And perhaps this is why we began a series of articles in the IMA’s magazine on the provenance of important works in the Museum’s collection, written by Annette Schlagenhauff. As the IMA’s Associate Curator for Research, Annette has spent years tracing the paths of works of art from the artists’ hands to the walls of the IMA. The stories are fascinating and not without moral ambiguities and missing pieces.

Landscape at Saint-Rémy (Enclosed Field with Peasant)

The fall issue of the magazine features the IMA’s Landscape at Saint-Rémy (Enclosed Field with Peasant) by Vincent van Gogh. As one of the most important and valuable works in the Museum’s collection, Annette peers beyond the paint into the 120 year life of the painting. Painted in southern France in 1889, its early history is well documented, however, during the time of Nazi regime power when many of Europe’s art collections were in jeopardy, its provenance is spotty. Did Landscape at Saint-Rémy leave Europe legitimately or was it tied up in the Nazi’s campaign of looting Jewish art collections?

[This is why the magazine should be online. I could link to the rest of the story here and you could happily finish reading. Soon enough!]

Long story short, papers found in the New York Public Library confirmed that the painting left Europe still in the family of the original owners and had been consigned to a New York-based art dealer when arriving in the United States. The IMA can breath a sigh of relief and say that the provenance of the Van Gogh is clear.

But what would have happened if the provenance was not clear? Should research suggest the name of a possible legitimate owner, the IMA is obligated to attempt to contact them to discover more. Many paintings in the IMA’s collection have gaps in their provenance in the critical years of 1933-1945. Per the American Association of Museums (AAM) and the Association of Art Museum Directors (AAMD) guidelines, the Museum posts these works on the Nazi-era Provenance Internet Portal and the IMA Web site–provenance research project. The facts unique to each painting help determine the course of action. (More here)

I think there are more than a few of us who would like Annette’s captivating, Nancy Drew-like sleuth job. No doubt it’s nerve wracking, hard work. In the winter issue of the magazine, and online, you’ll be able to join Annette in her journey to discover the past of the Dutch painting Valkhof at Nijmegen by Aelbert Cuyp. I see National Geographic documentaries in her future.

The Valkhof at Nijmegen

But you don’t have to take my word for it. Come to the IMA on October 3 or 23 to see The Rape of Europa in The Toby. This is an amazing opportunity to watch a documentary film that examines Nazi looting of the great museums and private art collections of Europe in an attempt to obliterate cultural identities. The film’s epic scope explores a descendant of painter Gustav Klmit’s flight to regain a portrait of her aunt, Louvre staff members who packed and moved 400,000 pieces of art as the Nazis advanced, and the “Monuments Men” who plumbed salt mines to recover stolen art after the war. You’ll be faced with the question: “Which is of more value: a work of art or a human life?”

Preview The Rape of Europa below and get your tickets now.

I sat down with IMA Senior Graphic Designer Matthew Taylor last week in the Design Studio to take a hard look at our current IMA membership magazine (Previews) and talk content and design. A bit of history: The magazine has been around since 1988 with its current name.  (Before that, it was called the Quarterly Magazine. A bit of an improvement?) Matt was kind enough to hang out with me for a few minutes after our redesign brainstorming session to answer some questions:

Do you have a design philosophy?
I feel like George Bush in the movie “W.”. You know, when he was asked what he would consider to be his biggest mistake…I’m kidding.  As a designer, you can’t help but put something of yourself into every project. But I think the less of yourself you put into it the better. A piece can be clean and beautiful without shouting “Matt Taylor did that.” My philosophy is stay true to the project.

How does the design department at the IMA work?
The environment of the Design Studio is truly collaborative. We have exhibition designers, graphic designers, a lighting designer and a technical designer. It’s a multifaceted team. Everyone has a specialty, but we work together on projects that aren’t necessarily in our own area of expertise. We work with every department in the Museum to make well-designed, cohesive exhibitions.

What are the challenges of designing in a museum setting?
The biggest challenge we face is over-designing. You are working with a museum brand and an exhibition brand. Everything here is an art form and design itself is art. The challenge is to find a balance in your work. Part of my job is to get people to come see an exhibition, but at the same time know when to pull back and not overshadow the art with my design.

What upcoming design project are you most excited about?
Redesigning Previews magazine, of course. I’m excited about incorporating the new IMA brand that we are rolling out now into the magazine. The old magazine doesn’t live up to our new mission of art, nature and design. I would like the new design to be true to that mission and the new brand, as well as be more engaging and exciting than it is currently.

Can you describe the new IMA brand? (above)
The new IMA brand was designed by Indiana native Abbott Miller and his team at Pentagram in New York. We discussed our needs with them and why the old brand wasn’t working. They came up with something conversational, welcoming and inclusive. Using two new typefaces, Taz and Brioni, the brand has the flexibility to say the right thing at the right time. It’s got personality. We’re doing a soft roll-out of the logo to be green, economical and smart.

What’s your favorite magazine?
I.D. (The International Design Magazine)—The design is beautiful.  Great layout, typography etc. The magazine as a whole (from design to content) is always fantastic from cover to cover.

Design Inspiration

And so the conversation continues… With a content strategy that’s mission-consistent, flexible and collaborative and two full boards of design inspiration, we will bring you a new and improved quarterly IMA magazine this winter. Your thoughts and title suggestions will be considered—please add them below!