At the Allen Magazine, Spring 2024

SPRING 2024 / EXHIBITIONS, EVENTS & MORE

THE CAUSE OF ART IS THE CAUSE OF THE PEOPLE Those words byWilliamMorris, inscribed in stone above the museum’s front entrance, exemplify our longstandingmission to bring the power of art to the greatest possible number of people. Your support for the museum continues this important tradition of connecting art and the public. Learn more at amam.oberlin.edu/support. CAN’T MAKE IT TO THE ALLEN? Search the entire collection online: amam.oberlin.edu/collection Take a deep dive into highlights from the collection with the Allen App: allen.stqry.app Visit the galleries, changing exhibitions, and the Frank LloydWright house virtually with Allen Augmented Reality: amam.oberlin.edu/aar DON’T MISS A THING Follow us @allenartmuseum Sign up for our e-newsletter: amam.oberlin.edu/e-news GROUP TOURS Free guided tours are available for adults and K–12 visitors. For information, please call 440-775-8166 or email education.amam@oberlin.edu. FROM THE DIRECTOR Often in this space, I’ve written about new exhibitions, programs, and projects that the Allen is undertaking; in many cases, these endeavors have highlighted new acquisitions to the collection. Now, I want to let you know about a recent loss from the collection: the 1911 drawing Girl with Black Hair, by Austrian artist Egon Schiele. You may have seen articles in the press last autumn about this; here, I can offer some context to Oberlin College’s decision to hand the drawing over to those who have posited that it is rightfully theirs, relatives of Fritz Grünbaum, a celebrated performer, writer, and director. Tragically, Grünbaum and his wife Lilly (Elisabeth), both Jewish residents of Vienna, were murdered in the Holocaust. The Allen purchased Girl with Black Hair in early 1958 fromGalerie St. Etienne in New York City; that gallery was run by Otto Kallir, a Jewish refugee who fled Austria in 1938, arriving in New York in 1939. The purchase was made pursuant to a decision by the museum’s Friends of Art group—our membership body, to which many of you reading this may belong— following a “purchase party,” an event at which donors vote on acquisitions. Charles Percy Parkhurst, the director of the Allen from 1949 to 1962, who authorized the drawing’s purchase, was a noted Monuments Man. He spent the latter part of WorldWar II and the period immediately following the war locating and inventorying thousands of artworks that had been looted by the Nazis, and as Deputy Chief of the Monuments, Fine Arts, and Archives program (MFAA) in Germany he coordinated restitution efforts at the Munich Central Collecting Point. In total, the MFAA located and returned more than five million looted artworks and items to their legitimate owners. In November 1945 he signed the Wiesbaden manifesto, rejecting the plunder and removal of cultural items as spoils of war, and in 1948 for his efforts in returning looted art he was made a Chevalier de la Légion d’honneur by the French government. It is inconceivable that Parkhurst would have purchased for the Allen any artwork that he believedmight have been looted. Galerie St. Etienne had purchased the drawing in late 1956 from the gallery Gutekunst & Klipstein in Bern, Switzerland. Records, including ledger books and correspondence, indicate that that gallery had bought it in early 1956 fromMathilde Lukacs, the sister of Lilly Grünbaum; Lukacs had fled Austria for Belgium in 1938 following the Nazi invasion. Exactly how Lukacs acquired the drawing is not clear; she exported artworks when she fled, and 87 North Main Street Oberlin, Ohio 44074 440-775-8665 amam.oberlin.edu Tue–Fri / 10 am–5 pm Sat / 1–5 pm Sun, Mon / Closed Always Free ON THE COVER / CONVERSATIONS-IN-PROGRESS Curators SamAdams and Marlise Brown pose with a newly-arrived acquisition in the Allen’s art storage. The artwork is part of a new installation in the King Sculpture Court that seeks to foster dialogue and illustrate connections between past and present. This space traditionally has showcased highlights from the Allen’s 19th-century American, Asian, and European collections, but now also includes contemporary works. These pairings explore such themes as American identity, Indigenous sovereignty, the natural world, manifest destiny, modernist depictions of space, and femininity and power. Throughout the museum, collaborative exhibitions and installations highlight collection diversity, embodying the Allen’s vision to be a creative catalyst for engagement and connection between people and art. Jeffrey Gibson (Mississippi Band Choctaw/Cherokee, b. 1972), TRY A LITTLE TENDERNESS, 2023. Acrylic paint on canvas inset in custom frame, acrylic velvet, acrylic felt, glass beads, turquoise, metal beads, vintage pinback button, vintage beaded elements, artificial sinew, nylon thread, cotton canvas, nylon and cotton rope. R. T. Miller Jr. Fund, 2023.58. Photo by John Seyfried.

AT THE ALLEN / SPRING 2024 / 3 Egon Schiele (Austrian, 1890–1918), Girl with Black Hair, 1911. Watercolor and graphite pencil on paper. she returned to Vienna several times in the late 1940s and early 1950s, where, if the drawing remained there, she might have retrieved it. Sadly, the crucial facts as to how she came to possess it and other artworks she sold to the Bern gallery remain unknown, and died with her in 1979. Additionally, it is not clear that the drawing was, in 1938, in Grünbaum’s collection, which was inventoried by the Nazis—albeit not with specific identifying details regarding his many Schiele drawings. While in 1928 he owned a drawing described similarly to this one, Schiele made many drawings of young girls, such that it is not possible to categorically state that this drawing is that—nor that, if it were, that it remained in his collection in 1938. Several lawsuits, regarding other drawings that may have been in Grünbaum’s collection, have made their way through the courts. A federal district judge in 2008 wrote that the Grünbaum heirs failed to produce “any concrete evidence that the Nazis looted [a similar] drawing or that it was otherwise taken fromGrünbaum.” That decision was appealed, and in September 2010 the court of appeals vacated it and remanded the case for consideration under New York law. The judge’s decision prevailed, in 2011; there, it was stated that “While an inventory may have been a preliminary step in the looting of Jewish property, it is not proof that the drawing was seized. Indeed the drawing was not specifically catalogued in the inventory andmay not have even been among the unnamed works of art in Grünbaum’s apartment. In any event Lukacs’ possession of the drawing after WorldWar II strongly indicates that such a seizure never occurred. Accordingly, what little evidence exists—that the drawing belonged to Grünbaum and was sold by one of his heirs after WorldWar II—suffices to establish by a preponderance of the evidence that the drawing was not looted by the Nazis.” In 2012, the U.S. Second Circuit Court of Appeals further upheld that decision. Yet another, later case, in New York state, regarding a different drawing, found for the Grünbaum heirs; that decision was upheld on appeal, when it was noted that even if Grünbaum’s sisterin-law had the works, her possession wasn’t equivalent to legal title. In September 2023, the Manhattan District Attorney’s office obtained warrants authorizing the seizure of this drawing and others. That office contends that the Nazi regime stole the drawings fromGrünbaum and that they rightly belong to his heirs; they dispute that they ever were lawfully held by Mathilde Lukacs. While we believe it has not been definitively established that the drawing was looted fromGrünbaum’s collection, the College has voluntarily turned it over, hoping that this will provide some measure of closure to the family. While this is certainly a loss to the collection, I want you to know that the Allen takes provenance issues very seriously. Our staff has devoted, and will continue to devote, great energy to researching the ownership history of collection works, and will always strive to ensure that any works entering the collection do so both legally and ethically. Andria Derstine John G. W. Cowles Director

4 / AMAM.OBERLIN.EDU HIGHLIGHT / OBERLIN COLLEGE GRADUATE’S PROJECT PLEASE DON’T TOUCH THE ART The exhibition Digital Reimaginings: Printing Towards Accessibility aims to introduce accessibility as a cornerstone of inclusion, equity, and education. It emerged in response to the fundamental questions about a museum’s societal role and responsibilities. These questions surfaced duringmy time in an art history seminar, Accessibility and Disability in Contemporary Art, led by former Oberlin College Visiting Assistant Professor Charles Eppley. That seminar introduced art and disability through an intersectional lens, building on a cultural framework that encompasses ableist culture, political economy, public infrastructure, race, gender, sexuality, immigration, and decolonization. As a third-year student at Oberlin College, I focusedmy thesis on 3D printing as a tool for accessibility, looking to examples from other museums that have begun rendering sculptures and two-dimensional works into a tactile, visitor-friendly form that can be handled. I have a background in crafting as the previous manager of Oberlin College Makerspace, and an academic understanding of disability studies and art history; these interests merged into a proposal to scan and print 3D replicas of sculptures in the Allen’s collection. I took Practicum in Museum Education—a course offered by Jill Greenwood, Eric & Jane Nord Family Curator of Education—which was a fundamental and comprehensive overview of museumprofessions, strategies of gallery teaching, and practical training, and then became a Gallery Guide at the Allen. As a student, this was formative in my decision to focus in art history, and led me to cross my fields of study in art history, comparative American studies, and education studies. I consulted with Hannah Kinney, Curator of Academic Programs, on how I could connect my accessibility thesis to a practical project. Working as a Gallery Guide allowedme access to the Allen’s Education Collection, objects that are cataloged separately from the permanent collection to be used as hands-on tools during tours and in-school programs. Followingmy proposal came “proof of concept,” performing a test scan at Case Western’s think[box] with an object from the Education Collection. While this initial test was successful, it raised the question as to what equipment could be brought into the Allen, prioritizing those least disruptive. Multiple scanners were tested before selecting Polycam, a photogrammetry 3Dmodeling app that works with most contemporary phone cameras. A critical point of this exhibition is to create a more inclusive space, and I tested out ideas to increase accessibility through feedback from community members. Key to the planning process was assembling a focus group of blind and low-vision participants. This teammet and

AT THE ALLEN / SPRING 2024 / 5 corresponded over months to discuss physical layout, educational elements, wayfinding, the Allen App, and other ways the Allen could expand access to people with disabilities. These focus group participants gave insights that shaped the creation of the didactic materials and the seating. In creating this exhibition, I am faced with implications of being sighted and leading a project centered on blind and low-vision accessibility. It is necessary to continue to think about this throughout my work, as well as the Allen’s future accessibility projects. As museumprofessionals, we must be conscious of our positionality in curating, programming, and teaching. Studies on disability acknowledge this balance with the idea of “move up, move up.” This asks those who are less inclined to contribute to “move up” to a role of speakingmore, or for someone who tends to speak a lot, that they “move up” into a role of listening more. The “up/up” confirms that in both experiences, growth is happening. Recognizing that not everyone can “step,” using “move” broadens the form of interaction so that it is not limited to a physical motion. By “moving up” into the listening role, and havingmy focus group “move up” to the speaking role, their voices and experiences are the driving force in the exhibition’s design. The Allen’s commitment to inclusion is exemplified by this outreach, which puts the participants in the role of experts. The phrase, “Nothing About UsWithout Us,” from the field of disability studies and activism, enforces the need for representation through participation. This slogan was coined by disability activist groups in South Africa in the 1990s and speaks to the erasure andmisrepresentation of people with disabilities. Centering those who would use accessible resources ensures that the programs or materials offered are beneficial rather than gratuitous. This exhibition offers a variety of modes of engagement including 3D replicas of original artwork, audio descriptions, large font and braille labels, and supplemental information housed on the Allen App. Creating accessibility-oriented resources can help all, as these options engage the four main learning styles: visual, auditory, reading/writing, and kinesthetic. This exhibition strives to illuminate how supplemental resources created for people with disabilities are beneficial to all visitors, and highlight the Allen’s expansion of accessibility. —Ellis Lane (OC 2022), Curatorial Assistant, Education Department Digital Reimaginings: Printing Towards Accessibility is on view in the Northwest Ambulatory from January 27 through May 26, 2024. “Art is something that most people just assume is not ever going to be accessible, and you’re working to change that. I hope this exhibit finds great success and leads to evenmore great advancements in the future…Half the battle is making things accessible; the other half is getting blind people to know about it so they come.” —Focus group participant Opposite left: Unrecorded English Artist, Chessman: Knight, ca. 1120–40. Ivory with traces of gilding and color. R. T. Miller Jr. Fund, 1948.310. Opposite right: A hand holds a 3D-printed and painted reproduction of the Chessman: Knight. Below left: Assistant Preparator Michael Reynolds works with Lane to scan an object for the exhibition. Below center: Lane meets with TomBabinszki fromEven Grounds Accessibility Consulting who was a member of the focus group. Below right: After the 3D-printedmodels were made, Lane worked to perfect the details.

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AT THE ALLEN / SPRING 2024 / 7 In this exhibition, adjacent presentations concerning Christianity and HIV/AIDS may be experienced individually and in conversation with one another. Contemporary artists have adopted Christian motifs in a wide range of contexts explored here, from civil rights to global trade. Amid the HIV/AIDS outbreak in the 1980s, artists drew upon the emotional impact and recognizability of Christian imagery to promote awareness of the crisis and cope with grief in its wake. The overlap in this Venn diagram is a selection of works by queer Christian artists whose religious backgrounds and exposure to the ravages of AIDS provided a unique set of tools to express both resilience and loss. Although each work confronts unique concerns, they also respond to shared themes, including judgment, shame, guilt, suffering, martyrdom, plague, death, redemption, resurrection, salvation through blood, and the sacredness of wounded bodies. AIDS is a topic broader andmore global than the mostly gay-male and U.S.-based roster presented here. Yet these artists offered some of the most prominent responses to the damaging introduction of AIDS as a “gay cancer.” Likewise, the artists who make use of Christian narratives are not all Christian and do not speak on behalf of the Church. Taken together, however, these works offer enduringmodels for turning pain and anger into beauty. ON VIEW / ELLEN JOHNSON GALLERY / JAN 20–DEC 15, 2024 CONTINUED

8 / AMAM.OBERLIN.EDU The exhibition showcases strengths in the Allen’s collection in the areas of Latin American and LGBTQ+ artists. Nearly half of the works in the exhibition are by artists of color, due in large part to the generosity of Oberlin alumni donors. The Christianity section is anchored with works by Enrique Chagoya, Graciela Iturbide, Malangatana Ngwenya, Artemio Rodríguez, and CharlesWilbert White. The HIV/AIDS presentation includes works by Carlos Alfonso, Emma Amos, Felix Gonzalez-Torres, René Santos, and Masami Teraoka. The vision of Bill Olander, who worked at the Allen from 1979–1984 as a curator and acting director, is on full display. He oversaw acquisitions of works by Robert Mapplethorpe, General Idea, Jimmy DeSana, and others who addressed AIDS in their work. Olander subsequently co-founded the artist-activist organization Visual AIDS in 1988 and was a curator at the NewMuseum of Contemporary Art in New York from 1985 until his death fromAIDS-related illness in 1989. Olander’s rectangle on the AIDS Memorial Quilt reads, “Let the record show that there are many in the community of art and artists who choose not to be silent in the 1980s.” Oberlin College students, faculty, and the community have played a vital role in bringing this exhibition to life. The Allen hostedmultiple focus groups over the past year, includingmore than a dozen faculty—from religion and art to biology and gender, sexuality, and feminist studies—who advised on the selection and interpretation of artworks and incorporated them into their syllabi. The museum consulted with local religious leaders, community activists, and HIV/ AIDS researchers. Oberlin students have been involved with all stages of researching and installing the exhibition and implementing programming and community engagement. Theater and conservatory students are developing performances that will take place in the gallery, including chamber music and scenes from the play Angels in America. An artist talk in spring 2024 will bring a queer lens to medieval and early modern Christian art. A symposium on HIV/AIDS is being planned for fall 2024. In the midst of Covid-19, these powerful works responding to Christianity and HIV/AIDS have much to teach us about faith, tolerance, activism, identity, healthcare, and love. Organized by SamAdams, Ellen Johnson ’33 Assistant Curator of Modern and Contemporary Art Page 6: Ismael Frigerio (Chilean, b. 1955), Sacred Blood, 1990. Serigraph. Gift of Cristina Delgado (OC 1980) and Stephen F. Olsen (OC 1979), 1997.37.2. Above: Audrey Flack (American, b. 1931), Macarena Esperanza, 1972, Fund for Contemporary Art, 1973.39. Left: Keith Haring (American, 1958–1990), Untitled, 1982–83, Gift of Rick Kantor (OC 1975) in honor of Minerva Durham’s Drawing Class, 2021.31.2. Top right: Sol LeWitt (American, 1928–2007), 49 Three-Part Variations on Three Different Kinds of Cubes, 1967–71. Enamel on steel. Fund for Contemporary Art, 1972.77. BottomRight: Liú Zhīguì 刘知贵 (Chinese, b. 1945), A Sleepless Night, 1974. Gouache on paper. MuseumFriends Fund, 2023.9. CONTINUED

AT THE ALLEN / SPRING 2024 / 9 ON VIEW / EDUCATION HALLWAY / JAN 31–MAY 26, 2024 COUNTING IN ART AND MATH WITH SOL LEWITT In the late 1960s, the artist Sol LeWitt began to use what he called “methodologies” to find and visualize the variations of a set of self-imposed rules. These methodologies combined concepts that articulated the rules together with processes for realizing the variations in both two and three dimensions. ON VIEW / SOUTHWEST AMBULATORY / JAN 30–DEC 22, 2024 A NEW KIND OF PAINTER FOR CHINA, 1960s–1980s In the 1960s, the arts were seen as a valuable tool in the effort to create a newChina on Socialist models. Since arts like painting were traditionally associated with wealthy elites, the central government wanted to cultivate artists fromdifferent class backgrounds. Farmers were one such group, and professional painters were sent to rural areas to educate people from farming communities in painting techniques and approved subjects. As has happened in other times and places, a unique interplay of conditions, motivations, and individuals came together to make Huxian 户县, then a village in rural Shaanxi Province, a center for art production. A group from the village became known as the “Huxian Peasant Painters.” They were seen as representatives of a new art that was rooted in folk traditions and free of the elitist associations of painting from earlier eras. Painting classes in Huxian started in 1958, but the group gained widespread fame in the 1970s when their work was promoted by the Chinese government through mass-produced and widely distributed posters. The Allen recently acquired two paintings by Huxian painters and a poster that reproduces one of them. Organized by Kevin R. E. Greenwood, Joan L. Danforth Curator of Asian Art LeWitt didn’t prioritize one moment in his “method” above another; instead, he saw finished sculptures, reduced-scale models, and working drawings as equally valuable manifestations. Bringing together 2D and 3Dworks by LeWitt andmodels created by Oberlin College mathematicians exploring LeWitt’s rules, this installation invites you to experience different processes of discovering and counting variations. Organized by Robert Bosch (OC 1985), James F. Clark Professor of Mathematics; Ilana McNamara (OC 2024); and Hannah Wirta Kinney, Curator of Academic Programs with assistance from Lauren Marohn (OC 2024)

10 / AMAM.OBERLIN.EDU ON VIEW / RIPIN GALLERY / JAN 2, 2024–JAN 18, 2025 FEMME ’N ISMS, PART II: FLASHPOINTS IN PHOTOGRAPHY Drawn from the Allen’s collection, this exhibition spans more than 150 years. Although far from comprehensive, the loosely chronological presentation encompasses key practitioners and decisive moments in the history of photography. From the mid-19th century to the first decades of the 20th, there was widespread debate as to whether photography should be considered a fine art rather than a mechanical trade. The exhibition opens with practitioners who took advantage of this ambiguity to enter the field andmake crucial discoveries, largely through portraiture. Works on view from the 1920s-1950s show how photographers used the unique characteristics of the medium to document the quintessentially modernist processes of urbanization, infrastructure, and scientific discovery. The second half of the exhibition focuses on strategies of appropriation and collage from the post-World War II period to the present, foregrounding the effects of mass media. Alongside these concerns, photographers developed conceptual modes of portraiture to address identity-based issues. This is the second installment of the multi-year series Femme ’n isms, which highlights women-identified artists in the Allen’s collection and expands art-historical notions of the feminine through the intersections of gender, race, and class. The exhibition includes works by Berenice Abbott, Laura Aguilar, Margaret Bourke-White, Claude Cahun, Julia Margaret Cameron, Nan Goldin, Dorothea Lange, Barbara Norfleet, Cindy Sherman, Iiu Susiraja, Carrie Mae Weems, and others. Organized by SamAdams, Ellen Johnson ’33 Assistant Curator of Modern and Contemporary Art Laurie Simmons (American, b. 1949), New Bathroom/Woman Kneeling, 1980. Type “C” color photograph. Fund for Photography in honor of Ellen H. Johnson, 1982.97.

AT THE ALLEN / SPRING 2024 / 11 James Elesh has spent nearly 60 years collecting and searching for print impressions of the highest quality from such artists as James Ensor, Käthe Kollwitz, Marc Chagall, Lovis Corinth, and Max Beckmann, among others. This exhibition features 19 prints that Elesh and his wife Pam have generously donated to the Allen Memorial Art Museum over the span of 53 years. Many of these are selfportraits, landscapes, or vivid compositions interpreting the horrors of war and the anguish of human loss. These are accompanied by eight additional prints from the Allen’s collection by Renaissance, Baroque, and Romantic-era artists who were an integral part of Wolfgang Stechow’s pedagogy and James Elesh’s education at Oberlin College, and one work that was a gift to the museum in honor of both Stechow and Elesh. All attest to the importance of close looking and the potential for lifelong learning sparked by a liberal arts education. Organized by Marlise Brown, Assistant Curator of European and American Art Above: James Ensor (Belgian, 1860–1949), Le mort poursuivant le troupeau des humains, 1896. Drypoint and etching. Gift of Pamela and James Elesh (OC 1964) in honor of Andria Derstine, 2018.10. Left: Max Beckmann (German, 1884–1950), Königin Bar (Self-Portrait), 1920, published 1921. Drypoint. Gift of Pamela and James Elesh (OC 1964) in honor of StephanieWiles, 2011.12.1. ON VIEW / RIPIN GALLERY JAN 2–MAY 26, 2024 A PASSION FOR PRINTS: WORKS FROM THE ELESH COLLECTION In the early 1960s, James Elesh (OC 1964) was a student at Oberlin College, with the renowned art historian Wolfgang Stechow (1896–1974) as one of his mentors. Stechowwas a scholar of Northern Renaissance and Baroque art and a professor at the College, devoting much of his research to Dutch landscape artists and the graphic works of Albrecht Dürer. While Elesh was a student, Stechow encouraged him to extensively study various states of Rembrandt’s prints to develop a connoisseur’s eye. Through Stechow’s mentorship, Elesh sharpened his interpretive abilities in the graphic medium and developed a passion for studying and collecting art.

12 / AMAM.OBERLIN.EDU ON VIEW / RIPIN GALLERY / JAN 2–MAY 26, 2024 RAGHAV KANERIA: COMMUNITY AND CREATIVITY PHOTOGRAPHS OF RURAL INDIA, 1970s–1980s Born in 1936 in the village of Anida in northwestern India’s Gujarat state, Raghav Kaneria spent his early years surrounded by the vibrant and dynamic visual world of rural Indian folk arts. His mother, respected for her skill in drawing and embroidery, encouraged Kaneria’s interest in art, and in high school, teachers recognized his talent. He began to study art formally, and as a university student of fine arts came to appreciate the true value and beauty of his mother’s art. Kaneria went on to receive a scholarship for graduate study at the Royal College of Arts in London. However, returning to Gujarat and working as a professor of sculpture in the 1970s, Kaneria realized that education andmodernization were leading people in India to look down on their rich folk-art traditions. In a recent interview for the Allen, Kaneria reflected on his mission to record these disappearing art forms during the 1970s and 1980s. “As an artist, I realized the value of these things, so I thought that wherever it is surviving, it should be documented before it is vanishing forever…[despite] my limited understanding of photography…and financial limitations.” In the 1970s and 1980s, he traveled on his own, often on foot, to rural areas of Gujarat, Rajasthan, and Madhya Pradesh, seeking to capture examples of folk arts. “I tried to cover as much as I can during vacations frommy teaching job…, [but the] tradition was disappearing very fast while I was documenting it.” Although primarily self-taught as a photographer, Kaneria’s training and artistic vision helped him to create images of great beauty and visual impact, and his sensitivity to the humanity of his subjects creates an immediate and timeless connection for the viewer. Organized by Kevin R. E. Greenwood, Joan L. Danforth Curator of Asian Art, with Mimi Montefiore (OC 2026) Top: Raghav Kaneria (Indian, b. 1936), Tribal Dance, 1970s–1980s. Silver halide print. Courtesy of Raghav Kaneria, TL44.2023.4. Center: Raghav Kaneria (Indian, b. 1936), Tribal Youth, 1970s–1980s. Silver halide print. Courtesy of Raghav Kaneria, TL44.2023.5. Bottom: Raghav Kaneria (Indian, b. 1936), A Friend at the Door, 1970s–1980s. Silver halide print. Courtesy of Raghav Kaneria, TL44.2023.2. Opposite page: Uuriintuya Dagvasambuu (Mongolian, b. 1979), Pandemic Diptych, 2021. Acrylic on canvas. Oberlin Friends of Art Fund, 2022.19A-B.

AT THE ALLEN / SPRING 2024 / 13 ECHOES OF THE PANDEMIC This spring at the Allen, some works on view in the South Ambulatory and Stern Gallery share a common theme: they help us to reflect on the recent global COVID-19 pandemic. As you view them, perhaps consider these questions: Does this work relate to your experience of the pandemic? Does it change your perspective or broaden your understanding of the global impact of that event? Discover theWeltzheimer/Johnson House, Oberlin’s Usonian-style dwelling designed by Frank LloydWright—the first of its kind in Ohio and among the few in the nation open to the public. Uncover the defining features of a Usonian home and explore the unique elements of the property during an enlightening presentation. Open house events take place the first Sunday of the month fromApril to November. Docent presentations are available on the hour from 12–4 p.m. Get more information, purchase tickets, or request private tours for groups of 10 or more at amam.oberlin.edu/flw. APR 7, MAY 5, JUN 2, JUL 7, AUG 4, SEP 1, OCT 6, NOV 3 PLAN YOUR VISIT TO THE WELTZHEIMER/JOHNSON HOUSE ANDREW PIELAGE

14 / AMAM.OBERLIN.EDU INSIDETHE ALLEN IT’S GAME TIME Oberlin College professors are always finding unique ways to use the Allen. In a particularly interesting instance last semester, Assistant Professor of Computer Science Emily Wang’s students created games set in the museum. Imagine students trying out a dating app, but for artworks! HAVE A SEAT The Allen is very grateful to Tom and Mary Van Nortwick, who were lead donors for the acquisition of 30 new, more comfortable, stools. It’s difficult to convey how muchworking here shapedmy personal and professional life. — Lucy Smith (OC 2013) Noted in the Allen’s visitor book; Lucy worked at the Allen 2009–13 DAWOUD BEY VISIT The December Allen After Hours featuring Dawoud Bey hosted an engaged standing-room-only crowd. The event opened with a performance of Wade in theWater by the Oberlin Gospel Choir, under the direction of La Tanya Hall. Oberlin professor and poet Chanda Feldman joined Bey for a conversation exploring the nuances of darkness and what it means to African-American history. Bey, a renowned photographer and MacArthur fellow, discussed his project Night Coming Tenderly, Black—fromwhich the Allen owns one work—which focuses on unmarked sites on the Underground Railroad in Northeast Ohio. Chanda Feldman and Dawoud Bey The Oberlin Gospel Choir

AT THE ALLEN / SPRING 2024 / 15 WE COULDN’T DO IT WITHOUT YOU! Do you ever wonder who’s behind that friendly face at the front desk on the weekends?Well, that is our MuseumGuild. This group of devoted volunteers has been an important part of the Allen since 2007. Here, museumdirector Andria Derstine gives an exhibition preview tour of Anna Von Mertens’s works to members of the Guild. Are you local and interested in getting involved? Contact us at membership@amam.oberlin.edu to learn more. COMMUNITY EVENTS FEATURED BILINGUAL AND STUDENT-LEDACTIVITIES In September, the Allen After Hours inaugurated the academic year with a lively open house, featuring student talks on co-curated exhibitions such as What’s in a Spell? Love, Magic, Healing, and Punishment in the Early Modern HispanicWorld and Class, Colonialism, and (Over) consumption. The event included Gallery Guides giving tours, while outdoors there was a vibrant atmosphere with food, drinks, lawn games, hula hooping, and an out-of-thisworld dance party with Julia Christiansen’s Antenna Tree sound pieces from the Anthropocene Aesthetics exhibition. Community Day in October continued the energy with people of all ages creating empowering amulets, brewing personalized tea blends fromCleveland Tea Revival, and enjoying bilingual art talks by Hispanic Studies students fromAssociate Professor Ana María Díaz Burgos’s courses, who co-curated What’s in a Spell?. Featuring translations and on-site interpreters ensured a fully bilingual program for Spanish-speaking audiences. The impressive turnout for both events motivates us to continue connecting students and communities through creative programs.

16 / AMAM.OBERLIN.EDU PRACTICUM IN MUSEUM EDUCATION For more than 30 years, the Allen has offered aWinter Term course introducing students to career opportunities with a behind-the-scenes exploration of museums. Each January, 15 students have conversations with museum staff, learning about their career paths and what they do in their various roles at the museum. The class also visits regional art museums in Akron, Cleveland, and Toledo to meet other professionals who share advice— strategic tips and pitfalls to avoid—on how to achieve a successful career at an art museum. Students also research methodologies in gallery teaching fromVisual Thinking Strategies to close looking, and how to use activities to engage viewers with art. “The assignments are practical in nature,” says Jill Greenwood, the Eric & Jane Nord Family Curator of Education, who teaches the course. “In addition to practicing guided touringmethods, I work with students on their cover letters, résumés, and interview techniques to help prepare them for internships in the field that will lead to further practical experience.” After theWinter Term, students are invited to join the Gallery Guide program to further their training in facilitating guided tours with K–12 students and the general public. They also have the opportunity to work on special projects at the museum and contribute to accessibility initiatives. Current Gallery Guide Sadie Winkelstein (OC 2025) said, “The Practicum in MuseumEducation programwas one of, if not the, most influential components of jump startingmy college career in the professional arts world. It not only functioned as an in-depth, immersive experience in museum theory and practice, but also laid the foundation for working at Oberlin’s acclaimed “It’s a process of scaffolding opportunities so that our undergraduates leaveOberlin Collegewith the experience and skills needed to secure internship positions at themuseumof their choice.” —Jill Greenwood

AT THE ALLEN / SPRING 2024 / 17 MUSEUM CLOSURE IN SUMMER 2024 In 2021, Oberlin College began work on the “Sustainable Infrastructure Program,” or SIP, which entails converting the campus heating system from steam to hot water, with the goal of achieving carbon neutrality by 2025. The Allen Memorial Art Museum had already undertaken this green heating and cooling approach as part of a major 2009–11 renovation that saw geothermal wells sunk in the museum’s north lawn and a complete updating of the museum’s heating, ventilation, air conditioning, and associated systems—a project that earned Leadership in Energy and Environmental Design (LEED) Gold certification. Now, the museum’s existing systems are slated to be hooked into the campus’s new systemduring summer 2024. Regretfully, this will entail the closure of the museum to the public starting May 27 and throughout the summer. We are taking this rare opportunity of a closure to install new carpeting on the second floor, refinish flooring in the Nord andWillard-Newall galleries, and study lighting upgrades for the East Gallery, among other projects. We are grateful for the partnership of the Oberlin College Facilities Planning and Construction staff in this work, and look forward to welcoming you back to a refreshedmuseum in the autumn. ACCREDITATION RENEWED In November the Allen was awarded reaccreditation by the American Alliance of Museums. This is the result of a multi-year process that involves a deep dive into a museum’s operations, policies, and strategic vision. Gaining reaccreditation means that the Allen continues to meet national standards and best practices, and is a member of a community of institutions that hold themselves publicly accountable for excellence. Allen Memorial Art Museum after the conclusion of the program.” Zach Terrillion (OC 2024) added, “The Practicumwas a fantastic opportunity to learn about different pathways in museums beyond the more familiar role of curation. I met some incredible people, and learned how to convey the meaning of all sorts of art to all sorts of public audiences. The field trips were also a ton of fun!” Above: A student explores the ArtLens Gallery at the Cleveland Museum of Art. Opposite left: Parker Niles (OC 2023) gives a sample Object Talk. Opposite right: Iris Junker (OC 2024) works on a glass mushroom at the Toledo Museum of Art. Below: The Practicum 2023 group pauses for a photo.

18 / AMAM.OBERLIN.EDU FEB 8 / 5:30–7:30 PM ALLEN AFTER HOURS / OPEN HOUSE Join us for an evening celebrating our newest exhibitions and some exciting updates in King Sculpture Court. We will have music and food; the Allen’s curators and Gallery Guides will be on hand to talk about the works on view. FEB 13 / 3 PM TUESDAY TEA / TECHNOLOGY IN ARTS ACCESSIBILITY Museums, as cultural keepers, have a responsibility to create a welcoming environment for all visitors. As technology advances, the Allen continuously looks for innovative ways to increase accessibility for visitors as a core tenant of the museum’s strategic plan. Join Ellis Lane, Curatorial Assistant in the Education Department, as he shares insights into the process of expanding accessibility with 3D printing and the Allen App in the exhibition, Digital Reimaginings: Printing Towards Accessibility. FEB 15 / 12:15 PM FACULTY SPOTLIGHT / GALLERY TALK WITH MICHAEL ROMAN AND A.G. MILLER Join us in the exhibition The Body, the Host: HIV/AIDS and Christianity to hear Michael Roman, Assistant Professor of Studio Art and Africana Studies, speak about his artwork on view. A.G. Miller, Professor Emeritus of Religion and CALENDAR OF EVENTS Africana Studies, and Pastor at Oberlin House of the Lord Fellowship, will also discuss CharlesWilbert White’s Micah. FEB 24 / 12–4 PM COMMUNITY DAY Join us for an afternoon of activities for art lovers of all ages. In conjunction with Black History Month, we will explore featured artists and get inspiration for a craft assisted by the museum’s Gallery Guides. Drop in anytime during this free family- and student-friendly event. MAR 2 / 1–4:30 PM POETRY WORKSHOP Join Lynn Powell, Professor Emerita of CreativeWriting, for an afternoon focusing on writing poetry as a way to engage with art. This workshop is open to participants ages 15 to 115. Visit our website to register. ACCESSIBILITY INFORMATION Most events at the Allen will be held in a wheelchair- and rolling walker-accessible building. The lecture space is wheelchair accessible, with moveable seating, and near wheelchair-accessible restrooms. Restrooms are gender-specific; visitors are invited to use the restroom of their preference. Listening devices will be available for use during the Allen After Hours presentations, but ASL interpretation will not be offered. Most talks will be recorded and available with closed captions on the museum’s Vimeo page after the event. Please email access questions to Jill Greenwood, jgreenwo@oberlin.edu. Above: Martine Gutierrez (American, b. 1989), Queer Rage, Don’t touch the art, p. 68 from Indigenous Woman, 2018. C-print mounted on Dibond. Purchased with funds fromPeter Frumkin (OC 1984) in memory of his parents Allan and Jean Frumkin, 2022.36.1. Right: Cristóbal de Velasco (Spanish, 1588–1617), The Fountain of Life, ca. 1590. Oil on panel. R. T. Miller Jr. Fund, 1952.13. Opposite top: Roman, Portrait of an Isis Priest, early 2nd century CE. Proconnesian marble (nose is a later repair). Gift of Mrs. Joseph Cook, 1902.1. Opposite bottom: Berenice Abbott (American, 1898–1991), FocusingWater Waves, 1958–61. Gelatin silver print, Purchased with funds fromCarl Read Gerber (OC 1958) in memory of John AndrewGerber (OC 1961), 2022.28.2.

AT THE ALLEN / SPRING 2024 / 19 MAR 7 / 5:30 PM ALLEN AFTER HOURS / READING PAINTINGS: RECOGNIZING STORIES IN THOUGHT-FORMS, SYMBOLS, AND EMOTIONAL STATES Elena Pakhoutova, Senior Curator of Himalayan Art at The Rubin Museum of Art in New York will discuss recent works by Mongolian artist Uuriintuya Dagvasambuu. The artist’s conceptually rich visual vocabulary seamlessly integrates traditional and contemporary pictorial elements to express relevant stories to which anyone can relate. Given the universal themes found in her art, international audiences can understand her visual narratives. They require no translation, but including the artist’s voice helps to interpret some of her encoded visions which will be explored during the presentation. MAR 12 / 3 PM TUESDAY TEA / MYSTERY RELIGION AND EGYPTOMANIA IN ANCIENT ROME Ancient Roman religion was varied and flexible, incorporating gods and practices from all around the Mediterranean. The Allen’s Portrait of an Isis Priest, with its distinctive features, can tell us about two intriguing aspects of Roman religion: Roman fascination with Egypt and the peculiarities of so-called “mystery cults.” Join us for a talk by Emily French, the Allen’s newAssistant Curator of Academic Programs. APR 4 / 5:30 PM ALLEN AFTER HOURS / CRAFTING A QUEER MEDIEVAL FEVER DREAM This presentation will discuss ways to reevaluate traditional Catholic art and ceremony from a personal perspective. Join Tyler Gunther—who performs in the social media sphere as the Greedy Peasant—as he discusses his creative practice heavily inspired by the incredible craftsmanship and unique forms of storytelling within this style of art. Gunther will reflect on how engaging with these historical artworks and traditions has helped himbetter understand how the queer imagination has been present throughout history. APR 7 / 12–5 PM FRANK LLOYD WRIGHT HOUSE OPENS FOR THE SEASON See page 13 for details. APR 13 / SEE WEBSITE FOR SCHEDULE A DAY OF CONNECTION: ART, MUSIC, AND HIV/AIDS Join us for a day of connection, bringing students and community together through performances by student actors and chamber musicians alongside in-gallery talks related to the exhibition The Body, the Host: HIV/AIDS and Christianity. APR 16 / 3 PM TUESDAY TEA / A SPOTLIGHT ON STUDENT RESEARCH Oberlin College students often research AMAM objects andmuseumpractices as part of their coursework, bringing new insights to our collection. Join us for an afternoon showcasing recent student projects. MAY 2 / 5:30 PM ALLEN AFTER HOURS / THE MUSE IN THE MUSEUM: A NIGHT OF POETRY Poets of all ages come together to showcase the connection of art and writing. Inspired by works in the Allen’s collection, poets will share their creative responses to what they observe and feel in art. If you are interested in presenting at this event, join us at the March 2 poetry workshop. MAY 14 / 3 PM TUESDAY TEA / COUNTING WITH SOL LEWITT: ALL (!) THREE-PART VARIATIONS ON THREE DIFFERENT KINDS OF CUBES Sol LeWitt (1928–2007) made several artworks whose titles contain the phrase “three-part variations on three different kinds of cubes.” To a mathematician, these pieces suggest a counting problem: Howmany variations are there? In this talk, Robert Bosch (OC 1985), James F. Clark Professor of Mathematics, and Ilana McNamara (OC 2024) will discuss the processes and methodologies that mathematicians use to tackle such problems, and they will share a “new” 57th variation. FOR UP-TO-DATE INFORMATION AND ADDITIONAL EVENTS VISIT AMAM.OBERLIN.EDU/EVENTS Take a break and relaxwith art (onZoom)! JAN 25, FEB 22, MAR 21, APR 25 / 12:15 PM MINDFUL MEDITATION Libni López, local clinical therapist with Authentically You Therapy, will lead sessions of intentional mindfulness centered around a work of art from the Allen’s collection followed by a discussion facilitated by Ellis Lane, Curatorial Assistant in the Education Department. These 45-minute Zoom sessions are free and open to anyone. Find details about our upcoming sessions and register at amam.oberlin.edu/meditation.

Nonprofit Org. U.S. Postage P A I D Oberlin College Allen Memorial Art Museum 87 North Main Street Oberlin OH 44074 HIGHLIGHT / RECENT ACQUISITIONS 1. Miriam Schapiro (American, born in Canada, 1923–2015), Children of Paradise, 1984. Color lithograph and collage. Gift of Katie Brown, 2023.28.1. 2. Maria Nepomuceno (Brazilian, b. 1976), Untitled, 2021. Rope, beads, ceramic, resin. Purchased with funds provided by Jerry M. Lindzon, 2023.21A-J. 3. Niki de Saint-Phalle (French, 1930–2002), Le Couteau (The Knife), 1972. Color lithograph. Paul B. Arnold Memorial Art Acquisition Fund, 2023.29. 4. Chinese, Famille Verte-Imari Dish with Design of Women Generals of the Yang Family, late 17th–early 18th century. Porcelain painted in underglaze blue, overglaze enamels, and gilding. Ronald J. DiCenzo Fund for Japanese and Chinese Art and Allen Memorial Art MuseumAsian Art Acquisition Fund, 2023.26. 3 4 1 2

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