It seems like only U
yesterday that we
celebrated the opening
of the Mary Ann Harn
Cofrin Pavilion in
October 2005. With
its beautiful exhibition
meeting and classroom
spaces, inviting caf6 and
charming surrounding gare k !. it!, ..l, Ii i' I!I.i
has helped us fulfill our mi ... i,, i pii !,!.I i i ,. it
people and enrich their liv, it!.,ii Ii ii. ... p i i... !, ..I
great works of art.
And now, once again throuili i !,,. ii i../i!ii. .i,.'1!!. ,
ofDr. David and Mrs. Mar., .\!ii !! iii It,. ii 11 !
is planning the addition of iin. it i iti ... i_- ,!
approximately 22,000 squai !el -I di i. I .! i i II. l il
to the exhibition, conservali 'r'. .' ini.1 ..I Ilit.
museum's Asian art collect.,r i I!hi leiii.ii i! i!!i I
Kha Le-Huu and Partners .1' '! i.i. i I.t I .. 1i %.l tl. 1
to design the Asian artwir K I i I i .-i ii 111 ilii. 1 ,,
of the University of Florida '.' .,!'.lI .\ i!1iii.-iiii
also designed the original I i i, I %i 1 I. In 1ii.ii .. i,
well as the Mary Ann Harr ..I! ii ,... i i ..i~t.
Kurisu of Kurisu Internatirc.i i! II! I, ii. I .iil 'il.
architect for the project, w- .h! I 11 1ll ,i .\ I ii
gardens. In Florida he is bcil k;n r. 1i 1 .. I I% p'l .I i1n! i
landscape designs for the bl,.. i! m I' I iiM 1.i III. iil
Japanese Gardens in Delra-, i; I
The appointment of Jason Sbliie I i., I,'iii.! ii.
position of Cofrin Curator .,I .\ l .I ,, Wi iii, I ', 2
as reported in the January/i J'1! i. i!ie, i ii'i ... ,
was timely. He is working c .I... tl, ii !i II di ,i!,li h.I,
landscape architects and ol!i! i. iiil ~. ..I IhI p!..e
team to plan a stunning nei" pI' 'I. i, .i ..' ,e I. it.
Ham's growing collection (,!l I ..i l i i i ii,'
Korea, Tibet and South and 'l.illn I .\A,
Please look for regular pro _. i. I L p..i i ... I I !i .... iii ,i
project in upcoming issues .'I ,I ..'i
Rebecca Martin Nagy, Ph.I
above right:Tibetan, Vajravarahi(sculptu~, li l ,,=tuL, L, L;,= .. il,. ,,j=.i;-, =
and polychrome, museum purchase, gift of Michael and Donna Singer
1.,-ir nI atin .abuit -iinhership 1 .mI l. LIt
hIe,,L L I tI Tr.iiv ['lill at 35 ;' 2 1 l ) 1 ,,P.I t aI
lpflf.i ,.h. atn.tutl.L->lt
March 26, 5- 7 p.m. ln.
Sur. 1,r, ,I .\1.I i .I\rL j i iI
MCIcu'r k willI %p,ik itab th- 1 11 r1,
tdlarn, A i,i l .-I ,ll,-i. L a d 1Mi;
plaui l .r lth' .\, l i Ln a duildhi in. I
'I., L ,1 .11 ,i'I IiL's iii /t
Pr'..I I .idn l I ri tl d Il ..JIa\
Anl d 11 .in I .I_ t I ,.11. tI.I lV I IIrr
\\.'dnI,.d vs A \lftcr \\',,rk
. dln ssl i, i 1_ti, I' I l.l 3 1
Bliu inl,5 .1d i r,,lt%.i nal Irit ndf ,
in r.ib s. I i. I, LT I npl, I..l
anrd 15 fir pr,-, Li.i.,. miri'mb u .i i
I hI l l.rn ti s,-ettm i L lIL ,.VLttLd la n.\' .n nnu.al
ftiiLirr.i sin L pI tgram Mtn mbet r n I h ll I \ LI tt ld
1.xhibilhiii ( ir lie 11, nvitin 11 ul 1 't I iniL .r
Dinnl l .." .tl Ih ll h",i mlil tl lu lTn itu-s, llli. ,nlh mi ,. 'I hl
LV\ 1niy11 s will ivIturt .1 urat. a.rlisl 1 spt I l LtitI,
I,, en liV .fd n l.. liragi. ct ilnv'ers.il ii fln .ih. I l art.
I I fl u'l g ninu,,ts tI 'nlt hit'Its iand li istlt.ss, arc planning
d >l'lItJblli dinniii rs LI further wli.L \,,ur IappU t t.'.
IlnvI l h in. wiLl 1 a i u, 1 .1f irtf-l ,pi)n- '11., % .'lnt
L,, iiiinlmb,.r in I .bruarv. W\' 11,,p \,uLI ( ,intI 1,,r
I iii r. .' .
(lu neighb''1i, 'I ht: A\ppl.[t-11n Ml'x, uin f Ar.\ i-, i', i ling
Sarn ineinmb.r', t.' p t.u ii. ipt in th ir Lip. ,ininig it ip,
.- Atlanta ti '. iv]it trh I Highl-i M iiIm ',f Art. ...ll. .i
*'.irdens .Jld J i iL,\ a nr i'aj i dws' ,l-ni, l.ir.h 2? 2'8 and
April 1 liti rnre int,-rinati'-in L.Intl.i>t NULv I'tiiclI .1
.it 3:'2.20 1 I-15,n r priiin cau.i.I.l..edu.
By Susan Cooksey
Harn Museum Curator of African Art
Yoruba people, Nigeria, Cloth with Olokun, Goddess of the Sea Motif, c. 1973
Imported cotton cloth, indigo dyewith starch resist, 6 ft. 4 1/2 in. x 5 ft. 10 1/2 in.
(194.3 x 179.1 cm), gift of Robin Poynor, 2007.30.1
A recently donated indigo-dyed textile from Oshogbo,
Nigeria, is named after Olokun, a sea goddess venerated
by the Yoruba people. Olokun has the power to bring
wealth, and the cloth bearing her name is one of the
most popular patterns among adire eleko, or painted
starch-resist indigo dyed textiles. The intricate patterns
of adire eleko are made by hand-painting cassava starch
on cotton cloth. The light blue of the starched areas that
have resisted the dye are contrasted by the dark blue of
the exposed areas. The contrast is intensified as the dyer
dips the cloth in the dyebath several times to achieve a
metallic sheen, which lends the cloth both beauty and
The Olokun pattern is perhaps the richest and most
intricate of the many adire eleko designs. Women textile
artists who produce adire eleko carefully preserve
traditional patterns, but also strive to invent exciting new
designs. No two adire eleko cloths are the same, as they
include endless compositional variations of old and new
motifs. Olokun cloth has a conventional composition
of two panels, divided into a set number of squares
and rectangles. The panels are painted with identical
patterns, then sewn together to create a vibrant interplay
of symmetrical and asymmetrical elements. Signature
motifs of the Olokun cloths are the floral design situated
in the center, known as "leaves" or "stool" and those with
birds, turtles, fish and other fauna and flora associated
with the aquatic realm of Olokun. These organic images
are juxtaposed with purely geometric shapes, rendered
with equally delicate lines. As an example of one of its
22 distinct motifs, this Olokun cloth has a beautifully
designed image of a swimming turtle, its movement
in the water shown by numerous concentric ripples
First introduced in early 20th century, adire eleko
production has dropped off since the 1970s due to the
labor-intensity of the hand-painting technique and the
decline in the use of indigo dye. This Olokun cloth, with
its skillfully rendered lines and delightful imagery, is a
fine example of an increasingly rare art form.
University of Florida's Photographic Legacy
Highlights from the Photography Collection
March 18- August 17, 2008
'1 li Unil-cr'il lIf luridii hid s Ken .n itnp.irlilnt
cnnt.r 1fI i el.itive phiit, .graph ,i ince ithl 1 Ji;(', lan
especially nLutd i ,r lthe experin'lntal a1 n1d inuviti'Vli.
whul I. N1 it, I ult I\i and ltu ents. I'lis ,.xl' bit IlIIn l,
tnirf; l.hiii 35 w _il- k% Ie tLII es Ithi C1llieL tit.n' ti, ,.n L'
hl lding uAl ',ini kev artiists, .id lIrnmer LTF fIacult.1
including lerrv Uli.TlsmA.nn1 ( lo- 19"Cl, 1, rid \VAlk.i
I 19-(I -19Y and l,',i StrcLLnin I I l'-1-- '). In
Additi n, lll. riiceni ; |i II->i lIun d elid.Cled i i Ii.I Il,.luTre
Irnmpitan artists thike l i ] striMing tl a 1.dd t the
Li. .k ti.in It' rcpresentc and pr'csrv%' fis l .i a .
In the. I 9-ls. IUclmliiniis surr'el incontae iinmage
.frmi Lnfltiplc nc'gaLiv's mildIc LIF knrio'n as a1
pla.1 t.I cIpl I'r alelrnaltiV'c Jpproiha. hcI t,, [hi' r I ,f
1ph1utui.iplhv. \uilkI1 's Addlitin lu II la3CLIIl ill lh.
19(-Is bruugii 1I.1Ad,.i sIp in ,,isel phiulu lilh Igr.3p
inid aLlli n.li'tiv pit tic, expc.rinentaltii ,.n. "Studenlts
'lkm -l tI'- thruIir h lhi endi ulf thi centenli\ v wver,
inspirCd b, SireeliLnans tuniiing multi-lltedlIA w ,rlks
thal seuinlesoI niergCd pAininig llnd dii vIiny intu
phulu,.g ,iplik illusains.
An A. Li:v' dialoguIL'e bh't\'cin Lhi phitl. raph'' .and
print-making 1l. tilt'. furth' r ,iinplkmii ntcd L this
p'xplimilcIntdil .ppr,,jih. is dm.n'ii ttia'd in print' li
Ken Kcr.lakc holi ',f cen inmLIrporatLcd plihot,,graphi,
iimaic and prIn.d''iCs irnL. Ins lithIogapI, ajnd inagli,
1 hI: eyliibitlun Alst' u1lud",S numner.pus 'ltiLdilnlt whLI
lhaive hiadi di.isitingui'sh'd ci e CIi S' A .11 aists .nd II.ctIlih
iiicluding \\llLIiam I.. Park, R,,b, I idihlter. I,.a
Nellie,, I,.hn (raig. D)ennis ( arplnter. Nlaggic fa',,r
and Itli his. The ',ngting strength utf LI 's phl-tui,.i aphv
pr.igrrnam is Ifurlhi.r ielle. tld b. .a selectliin .I \,,rk b.
uime recent and CLII rent facuttltv inctitding Sbrgi,, \.a
and Max [let her and XAnidreal Rubbins.
Lc1.-l ",Jd W al; r Ll,,lfsd I'':; Inllo r[ph GirT ct 5 urhrr, GI h. s l h1rT *. irr -?d
THE CAMPAIGN FOR THE UNIVERSITY OF FLORIDA
Florida Tomorrow campaign goals for the Harn are:
support for museum professionals; support for art
acquisitions and collections care; support for exhibitions,
publications and programs; and support for museum
grounds and facilities. In this issue of InForm I want to
focus your attention on the second goal: support for art
acquisitions and collections care.
The Harn Museum of Art has grown its acquisitions
endowments to $7.5 million. That total endowment
generates $300K annually for curators to purchase
works of art for the Harn. Individual endowments
comprising this total are dedicated to unrestricted
collections support as well as funds for the purchase of
photography and Asian art. One endowment is pledged
for the purchase of American art and will increase
the endowment to just under $8 million, to yield
approximately $320,000 annually. Increasing endowment
funds for art acquisitions insures excellence and depth of
Non-endowed funds are also important during the
Florida Tomorrow campaign. Each of the Ham's five
curators has developed collection plans. These collection
plans facilitate strategic acquisitions and serve as a
catalyst for creative engagement with faculty, students
and the growing Harn Museum of Art audience.
Outright gifts of works of art are another important
accomplishment of a successful Florida Tomorrow
campaign for the Harn. Individual works and entire
collections given or promised as gifts during the
campaign will signal the importance of this institution
through its association with important collectors. Gifts
of works of art are essential in today's brisk art market
and represent numerous beneficial tax incentives for
Finally, planning for the perpetual care of the collections
is the museum's obligation in its capacity as steward
of artwork for public benefit. Currently, there is
one endowment for conservation of the museum's
collections. More funds are necessary to keep pace with
the inevitable needs for collections care.
If you have questions about how you can participate
in the Ham's Florida Tomorrow campaign or want to
know more about how to support art acquisitions and
collections care, please contact me.
Director of Development
SI [' Ii I11 L,- II t .11 l r4l
'hl .iill. .n h l ll l ri i
In t1rt ,-III lr. .\li S
An I' l,;l', Td 11 ,I,, ry ^B s1
(..Ill i 'lt11tz. I I l l
23$-p.LagL p.pt rb.i -k I.
1..,k intlMiudes ,in
aL ti tm D I nt .i 1 11-111
Ift l l' h .rp .an
aIrti, M.ntr s li\ l1arn
( Irit.l .I MN' Lii n
A.rt Ilul Hi. niin mn l i.r in urit..r 'It 'ntI.ipU' ary
Art K.irrv l )lii.r-,nlth.
I'urilhaiJ'. ,1 tuni,. nal pIuLL. '.f -art ivli,' rc v,'ur L.,nputl.r
I .iusi. aLn pII ,IL \ .rk ,'r in V. ur h.'in ,lli.c.
I hc li u',c rui b l.].i inspire ii 1i the hi ligIltcdi
A. t I q itll,,in in iR,, I, ,U i 1f liil ,i. i .
\\'L h.p1 \',u ni'..d hP. p.\IM Iv. .nV the dit. I fr niir
niXt pAR I'. Xt. I0.
.16- 'l l l'l'-; J1i ~ i- i. t* I__ r- l Th I ,- .i-Hll r Fi i '-I1 'j l
MUSEUM OF ART C Non-profit Organization
2l US Postage
SmPerm it N o. 94
University of Florida
Ham Museum of Art
P.O. Box 112700
Il1nscrcf in p art b. rhe Srar-
f Floi a id E parrurn-ir ri ar
Dil- l.:.n c lf ultul L i ll" rt ihe
Flrid.a n'rt C. unill ir.'J rhl
rji:. i1 Enr,d -r'einl ron i-he Lri;
The Samuel P Harn Museium orAn
promotes the power ot t he arts to
inspire and educate people and enrich
their lives To this purpose the mruseurn
bLhilds and rnalntairis e.emrnplaly art
collections and produces a wide variety
ot challerrjigirl InnonJati e exhibitions
and stimulating educational prograrns
As an integral part of the University of
Florida, the nuseurn advances teaching
and research and ser ves 3s a catalyst
for creative enciagement between
the university and diverse local, state,
national arid irnte national audiences
S UNIVERSITY Of