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Class of 1967

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The audience listens to Jim Memmott '64 present the Half-Century Class Annalist Letter at the Annual Meeting of the Alumni Association.
Reunions 2014 a Fond Memory

Alumni returned to the Hill and were greeted by sunny skies and seasonal temperatures for Reunions 2014 on June 5-8.  A total of 1148 alumni and their guests enjoyed catching up with classmates, attending class dinners, touring campus and sitting in on numerous Alumni Colleges. Members of the Class of 1964 celebrated their 50th reunion and heard the presentation of the Half-Century Annalist Letter by Jim Memmott ’64.  More ...

Barry began his museum career in the 1980s as assistant and then, associate curator of prints and drawings at the Brooklyn Museum.
Barry began his museum career in the 1980s as assistant and then, associate curator of prints and drawings at the Brooklyn Museum.
Under the directorship of Peter Marzio, with contributions from Evan and Marjorie Horning and Virginia and Ira Jackson, the Museum of Fine Arts Houston in 1991 founded the Department of Prints and Drawings.
Under the directorship of Peter Marzio, with contributions from Evan and Marjorie Horning and Virginia and Ira Jackson, the Museum of Fine Arts Houston in 1991 founded the Department of Prints and Drawings.
Barry began his career at the MFAH also in 1991 as their 1st Curator of prints and drawings. He commented “I’m very excited by the challenge of coming into a new position ... I see it as an absolute dream job because it’s a chance to form a collection.
Barry began his career at the MFAH also in 1991 as their 1st Curator of prints and drawings. He commented “I’m very excited by the challenge of coming into a new position ... I see it as an absolute dream job because it’s a chance to form a collection.
Barry discusses some of his Acquisition triumphs and favorites during his tenure, including his major coup of the Peter Blum Edition Archive.
Barry discusses some of his Acquisition triumphs and favorites during his tenure, including his major coup of the Peter Blum Edition Archive.
Barry’s acquisition favorites span the history of art, even though his true love was, of course, 20th-century art. Manet’s lithograph, The Races at Longchamps, was one of his earliest acquisitions for the museum in 1991.
Barry’s acquisition favorites span the history of art, even though his true love was, of course, 20th-century art. Manet’s lithograph, The Races at Longchamps, was one of his earliest acquisitions for the museum in 1991.
And, with One Great Night in November in 1992, Barry was also able to usher into the collection, Toulouse-Lautrec’s Jockey.
And, with One Great Night in November in 1992, Barry was also able to usher into the collection, Toulouse-Lautrec’s Jockey.
And, with One Great Night in November in 1992, Barry was also able to usher into the collection, Toulouse-Lautrec’s Jockey.
And, with One Great Night in November in 1992, Barry was also able to usher into the collection, Toulouse-Lautrec’s Jockey.
He always loved the work of Max Klinger and commented to me about the richness of this mezzotint that was also acquired in 1992.
He always loved the work of Max Klinger and commented to me about the richness of this mezzotint that was also acquired in 1992.
Barry acquired this pencil drawing by Adolph von Menzel with the help of Houston Alumnae Chapter of the Tri Deltas, he stated at the time that “I was able to acquire this marvelous drawing from a dealer who was unaware of its real value.”
Barry acquired this pencil drawing by Adolph von Menzel with the help of Houston Alumnae Chapter of the Tri Deltas, he stated at the time that “I was able to acquire this marvelous drawing from a dealer who was unaware of its real value.”
Barry’s keen eye for print impressions can be noted here by this incredible Imaginary View of Padua by Canaletto. Barry explained he had not seen one of this high quality on the market for years.
Barry’s keen eye for print impressions can be noted here by this incredible Imaginary View of Padua by Canaletto. Barry explained he had not seen one of this high quality on the market for years.
In 1996-97, Barry was an integral part in major acquisitions for the permanent collection with a group of 18 works by the legendary American painter Jackson Pollock.
In 1996-97, Barry was an integral part in major acquisitions for the permanent collection with a group of 18 works by the legendary American painter Jackson Pollock.
The collection included 4 paintings, 12 drawings, and two rare sculptures, only 5 still extant, purchased from the artist’s estate.
The collection included 4 paintings, 12 drawings, and two rare sculptures, only 5 still extant, purchased from the artist’s estate.
Finding connections within the department of prints and drawings is evident here when Barry found Munch’s Self-portrait, a stunning rare artist’s proof on green paper.
Finding connections within the department of prints and drawings is evident here when Barry found Munch’s Self-portrait, a stunning rare artist’s proof on green paper.
It was not only an important object in and of itself, but connects to Jasper John’s print Savarin, already in our collection, in which Johns utilized Munch’s same motif in the lower register of his work.
It was not only an important object in and of itself, but connects to Jasper John’s print Savarin, already in our collection, in which Johns utilized Munch’s same motif in the lower register of his work.
Pieter Bruegel’s The Fair of Saint George’s Day from the 16th century was yet, another favorite in our collection, acquired during his tenure.
Pieter Bruegel’s The Fair of Saint George’s Day from the 16th century was yet, another favorite in our collection, acquired during his tenure.
And, he loved Picasso, setting out to acquire images of all of Picasso’s lovers and wives.
And, he loved Picasso, setting out to acquire images of all of Picasso’s lovers and wives.
Portrait of Françoise, dressed in a suit  Pablo Picasso, Spanish, 1881-1973 1946, Drypoint Museum purchase with funds provided by the Museum Collectors, 96.853
Portrait of Françoise, dressed in a suit Pablo Picasso, Spanish, 1881-1973 1946, Drypoint Museum purchase with funds provided by the Museum Collectors, 96.853
Barry was mesmerized by this print. He just could not quite figure out how Kollwitz made this impression and brought it to the museum to be examined in conservation, before it entered the collection in 2000.
Barry was mesmerized by this print. He just could not quite figure out how Kollwitz made this impression and brought it to the museum to be examined in conservation, before it entered the collection in 2000.
Around 2003, Barry also acquired the title of Curator of Modern and Contemporary Art. He was instrumental in the acquisition of works by one of the youngest of the first-generation Abstract Expressionists, Robert Motherwell.
Around 2003, Barry also acquired the title of Curator of Modern and Contemporary Art. He was instrumental in the acquisition of works by one of the youngest of the first-generation Abstract Expressionists, Robert Motherwell.
Peter Marzio and Barry Walker approached the Dedalus Foundation, a foundation created by Motherwell to disperse his works to museums worldwide, in an idea to create a coherent body of work on the artist in the MFAH collection.
Peter Marzio and Barry Walker approached the Dedalus Foundation, a foundation created by Motherwell to disperse his works to museums worldwide, in an idea to create a coherent body of work on the artist in the MFAH collection.
Barry’s interest in Abstract Expressionism extended to Richard Pousette-Dart. This acquired work became a part of the genre of art Barry appears to be most interested in collecting for the MFAH.
Barry’s interest in Abstract Expressionism extended to Richard Pousette-Dart. This acquired work became a part of the genre of art Barry appears to be most interested in collecting for the MFAH.
Arshille Gorky, one of Barry’s all-time esteemed artists, produced a series of drawings between 1930-34 which traces an evolution of ideas, depicting disembodied human heads, elaborate grid systems, skeletal fish, biomorphic forms and gestural marks.
Arshille Gorky, one of Barry’s all-time esteemed artists, produced a series of drawings between 1930-34 which traces an evolution of ideas, depicting disembodied human heads, elaborate grid systems, skeletal fish, biomorphic forms and gestural marks.
In 2005 Barry and Peter Marzio accidentally discovered Gorky’s true masterpiece, the 1933-34 painting Nighttime, Enigma and Nostalgia, which was available for purchase and they secured it to also enter the museum.
In 2005 Barry and Peter Marzio accidentally discovered Gorky’s true masterpiece, the 1933-34 painting Nighttime, Enigma and Nostalgia, which was available for purchase and they secured it to also enter the museum.
Barry built a personal relationship with Jasper Johns and worked on acquiring his work through a series of media and themes, such as Flags, Yellow, Red, Blue, Ventriloquist, or in this case, Cicada.
Barry built a personal relationship with Jasper Johns and worked on acquiring his work through a series of media and themes, such as Flags, Yellow, Red, Blue, Ventriloquist, or in this case, Cicada.
Open Composition by Leon Polk Smith was purchased in honor of the MFAH’s much loved 1st Registrar, Edward Mayo. Barry thoughtfully chose a major painting, which was of Mayo’s taste, and of which expanded on the quorum of works by the artist at the museum.
Open Composition by Leon Polk Smith was purchased in honor of the MFAH’s much loved 1st Registrar, Edward Mayo. Barry thoughtfully chose a major painting, which was of Mayo’s taste, and of which expanded on the quorum of works by the artist at the museum.
Barry also loved talking to and working with artists and through his strong relationship with the artist Alex Katz, a number of the artist’s works entered the MFAH collection, including even an important gift by the Alex Katz Foundation, called Cornice.
Barry also loved talking to and working with artists and through his strong relationship with the artist Alex Katz, a number of the artist’s works entered the MFAH collection, including even an important gift by the Alex Katz Foundation, called Cornice.
In 2006 Edward R. Broida bequeathed to the MFAH the largest gift of modern and contemporary art in the museum’s history, comprising 432 works of art which Barry helped to select, including this sculpture by Joel Shapiro.
In 2006 Edward R. Broida bequeathed to the MFAH the largest gift of modern and contemporary art in the museum’s history, comprising 432 works of art which Barry helped to select, including this sculpture by Joel Shapiro.
Ira Jackson recalls Barry’s wonderful acquisition in 2007 of the lithograph, The Little Laundry Girl, by the important Nabi artist, Pierre Bonnard.
Ira Jackson recalls Barry’s wonderful acquisition in 2007 of the lithograph, The Little Laundry Girl, by the important Nabi artist, Pierre Bonnard.
Donald Baetchler’s work was appreciated by Barry. He thought that its relationship to popular culture would respond to the public.
Donald Baetchler’s work was appreciated by Barry. He thought that its relationship to popular culture would respond to the public.
Barry also responded to Mark Tansey’s intellectually sophisticated themes and involved layering process of pigment on canvas.
Barry also responded to Mark Tansey’s intellectually sophisticated themes and involved layering process of pigment on canvas.
In 2011, Barry’s exhibition on Alice Neel brought these two paintings, a single and group portrait into the MFAH collection. While the MFAH bought one, the Portrait of Dorothy Pearlstein was given to our institution by Alice Neel’s sons.
In 2011, Barry’s exhibition on Alice Neel brought these two paintings, a single and group portrait into the MFAH collection. While the MFAH bought one, the Portrait of Dorothy Pearlstein was given to our institution by Alice Neel’s sons.
In 2011, the last important print acquisition hand-picked by Barry was Resting Horses, a wonderful woodcut with such intense colors by Franz Marc.
In 2011, the last important print acquisition hand-picked by Barry was Resting Horses, a wonderful woodcut with such intense colors by Franz Marc.
Barry was a widely regarded curator and specialist in 20th-century art and organized nearly 50 exhibitions during his career.
Barry was a widely regarded curator and specialist in 20th-century art and organized nearly 50 exhibitions during his career.
Barry stated in reference to the 1996 exhibition, “Jackson Pollock: Defining the Heroic” “This is a high point of my career. I’m still floating…..Every book or catalog on Pollock illustrates Overall Composition and Number 22-A. We’ve got them now.”
Barry stated in reference to the 1996 exhibition, “Jackson Pollock: Defining the Heroic” “This is a high point of my career. I’m still floating…..Every book or catalog on Pollock illustrates Overall Composition and Number 22-A. We’ve got them now.”
“The Heroic Century: The Museum of Modern Art Masterpieces, 200 Paintings and Sculptures,” premiered in Houston—the exclusive US showing- and then traveled to only one other venue, the Neue Nationalgalerie in Berlin.
“The Heroic Century: The Museum of Modern Art Masterpieces, 200 Paintings and Sculptures,” premiered in Houston—the exclusive US showing- and then traveled to only one other venue, the Neue Nationalgalerie in Berlin.
In 2005, Barry was also instrumental in the installation of Cy Twombly’s  12 panels called LePanto. The LePanto series was installed by Barry at the MFAH in conjunction with the Menil Collection’s 10th anniversary of its Cy Twombly Gallery.
In 2005, Barry was also instrumental in the installation of Cy Twombly’s 12 panels called LePanto. The LePanto series was installed by Barry at the MFAH in conjunction with the Menil Collection’s 10th anniversary of its Cy Twombly Gallery.
For the 2006 exhibition on Basquiat organized by the Brooklyn museum, Barry wrote…”in an era in which one favorably reviewed exhibition could convey instant celebrity upon a hitherto unknown artist, no star shone brighter than Jean-Michel Basquiat.”
For the 2006 exhibition on Basquiat organized by the Brooklyn museum, Barry wrote…”in an era in which one favorably reviewed exhibition could convey instant celebrity upon a hitherto unknown artist, no star shone brighter than Jean-Michel Basquiat.”
Singular Multiples was the largest museum exhibition ever devoted to the graphic arts of the late 20th century.
Singular Multiples was the largest museum exhibition ever devoted to the graphic arts of the late 20th century.
The Alice Neel exhibition catalogue became a best seller in the art world and just completed its 3rd reprinting.
The Alice Neel exhibition catalogue became a best seller in the art world and just completed its 3rd reprinting.
For 20 years, from the time Barry began at the MFAH till his retirement, he took on the responsibility of curating the art objects for the “One Great Night in November” events---a long tenure.
For 20 years, from the time Barry began at the MFAH till his retirement, he took on the responsibility of curating the art objects for the “One Great Night in November” events---a long tenure.
Jack Eby, our Exhibitions design director, worked on the viewing with Barry all of these years, commenting that it was a pleasure to work with him and really enjoyed his collaborative spirit.”
Jack Eby, our Exhibitions design director, worked on the viewing with Barry all of these years, commenting that it was a pleasure to work with him and really enjoyed his collaborative spirit.”
I think that we all still seem to think Barry is still here with us, on the curatorial floor, walking through the museum, around the bend….
I think that we all still seem to think Barry is still here with us, on the curatorial floor, walking through the museum, around the bend….
We know him for his great sense of humor, his witty, often caustic remarks and sometimes his “political incorrectness.”
We know him for his great sense of humor, his witty, often caustic remarks and sometimes his “political incorrectness.”
In any event, we think of Barry as a charmer. And a talented man….
In any event, we think of Barry as a charmer. And a talented man….
Colleagues respected him for his wisdom, enjoyed being engaged with his wonderful vision, and considered him a terrific person to bounce new ideas off of.
Colleagues respected him for his wisdom, enjoyed being engaged with his wonderful vision, and considered him a terrific person to bounce new ideas off of.
And, it cannot be denied that we all think of him as one of the singularly best-dressed staff members at the MFAH.
And, it cannot be denied that we all think of him as one of the singularly best-dressed staff members at the MFAH.
Margaret Mims in our education dept also spoke of his “unswerving sense of decorum, while his written words were always precise, exact, loaded with meaning, and carefully constructed.”
Margaret Mims in our education dept also spoke of his “unswerving sense of decorum, while his written words were always precise, exact, loaded with meaning, and carefully constructed.”
Members of the Houston arts community have mentioned how Barry taught them about how to appreciate works on paper.
Members of the Houston arts community have mentioned how Barry taught them about how to appreciate works on paper.
We know of his deep respect and wonderful working relationship with our former director, Peter Marzio. And, I think that we all can agree that he was a “true gentleman curator.”
We know of his deep respect and wonderful working relationship with our former director, Peter Marzio. And, I think that we all can agree that he was a “true gentleman curator.”
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Dena Woodall, Assistant Curator of Prints and Drawings at the Museum of Fine Arts Houston, paid tribute to the life and work of Barry Walker '67.