A New Deal for Artists

Transcription

views from the
Summer 2013
1934
A New Deal for Artists
September 28, 2013–January 6, 2014
Letter from the Director
Abbie Sawyer performing at the Figge
VIEWS from the Figge
Summer 2013 • Issue 13
Published 3 times a year in March, July and November
Figge Art Museum
225 West Second Street
Davenport, Iowa 52806-1804
563.326.7804
www.figgeartmuseum.org
HOURS
Tuesday through Saturday 10 a.m.-5 p.m.
Sunday Noon -5 p.m.
Thursday 10 a.m.-9 p.m.
ADMISSION
$7 adults; $6 seniors and students with ID
$4 children under age 12
Free admission to museum members
Free admission for seniors first Thursday
of the month
Free admission Thursday evenings from
5-9 p.m. in 2013
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We started the spring and summer with our “POP Art”
gala and our third-floor exhibition of Pop Art from the
University of Colorado Boulder. Fifty years ago, Andy
Warhol’s soup cans were a slap in the face of the art
world, a repudiation of “high art” and its glorification of
heroic emotion. After all that has happened since, both
in art and in history, the soup cans now have a nostalgic,
homey appeal. Pop Art is, in some ways, a very domestic
movement. Think of Wayne Thiebaud’s pies and cakes, of
Lichtenstein’s dotted interiors or Oldenburg’s swollen hamburgers and ice cream cones. Pop Art was inspired by consumer advertising, and advertisers aimed their messages
at the household.
Our other summer offerings provide a different take on domesticity by exploring,
sculpturally, the concept of shelter. Terry Rathje and his collaborators, Monica
Correia and Steve Banks, have built a structure on the fourth floor that is part cave,
part high-tech dwelling made of interlocking foam pieces. Surrounding this structure
are examples of Rathje's hybrid structures of “questionable architecture,” part
sculpture, part dwelling, part found object.
On the third floor, Chicago artist Juan Angel Chavez uses cast-off materials to
transform the gallery into a sculptural environment, blurring the ideas of “inside”
and “outside,” and of “art” and “not-art.”
We have an exciting lineup for the fall as well, anchored by the Smithsonian
exhibition 1934: A New Deal for Artists—55 paintings, all from the same year,
depicting life all across the United States. Another perspective will be supplied by
A New Deal for Illinois, showcasing the remarkable collection of Depression-era
artworks assembled by Western Illinois University. Originally intended as decoration
for the offices and hallways of the university, the artworks are now prized works of
their time. On the second floor at the Figge, the paintings of Walter Haskell Hinton,
created to popularize the new Deere tractors, provide a vision of a post-Depression
world, where farmwork is no longer drudgery and farm life is a glorious adventure.
Our Thursday evenings this spring provided some wonderful art experiences
and attracted enthusiastic crowds. From Steve McGuire’s fascinating discussion of
creating high-tech bicycles with his University of Iowa classes, to Abbie Sawyer’s
moving songs, performed in front of chosen artworks in the galleries, to the wild
variety of our PechaKucha nights, we have been treated to a tremendous array of
creative minds at work. The fun continues through the summer and into the fall,
so please join us!
Sincerely,
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To have additional copies of the newsletter
delivered to your business or organization,
please call 563.345.6638.
Tim Schiffer
Executive Director
Thank you to John Deere for sponsoring the Figge's fall exhibitions.
1934
A New Deal
for Artists
September 28, 2013–
January 6, 2014
T
his fall, a special exhibition organized by the Smithsonian’s American
Art Museum in celebration of the first federally funded art program will
open at the Figge. Established in December 1933, the Public Works of
Art Project (PWAP) was conceived as part of the New Deal—a series of
economic recovery programs introduced by President Franklin Delano Roosevelt
in response to the Great Depression. Over the course of seven months, the
PWAP employed 3,749 artists and commissioned more than 15,000 works of
art to adorn schools, libraries and other public buildings. Even the White House
displayed a selection of 34 works handpicked by President Roosevelt and the
First Lady, an ardent and vocal advocate of the PWAP.
Artists across the nation responded to the PWAP’s directive to give
voice to the American experience by turning to their local environments
for inspiration. Images ranged from intimate portraits of local men, women
and children and romanticized landscapes to everyday scenes of labor and
industry. Particular emphasis was placed on conveying the values of community and hard work associated with the nation.
While the primary goal of the PWAP was to provide government aid to
artists, the government also hoped that the public art produced by the
artists would bolster the spirit and morale of a depressed nation. As First
Lady Eleanor Roosevelt said in the dedication ceremony held in conjunction
with an exhibition of 500 PWAP works at Washington’s Corcoran Gallery of
Art, the works liberated society by expressing what many people could find
no words to describe.
The PWAP ended in June 1934 but proved to be an enormous success
that paved the way for later New Deal art programs, including the more
famous Works Progress Administration’s Federal Art Project. During
the 1960s, hundreds of the PWAP paintings were transferred to the
Smithsonian American Art Museum. The exhibition 1934: A New Deal for
Artists showcases a selection of only 55 works that nonetheless provides
a lasting impression of America during 1934.
Sponsored by
1934: A New Deal for Artists is organized and circulated by
the Smithsonian American Art Museum with support from the
William R. Kenan Jr. Endowment Fund and the Smithsonian
Council for American Art. The C.F. Foundation in Atlanta
supports the museum’s traveling program, Treasures to Go.
3
A New
Deal for
Illinois
The Federal Art Project
Collection of Western
Illinois University
4
September 14, 2013-January 5, 2014
4
In October 1929, the stock market crashed,
ushering in the Great Depression of the
1930s. The seismic effects of the crash
quickly reached the Midwest, resulting in
factory closings, massive unemployment
and plummeting farm prices. As a major
industrial and agricultural state, Illinois was
especially hard hit by the economic crisis.
In response to the nation’s devastating
financial hardship, President Franklin D.
Roosevelt’s administration created federal
work relief programs, which included
the Public Works of Art Project (PWAP).
Established in 1934, the PWAP was the first
government program in the United States
to support art on a national scale, providing
unemployed artists with wages and creative
opportunities. In 1935, it was replaced by
the larger Federal Art Project of the Works
Progress Administration (FAP/WPA).
Although the Depression was especially
challenging for educational institutions,
Western Illinois University (WIU, then operating
as Western Illinois State Teachers College)
received substantial funding from New Deal
agencies to advance the college through campus building projects and student work study
programs. These funds were obtained through
the dedicated and skilled efforts of the college’s
influential president, Walter P. Morgan.
Beginning in 1934, a unique federal arts
program also provided support for the college
to acquire New Deal art to adorn classrooms,
hallways and other public spaces on campus.
Increase Robinson and Theodora Pottle,
two pioneering women in Illinois’ early 20th
century art scene, planned these acquisitions.
A prominent gallery dealer and painter in
Chicago, Robinson served as director of the
FAP in Illinois during the 1930s. Pottle, head
of the WIU art department from 1928
to 1958, advised the institution on its
FAP art collection until 1936 and was a
strong advocate for public art throughout
her career.
In contrast to the national scope of the
Smithsonian Institution’s 1934 exhibition, A
New Deal for Illinois examines New Deal art in
the regional context of Chicago in the 1930s
and in relation to the institutional history of
WIU. The exhibition and accompanying catalog
are the first scholarly studies to research the
historical, socio-cultural and artistic factors
associated with the formation of WIU’s FAP
art collection.
Many of the artists in the collection were
based in Chicago in the 1930s and actively
participated in the city’s cosmopolitan and
progressive urban arts community. The
exhibition features works by such notable
artists as Archibald Motley, Gertrude
Abercrombie, Aaron Bohrod and Romolo
Roberti, who were prominent in many of the
innovative artistic movements of the 1930s,
including Surrealism, Precisionism and Social
Realism. WIU’s FAP art collection is particularly
distinctive for the inclusion of a large number
of women artists and African-American
artists, reflecting the liberal democratic
policies of the New Deal to promote social
and economic equality during a period of profound adversity and turbulent cultural change.
A New Deal for Illinois: The Federal Art
Project Collection of Western Illinois University
was organized by the Western Illinois
University Art Gallery and is sponsored by
the Western Illinois University Foundation.
The exhibition is curated by Dr. Gregory
Gilbert, associate professor of art history
at Knox College and co-author of Harry
Gottlieb: The Silkscreen and Social Concern
in the WPA Era.
Education Exhibitions
Walter Haskell Hinton:
Image Maker for Deere
I
October 19, 2013–February 2, 2014
n 1934, artist Walter Haskell Hinton
painted his first calendar image for Deere
& Company, the first of many commissions
during the next 20 years. In contrast to
the everyday scenes of American life featured
in the concurrent exhibition 1934: A New
Deal for Artists, Hinton created an ideal world
where the sun shines on perfect fields of corn,
and the smiling family gathers around its new
helpmate, the green John Deere tractor.
At a time when tractors replaced teams
of horses, Hinton’s work humanized the new
machinery and conveyed a vision of the new
farm, where modern technology enabled the
farmer to work more efficiently.
In her book Walter Haskell Hinton:
Illustrator of the Popular American West, art
historian Jaleen Grove notes that, for farmers
of the era, the “patriotic horse was the
noblest and most important farm animal,
indispensable in plowing and harvesting, and
therefore the heart and soul of farming…
Walter Haskell Hinton’s job as a commercial
artist for John Deere…was to transplant
the horse’s soul to the tractor, to interpret
the tractor as a member of the family.” His
work helped make the John Deere Model D,
produced from 1925 to 1953, an icon of
American manufacturing.
The exhibition includes iconic works from
the Deere & Company collection, such as
Boy with Tractor, as well as lesser-known
works and examples of printed materials
using Hinton’s images, such as his 12-panel
biography of John Deere. Originally created
as a calendar, this painted biography portrays Deere’s invention and production of the
modern plow as a key element in the taming
of the American West and the fulfillment
of the country’s “Manifest Destiny.” In John
Deere’s life, Hinton saw the importance of
hard work and ingenuity, not only in building
the country, but also in pulling it out of the
Great Depression.
Hinton was a skilled artist who produced
advertisements and magazine covers for
dozens of companies during his long career.
He took pride in his ability to create psychological situations in his work, and felt that, as
a commercial artist, he employed a broader
skill set than the more esteemed “fine artists”
of his day, who could be limited by the expectations of their collectors.
In his work for Deere, Hinton demonstrates
tremendous creativity in presenting the
product—a John Deere tractor—in a way that
makes it emotionally appealing. His work is the
forerunner of today’s advertising industry,
which uses sophisticated psychology and
visual technology to sell us products 24 hours
a day. At the same time, he gives us a unique
window into the 1930s. With their obvious
idealization of farm life, his pictures for Deere
look beyond the Depression to an era when
daily life would be transformed by technology
and industry.
Beyond the Classroom
Through September 1
The exhibition highlights the talents of
area K-12 teachers through artworks
they have created outside the classroom.
Through the process of art-making,
these teachers become even greater role
models for their students as they demonstrate firsthand the power of imagination
and creativity.
Colony: Figge
August 24-September 19
Guests can contribute to this interactive
exhibition in which the visitors MAKE the
art in a progressive installation inspired by
the Flux Foundation.
Relics of the Buddha
September 6-8
The Maitreya Heart Shrine Relic Tour is a
collection of Buddha relics that has been
displayed in more than 66 countries in the
past 11 years. The Relic Tour encourages
kindness and tolerance, and is supported
by the Dalai Lama.
Opening ceremonies will take place
on Friday, September 6, at the Figge.
Entrance to the museum and the Relic
Tour is free September 6-8.
Day of the Dead
September 26-November 3
Featuring larger-than-life Catrina dolls
and community ofrendas from our partnering organization Casa Guanajuato,
the exhibition will showcase the traditions
of El Día de los Muertos. (See page 12
for information about the El Día de los
Muertos event on November 2.)
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Medieval Monsters
October 12–December 15, 2013
In the Middle Ages,
monstrous races
were thought to
inhabit the edges
of the Christian
world, and there
was debate about
whether such
beings—haircovered or elephant-snouted, headless or
stork-necked—enjoyed God's love. Such
creatures often stood in for "the other" in
Christian society: Jews, Muslims, women
and the infirm. Dreams and visions of
monsters were understood as powerful
portents, and they became part of the
visual language of theology and politics.
Monsters lurked in the margins of
medieval art and architecture in purposeful contrast to the authoritative holy
figures depicted at the center of things.
Scary or ridiculous, sexual or obscene,
they were always inventive, designed
to incite interest and provoke emotional
responses. Such supernatural threats
called for supernatural heroes. No matter
how formidable their claws, horns, teeth,
wings or scales, monsters were no match
for saints and angels, who vanquished
them with razor-edged swords, shining
armor and unswerving faith.
The exhibition will explore how images
of monsters in the European Middle Ages
embodied fears, expressed ideologies
and exercised the medieval imagination.
The exhibition will include rare illuminated
manuscript pages and stained glass from
the collections of Augustana College,
Rock Island; Saint Louis Art Museum; Olin
Library Manuscripts Collection, Washington
University in St. Louis, as well as several
other public and private collections.
The exhibition Medieval Monsters is
curated by Sherry C.M. Lindquist, Ph.D.,
assistant professor of art history, Western
Illinois University, and made possible with
assistance from the Figge Art Museum
and students from the Western Illinois
Museum Studies Program.
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Frank Lloyd Wright: The Bogk House Drawings
Through September 28, 2013
In the last decade of his life, architect Frank
Lloyd Wright described his Frederick C. Bogk
House (1916-17) in Milwaukee, Wisconsin,
as “a good house from a good period for a
good client.”
The Bogk House was significant to Wright
because it represented a marriage of ideas he
had employed in some of his most important
projects up to that time. Echoes of commissions such as the Midway Gardens (1914)
in Chicago, Illinois, with its strategic use of
sculpted decoration, and the Unity Temple
(1905-1908) in Oak Park, Illinois, with its
formal and respectful street facade are clearly
evident in the Bogk House design.
Designed for Frederick C. Bogk, a prominent
Milwaukee businessman and city alderman,
the house was the only custom-built,
single-family residence Wright designed in
Milwaukee. An admirer of Wright’s Avery
Coonley House (1907) in Riverside, Illinois,
Katherine Bogk encouraged her husband
to select Wright as the architect for a new
home they wished to build in the Water
Tower District north of the city.
The drawings of the Bogk House were
created by Wright and his draftsmen in just
a few months. Wright also was preparing for
one of his largest and most important commissions up to that time, The Imperial Hotel
(1923) in Tokyo, Japan. The Bogk drawings
provide insight into the architect’s design
process as demonstrated by several versions
of Wright’s approach to the facade and to
the first-floor plan. In the perspective drawing
of the living room, one of the earlier and
more fully rendered sketches for the Bogk
House, one can easily see decorative elements
in the fabrics and surfaces drawn from
his interior and window designs for the
Coonley House.
The decorative elements of the Bogk
House facade—broad overhang, substantial
lintel over the screen of windows facing the
street, along with a small raised terrace
flanked by urns cast from concrete and
impressed with geometricized organic
forms—would be repeated in a variety of
ways (including the green hipped roof) on
the exterior of The Imperial Hotel design.
Perhaps most significant in the Bogk design
was Wright’s emphasis on a free-flowing, open
plan for the first floor, a design strategy that
would become a hallmark and the heart of
Wright’s domestic interiors, and would become
a defining influence on modern domestic
architecture today.
These details and others can be seen in
this unique exhibition of Bogk House drawings
on display in Gallery 201.
Gift of Installation Art by Edouard Duval-Carrié
The Figge is pleased to announce the gift
of the final sculptures of Edouard DuvalCarrié’s massive multi-part installation, the
vodou altar Endless Flight.
Endless Flight’s construction was underwritten by several of Duval-Carrié’s longtime
supporters and the late Dr. Walter E.
Neiswanger. The impetus for the altar’s
creation was a commission by the Haitian
government for an exhibition celebrating
the bicentennial of Haiti’s independence in
2004. The complete altar, first exhibited at
the Miami Art Museum, later appeared at
the Figge Art Museum as part of the exhibition
Edouard Duval-Carrié: Migration of the
Spirit in 2005.
In addition to Dr. Neiswanger, who
underwrote the acquisition of the altar’s
20-foot-long mural in 2000, other sponsors
underwrote the fabrication of the freestanding and hanging sculptures of the
impressive installation with the intent to
donate them to the Figge in the future.
Meet Juan Angel Chavez
Noon-4 p.m. Saturday, September 21
College students will have an opportunity to
visit with the artist during an invitation-only
lunch session, followed by a public lecture
at 2 p.m. Chavez’s exhibition, No Shirt, No
Shoes, No Service, is on display at the Figge
through October 6.
STUDIO1
Pop Art Soup
July 6-October 20
In 2007, Mireille Chancy Gonzalez, board
president of Miami’s Haitian Cultural Arts
Alliance and trustee of the Miami Art
Museum, donated the first two of seven
sculptures that accompany the mural.
The acquisition of this impressive work
was completed in late 2011, when the final
five sculptures of the altar were donated
by their respective sponsors, David Wallack
and Kenan Siegel. Wallack is an entrepreneur,
art collector and longtime supporter of the
Haitian Cultural Arts Alliance in Miami. He
also is CEO of Mango’s Tropical Café, a South
Beach landmark. Siegel, CEO of Siegel Gas &
Oil Corp, is an art collector and entrepreneur
who currently serves as a director on the
Haitian Cultural Arts Alliance board.
Endless Flight is arguably one of the
masterpieces of the Figge’s collection, representing the intersection of cutting-edge
contemporary installation art with the best
of Haitian artistic tradition.
The completed installation most recently
appeared in the Figge exhibition Restoring
the Spirit in the fall of 2011.
Based on the special exhibition American
POP!, this Studio1 installation features
an entertaining video about artist Andy
Warhol, some of the iconic images that
transformed the art of a generation
and fun art projects that use color and
imagination in the Pop Art tradition.
Families will enjoy the enriching activities
and information in this Studio1 Pop
Art experience.
Family Gallery
Jazz Singers: Exploring Art and
Urban Life During the 1930s
August 31-December 1
Western Illinois University museum
studies students, along with program
director Ann Rowson Love, will prepare
an educational, enriching installation
based on The Jazz Singers, a WPA-era
painting in WIU’s collection.
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Thursdays at the FIGGE
Wine & Art
$15 per student; all supplies provided
Explore your creative side or just try
something new with friends, family and
like-minded people in these social artmaking workshops! Spend a few hours
in the studio while you enjoy a glass of
wine, light hors d’oeuvres and great
conversation. Wine & Art takes place
the first Thursday of every month. Sign
up today—registration fills up FAST!
Pre-registration is required. Contact
Heather at 563.326.7804 x2045 or
[email protected].
Oil Pastels
Instructor: Bruce Carter
6-8 p.m. Thursday, July 11
Let your muse take hold as you paint
vibrant, flowing oil pastel images on paper.
Relax. Mingle. Explore.
Sip a cocktail at the bar while watching the eagles soar over the
majestic Mississippi River. Stroll through galleries filled with art
and experience one of our world-class traveling exhibitions. Join
us for a lecture, a class, a performance or a special activity. Meet
friends or bring your family—every Thursday at the Figge will
offer a different experience. Thursdays at the Figge begin at
5 p.m. with free museum admission. Visit the events page at
www.figgeartmuseum.org for more details.
Dinner and a Movie
5 p.m. Thursdays, July 11, August 15
and October 24
$10 per person
Come down to the Figge for grilled burgers,
brats, hot dogs, pork chops and chicken with
all the fixins’ from Chef Dave Micklewright,
including a buffet of side dishes and desserts.
Bar service also is available. At 7 p.m. head to
the auditorium to enjoy an Art21 film. Check
the website for film listings.
This event is produced in collaboration with Art21,
Inc., a non-profit contemporary art organization
serving artists, students, teachers and the general
public worldwide.
Pastel Panoramas
Instructor: Allen Holloway
6-8 p.m. Thursday, August 1
Learn tips, techniques and secrets to
successful pastel painting.
7 p.m. Thursday, August 8
Join an interactive gallery event that explores
American POP! from multiple perspectives in
the fine arts.
Instructor: Amy Nielsen
6-8 p.m. Thursday, September 5
Learn calligraphy and apply colorful,
decorative techniques to cards.
Instructor: Pat Halverson
6-8 p.m. Thursday, October 3
Create stunning effects with layered tissue
paper embellished with ink line and wash.
Día de los Muertos (Day of the Dead)
Instructor: Gloria Burlingame
6-8 p.m. Thursday, November 7
Celebrate the Day of the Dead by painting
a traditional decorative skull mask and
drawing an oil pastel picture based on artist
Freda Kahlo’s Día de los Muertos paintings.
PechaKucha Nights
5:30 p.m. Complimentary appetizers, cash bar
6:30 p.m. PechaKucha presentations
Thursdays, July 25, August 29, October 31
This fun, informal event allows community members to share
their ideas and interests—from recent travels to hobbies to
academic pursuits. Anyone can present at a PechaKucha Night.
Presenters are allowed to show 20 images, each for 20 seconds,
while they talk about their topic along with the images. For
more information or to get involved, contact Melissa Hueting
at 563.326.7804 x7895 or [email protected].
Devised and shared by Klein Dytham | architecture
TM
KLEIN DYTHAM
8
5 p.m. Thursday, July 18
Speaker: Glorie Iaccarino
Community art tables in the lobby will be
stocked with art supplies for visitors who
would like to create 2D artworks they may
choose to include in the 2013 distribution.
Papergirl art will be on display at the Figge
July 15-19. Artworks will be distributed to
the public on July 23. Visit the Figge website
at www.figgeartmuseum.org to learn more
about the Papergirl Project.
Gallery Talk
Calligraphy
Colorful Collage
Papergirl
Teacher Appreciation Night
Cocktails with Catrina
5:30-7 p.m. Thursday, August 15
Gear up for back to school! Teachers are invited
to talk about the upcoming year and find
out what the Figge has to offer their classes.
Enjoy snacks, idea-sharing and mingling with
fellow teachers and the Figge staff.
Celebrate Hispanic Heritage Month and the
kickoff to the Day of the Dead exhibition at
this event featuring music, food and dancing
among the featured larger-than-life Catrina
dolls from Casa Guanajuato.
Artists Talk: Questionable Architecture
Art21 Movie
7 p.m. Thursday, August 22
Presenters: Terry Rathje,
Steve Banks and
Monica Correia
These collaborating artists will
talk in the gallery about their
large-scale sculptures and the
ideas behind them.
7 p.m. Thursday, October 3
“Change” is the topic featured in this onehour film by the Peabody-Award winning
PBS series Art in the 21st Century. How do
artists respond to a world in flux? In what
ways do artists act as agents of change,
and what kinds of aesthetic choices do they
make to express it? This episode features
artists who bear witness, through their
work, to transformation—cultural, material
and aesthetic—and actively engage communities as collaborators and subjects.
Project GreenSpace
5 p.m. Thursday, September 5
Figge friends will gather on the Plaza for a
night of food, music, astroturf and art! Bring
your own lawn chair or borrow one of ours for
this “happening.” Guests can purchase food
and beverages as we grill out, contribute their
own piece to the Colony: Figge and browse
through hundreds of art publications at our
25-cent magazine sale. Check the web for a
complete listing of activities.
Dinner and a Concert
Come down to the Figge for grilled burgers,
brats, hot dogs, pork chops and chicken with
all the fixins’ from Chef Dave Micklewright,
including a buffet of side dishes and desserts.
Bar service also is available. At 7 p.m., head to
the auditorium for “Soundscape in Blue,” an
improv session featuring Ellis Kell and friends.
Curator Lecture
7 p.m. Thursday, September 19
Curator Greg Gilbert Ph.D.,
associate professor and
director of the art history
program at Knox College, will
speak about the exhibition
he curated from the Western
Illinois University’s collection of WPA art,
A New Deal for Illinois.
WIU WPA Reception and Curator Tour
Thursday, October 10
6 p.m. Reception, 7:30 p.m. Curator Tour
WIU celebrates the opening of its exhibition
A New Deal for Illinois with a reception and
art talks by WIU students.
Gallery Talk
7 p.m. Thursday, October 24
Presenter: Nathan Augustine
Nathan Augustine, collections manager at
Deere & Company, will speak will speak in the
gallery about the Hinton exhibition. His presentation is titled “Walter Haskell Hinton: Illustrator
of Corporate History.”
Gallery Talk
Thursday, November 7
5:30 p.m. Reception, 7 p.m. Art Talk
Join us in welcoming Ann Prentice Wagner, cocurator of the exhibition 1934: A New Deal for
Artists. Hors d’oeuvres and a cash bar will be
followed by an art talk in the exhibition gallery.
Donald Warhola
Thursday, August 1
5:30 p.m. Member Reception
7 p.m. Public Lecture
Join Donald Warhola as he speaks about
his relationship with his uncle, Andy
Warhol, including personal memories
from his regular visits to “Uncle Andy’s”
and what it was like to work for Andy
Warhol post-college. Warhola is the
son of Warhol’s brother, the late John
Warhola, and is one of Warhol’s 10
nieces and nephews. He works at the
Andy Warhol Museum, where he is
liaison to The Andy Warhol Foundation.
In addition to sharing his personal
perspective, Warhola will discuss his
uncle’s childhood and pre-New York
City years, along with some of the challenges his uncle faced throughout life.
Gallery Talk
1 p.m., Friday, August 2
During this talk, Donald Warhola will
speak to the challenges that his uncle
faced—financial, medical and the loss
of his father when he was 13 years
old—in addition to the early indications
of his originality and talent level. He will
conclude by speaking to the “Ladies and
Gentleman” pieces in the exhibition and
touch upon the present-day relevance
of these works, as well as other works
that his uncle created.
9
Calendar
For more information on these or other programs, visit www.figgeartmuseum.org.
3 SATURDAY
7 SATURDAY • Free Admission
6 SUNDAY
1:30 pm Chavez Tour
10 am
1:30 pm 1934 Tour
3 WEDNESDAY
4 SUNDAY
6 pm
1:30 pm Questionable Architecture Tour
1:30 pm Art History Class
8 SUNDAY • Free Admission
1:30 pm American POP! Tour
JULY
Red, White & Boom!
6 SATURDAY
Beaux Arts Fair
10 TUESDAY
8 TUESDAY
6 pm
6 pm
Figure Drawing
Drawing Basics
Exhibition Opens: Studio1 Pop Art Soup
7 WEDNESDAY
7 SUNDAY
8 THURSDAY
12 THURSDAY
12 SATURDAY
1:30 pm Chavez Tour
7 pm
9 TUESDAY
10 SATURDAY
5 pm
6 pm
Exhibition Opens: Medieval Monsters
1:30 pm A New Deal for Illinois Tour
Noon
1:30 pm Chavez Tour
14 SATURDAY
13 SUNDAY
10 WEDNESDAY
11 SUNDAY
1:30 pm 1934 Tour
9 am
1 pm
Exhibition Opens: A New Deal for Illinois
10 am Family Event: Art of Percussion
15 SUNDAY
6 pm
17 THURSDAY
Acrylic Painting
Art in the Middle Workshop
Art Lovers Book Club
1 pm
Gallery Talk
6 pm
6 pm
Figure Drawing
Drawing Basics
Dinner and a Concert
Acrylic Painting
10 THURSDAY
6 pm
WIU WPA Reception
15 TUESDAY
Figure Drawing
11 THURSDAY
15 THURSDAY
1:30 pm Downtown Architecture Tour
5 pm
6 pm
5 pm
Dinner and a Movie
5:30 pm Teacher Appreciation Night
17 TUESDAY
6 pm
6 pm
6 pm
18 FRIDAY
Dinner and a Movie
Wine & Art
Figure Drawing
Drawing Basics
Expressive Drawing
12 FRIDAY
17 SATURDAY
9 am
Noon
Watercolor Workshop
1:30 pm Chavez Tour
19 THURSDAY
18 SUNDAY
20 FRIDAY
Noon
21 SATURDAY
20 SUNDAY
22 THURSDAY
2 pm 1:30 pm 1934 Tour
22 SUNDAY
22 TUESDAY
9:30 am Summer Drawing Program
5:30 pm Docent Mixer
7 pm
Artists Talk: Questionable
Architecture
6 pm
18 THURSDAY
24 SATURDAY
24 TUESDAY
24 THURSDAY
6 pm
6 pm
5 pm
6 pm
7 pm
Fridays at the Figge
13 SATURDAY
10 am Pop! Goes the Figge Family Day
14 SUNDAY
10 am Class: Drawing Naturescapes
1:30 pm Chavez Tour
15 MONDAY
5 pm
Papergirl Project
20 SATURDAY
21 SUNDAY
1:30 pm Chavez Tour
25 THURSDAY
5:30 pm PechaKucha Night
27 SATURDAY
Exhibition Opens: Colony: Figge
1:30 pm Chavez Tour
25 SUNDAY
29 THURSDAY
31 SATURDAY
Noon
Drawing Workshop
1:30 pm Chavez Tour
28 SUNDAY
9 am
Art in the Middle
AUGUST
1 THURSDAY
6 pm
Wine & Art
5:30 pm Warhola Member Reception
7 pm Warhola Lecture
2 FRIDAY
9 am
1 pm
10
Fridays at the Figge
Warhola Gallery Talk
1 SUNDAY
Curator Lecture
Acrylic Painting
Lecture with Juan Angel Chavez
Figure Drawing
Drawing Basics
26 THURSDAY
Dinner and a Movie
Expressive Drawing
Gallery Talk
26 SATURDAY
9 am
Docent Candidate Training
10 am Workshop: Art of Handwriting
29 SUNDAY
27 SUNDAY
1:30 pm 1934 Tour
OCTOBER
1 TUESDAY
Figure Drawing
Drawing Basics
2 WEDNESDAY
5 THURSDAY
1 pm
5 pm
6 pm
3 THURSDAY
Exhibition Opens: Relics of the Buddha
10 am Beaux Arts Fair
Oil Painting
Exhibition Opens: 1934: A New Deal
for Artists
10 am Murals and More Family Day
1 pm
6 FRIDAY • Free Admission
Exhibition Opens: Walter Haskell Hinton
9 am
28 SATURDAY
4 WEDNESDAY
Project GreenSpace
Wine & Art
19 SATURDAY
25 FRIDAY
6 pm
6 pm Art Lovers Book Club
Watercolor Class
Exhibition Opens: Day of the Dead
5 pm Cocktails with Catrina
SEPTEMBER
1:30 pm Chavez Tour
31 WEDNESDAY
7 pm
Noon
6 pm
7 pm
Wine & Art
Art21 Movie
5 SATURDAY
Noon
Watercolor Class
29 TUESDAY
6 pm
Oil Painting
31 THURSDAY
6 pm
Expressive Drawing
NOVEMBER
2 SATURDAY
9 am
10 am El Día de los Muertos
Family Day
1:30 pm Day of the Dead Tour
Classes & Workshops for Adults
Feel like creating something colorful, bold and fun? Take an art class! Grab a friend and register
for a class or consider giving a class as a gift—all experience levels welcome. Members receive
discounts on all classes. For descriptions and supply lists, visit www.figgeartmuseum.org. To
register, contact Heather at 563.326.7804 x2045 or [email protected].
Watercolor Workshop
Instructor: Cindy Bergthold
Noon-4 p.m. Saturday
August 17
$35/member; $45/non-member
Students may bring a snack
Painting: Collaborative Acrylic
Canvases • Intermediate to Advanced
Oil Painting: Water-Soluble Oils •
Beginner
Instructor: Colleen Tomlinson
6-8:30 p.m. Thursdays
September 12-October 10
$140/2-person registration, member
$150/2-person registration, non-member
Instructor: Emily Christenson
6-8:30 p.m. Tuesday
October 29-November 19
Pet Portraits: Acrylic Painting •
Beginning to Intermediate
Instructor: Ralph Iaccarino
Noon-2:30 p.m. Fridays
Pop with Color: Drawing
Noon-4 p.m. Saturday
August 31
Students may bring a snack
Instructor: Allen Holloway
Noon-2:30 p.m. Fridays
Figure Drawing
Facilitator: Alexx Heald-Alejo
6-8 p.m. Tuesdays
Punchcards: $20/3 classes/student; $30/3
classes/adult; $12/single session
Drawing Beyond the Basics:
Line to Form II
Drawing Basics: Line to Form I
Expressive Drawing: Pastel & Charcoal
6-8 p.m. Tuesdays
Instructor: Deb Stewart
6-8 p.m. Thursdays
$10 materials fee payable to instructor
6-8 p.m. Tuesdays, October 15-November 12
Watercolor: Beginner/Intermediate
Silk Painting & Batik
Instructor: Mary Stringer
6-8 p.m. Tuesdays
November 5-19
$20 materials fee payable to instructor
Students should wear older clothing appropriate
for studio art activities using permanent dyes and
melted wax.
Art of Handwriting: Workshop
Instructor: Amy Nielsen
10 a.m.-2 p.m. Saturday
October 26
Students should bring a sack lunch
Art History Class
Architecture Walking Tour
Pop Art: Culture and Clash in the 20th Century
1:30-3:30 p.m. Sundays, August 4, 11, 18, 25
Free with membership or paid admission
1:30 p.m. Sundays
September 1, 8, 15, 22 and 29
Free with membership or paid admission
Join scholar Alycia Reed on a journey through the art movements and social conditions
that led to the development of Pop Art. The class will discuss British Pop and its American
counterpart, and will look at the stylistic variations within the term “Pop.” Focus will then
turn to artists Andy Warhol and Roy Lichtenstein and their rises to fame, their most iconic
works and their general reception. The final class will tackle the afterlife of Pop and its
influence on current artists.
Curious about the historic buildings in
downtown Davenport? Take part in a
walking tour that will explore the style
and meaning of these buildings in context
with Davenport’s historic period of
economic development. Wear comfortable
shoes. Bottled water provided, or bring
your own beverage.
Participants should pre-register with Heather at
[email protected] or 563.326.7804 x2045.
11
Kids Classes
Summer Workshops for Children K-8
Bring a sack lunch, snack and beverages, and please dress for art activities. Check-in
begins at 8:45 a.m. in the Figge lobby. Cost for all classes includes supplies and guided
museum tours. To register, contact Heather at 563.326.7804 x2045 or haaronson@
figgeartmuseum.org.
ART in the MIDDLE • Sculpture
9 a.m.-4 p.m. Wednesday, July 31
Fee: $50 member/$60 non-member
6-8th grade students will explore working
with clay, wood, wire, cardboard, foam and
a wide assortment of the usual (and some
unusual) materials as they create 3D art in
this day-long studio workshop. Imagination
and ingenuity are the focus of this creative
experience.
10 a.m.-2 p.m. Saturday, September 14
$10/family
POP! Goes the Figge
Make it and shake it at this year’s Art of
Percussion event! This annual family
activity is a collaboration between the River
Music Experience (RME) and the Figge Art
Museum. We’ll start the program at the Figge
with jams from the QC’s own Candymakers,
then head up to the studios to make musical
instruments using recycled materials and
imagination. A drum circle session with Terry
Hanson and Ellis Kell at the RME will finish up
the event with a bang (and a gong!).
10 a.m.-1 p.m.
Saturday, July 13
Pop into the Figge and enjoy this free
family day—complete with printmaking,
aluminum foil portraits, storytime, a
family-friendly film about artist Andy
Warhol, and treats inspired by the ‘50s
and ‘60s. Sponsored by Butler Insurance.
Murals and More Family Day
10 a.m.-1 p.m.
Saturday, September 28
12
9 a.m.-4 p.m. Friday, August 2
Fee: $45 member/$55 non-member
Elementary-aged kids will make their own
sculptural creations that are inspired by the
metal, wood and ceramic works on display
in the galleries. Choose grade levels: K-2nd
grade or 3rd-5th grade.
Art of Percussion
FREE Family Days
Celebrate the can-do attitude that
helped pull America through
the Depression of the 1930s.
Progressive mural painting,
clay sculpting, storytime,
gallery searches and more will
entertain and enrich families
at a family day designed to
complement the exhibitions 1934: A New Deal
for Artists and Western
Illinois University's
A New Deal for
Illinois.
FRIDAYS at the FIGGE • Sculpture
El Día de los Muertos
(Day of the Dead)
Saturday, November 2
Free admission all day
Join us for this beautiful cultural tradition
and celebration. Enjoy workshops, performances, music and food throughout
the day. Visit the ofrendas and Catrina
figures in the Figge galleries and make
traditional crafts, such as clay calaveras,
as you spend the day with family and
friends remembering loved ones who
have passed. (See page 5 for information
about the Day of the Dead exhibition.)
Outreach Coordinator Laura Dunn shares a moment
from one of her many outreach presentations
taught this year for the Big Picture.
Amazing—29 kids in a classroom; hardly
enough room to walk up and down the rows.
The topic today covers a span of nearly
1,000 years, and we have less than an hour
to indulge. Illuminated manuscripts from the
Middle Ages may not spark small imaginative
minds right away, but a break from the daily
routine, a quest to investigate the 600-yearold manuscripts inside my big black bag and a
promise to end class with creating their own
designs is reason enough to listen.
They soak it all up...and so many with
questions. Why the big letters all over the
page? Why didn’t they use real paper? How
did they make their paints? Isn’t lapis lazuli
something in Minecraft? How long did it
take to create all those fancy letters? What
makes them light up? What do the words
“illuminated manuscript” even mean?
Opening the door for even more discussion leads to the sharing of art and its role
in medieval history through eyes they had
never known.
“Imagine what it was like for a scribe
secluded in the walls of the monastery. That
manuscript in front of you as you hold it to
the daylight, what would it have to say if it
could recall its own history?”
Excitement begins to build, and it’s the
perfect time to transition into trying their
own hands at this craft.
“How would you make it come to life like
the illuminators did over 1,000 years ago?”
“What would you share about yourself in
creating your own initial letter piece?”
Hesitancy. This is where patience comes
in, and encouragement is a must: “Always
remember; in the world of art, making a
mistake can lead to great things. No fears—
just begin anywhere…”
Classroom chatter begins—the good kind.
Now they are off and going; coming up with
delightful representations of who they are
and how they fit into their own world.
Support for The Big Picture is provided by John Deere and by a grant to the EICCD from the U.S.
Institute of Museum and Library Services.
Figgeo Film and Video Series
See an eerily empty McDonald’s gradually flood. View a unique
world from the perspective of a malfunctioning elevator. Watch
a well-behaved dog become an icon of contemporary art.
Experience the best in contemporary and classic video artworks
from around the world during the Figge’s Figgeo Film and Video
Series. New works by Danish collective SUPERFLEX and awardwinning British artist Melanie Smith will be presented, as well as
a compilation of early works by renowned American artist William Wegman, whose film and
video segments have appeared on Saturday Night Live and the David Letterman show on
NBC. Each video in the series will challenge and delight visitors with curious, provocative and
sometimes humorous themes.
Films will be shown daily in the first-floor orientation gallery through August 23.
Check the website for a complete schedule.
9 a.m.-noon Saturdays
October 19-December 7
Fee: $150
Docent Mixer (Persons interested in the
docent program are encouraged to attend)
5:30 p.m. Thursday, August 22
Share your knowledge and love of the visual
arts with others by becoming a Figge docent.
Docent candidates are taught to look at,
analyze and discuss works of art in order to
engage visitors to the museum in conversations about selected works in the galleries.
Candidates should have a strong interest in
the visual arts, enjoy public speaking and
have a genuine appreciation for all visitors.
To learn more, contact Melissa Hueting
at 563.326.7804 x7895 or mhueting@
figgeartmuseum.org.
Exhibition Tours
The Figge invites you to take part in a docentguided tour, offered Saturdays and Sundays at
1:30 p.m. Participate in a conversation about
art as trained docents answer questions and
share stories about artists and artworks. Tours
include information on the permanent collection and special exhibitions. View a list of tours
at www.figgeartmuseum.org/tours.
Whether you are part of a social club,
scout troop, arts organization, school class
or just part of the Quad-Cities community,
group tours can be tailored to fit your needs.
Tours are free with museum admission or
membership, and discounted group tour rates
are offered.
For more information about group tours,
please contact Heather Aaronson, education
programs coordinator, at 563.326.7804
x2045 or [email protected].
13
Museum
Store
From handcrafted jewelry
and statement pieces for
the home, to dinnerware
and local pottery, the
Museum Store has a wide
selection of gifts to fit any
occasion—or just for fun!
A line of limited edition
art lamps created by New
Mexico-based textile
artist Barbara Woods is
now available for purchase
in the Museum Store. Constructed using
archival inks on silk and finished with a
ceramic base, these handcrafted lamps
are designed to create a dramatic ambient
light in a home or office space. The silk
prints take on a life of their own, often
mimicking butterfly or bird wing patterns
or earthy landscapes.
Other notable items available for
purchase come from local potter Joel
Knanishu—whose earth-toned mugs,
dishes and other items are affordable
and functional for everyday use.
Stop by the Museum Store today to
continue your support of the Figge.
A Familiar Face Returns to the Figge
Those who know Jess Cruz won’t be surprised to learn she now is one of the Figge’s
80-plus active volunteers.
Cruz certainly is no stranger to the Figge—
first working as a graduate assistant for 10
months in the education department and then
as an intern. This past May, she received her
master’s in museum studies from Western
Illinois University. While searching for a job,
hopefully in museum education, she has
returned to the Figge as a volunteer.
“My experiences at the Figge were great,
not only because I got a lot of hands-on
experience, but I also got a sense of how
the museum works as a whole,” Cruz said.
“Working in both Collections and Education
gave me a well-rounded knowledge of museums and the skills to be a ‘jack of all trades’
within museums.”
“Now as a volunteer I'm mainly just helping out with special events,” Cruz added.
“Sometimes it's helping run activities, at times
it can just be helping people find their way. The
best thing about being a volunteer is getting to
work directly with the public and to see how
excited they get about being in the museum.”
Heather Aaronson, education programs
coordinator, said Cruz is a valuable volunteer
because she is the type of person who “comes
across as fearless and creative while retaining
her very practical side. There is nothing she
can’t do if she sets her mind to it.”
When Aaronson wanted to organize an
exhibition-related film contest about what
people think is beautiful, she asked Cruz, her
graduate assistant, to figure out a way to
make it happen. She did.
Cruz pursued a coveted non-profit status
for the museum with YouTube so the Figge
could have an actual contest. She edited and
uploaded videos, accepted submissions,
created a flyer for the event and much more.
“Whenever I needed something—anything—
I could ask Jess, and she would pursue it and
find an answer or solution,” Aaronson said.
Cruz‘s interests in Western Illinois University’s
museum studies program included collections
care, exhibition design and museum education.
Prior to earning her master’s, she attended
Coker College in Hartsville, S.C., where she
received her bachelor’s degree in studio arts,
concentrating in photography and sculpture.
Beaux Arts Fair
Celebrates 60 Years!
Saturday, September 6
Sunday, September 7
Free admission all weekend
Visit the Beaux Arts Fair on the Figge Plaza
to discover a magnificent variety of fine art.
Enjoy the spin art booth as well as special
activities in the museum.
14
The Figge is pleased to welcome Amy Martens as its new membership manager. Prior to joining the Figge staff in May, Martens worked
as a marketing assistant and technical writer for Bee Line Company
in Bettendorf. Before her husband, Kevin, relocated the couple to the
Quad Cities for his job with John Deere, Martens was the niche publications editor for the Newton Daily News in Newton, Iowa.
A 2009 graduate of Drake University with bachelor degrees in
magazine journalism and English, Martens has experience across a
variety of media platforms, including newspapers, magazines and
Amy Martens
book publishing. She brings with her a deep appreciation of the
creative arts.
“I’m delighted to begin a new journey as part of the wonderful Figge team,” Martens said.
“Everyone within the organization is incredibly enthusiastic and committed to encouraging the
community to become advocates of art appreciation, and I hope to continue that awareness
by cultivating meaningful, inspired relationships with community members.”
Photo by Andrew Wallace
A New Face
Figge Hosts Inaugural C.A. Ficke Society Dinner
On May 22, the Figge honored members of the C.A.
Ficke Society with an inaugural dinner to celebrate the
group’s generous philanthropy.
“As staff members, we are very grateful to the people
who have included the Figge in their estate plan,
and this was an opportunity to thank them for their
commitment and to ask them to help us grow the
Ficke Society,” said Tim Schiffer, executive director of
the Figge. “Our goal is to double the membership over
the next three years, and the dinner attendees were
very eager to help in that effort.”
Karen Rohlf, a member of the Ficke
Society, expressed her desire for the
group to continue to grow.
“I think it’s a good program to have in
force, and [the dinner] is a step in the right
direction,” Rohlf said. “There’s a lot of support
for the Figge, and expanding the supporters
would be a great accomplishment. Some of the
people had very good ideas.”
The Figge—with its spectacular glass facade
and intricate web of halls filled with both internationally known artwork and local creations—was
established with a simple gift back in 1924. The
generous contribution of 334 artworks from
Dr. C.A. Ficke to found the Davenport Municipal Art Gallery, predecessor of the Davenport
Museum of Art and the Figge Art Museum, is the centerpiece of the Figge’s permanent
gallery today.
Since then, Ficke’s generosity has inspired countless other gifts to the museum, including
a substantial donation by Dr. Walter E. Neiswanger that led to the creation of the vibrant
Haitian Gallery. To honor these supporters, the C.A. Ficke Society was founded. Members
of the society are those who have included the Figge in their financial planning through a
bequest, annuity or other vehicle, or have made a gift of $1,000 or more
to the museum’s endowment fund.
To discuss ways in which a planned gift can benefit both your estate and the Figge,
contact Raelene Pullen, director of development, at [email protected] or call
563.345.6637.
C.A. Ficke Society Members
Anonymous
Amir and Lisa Arbisser
Tara Barney
Beaux Arts
Robert Bina and
Delores DeWilde Bina
Martha Easter-Wells
Frances Emerson
Tom Figge
Budge and Sally Gierke
Tom Gildehaus
John and Kay Hall
David and Margaret Iglehart
Randy and Linda Lewis
Chris and Mary Rayburn
Paul and Karen Rohlf
Virginia Seifert*
Steve and Anne Sinner
John and Diane Slover
Mrs. John K. Staak
Jane Werner*
Dr. Walter E. Neiswanger**
* Deceased
** Honorary Member
Why Planned Giving?
The greatest and highest level of giving
Is the person who gives without knowing
to whom the gift is made
and the recipient
does not know from whom he receives.
And it matters not
who makes the request for the gift
or how it is made.
The joyful and true giver cares not.
Moses ben Maimon
A few weeks ago, Tim and I encountered a
young girl walking through a second-floor
gallery with her father. We joined in
conversation with them. As a young artist,
she enjoys the times her father brings her
to the museum. Seeing new exhibitions as
they unfold inspires her.
It quickly occurred to me that Charles
August Ficke made an impact on her life
through the gift he made to the City of
Davenport generations before she was born.
Today, members of the C.A. Ficke Society
ensure that our museum will be here for
future generations. Long after the collection
was gifted and the building was built, planned
giving endows us to continue to grow, thrive
and enrich the lives of all those who enter.
Unlike exhibitions or individual works of
art—or even our building itself—an endowment
cannot be seen. Yet, it is as important to the
organization as breath is to the human body.
The Figge’s endowment ensures sustainability
for the enrichment of the lives of each person
in our region, in perpetuity.
The Figge Art Museum itself stands today as
the product of multiple gifts of planned giving.
Gifts of individual planned giving may
include stocks, securities, IRAs, or making
the Figge a beneficiary of a retirement plan
or other asset, and may be made in a specific
amount or as a percentage. For each, there
are tax and other advantages.
I ask you to consider joining the members
of the C.A. Ficke Society by planning a gift
from your estate to benefit the endowment
of the Figge Art Museum, thereby continuing
to inspire budding artists like the young girl I
met in the gallery.
Raelene Pullen, Director of Development
15
2013 ART at H E ART
Thank you to everyone who helped make the 2013 Gala a success!
Premier Sponsor
Supporting Sponsor
Supporting Sponsor
proprietors of
EDUCATION FUND
Anonymous
Lisa and Amir Arbisser
Mark and Rita Bawden
Randy and Mary Pat Bay
Fred and Shirley Berger
William Boom
Don and Dee Bruemmer
Cynthia Carlson
Gene and Mollie Conrad
Josephine DeSilva
Don Doucette and Lynn Drazinski
Natalie and Aaron Dunlop*
Kris and Eileen Eitrheim*
Thomas Figge
Gloria Gierke
Thomas A. Gildehaus
Bernhard and Vera Haas
John and Kay Hall
Happy Joe's Pizza
Nidal and Sana Harb
Jan Jurgens Harper
Rob and Mindy Harson
Susan Horan
Iowa American Water Company
Dean and Marika Jones
Susan Judkins Josten
Joe and Ana Kehoe
J. Randolph and Linda Lewis
Tim and Karen Maves
Roger and Sarah Mohr
Bernadette Murphy*
Necker‘s Jewelers
Anna Ohanesian
Sean and Amber O'Harrow
Charlie and Peggy Pierce
Bill Pritchard
Raelene and Scott Pullen*
Kay Runge
Ralph and Jennifer Saintfort
Dan R. and Mary Sue Salmon*
Tim and Pamela Schiffer*
Nik and Heather Seibel
Dan Portes and Judy Shawver
Tony and Joyce Singh
John and Diane Slover Jr.
Bud and Lori Sturtzer
Joan Sweeney
Sam and Lori Syverud*
Arthur and Corinne Tate
Clara Delle Thompson
Kenneth Wayne Thompson
The Trimble Family
(WaterMark Corners)
Ellen Wagener
Andrew and Elizabeth Wallace
Pamela White
Sue Wiley
Todd and Heidi Woeber
Will Wolf
Mark and Laura Wriedt
Susan Zude
TABLE SPONSOR
Barry Anderson of Anderson,
Lower, Whitlow, PC
Lisa and Amir Arbisser of
Eye Surgeons Associates, PC
Tara Barney
KWQC-TV6
Delia and Dave Meier
Quad City Bank & Trust Co.
Susan Quail of Q10 Enterprises
Douglas and Debra Roberts
US Bank
EXHIBITIONS
Barney and Sandra Barnhill
Bill Gluba
MUSEUM STUDY TRIP
Chuck and Deanna Slack
DONATION OF ART
Frances Emerson
Terry Rathje
David and Wynne Schafer*
Pamela Kendall Schiffer
Steve Sinner
Ellen Wagener
YOUNG ARTISTS SCHOLARSHIPS
Jerry and Carrie Bowman
John and Nancy Danico
Kris and Eileen Eitrheim
David Franks
Ken and Victoria Freedman
Joe and Ana Kehoe
Anna Ohanesian
Joan Sweeney
The Trimble Family
(WaterMark Corners)
YOUNG ARTISTS EXHIBITION
ENDOWMENT
Robert and Patti DeBlaey*
THE BIG PICTURE
Raelene and Scott Pullen
Tim and Pamela Schiffer
BEAUX ARTS FAIR
BUS TRANSPORTATION
Thomas A. Gildehaus
John and Kay Hall
Bernadette Murphy
CREATIVE ARTS FOR
THE CLASSROOM
David and Tina Howell
IN-KIND DONATIONS
Cakes by Kay
Galvin Fine Arts Center
Hotel Blackhawk
Lagomarcino's
Mimzi Art & Frame
Necker’s Jewelers
Signs Now
Soap Box
Spa Luce
Stine Chiropractic
* Gala Committe Members
Museum Giving
CONTRIBUTIONS
Grant Wood Circle
$25,000 +
Patricia Lujack
Director Circle
$10,000 +
Andrew J. and Debi Butler
Ralph and Marcia Congdon
Frances Emerson
Thomas A. Gildehaus
Susan Quail
CURATOR CIRCLE
$5,000 +
Patricia Figge
Bernhard and Vera Haas
Robert and Patricia Hanson
Jim and Anita Jenkins
Dave and Delia Meier
Daniel A. and
Katherine Molyneaux
Mrs. Thomas O. Nobis
Chris and Mary Rayburn
Jon and Diane Robken
Ralph and Jennifer Saintfort
David and Wynne Schafer
James and Melissa von Maur
EXHIBITOR CIRCLE
$2,500 +
Samuel and Marsha Allen
J. Hunt and Diane Harris II
R. Josef and E.R. Hofmann
Ross and Judie Lance
Brian J. and Elizabeth Lemek
Martha Easter-Wells
ARTIST CIRCLE
$1,000 +
Anonymous
Barry Anderson
William Barnes
Tara Barney
William R. and Judy Benevento
Rick Bowers
Cynthia Carlson
Don Doucette and
Lynn Drazinski
Wynn and Sara Elliott
Jim and Jayne Field
Bill and Deb Fitzsimmons
Gloria Gierke
John and Kay Hall
Alan and Kristina Harris
Ralph Gibson and Mary Junck
George and
Charlotte Koenigsaecker
Kevin and Jane Koski
Kenneth Koupal
Todd and Mary Beth Kunau
Joseph and Carolyn Martin
Tim and Karen Maves
Ray and Jill McLaughlin
Dennis and Pat Miller
Roger and Sarah Mohr
Kimberly and Tim Montgomery
Henry and Linda Neuman
Richard and Dianne Phinney
Steven and Bonna Powell
Vickie and Don Pruter
Vijay and Parameswarie
Rajendran
Cory and Heather Reed
Bruce and Luann Rickert
Ed and Bobbi Rogalski
Kay Runge
Larry and Marilyn Schreiber
Mark and Deborah Schwiebert
Dominic and Amy Scodeller
Rick and Nancy Seidler
Tony and Joyce Singh
Mara Sovey
Joanne Updegraff
Richard Vermeer and
Susan Hanson
Prem Virdi and Balpreet Kaur
Catherine Weideman
Dale and Marie Ziegler
PATRON
$500 +
Anonymous
Anonymous
Amir and Lisa Arbisser
Vincent Liu and Paula Arnell
Mark and Rita Bawden
Prakash R. and Rupa Bontu, MD
Linda Bowers
Carmen Darland
Don A. and Connie Decker
Josephine DeSilva
Natalie and Aaron Dunlop
Aric and Tina Eckhardt
Eileen Eitrheim
Dawn E. Fensterbusch
Ken Freedman
Bud and Bonnie Fox
Nidal and Sana Harb
James and Betty Havercamp
P. Charles Horan
Sue Horan
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Noted contributions were received as of May 1, 2012 through May 20, 2013.
Please contact Amy Martens at 563.345.6638 with any questions or corrections.
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Investor
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William D. and
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(WaterMark Corners)
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Palmer Steward
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P
18
Contributions of $125 or more will be recognized as Benefactors beginning July 1, 2013.
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Jean Moeller
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Alice Nielsen
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Matthew and Marilyn Osterhaus
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Marjorie Pentland
Tracy Perry and Kevin Ketelsen
Shirley Pfeifer
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Mel Piff
Anne Powers
Jean Priester
Theodore J. Priester and
Emilie Giguere
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Anthony Catalfano
Benjamin and Kathleen Randall
Anne G. Rapp
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John and Mariann Reese
Paul and Marcia Renaud
Max and Margaret Rensberger
Stacey Replinger
Don and Connie Retherford
Douglas and Kyle Rick
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Maureen Riggs and
John Mehochko
Paul and Karen Rohlf
John and Celeste Roth
Gordon and Cheryl Salley
Paul and Carol Schnyder
David L. and Ginny Samuelson
Tony and Helen Schiltz
Linda M. Schneider
Ronald M. and
Gwendolyn J. Schneider
Ivan and Chris Sederstrom
Donna J. Seifert and Peter Hunt
Nancy Servine
Nick and Gail Shammas
Peter and Christine Sharis
Laraine Shellenberger
Tom and Chris Shields
Malavika and
Devendra Shrikhande
Donald and Patricia Sierk
John and Beverly Sinning Jr.
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Larry and Mary Southwick
Gary and Janet Sparks
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David and Sherry Staub
Thomas J. and Mary Ann Stoffel
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Alex B. Stone
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Michael Swartz and
Nancy McConnell
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William Tank
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Duane Thompson and
Carrie Schaffner
Kenneth Wayne Thompson
W. Scott Tinsman Jr. and
Elizabeth Tinsman
Clayton and Sue A. Traver
Smithsonian Institution
Traveling Exhibition Service
Xenotronics
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Jerome and Jan Tutskey
Rusty and Doris Unterzuber
Charles and Joyce Urbain
Mikel and Wendy Van Dyke
Craig and Nancy Van Hook
Susan Van Scyoc
Nikhil and Archana Wagle
Wayne and Kay Wagner
Gerald G. Wala
Patricia Walkup
Pat Walton
Bob and Kimberly Waterman
Tom and Maria Waterman
Pamela White
Todd and Judy White
Frederic and Cathie Whiteside
Lawrence Whitty
Linda Wilkinson
Mark and Dana Wilkinson
Krystal Williams
Cal and Jill Werner
Joe and Angela Woodhouse
Jeffrey A. and Donna Young
Karin Youngberg
Betsy Zmuda-Swanson
Grants, Corporate
and In-Kind Gifts
Master
$30,000 +
Alcoa Foundation
Brand-Boeshaar Foundation
Deere & Company
Hubbell Waterman Foundation
Quad City Cultural & Educational
Supporting Charitable Trust
Riverboat Development
Authority
Scott County Regional Authority
LEADER
$20,000 +
Beaux Arts Fund Committee
Premier
$10,000 +
Institute of Museum &
Library Services
Iowa Department of
Cultural Affairs
US Bank
Supporting
$5,000 +
Birdies For Charity
Genesis Health System
Humanities Iowa
ORA Orthopedics
Singh Group, Merrill Lynch
SITES/MetLife Foundation
Associate
$1,000 +
Anderson, Lower, Whitlow, P.C.
Bank of America Charitable
Foundation
Bituminous Insurance
Companies
City of Rock Island
Gaming Funds
Iowa Arts Council
Junior Board of Rock Island
Johnson Watkins
Family Foundation
KWQC-TV6
Mimzi Art & Frame
Modern Woodmen of America
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Foundation
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Institutional Members
Augustana College
Black Hawk College
Eastern Iowa Community
College
St. Ambrose University
Western Illinois University
Figge Board of Trustees
Executive Committee
Andrew J. Butler President
Dana Wilkinson VP of Education
Dr. Randy Lewis VP of Collections
Cindy Carlson Treasurer
Tara Barney Secretary
Chris Rayburn At large
John A. Slover At large
Board Members
Dr. Amir Arbisser
Rodney Blackwell
Dee Bruemmer
Carmen Darland
Don Doucette, Ph.D.
Ken Freedman
Tom Gildehaus
Kay Hall
Ken Koupal
Delia Meier
Doug Roberts
Kay Runge
Jim Russell
Wynne Schafer
Mark Schwiebert
Nancy Seidler
19
Non-Profit Org.
U.S. Postage
PAID
Davenport, Iowa
Permit No. 151
225 West Second Street
Davenport, IA 52801-1804
Red, White
and Boom!
Join today or renew your expired membership for FREE ACCESS to this annual event. Watch spectacular fireworks
over the river from the Figge’s patio and enjoy free ice cream (while supplies last). Doors open at 6 p.m.
For information on membership, call Amy Martens at 563.345.6638 or email [email protected].
IMAGE CREDITS cover: Ray Strong, Golden Gate Bridge, 1934, oil on canvas, Smithsonian American Art Museum, Transfer from the U.S. Department of the Interior, National
Park Service 1965.18.50; p. 3 Lily Furedi, Subway, 1934, oil on canvas, Smithsonian American Art Museum, Transfer from the U.S. Department of the Interior, National Park
Service; Douglass Crockwell, Paper Workers, 1934, oil on canvas, Smithsonian American Art Museum, Transfer from the U.S. Department of Labor; p. 4 Archibald J. Motley Jr.,
Jazz Singers, c. 1934, oil on canvas, Western Illinois University Art Gallery, Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration,
Commissioned through the Publics Works of Art Project; Charles Turzak, River and Canal Transportation from the portfolio A History of Illinois in Woodcuts, 1933-34,
woodcut, Western Illinois University Art Gallery, Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration, Commissioned through the
Public Works of Art Project; p. 5 Walter Haskell Hinton, Dinner Time, c. 1935, oil on canvas, Collection of Deere & Company, A01084; M. Sue Sawvel, Cheri, 2009, acrylic on
canvas; p. 6 Frank Lloyd Wright, John Lloyd Wright, Frederick C. Bogk House, Milwaukee, Wisconsin, Facade Perspective with Hipped Roof Overlay, 1916, color pencil, graphite
and ink on tracing paper, Private Collection; p. 7 Edouard Duval-Carrié, Bateau Bossu, 2000, mixed media, Gift of David Wallack, Miami, Florida, 2011.6.3; Edouard DuvalCarrié, LeRoi Angole, 2000, mixed media, Gift of Kenan Siegel, Stuart, Florida, 2011.6.2; p. 9 Charles L. Schucker, Drug Store, 1942, watercolor, Western Illinois University Art
Gallery, Allocated by the U.S. Government, Commissioned through the WPA, Federal Art Project; Andy Warhol, Liz Taylor, 1966, serigraph, © 2013 The Andy Warhol Foundation
for the Visual Arts, Inc. / Artists Rights Society (ARS), New York, 1977.2; p. 15 Lorado Taft, Bust of C.A. Ficke, 1927, bronze, Gift of the Citizens of Davenport, 1983.19.
A proud sponsor of
Figge programs
Funded in part by the Iowa Arts Council, a division of the Iowa Department of Cultural Affairs and the National Endowment for the Arts.

A New Deal for Artists

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