{"id":19816,"date":"2023-04-17T14:32:55","date_gmt":"2023-04-17T18:32:55","guid":{"rendered":"https:\/\/alumni.cornell.edu\/cornellians\/?p=19816"},"modified":"2023-04-17T17:27:44","modified_gmt":"2023-04-17T21:27:44","slug":"johnson-museum-50th","status":"publish","type":"post","link":"https:\/\/alumni.cornell.edu\/cornellians\/johnson-museum-50th\/","title":{"rendered":"Works of Art, Inside and Out: The Johnson Museum at 50"},"content":{"rendered":"\n

In its half-century on the Hill, the campus landmark has become much more than a home for Cornell\u2019s art collection<\/p>\n\n\n\n

By Lindsay Lennon<\/strong><\/p>\n\n\n\n

For his Cosmos<\/em> installation at Cornell\u2019s Herbert F. Johnson Museum of Art<\/a> in 2012, artist Leo Villareal assembled nearly 12,000 LEDs in an overhead grid. Inspired by the work of late astronomer Carl Sagan, Villareal pre-programmed the lights in a swirling, constantly changing dance\u2014much like our view of the stars from one season to the next. <\/p>\n\n\n\n

A bench directly underneath the outdoor display offers an immersive experience, akin to staring at the night sky to ponder the universe. <\/p>\n\n\n\n

\n

But Cosmos<\/a> <\/em>can also be seen from well away from the museum; more than a decade after its installation, it still shines in daylight and dazzles at nightfall, in a perpetual performance. <\/p>\n\n\n\n

For Jessica Levin Martinez, Cosmos <\/em>has come to represent the institution she has led since 2019: a campus mainstay that\u2019s not only home to treasured artworks, but offers a new experience at every visit.<\/p>\n\n\n\n

\u201cThe museum is so dynamic in its rate of change, even though the building stays solid,\u201d says Martinez, the Johnson\u2019s Richard J. Schwartz Director. \u201cThere are some people who come back to see their favorite work of art over and over\u2014but en route to that, they always see something new.\u201d<\/p>\n<\/div>

\"Architect
Architect Pei in the lobby. (Cornell University<\/em>)<\/figcaption><\/figure><\/div>\n\n\n\n

Now in its 50th year, the Johnson\u2014whose striking design by renowned architect I.M. Pei has made it one of East Hill\u2019s most iconic structures\u2014boasts 40,000 works from six continents, including one of the most robust Asian and Pacific collections of any museum in the country. <\/p>\n\n\n\n

Even the most casual art lover would recognize some of the iconic names in the museum\u2019s collection. <\/p>\n\n\n\n

They include (to mention just a few): etchings by Rembrandt van Rijn; paintings by Mary Cassatt; prints by Andy Warhol; and\u2014favorites of many visitors\u2014William-Adolphe Bouguereau\u2019s charming Goose Girl<\/a><\/em> portrait and Alberto Giacometti\u2019s haunting sculpture Walking Man II<\/em><\/a>.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"Alberto
Walking Man II<\/em>, whose symbolism has a variety of interpretations. (Jason Koski \/ Cornell University)<\/em><\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

But over the decades, the Johnson <\/strong>has grown into much more than a museum for the Cornell community.<\/p>\n\n\n\n

With its ravishing fifth-floor views\u2014of campus, Ithaca, and Cayuga Lake\u2014it\u2019s both a must-see locale and an orientation point for visitors and new arrivals. <\/p>\n\n\n\n

It\u2019s a place of respite\u2014particularly in its Morgan Japanese Garden (designed by Marc Peter Keane \u201979), where seats are much coveted in the warmer months. <\/p>\n\n\n\n

\"The
The unbeatable view from the fifth floor. (Jason Koski<\/em> \/ Cornell University<\/em>)<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

And for many Big Red lovebirds, it\u2019s one of the Hill\u2019s most romantic spots: a popular site for first dates, engagement photos, and wedding receptions.<\/p>\n\n\n\n

The museum is also an academic and cultural resource, on the Hill and beyond. Each year, it hosts field trips for thousands of K\u201312 students from dozens of schools across the Southern Tier. <\/p>\n\n\n\n

And, in 2022\u201323 alone, it coordinated over 250 class visits with more than 50 academic departments from across the Hill, in topics as diverse as Greek mythology, global water sustainability, and inclusive leadership. <\/p>\n\n\n\n

\"An
Vintage vista: the construction site. (Cornell University<\/em>)<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

\u201cEducation is at the core of the Johnson,\u201d says director emeritus Frank Robinson, who led the museum from 1992\u20132011\u2014a span that covered nearly half of its first four decades. <\/p>\n\n\n\n

\u201cOne of my great mantras is: \u2018You can\u2019t leave a museum as narrow a person as you entered.\u2019 It automatically opens you up to other cultures and ways of thinking.\u201d<\/p>\n\n\n\n

<\/p>\n\n\n\n

\"Richard
Jessica Levin Martinez. (Becca Hagen Photography<\/em>)<\/figcaption><\/figure>
\n

And the Pei-designed building is an attraction in its own right. The modular, Bauhaus-inspired concrete structure is distinct in its dual embrace of the surrounding landscape and its utilitarian function as a museum.<\/p>\n\n\n\n

On opening day in May 1973, Pei\u2014who\u2019d go on to design the Louvre\u2019s glass pyramid, among other notable works\u2014admitted that the site\u2019s beautiful-but-complicated geography was a source of \u201cobsession\u201d for his team.<\/p>\n\n\n\n

\u201cBefore, when you looked north across Library Slope, all you could see was sky and trees, and you can\u2019t beat that,\u201d he said at the dedication. \u201cTo put a building there was a challenge we couldn\u2019t resist.\u201d<\/p>\n\n\n\n

<\/p>\n<\/div><\/div>\n\n\n\n

The result was a bright, boxy, multi-layered structure, much of it flooded with natural light\u2014a somewhat uncommon and unexpected feature in a fine art museum.<\/p>\n\n\n\n

\u201cIn every way, it fights against museum fatigue,\u201d observes Martinez. \u201cI think I.M. Pei was thinking about how we work, day to day\u2014how the spaces allow for, and encourage, creativity and a constant breath of fresh air. You can connect with nature, refresh your eye and your mind, and then look closer again.\u201d<\/p>\n\n\n\n

(Story continues below)<\/em><\/p>\n\n\n\n

<\/div>\n\n\n\n

Virtual Gallery Tour <\/strong><\/h2>\n\n\n\n

A small sampling of the museum\u2019s treasures<\/em><\/p>\n\n\n\n

<\/div>
<\/div><\/div>
\"Portuguese
Edward Hopper\u2019s Portuguese Church in Gloucester<\/em>. <\/figcaption><\/figure>
\"Mountain
A painted wood carving from Korea\u2019s Joseon Dynasty. <\/figcaption><\/figure>
\"Peasant
Peasant Mother and Child<\/em> by Mary Cassatt. <\/figcaption><\/figure>
\"A
A 20th-century Kwakwaka\u2019wakw mask.<\/figcaption><\/figure>
\"Blowing
A cyanotype by Clarence Hudson White.<\/figcaption><\/figure>
\"A
A Costa Rican earthenware jar circa 1200-1400. <\/figcaption><\/figure>
\"A
An American friendship quilt from 1851.<\/figcaption><\/figure>
\"Woman
Rembrandt\u2019s Woman Reading<\/em>.<\/figcaption><\/figure>
\"Mixed
Blue Ish<\/em> by Mary Bauermeister.<\/figcaption><\/figure>
\"Tanpa
Tanpa Nama (Untitled)<\/em> by Abdul Latiff bin Mohidin. <\/figcaption><\/figure>
\"A
Life mask of the Marquis de Lafayette, 1785.<\/figcaption><\/figure>
\"A
A glass vase by Louis Comfort Tiffany.<\/figcaption><\/figure><\/div>
<\/div><\/section>\n\n\n\n
<\/div>\n\n\n\n

The institution traces its roots to a single painting: the 19th-century work Communion Sunday in a Church in Holland<\/em><\/a>, which was gifted to the University in 1911 and originally hung in the foyer of Goldwin Smith Hall. <\/p>\n\n\n\n

As Robinson explains, founding president A.D. White (who had left office in 1885, but was still closely associated with Cornell) considered it to be the first significant work owned by the University; he pledged that one day East Hill would be home to an art collection, and that a museum would be created to house it.<\/p>\n\n\n\n

<\/p>\n\n\n\n

\"A
Opening day. (Cornell University<\/em>)<\/figcaption><\/figure>
\n

As the University acquired art over the next decades\u2014including (in 1960) Walking Man II<\/em>, which Robinson calls its single most important work\u2014a museum was established in the A.D. White House, the Victorian villa that White had built as his presidential home. <\/p>\n\n\n\n

Given its small size and residential design, though, it was hardly ideal.<\/p>\n<\/div><\/div>\n\n\n\n

That changed with the opening of the Johnson Museum, named for the Class of 1922 alumnus who gave a $3.5 million gift for its construction. <\/p>\n\n\n\n

(Members of the same family, which runs the manufacturing firm S.C. Johnson & Son, are also benefactors of the Cornell SC Johnson College of Business<\/a> and its Johnson Graduate School of Management.)<\/p>\n\n\n\n

\n

<\/p>\n\n\n\n

The 61,000-square-foot building underwent an expansion in 2011, based in part on an underground segment of Pei\u2019s design that was never built. <\/p>\n\n\n\n

The new 16,000-square-foot wing, designed by original head architect John Sullivan III \u201962, BArch \u201963, added a 150-seat lecture hall, office and exhibition spaces, and the Japanese garden.<\/p>\n<\/div>

\"An
The works on display in a 50th anniversary exhibition will change throughout the year. (David Brown \u201983)<\/em><\/figcaption><\/figure><\/div>\n\n\n\n

The project also doubled the museum\u2019s storage capacity, and made possible significant renovations to the existing building.<\/p>\n\n\n\n

What may be in store for the museum\u2019s second half-century? <\/p>\n\n\n\n

In addition to increasing student engagement, Martinez\u2019s goals include acquiring and exhibiting more work by women and other groups who are historically underrepresented in the art world. <\/p>\n\n\n\n

\"William-Adolphe
Bouguereau\u2019s The Goose Girl<\/em>.<\/figcaption><\/figure>
\n

Staff have worked with faculty from Cornell\u2019s Migrations program, through its partnership with the Mellon Foundation\u2019s Just Futures Initiative<\/a>, to invite artists to create new exhibitions exploring the intersection of migration, dispossession, and racism.<\/p>\n\n\n\n

The Johnson also has an eye on sustainability, <\/strong>both in how the building is run and in the work that\u2019s displayed there. <\/p>\n\n\n\n

The recent exhibition \u201cArt and Environmental Struggle<\/a>,\u201d for example, featured works highlighting the effects of climate change. <\/p>\n\n\n\n

The show\u2019s centerpiece: a polar bear rug, fashioned from an actual animal that had been previously taxidermized, which the artist had reclaimed and reimagined.<\/p>\n<\/div><\/div>\n\n\n\n

Such thought-provoking shows exemplify what the Johnson has long been, and will continue to be: a center of spirited inquiry and inspiration, on the Hill and beyond.<\/p>\n\n\n\n

\u201cIt\u2019s stressful in the world right now for so many, and the museum can be a place of respite, of solace, of inward reflection,\u201d Martinez observes. \u201cIt can also be a place of great whimsy, delight, and surprise.\u201d<\/p>\n\n\n\n

Top: The museum in 2017, when an artwork was projected onto its fa\u00e7ade; the <\/em>Cosmos installation is visible under the overhang at left. (Jason Koski \/ Cornell University<\/em>.) All art images courtesy of the Herbert F. Johnson Museum of Art.<\/em><\/p>\n\n\n\n

Published April 17, 2023<\/p>\n\n\n\n

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