Letter from the Director

In 2018, the Eskenazi Museum of Art continued to be active, even as the building was closed for renovation, the collections were safely packed and stored, and the staff were working in off site locations around campus. We launched partnerships with other museums, collaborated with university colleagues on a variety of initiatives, and broadened our outreach to surrounding communities. And, we began planning for the reopening of our refreshed I. M. Pei–designed building in fall 2019. The first step of that process began in December, when most of our staff moved back into the building, with a renewed commitment to making the Eskenazi Museum of Art a world-class venue for learning about and engaging with original works of art.

Last year also saw our staffing priorities shift as we began to consider the monumental task of re-introducing students and guests to the museum. With ambitious goals in mind, we added two new staff members to our education department, Arts-based Wellness Experiences Manager Lauren Daugherty and Andrew W. Mellon and Anthony J. Moravec University Experiences Manager Christopher Nunn. With a continuing commitment to advancing technology and increasing access to our collections, we hired Cassi Tucker as our Manager of Museum Technology. And, in an effort to improve guest experience at the museum, B. J. Camfield was promoted to Head of Security and Guest Services.

David Brenneman stands over a table with an artist's brush in hand.
Eskenazi Museum of Art Director David Brenneman visits the studio of the artist Wu Jian’an during a trip to Beijing, China, as part of the planning for the exhibition Americans Abroad at Tsinghua University Art Museum.

The partnerships we initiated in 2017 were successfully launched a year later. Picasso to Pollock at the Speed Art Museum in Louisville, Kentucky, gave our neighbors to the south an eye-opening exhibition of the modern masterpieces in our collection. And American Storybook, also at the Speed, celebrated our holdings of works by the nineteenth-century American artist Thomas Chambers. Last September, we traveled to Beijing for the successful opening of Americans Abroad at Tsinghua University Art Museum (TAM). The exhibition, which included works from the Eskenazi Museum, the Terra Foundation for American Art, and Indianapolis Museum of Art at Newfields, explored the influence of European art on American artists in the nineteenth century. Reciprocal shows at our museum from the collections of the Speed and TAM are planned after we reopen. We also collaborated with the Grunwald Gallery at the Sidney and Lois Eskenazi School of Art, Architecture + Design on another exhibition project, Out of Easy Reach, which included work by female-identifying contemporary artists from the Black and Latinx Diasporas. Our docents played a key role in bringing that exhibition to life.

The renovation introduced many exciting new spaces to our museum building. As construction was underway, we were conceptualizing programming in our four new centers: education, conservation, curatorial studies, and prints, drawings, and photographs. This included thinking about how the technology we installed in those spaces could be used for teaching and learning. Now that we are in the building, we are refining those plans as well as thinking about the myriad opportunities for connecting people with art.

Scholarly research on works from our collection continued in 2018. In particular, our Roman portrait busts of Septimius Severus and Julia Domna garnered a lot of attention, including an article in the New Yorker, for careful analysis that revealed the presence of multiple paint layers. And, the museum collaborated with Professor Bernie Frischer at IU’s School of Informatics to provide a training ground where students and faculty can learn how to create 3D models of art and test related technologies in a museum setting.

We also spent the year working on long-range planning for exhibitions, educational programs, and other activities at the museum. And our educational outreach continued at a vigorous pace, with visits to second grade classrooms in the Monroe County and Richland-Bean Blossom school districts, collaborations with IU’s Center for Rural Engagement, programming at First Thursdays, the Sara and Bob LeBien Arts-based Wellness Pilot Program, tours of the Thomas Hart Benton murals and IU architecture, and Youth Art Month.

2018 was a year of planning. In 2019, our reopening year, we are eagerly poised to realize our goal of being a preeminent teaching museum. We look forward to sharing our re-imagined museum with you in the fall.

David A. Brenneman
Wilma E. Kelley Director

Metrics at a Glance

Administration & Development

$3,600,000 operating budget

$8,010,000 total funds raised

$17,500,000 endowment market value

255 total donors

32 / 19 full time / part time staff

Events & Volunteers

33 museum events

4,569 event attendees

6 museum volunteers

Social Media

240,826 website visits

9,479 blog visits

10,052 social media followers


113 / 2,597 K-12 Tours / Students

16 / 345 University Tours / Students

60 / 924 Non-school Tours / Visitors

190 / 3,866 total tours / visitors

930 docent hours contributed


43,561 Total Visitors
Picasso to Pollock: Masterworks from the Eskenazi Museum of Art
Speed Art Museum, Louisville, KY

212,607 Total Visitors
Americans Abroad: Landscape and Artistic Exchange, 1800–1920
Tsinghua University Art Museum, Beijing, China

Strategic Pillars

Enhance & Expand Education

The year 2018 was an exciting time of growth and new adventures for education at the Eskenazi Museum of Art. We explored new work platforms and ways of engaging with students, experimented with bringing multiple voices into our work, and achieved new sources of support for our programs. All of our efforts concentrated on reopening as a preeminent twenty-first-century teaching museum that offers museum-quality experiences of transformative education.

New Platforms for Education

We took an important and integral new step this year by launching the Sara and Bob LeBien Arts-based Wellness Pilot Program, our first wellness initiative. Through careful planning and the establishment of important partnerships, when the museum reopens, children who are experiencing abuse and neglect will benefit from programming that includes art therapy activities led by art therapist Lauren Daugherty in the art-making studio and galleries. This program paves the way for other future initiatives, such as university student wellness groups, mindfulness programs, and dementia care. Even though the museum was closed in 2018, this potentially healing and restorative work has been recognized on an international stage, and it has positioned us among an emerging wave of wellness programming in museums across the country and abroad.

Five people stand together in front of a building.
Students from the IU's Media School researched and developed marketing strategies for the reopening year. Team Daas PR, from left to right: Destiny Bugos, Robin Set, Patrick Ford, Siyu Feng, and Andrea Vega (not pictured: Ashlyn Foley).
New Engagements

Building on past successes working with university students, this year the museum further realized its belief that students have incredible perspectives that should be integrated into our own practices. For example, in 2018 we began working with BFA and MFA textile students, led by Carissa Carmen and Rowland Ricketts, in the Sidney and Lois Eskenazi School of Art, Architecture + Design to develop an interactive social art project that will be installed in the museum during our opening year.

We also reached out to students in the School of Public and Environmental Affairs (SPEA) and Kelley School of Business, who helped us explore new directions for communicating our annual reporting. Similarly, we worked with the Media School PR Campaigns capstone course, who proposed marketing goals and shared audience research and recommendations for the museum’s reopening.

New Experiments

The museum values diverse perspectives. In 2018, we experimented with several new methods for introducing multiple voices into our work. For example, the education department established a new tool for obtaining feedback, ideas, and co-creating programs with our audiences. The Better Experience Pop-up helps us obtain feedback for designing better and more eff ective interpretative tools and programs. Using this method, we tested our audiences’ understanding of key concepts for an upcoming exhibition, gaining insight that may help inform the title of the show as well as the development of tools for inspiring and facilitating learning. The museum also tested a new concept for community sketchbooks. Placed throughout the building, these tools will prompt guests to provide feedback that will help us strengthen creative opportunities.

All of our efforts concentrated on reopening as a preeminent twenty-first-century teaching museum that offers museum-quality experiences of transformative education.

In partnership with the Grunwald Gallery at the Eskenazi School of Art, Architecture + Design, Eskenazi Museum docents led public tours of the exhibition Out of Easy Reach. Based on feedback from docents, visitors, and Grunwald staff , the tours were well-received. This experiment yielded a second similar opportunity for collaborating with the Grunwald, and we will continue to build on connections with our campus neighbors.

New Sources of Support

The Center for Rural Engagement at IU focuses on connecting with communities in the surrounding area through research, teaching, service, and partnerships. This year, the museum received financial support from the center to launch the Rural Teachers Engaging Art (RTEA) program, which shares and studies school-based techniques for engaging with museum collections. The RTEA program provides three lines of engagement with teachers in rural communities:

  1. Creating a professional learning community in which teachers have the opportunity to discover, design, and critique techniques for engaging with art;
  2. Demonstrating techniques in the classroom, led and co-led by museum and classroom educators; and
  3. Studying teacher engagement, learning outcomes, and outputs as a result of the program.

Launched with the fall 2018 semester, the RTEA program included museum-to-school visits, customized teaching materials, pre- and post-visit assessments, and the development of an online resource for participating teachers. Classroom visits, which are ongoing, will continue through May 2019.

Perennial Successes and Looking Forward

Along with new initiatives, we continued with perennial successes such as participating in the IU Arts and Humanities First Thursdays festival on the Arts Plaza, conducting on-campus tours and docent-led visits to Monroe County schools, hosting Youth Art Month, and offering Art and a Movie, which had its first preshow sellout with the film Loving Vincent. The museum will continue to explore new programs while enhancing established favorites, in order to extend engaging art experiences to diverse audiences.

Advance Technology & Increase Access

Throughout 2018, Eskenazi Museum of Art staff worked to enhance access to the museum’s collections using technology. With web, phone, and 3D technologies, curators and staff are building tools that allow museum patrons—from kindergarteners to scholars—to deepen their relationship with art.

In August, with generous support from the Offi ce of the Provost, the museum hired its first Manager of Museum Technology, Cassi Tucker, and efforts to place our collections online began. This will allow individuals from around the world to explore the breadth of the museum’s collections and use them for research, teaching, and more. Using The Museum System collections management system, which contains up-to-date information about each item, and the Piction digital assets management system, which provides high-quality images, the museum is creating an attractive, accessible, and informational portal for all. An initial launch with 500 select items from each of the museum’s five curatorial areas is planned in conjunction with the reopening of the building in fall 2019.

People sit at a table with Roman busts in front of them. One person wears a black headset.
Curator of Ancient Art Juliet Graver Istrabadi gathered a team of internationally recognized art historians, conservators, and scientists to research the presence of layered paint (polychromy) on the museum’s Roman portrait busts of Septimius Severus and Julia Domna.

Under the leadership of Juliet Graver Istrabadi, Curator of Ancient Art, and with support from the Allen Whitehill Clowes Charitable Foundation, Inc. (awarded October 2017), the museum also explored options for increasing accessibility of the museum’s collections by developing a phone application that will provide audio tours and location-specific information for objects in the ancient art gallery. Planning for ingallery iPad kiosks also began, the first of which will feature a detailed 3D model of an Egyptian sarcophagus in the museum’s collection. It will include a view of hieroglyphs not visible when the object is on display, prompting guests to take a closer look.

Eskenazi Museum of Art staff will continue developing opportunities for museum guests to experience a deeper relationship with art through the use of technology. When the museum reopens in 2019, multiple new initiatives will make the galleries and collections more accessible than ever before.

Preserve, Protect, & Study Our Collections

Janelle Beasley and Doug Sanders stand over a print that is laid out on a counter.
Museum paper preparator Janelle Beasley and IU Libraries’ paper conservator Doug Sanders prepare to wash, humidify, and press Eau Forte, No. 3 (1952), an etching by French artist Pierre Soulages (French, b. 1919).

Preserving, protecting, and studying the objects in the Eskenazi Museum of Art’s collections are central to the museum’s mission, and this important work continued in 2018 while the building was closed for renovation. Working from the E. Lingle Craig Preservation Lab at IU’s Ruth Lilly Auxiliary Library Facility (ALF), our prints, drawings, and photographs preparator, Janelle Beasley, performed a variety of treatments on paper works in the collection. One of her long-term projects involved more than 300 items in the Diether Thimme Collection.

Professor Thimme, who served on the faculty in the fine arts department from 1960 until his death in 1978, was a specialist in ancient art and taught IU’s first comprehensive course on the history of prints. His widow, Danaë Thimme, who served as the museum’s objects conservator until her death in 1998, bequeathed to the museum Diether’s massive collection of more than 800 items, which include small ancient objects and many important prints and livres d’artiste by artists ranging from Giovanni Battista Piranesi to Pablo Picasso. While both Diether and Danaë understood the proper environmental conditions necessary for the preservation of their collection, light and humidity can sometimes be difficult to control in personal living spaces. Several years ago, an object-by-object survey of the Thimme print collection (more than 500 works) was compiled, and Janelle took the opportunity afforded by the renovation to address its prioritized needs. She removed old hinges and tape, reduced adhesive residue, mended tears, flattened folds, cleaned surfaces, and removed non-archival mounts and housings. When more advanced treatments were necessary, Janelle consulted with IU Libraries’ paper conservator, Doug Sanders.

The paintings conservation lab continued to operate during the renovation in a temporary location at the Geology Building. Although the temporary lab was not equipped to accommodate the secure storage of works of art, several frames were brought to the lab for treatment. Many of the works housed in these frames had been on view in the gallery for years, and since they were integral to class tours, were difficult to remove for any extended period of time. Our paintings conservation technician, Ellen Lyon, consolidated, filled, and toned several permanent collection frames for works by artists such as Pieter De Ring, Henry Fuseli, Bernardo Strozzi, and Jean-Louis Laneuville.

Two people stand at a table, lifting a wooden frame from a box.
Julie Ribits, Beverly and Gayl W. Doster Painting Conservator, and Ellen Lyon, Conservation Assistant, examine a frame in the museum's new Center for Conservation.

Many works from the museum’s collection were loaned to other institutions for exhibition during 2018. Ellen assisted private paintings conservator Mike Ruzga in the examination, treatment, and preparation of works that were sent to Beijing for the exhibition Americans Abroad at Tsinghua University Art Museum. The prospect of international travel meant that several works needed new frames or liners and modification in order to ensure stability during handling and long flights. One such modification was the fabrication of vapor barrier packages, which create sealed environments that protect wooden panels from potentially damaging environmental conditions.

A grant from Eli Wilner & Company, New York, which assists notfor-profit institutions with their framing and frame restoration needs, enabled the museum to commission historically accurate, handmade frames for paintings by Sanford Gifford, Hyacinth Collin de Vermont, and Yasuo Kuniyoshi. We were also able to recreate the original 1919 frame for a collage by Kurt Schwitters.

An object viewing room will offer students and the public unprecedented opportunities for engaging with art.

The renovation also gave us the opportunity to participate in ongoing consultation with the architects on the design of the new conservation lab. The museum’s new state-of-the-art Center for Conservation, which will be equipped for work on objects and paintings, was conceived to be as flexible as possible, with an open, central space that allows worktables, taborets, and easels to be moved around with ease. Improved public access to the lab’s activities will offer behind-thescenes views into these important activities at the museum, and an object viewing room will give students and the public unprecedented opportunities for engaging with art.

In 2018, the museum also began the search for the Beverly and Gayl W. Doster Paintings Conservator. We are fortunate to have hired Julie Ribits, who will manage longterm care of approximately 1,200 paintings in the collection and will oversee the Center for Conservation. Previously, Julie was Assistant Paintings Conservator at the Saint Louis Art Museum, where she performed complex treatments on works from the collection.

Ensure Exhibition Excellence

The Eskenazi Museum of Art has always been a generous lender to major exhibitions organized by other institutions. During the last five years, we have lent almost 250 works to museums across the United States and abroad. While most of our international loans are to European institutions, we have also sent our works to museums in Canada and Mexico.

Sometimes, the rigors of travel prevent us from lending particularly fragile objects; however, there are many benefits to lending objects from the collection. Participating in exhibitions in major cities increases the visibility of our worldclass collection, and many of the shows in which our objects appear advance art historical scholarship through accompanying catalogues. From time to time, we also negotiate reciprocal loans from the borrowing institution, enabling our own visitors to view works from other museum collections.

Readying objects for loan is a complicated process. Each work of art is reviewed by the relevant curator and the conservation department. An object may need conservation treatment first, and sometimes it is necessary to reframe works before they can travel. The registrar’s office prepares necessary paperwork and arranges the logistics with shippers, customs specialists, and insurance brokers. Individual shock-proof and climatized crates, which are essential for transporting works of art safely, must be constructed. For all international loans, a courier—typically a curator, registrar, or conservator— must accompany the shipment to its destination (and back again). The courier ensures that each crate is properly handled during transit. Once at the borrowing institution, he or she carefully checks the object’s condition and supervises its installation in the gallery.

We occasionally organize entire exhibitions for travel to other institutions. In 2018, we partnered on two major traveling exhibitions, both of which featured works drawn primarily from the European and American collection. Picasso to Pollock: Masterworks from the Eskenazi Museum of Art at the Speed Art Museum in Louisville, Kentucky, which featured seventy paintings, sculptures, and works on paper from our collection, surveyed the major modernist artistic movements of the first half of the twentieth century. Also lent to the Speed was American Storybook: The Imaginary Travelogue of Thomas Chambers, which highlighted the Eskenazi Museum of Art’s large holdings of work by this nineteenthcentury landscape painter. These exhibitions were facilitated by a multi-year institutional partnership that includes reciprocal loans from the Speed for future display at our museum.

The museum also collaborated with Tsinghua University Art Museum (TAM) in Beijing, China, to present Americans Abroad: Landscape and Artistic Exchange, 1800–1920. Arranged by the museum’s Curator of European and American Art, Jennifer McComas, the show featured forty nineteenth-century landscape paintings from our permanent collection and ten loans from the Indianapolis Museum of Art at Newfields and the Terra Foundation for American Art in Chicago. A $300,000 grant from the Terra Foundation facilitated the exhibition, which was accompanied by a fully illustrated, bilingual catalogue containing three scholarly essays. Plans for a reciprocal exhibition from TAM’s collection are currently underway.

Refresh & Build Collections

As the Eskenazi Museum of Art moves into a new era with a renovated and refreshed building, it continues to add works of art that fill gaps or add to strengths in the collection. Through a combination of gifts from personal collections and works purchased from an artist or gallery, our collections keep growing, thanks to the generosity of donors.

We seek works that enhance our academic mission by helping students understand the world around them through the study of art.

As a preeminent teaching museum, we seek works that enhance our academic mission by helping students understand the world around them through the study of art. For example, the museum recognizes the need to acquire more works by women and other underrepresented groups. When students and museum visitors see themselves and their experiences reflected in art, it helps them make important connections, which can spark dialogue that includes diverse perspectives.

Last year, we added works to all curatorial areas in the museum’s collections. From a generous donation of African ceramics from IU Professor Emeritus of Fine Arts William Itter to a mezzotint on paper by Vija Celmins—a Photorealist with ties to Indiana—the museum enriched its holdings with artworks that will be studied by generations of IU students and faculty.

In planning for the renovation, we considered how we could share the works in our collection with more students, researchers, and guests. With the goal of providing greater access to the wonderful objects we acquire, we created three new object study rooms that will offer amazing opportunities for direct engagement with works of art. Located within our Centers for Conservation, Curatorial Studies, and Prints, Drawings, and Photographs, these new spaces will help us advance our teaching mission in unprecedented ways. We look forward to activating these areas for learning when we reopen in fall 2019.

Development at a Glance

48+ Works of art given

$8,010,000 Donated by supporters

119,318 Square feet renovated

Acquisition Highlights: Made Possible Through Philanthopy

Unknown Lokele, Turumbu, or Topeke artist
Democratic Republic of the Congo
Blade Currency, Liganda
Iron, 66 x 15 3/4
Gift of Carl and Ann Mys in memory of Caelan Mys, Eskenazi Museum of Art, Indiana University, 2018.7

This blade currency was given in memory of IU alumna Caelan Mys by her parents, Carl and Ann Mys. It is a nice addition to our existing collection of African currency objects. While shaped like a blade or sword, its size makes it an unreasonable weapon, as it is too large and too thin. Instead, this object would have been used as currency for important transactions, such as bride wealth. In particular, it represents a man’s intention to protect and care for his wife. This new blade currency will be installed in the newly renovated Arts of Africa, Oceania, and the Americas Gallery.

Unknown Fijian artist
Fiji Islands
Throwing Club, I Ula Tavatava
Wood, 15 1/2 in.
Gift of the Estate of James P. and Vada M. Hogan, Eskenazi Museum of Art, Indiana University, 2018.52

This Fijian throwing club, one of two given by the estate of James P. and Vada M. Hogan, joins our wonderful collection of Polynesian objects. One of many types of clubs among the Fijian peoples, throwing clubs were carried by men, especially during the turbulent nineteenth century. Because of the personal nature of such clubs, their owner often carved them, as was almost certainly the case here.

Eight still life panel paintings of books, ceramics, flowers, and curiosities.

Scholar’s Screen, 1930–45
Ink and color on paper
Purchased with funds from the Thomas T. Solley Endowed Fund for Asian Art, Eskenazi Museum of Art, Indiana University, 2018.1

Painted with bright mineral pigments and eye-catching perspective, this showstopper will be a dramatic focal point of the newly installed Asian Art Gallery. Chaekgeori or scholar’s screens such as this one, can loosely be described as still life genre paintings suitable for the scholar or any other individual wishing to visually inform others of their erudition, sophistication, and taste. The earliest known Chaekgeori screens date to the late eighteenth century, a time of peace and stability after the destructive Manchurian and Japanese invasions of the late sixteenth and seventeenth centuries. With increased prosperity, art patrons and scholars could once again enjoy the accoutrements of a genteel life. The popularity of this type of painting continued through the mid-twentieth century.

Kim Eun-Ho (Korean, 1892–1979)
Ink and color on paper
Purchased with funds from the Thomas T. Solley Endowed Fund for Asian Art, Eskenazi Museum of Art, Indiana University, 2018.2

Another notable acquisition that expands the museum’s holdings of Korean art is a painting of geese by Kim Eun-Ho, a prestigious court painter who was working at the end of Joseon dynasty (1392–1910). Geese have a special significance in poetry and painting. The wild goose (the Chinese make a distinction between wild and domestic geese) is foremost a symbol of seasonal change, as evidenced by their migration patterns and, as such, they figure in poetry as welcome harbingers of spring or as melancholic reminders of the approach of winter. In a related meaning, they are understood as messengers from afar who often bring tidings of close friends or lovers separated by great distances. Geese carry the emotional freight, both in painting and poetry, of longing for an absent companion. Since most geese mate for life, they are also seen more simply as emblems of fidelity and constancy. For the viewer, a painting such as this one would have brought to the fore all the famous poems on the subject of geese with their range of meanings and nuances. And, like the eight-panel Chaekgeori, or scholar’s screen, this painting would be a suitable example for the scholar to contemplate and admire.

Wanted poster on green background.

Ai Weiwei (Chinese, b. 1957)
WANTED, 2014
Color lithograph on paper
Purchased with funds from the Thomas T. Solley Endowed Fund for Asian Art and the Clarence W. and Mildred Long Art Purchase Fund, Eskenazi Museum of Art, Indiana University, 2018.10

Ai Weiwei, an artist with an international following, is also an activist, architect, curator, and filmmaker. Openly critical of the Chinese government in speech and in his work, Ai was arrested and imprisoned for eight-one days in 2011, without specific charges. He was later released to house arrest. Some of Ai’s best-known works are installations that often create a dialogue between the contemporary world and traditional Chinese art and production. Since 2015, he has been living with his family in Berlin, Germany, working on installations and traveling extensively.

We are particularly pleased to add a work by this distinguished, perhaps even, notorious artist to our collection. WANTED clearly references a wanted poster, with Ai’s passport photographs and the offer of a reward, but with a twist. Instead of a description of an alleged crime, the text makes an appeal to release Ai from imprisonment and return his passport. To add yet a further layer of contextual reference, the format and conception of the lithograph is based on Marcel Duchamp’s WANTED poster of 1963.

Night sky with stars

Vija Celmins (Latvian-American, b. 1938)
Untitled #4, 2016
Mezzotint on paper, image: 15 7/8 x 14 13/16 in.
Museum purchase with funds from Burton and Suzanne Borgelt in honor of Linda Watson, Eskenazi Museum of Art, Indiana University, 2018.31

Although born in Riga, Latvia, Celmins has deep Hoosier roots. She moved with her family to Indiana at the age of ten and studied at the John Herron Art Institute (now part of IUPUI) from 1955 to 1962. Although initially drawn to Abstract Expressionism, Celmins’s move to California in 1963 changed her trajectory. She turned her attention to Photorealism and began working from photographs of the ocean, sky, and desert. Although remarkably complex in their trompe l’oeil illusions, her drawings, paintings, and prints are simple in their compositions. Without any horizon line or clear focal point, they capture the vastness of the natural world, while at the same time encouraging viewers to look closely at the smallest details. Celmins is also interested in the artistic process. As such, she often chooses time-consuming and antiquated print techniques, such as wood-engraving and mezzotint. To create this celestial image, she slowly roughened a large copperplate to produce a solid, velvety black background and then selectively polished areas for subtle tonal effects. The picture that emerges from the darkness reveals surprising depth and illumination.

Girl with arms crossed with eggs in her hands

Emmet Gowin (American, b. 1941)
Nancy, Danville, Virginia, 1969
Gelation silver print, image: 5 1/2 x 7 1/4 in.
Museum purchase with funds from Burton and Suzanne Borgelt in honor of Linda Watson, Eskenazi Museum of Art, Indiana University, 2018.28

After our successful 2017 exhibition and catalogue, A Shared Elegy: Photographs by Elijah Gowin, Emmet Gowin, Osamu James Nakagawa, and Takayuki Ogawa, a collaboration with the Grunwald Gallery, the museum acquired its first figural works by the noted American photographer Emmet Gowin (in addition to three landscapes already in our collection). These new prints include two images of the artist’s wife and favorite model, Edith, and this one of Edith’s young niece Nancy. By combining a clean, modernist approach to shooting and printing with a knack for seeing the unusual in the most ordinary (and often intimate) situations, Gowin captures a distinctly Southern aesthetic that is mysterious and romantic, yet honest and natural. While Nancy’s convoluted gesture and placid expression reveal the innocent awkwardness of a preadolescent girl, the eggs in her hands hint at a universal theme of fertility and her future life as a woman. The dark, vegetative background and her virginal, white shift add to the work’s fairytale-like symbolism.

Large panel printed with color images inside red-cover chain link diamonds.

Edward Bernstein (American, b. 1944)
With Wendy Bernstein
Technical assistance: Janelle Beasley
Tapeçaria (Tapestry), 2013
Color archival printed fabric and chain-link fencing on steel panel, 48 x 72 in.
Gift of Rita B. Grunwald, Eskenazi Museum of Art, Indiana University, 2018.40

Printmaker Ed Bernstein was Professor of Art at Indiana University from 1991 until his retirement in 2013. Though a longtime Bloomington resident, Bernstein has pursued an international career. In addition to exhibiting his work worldwide, he founded IU’s Summer Program in Printmaking and Artists Books at the Scuola Internazionale di Grafica in Venice.

In 2010, he spent five months at the Federal University of Minas Gerais in Belo Horizonte, Brazil, as a visiting scholar. Two year later, he and his wife, Wendy, a longtime docent at the Eskenazi Museum of Art, returned to conduct research in the city’s favelas, the hilly, urban neighborhoods populated mainly by those on the lowest rungs of Brazil’s social and economic hierarchy.

Tapiçaria (Portuguese for “tapestry”), a large-scale, mixed-media work, weaves about 300 photographs (many taken by Wendy) from three Belo Horizonte favelas with images from nearby Inhotim, an outdoor contemporary art park that also includes a nature preserve and botanical gardens. In Tapiçaria, Bernstein contrasts the world of wealthy and middle-class Brazilians (represented by Inhotim) with that of the poor, who reside in the favelas. The chain-link fencing covering the surface of the work signifies the social, economic, and cultural boundaries separating life in the favelas from that of wealthier Brazilians. While primarily a commentary on social injustice and economic inequality, Bernstein also found a distinctive and vibrant culture, and even a unique beauty, in the favelas.

Development Highlights

Before the renovation, the Eskenazi Museum of Art welcomed almost 90,000 students and guests annually. Visitors enjoyed a host of special exhibitions, lectures, musical programs, and publications, all of which were provided free to everyone! Only a third of American art museums can afford to offer free admission, so we are grateful and fortunate to be a truly public service.

Behind the scenes during the renovation, museum staff worked diligently to study and care for the artwork in our collection. After we reopen this fall, we hope to welcome more guests to our amazing museum and offer more programs and activities that engage our community with our extraordinary collection.

Only a third of American art museums can afford to offer free admission, so we are grateful and fortunate to be a truly public service

While the museum is free, our work and activities take time and money. Where do those funds come from? The lion’s share (60 to 65 percent) of monies to operate the museum come from Indiana University, which pays for a large portion of the museum’s staff. Although IU provides a solid foundation of support, it is a common misconception that the university pays for everything. The museum’s operations are also supported through monies generated by endowments (approximately 20 percent), which help to underwrite certain positions, such as the Beverly and Gayl W. Doster Paintings Conservator, and key functions like exhibitions. These endowments were generously created by donors who want to ensure that these core activities of the museum are supported into the future.

The remaining funds needed to present exhibitions, host lectures, produce publications, conserve works of art, and so on, come from funds that are donated each year by engaged and far-sighted individuals. These activities are crucial to the museum’s success and can only happen through the annual generosity of hundreds of museum donors. Overall, in 2018 the museum raised $8,011,659 in gifts and bequests that will significantly impact our future activities.

A group of people in hardhats stand outside. Behind the group is a partial red sculpture.
Eskenazi Museum of Art staff and members of the museum's National Advisory Board participate in a tour of the I. M. Pei-designed building.

We know that we can do more and greater things if we have sufficient resources, so we are creating a strategy to increase support for our key priorities with the ultimate goal of being one of America’s great university teaching museums! The following are some of the ways that we are reshaping our fundraising tactics.

University Outreach

The museum’s development department is working with the new IU Strategic Campus Advancement (SCA) office to determine how best to leverage resources and receive help with annual giving, grants, and high-level donor engagement and events. While SCA and IU’s grant and research offices offer great resources, we have determined that increasing our own capability will be essential to advancing the many opportunities for foundation and governmental grants. In 2018, we successfully secured funding from The Henry Luce Foundation for $250,000 to hire a temporary assistant curator who will research our incredible photography holdings in the Henry Holmes Smith Archive. A resulting publication will help draw attention to this amazing collection.

Staffing Changes

Through an assessment of strategies and best practices, the development department determined that some restructuring was in order. We are now in a position to increase our efforts toward reaching out to individuals who may be interested in the museum. A new Associate Director of Development position will be dedicated to fundraising, and we have hired Joii Cooper as Assistant Director of Donor Relations and Stewardship. She will help provide leadership, strategy, and project management for our development programs, including communications and events that inform, inspire, and involve current and potential future donors.

Building awareness, the museum’s brand, and how we communicate with alumni and the public also have a great impact on our ability to fundraise. We are delighted that Mariah Keller has been promoted to Director of Creative Services, and under her leadership, we have already made a lot of headway toward the creation of a communications plan that will help us advance our fundraising goals. In addition, we have hired a new Marketing and Communications Coordinator, Kristin Londergan, who will play a key role in our re-opening and our ability to inspire museum guests to become donors.

For All: Bicentennial Campaign Update

Significant progress has been made toward our new goal of $60.1 million for the For All: Bicentennial Campaign. In the IU Foundation campaign report summary, which was updated on February 28, 2019, we raised $55,721,387. The museum is on track for surpassing this new goal by 2020. In large part, the campaign constitutes estate and planned gifts, funds for the renovation, and gifts of important works of art. These generous commitments signal a bright future ahead, and we hope they inspire more people to help with our annual fund and operating needs.

Annual Giving and Director’s Circle

In 2018, the development department focused its efforts on our Director’s Circle, a group that strongly believes in our vision and mission and gives $1,000+ annually. The department also took advantage of this period of temporary closure and renovation to restructure, with a focus on transitioning our fundraising goals for reopening and beyond. Last year, we had 255 donors (at all gift levels), and our Director’s Circle membership included 59 households. We are also fortunate to have sustained support from our highest level of donors. For the annual fund, unrestricted support, we raised $79,978.

The Eskenazi Museum of Art is funded by your philanthropy.

Your support enables us to increase our programming, expand our educational outreach, and remain a free teaching museum.

Donor Roll

 National Advisory Board Active and Emeritus Members    Gift of art
Director's Circle Members in bold  Members of the Director’s Circle contribute $1,000 or more to the museum annually. These individuals are instrumental in advancing the mission of the IU Eskenazi Museum of Art, and in helping to meet the annual operating budget so we can remain free and open to the public.

Annual Donors

Thank you for your support in 2018!
We are grateful for annual gifts from individuals, foundations, and corporations, in addition to support from Indiana University. This vital support enables us to meet our daily operating needs and continue our educational outreach by taking our K-12 Education Program out of the museum and into the classrooms while we also prepare for the re-opening of our museum in fall 2019. No matter the size, every gift makes a difference. Because of philanthropy and gifts from individuals like you, we are able to remain free and accessible to all. And, this past year, more than 48 works of art were given by individuals who entrust the museum to provide a permanent home for their beloved artworks.

Thank you!

This list recognizes donors who made gifts and pledges between January 1 and December 31, 2018. We regret any errors or omissions.

  • Anonymous
  • Jim & Sue Alling
  • James G. Williams & Deborah A. Allmayer
  • Ann S. Alpert
  • Joe & Jean Atkins
  • Dick & Adie Baach
  • Ken & Audrey Beckley
  • David & Ingrid Beery
  • Richard & Claire Beesley
  • John & Kay Begley
  • Edward & Wendy Bernstein
  • Bloomington Health Foundation
  • Nancy Boerner
  • Ida M. Bouvier
  • David Brenneman & Ruth Kenny
  • Jim & Cindy Briggs
  • Jim & Anne Bright
  • Jacqueline Brown
  • Charlene J. & Trevor R. Brown
  • Doris J. Burton
  • Beverly Byl
  • William P. & Kathryn Carmichael
  • Sandra Clark
  • Gayle Cook
  • Jean & Doris Creek
  • J. Robert Cutter
  • Mimi & Marc Dollinger
  • Harold A. Dumes & Marsha R. Bradford, J.D.
  • John & Sybil Eakin
  • Dennis & Catherine Elliott
  • Timothy D. & Dorothy Ellis
  • Sidney & Lois Eskenazi
  • Carol A. Evans
  • Elizabeth C. Evans-Iliesiu
  • William A. Fagaly
  • Richard & Susan Ferguson
  • Steve & Elaine Fess
  • Dr. Jane Fortune
  • Anne T. Fraker in memory of her husband, Rupert A. Wentworth
  • Adelheid & Barry Gealt
  • Lucienne Glaubinger
  • Jim & Joyce Grandorf
  • Nigel & Linda Greig
  • Richard Hacken & Marianne Siegmund
  • Gerald & Susan Hager
  • Steve & Jo Ellen Ham
  • Robert & Ann Harman
  • Peggy Harris
  • Jane Hewitt & Richard Small
  • David & Mary Higgins
  • Bernard & Mary Ann Holand
  • Sherry Holliday & Erick Mitter
  • Lawrence Hornick
  • Dr. & Mrs. Frank N. Hrisomalos
  • Bill & Nancy Hunt
  • B. J. Irvine, Ph.D.
  • William M. Itter
  • Walter & Bonnie Ivankow
  • Jason & Amy Jackson
  • Peter Jacobi
  • Tina M. Jernigan
  • Jenny Johnson
  • Rick & Alice Johnson
  • Donald & Margaret Jones
  • Susan C. Kaplan
  • Mariah R. Keller
  • Frank & Frances Kelly
  • David D. Keys
  • Kelly Kish
  • Howard & Linda Klug
  • Dr. Monika H. & Dr. Peter H. Kroener
  • Mary M. Kroll
  • Paul Kuznets & Gretchen Kromer
  • James W. & Evelyn Whaley LaFollette
  • Bob & Sara LeBien
  • Elliot R. Lewis & Christine M. Bauer
  • Earl F. Luetzelschwab & Deborah I. Burkhart
  • P. A. Mack, Jr.
  • John R. & Betsy MacLennan
  • Patrick & Jane Martin
  • David & Cathy Martin
  • Dr. & Mrs. Guy R. Matthew
  • Patrick K. McAleer
  • Charles & Julia McClary
  • James & Stephania McClennon
  • Jerry W. & Phyllis McCullough
  • Edward & Ann McEndarfer
  • President Michael A. McRobbie & First Lady Laurie Burns McRobbie
  • Jacques & Elizabeth Merceron
  • Rosemary Messick
  • R. Keith Michael, Ph.D. & Marion Bankert Michael
  • Michael & Sandra Miller
  • Steve & Sandra Schultz Moberly
  • Anthony & Rhonda Moravec
  • Carl & Ann Mys
  • Del & Letty Newkirk
  • Joseph Padgett
  • Gerald & Dorit Paul
  • Patrick & Jennifer Petro
  • Karl M. & Nancy S. Petruso
  • David E. Phillips
  • Terry & Marga Pletcher
  • John & Lisott Richardson
  • Timothy J. Riffle & Sarah M. McConnell
  • C. Frederick & Pegi Risinger
  • Mary A. Rohleder
  • Timothy & Mary Rohleder
  • Janet Rowland
  • Wendy Rubin
  • James & Rebecca Rusie
  • Ann K. Sanderson
  • Richard & Denise Shockley
  • James & Vicki Sholty
  • Curtis R. & Judy Chapline Simic
  • Kim & John Simpson
  • David & Elda Simpson
  • Edna C. Southard
  • W. Craig Spence
  • J.R. Stallsmith with Hilliard Lyons, Inc.
  • Margo Elizabeth Stavros
  • Malcolm & Ellen Stern
  • Robert & Cristel Stoll
  • Brian Sumerwell
  • Gregg & Judy Summerville
  • Paula W. Sunderman
  • J. Alexander Tapnio
  • Gene & Martha Tardy
  • Terra Foundation for American Art
  • Susan C. Thrasher
  • United Way of Monroe County
  • Ann R. Vaughan
  • Paul D. Veatch, Jr.
  • Martha E. Verville
  • George Walker & Carolyn Lipson-Walker
  • Roslyn A. Walker, Ph.D.
  • Brenda J. Wampler
  • Linda S. Watson & Joe Moravy
  • Nicholas & Terry Watson
  • Bill & Mary Weeks
  • Janet & Steve Weiser
  • Janice Wiggins
  • Mary E. Wiggins
  • Cleve Wilhoit
  • Brian P. & Barbara C. Williams
  • Gary & Kathy Winterton
  • Patricia Winterton & Scott Hyslop
  • Donna & Rich Wolf
  • Joan W. & Walter E. Wolf
  • Jeff Wolin & Carol O'Dea
  • John & Peggy Woodcock
  • Richard & Diane Woosnam
  • Vi & Russ Working
  • Ski & Nancy Wroblewski

Leadership & Legacy Giving

Investment in the museum through leadership and legacy gifts makes it possible for us to undertake projects like the current renovation, and increase our programming capacity by growing our staff and expanding educational outreach. Some have contributed works of art or provided funds for new acquisitions or conservation of works in our collection. These generous individuals ensure that future generations will have opportunities for engagement with important works of art. Thank you!

This list recognizes all donors who have made lifetime contributions of $100,000 or more to the museum.

  • Anonymous
  • Allen Whitehill Clowes Charitable Foundation
  • The Andy Warhol Foundation for the Visual Arts
  • Annenberg Foundation
  • Azzedine & Denise Berry-Aaji
  • Burton & Suzanne Borgelt in honor of Linda S. Watson
  • Morton C. Bradley
  • Rainer & Gertrude Budde
  • William P. & Kathryn Carmichael
  • Walter S. Melion & John M. Clum
  • Cordelia A. Collins
  • Daura Foundation
  • Charles Davis
  • The DBJ Foundation
  • Gayl W. & Beverly J. Doster
  • Patrick Duffy in honor of Wally Goodman
  • Robert Dunn
  • Sidney & Lois Eskenazi
  • Steve & Elaine Fess
  • Barbara & William Fischer
  • Adelheid & Barry Gealt
  • General Electric Foundation
  • The Glaubinger Foundation
  • Lucienne & Larry Glaubinger
  • Marion Gottfried
  • Jim & Joyce Grandorf
  • Barry Hecht
  • Henry Hope & Sarahanne Hope Davis
  • Patricia Howard
  • Bill & Nancy Hunt
  • Roger & Francine Hurwitz
  • William M. Itter
  • IU New Frontiers in the Arts & Humanities
  • David Jacobs
  • Tina M. Jernigan
  • Doris Steinmetz Kellet
  • Wilma E. Kelley
  • Thomas W. Kuebler
  • Charles E. & Rosemary McKee Lanham
  • James A. & Katherine C. Lazerwitz
  • Robert F & Sara J. LeBien
  • Patrick & Jane Martin
  • Mel Meehan Oldenburg
  • Patricia D. & Joel F. Meier
  • The Andrew W. Mellon Foundation
  • Sonna Ehrlich Merk & Don Merk
  • Arthur R. Metz Foundation
  • R. Keith Michael, Ph.D. & Marion Bankert Michael
  • Gloria Middledorf
  • Martha & David Moore
  • Anthony & Rhonda Moravec
  • Elisabeth P. Myers
  • Nicholas H. Noyes, Jr. Memorial Foundation
  • Jackie & James O'Brien
  • Thomas J. Robertello
  • Ann K. Sanderson
  • Ray M. Sanderson
  • Heinrich Schweizer
  • Michael Shubin
  • Cynthia L. Stewart Simon & William E. Simon, Jr.
  • Kim & John Simpson
  • Thomas T. Solley
  • Budd Stalnaker
  • Judi & Milt Stewart
  • Gregg & Judy Summerville
  • Arnold & Maxine Tanis
  • Terra Foundation for American Art
  • Danae Thimme
  • Susan C. Thrasher
  • Grafton & Laura Trout
  • Thomas W. & Caroline Wheelwright Tucker
  • Linda S. Watson
  • Herman B. Wells
  • Raymond & Laura Wielgus
  • Joan W. & Walter E. Wolf
  • Jeffrey Wolin & Carol O'Dea

Museum Arbutus Society

Members of the museum’s Arbutus Society have invested in the museum through planned or deferred gift arrangements. The trailing arbutus is an evergreen whose name and image have become a cherished IU tradition. Discovered by Professor Hermann B. Boison on Arbutus Hill east of Bloomington, the arbutus is the official flower of Indiana University. Thank you!

  • Anonymouse
  • Ann S. Alpert
  • Peggy K. Bachman
  • Edmund Battersby
  • Peter & Nancy Boerner
  • Ruth & Douglass Boshkoff
  • Rainer & Gertrude Budde
  • William P. & Kathryn Carmichael
  • Gilbert Anderson Clark, Ph.D. &
    Enid Deutchman Zimmerman, Ed.D.
  • Cordelia A. Collins
  • Esther R. Collyer
  • J. Robert Cutter
  • Diane M. DeGrazia
  • Timothy D. & Dorothy Ellis
  • William & Barbara Fischer
  • Adelheid M & Barry A. Gealt
  • Jim & Joyce Grandorf
  • Jane Hewitt & Richard Small
  • Bill & Nancy Hunt
  • William M. Itter
  • Tina M. Jernigan
  • Charles E. & Rosemary McKee Lanham
  • James & Katherine Lazerwitz
  • Susanna Linburg
  • Patrick & Jane Martin
  • Mel Meehan Oldenburg
  • Patricia D. & Joel F. Meier
  • Walter S. Melion & John M. Clum
  • Sonna Ehrlich Merk & Don Merk
  • R. Keith Michael, Ph.D. & Marion Bankert Michael
  • Elisabeth P. Myers
  • Del & Letty Newkirk
  • James J. Pellerite
  • Ilona K. Richey
  • Thomas J. Robertello
  • Ann K. Sanderson
  • Priscilla & Harry Sebel
  • Judy & Curt Simic
  • Kim & John Simpson
  • Thomas T. Solley
  • Judi & Milt Stewart
  • Gregg & Judy Summerville
  • Paula W. Sunderman
  • Arnold & Maxine Tanis
  • Thomas W. & Caroline Wheelwright Tucker
  • Raymond & Laura Wielgus
  • Jeff Wolin & Carol O'Dea


Docents are vital to the museum's educational outreach and tour programs. We are grateful to each docent for sharing their time, talent, and expertise! Docents listed in bold have served ten years or more. Thank you!

  • Sue Alling
  • Carol Arnold
  • Peggy Bachman
  • Barbee Benbow
  • Wendy Bernstein
  • Ida Bouvier
  • Cynthia Brabson
  • Jackie Brizzard
  • Doris Burton
  • Patty Callison
  • Carla Carson
  • Jerry Chertkoff
  • Lisa Clark
  • Jeanette Clausen
  • Sandi Connally
  • Moureen Coulter
  • J. Robert Cutter
  • Jim Davis
  • Kathleen Durkel
  • Tammy Jo Eckhart
  • Sharon Finley
  • Barbara Fischer
  • Mary Ann Gingles
  • Linda Heath
  • Kate Henrich
  • Jane Hewitt
  • Becky Hrisomalos
  • Tina M. Jernigan
  • Eleanor Jones
  • Monica Kindraka-Jensen
  • Linda Klug
  • Bill Krause
  • Sharon Matthew
  • Ann McEndarfer
  • Carol McGregor
  • Betsy Merceron
  • Patricia Meier
  • Karen Mikesell
  • Sandy Moberly
  • Letty Newkirk
  • Susan Nowlin
  • Linda Plaford
  • Barbara von Przewoski
  • Nancy Quigle
  • Tom Rhea
  • Eileen Rice
  • Ilona Richey
  • Janet Rowland
  • Becky Rusie
  • Grace Schneider
  • Kim Simpson
  • Kitch Somers
  • Susan Stryker
  • Paula W. Sunderman
  • Ellen Surburg
  • Paul Surburg
  • Paula Swander
  • Rhoda Terlizzi
  • Helena Walsh
  • Donna Wolf
  • Rich Wolf

Made Possible by Your Philanthropy