UNIVERSITY OF WYOMING ART MUSEUM

STRATEGIC PLAN 1999

1. INTRODUCTION

(a) HISTORY: The University of Wyoming Art Museum (UW Art Museum) began in concept in the 1950s as the result of the vision of Professor James Boyle and his recognition that teaching art properly required the opportunity for students to see original works of art, both contemporary and historic. Since Laramie is a relatively isolated place, travel to Denver was not a practical option, and a collection of art in Laramie was the only solution. Therefore, he took the initiative and began the acquisition of contemporary and historic works of art and housed the growing collection in various rooms around the campus. In 1972 the collection found a permanent home in the new Fine Arts Complex, and a Director/Art Historian (James Forrest) was hired. With a permanent space and a professional director, the museum was born.

In 1984, after a decade of providing instruction, exhibitions, and service to the University, the museum experienced its first major crisis. Its re-accreditation by the American Association of Museums (AAM) was made provisional as the result of a less than satisfactory re-accreditation report. Simply stated, the collection had grown too fast, and the facility and the management were inadequate to meet AAM's professional standards.

Since that time, and as a result of the University’s efforts to address AAM requirements, the UW Art Museum has experienced enormous growth and change. The University began to address the AAM concerns by initiating in 1985 construction planning for a new building. As the result of a serious illness, director James Forrest resigned in 1985 and a new director, Charles Guerin, was hired in 1986. The goals established at that time were:

The UW Art Museum itself is not an academic department and does not offer courses for credit. Rather, it is a resource for all academic departments in the arts, humanities, sciences, social sciences, law, education, agriculture, business, and engineering, and for students across campus. It provides exhibitions, public programs, classroom opportunities, state-wide outreach programs and research opportunities for students, faculty, and the general public. It offers internships and soon will be collaborating on an interdisciplinary Museum Studies program.

The UW Art Museum has eight full time professional employees and as many as eighteen part time employees, mostly students.

(b) DESCRIPTION OF PLANNING PROCESS: The UW Art Museum initiated its planning process by which the professional staff reviewed the museum’s previous long-range planning session goals and objectives in addition to information gathered from focus groups and other comments and drafted 19 objectives. These became the basis on which a strategic planning session was organized with a goal of establishing the short- and long-term goals of the museum. Participants included full time staff, National Advisory Board members, faculty representatives, and representatives from the senior administration. This group met in October of 1998 and with the help of a professional facilitator spent a day and a half reviewing the objectives of the staff and creating goals, objectives, strategies, and priorities of its own.

1. SCHOLARLY FOCUS

(a) MUSEUM REPUTATION: Since the completion of its new facility in 1994, the UW Art Museum has gained national and international recognition its architecture and its programs. No less than seven major international awards have been presented in recognition of this extraordinary architectural statement created by architect Antoine Predock. Not the least of these has been the cover of Architecture Magazine and the cover of Predock’s principal monograph. This architectural attention has helped define the reputation of the museum itself as a progressive and forward thinking institution.

UW Art Museum programs have gained the respect of art professionals and institutions nationally. In 1988, as we planned our future direction, Frank Hodsol, Chairman of the National Endowment for the Arts (NEA), called the UW Art Museum a "national model" for its approach to providing greater access to the visual arts. The NEA awarded the UW Art Museum the largest Challenge Grant of any given to an art museum that year, $400,000. Major museums like the Metropolitan Museum of Art, The Smithsonian Institution, the Library of Congress, and many others routinely loan objects from their collections for display at the UW Art Museum. Exhibitions such as New Realities: Hand Colored Photographs, 1839 to the Present; The Horse: Photographic Images, 1839 to the Present; Peewees, Sharp Toes, and Stovepipes: A Western Boot Exhibition; The Buffalo in Art and Culture; ­ This End Up¯ : Selections from the Robert J. Shiffler Collection; Form and Object: Contemporary American Crafts have traveled to museums such as the DeCordova Museum and Sculpture Park (MA), The James A. Michener Museum of Art (PA), The Utah Museum of Natural History, the Arvada Museum of Art and Historical Center (CO), the Boise Art Museum (ID), and the Cincinnati Art Museum to mention only a few. Through these national venues, thousands of people across the nation have enjoyed our programs.

(b) UNIVERSITY RELATIONS: Attached to this planning document is an

addendum, which specifically defines the collaborative programs that the UW Art Museum has initiated since 1994 in cooperation with academic departments. It also describes in detail those programs designed specifically to benefit the academic mission.

In summarizing this addendum, we recognize that one of the unique characteristics of a university art museum is the availability of the university and its academic departments to supplement the museum and its programs. It also is a basic scholarly premise of the UW Art Museum to exhibit art in a manner in which the visitor understands that art is not an isolated creative activity that exists on the fringe of society, but rather a vital part of, or response to, the culture in which we live. By involving other disciplines from other departments as appropriate, we are able to demonstrate the interdisciplinary nature of the visual arts while profiting from the expertise of scholars in other academic departments. We regularly seek out such opportunities to collaborate with other departments.

Obviously, we focus a great deal of our efforts toward the UW Art Department, as it is their faculty and students that have the potential to benefit the most from our collaborative efforts. Currently, the UW Art Department and the UW Art Museum collaborate on three major ongoing programs, the Annual Student Juried exhibition, the tri-annual Art Department/Art Museum Faculty and Staff exhibition and the Visiting Artist Program. In the Visiting Artist Program, we share resources and work together in order to bring exhibiting artists in the museum to campus to present workshops, lectures, gallery walks, and so forth for the benefit of students and faculty both in the galleries and in Art Department studios. We also make an effort to present exhibitions in which UW Art faculty are participating as with the recent exhibition Colorprint USA that included Assistant Professor Mark Ritchie is currently showing. When possible, we exhibit the works of artists that the Art Department have scheduled as visiting artist as was the case with four German ceramicists for which we did an impromptu exhibition at the request of academic professional, Phyllis Kloda. We have developed an Art Student Scholarship Fund, and we are using our membership brochure to fundraise for the scholarship. The museum has mounted retrospective and major one-person exhibitions of UW faculty, including David Reif, Richard Evans, James Boyle, and Robert Russin. Any object or group of objects in our collections can be requested by the faculty for first-hand viewing by their classes at the museum. Art Department faculty routinely visit the museum with their classes, and just last year we secured extra funding from the Provost to allow us to open the museum in the evenings by appointment to provide access to evening classes without charge. Art faculty serve on our collection committee and have served as an integral part of our last three long-range strategic planning sessions. They have been invited to give lectures to our Board and to our docents. They have given public lectures and been part of panel discussions. They are invited to all museum functions and receive invitations and notices to all of our events. Art students and the academic community at large benefit greatly from the joint programming we provide in cooperation with the UW Art Department.

With regard to other academic programs, the museum staff continually seeks opportunities for collaborations. The Art Museum staff has worked cooperatively with Chuck Reher and George Gill in the Anthropology Department in developing major exhibitions The Buffalo in Art and Culture and Easter Island: Selections from the William Mulloy Collection. We have worked collaboratively with the American Heritage Center through presenting annual exhibitions in the museum’s galleries and through the use of their collections to supplement our exhibitions. Recent collaborations between museum staff, the AHC, and the Home Economics Department resulted in the major fashion exhibition, Flappers and Flower Children. A current collaboration with Brent Breithaupt of the UW Geological Museum will result in a major exhibition, From Como Bluffs to Cultural Icon: Our Enduring Fascination with Dinosaurs, which will discuss the history of paleontology in southeastern Wyoming and the importance of dinosaurs in popular culture. Another collaboration to celebrate the millennium, the Landscape 2000 Project, is being organized in cooperation with many academic departments including the Institute for Environment and Natural Resources, the AHC, UW Casper College, the UW Art Department, the UW English Department, and UW American Studies, as well as outside organizations such as the Wyoming Arts Council and the Nature Conservancy. Other programs have been developed with the assistance of the Agriculture and Health Sciences Colleges, minority student organizations, Food Service, Facilities Planning, and other departments and offices. Through these interdisciplinary collaborations, we have been able to showcase the research and scholarship of other departments while broadening public understanding of the breadth of the visual arts.

(c) THE NICHE: The "niche' of the UW Art Museum is quite simple. It is the

only art museum in the state of Wyoming devoted to collecting and interpreting the full spectrum of the visual arts. Within that broad responsibility resides a secondary "niche", a commitment to what is new and on the cutting edge of national and international contemporary art. Our current emphasis has been central to our mission since the 1950s and remains our priority for the future.

(i) A commitment to access to the full spectrum of the visual arts with a commitment to contemporary art is central to the UW Art Museum mission and basic to the mission of any university. In theory, universities teach the history of our cultures, sciences and technologies in order to prepare people to build on the past with knowledge of the latest developments. Through this approach, new developments and discoveries are made to further the development of humankind. Similarly, the study of the history of art, and of current trends, enables young artists to break new ground in the production of works of art. Beyond the studies of art students, the study of art by non-art majors broadens their understanding of the complexities and ambiguities of life and culture and adds to their ability to make significant contributions to their field of study. Through the study of art, they gain a perspective that may not exist openly within their field.

1. The need for and the recognition of the value of a liberal arts education

is almost universal in higher education. An art museum is vital, not only for art students, but for non-art students and faculty as well. It is integral to the liberal arts concept. In a university the size of UW, it is part of what makes this a university rather than a small college.

The UW Art Museum plays a major role through its internships, work-study program, and its employment practices in providing students in Art, Anthropology, Business, Education, Geology, and other disciplines valuable experience that leads directly to jobs, often in fields where it is very difficult to identify career opportunities. Many of our student interns and student employees have gone on to pursue careers in museums, both through graduate studies and direct employment in museums. In the arts in particular, there are few arts related career opportunities. The UW Art Museum provides hands on experience in teaching, design, collection management, non-profit business management, framing, gallery operation, fundraising, research, accounting, retail marketing, and other careers that open doors for students.

(iii) We believe that the role we play within the University is vital and central not only to the visual arts, but also to the entire community. The UW Art Museum serves the educational and research needs of the campus and contributes significantly to the quality of life in our community and to the cultural life of the campus. To substantially modify or eliminate the UW Art Museum would be to betray the ideals and vision of faculty and donors who have worked for five decades to create a substantial museum presence at our university. Not only would such a retreat eliminate the many benefits and contributions that the museum provides, it would be a devastating shock to a community that has elevated itself culturally far beyond that which would be possible in other communities of similar population. In many ways, the UW Art Museum was a gift to the citizens of Wyoming on its centennial. To retract that gift would have substantial negative impact throughout this community and through the state.

3. & 4. PLANNING GOALS, OBJECTIVES, AND STRATEGIES

As a result of a third strategic planning effort conducted in October of 1998 that included staff, advisory board, university faculty, and administration, we have developed a strategic plan for the next decade, one, which focuses on a number of new or ongoing objectives. These goals, objectives and strategies are outlined as follows as they serve the Universities mission of teaching, research and service.

GOAL I: DEVELOP GREATER AWARENESS OF AND SUPPORT FOR THE UW ART MUSEUM WITHIN THE UNIVERSITY COMMUNITY.

STRATEGY 1a: Work in cooperation with the College of Arts and Sciences and the Departments of Art, History, American Studies, Anthropology, Geology and others; develop a museum studies program using the expertise of faculty and museum staff.

STRATEGY 1b: Expand the intern program to include students in a variety of disciplines, including Art, Art History, Anthropology, Geology, Marketing, Accounting, Education, Native American Studies, Graphic Design, Communications, and others.

STRATEGY 1c: Improve communication with faculty as to the multi-disciplinary possibilities of Art Museum exhibitions and public programs as an integral part of, or as a platform for, presentations of classroom material.

STRATEGY 1d: Improve communications with faculty regarding the use of Art Museum collections for basic research in Art, History, American Studies, and other disciplines.

STRATEGY 1e: Increase the dissemination of museum related research through papers, published articles, books, and exhibition catalogues.

STRATEGY 1f: Maintain active outreach programs including the Artmobile, and the traveling exhibition service. Seek opportunities to expand these outreach programs.

STRATEGY 2a: Continue building relationships with faculty and staff university-wide with the express purpose of exploring opportunities for collaborations resulting in exhibitions, publication and public programs.

STRATEGY 2b: Build on the existing relationship with the Art Department to expand the visiting artist program, and to continue the faculty exhibition and the annual student exhibition.

STRATEGY 2c: Build on the existing relationship with the AHC to further encourage use of their collections in museum exhibitions, and cross promote programs for visitors to the Centennial Complex.

STRATEGY 2d: Build on the relationships with the Geology Museum, the Anthropology Department and other departments to utilize diverse research, expertise and collections to develop additional cooperative art exhibitions.

STRATEGY 3a: Inform faculty of upcoming special events at the UW Art Museum and convey to them the value of those programs for students. Secure their commitments to not only tell their students of these important events, but also to require attendance when appropriate.

STRATEGY 4a: Working in cooperation with the Vice President for Academic Affairs, define the basic level of museum programs that achieves the museum’s mission, and that the administration agrees is essential to the University’s mission which the University is able to support. This ultimate definition will be facilitated through the University's planning process and identification of its priorities. The description of our core program can only be defined once we are able to compare and integrate the museum into the yet undefined priorities of the University.

STRATEGY 5a: Communicate to potential employers and recruiters that many people who are considering Laramie as a place to either live or study are interested in the quality of the University and the quality of life in Laramie. The museum has been used as an important tool in impressing people about the cultural advantages of coming to Laramie. Few, if any, universities of our size in the country can boast of a more substantial museum. Encouraging the use of the UW Art Museum in the interview process can make the difference.

GOAL II: DEVELOP A STABLE FINANCIAL BASE FROM WHICH TO OPERATE THE UW ART MUSEUM

STRATEGY 1a: Working in cooperation with the President and with the Vice Presidents for Academic Affairs and Finance, develop a funding strategy that over a prescribed time frame will allow the University to support 100% of the operating costs of the UW Art Museum's core programs.

STRATEGY 2a: Secure UW administrative support of the core program to free up Advisory Board generated income to support this goal.

STRATEGY 3a: Secure a full-time marketing and public relations position to communicate the value of the UW Art Museum to the University and statewide community.

STRATEGY 4a: Confirm a fundraising goal of at least $2,000,000 in the upcoming university-wide fundraising campaign.

STRATEGY 4b: Enlist the support of the National Advisory Board to take a leadership role in identifying prospects and to work to accomplish the goals of the campaign in cooperation with the Director of the UW Art Museum and the UW Office of Development.

GOAL III: STRENGTHEN THE VISITORS’ EXPERIENCE

STRATEGY 1a: Utilize limited purchase funds to secure important works of art from emerging American artists at a point in their careers where it is most cost-effective to do so. (This strategy has been used consistently throughout history to build important collections such as those at the Museum of Modern Art and the Louvre and should be followed here.)

STRATEGY 1b: Seek out donations of important works of 19^th and 20^th century American art and other works of art for the collection where we have strengths.

STRATEGY 1c: Seek out exhibitions of contemporary artists and develop related public programs that showcase nationally and internationally important trends in the visual arts.

STRATEGY 1d: Seek out exhibitions of historically important collections and develop public programs that demonstrate the importance of the works exhibited.

STRATEGY 1e: Seek out or develop ethnically diverse exhibitions and create public programs, which enlighten viewers as to the importance of diverse cultures and art forms.

STRATEGY 2a: Work with the Office of Finance to create a task force of representatives from the UW Art Museum, AHC, Food Service, and Finance to generate a market survey and to discuss an optimal concept that meets the needs of the various constituencies in a cost effective manner.

GOAL IV: BROADEN AUDIENCE BASE

STRATEGY 1a: Conduct an audience/community survey to ascertain audience needs and expectations.

STRATEGY 1b: Examine survey results, follow up with appropriate or related organizations, and assess possible ways that the museum can address community needs.

STRATEGY 13a: Develop a group of current volunteers to serve as a leadership core to recruit and organize a volunteer auxiliary to support museum events.

5. EVALUATION

1. FEEDBACK MECHANISMS: Evaluation and feedback mechanisms at the UW Art Museum are informal and they consist primarily of suggestions presented at the information desk and through public comments. Other forms of feed back have come through the broad representation at our strategic planning sessions, and through responses to the Director’s Fifth Year Review process.

In an effort to formalize the evaluation process, we intend to develop a visitor survey, which will be made available to all visitors as they leave the Art Museum.

Feedback has been a vital part of our planning and growth. Through three in-depth strategic planning exercises in the past decade, the UW Art Museum has listened to its constituencies and developed or altered programs and procedures to address needs and suggestions deemed appropriate. The institution is here to serve its input constituency, and we have used every appropriate means to seek impute, to evaluate programs, and to grow in our efforts to serve the University and the community.

ADDENDUM NO. 1

The University of Wyoming Art Museum

Overview of Programs in support of the University’s Academic Mission

The UW Art Museum is committed to enhancing the academic programs of the university and the quality of life in Wyoming. It was founded on the principle of bringing high-quality American art and significant work by prominent international artists that otherwise would not be available to university students, faculty, and staff, and the Laramie community; the people of the state of Wyoming and of the Mountain Plains region. The museum's collection of nearly 7,000 objects includes works by American, European, and Asian artists, Native American artifacts, decorative arts, and crafts. The exhibition program presents the diversity of American art and art of other cultures and countries that have influenced American artists in addition to humanities programs of regional importance. The education program expands the understanding the arts and culture through visiting artist residencies, lectures, workshops, and K-12 programs.

Exhibitions

Departmental Exhibitions – 1993 to current Collaborating Dept.

James M. Boyle: Sixty Years of Painting Art Dept.

David Reif: Boundaries of Artifice Art Dept.

Bruce Wyman: Plastic Wind (CCEX) Art Dept.

R. Stackhouse Art Dept.

Larry Bell: Vapor Drawings Art Dept.

Ursula von Rydingsvard Art Dept.

Jesús Bautista Moroles Art Dept.

Luis Jiménez: Honky Tonk Art Dept.

Janet Fish: Paintings (Yellowstone Art Center) Art Dept.

é THIS END UPê : Selections from the Robert J. Shiffler Collection Art Dept.

organized by UWAM and traveled to Arvada Art Museum, Arvada, CO; Dahl Fine

Arts Center, Rapid City, SD; Cincinnati Museum of Art, Cincinnati, OH

Four German Ceramicists Art Dept.

James Luna: The Spirits of Virtue and Evil Await My Ascension Art Dept., Am. Ind. Studies

Our Land / Our Selves (Exhibits USA) Art Dept., Am. Ind. Studies

Lamentation: New Works on Paper by Dean Dass Art Dept. / Inky Paper Print Series

Endi Poskovic Art Dept. / Inky Paper Print Series

Colorprint USA Art Dept.

UW Art Department and Art Museum Faculty / Staff Exhibition 1993 Art Dept.

UW Art Department and Art Museum Faculty / Staff Exhibition 1996 Art Dept.

19th Annual Juried Student Exhibition, Gordon McConnell, Assist. Dir. / Senior Curator,

Yellowstone Art Center; juror Art Dept.

20th Annual Juried Student Exhibition, Kathy Andrews, Director, Arvada Art Museum; juror Art Dept.

21st Annual Juried Student Exhibition, David Turner, Director, Colorado Springs Fine

Art Center; juror and 1^st Annual Salon de Refusé with Student Art League Art Dept.

22^nd Annual Student Juried Exhibition, Susan Krane, Director of the Art Galleries,

Colorado University; juror and 2nd Annual Salon de Refusé with Student Art League Art Dept.

23^rd Annual Juried Student Exhibition, Elizabeth Guheen, Director, Ucross Foundation; juror and 3^rd Annual Salon de Refusé with Student Art League Art Dept.

MFA Exhibitions: Robert Cummins: Forgotten Paths, Mixed Media Works by Craig Gedeist Art Dept.

MFA exhibition: Bill Talbert: Desolation Island Art Dept.

MFA Exhibition: Kevin Mayfield, Strange Reflections Art Dept.

MFA exhibition: Francis Fox, Conflict in Balance Art Dept.

Images of Black Wyoming AHC

To Image and To See: Crow Indian Photographs by Edward S. Curtis and

Richard Throssell, 1905 – 1910 AHC

Documenting America (Library of Congress) AHC

Uphill and Against the Wind: Cattle Ranching in Wyoming AHC

Flappers and Flower Children: Fashion and Society in the 1920s and 1960s-1970s

AHC, Family & Consumer Sciences

Rural Images: The Cartoon Art of J.R. Williams, Ace Reid, and Jerry Palen AHC

Departmental Exhibitions; 1999 + Collaborating Dept.

Robin McCloskey Art Dept. / Inky Paper Print Series

Annual Juried Student Exhibition and Salon de Refusé with Student Art League Art Dept.

Art Department Faculty Exhibition 1999 Art Dept.

Citizen of the Century AHC

American Studies 100^th Anniversary Exhibition Am. Studies

Contemporary Exhibitions; 1993 – 1998; designed specifically to provide students with a national and international perspective of contemporary trends in the visual arts.

Notes:

pc = permanent collection exhibition;

CCEX = Community College / Art Center Extension Service offered through the museum's Art Express Outreach Program

NTEX = National Touring Exhibition Program, a series of exhibitions of national significance organized and toured by the museum

The Definitive Contemporary American Quilt (Bernice Steinbaum Gallery, New York)

American Sculpture: A Contemporary Perspective

Pictures in the Land (National Wildlife Art Museum)

Fabricated Nature (Boise Art Museum)

The Intimate Collaboration: Prints from Teaberry Press (University of Kentucky)

Critical Mass (TREX)

Memorable Traditions / Continuing Customs: Seven Arts from Wyoming,

WAC Fellowship Exhibition curated by William A. Fagaly

Ecotoons (Exhibit Touring Service, Washington)

Antoine Predock, Architect: The Development of the Centennial Complex

Ken Graves: Collage

Kent Klima: Photography

Jane Orleman: Telling Secrets

Elena Presser: Works on the Music of J. S. Bach

Deena des Rioux: Disk Drive: A View of Genetic Engineering and Robotics

Silvia Taccani: LOVE and EMOTIONS: works from two series

Gerald Lang: Horses, Photogravures and Silver Prints (CCEX)

Steve Barry: "MY (PROGRESS)"

Raphael X. Reichert: Harvest (CCEX)

Juane Quick-to-See Smith (Art Dept., Am. Ind. Studies)

Richard Thompson: Narrative Paintings

Neltje (CCEX)

Harold Schlotzhauer: Options (CCEX)

Ruth Thorne-Thompson

Jae Hahn: Lines. Space. Immanence.

Irma Gilgore: Fragments and Fragmentation: Paintings and Drawings

Christo and Jeanne-Claude: Valley Curtain, Rifle, Colorado 1970-72, A Documentation Exhibition

Wes Hempel: Paintings, The First Seven Years

Jack Balas: Westward, Ho!

Chihuly Baskets: Glass Works by Dale Chihuly

James Hajicek: Pages from the Book of Time and Excavations

Jerry West: Paintings 1985 - 1995 (CCEX)

Yizhak Elyashiv: Handful of Grains Maps

Contemporary Exhibitions; 1999 + Collaborating Dept.

Blinn Jacobs

Robert Reed Retrospective

Sculpture exhibition series

Contemporary solo exhibition series (annual)

Realism in Contemporary Art of the American West

Korean Contemporary Art

Ucross Invitational Exhibition

Wyoming Arts Council Fellowship Exhibition

Crossing the Threshold (Bernice Steinbaum Gallery, NY) Women’s Studies, Art Dept.

Landscape 2000 Project

statewide program involving UW, 2-yr. colleges, K-12 and statewide galleries/museums including curriculum development and programs with UW Departments of Art, Theatre, English, American Studies, and non-humanities departments to be determined; public programs with the American Heritage Center, Cultural Outreach, and UW Casper Center, Arts in the Parks, the Wyoming Arts Council and the Wyoming Council for the Humanities; statewide K-12 curriculum development; exhibitions at the Buffalo Bill Historical Center, the National Wildlife Art Museum, Washakie Museum, Nicolaysen Museum and Discovery Center, Western Wyoming Community College, the Wyoming Arts Council Gallery and the Ucross Foundation; and a variety of community based programs statewide.

Historic Fine Art, Decorative Art, and Crafts Exhibitions; 1993 – 1998; designed specifically to provide students with an historic framework for the visual arts and crafts.

Notes:

pc = permanent collection exhibition;

CCEX = Community College / Art Center Extension Service offered through the museum's Art Express Outreach Program

NTEX = National Touring Exhibition Program, a series of exhibitions of national significance organized and toured by the museum

Rodin: Works from the B. Gerald Cantor Collection (Art & Comm. Counselors)

Bill Gollings: Ranahan Artist

The City: Etchings and Engravings by Reginald Marsh, 1930 - 1940, a Portfolio from

the University of Wyoming Art Museum Collection (pc, CCEX)

Edward S. Curtis: Photogravures from the Northwest Coast (pc)

Art, Music, and Recitation: Hand-painted Trinopticon Slides by Frank Dixon, 1832 - 1841 (pc)

Nature’s Essential Color: The Dye Transfer Photographs of Eliot Porter (pc)

An Enduring Vision: Engravings by Winslow Homer from Harper’s Weekly (pc)

Thomas Molesworth and His Influence on Contemporary Furniture Makers

The Horse: Photographic Images, 1839 to the Present (NTEX)

New Realities: Hand-colored Photographs, 1839 to the Present (NTEX)

Artists Interpret the Written Word: Works from the Permanent Collection (pc)

100 Years of American Art: Romanticism, Realism, American Impressionism, and

Regionalism, 1860-1960, Masterworks from the Permanent Collection (pc)

The Urban Image in American Art since 1900: Works from the University of Wyoming

Art Museum Permanent Collection (pc, CCEX)

A Sense of Place: American Idealism, 1850 - 1925 (pc)

American Vistas: Modern Landscapes from the Permanent Collection (pc)

American Modernism After the Armory Show (pc, Frederick Mayer Collection)

Beyond the Color Field: Abstract Paintings and Prints from the Permanent Collection (pc)

Selections from The Anschutz Collection

Wyoming Collects: Selections from the E.G. and Betty Meyer Collection

Wyoming Collects: The Craig Kirkwood Collection

Masterworks from the Permanent Collection: Paintings, Drawings, Prints,

Sculpture, and Ethnographic Artifacts (pc)

American and European Paintings from the Permanent Collection (pc)

Selections from the Colonel C. Michael Paul Collection (pc)

The Beautiful Table: 300 Years of Silver (pc)

Vintage Typewriters: Selections from the Rick Spadaro Collection

New Acquisitions in the University of Wyoming Art Museum Collection (pc)

Recent Acquisitions from the University Art Museum Collection (pc)

Historic Fine Art, Decorative Art, and Crafts Exhibitions; 1999 + Collaborating Dept.

The Sculptor's Line: Henry Moore Prints and Maquettes from the William S. Fairfield

Collection (ExhibitsUSA)

Bill Gollings New Acquisitions Exhibition

Landscape 2000 Project statewide program involving UW, 2-yr. college, K-12

Interdisciplinary Exhibitions; 1993 – 1998 Collaborating Dept.

Saddlemaking in Wyoming: History, Utility, and Art AHC

The Spirit of the Crow: Selections from the Peter W. Doss Crow Indian Artifact Collection

Peewees, Sharp Toes, and Stovepipes: A Western Boot Exhibition

The Buffalo in Art and Culture: Legacy of an American Symbol (NTEX) AHC, Anthro.

Pioneers of the Rails: Passenger Service in the Era of the Steam Engine, 1868 – 1957 AHC, History

Embracing the Future: Native American Art and Culture on the Threshold of the

Twenty-First Century AM, Am. Ind. Studies

Interdisciplinary Exhibitions; 1999 + Collaborating Dept.

From Como Bluff to Cultural Icon: Our Enduring Fascination with Dinosaurs AHC, Anthro.

Native American Exhibitions; 1993 - 1998

Native American Baskets: Selections from a Private Collection

Pueblo Pottery: Selections from the University of Wyoming Art Museum Collection (pc)

Kachinas from the James A. Nolan Collection (pc)

New Kachinas in the James A. Nolan Collection (pc)

Exhibitions of, by, and for Special Audiences; 1993 - 1998

Selections of Children's Prints from the Art Mobile Program

Laramie Children's Art 1993, 1994, 1995, 1996, 1997, 1998

Hooked Rugs by Special Artists (Creative Arts Center, Oakland, California)

Touchable Sculpture: Lifecasts by Willa Shalit and Dean Ericson (Exhibits USA)

Truth from Darkness: Artists with Mental Illnesses

Multi-cultural Exhibitions; 1993 - 1998

Brazilian Naive Art (Partners of the Americas)

Indian and Persian Miniature Paintings (pc)

Japanese Wood Block Prints from the Permanent Collection (pc)

Masks and Sculpture from West Africa: Art and Artifacts from the Permanent Collection (pc)

West African Musical Instruments from the Permanent Collection (pc)

Easter Island Modern Folk Art: Selections from the William T. Mulloy Collection (pc)

Spirits of the Winter Ceremonies: Modern Masks of the Pacific Northwest (Frederick Mayer Collection)

Netsuke from the Late 19^th Century: Ivory Miniatures from the Lucile Wright Collection (pc)

Multi-cultural Exhibitions: 1999 +

Xing Dynasty Robes and Vases (working title)

The Legacy of Lord Canarvon: Miniatures and the Valley of the Kings (working title)

Sales / Fundraising Exhibitions; 1993 - 1998

1995 Miniature Show, Art Exhibition and Sale (gala)

1996 Miniature Show, Art Exhibition and Sale (gala)

1997 Miniature Show, Art Exhibition and Sale (gala)

1998 Miniature Show, Art Exhibition and Sale (gala)

Exhibition publications (interpretive catalogs, brochures); 1993 – 1998 Collaborating Dept.

Saddlemaking in Wyoming, catalog; essay by Sharon Kahin, additional text by Susan Moldenhauer

and D. C. Thompson; 22 color, 7 b/w reproductions, 72 pages; $18 retail (NEA) AHC

Robert Stackhouse, brochure; essay by Barbara Westerfield; 4 color, 1-b/w reproduction, 6 pages;

free to museum visitors. (NEA)

Larry Bell, exhibition brochure; essay by Charles Guerin; 4 color, 1-b/w reproduction, 6 pages;

free to museum visitors. (NEA)

Ursula von Rydingsvard, brochure; essay by Susan Moldenhauer; 4 color, 1-b/w reproduction,

6 pages; free to museum visitors. (NEA)

Peewees, Sharp Toes, and Stovepipes: A Western Boot Exhibition, brochure; essay by Susan Moldenhauer; 8 color reproductions, 8 pages; free to museum visitors. (WCH)

Jesús Bautista Moroles, brochure; essay by Susan Moldenhauer; 4 color, 1-b/w reproduction,

6 pages; free to museum visitors. (NEA)

Neltje, brochure; essay by Susan Moldenhauer; 4 color, 1 b/w reproduction, 6 pages; free to

museum visitors. (WAC)

The Buffalo in Art and Culture: Legacy of an American Symbol, brochure; essays by Dr.

Charles Reher, D.C. Thompson, Becky Menlove, and Susan Moldenhauer; 8 color

reproductions, 8 pages; free to museum visitors. (WCH) Anthro., AHC

Irma Gilgore: Fragments and Fragmentation, brochure; essay by Lois Katz, additional text

by Susan Moldenhauer and Irma Gilgore; 12 color, 1 b/w reproduction, 6 pages; free

to museum visitors. (artist funded)

Spirits of the Winter Ceremonies: Modern Northwest Pacific Masks from the Frederick

Mayer Collection, brochure; research by Mark DesPlanques; 8 color reproductions,

8 pages; free to museum visitors. (collector funded) Art Dept., Anthro.

Endi Poskovic, brochure; essay by Elizabeth Licata; 2 color, 2 b/w reproductions, 4 pages;

free to museum visitors. (artist funded)

Pioneers of the Rails: Passenger Service in the Era of the Steam Locomotive, 1868 – 1959,

brochure; essay by Susan Moldenhauer; 2 color, 6 color reproductions, 8 pages; free to

museum visitors. (WCH)

New Realities: Hand-Painted Photographs, 1839 to the Present, brochure; essay by Lee Marks;

12 color reproductions, 12 pages; free to museum visitors. (NEA, WAC)

Embracing the Future: Native American Art and Culture on the Threshold of the Twenty-First

Century, brochure; essay by Susan Moldenhauer; 8 color reproductions, 8 pages;

free to museum visitors. (WCH) Am. Ind. Studies, History

Jerry West: Prairie Dreams and Other Intrusions, brochure; essay by Susan Moldenhauer;

5 color, 1 b/w reproduction, 6 pages; free to museum visitors. (anonymously funded)

Exhibition publications (interpretive catalogs, brochures); 1998 + Collaborating Dept.

From Como Bluff to Cultural Icon: Our Enduring Fascination with Dinosaurs Anthro., AHC

Visiting Artists: Studio & Classroom Visits, Demonstrations, Workshops; 1993 – 1998 Coll. Dept.

Robert Stackhouse, lecture, studio visits Art Dept.

Larry Bell, lecture, studio visits Art Dept.

Ursula von Rydingsvard , lecture, studio visits Art Dept.

Duane Slick, lecture Art Dept., Am. Ind. Studies

Daniel Richmond, MFA candidate, wood sculpture demonstration and workshop (2) Art Dept.

Dr. Duane Keown, Wyoming Conservation Connection; environmental curriculum seminar

Jesús Bautista Moroles, lecture, studio visits Art Dept.

Juane Quick-To-See Smith, lecture, studio visits Art Dept.

Luis Jimenez, lecture, class seminar Art Dept.

Dean Dass, lecture, workshop Art Dept. / Inky Paper Print Series

Endi Poskovic, lecture, workshop Art Dept. / Inky Paper Print Series

James Luna, lecture, class seminars, performance: "LU-NA, The Last Wild California Indian

Live from the Wyoming Territorial Prison" Art Dept., Am. Ind. Studies

Visiting Artists: Studio & Classroom Visits, Demonstrations, Workshops – 1999 + Coll. Dept.

Wayne Kimball Art Dept. / Inky Paper Print Series

Robin McCloskey Art Dept. / Inky Paper Print Series

Crossing the Threshold visual artists Women’s’ Studies, Art Dept.

Landscape 2000 Project: visual artists and writers various UW Depts.

Public Programs

Gallery / slide talks by exhibiting artists; 1993 – 1998 Collaborating Dept.

Deena des Rioux

Silvia Taccani

Larry Bell Art Dept.

Ursula von Rydingsvard Art Dept.

Duane Slick, "Our Land: Ourselves" Art Dept., Am. Ind. Studies

Dave Viers, bootmaker

Jerry Gaddis, bootmaker

Raphael X. Reichert

Juane Quick-To-See Smith Art Dept., Am. Ind. Studies

Jesus Bautista Moroles Art Dept.

Neltje

Luis Jimenez Art Dept.

Dean Dass Art Dept.

Wes Hempel

Endi Poskovic Art Dept.

Jerry West

Dugout Ranch, UT; Jack Turnell, Meeteetze; John Dorst, moderator Am. Studies

"The Importance of Bison in Contemporary Agriculture and Economics" (Mark Hechert,

Inter-Tribal Bison Coop, Rapid City, SD; Kenneth J. Klemm, Diamond Tail Ranch,

Jelm, WY; Prof. Ed Bradley and Steve Torok, UW Dept. of Ag. Econ; Dr. Alan

Schroeder, moderator Ag. Econ.

"The Influence of Bison on European Settlement and the Significance of Buffalo to

white-Indian relations," Dr. Phil Roberts, UW Historian History

"Old Timers Steam Crew" (Lloyd Felton, conductor; Ed Small, engineer; Rick Ewig, moderator) AHC

"Women and the Railroads" (Shirley Akin, Sally Foster; Dave Kathka, PhD, moderator)

Waters Engineer, Wind River Reservation; Penny Doss Isaak, the Peter W. Doss Crow

Indian Artifact Collection; Carla Brings Plenty, InterTribal Bison Cop, Rapid city, SD; Brian

Hosmer, PhD, moderator) Am. Ind. Studies, History

Panel Discussions – 1999+ (scheduled to date) Collaborating Department

"Korean Contemporary Art" (Sung Mook Cho,Jae Hahn, Joo Hyun Kim,Ku Lim Kim,

Jin Yong Lee, Jae Hyun Park; Sun Mi Choe, moderator) Cultural Programs, International Programs

"Fifty Years of Discovering Dinosaurs in SE Wyoming, 1865 – 1915" (Brent Breithaupt, Director,

UW Geological Museum; Beth Southwell, independent researcher; Ed Wren, independent researcher;

one additional panelist and moderator to be determined) Anthro.

Recitals – 1993 - 1998 Collaborating Dept.

"Music of Brazil" concert Music

Lafayette String Quartet Cultural Outreach

Mark Schichenmayer, MFA, Rensselaer’s Electronic Arts Program, digital / video

program in response to Deena Des Rioux’s exhibition ‘Disk Drive: A View of

Robotics and Genetic Engineering"

"African Rhythms and the Roots of Rock and Roll," Don Austin, Allen Linde and friends

"Music of Rodin's Time", Kevin Hart, guitarist Music

"Johann Sebastian Bach", Larry Palmer, harpsichordist Music

Crow Indian Music, Heywood Big Day and family, "Spirit of the Crow" Am. Ind. Studies

Contemporary Native American Music, Mike Redmund, flutist Am. Ind. Studies

"Jazz Valentines", General Hambrick, vocalist; Gary Smart, pianist; Rod Garnett, flutist;

UW faculty jazz combo, and the UW vocal Jazz group Music

Gammolon Concert Music

Luisa Assis, Portuguese poet, "Bilingual Poetry Reading"

Education, Special Education, and Therapy Specialists workshop: "Mentally and Physically

Challenged Children", by Irene Ward-Byron, Exec. Dir., Creative Growth Art Center

Dr. Duane Keown, Environmental curriculum workshop

"History from Art and Objects" (Maxine Trost, Rick Ewig) AHC

"Willow Springs Buffalo Jump Site", site visit with Dr. Charles Reher Anthro.

"High Plains Archaeology Project", site visit with Dr. Charles Reher Anthro.

"Vore Buffalo Jump Site", site visit with Dr. Charles Reher Anthro.

"All Aboard: The Laramie Express" Excursion

"The Union Pacific Machine Shop, Cheyenne", site visit

Sculpture workshop and demonstration, Bill Talbert (2), Contemporary American Sculpture Art Dept.

Barbara Westerfield, Tour to Washington, D. C.

Films: Get your Man, Battling Travelers, Extra Man and the Life Fed Lion, The Man With A Punch, Bashful Whirlwind, A Salute to the Cowboy, Fatherhood of Buck McKee, Sheriff of Stone Gulch, The Man From Nowhere, Man From Tia Juana, Four Gun Bandit, Fight It Out, Cowgirls, Black Orpheus, Terra em Transe, Burden of Dreams, Kiss of the Spider Women, Camille Claudel, Auguste Rodin, Koyaanisquatsi, Mahler, Edvard Munch, Art of the American West, Christo's Valley Curtain, Edouardo Chillida, Environmental Dog, Baxter Black and Friends, live on public TV!, Hope Prayer for Peace, The Moon’s Prayer, Imagine: John Lennon, Persona, A Portrait of the Artist as a Young Man, Big Country, Big Trail, Blood on the Moon, Dakota, Canyon of the Missing Men and Wolfheart’s Revenge

UW classes held in the museum: 1995 – 1998 Collaborative Dept.

Public Art U. S. Class Art Dept.

20 Century Art Class (2) Art Dept.

UW Art History Class (2) Art Dept.

University Studies Class (7 inc. Nursing, Ag.) Art Dept.

UW Creative Writing Class Art Dept.

UW Class/ Spanish S110 Spanish

UW Art History (Barbara Coleman; 3) Art Hist.

UW Drawing (Mark Ritchie; 3) Art Dept.

UW Printmaking Class (Mark Ritchie; 3) Art Dept.

UW Art Class (Pat Schmidtmann; 4) Art Dept.

UW Art Class (David Reif) Art Dept.

UW Art Class (Ginny Madsen) Art Dept.

Non-UW classes held in museum (high school & university level): 1995 - 1998

WCTL - Prep School (2)

Rocky Mountain College of Art and Design

Laramie High School American Civics Class

LCCC (2)

CSU sculpture classes (3)

Fort Collins High School (2)

UW classes – collection Collaborative Dept.

Printmaking classes (Mark Ritchie; 7) Art Dept.

Art History (Colleen Denney; 2) Art Dept.

Education Activities

Shelton Art Studio Classes; 1993 – 1998 Collaborative Dept.

Heads and Tales (ages 11 – 14)

The Calico Cat and the Gingham Dog (ages 5 – 10)

Shadow Boxing (ages 11 – 14)

Up, Down, and All Around the World with Puppets (ages 5 – 10 and ages 11 - 14)

Art Forms of Japan (ages 6 – 12)

Bringing Life to Clay (ages 6 – 12)

Expression of Life Experience (ages 45 and up)

Up, Up, and Away (ages 6 – 12)

Inventor’s Journey (ages 6 – 14)

Paint! Paint! Paint! (ages 10 – 16)

Geometry, Music, and Seriality in Art (ages 6 – 9 and 10 – 13)

Jewelry Design and Construction (ages 8-14)

Creating Sculpture Inspired by the Environment (ages 6 – 14)

Site-Specific Installation (ages 10 – 16)

A Touch of Texture (ages 5 – 8)

Making Masks (ages 9 – 13)

Clay Creations (ages 9 – 13)

Found Object Sculptures (ages 9 – 13)

Dramatic Arts (ages 8 – 12)

Mixed Media Creations (ages 5 - 12)

Nature Expressed through Linocuts (ages 5 - 12)

Performance Art (ages 6 – 14)

The Circle (ages 5 – 12)

The Dig (ages 5 – 12)

Storytelling (ages 5 – 12)

Light, Color, and Translucence (grades 3 – 8)

The Environment and the Landscape (grades 3 – 8)

Watercolor: Looking at the Work of Janet Fish (ages 10 and up)

The Train (ages 5 – 12)

Kachinas (ages 5 – 12)

Photos and Masks: Traveling through History

Line, Color, Carpet, and Music

All Together Now: Making Art and Others

Making Pictures, Telling Stories

Son It, Sleep on It, Eat on It: Making Furniture & Other Everyday Objects

Just Another Day of Floating Horses and Flying Houses

Seed Beads, Tin Cones, and Porcupine Quills: Art of the Pow Wow

Exploring Cultures with Paintbrush and Pen

Straight from the Brain: Let’s Think Up Some Art

Let’s Face It: Making Masks for Halloween

Someday My Prints will Come: The Art of Printmaking

School Tour Program (K-12); 1993 - Aug. 1998

6^th Grade Class

Albany Co.: 4-H, School District (Indian), Summer School (4), Homeschool Association

Art Elective Class (19)

Casper Roosevelt High School

Cheyenne: Cole Elementary School, Corlette Elementary School (2), Pioneer Park Elementary School (3), Central High School

Chugwater High School

UW College of Education

CY Jr. High School

Deldine School

Douglas Intermediate School

Eisenhower Core Curriculum School Tour (4)

Encampment School, High School

Future Problem Solvers of America

Glendo High School

Green River High School

Hanna Elementary

Harmony School (5)

High Venture Summer Camp (2)

Hilltop Christian Day Care (3)

Hobbs Elementary (2)

Jackson County Middle School

Johnson Jr. High Art 2 Class (2)

Laramie: Basic Beginnings Pre-School (2), Bright Horizons Daycare (5), Creative Child Care, Developmental Preschool (3), Kid’s Connection (2), Laramie Head Start (3)

Laramie: Beithel Elementary (2), Indian Paintbrush Elementary (8), Libby Elementary (2), Linford Elementary (5), Slade Elementary (8), Spring Creek Elementary (2), Spring Creek Elementary Disabled, St. Lawrence Elementary School (4)

Laramie Christian School (3), Cathedral Home (3), Rural Laramie Schools, Special Ed. Math Class, Cub Scouts (3)

Laramie Home School (6), Laramie Home Education Network (2)

Laramie Junior High School (5), Laramie Senior High (2), Laramie High School (15), Laramie High Psychology Class (4), Whiting Alternative High School (4)

Laramie County Community College

Laramie Crisis Center

Literature of American West Senior High Class

Little Engine Preschool

Little Snake River Schools

Mountain View Elementary

Pinedale High School

Prairie Park School

Rawlins: High School French Club, High School

River Bridge School

Rock River Elementary

Rock Springs Community Fine Arts Center (2); High School

Saratoga Elementary (4)

Saratoga Middle School

SEO Students

Sinclair Elementary

Statewide High Schools (2)

The Learning Center

UW: University Studies, Child Care Center, Lab School (13), Phase 3A, Prep School (5)

Upward Bound High School

Walden High School

WCTL (7)

Webeloz

Western Nebraska Comm. College

Additional Education Programs; 1993 - 1998

Artist in the Schools Program 1994

Paint Pony Express 1994, 1995, 1996, 1997, 1998

March Art Month 1995, 1996, 1997, 1998

Toddler Saturdays 1997, 1998

Toddler Tuesdays 1997

Friday Afternoon Art Club 1997

Art Access Outreach Program

Artmobile; 1993 – July 1998

Charlotte Verhuel Art Ed

Tracy Tominc Art, Art Ed

Graphic Design: Kelly Murphy Art/Graphic Design

Margaret Jensen Art/Graphic Design

Becky Christoffersen Art/Graphic Design

Sven Peterson Art/Graphic Design Justin Martin Art/Graphic Design

Kevin Flaim Art/Graphic Design

Mischa Hansen Art/Graphic Design

Nate Ludens Art/Graphic Design

Sales Gallery: Lisa Lee Art

Jennifer Hunter Art

Employment Generated Through Museum Experiences

In addition, part-time support employees gain meaningful experience while employed at the University of Wyoming Art Museum as evidenced by the career paths of past part-time employees, 1993 – 1998.

Becky Menlove (Am. Studies), Museum Assistant, 1993 – 1996; currently curatorial assistant to Sara Boehme, curator, Whitney Gallery of American Art, Buffalo Bill Historical Center, Cody

Connie Norman (art, art education candidate) Museum Educator, 1997 to present; currently art teacher for city of Laramie and continues to as Museum Educator in the Shelton Art Studio Program

Francis Fox (art), Museum Assistant, 1996 – 1997; currently Exhibition Designer, UW Art Museum, Laramie

Jamie Chapman (education), Museum Educator, 1997; currently Tour and Contest Coordinator, Arts for the Parks, Jackson, WY

Joe Ellis (art), Museum Assistant, 1992 – 1998; currently curator, Nicolaysen Art Museum, Casper

Mike Chavez (art), Sales Gallery Assistant and Museum Assistant, 1995 – 1997; Art Institute Museum Store, 1998

Ramona East (anthropology), Museum Assistant, 1990 – 1995; currently curator, CU Law Library, Boulder

Sharon Mathiesen (art, art education), Museum Educator, 1994 – 1996; currently art teacher, UW Lab School and continues with the museum as Museum Educator for Paint Pony Express, Happy Holidays, Laramie!, and March Art Month