections: African

19

oped a passion for African aesthetics. Initially collecting examples from several peoples and countries, many of which he donated to the collection, he narrowed his focus to the Lobi in the 1990s. There is a scarcity of scholarship on the Lobi. The Colorado State collection, with a significant number of examples by different carvers, is an important repository for the study of these West African peoples and the advance-ment of scholarship on Lobi artifacts as well as an important teaching tool on colonial relation-ships and attitudes.

A third African collection, from John and Mary Carlen, was transferred to the University Art Museum from the Lory Student Center in 2008 in order to best fulfill the donors’ wishes that the works be seen and accessible for study. This

collection of over 350 objects contains significant works from the Kuba and Yaka peoples including excellent examples of Yaka medicinal figures and masks, and Kuba works related to royal leadership.

A smaller donation of African work from the collection of Warren and Genevieve Garst came to the Museum in 2008. Warren Garst served for twenty-five years as the chief film-maker for the renowned NBC televised series Mutual of Omaha’s Wild Kingdom. During this period the Garsts collected art objects from around the world. The gift to Colorado State will focus on their African and South Seas collections, including works that were gifted to the Garsts from legendary gorilla researcher, Dian Fossey.

Kuba, Cloth, 20th century, Woven and dyed raffia with fibrous thread, 27 in. x 22 3/4 in., University Art Museum, CSU, gift of Richard and Jan DeVore, 1999.1.56.

Gusii, Basket, 1967-1969 (collected), Plant fiber with antelope hide and twine, 5 1/2 in. x 6 7/8 in. x 6 7/8 in., University Art Museum, CSU, gift of the estate of Rob and Dorothy Udall, 2002.1.67.

20

Collections

The Japanese print collection came to the University Art Museum though two donations. In 1983 Fort Collins res-ident Editha Todd Leonard, a 1924 graduate of Colorado State University, gifted a collection of over 100 Japanese prints, Japanese ceramics, books and cloisonné objects. Included in this collection are iconic images and series, including later publications of Hokusai’s Thirty-six Views of Mount Fuji and Fifty-three Stations of the Tokaido.

Because many of these prints are from later editions they are best used as teaching collections, though excellent examples of earlier 19th century prints are included. Leonard’s husband, Dr. Warren Leonard was a professor of Agronomy at Colorado State University. The Leonard collection was assembled following the Second World War when Dr. Leonard served as head of the Food and Agriculture Division of the Natural Resources Section of the Army of Occupation under General MacAr-thur in Tokyo.

The second gift of Japanese prints entered the collection in 1988 from Fort Collins residents George and Alice Drake. During the 1950s the Drakes relocated to Fort Collins, where Mr. Drake took a teaching position in the Department of Business at Colorado State University. It was the Drakes’ close ties to the university, faculty and students that eventu-ally led them to donate the collection for the enhancement of student education. The Drakes never favored one particular artist, therefore their collection forms an excellent overview of many of the major artists working in this genre, including Hokusai, Shuncho, Sharaku, Hiroshige Ando and Utamaro Kitagawa, and of the prevalent themes that these artists worked with.

Together, the Leonard and Drake collections are significant because they present visitors and students with a compre-hensive look at the Japanese print medium, complement courses on Asian art, and provide primary source materials for students in art history and in the International Studies Asian-studies focus area. The collection has proven especially rich for teaching in art, history, English, and sociology, where faculty members have used the prints as a window to the social structure of 19th century Japan.

Utamaro Kitagawa (1754-1806), Young Man Shaving Neck of Courtesan, 1802, Color woodcut on paper, 15 1/8 in. x 10 9/16 in., University Art Museum CSU, gift of George and Alice Drake, 1989.1.3.

Japanese Print Collections

Collections

Much smaller in scope than the African Collections, the Museum holds works from the South Seas from Australia, Melanesia and Polynesia including strong examples of bark painting, barkcloth, and sculpture. The transfer of an outrigger canoe from the Marshall Bennett Islands became the focus of a major exhibition in the summer of 2010. This area has been identified for focused growth.

South Seas Collections

Collections

21

Kwaiawata Island or Marshall Bennett Islands, Waga (Outrigger Canoe), 20th century, Wood with shells, pigment, plastic, and raffia, 40 in. x 85 in. x 15 11/16 in., University Art Museum, CSU, gift from the Denver Art Museum, Joan and George Anderman Collection, 2009.6.

The Museum’s collection of 20th century works of art continues to grow, particularly following the announcement of the collection move from the Visual Arts building to climate-controlled spaces at the University Center for the Arts. The collections consist primarily of works from the latter half of the 20th century and a few works from the 21st century. These collections, gifted to the department by numerous donors since the early 1970s, illustrate

several stylistic and conceptual modern trends. Areas of focus include American Pop Art, Op Art, Post-war European Art and Conceptual Art. Some of this work was gifted to the department by the late John Powers and his wife Kimiko, Colo-rado residents and collectors whose generosity not only brought works into the collection, but significant artists and exhibi-tions to Colorado State University during the late 1970s and 1980s.

22

Zwelethu Mthethwa (1960-), Untitled (From Empty Beds Series), 2002, Chromogenic print, 24 1/2 in. x 34 in., University Art Museum, CSU, collection of Mark and Polly Addison, 2009.2.28.

Modern & Contemporary Collections

Collections

Collections: Modern & Contemporary

23

Recently, the permanent collection has been enriched by a significant promised gift of 20th century art from the Mark and Polly Addison Collection. Boulder residents Mark and Polly Addison are avid collectors of contemporary art and passionate supporters of Colorado art institutions. Mark has served on the Board of the Denver Art Museum and the contemporary curatorship at the DAM is named for them. The CSU Addison collection includes over 100 pieces by American artist Matt Mullican, representing a significant body of his work from the 1980s and 1990s consistent with artist’s interests during this period in language and semiotic communication. The Addison Collection also includes print portfolios by the YBAs (Young British Artists), Enrique Chagoya and works by seminal modern and contemporary figures from around the world including Herbert Bayer, Louise Bourgeois, Red Grooms, Allan McCollum, Robert Motherwell, Bruce Nauman, Manual Ocampo, Frank Stella and Kara Walker. This important gift radically changes the Department’s ability to exhibit, interpret and teach the art of the later 20th century in a comprehensive manner. The gift also includes works by significant contemporary Afri-can photographers, enriching our emphasis on African Art. Because the collection has a global focus, it furthers our mis-sion to collect, exhibit, and interpret work from diverse cultures.

A small collection of approximately 40 Soviet photographs can also be found in the collection. These works are particularly important in illustrating the shift from the avant-garde aesthetics of the early Soviet period to the social realist aesthetics of the Stalinist period and give viewers insight into how socio/political thought is embodied in material culture objects.

Valeriy Gerlovin (1945-) and Rimma Gerlovina (1951-), Serpent, 1990, Chromogenic print, 36 in. x 36 in., University Art Museum, CSU, Collection of Mark and Polly Addison, 2009.2.33.

Andy Warhol’s visit to Colorado State University in 1981 was marked by the creation, under Warhol’s direc-tion, of three large Campbell’s Soup

Can sculptures. Warhol signed the works when he came to campus. One of these sculp-tures is located on the grounds of the Universi-ty Center for the Arts. Three other large-scale outdoor works are promised gifts which will come to the museum at a later date. Plans call for integrating these works and others onto the UCA grounds.

24

Andy Warhol and Collaborators (1928-1987), Soup Can, 1981, Steel with paint, 132 in. x 72 in. x 72 in., University Art Museum, CSU, gift of John and Kimiko Powers, 2008.5.

Outdoor Sculpture Collection

Collections

The promised gift of over 200 works of art from the Hartford-Tandstad Collection was bequeathed in 2011. The collection was formed by Larry Hartford and Torleif Tandstad, originally of Los Angeles, who relocated to Fort

Collins in the 1980s. Hartford and Tandstad developed the collection through their experience as certified art appraisers in California where they worked as chief appraisers for a number of major art collections including Paramount Studios. Eclectic, but extraordinary, in nature, the collection consists of paintings, drawings, miniatures and enamels, prints and manuscripts, sculpture and decorative arts, primarily from European schools from the 16th through the 20th century, as well as a small collection of Asian art. Standouts among the collection are a large landscape by the renowned French painter Claude Lorrain, a portrait of King Louis XIV by Pierre Mignard I that served as the model for the well-known portrait in the collection of Versailles, and

a unique early 16th century oil on panel of the Madonna and Child, remarkable for its stylistic in-novations. Colorado State was chosen as the recipi-ent of this gift because of the museum’s dedication to the safe stewardship of cultural objects and focus on using collection resources for teaching.

The extensive collection of works on paper was first introduced to the Fort Collins community in the 2011 loan exhibition Sure of Hand: Drawings from the Renaissance to the 19th Century and the minia-ture collection was featured in the 2012 exhibition Small Worlds: European Portrait Miniatures.

Eustache Beěrat (1792-1884), A Sheet of Caricature Studies, 1853, Pen and sepia ink on paper, 8 in. x 12 in., University Art Museum, CSU, promised gift of Larry Hartford and Torleif Tandstad.

Collections

25

Hartford-Tandstad Collection

Hartford-Tandstad Library

In advance of the founding of the University Art Museum, faculty and staff in the Department of Art (Linny Frickman and Dr. Patricia Coronel) began to make substantial progress in the level of administrative and intellectual control over the

collection beginning in 2001. An Access database was designed that allowed for uploading photographs for identification, and allowed field category searches. This database, with good finding aids, proved flexible for a wide range of collection objects in the early phases of collection management. With the assistance of stu-dents working in formal classes, group studies, and independent studies the department began to formally accession and digitally photograph collection objects. Data on the African and Japanese collections was input into the database during this period.

In 2005 a collection management policy was drafted and submit-ted for review through the Department Advisory Council and to Colorado State University General Counsel. The policy was formally adapted in January of 2006 and has been updated yearly.

In 2006-2007 the department was awarded a NEH Preservation Assistance Grant for Small Organizations in order to assess the museum’s collections, suggest interim remedial measures prior to the relocation to the UCA, and to provide recommen-dations for storage at the new complex. A paper conservator, Eileen Clancy, and object conservator, Judy Greenfield, visited old and new facilities and prepared detail reports. The Museum staff followed the recommendations in these assessments for the collection move and to develop a long-range work plan consistent with internal capacity. The Museum has continued to work with object conservator, Judy Greenfield. In 2007-2008, under her tutelage, students created archival storage mounts for a portion of the African jewelry collection. Additional mounts were completed in the 2009-2010 academic-year, primar-ily for larger and fragile works from the Carlen Collection.

In 2006-2007 the Department applied for acceptance to and completed the IMLS/ AAM’s MAP program for collection management. The process of self-study and outside review further prepared the staff for the transition to the Museum. The outside consultants for both the NEH and MAP grants identified the Museum’s greatest weakness as understaffing, with the greatest need in collections management. In 2008-2009 the Museum was able to secure a position for a collections manager. Suzanne Hale, with expertise in this field, became the Museum’s first collections manager.

Collections Management

27

Andy Warhol (1928-1987), Flowers, 1970, Screen print on paper, 36 in. x 36 in., University Art Museum, CSU, gift of John and Kimiko Powers, T071.

Collections Management

28

Our collection management activities remained a priority following the opening of the museum. In 2010 the Museum was awarded a two-year grant from the IMLS to complete the cataloging of the collection and to purchase the Gallery System’s EmbARK database system. The museum completed the project in 2012, allowing us to gain intellectual and administra-tive control over our collection. This project included the installation of the EmbARK database system, transference of files from old Access systems and paper records to EmbARK, and the completion of documentation on all remaining objects. Records, with identification photographs, basic cataloging and location, are in place for all works in the collection.

In 2010 the museum also received a second NEH Preservation Assistance Grant for Small Institutions focused on com-pleting the re-housing of our ethnographic arts collection and works on paper. Included within this project was archival labeling of these objects. During the course of the project we worked with Judy Greenfield and paper conservator, Camille Moore.

In the first part of the project our collections manager completed an on-line course through the Northern States Conserva-tion Center on applying numbers to collection objects. Following this training, the collections manager, staff and students completed a training session with Greenfield on applying labels and the safe removal of non-archival labels. The workshop also focused on completing custom archival mounts for ethnographic objects. 320 objects were re-housed.

The second part of the project focused on re-housing and inscribing works on paper. During this phase staff member, Keith Jentzsch, attended the workshop Preparing Works on paper for Storage, Loan and Exhibition at the Campbell Center, consultant conservator Camille Moore completed an on-site assessment and workshop, 243 works were removed from inappropriate framing materials, all works were inscribed with accession numbers, and 543 works on paper were rehoused according to Moore’s recommendations.

In addition to these grant-funded projects the museum received a small gift from the Greenwood Fund for the conservation treatment of a painting by Friedel Dzubas and, after the project was completed, was asked to submit a second proposal for fur-ther conservation needs.

Collection management has been central to the University Art Museum’s teaching mission. Under the tutelage of Dr. Coronel students have actively been involved in yearly museum studies courses. Through these upper level art history seminars the Museum offers students valuable experience for future museum work.

Dmitri Baltermants (1912-1990), May Day Demonstration, 1965, Gelatin silver print, 12 1/2 in. x 18 3/4 in., University Art Museum, CSU, gift of Paul and Teresa Harbaugh, 2005.83.

Exhibitions

29

The primary outreach activity for the University Art Museum is a professional and varied schedule of rotating exhibitions derived from the perma-nent collection and outside loans. These exhibi-

tions are rotated on a quarterly basis, with shifts timed to give semester-based students access to all rotations.

Exhibition History 2009-2012

Reflection, Refraction, Reconfiguration: Images from the Collection of Polly and Mark Addison

April 2 – June 13, 2009

African Art: Highlights from the Permanent CollectionApril 2 – September 25, 2009

A Floating World: The Art of the Japanese PrintApril 2 – June 13, 2009

Through Warhol’s Lens: Gifts from the Andy Warhol Photographic Legacy Program

June 26 – September 25, 2009

Warhol’s Flowers: Print Selections from the Warhol Museum and the Permanent Collection

June 26 – September 25, 2009

16th Colorado International Invitational Poster ExhibitionOctober 3 – December 22, 2009

Elastic Expressions: Variations in Clay from Colorado Collections

January 12 – June 12, 2010

Honoré Daumier and the Parisian PulseJanuary 12 – March 13, 2010

Amy Yoes: Catalyst January 28 – March 20, 2010

Master of Fine Arts Thesis Exhibition March 27 – June 12, 2010

De Wain Valentine (1936-), Red Top, 1966, Fiberglass reinforced polyester resin, 14 3/4 in. x 14 3/4 in. x 14 3/4 in., University Art Museum, CSU, gift of John and Kimiko Powers, 1976.1.2.

Essential Forms: Intricate Meanings Geometric Abstraction from the Permanent Collection

June 29 – September 24, 2010

Where Water Meets Land: Island Arts from the South SeasJune 27 – December 17, 2010

Drawing Inward: German Surrealist Richard OelzeOctober 1 – December 17, 2010

Unexpected Retreading: The Art of Chakaia BookerOctober 1 – December 17, 2010

Sure of Hand: Drawings from the Renaissance to the 19th Century

January 21 – June 10, 2011

East/West: Visually SpeakingFebruary 1 – April 9, 2011

Master of Fine Arts Thesis ExhibitionApril 15 – June 10, 2011

Vision the City: Brendt BergerJune 28 – September 24, 2011

Vision the City: Wolfgang VolzJune 28 – September 3, 2011

Prestige, Wealth, and Strength: The Power of African MetalJune 28 – December 16, 2011

CIIPE Honor Laureate: Leonardo SonnoliSeptember 14 – December 16, 2011

Steina: Orka CombinedOctober 4 – December 16, 2011

Small Worlds: European Portrait MiniaturesJanuary 28 – June 9, 2012

Mexican Prints from the Calle Collection: The Taller de Gráfica Popular and Graphic Commitment

January 28 – April 7, 2012

Textured Interplay: The Abstract Art of Ellida Schargo von ltenFebruary 3 – April 7, 2012

Master of Fine Arts Thesis ExhibitionApril 13 – June 9, 2012

The Hartford-Tandstad Collection and Museum Expansion PlansJune 26 – December 14, 2012

Collaborations, Affinities, and Friendships: The Collection of Doug and Susan Casebeer

June 26 – December 14, 2012

Department of Art Faculty ExhibitionJune 26 – September 15, 2012

Colorado’s ValentineOctober 1 – December 14, 2012

30

Exhibitions

Warhol’s Flowers: Print Selections from the Warhol Museum and the Permanent Collection, University Art Museum, CSU, June 26 – September 25, 2009.

The University Art Museum is a center for scholarly research on the visual arts, utilizing collections and exhibitions for ongoing research by faculty and students. Students are encouraged to research the collection for art history assignments, senior capstone papers, and in

museum studies seminars. Highlights of student research have included sympo-sium presentations at the Front Range Symposium on the History of Art. Faculty curatorial research results in exhibitions and publications. Since opening in 2009 the University Art Museum has published two small publications; Reflection, Re-fraction, Reconfiguration: The Logic of Dissociation with an essay by museum direc-tor, Linny Frickman and Steina: Orka Combined with an essay by visiting critic, David Pagel. The museum has also published two catalogues; Mexican Prints

from the Calle Collection with essays by Linny Frickman, Dr. Eleanor Moseman and history pro-fessor, Dr. Doug Yarrington and Colorado’s Valen-tine with essays by visiting critic Peter Plagens and Linny Frickman. A third catalogue on the work of Ellida Schargo von Alten is underway, authored by Dr. Moseman. Extensive research on the Japanese print collection was com-pleted by visiting scholar, Cori North, as part of the 2010-12 IMLS project. Dr. Patricia Coronel continues in-depth research on the African collection. Collections are acces-sible to scholars from other disciplines within the university, and to outside scholars.

Research & Publications

31

Alberto Beltrán (1923-2002), Detengamos la Guerra, 1951, Linocut, 46 1/8 in. x 59 3/4 in., from Mexican Prints from the Calle Collection Exhibition Catalogue, Designed by Deborah Craven, 2012, University Art Museum, CSU.

De Wain Valentine (1936-), Colorado’s Valentine, Exhibition Catalogue Cover, Designed by Deborah Craven, 2012, University Art Museum, CSU.

Education & Programs

33

As part of a land-grant institution the Museum views educational out-reach and access as a core part of its mission. A number of programs, some continued from the department gallery program, and some new initiatives, are in place. Some of these programs are designed to reach

targeted demographic groups, while others are broader in orientation.

The Critic and Artist Residency Series continues to bring high profile guests in the art world to campus for lectures, classroom work, gallery talks, and individual critiques with graduate students. Programs have included a lecture by Christo, and residencies and exhibitions with artists Steina, De Wain Valentine, and Amy Yoes. These programs are scheduled with specific ties to the Department of Art.

In 2009 the Museum received a pilot one year grant (2009-2010) for an education outreach program for low-income area youth. The program, called BRAINY (BRinging Arts Integration to Youth) was the first joint initiative with the Depart-ment of Music, Theatre and Dance, and introduces area youth to the four disciplines featured at the UCA. Now in its fourth year the program serves 3rd and 4th graders from Title 1 designated schools in the Poudre and Thompson school districts. The project has won great acclaim and has been featured in two television broadcasts through the Poudre school district, and at various regional and national conferences on arts education. The University Art Museum takes the lead on the program which utilizes visual resources to teach in other academic discipline areas including math, history, and social studies. Over 400 area students participate each year.Tasteful Tuesdays, a series of informal discussions in the Museum on specific topics, premiered in the fall of 2009. Friday

Finales, a program in conjunction with the downtown are First Friday gallery walk program, extends Museum hours on the first Friday of each month.

The Museum staff is also available for special-ized tours upon request, a program that has become increasingly popular in the museum’s first several years. Specialized tours for uni-versity classes, high school students, seniors, and special interest groups are tailored to exhibitions and course content.

Back Cover Images: Yaka, Kholuka, c. 1970 (collected), Wood with cloth, pigment, raffia, and blue turaco feathers and skull, 36 in. x 20 1/2 in. x 9 in., University Art Museum, CSU, gift of John A. and Mary Pat Carlen, 2008.2.337. Hodaka Yoshida (1926-1995), Pagoda in Muro, 1954, Color woodcut on paper, 15 7/8 in. x 10 5/8 in., University Art Museum, CSU, gift of Editha Todd Leonard, 1983.1.99. Vance Kirkland (1904-1981), Discovery of Space Mysteries, No. 1, 1974, Acrylic on linen, 75 in. x 100 in., University Art Museum, CSU, bequest from the estate of Vance Kirkland, 1981.1. Clara Hatton (1901-1991), Fisherman’s Breakfast, 20th century, Oil on Linen, 20 in. x 24 in. x 1 in., University Art Museum, CSU, 2006.120. Andy Warhol (1928-1987), Gerulaitis, Vitas, 1977, Polaroid, 4 1/4 in. x 3 3/8 in., University Art Museum, CSU, the Andy Warhol Foundation for the Visual Arts, Inc., 2008.4.56. Honoré Daumier (1808-1879), Chaud! Chaud! Bertrand, faut pousser..., 1837, Lithograph on paper, 13 1/2 in. x 10 1/4 in., University Art Museum, CSU, gift of Jerad and Megan Harbaugh, 2009.11.13. Pedro Hernandez (20th century-), Pajaro, Chili, 1974, Enamel on copper, 1 in. x 8 in. x 8 in., University Art Museum, CSU, 1975.4. Wolfgang Volz (1948-), Columbus Circle, 20th century, Gelatin silver print on vinyl coated paper, 49 in. x 68 in., University Art Museum, CSU, gift of Wolfgang Volz, T302. Gary Voss (1950-), Untitled, 1977, Bronze, 18 in., x 36 in., x 18 in., University Art Museum, CSU, gift of the artist, 2010.8.1. Dmitri Baltermants (1912-1990), May Day Demonstration, 1965, Gelatin silver print, 12 1/2 in. x 18 3/4 in., University Art Museum, CSU, gift of Paul and Teresa Harbaugh, 2005.83. Andy Warhol (1928-1987), Flowers, 1970, Silk screen on paper, 36 in. x 36 in., University Art Museum, CSU, gift of John and Kimiko Powers, T071. Mbole, Ehuke (Anklet currency), Early-mid 20th century, Copper, 5 1/2 in. x 9 3/4 in. x 9 3/4 in., Univeristy Art Museum, CSU, gift of Richard and Jan DeVore, 1999.1.13. Shoson Ohara (aka Ohara Koson) (1877-1945), Untitled (Two Cranes), Color woodcut on paper, 15 in. x 6 7/8 in., University Art Museum, CSU, gift of Editha Todd Leonard, 1983.1.66.