Posts filed under 'Exhibits and Displays Archives'
Artist and cartoonist Sam Milai’s work is featured in the Libraries’ newest digital exhibit.
Sam Milai ( March 23, 1908-April 30, 1970) was an artist and cartoonist for the Pittsburgh Courier for 33 years. He won the National Newspaper Publisher’s Association Russwurm trophy for the best cartoon eight times during his career. In addition to his editorial cartoons, Milai created a cartoon series titled Facts about the Negro that celebrated the accomplishments of people of color.
The cartoons in this exhibition were found by his granddaughter stored in a suitcase in her mother’s attic. All of the works in this exhibition are from the Sam Milai Collection of The Ohio State University Cartoon Library and Museum. The physical exhibit was on display at The Ohio State University Cartoon Library and Museum’s Reading Room Gallery from September 22-December 31, 2008.
May 27th, 2009
Light: A Forgotten 19th Century Humor Magazine
Through May 31
Cartoon Library and Museum’s Reading Room Gallery
Light was by far the most important of lithographic comic weekly to be published outside of New York or San Francisco during the last quarter of the nineteenth century. It provided the first or early employment to a host of talented cartoonists, illustrators, and at least one writer who would later go on to successful careers. Those who contributed to Light included Will H. Bradley, W. W. Denslow, Frank Ladendorf, Ferand Lungren, Hy Mayer, Peter Newell, T. E. Powers, C. S. Rigby, and Horace Taylor. It also published the works of prominent New York cartoonists, such as Eugene Zimmerman and F. M. Howarth.
During its bumpy two-and-a-half year existence, the magazine’s one constant was change: it changed its name, its place of publication, its size and appearance, and its owners, editors, and chief cartoonists. It began in Columbus in March 1889 as The Owl. It changed its name to Light in June and suspended publication in September. It was revived in Chicago in February of 1890, went full-color in May, increased its page size in September, and published its final issue in June 1891.
Why Light is unknown today is due to its rarity. Until recently, the Library of Congress held the only set and it is incomplete. For more than a century, the objects in this exhibition languished in the basement of the Chicago-area home owned by Philo C. Darrow, the magazine’s art director and editor. The current owners of the home decided to sell the archive in early 2008 and the library acquired it shortly thereafter. While some of the objects may be a bit worse for wear, the quality of both the original cartoons and the magazine itself is without question.
The exhibition Light: A Forgotten 19th Century Humor Magazine is co-curated by West and Lucy Shelton Caswell, Professor and Curator of the Cartoon Library & Museum.
April 1st, 2009
The Sewer’s Art: Quality, Fashion and Economy
Through June 27
Gladys Keller Snowden Gallery
The Geraldine Schottenstein Wing, Campbell Hall
1787 Neil Ave.
See the story on the exhibit in Columbus Alive.
Home sewn clothing is rarely, if ever, exhibited in a museum. It is not considered ‘Art’ in the academic sense. Art museums primarily showcase the work of ‘professional’ artists, and the clothing most often exhibited in art museums is of the ‘fashion designer’ variety.
Museums mostly ignore clothing that was sewn at home. It does not have the value given to ‘high’ art (painting and sculpture) that some designer fashions also have. In fact it is mostly anonymous, created by women who are or were, predominantly homemakers, who created their or their children’s clothing mostly out of economic necessity, but often also out of a desire to express themselves creatively.
“Home-sewn” and “home-made” have become pejorative terms, generally associated with crafts of low quality. This does a great disservice, to those with high levels of skill and creative ability who produce beautiful clothing at home that rivals that produced professionally by fashion designers. The garments produced by the home sewers featured in this exhibition combine the same elements implemented by the fashion designer: fashionable style with quality materials plus creative inspiration. In spite of a frequent need to economize, home sewers often do more than merely copy a picture on a pattern. They exercise their creativity by choosing fabrics and trims and by combining or altering paper patterns to achieve the desired look. This creativity is The Sewer’s Art.
The inspiration for this exhibition began with a visit from Susan Beall in 1997-98. At that time, she informed me that she had sewn most of her clothing throughout her lifetime, beginning before her graduation from OSU’s School of Home Economics in 1949. Susan also informed me that she had kept a record of her sewing projects, including her inspirations, which patterns she used, swatches of the fabric she used and how much it cost, and subsequent alterations to the clothing. When she told me this, I immediately thought of Barbara Johnson’s Album of Styles and Fabrics.
Barbara Johnson was an 18th century lady who kept a record of fabrics used to make her clothing and how much the fabric cost, as well as contemporary illustrations of fashionable dress. Barbara Johnson’s album spans the years 1746-1823 and is in the collections of the Victoria and Albert Museum in London, but is too fragile for handling. A facsimile of the album was published in 1987, retailing for $100. I mentioned Barbara’s album to Susan Beall, and remarked that her records were a 20th century version of the Barbara Johnson book, with one difference. Susan made her own wardrobe, whereas Barbara depended on dressmakers for hers.
Susan took that comment to heart, and proceeded to further organize and document her materials. She presented an installment collection of her exquisitely sewn wardrobe with her own album and swatches in 1999, followed by more garments in 2003. From our first encounter I thought, here is an exhibition idea. Both the Barbara Johnson book and Susan Beall’s album are featured in the exhibition, Susan’s album as a Powerpoint presentation.
Since 1999, the Historic Costume & Textiles Collection received additional donations of garments that were sewn by their wearers, but none that rival the quality of workmanship and style paired with an interesting life story such as the selections chosen for this exhibition. In addition to Susan Beall’s impressive collection are garments made and worn by Dr. Ruth Ella Moore, Mary Heck, and Dr. Joyce Smith.
Ruth Moore received her BS in Chemistry from OSU in 1925, and followed that up with an MS in bacteriology in 1927. After three years teaching at Tennessee State College, she returned to OSU and pursued her Ph.D. in Bacteriology which she received in 1933—the first African American woman to do so. She had an illustrious career in higher education, teaching and serving as Chair of the Department of Bacteriology at Howard University from 1948-58. Given all that responsibility, she somehow found the time to make many of her own clothes—from quality fabrics, with quality construction, and without any formal training.
Sewing garments in the home has a long history–one based in the necessity to clothe the members of the family and provide the household linens. Before the industrial revolution, the invention of the sewing machine, and mass produced clothing, women were responsible for making their own clothes, including underclothing and night clothing, as well as all of the children’s clothing, and shirts, underwear and nightwear for the men of the household. The task of providing clothing for the family, as well as making the necessary household textiles such as towels, pillowcases and sheets, was a never-ending task. Even with the arrival of the sewing machine, the work did not necessarily decrease; the sewing machine saved time and money but not labor.
Many women worked as seamstresses or dressmakers in the 19th century, either at a place of employment, or as was often the case, piecework was done in the home to provide extra income. Columbus even had a dressmaking school located downtown on High Street in the 1890s. Women who married brought these skills into their households. Mary Heck, another featured artist in our exhibition, was such a person. She worked in a tailor’s shop before marriage, but afterwards, made her and her daughter Grace’s clothing. Two of Mary’s dresses and two dresses she made for Grace dating from 1895-1911 are featured in the exhibition, along with Mary’s treadle sewing machine. One of Mary’s dresses is referred to as an ‘artistic’ dress.
Sewing was very much a part of a woman’s education during the 19th century, and land-grant colleges created toward the end of that century continued this tradition by offering courses (for women) in the “domestic sciences,” including sewing. In 1914, the Smith Lever Act established the Cooperative Extension Service to spread knowledge from the land grant colleges to the citizens of the states via educational programs developed by extension agents. Sewing education is represented in the exhibition via ‘how-to’ manuals, including several written by Mary Brooks Picken for the Women’s Institute of Domestic Arts & Sciences series, a child’s toy Singer sewing machine, and two 4H projects created by Christine Kibler Dambach in 1926 and 1932.
Also featured in the exhibition is the wardrobe of Dr. Joyce Smith, professor emeritus in the College of Education and Human Ecology. As a State Extension Specialist for Clothing, Joyce authored a number of training manuals and teaching aids, and traveled to County Extension Offices, 4-H Clubs, high schools, colleges and universities educating girls and women in clothing selection and construction and introducing them to personal style and couture fashion. She constructed her own wardrobe specifically to demonstrate techniques of clothing, design, fit and construction.
For information on gallery hours and parking, call 292-3090 or see costume.osu.edu.
March 12th, 2009
Design for Performance
February 17-March 13, 2009
OSU Urban Arts Space,
50 W. Town Street in the Historic Lazarus Building.
Hours: Tuesday-Saturday 11 a.m.-6 p.m., open on Thursday until 8 p.m., admission free
Drawn from the extensive collections at the Lawrence and Lee Theatre Research Institute, Design for Performance brings the magic of design and technical theatre to the OSU Urban Arts Space. Spanning the late 1800s into the 21st century, the artwork in the exhibition includes professional theatre design for drama and comedy, musical theatre, opera, dance, and outdoor spectacle – all for live performance and entertainment. One of the most exciting aspects of Design for Performance is the collaboration of Theatre MFA Design Students from the Advanced Scenic Design class with Department of Theatre faculty co-curators to design an interactive exhibit space that highlights the exciting and diverse contents.
Design for Performance’s vast range of work includes renderings by the Columbus-based Armbruster Scenic Studio (1875-1958) which served Shakespeare and minstrel companies traveling throughout the Midwest, projections from hand-painted pose plastique glass slides (ca. 1900), Jo Mielziner’s designs for the convocation of nations establishing the United Nations (1945), Raoul Pène Du Bois’ Tony Award-winning set designs for the 1953 Wonderful Town, and Terry Parson’s gorgeous beaded gown and feather coat for Marlene (1999). Visitors also will see three-dimensional models by Broadway designer Tony Straiges, horse’s head masks for the 1974 Broadway production of Equus and designs for productions by companies across the U.S., on Broadway, by the Metropolitan Opera, the New York City Opera, and dance and ballet companies. The Lawrence and Lee Institute is rich in international design and technical theatre such as the Daphne Dare collection documenting her work in England and at the Stratford Festival of Canada; outstanding holdings in Czech theatre; and significant works by Russian designers.
For UAS questions, call (614) 292-8861. For exhibition questions, call Nena Couch, (614) 292-6614.
February 17th, 2009
Ronald Searle: Satirist
An exhibition at the Cartoon Research Library’s Reading Room Gallery
27 West 17th Ave.
January 15 – March 31, 2009
Ronald Searle: Satirist showcases examples of this great British cartoonist’s work at the height of his career as a graphic reporter during the 1950s and 1960s. Born March 3, 1920, to a working class family in Cambridge, Searle quit art school to join the Territorial Army as an Architectural Draughtsman in 1939. He was shipped to Singapore in October 1941, was captured by the Japanese a month after his arrival, He spent the remainder of World War II in a prisoner of war camp. Searle began cartooning for Punch in 1946 and was so successful there that he became a member of Mr. Punch’s Table, a very high honor, only a decade later. During this time, Searle also worked frequently for American magazines such as Holiday and Life. In 1960 he was the first non-American artist to receive the National Cartoonists Society’s Reuben Award, its highest honor.
In the early 1960s Searle moved to France and began cartooning less and painting more. He created several limited edition prints over the last 40 years. Searle collaborated on numerous book projects, as documented by the 84 titles associated with him that are held in this library.
The Cartoon Library and Museum was fortunate to purchase a collection of almost 50 pieces by Searle in 1995. Most of works in this exhibition are selected from this purchase.
About the Cartoon Research Library: The Cartoon Research Library’s primary mission is to develop a comprehensive research collection of materials documenting American printed cartoon art (editorial cartoons, comic strips, comic books, graphic novels, sports cartoons, and magazine cartoons) and to provide access to these collections. The library is open Monday-Friday 9 a.m. to 5 p.m. See http://cartoons.osu.edu/ for further information.
January 13th, 2009
Sam Milai of the Pittsburgh Courier
Cartoon Research Library Reading Room Gallery
September 22-December 31
Sam Milai (March 23, 1908-April 30, 1970) was an artist and cartoonist for the Pittsburgh Courier, an influential African American newspaper, for thirty-three years. He was a centrist who disdained all forms of extremism. Unfortunately, much of Milai’s original work was destroyed in a fire. The cartoons in this exhibition were found by his granddaughter in a suitcase in her mother’s attic and donated to the Cartoon Research Library. The Sam Milai collection also includes correspondence, clippings and photographs related to Milai.
“Sam Milai of the Pittsburgh Courier” documents Milai’s mature work during the last seven years of his life. Reading these cartoons from the perspective of almost four decades later, we sense both the hopes and the frustrations that the African American community experienced during the 1960s.
Milai was loyal to Lyndon Johnson, and some of his pro-Johnson cartoons are housed in the Lyndon B. Johnson Presidential Library. He won the National Newspaper Publisher’s Association Russwurm trophy for the best cartoon eight times during his career. In addition to his editorial cartoons, Milai created a series titled Facts about the Negro that celebrated the accomplishments of people of color. During the late 1930s, he also contributed a comic strip to the newspaper. He taught part time at Pittsburgh’s Ivey School of Professional Art from 1964-1967 and was teaching full-time at the Pittsburgh Art Institute at the time of his death.
September 19th, 2008
Kleibacker: New York Designer to Ohio Curator
Through July 6
Riffe Gallery, 77 S. High St.
Produced by the Ohio Arts Council in partnership with the Columbus Museum of Art; Gayle Strege, the Historic Costumes and Textiles Collection, Geraldine Schottenstein Wing at The Ohio State University; and Cordelia Robinson.
Kleibacker: New York Designer to Ohio Curator will include designs and memorabilia from Kleibacker’s more than 20 years as a designer in New York, as well as a comprehensive overview of the 11 fashion-focused exhibitions he curated. In addition to original garments, fashion illustration and photography this exhibition features photo documentation of scenes from the original installations of Kleibacker’s exhibitions.
A retrospective of curatorial and design work by nationally recognized fashion icon Charles Kleibacker, this exhibition brings together original garments, photography, illustration and memorabilia to examine Kleibacker’s long career and his contribution to the worlds of clothing design and fine art.
Before there was Project Runway, Kleibacker was taking Ohioans behind the scenes for an up-close look at the intricate world of fashion design. Over the course of two decades, he produced 11 exhibitions that informed audiences about the expert craftsmanship that goes into engineering fine clothes. He also brought attention to the many ways in which other art forms-illustration, photography and film-are used to bring clothing design into the public consciousness.
Born in Cullman, Alabama, Kleibacker earned a degree in journalism and worked as a newspaper reporter before pursuing graduate studies in retailing at New York University. A job as an assistant to the entertainer Hildegarde took him to Paris for six months in the late 1940s and introduced him to the world of couture. Determined to become a designer himself, he employed an atelier head to teach him the basics of understanding fabrics, draping and design. By 1960, he opened his KLEIBACKER studio in New York City. In 1963, he moved from a one room studio into a seven-room suite on West 73rd Street, which the KLEIBACKER label occupied until 1983.
Kleibacker first came to Columbus in 1984 as a visiting professor in the Department of Textiles and Clothing at The Ohio State University, where a year later he became designer-in-residence. Kleibacker remained at Ohio State until 1995, where his primary responsibility was to build a collection of historical clothing for the university.
As the collection grew, Kleibacker sought opportunities to raise the collection’s profile in the Columbus community and soon discovered that the best way to do this was to create exhibitions. He became a curator, developing exhibition projects both on the Ohio State campus and at other Ohio institutions to showcase the collection’s resources along with works from private and public lenders.
The Ohio Arts Council’s Riffe Gallery is located in the Vern Riffe, Center for Government and the Arts, 77 S. High St., Columbus, OH. Admission is free. Gallery hours are Tuesday, 10 a.m.-4 p.m., Wednesday, Thursday and Friday, 10 a.m.-8 p.m., Saturday 12-8 p.m. and Sunday 12-4 p.m. The gallery is closed on Monday and state holidays.
Visit http://www.oac.state.oh.us/riffe/exhibitions/2008/CK/Kleibacker.asp or phone 614/644-9624 for more information.
Free group tours are available Wednesday through Friday throughout the run of each exhibition. To schedule a group tour contact Riffe Gallery Director Mary Gray at mary.gray@oac.state.oh.us or 614/728-2239.
June 17th, 2008
Special Collectors: Featured Benefactors to Multiple Special Collections,
Gladys Keller Snowden Galleries, Geraldine Schottenstein Wing,
Campbell Hall, 1787 Neil Ave.,
Through August 30;
Tuesday through Thursday, 11 a.m. to 4 p.m. (new hours)
This exhibition celebrates the generosity and wide-ranging interests of collectors. The motivation to collect the objects in this exhibition varies as widely as the collectors who are represented. What unifies them is that more than one of the special collections at University Libraries was enriched by their impulse to collect. Some of the collections are the result of business activity. Others grew from the passion to save what otherwise might be lost. Still others reflect scholarly interest to learn more about each object as it was acquired. Whatever the original impetus, the resulting collections are wonderfully varied and this exhibition celebrates this variety in its many forms.
From buttons and film posters to toys and designer gowns, this exhibit highlights gifts-in-kind from the following collectors:
Bill Blackbeard
Bill Blackbeard established the San Francisco Academy of Comic Art in the late 1960s to preserve America’s newspaper comics that were being discarded due to microfilming. He later expanded his collecting mission to include all of narrative. When University Libraries acquired his collection in 1998, both the Cartoon Research Library and Rare Books and Manuscripts benefited from his effort.
John Burnham
John Burnham, PhD, specializes in the history of medicine and American social history and his particular interest is the history of psychiatry. Burnham is a Research Professor in the OSU Department of History, and is Professor of Psychiatry (by courtesy) in the OSU Department of Psychiatry. Burnham is also a Scholar-in-Residence at the OSU Medical Heritage Center.
Burnham and his wife, Marjorie, began salvaging books on the topic of sex education for the purposes of his graduate and postdoctoral research. He discovered the most of these materials were often missing and unavailable for research, even in the largest libraries. Burnham has donated an extensive amount of material that he has collected over the years to both Rare Books and Manuscript Library and also to the Medical Heritage Center.
Marochka (Maggie) and Charles Chatfield-Taylor
Marochka (“Maggie”) Chatfield-Taylor, born in St. Petersburg, Russia July 24, 1906, was the daughter of the well-known Russian theatre and opera designer Boris Anisfeld (1879-1873) who emigrated to the United States during the Russian revolution. Anisfeld designed for the Metropolitan Opera from 1918-1927, and then became professor of advanced painting at the Chicago Art Institute where Marochka attended school. She was an artist herself and painted murals for cafes and bars and designed high-fashion clothing. She married Otis Chatfield-Taylor in 1936. He was from a socially prominent Chicago family, and earned his living as a journalist, playwright and Broadway producer. After his death in 1948, she created her own gowns under the Maggie Taylor label, which ceased in 1954 when she moved to Washington, D.C. As Marochka Anisfeld, she had a brief career on Broadway, appearing in Eugene O’Neill’s Marco Millions (1928). Marochka donated clothing and accessories to the Historic Costume & Textiles Collection, including one of her “Maggie Taylor” designs. She and her son Charles donated oil paintings and costume sketches by Boris Anisfeld to The Jerome Lawrence and Robert E. Lee Theatre Research Institute
Ivan Gilbert
Ivan Gilbert, Columbus native, medical doctor, entrepreneur and 2007 inductee in the Ohio State Athletics Hall of Fame for fencing, has been a collector his entire life. A collector of art and artifacts, Dr. Gilbert’s greatest collecting area has been books, manuscripts and ephemera. His extensive trade catalog collection was added to Rare Books and Manuscripts in 2005. Gilbert has also donated books and materials related to his interest in local and medical history to the Medical Heritage Center.
Toni Mendez
Toni Mendez (1908-2003) was a former Rockette and choreographer who established her own licensing business in the late 1940s. She subsequently marketed products using many cartoon characters, including Bernard Kliban’s cat. In her personal life, she favored designer gowns and suits from the House of Patou. Mendez gave her papers to the Cartoon Research Library and her designer clothing to the Historic Costume and Textiles Collection.
Tom Minnick
Tom Minnick started collecting anything related to or by William Blake, and that led him to collecting prints which led to collecting paintings. Because Blake knew Wedgwood, Minnick started collecting eighteenth-century ceramics, then native American ceramics, and then folk art. The Jerome Lawrence and Robert E. Lee Theatre Research Institute, Rare Books and Manuscripts, and the Cartoon Research Library have benefited from Minnick’s wide-ranging collecting interests.
Ann and Emanuel Rudolph
Ann and Emanuel Rudolph enjoyed a living aesthetic of the Arts and Crafts movement: their house was an Arts and Crafts house; their furniture was Arts and Crafts furniture; they collected Roycrofter’s books. Ann Rudolph’s extensive button collection and their combined 53,000 plus library was bequeathed to the Ohio State University Libraries. In particular, Emanuel Rudolph’s Children’s Science Collection is a world class collection of over 8,000 items.
Philip Sills
Philip Sills (1920-1988) was a partner in the brokerage firm of Sills, Zoppa and Associates which had real estate holdings throughout the United States. He also owned Mediterranean Shipping, company, a freight line based in Switzerland. From 1947 to 1977 he operated a highly respected apparel company that featured the leathers he also imported. In 1953 Bonnie Cashin became the designer for Sills and Company. The garments created during this partnership are remarkable for their combinations of textures of mohairs, leathers, tweeds, knits, suedes, canvas and fur. Bonnie Cashin was inspired by clothing shapes from around the globe including those of ponchos and kimono; her Noh coat was a standard design. Cashin also incorporated innovative hardware closures in her garments and in the bags she designed for Coach, an accessories company she helped launch in 1962. He was a founder of the Fashion Institute of Technology (N.Y.), the Albert Einstein Medical College and an organizer of the First Women’s Bank of New York Sills donated to both the Cartoon Research Library and the Historic Costume and Textiles Collection.
Sylvia Westerman
Sylvia Westerman (1933-1995) was one of the first women to reach senior management levels in network television news, serving as vice president of three major national news organizations. As producer of The Watergate Tapes for CBS News, she received the Emmy Award in 1974. Westerman was a passionate lover of the arts whose knowledge of ballet and theatre design rivaled that of many experts. She was a knowledgeable collector of theatre design art, focusing especially on Russian and ballet designs, and she left her outstanding collection to the Jerome Lawrence and Robert E. Lee Theatre Research Institute. Sylvia Westerman was also very interested in bringing together collectors and OSU collections. She was responsible for introducing to the Lawrence and Lee Institute collector Paul Stiga who has continued her legacy of theatre design donation, as well as the family of director/producer Robert Breen who donated his papers documenting the major 1950s production of Porgy and Bess which toured the United States, Europe, Central and South America, the Middle East, and the Soviet Union. Westerman was also responsible for building the relationship between Marochka Chatfield-Taylor and the Jerome Lawrence and Robert E. Lee Theatre Research Institute Library at OSU, the results of which are seen in this exhibition.
Westerman’s father, Harry Westerman, was the cartoonist for the Columbus Journal. She contributed a large collection of his original work to the Cartoon Research Library.
Ed Hoffman, owner of Hoffman’s Bookshop and a member of the Antiquarian Booksellers Association of America, will speak on June 25, 2008, at 6 p.m. in room 252 Campbell Hall. His lecture will be preceded by refreshments at 5:30 p.m. in the Columbia Gas Lounge on the second floor of Campbell Hall. Please RSVP to 614-247-6509 if you wish to attend this public event.
May 30th, 2008
Jeff Smith: Before Bone,
Through September 5,
Cartoon Research Library Reading Room Gallery,
27 West 17th Ave. Mall,
Monday-Friday: 9 a.m. to 5 p.m.
To celebrate the opening of this exhibit and its companion exhibition Jeff Smith: Bone and Beyond at the Wexner Center for the Arts, the Cartoon Research Library will be open Saturday, May 10, from 1-5 p.m. This is the only Saturday the exhibit will be open.
Jeff Smith brought a much more polished feature to the campus newspaper than most student cartoonists. From its inception, Thorn, the title of Smith’s Lantern strip which was named after its female protagonist, exhibited an unusual level of sophistication. The strip demonstrated very capable manipulation of layout and design coupled with time-honored comic strip narrative techniques. It is interesting to note that by his early twenties, Smith clearly grasped the power of epic narrative, even though the storyline of Thorn, while sophisticated and entertaining, was not linear.
The vantage point of a quarter century and the phenomenal international success of Bone make us see Jeff Smith’s college cartoons in a different perspective than we did when they first ran in The Lantern. At Ohio State University, the student newspaper describes itself as a “laboratory newspaper,” and it served that purpose very successfully for Smith. He used Thorn both to hone his artistic skills and to experiment with several types of storytelling. From a sketchbook page to finished comic strips, this exhibition celebrates the education of a young man.
A signed and numbered catalogue limited to 500 copies is available. It reprints all of the Thorn comic strips in this exhibit and has an introduction by Jeff Smith, a foreword by his colleague Jim Kammerud and an essay by Lucy Shelton Caswell. The volume is available from the library for $25 per copy. All proceeds from the sale of this catalogue will benefit the Cartoon Research Library.
May 5th, 2008
The David Abbey Paige Pastel Drawings
OSU Faculty Club
Through April 25, 2008
181 S. Oval Dr.
Pastel drawings from the collections of the Byrd Polar Research Center Archival Program.
February 26th, 2008
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