THE YEAR IN REVIEW

SCSMITH COLLEGE MUSEUMMA OF ART JULY 2010–JUNE 2011 From the Director 1 2010–2011 was an exceptionally dynamic year at the Museum. It was marked Museum at a Glance 3 by a deepening use of the collection by students and faculty, and by a series Acquisition Highlight I 4 of events allowing campus and community members to discuss with artists how and why contemporary art takes shape. Student Perspective 6 Acquisition Highlight II 8 All museums bring art and audience together, but SCMA did much more. By Acquisitions 10 mounting exhibitions of cutting-edge art, and by inviting several internation- Exhibition Highlight I 24 ally renowned contemporary artists for extended campus visits, the Museum Exhibition Highlight II 26 set up a fruitful dialogue between creators and viewers. Maggie Lind, associate educator for academic programs, leads an Faculty Perspective 27 Open Eyes gallery conversation based on Visual Thinking Strategies (VTS). These conversations went far beyond asking thoughtful questions at artists’ Staff Perspective 29 lectures (although the lively give and take between artist Whitfield Lovell and Cunningham Center Focus 30 An integral part of Smith College and its some 400 audience members remains a highlight of the year). During artists’ mission, Smith College Museum of Art Academic Programs & Public Education 32 residencies, students and faculty watched as Lovell created a new print; and educates and engages our academic and broader Public & Campus Programs 39 discussed with Moyra Davey, Emily Eveleth, Maria Magdelena Campos-Pons, communities through meaningful and Awards & Recognition 43 and Fred Wilson the theory and practice behind their artwork. memorable encounters with Second Friday 44 exceptional art. Leadership in Giving 46 The three-dozen students in Smith’s Museums Concentration took particular advantage of the opportunities to study artists’ work and then to have deep Gifts to the Museum 48 and broad conversations about what makes it—and them—tick. One sign Member Thank-You 50 that the three-year-old College program is hitting its stride is that students Exhibitions 54 are starting to use the Museum not only as a learning space, but also as a Museum Assistants 56 kind of laboratory. Museum Staff 57 Jessica Nicoll ’83, Director and Louise Ines Doyle ’34 Chief Curator SC M A from the director

f r o m t h e d i r e c t o r 1 Now some student projects are growing directly Museums Concentration students, a powerful on through the valuable work supported by the out of the work the Museum is doing, and staff synergy arises. Dulcy B. Miller (class of 1946) Lectureship in Art useum at a glance july 2010 june 2011 members are increasingly engaging students as and Art History and the Charlotte Frank Rabb, M – partners. For example, Jessica Watson’s forma- The Collecting 101 course is a case in point. (See Class of 1935, Fund. tive research on incorporating sound into a gallery Student Perspective, page 6.) Students in this in- Total attendance 34,491 Total pre K–12 visitors 3,503 exhibition had immediate effects on the Museum’s novative January-term course learned from working To shape our collection’s future more broadly, Total pre K–12 group visits 166 exhibition, Debussy’s Paris: Art, Music, & Sounds side by side with curators how a museum carefully the Museum is forging a plan to guide acquisition of the City (spring 2012). Amber Sinicrope '12 and vets and selects works for its collection. They gained decisions over the next five years. Recent discus- Annual budget $2,864,537 Teacher program participants 82 Zenobia Wingate '11 took a recent gift of Pre-Co- more than theoretical knowledge—of the four prints sions with Visiting Committee members, faculty, Teacher events / workshops / tours 7 lumbian art as the starting point for projects that students researched and proposed as acquisitions, and students provided insights about curricular Membership Smith/other college class visits and program attendance 5,238 looked at the complex issues of cultural property one was purchased by the Museum. (Read more trends that the Museum can enhance. For in- Tryon Associate Households 58 Smith/other college visits and programs 353 rights and investigated strategies for interpretation about this print, Boom BOOM! by contemporary stance, comments revealed that works that are Contemporary Associate Households 15 and display of this material. American artist, Dread Scott, on page 4.) cross-disciplinary, performance-based, or feminist, Museum-based courses 8 Leader Member Households 311 that involve new media, and/or consider personal Student Museum Educators 24 Basic Member Households 790 In addition to offering compelling exhibitions and This kind of exponential growth in the academic identity would be particularly valued. The recent Family Day and Second Friday Volunteers 35 A Smith class visits the Cunningham Center. Total Member Households 1,174 events, SCMA is a forum for thinking about major use of the Museum was made possible in part by a purchase of two videos funded by the Contem- Museum student work-study and intern 27 issues and forces shaping museums today. Take, major Andrew W. Mellon Foundation endowment porary Associates—works by Roman Signer and Education programs for Museum students Changing Exhibitions/Installations 12 for example, the Museum’s reaction to the national challenge. Your generous donations reached the Andrea Fraser—are a strong step in these new work-study and interns 5 controversy surrounding the Smithsonian Institu- $1 million goal this past year, which will allow the directions. tion’s removal from a nationally-acclaimed exhibition pilot projects funded by the Mellon Foundation to Acquisitions 455 Cunningham Center Visitors of a David Wojnarowicz video excerpt that some be sustained in the coming years. This visionary SCMA is not, however, forsaking the art of past Art gifts 383 Total participants 1,151 considered sacrilegious. In solidarity, SCMA quickly grant was particularly important in allowing staff historical periods. Last year’s focus on contem- Purchases 72 displayed Untitled (One Day This Kid… ), an iconic to help professors tailor their teaching to involve porary art has already given way to a growing Student/group visitors 832 self-portrait by Wojnarowicz from the Museum’s students more fully with the SCMA collection. momentum around Asian art, the subject of several Smith students 650 Academic Programs & Public Education permanent collection. Soon after, Smith students, Although our financial needs are far from being major exhibitions and complementary events in Five College and other students 182 Total participants 12,050 staff, and faculty collaborated on a popular public fully met, we are enormously grateful to all who 2011–2012. We remain a museum for the ages, Student Picks Visitors 319 Adult Program Visitors 548 program to discuss issues of censorship and artistic helped SCMA meet the Mellon challenge. one that will continue to grow and change over Class visits 64 Number of adult programs 14 freedom. SCMA’s actions were widely and enthusias- the coming years. The staff of the Museum and Smith College 50 tically reported in local and regional media. We also remember with gratitude friends who made I look forward to sharing the journey with you. Family program visitors 2,003 Five College and other 14 sustaining gifts to SCMA. It was with sadness that Number of family programs 15 Objects viewed/used 768 As the expertise of SCMA staff meets the fresh we learned in summer 2011 of the passing of Dr. ~ Jessica Nicoll ’83, Family Days 2 perspectives and technological savvy brought by Michael Miller and Irving Rabb. Their legacies live Director and Louise Ines Doyle ’34 Chief Curator

2 f r o m t h e d i r e c t o r m u s e u m a t a g l a n c e 3 Acquisition highlight i Scott: Boom BOOM! (2001)

"I would hope In January 2011, SCMA offered a new three- curatorial committee for final deliberation. the floor of the New York stock exchange is contrasted with an over- that a work like week course called Collecting 101. Developed by This process resulted in the acquisition of Boom layed image of Nepalese guerillas engaged in combat. On top of both Jessica Nicoll and Aprile Gallant with assistance BOOM! (2001) a screenprint by the contemporary images is a large yellow stencil of the word “BOOM,” referring both to this would be from STRIDE Scholar, Nancy Yerian '13, the course American multimedia artist, Dread Scott. Scott often the sounds of gunfire and of an explosive upturn in the financial mar- both challenging provided an introduction to the issues and practical uses prints in his installations, which he calls “revo- kets. In an email to Jinan Martiuk ’14 concerning the print under con- and inspiring." matters of collecting for an institution. In its inaugu- lutionary art to propel history forward.” A graduate sideration, Scott remarked: “[College] is a point in people's lives when ral year, Collecting 101 enrolled 12 Smith students, of the School of the Art Institute of Chicago (where they really have an opportunity to experiment and try out ideas, learn ~ Dread Scott, January 2011 allowing them to directly participate in research- his 1989 installation, What Is the Proper Way to about philosophy in an environment that should support critical inquiry (via email to Jinan Martiuk ’14, ing and purchasing a contemporary print for the Display a US Flag? caused an uproar that resulted in and intellectual ferment. I would hope that a work like this would be Museum’s permanent collection. Purchase criteria condemnation by then-president George H.W. Bush regarding Boom, BOOM!) both challenging and inspiring. I would hope that people would have the outlined by the class included choosing a work that and the passage of flag-protecting legislation by freedom to look at why an artist might raise substantive questions about was intellectually stimulating and visually appealing, the U.S. Senate), Scott adopted his artistic moniker unbridled capitalism. I would hope that students would inquire about that dealt with global issues, and would lend itself in honor of Dred Scott, the slave whose Supreme what kind of revolution was being fought in Nepal in 2001 and what is to interdisciplinary teaching. Court case in 1857 resulted in a statement by seven communism really about... I think that academia is a perfect setting for of the nine justices upholding the “non-citizen” some of these ideas to be engaged.” The students selected four works for final consider- status of African-American slaves. An avowed ation from a group of 11 pre-selected works printed Maoist, Scott uses his work as a platform to provoke and published by the Lower East Side Printshop, a critical thought about American society and the not-for-profit studio in New York City that helps systems under which our society operates. Collecting 101 Students, January 2011 contemporary artists create new artwork and ad- vance their careers. In groups of three, the students Boom BOOM! focuses squarely on American Anneliese Baierl ‘11 Jinan Martiuk ‘14 Eve Whitehouse ‘11 then prepared formal purchase proposals, making capitalism, linking the success of American financial Julie Bomba ‘11 Grace Miceli ‘11 Zenobia Wingate ‘11 Dread Scott, American, born 1965 the case for the purchase of one of the four prints, markets with unrest and revolt across the world. A Kendra Danowski ‘12 Sophie Ong ‘12 Nancy Yerian ‘13 Boom BOOM!, 2001 Screenprint printed in color on Stonehenge white paper which they presented orally to members of SCMA’s newspaper image of a frenzied group of brokers on Caroline Fidel ‘11 Amber Sinicrope ‘12 Lauren Zelaya ‘12 Purchased through the efforts of students in the class Collecting 101, January 2011

4 acquisition h i g h l i g h t i acquisition h i g h l i g h t i 5 Student Perspective

t the beginning of January 2011, I Our class meetings in the Cunningham Center allowed for intimate study of in particular, the institution’s commitment to Smith as a place of academic study was a A had just wrapped up an incredible significant works on paper housed at SCMA, something I very much enjoyed specific consideration to keep in mind while making collecting decisions. Addressing all semester off-campus working as an intern and valued. Though I had spent time looking at printed works in SCMA and of these complexities supplied us with the tools to carefully craft acquisition proposals at the Smithsonian Institution. I was other museums, I admittedly did not have much insight into the technical for specific prints that we chose out of a selection from the Lower East Side Printshop. excited to return to Smith, but nervous aspects of printmaking and the many processes by which prints are made. Each group’s collaborative effort in writing a convincing proposal was a rewarding about making my way back to the class- And so I was thrilled when, in the early days of our class, we spent a session (and challenging) experience. room. What if I forgot how to interact in the Smith printmaking studio with Professor Dwight Pogue, who walked with professors? What would it be like to us through the steps of creating a lithograph. This hands-on knowledge was Collecting 101 provided my classmates and me with extensive access to some of the transition back to a day-to-day life focused especially helpful later on when we examined the contemporary prints for most significant resources in the Smith community. Our experiences gave us a closer on my academics rather than my internship SCMA’s potential purchase. I also appreciated the perspectives that each look at some of the materials that are often right under our noses during the academic work? Fortunately and with impeccable member of our class brought to the table. Though many of us were Art History year. Through visits with an alumna print dealer, print shop technicians and staff, and timing, I learned about Collecting 101, an majors, it was equally important to hear insight from Studio Art majors who are trips to a private collection as well as Smith’s own Mortimer Rare Book Room, my class- Interterm course in the Museums Concen- practicing printmakers with valuable experience in various printing techniques. mates and I were exposed to a wide range of perspectives in the world of collecting. tration, a program that I have been part of for the past three years. I was excited to The course gave my classmates and me the “inside scoop” on some of the Learning about the different techniques increased my interest in and appreciation of James Miller, studio director and master printer, Lower East Side Printshop (New York, NY), presents prints for consid- enroll in the pilot session of this course that promised to introduce my class- challenges that the Museum and other institutions face when purchasing or printed material, beyond the boundaries of the class. I am grateful to have been in the eration by students in Collecting 101, January 2011. mates and me to the ins and outs of institutional collecting practices. accepting gifts of artwork. We reviewed the SCMA Collecting Plan on the pilot version of this class, and believe that for Smith students of all academic majors, very first day, which helped us gain a sense of the Museum’s priorities as well minors, and concentrators it is an excellent and fulfilling way to take advantage of the The course promised to culminate in a remarkable opportunity: selection by as insight into how collecting plans can be structured. I remember a particular opportunities extended by SCMA. Collecting 101 students of a contemporary print that the Museum would discussion where we were encouraged to share our “art biases”­—what kind purchase for its permanent collection. I was equally attracted to the chance of art we like and are drawn to and what works turn us off—which allowed ~ Kendra Danowski '12 to learn about printmaking and multifaceted approaches to collecting. each student to realize how the same kind of biases can exist within individuals Participant, Collecting 101, January 2011; who build and maintain museum collections. We discussed how, for the SCMA Art History and American Studies Major; Museums Concentration

6 s t u d e n t perspective s t u d e n t perspective 7 Acquisition highlight ii De Bellis: The Liberation of Saint Peter (ca. 1640s–50)

“…This masterfully The Museum has long recognized that the addition of a The Liberation of Saint Peter depicts the biblical story vigorous naturalism and theatrical employment executed picture with southern baroque painting would address a notable void (Acts 12, verses 3–19) of the apostle Peter’s miraculous of light serves as a superlative example of in the collection and be of great use for teaching purposes. delivery from prison, a subject treated by many art- 17th-century Neapolitan painting….The liber- its vigorous naturalism Despite an ongoing search, a baroque painting that was a ists. During the night before his impending trial, Peter ating angel’s luminous skin and accompanying and theatrical employment of good fit for the collection had not been found until Antonio is visited in prison by an angel, who commands him to white drapery rendered in crisply undulating light serves as a superlative de Bellis’s The Liberation of Saint Peter was brought to the dress and leave. The sleeping guards are unaware of the folds contrasts dramatically with the brilliant Museum's attention by Craig Felton, Professor of Art, SC. intrusion or the escape. Although Peter believes he is ultramarine blue of St. Peter’s robe and the example of 17th-century seeing a vision, he follows the angel. De Bellis empha- tangerines and yellows employed for other Neapolitan painting….” According to Professor Felton, Antonio de Bellis “was sizes the sudden appearance of the angel, who rushes garments in the picture. The astounding natu- one of the foremost students in the studio of Massimo into the picture with flying robes and grasps the collar ralism of the wrinkled flesh of St. Peter’s brow ~ Eve Straussman-Pflanzer ‘99 Stanzione. His paintings are only slowly becoming known. of the surprised apostle. The fact that the painting has and the defined muscles and folds of flesh of Piecing together the basic facts of his life, historians sug- compositional forebears from Piero to Raphael and from the hunched guards betray a verism rooted gest that he was born about 1616. Around 1636–1639, de Caravaggio to Caracciolo makes it particularly useful for in Caravaggio and then further explored and Bellis was commissioned and painted a series of four works teaching purposes. defined in the Neapolitan context.” based on the life of Saint Charles Borromeo, for the church of S. Carlo alle Mettere in Naples. De Bellis’s personal After Professor Felton alerted the Museum about the artistic style is derived from the best of the artists in Naples, The Liberation of Saint Peter on the London art mar- especially that of his teacher, Massimo Stanzione (ca. ket, alumna Eve Straussman-Pflanzer '99, Patrick G. 1585–1656) and from Bernardo Cavallino (1616–1656), and Shirley W. Ryan Associate Curator of Medieval to who also studied with Stanzione. In addition there is also a Modern European Painting and Sculpture, Art Institute clear understanding of the art of Jusepe Ribera,” the Span- Antonio DeBellis. Italian, ca. 1616–ca. 1657 of Chicago, contacted the Museum about the painting. The Liberation of Saint Peter, ca. 1640s–50 ish painter who was an important presence in Naples since She also recommended the work for purchase consider- Oil on canvas Purchased with the Hillyer/Mather/Tryon Acquisition Fund, the his arrival from Rome in 1616. ation, noting this “masterfully executed picture with its Beatrice Oenslager Chace, class of 1928, Fund, the Madeleine H. Russell, class of 1937, Fund, and the Museum Acquisition Fund

8 acquisition h i g h l i g h t i i acquisition h i g h l i g h t i i 9 Acquisitions Gifts & Purchases of Art

DECORATIVE ARTS UNKNOWN. Native American; Lakota people Watercolor on heavyweight watercolor paper HILL, John William. American, b. England, 1812–1879 Pipe bag, n.d. Gift of Elizabeth and Neil Swinton in honor of Julia Meech, Summer Afternoon, 1869 TSUISHU Yosei. Japanese, 1880–1952 Deer hide with sinew-sewn beads including, opaque white, class of 1963 Watercolor and gouache on heavyweight cream-colored Scroll tray, 1923 pale blue, navy, transparent "cranberry" and "pumpkin" watercolor paper Carved lacquer color beads, cut glass metallic beads CAMPOS-PONS, Maria Magdalena. Cuban, born 1959 Gift of Anne and Bernard Golob Gift of Charles and Valerie Diker (Valerie Tishman, Gift of Elizabeth Carter Two preliminary drawings for the installation class of 1959) Sugar/Bittersweet, 2010 ISRAEL, Margaret Ponce. American, b. Cuba, 1929–1987 UNKNOWN. Native American; Ojibway people Pen and black ink and purple felt-tip pen on glassine Untitled, ca. 1970 UNKNOWN. African; Yoruba peoples, Nigeria Beaded dance apron, n.d. Gift of Maria Magdalena Campos Pons Gouache on paper Divination tray (Opon Ifa), n.d. Velvet, cotton backing, beads (greasy yellow, Cheyenne Pink, Gift of Susan L. Brundage, class of 1971, and Edward Thorp Carved wood red-white hearts, pony trader blue, greasy green and Shibata Mariko. Japanese, born 1957 DELACROIX, Eugène. French, 1798–1863 Anonymous gift chalk) with Victorian metallicas Still Life, 2006 Figure Studies, ca. 1840 LIPTON, Seymour. American, 1903–1986 Gift of Elizabeth Carter Porcelain with glaze Pen and brown ink on medium-weight light brown paper Untitled, 1960-1967 UNKNOWN. African, Yoruba peoples, Nigeria Gift of Dr. Peter Rajsingh Gift of Catherine Blanton Freedberg, class of 1964, in Ten conté crayon drawings on medium-weight White coronet with elephant (Orikogbofo), 20th century UNKNOWN. Native American; Ojibway people memory of her husband, Professor Sydney J. Freedberg smooth wove paper Glass beads and cloth Beaded dance apron, n.d. Gift of Alan Lipton Anonymous gift Velvet, cotton backing, beads (greasy yellow, Cheyenne Pink, DRISCOLL, Ellen. American, born 1954 red-white hearts, pony trader blue, greasy green, and Two untitled drawings from the series Ahab's Wife, 1996 MAZZUCCHELLI, Pier Francesco called Il Morazzone. Italian, UNKNOWN. African, Yoruba peoples, Nigeria chalk) with Victorian metallicas Ink and wash on two sheets of medium-weight smooth 1573–1626 Blue coronet with tassel (Orikogbofo), 20th century Gift of Elizabeth Carter white paper Coronation of the Virgin with Saints Andrew and Paul, Glass beads and cloth Ink and graphite on frosted mylar ca. 1610 Anonymous gift Gift of Nesta R. Spink, class of 1948 Pen and brown ink with wash over black chalk heightened DRAWINGS with white on medium-weight brown-toned wove paper UNKNOWN. Native American; Sioux people HERMANN, Frank Simon. American, 1866–1942 Purchased with the Diane Allen Nixon, class of 1957, Fund Pair of horse cruppers, n.d. ARCHIPENKO, Alexander. American, b. Ukraine, 1887–1964 Landscape, rocky shore with crashing waves, Brain-tanned deer hide with glass beads Reclining Nude, n.d. hill and grasslands, n.d. PARROCEL, Pierre. French, 1670–1734 Gift of Elizabeth Carter Graphite on lightweight tan paper Landscape with yellow and green hill, n.d. Christ and the Samaritan Woman, ca. 1707 1710 Gift of Beth S. Nelkin, class of 1965, and Arthur L. Nelkin Naples, n.d. Black chalk with highlights in white chalk on medium-weight UNKNOWN. Native American; Lakota people Graphite and gouache on paper brown laid paper laid down with traces of framing lines in Beaded panel, n.d. AVERY, Sally Michel. American, 1902–2003 Buildings in winter, n.d. black chalk Sinew, brain-tanned leather (elk or young buffalo), beads Wicker Chat, 1987 Rocky landscape, n.d. Purchased with the Diane Allen Nixon, class of 1957, Fund Gift of Elizabeth Carter Watercolor and crayon on heavyweight watercolor paper Winter scene with trees and water, n.d. Gift of Marilyn and L. Robert Cohen (Marilyn L. Levin, Gouache on paper QIU Deshu. Chinese, born 1948 Tsuishu Yosei. Japanese, 1880–1952 UNKNOWN. Native American; Lakota(?) people class of 1968) Gift of Tim White Shanghai Miro II (also Homage to Miro II), 1981 Scroll tray, 1923 Carved lacquer Woman's knife sheath, n.d. Colored ink on paper mounted on brocade Gift of Charles and Valerie Diker Gift of Joan Lebold Cohen, class of 1954 Deer hide, beads BRIGHAM, Holly Trostle. American, born 1965 (Valerie Tishman, class of 1959) Gift of Elizabeth Carter Persephone: Rebirth of Spring, 1995

1 0 acquisitions acquisitions 1 1 Left: Unknown. Native American; Sioux people Pair of horse cruppers, n.d. Brain-tanned deer hide with glass beads Gift of Elizabeth Carter

Right: Ann Hamilton. American, born 1956 phora . 12, 2005 Iris inkjet print on Arches watercolor paper Gift of Sean, Mary and Thomas Kelly in honor of Lauren H. Kelly, class of 2005

Blue Cracks, June 1984 April 1985 SWANEVELT, Herman van. Dutch, 1603–1655 PAINTINGS MCCARTHY, Justin. American, 1891–1977 Colored ink and collage on two joined sheets of An Extensive Wooded River Landscape, ca. 1630's Plume Birds of Paradise, ca. 1961 medium-weight moderately-textured white Asian paper Pen and brown ink with brown wash over black chalk DE BELLIS, Antonio. Italian, ca. 1616–ca. 1657 Oil on laminate counter top Gift of Joan Lebold Cohen, class of 1954, and Jerome on medium-weight moderately-textured cream-colored The Liberation of Saint Peter, ca. 1640s–50 Gift of Susan L. Brundage, class of 1971, and Edward Thorp A. Cohen in honor of Jane Debevoise and Paul Calello laid paper Oil on canvas Meditation Among Thousands of Buddhas Purchased with the Diane Allen Nixon, class of 1957, Fund Purchased with the Hillyer/Mather/Tryon Acquisition Fund, MCCARTHY, Justin. American, 1891–1977 (also Ten Thousand Buddhas), n.d. the Beatrice Oenslager Chace, class of 1928, Fund, Sea Lion, ca. 1965 Colored ink, stamping, and collage on thin Asian paper YARDE, Richard Foster. American, 1939–2011 the Madeleine H. Russell, class of 1937, Fund, and Oil on Masonite Gift of Joan Lebold Cohen, class of 1954, in honor Malcolm X, 1978 the Museum Acquisition Fund Gift of Susan L. Brundage, class of 1971, and Edward Thorp of Jerome A. Cohen Watercolor on heavyweight textured white paper Gift of Irene Starr (Irene Stiefel, class of 1961), and BREWSTER, Achsah Barlow. American, 1878–1945 PRIOR, Scott. American, born 1949 Emily Eveleth. American, born 1960 ROSA, Salvator. Italian, 1615–1673 Norton Starr Mother and Child, ca. 1923 Tower of Babel, 1973 Prospect, 2006 Fishermen Pulling in Their Nets, late 1660s Oil on canvas Oil on wood panel Oil on canvas Pen and brown ink with grey wash on beige Gift of Frances Picard Holt Gift of Dr. William and Sharon Theobald Purchased with the Hillyer/Mather/Tryon Acquisition Fund moderately-textured paper INSTALLATION/NEW MEDIA Anonymous gift from a private collection, Connecticut EVELETH, Emily. American, born 1960 RESNICK, Milton. American, 1917–2004 DAVIS, Tim. American, born 1969 Prospect, 2006 Abstract in Reds, Blues and Green, 1960 The monumental canvases of Emily Eveleth’s signature motif—jam-filled doughnuts— RYDINGSVARD, Ursula von. German, born 1941 Upstate New York Olympics, 2010–11 Oil on canvas Oil on paper mounted on Masonite are inevitably described by critics and writers with reference to the body and the Untitled, 2008 Three-channel video (34 minutes) Purchased with the Hillyer/Mather/Tryon Gift of Beth S. Nelkin, class of 1965, and Arthur L. Nelkin landscape, and as portraits. Their forms suggest slumped, sensuous flesh or rolling Charcoal on heavyweight cream-colored wove paper Purchased with the Carol Ramsay Chandler Fund Acquisition Fund Gift of Doug Woodman and Dalya Inhaber RESNICK, Milton. American, 1917–2004 hills rounded by erosion. STREULI, Beat. Swiss, born 1957 FRANKENTHALER, Helen. American, born 1928 Green, Red and Blue Abstract Scene, 1960s While the artist was working on an elaborate still life painting over a decade ago, she SIPORIN, Mitchell. American, 1910–1976 Shinju-ku 01-05-99, 1999 Blue Atmosphere II, 1963 Oil on paper mounted on Masonite Outside the Church, 1974 Single-channel video (silent, 90 minutes) Acrylic on unprimed canvas Gift of Beth S. Nelkin, class of 1965, and Arthur L. Nelkin became fascinated by the expressive potential of one of its most mundane elements—a Graphite, watercolor, and gouache on heavyweight white Purchased with funds from the Contemporary Associates Gift of Sarah (Sarah Griswold, class of 1954) and jelly doughnut, a staple of the daily commute. She immediately recognized the irony of watercolor paper Richard Leahy USHIO Shinohara. Japanese, born 1932 her new subject in the context of fine art and began to push the boundaries of its repre- Gift of Rachel Siporin and Judith Siporin in memory of their SIGNER, Roman. Swiss, born 1938 Boxing Painting, 2009 parents, Miriam and Mitchell Siporin 56 Small Helicopters, 2008 JACKSON, Lee. American, 1909–2002 Acrylic on unstretched canvas sentation by enlarging the doughnut to gigantic scale. Eveleth’s paintings never conceal Video (3 minutes 15 seconds) V-J Day, Times Square, New York, 1945–46 Gift of Joan Lebold Cohen (class of 1954) and Jerome the identity of their familiar subject; however, the visual language of largeness imposes SUVÉE, Joseph Benoît. Belgian, 1743–1775 Purchased with funds from the Contemporary Associates Oil on Masonite A. Cohen a claim for space, attention, and reconsideration. The Grotto of Cervera, ca. 1772–1775 Gift of Betty Polisar Reigot, class of 1944 Red chalk on medium-weight cream-colored laid paper FRASER, Andrea. American, born 1965 WANG Yuping. Chinese, 20th–21st century Emily Eveleth is a 1983 graduate of Smith College. Prospect was included in an exhibition Purchased with the Diane Allen Nixon, class of 1957, Fund Little Frank and His Carp, 2001 MAZUR, Michael. American, 1935–2009 Yin Yang, 1990 Video (6 minutes) Winter Islands and Clouds, 2000 Oil on canvas of the artist’s work Luscious: The Paintings of Emily Eveleth organized by SCMA and shown Purchased with funds from the Contemporary Associates Oil on linen Gift of Joan Lebold Cohen, class of 1954, and Jerome July 9—October 24, 2010. Gift of Elizabeth and Samuel Thorne (Elizabeth Jones Thorne, A. Cohen in honor of Ethan Cohen class of 1955)

1 2 acquisitions acquisitions 1 3 Left: Unknown. Pre-Columbian; Nayarit Standing male figure with object in hand, n.d. Clay Gift of Gail Binney Sterne Wilfrid Zogbaum. American, 1915–1965 Ets Hokin Galvin, 1963 Right: Unknown. Pre-Columbian; Nayarit Metal pipe Standing female figure with child and pot,n.d. Gift of Rufus F. Zogbaum in honor Clay of Beth Grams Haxby, Robert Hepner, Gift of Gail Binney Sterne Gary Thayer, and Thomas Weiner

ZOU Li. Chinese, 20th–21st century Mechanics Statue, Front of Shell Building, San Francisco, Soldier with arm around woman, three little boys, in order Four men, one wearing thong and combat boots, Daily Leisure, 2010 ca. 1925 of height, in front of them, background with one stripe, Mardi Gras, New Orleans, n.d. Color on silk mounted on rice paper Portsmouth Square, San Francisco, ca. 1925 1940 Group of people, arms raised and yelling, n.d. Gift of Zou Li, Chinese Artists Association Member, China San Francisco by tug mannning freighter, ca. 1925 Heavy woman with infant in her lap, ca. 1940 Man and woman, dressed up and smiling, walking San Francisco from Fairmont Hotel, ca. 1925 Old man in hat and suspenders, with arm around little girl down the street, n.d. Two images of San Francisco from Telegraph Hill, ca. 1925 standing on a table, ca. 1940 Man holding cup, five figures in background,n.d. PHOTOGRAPHS Telegraph Hill, ca. 1925 Seated woman and three small children (two girls, one boy), Man leaning and girl swinging on boardwalk railing, n.d. Mission stairway with brother, ca. 1930 ca. 1940 Man's back with tattoos of eagle and jaguars, n.d. BARROW, Thomas. American, born 1938 Portrait of a woman in black hat, slouched, 3/4 view of face Smiling sailor wearing spectacles and white dress uniform, Man wearing white leisure suit and medallion, n.d. and shoulders, ca. 1930 ca. 1940 Old man standing, young woman in doorway, n.d. House of Fire/Capitalism, 1988 Helen Frankenthaler. American,1928–2011­ Polaroid print Portrait of a woman in hat, patterned scarf around neck, Smiling young man in white open neck shirt, ca. 1940 Prostitutes behind doorway, India, n.d. Blue Atmosphere II, 1963 Mechanism of Action 2 and Thick Description, 1988 white coat, ca. 1930 Soldier with arm around one little girl, another standing next Rear view of seated woman looking down street, n.d. Acrylic on unprimed canvas Spray painted photograms Portrait of a woman in profile, white hat, black coat, white to him, mother with infant on her lap, ca. 1940 Side view of man in park wearing black hooded Gift of Sarah (Sarah Griswold, class of 1954) Gift of Nicole Moretti Ungar, class of 1982, and Jon Ungar scarf, ca. 1930 Three small boys in overalls, ca. 1940 sweatshirt, n.d. and Richard Leahy Portrait of a woman wearing earrings, white hat, white coat, Toddler in embroidered dress, seated on table, ca. 1940 Two women walking, one in short striped skirt, n.d. BRIDGES, Marilyn. American, born 1948 looking at camera, ca. 1930 Woman holding infant in her arms, ca. 1940 Woman holding child, profile of man, n.d. Painter, printmaker, and sculptor Helen Frankenthaler was Tweed Field, Le Roy, NY and Twin Wagons #2 in Snow, 1981 Silver prints on Charcoal Black paper Young woman in sweater and plaid skirt holding a baby on Woman in knee high boots standing by cigarette considered a second generation member of the Abstract Expressionists. “Floating Rock” Rock Formation, Monument Valley, Tree with spreading limbs, ca. 1930 her lap, backgkround with one stripe, ca. 1940 machine, n.d. 1983 In her more than six decades of work, she established herself as a major artist of Maiden Castle, Dorset, Stonehenge #2, England, and West Platinum print Man standing, in suit and tie, 1943 Woman yelling into microphone, n.d. Kennet Long Barrow, Wiltshire, 1985 Cedar spire, granite, California High Sierras, ca. 1930s Girl in sleeveless top. polka dot skirt, arms around her knees, Young men playing ball, onlookers, n.d. the 20th century, who succeeded in the male-dominated post-war art scene of New York. Playing Baseball, Athens Creek, NY and Windmills on Two images of Gnarled trees, High Sierras, ca. 1930s seated on table in from of background with one stripe, Coney Island, ca. 1954 (modern print) Ridges, Tehachapi, CA, Three images of Owens Valley, California, ca. 1930s 1954 Rear view of man walking, brick sidewalk, ca. 1970s 1986 In 1952, Frankenthaler pioneered her signature “soak stain” technique with the Inka Highway, Quebrada de la Vaca, 1989 Court of Pacifica, San Francisco Golden Gate International Gelatin silver prints Gelatin silver prints Mercedes, Rob and Micky, Monolith, CA, 1991 Exposition, Treasure Island, 1939–1940 Gift of Nicole Moretti Ungar, class of 1982, and Jon Ungar Gift of Nicole Moretti Ungar, class of 1982, and Jon Ungar painting Mountains and Sea, in which turpentine-thinned oil medium was spread in pools Gelatin silver prints Monk's Garden, San Francisco Golden Gate International on an unprimed canvas. In 1962–63 she began to experiment with acrylic paint, developing a Gift of Nicole Moretti Ungar, class of 1982, and Jon Ungar Exposition, Treasure Island, 1939–1940 FINOCCHIARO, Mario. Italian, 1920s–1999 LORD, Benjamin. American, born 1974 San Francisco Golden Gate International Exposition, Treasure “Al di La” (girl making snowball behind iron fence) Humaliwo Chambers, Norton Christmas Project 2010, 2010 variation on her oil “soak stain” technique to flood and fill the expanse of canvas.The Bay (1963, BRUENCHENHEIM, Eugene von. American, 1910–1938 Island (female statue), 1939–1940 “La Porta a Vetri” (doorway, woman’s silhouette in glass, Wooden stereo viewer with 24 color photo Detroit Institute of Arts) is credited as her first acrylic soak painting and belongs to a number of Untitled, 1940s View of the entrance to San Francisco Golden Gate front of a bicycle), ca. 1950s lithographs water-themed paintings created in the summer, as she divided her time between New York and Two vintage gelatin silver prints International Exposition, Treasure Island, 1939–1940 Vintage gelatin silver prints Gift of Jessica Nicoll, class of 1983, through the generosity Provincetown, MA. Blue Atmosphere II belongs to this period of transition, and would seem to be Gift of Susan L. Brundage, class of 1971, and Edward Thorp Silver prints on Charcoal Black paper Gift of Nicole Moretti Ungar, class of 1982, and Jon Ungar of Gwen and Peter Norton Gift of Nicole Moretti Ungar, class of 1982, and Jon Ungar positioned between two other paintings of the same title of 1963, combining the palettes of DASSONVILLE, William Edward. American, 1879–1957 LEVINSTEIN, Leon. American, 1913–1988 LYON, Danny. American, born 1942 both: Blue Atmosphere, a large canvas of reds and blues, and the smaller Blue Atmosphere III, a Point Lobos, DISFARMER, Michael. American, 1884–1959 Backs of four girls in Holy Communion clothes, n.d. Seventeen photographs from The Destruction of Lower ca. 1920s vertical canvas with orange-red, green, and purple color areas. These works share a similar Silver print Little girl in drop waist dress, barefoot, wearing hat, cloud Close up of man in profile, car in background, n.d. Manhattan, 1966 1967 (printed 2007) background, ca. 1920 Close up of two women talking, n.d. 80 and 82 Beekman Street approach to filling the canvas in evoking the natural world of land, sea, and sky.

1 4 acquisitions acquisitions 1 5 Left: Unknown. African, Yoruba peoples, Nigeria Blue coronet with tassel (Orikogbofo), 20th century Left: Roman Signer. Swiss, born 1938 Glass beads and cloth 56 Small Helicopters, 2008 Anonymous gift Video (3 minutes 15 seconds) Purchased with funds from the Contemporary Associates Right: Eugène Delacroix. French, 1798–1863 Figure Studies, ca. 1840 Right: Sally Michel Avery. American, 1902­–2003 Pen and brown ink on medium weight light brown paper Wicker Chat, 1987 Gift of Catherine Blanton Freedberg, class of 1964, in memory Watercolor and crayon on heavyweight watercolor paper of her husband, Professor Sydney J. Freedberg Gift of Marilyn and L. Robert Cohen (Marilyn L. Levin, class of 1968)

Aerial View of Manhattan Woman washing with pot of water, Haiti Excavations, 1998/2001 Skyline Drive, Virginia, 1974 PRINTS BASKIN, Leonard. American, 1922–2000 Brick crew on the west side Gelatin silver prints Toned gelatin silver prints Toroweap, Grand Canyon, Arizona, 1978 Frightened and Terrified Man,1955 The Brooklyn Bridge site seen from the roof of the Beekman Gift of Nicole Moretti Ungar, class of 1982, and Jon Ungar Copper Plate Artifact Found at Moche, Peru Excavation from Washington, DC, 1984 ALBERS, Anni. American, b. Germany, 1899–1994 Haman, 1955 Hospital Ryoichi Excavations, 1986/2001 New Orleans, 1985 TR I , 1969 Woodcuts printed in black on thin cream-colored Asian paper Buildings about to be demolished, West Side, Lower MARCONI, Gaudenzio. Italian, 1841–1885 Carburetor Artifact from Ryoichi Excavations, 1999/2001 Two images of Broward County, Florida, 1989 TR II, 1970 Possessed, proof from Grotesques, 1965 Manhattan Academic nude study, from behind, 1870s Ryoichi's Journal: Uluru Rock, Australia, May 19, 1999, Blue Mesa, Arizona, 1990 3-color lithographs on Arjomari paper Etching printed in black on paper Fulton Street at the northwest corner of Fulton and Albumen print from wet collodion negative 1999/2001 Canyon de Chelly, Arizona, 1990 TR III, 1970 Untitled (Double Winged Man), proof from Cliff Streets Purchased with the fund in honor of Charles Chetham Dendochronology, 2000/2001 Gelatin silver prints 1-color zinc embossed screen print on Paper Technologies, Grotesques, 1965 Housewreckers at lunch on the west side Wall of the Radiocarbon Dating, 2000/2001 Gift of Nicole Moretti Ungar, class of 1982, and Jon Ungar Inc. Waterleaf paper Etching printed in color on paper St. George building MARKOV-GRINBERG, Mark. Russian, 1907–2003 Chromogenic (Fuji Crystal Archive) prints Gift of the Irene M. Hunter (Irene Mennen, class of 1939) Aeneas and Anchises, 1972 Interior of Mark di Suvero's 195 Front Street loft The Cook (or The Kitchen), 1935 (modern print) Gift of Nicole Moretti Ungar, class of 1982, and Jon Ungar STETTNER, Louis. American, born 1922 2004 Trust Lithograph printed in black on paper Mark di Suvero with the skull "Yorick" in his 195 Front Young Woman, Celebration of the Horsemen, Kabardino Three photographs from the Mannequin Series, 1946 Barlach, from Semblant, 1989 Street loft Balkaria, North Caucuses and Horse drawn Artillery RITTASE, William M. American, 1887–1968 (modern prints) ALBERS, Josef. American, b. Germany, 1888–1976 Lithograph printed in color on paper The north side of Beekman Street between William and Brigade, Kiev Military Maneuvers, 1936 (modern prints) Industrial Collage, 1930's Edouard Boubat (man in overcoat), 1950 Embossed Linear Constructions I A, 1-B, 1-C, and 1-D, 1969 Hung Crow, 1990 Nassau Streets “For Our Motherland!” (Two Soldiers Attacking), 1943 Vintage gelatin silver print Manhattan (5th Avenue sign), ca. 1976–1980 Embossed Linear Constructions 2 A, 2-B, 2-C, and 2-D, 1969 Etching printed in black on paper The ruins of 100 Gold Street (modern print) Purchased with the fund in honor of Charles Chetham Manhattan, 9th Avenue, ca. 1976–1980 Embossing on Arches Watercolor 300 gram paper Ghandi, n.d. The St. George building stood at the northwest corner Ferrotyped gelatin silver prints Manhattan (afro), ca. 1976–1980 Gift of the Irene M. Hunter (Irene Mennen, class of 1939) Relief print printed in black on paper of Beekman and Cliff Streets Gift of Nicole Moretti Ungar, class of 1982, and Jon Ungar SANDER, August. German, 1876–1964 Anastasia, 1985 2004 Trust Thorned Man, n.d. View from a Gold Street rooftop looking east toward the The Painter Otto Freundlich, 1929 (printed 1974) NYC, 1993 SP IV, 1967 Etching printed in black on paper rear of Fulton Street NAGATANI, Patrick. American, born 1945 Gelatin silver print NYC, 1999 Screenprint printed in color on paper mounted on matboard Gift of Jennifer R. S. Grogan in memory of Cynthia View from my loft, looking north on William Street Ground Zero, "Operation Gnome" (Dec. 10, 1961), Gift of Nicole Moretti Ungar, class of 1982, and Jon Ungar Athens, NY (American flag), 2001 Gift of Peggy McNeil Boyer, class of 1958 Propper Seton, class of 1948 View south on Cliff Street at its intersection with Beekman 48 Kilometers Southeast of Carlsbad, New Mexico Rock Port, Maine [sic], 2003 Poet Laureate, 1955 View through the rear wall, 89 Beekman Street Simulation/Simulation,the Trestle, Nuclear Effects SANTOS, Eduardo Hernandez. Cuban, born 1666 Gelatin silver prints BARKER OF BATH, Thomas. English, 1769–1847 Torment, 1958 The west side of Gold Street between Ann and Beekman (Electromagnetic Pulses), Simulation Facility, Air Force El Muro (The Wall), 2005 (printed in 2008) Gift of Nicole Moretti Ungar, class of 1982, and Jon Ungar A Study from Hampton Downs, near Bath, from Thirty two Everyman, 1960 Streets Weapons Laboratory, Kirtland A.F.B. Albuquerque, New ten photographic triptychs; gelatin silver prints with press type lithographic Impressions from pen drawings of landscape Birdman, 1962 Eleven photographs of Haiti, 1983–1986 (printed 2007) Mexico from Nuclear Enchantment, 1990 Purchased with funds from the Dorius-Spofford Fund for the WHEELER, Elsie Trask. American, born 1932 scenery, 1814 Woodcuts printed in black on thin cream-colored Asian paper An out of uniform Tonton Macoute with an Uzi Iflocolor prints Study of Civil Liberties and Freedom of Expression Young Monk Late for Prayers, ca. 1994 Pen lithograph printed in brown on medium-weight white Man with Crow on His Head, 1964 Back of a woman in bedroom, Haiti Cadillac Eldorado, Sandy Point Site, Albuquerque C print wove paper mounted on moderately-thick moderately- Lithograph printed in black on paper Dominoes at the Fiesta Club International Sunport, New Mexico, USA, from Ryoichi SHIELDS, William Gordon. American, 1883–1947 Gift of Elsie Trask Wheeler, class of 1954 textured cream wove paper Tyrant, 1969 The mural at the Copa Club Excavations, 1996/2001 Skiff on water, reflections of trees Purchased with the Elizabeth Halsey Dock, class Etching printed in black on Velin d'Arches paper Port au Prince BMW, Chetro Ketkiva, Chado Canyon, New Mexico, USA Waterfall, stream, trees and small house, ca. 1910s WINOGRAND, Garry. American, 1928–1984 of 1933, Fund Gift of Paul Seton in memory of Cynthia Propper Seton, Two women comparing rings, drinking Prestige Lager Beer, from Ryoichi Excavations, 1997/2001 Matte-finish warm toned gelatin silver prints Black woman in black and white striped fur coat, and class of 1948 Haiti Model A Woody, National Radio Astronomy Observatory Gift of Nicole Moretti Ungar, class of 1982, and Jon Ungar Woman and dog in fountain pool, Central Park from BARROW, Thomas. American, born 1938 Rodolphe Bresdin, 1969 Vierge Miracles truck, Port au Prince (VLA), Plains of St. Augustin, New Mexico USA from Women are Beautiful, ca. 1980 Spread, 1979 Etching printed in black and green on heavyweight Women on donkeys (film strip montage) Ryoichi Excavations, 1997/2001 SMITH, Michael A. American, born 1942 Gelatin silver prints Photolithograph on paper cream-colored wove paper Women in market, Haiti Plymouth, Basti Wilderness, New Mexico, USA from Ryoichi Near Frenchtown, New Jersey, 1972 Gift of Nicole Moretti Ungar, class of 1982, and Jon Ungar Gift of Nicole Moretti Ungar, class of 1982, and Jon Ungar Gift of Betty Beckanstin Ross, class of 1946, in honor of her 65th class reunion May 2011

1 6 acquisitions acquisitions 1 7 Left: Tim Davis. American, born 1969 Left: Lee Jackson. American, 1909–2002 Upstate New York Olympics, 2010–11 V-J Day, Times Square, New York, 1945-46 Three-channel video (34 minutes) Oil on Masonite Purchased with the Carol Ramsay Chandler Fund Gift of Betty Polisar Reigot, class of 1944 for the purchase of works of art for SCMA.

Right: Salvator Rosa. Italian, 1615–1673 Right: Yozo Hamaguchi. Japanese, 1909–2000 Fishermen Pulling in Their Nets, late 1660s Almost Symmetric, 1994 Pen and brown ink with grey wash on beige moderately textured paper Mezzotint printed from one plate in black on Rives BFK paper Anonymous gift from a private collection, Connecticut Gift of Lee Traub, class of 1947, and Lise Scott

BENTON, Thomas Hart. American, 1889–1975 Man Overboard, 1981 Gift of Sue Welsh Reed, class of 1958 cream-colored paper Six Prong, 1974 Purchased with the Elizabeth Halsey Dock, class Making Camp, 1972 Woodcut printed in black on lightweight cream-colored Avec un gant I, 1972 Six Prong Color Notation, 1974 of 1933, Fund Self Portrait, 1972 Asian paper BRACQUEMOND, Marie. French, 1840–1916 Carborundum with relief on paper 25-color screenprint on Arches 88 paper Lithographs printed in black on BFK Rives paper Man Overboard, 1981 La Dame a l'Eventáil (Self Portrait in a Spanish Costume), Gift of Lynn Hecht Schafran, class of 1962 Six Prong Grey, 1974 DUHARTE, Jannette Brossard. Cuban, born 1973 Gift of Irene Starr (Irene Stiefel, class of 1961), and Woodcut printed in color on medium-weight ca. 1880 7-color screen print on Arches 88 paper Cerrando apuestas (Betting on the horses) from Poder Norton Starr cream-colored paper Etching printed in black on lightweight golden CORDERO, Hanoi Pérez. Cuban, born 1976 Black Vent Beam, 1975 (Power), 2010 Polar Bear, 1981 Japanese paper Untitled from Poder (Power), 2010 1-color lithograph on Arches Cover buff paper Linocut on heavyweight moderately textured cream- BERMAN, Wallace. American, 1926–1976 Woodcut printed in black on lightweight speckled tan Purchased with the fund in honor of Charles Chetham Screenprint on heavyweight smooth white paper Gift of the Irene M. Hunter (Irene Mennen, class of 1939) colored paper Radio/Aether, 1974 Asian paper and the Elizabeth Halsey Dock, class of 1933, Fund Purchased with the gift of the Fred Bergfors and Margaret 2004 Trust Purchased with the gift of the Fred Bergfors and Margaret Portfolio of thirteen 2-color offset lithographs on Starwhite Polar Bear, 1981 Sandberg Foundation and the fund Sandberg Foundation and the fund Cover paper mounted on Gemini ragboard Woodcut printed in color on lightweight cream-colored BRITO, Jorge Yamilys. Cuban, born 1972 in honor of Charles Chetham DEHNER, Dorothy. American, 1901–1994 in honor of Charles Chetham Gift of the Irene M. Hunter (Irene Mennen, class of 1939) Asian paper Homeland (Patria) from Poder (Power), 2010 Landscape, New York (New York Harbor (The River) or 2004 Trust Adrift I, 1988 Linocut and inkjet on medium-weight smooth DAIBER, Steven C. American, born 1955 The Bridge), 1958 DURIBE, Luis Lamothe. Cuban, born 1965 Soft-ground and spit-bite etching printed in color on white paper Untitled from Poder (Power), 2010 Engraving printed in black on medium-weight cream-colored Idology (Ideologia) from Poder (Power), 2010 BOILVIN, Émile. French, 1845–1899 Hannemunel paper Purchased with the gift of the Fred Bergfors and Margaret Xylography on printed map wove paper Linocut on medium-weight white paper Agacerie (femme agacant un perroquet, d'après le tableau Adrift II, 1988 Sandberg Foundation and the fund Purchased with the gift of the Fred Bergfors and Margaret Purchased with the Katharine S. Pearce, class of 1915, Purchased with the gift of the Fred Bergfors and Margaret exposé en 1878), c. 1878 Spit-bite etching printed in color on Hahnemuhle paper in honor of Charles Chetham Sandberg Foundation and the fund Fund, and the Rita Rich Fraad, class of 1937, Fund for Sandberg Foundation and the fund Etching and aquatint printed in black on medium-weight tan Volcano, 1989 in honor of Charles Chetham American Art in honor of Charles Chetham laid paper Woodcut printed in color on Kozo white paper CHAGALL, Marc. Russian, 1887–1985 Four impressions (proof, proof before the letters, third state, Night Light, 1992 Landscape with Isbas and Le Poisson Bleu, 1957 DALI, Salvador. Spanish, 1904–1957 DIAZ, Dania Fleites. Cuban, born 1966 FERNÁDEZ, Angelmaidelin Calzadilla. Cuban, born 1975 published state) Etching and aquatint printed in color on heavyweight L'Accordioniste, n.d. Pablo Picasso, 1970 Untitled from Poder (Power), 2010 Relationship of Power (Relaciones de Poder) from Poder Gift of James A. Bergquist, Boston, in honor of his daughter, cream-colored paper Lithographs printed in color on cream-colored wove paper Photolithograph, pochoir and engraving on ochre Linocut on medium-weight smooth white paper (Power), 2010 Echo B. Bergquist, class of 2008 Ocean Breeze, 1992 Gift of Lynn Hecht Schafran, class of 1962 Ingres paper Purchased with the gift of the Fred Bergfors and Margaret Screenprint on heavyweight blue flocked paper Etching, aquatint, spit-bite, and drypoint printed in color CHICAGO, Judy. American, born 1939 Gift of Beth S. Nelkin, class of 1965, and Arthur L. Nelkin Sandberg Foundation and the fund Purchased with the gift of the Fred Bergfors and Margaret BOROFSKY, Jonathan. American, born 1942 on medium-weight white paper Red Flag, 1971 in honor of Charles Chetham Sandberg Foundation and the fund Boy with Flute, 1976–1980 Brooklyn Bridge, n.d. Peeling Back, 1974 DAVIS, Ronald Wendel. American, born 1937 in honor of Charles Chetham People Running, 1977–1982 Woodcut printed in color on medium-weight Photolithographs printed in color on paper Two Bar, from Rectangle Series, 1971 DINE, Jim. American, born 1935 Lithographs printed in black on paper cream-colored paper Gift of Judith Nakhnikian in honor of Sofia Nakhnikian Two Circle, from Rectangle Series, 1971 Rimbaud, 1975 FRANCIS, Sam. American, 1923–1994 Gift of Lenore and Alvin Weseley in honor of Dean Flower Gift of Wilson and Eliot Nolen (Eliot Chace Nolen, Weintraub, class of 2012 8-color lithograph and screenprint with embossing Etching printed in black on paper Of Vega, 1972 class of 1954) on Arches Cover white paper Gift of Mary Rothenbuehler Katz, class of 1973 4-color screenprint on Arjomari paper BOSMAN, Richard. American, born 1944 CLAVÉ, Antoni. Spanish, 1913–2005 Four Circle, from the Rectangle Series, 1971 and Anne McInerny Pinkston, class of 1974 Pointing to the Future, 1976 South Sea Kiss, 1980 1981 BOSSE, Abraham. French, 1602–1676 Bird, ca. 1950 6-color lithograph and screenprint on Arches Cover 5-color lithograph on Arches 88 paper Woodcut printed in black on lightweight white Asian paper Four prints from La Noblesse Française à l'Eglise Roi à l'oiseau, 1958 white paper DREWES, Werner. American, b. Germany, 1899–1985 Gift of the Irene M. Hunter (Irene Mennen, class of 1939) South Sea Kiss, 1980 1981 Man with Book, Man Walking with Hat, Seated Woman, Lithographs printed in color on paper Six Frame, 1972 Weiden an der Landstrasse (Country Road with Willows 2004 Trust Woodcut printed in color on medium-weight cream-colored and Standing Woman, late 1620s Une feuille noir, 1969 8-color screen print on Arjomari paper Near Brandenburg), 1919 paper Etchings printed in black on paper Etching with carborundum printed in color on heavyweight Framed Block, 1974 Woodcut printed in black on medium-weight GOODE, Joe. American, born 1937 22-color screenprint on Arches 88 paper cream-colored wove Japanese paper Tissue Tear Series: Untitled, 1975

1 8 acquisitions acquisitions 1 9 Left: Andrea Fraser. American, born 1965 Left: Ursula von Rydingsvard. German, born 1941 Little Frank and His Carp, 2001 Untitled, 2008 Video (6 minutes) Charcoal on heavyweight cream-colored wove paper Purchased with funds from the Contemporary Associates Gift of Doug Woodman and Dalya Inhaber

Right: Claes Thure Oldenburg. American, born 1929 Right: Elsie Trask Wheeler. American, born 1932 Double Nose/Purse/Punching Bag/Ashtray, 1970 Young Monk Late for Prayers, ca. 1994 Leather, bronze, wood chips and nickels in wood box C print Gift of the Irene M. Hunter (Irene Mennen, class of 1939) 2004 Trust Gift of Elsie Trask Wheeler, class of 1954

2-layer, 3-color lithograph on Troya 6 1/2 tissue and Arches HERRERA, Arturo. American, b. Venezuela, 1959 LOVELL, Whitfield. American, born 1959 PICCINI, Suor Isabella after Giovanni Battista Finazzi. 8-color screenprint on Arjorami paper Cardbird VI, 1971 88 paper Berlin Singers, 2010 Deuce, 2011 Italian, active, ca. 1651–1692 Interior Series: Green Turtle Cup, 1971 Collage print with corrugated cardboard, tape, steel staples, Wash and Tear Series: Untitled, 1975 Portfolio of ten prints; collage, inkjet, etching, and Lithograph printed in black on Ivory Plike paper Saints Peter and Paul, n.d. 19-color screenprint on Arjomari paper photo-offset lithograph, and screenprint 2-layer, 3-color screenprint on silk screenprint on Rives BFK White 300 gsm Gift of the artist through the Smith College Print Workshop Engraving printed in black on medium-weight white laid Interior Series: Lizard Cup, 1971 Cardbird VII, 1971 Gift of the Irene M. Hunter (Irene Mennen, class of 1939) Purchased with the Janice Carlson Oresman, class of 1955, paper mounted on medium-weight cream-colored wove 16-color screenprint on Arjomari paper Collage print with corrugated cardboard, tape, photo offset 2004 Trust Fund and the Elizabeth Halsey Dock, class of 1933, Fund MAUFRA, Maxime. French, 1861–1918 paper with ink ruled framing lines Interior Series: Frog Cup, 1972 lithograph, and screenprint Le Chemin au bor de la mer (La Route de Gaud), 1893 Purchased with the Eva W. Nair, class of 1928, Fund, 18-color screenprint on Rives paper Cardbird Door, 1971 GRAHAM, Robert. American, 1938–2008 HOCKNEY, David. English, born 1937 Lithograph printed in four colors on medium-weight cream- and the Katharine S. Pearce, class of 1915, Fund Gift of the Irene M. Hunter (Irene Mennen, class of 1939) Silkscreen and lithograph on corrugated cardboard and paper Five untitled prints from the Figure Table series, 1975 Study of Lightning, 1973 wove paper 2004 Trust with tape, metal, wood and casein 1-color screen print on Arches 88 paper 4-color lithograph on Arches Cover paper Purchased with the Josephine A. Stein, class of 1927, Fund PIREZ, Norberto Marrero. Cuban, born 1966 Gift of the Irene M. Hunter (Irene Mennen, class of 1939) 2-color screen print on Arches paper Smaller Study of Lightning, 1973 in honor of the class of 1927 Untitled from Poder (Power), 2010 RAFFAELE, Joe. American, born 1933 2004 Trust 3-color screenprint on Arches 88 paper 3-color lithograph on Moulin du Verger du Puymoyen Linocut on medium-weight moderately-textured cream- Boy Touching Man Touching Upper Lip, 1967 4-color screenprint on Arches paper handmade paper (Amgoumois a la Main) MOTHERWELL, Robert. American, 1915–1991 colored paper 1-color lithograph on Zerkall copperplate delux paper RENOIR, Pierre Auguste. French, 1841–1919 5-color screenprint on Arches paper Don Cribb, from the Friends series, 1976 Soot Black Stone #1,1973 Purchased with the gift of the Fred Bergfors and Margaret Gift of the Irene M. Hunter (Irene Mennen, class of 1939) Maternité, ca. 1912 Gift of the Irene M. Hunter (Irene Mennen, class of 1939) Lithograph printed in black on Arches Cover buff paper 1-color lithograph on Georges Duchene, Moulin de Larroque Sandberg Foundation and the fund 2004 Trust Lithograph printed in black on cream-colored wove paper, 2004 Trust Gift of the Irene M. Hunter (Irene Mennen, class of 1939) Hawthorne paper in honor of Charles Chetham 2nd (final) state 2004 Trust Gift of the Irene M. Hunter (Irene Mennen, class of 1939) RAMOS, Alejandro Sainz. Cuban, born 1966 Gift of Lynn Hecht Schafran, class of 1962 HAMAGUCHI, Yozo. Japanese, 1909–2000 2004 Trust Untitled from Poder (Power), 2010 Almost Symmetric, 1994 LICHTENSTEIN, Roy. American, 1923–1997 POWHIDA, William. American, born 1976 Lithograph on medium weight smooth white paper RODRIGUES, Isolina Limonta. Cuban, born 1955 Mezzotint printed from one plate in black on Rives BFK paper Mirror #7, 1972 ORTEGA, Oscar Osmeivy. Cuban, born 1980 Tips for Artists Who Want to Sell (new and unimproved), 2005 Purchased with the gift of the Fred Bergfors and Margaret Poder Invertido (Reversed Power) from Poder (Power), 2010 Gift of Lee Traub, class of 1947, and Lise Scott 5-color lithograph and screen print on Arjomari paper Untitled from Poder (Power), 2010 Screenprint in color on Rives BFK White 270 gsm paper Sandberg Foundation and the fund in honor of Charles Etching on medium weight cream-colored paper Gift of the Irene M. Hunter (Irene Mennen, class of 1939) Linocut on medium-weight white paper Purchased with the Josephine A. Stein, class of 1927, Fund Chetham Purchased with the gift of the Fred Bergfors and Margaret HAMILTON, Ann. American, born 1956 2004 Trust Purchased with the gift of the Fred Bergfors and Margaret in honor of the class of 1927 Sandberg Foundation and the fund Crease, 1999 Sandberg Foundation and the fund RAUSCHENBERG, Robert. American, 1925–2008 in honor of Charles Chetham Fold, 1999 LIGON, Glenn. American, born 1960 in honor of Charles Chetham PRICE, Ken. American, born 1935 Cardbird I, 1971 commute . 1, 2001 Self Portrait at Eleven Years Old, 2004 Figurine Cup Series: I, 1970 Collage with corrugated cardboard, tape, photo-offset RODRIGUEZ, Darexis Valle. Cuban, born 1985 phora . 1–12, 2005 Cotton base sheet with stenciled linen pulp OTTAVIANI, Giovanni. Italian, ca. 1735–1808 6-color lithograph on Arjomari paper lithograph, and screenprint Untitled from Poder (Power), 2010 reflection (12:00), reflection (12:05), reflection (12:10), Purchased with the Josephine A. Stein, class of 1927, Fund Panel from Loggia di Rafaele nel Vaticano, ca. 1772–1777 Figurine Cup Series: II, 1970 Cardbird III, 1971 Linocut on medium weight smooth white paper reflection (12:15), reflection (12:20), in honor of the class of 1927 Etching with hand coloring on paper 8-color lithograph on Arjomari paper Collage with corrugated cardboard, tape, polyethylene, Purchased with the gift of the Fred Bergfors and Margaret reflection (12:25), reflection (12:30), reflection (12:35), Gift of Doug Woodman and Dalya Inhaber Figurine Cup Series: III, 1970 photo-offset lithograph, and screenprint Sandberg Foundation and the fund in honor of Charles reflection (12:40), reflection (12:45), reflection (12:50), LONDONIO, Francisco. Italian, 1923–1783 7-color offset lithograph and screen print on Arjomari paper Cardbird IV, 1971 Chetham reflection (12:55), 1999/2000 Pastoral Scene, 18th century PARR. Inuit (Cape Dorset), 1893–1969 Figurine Cup Series: IV, 1970 Collage with corrugated cardboard, tape, photo-offset Iris inkjet prints on Arches watercolor paper Etching printed in black with white gouache on lightweight Geese, Men, and Animals, 1963 5-color lithograph and screen print on Arjomari paper lithograph, and screenprint RODRIGUEZ, Orlando Montalbán. Cuban, born 1976 (lumen) grab 1–10, 1995/1999, 2000 flocked blue wove paper Stencil printed in color on lightweight cream-colored Asian Interior Series: Chairs, Table, Rug, Cup, 1971 Cardbird V, 1971 Untitled from Poder (Power), 2010 Design Winder inkjet print on Arches Cover paper Gift of Mary A. Lessing Evans paper 14-color screenprint on Arjorami paper Collage with corrugated cardboard, tape, steel staples, Linocut on heavyweight cream-colored paper Gift of Sean, Mary and Thomas Kelly in honor of Lauren Gift of Lynn Hecht Schafran, class of 1962 Interior Series: French Figurine Cup, 1971 photo-offset lithograph, and screenprint Purchased with the gift of the Fred Bergfors and Margaret H. Kelly, class of 2005

2 0 acquisitions acquisitions 2 1 Left: Milton Resnick. American, 1917–2004 Richard Bosman. Abstract in Reds, Blues and Green, 1960 American, born 1944 Oil on paper mounted on Masonite Polar Bear, 1981 Gift of Beth S. Nelkin, class of 1965, and Arthur L. Nelkin Qiu Deshu. Chinese, born 1948 Woodcut printed in color Blue Cracks, June 1984–April 1985 on lightweight Right: Scott Prior. American, born 1949 Colored ink and collage on two joined sheets of medium- cream-colored Asian paper Tower of Babel, 1973 weight moderately textured white Asian paper Gift of Wilson and Eliot Oil on wood panel Gift of Joan Lebold Cohen, class of 1954, and Jerome A. Nolen (Eliot Chace Nolen, Gift of Dr. William and Sharon Theobald Cohen in honor of Jane Debevoise and Paul Calello class of 1954)

Sandberg Foundation and the fund in honor of Charles Purchased through the efforts of students in the class Gift of the Irene M. Hunter (Irene Mennen, class of 1939) MARCKS, Gerhard. German, 1889–1981 UNKNOWN. Pre-Columbian; Mezcala UNKNOWN. Pre-Columbian; Nayarit Chetham Collecting 101, January 2011 2004 Trust Walking Woman, n.d. Face mask, n.d. Standing female figure with child and pot, n.d. Bronze Alabaster Clay ROMEU, Jesús Reyes. Cuban, born 1965 SHIN, Jean. American, b. South Korea, 1971 TRAVIÉS DE VILLERS, Charles Joseph. French, 1804–1859 Gift of Priscilla Cunningham, class of 1958, Gift of Gail Binney Sterne Gift of Gail Binney Sterne Dandole vuelta (Turn it around) from Poder (Power), 2010 Pressed Blouse, 2010 Voici Messieurs, ce que nous avons l’honneur d’exposer in honor of David Dempsey Linocut on heavyweight white paper Three-plate collagraph printed in color on Rives BFK paper journellement, from La Caricature, No. 174, plate 366, UNKNOWN. Pre-Columbian; cultural origin ZOGBAUM, Wilfrid. American, 1915–1965 Purchased with the gift of the Fred Bergfors and Margaret Purchased with the Richard and Rebecca Evans (Rebecca published March 6, 1834 OLDENBURG, Claes Thure. American, born 1929 unknown Ets Hokin Galvin, 1963 Sandberg Foundation and the fund Morris, class of 1932) Foundation Fund Lithograph printed in black on medium-weight Double Nose/Purse/Punching Bag/Ashtray, 1970 Standing figure with arms out,n.d. Metal pipe in honor of Charles Chetham cream-colored paper Leather, bronze, wood chips and nickels in wood box Clay Gift of Rufus F. Zogbaum in honor of Beth Grams Haxby, SIPORIN, Mitchell. American, 1910–1976 Purchased with the Eva W. Nair, class of 1928, Fund, Gift of the Irene M. Hunter (Irene Mennen, class of 1939) Gift of Gail Binney Sterne Robert Hepner, Gary Thayer, and Thomas Weiner RUSCHA, Edward. American, born 1937 King David, In the Studio, Performers, 1960s and the Elizabeth Halsey Dock, class of 1933, Fund 2004 Trust Five prints form the series Tropical Fish Music, 1974 Engravings printed in black on paper UNKNOWN. Pre-Columbian; Colima 6-color screen print with laquer overprint on Arches 88 paper Judith, 1960s WALKER, Kara Elizabeth. American, born 1969 RAUSCHENBERG, Robert. American, 1925–2008 Turtle whistle, n.d. Sweets, Meats, Sheets, 1974 Etching printed in black on medium-weight Three prints from Harper’s Pictorial History of the Ballot, from the series Bones and Unions, 1975 Clay 6-color screen print with laquer overprint on Arches 88 paper cream-colored paper Civil War (Annotated), 2005 Rag-mud (paper pulp, fenugreek powder, tamarind powder, Gift of Gail Binney Sterne Air Water Fire, 1975 Gift of Rachel Siporin and Judith Siporin in memory Buzzard’s Roost Pass… chalk powder, gum powder, and copper sulfate) and rope 5-color screen print with laquer overprint on Arches 88 paper of their parents, Miriam and Mitchell Siporin Lost Mountain at Sunrise… Gift of the Irene M. Hunter (Irene Mennen, class of 1939) UNKNOWN. Pre-Columbian; Colima Closed, 1975 SOSA, Aliosky Garcia. Cuban, born 1979 Occupation of Alexandria… 2004 Trust Figure whistle with hands over mouth, n.d. 4-color screenprint with laquer overprint in Arches 88 paper Untitled from Poder (Power), 2010 Offset lithograph and screenprints on paper Clay Open, 1975 Linocut on medium weight smooth white paper Purchased with the Dorothy C. Miller, class of 1925, Fund SHIBATA Mariko. Japanese, born 1957 Gift of Gail Binney Sterne 4-color screenprint with varnish overprint on Arches 88 paper Purchased with the gift of the Fred Bergfors and Margaret Still Life, 2006 Gift of the Irene M. Hunter (Irene Mennen, class of 1939) Sandberg Foundation and the fund Porcelain with glaze UNKNOWN. Pre-Columbian; Nayarit 2004 Trust in honor of Charles Chetham SCULPTURE Gift of Dr. Peter Rajsingh Standing figure holding a fan, n.d. Clay SANTOS, Eduardo Hernández. Cuban, born 1966 STELLA, Frank. American, born 1936 BASKIN, Leonard. American, 1922–2000 UNKNOWN. Pre-Columbian; Nayarit Gift of Gail Binney Sterne Big Animal Eats the Small One (Animal grande se come al Nine prints from the Purple Series, 1972 Winslow Homer, n.d. Standing male figure with object in hand,n.d. pequeño) from Poder (Power), 2010 Carl Andre Bronze Clay UNKNOWN. Pre-Columbian; cultural origin unknown Screenprint with watercolor on heavyweight smooth Charlotte Tokayer Gift of Jennifer R. S. Grogan in memory of Cynthia Propper Gift of Gail Binney Sterne House with four figures, Pre-classic white paper D Seton, class of 1948 Clay Purchased with the gift of the Fred Bergfors and Margaret Henry Garden UNKNOWN. Pre-Columbian; cultural origin unknown Gift of Gail Binney Sterne Sandberg Foundation and the fund Hollis Frampton CHAMBERLAIN, John Angus. American, born 1927 Standing male figure, n.d. in honor of Charles Chetham Ileana Sonnabend Le Mole, 1971 Clay UNKNOWN. Pre-Columbian; Teotihuacan(?) Kay Bearman Cast polyester resin covered with aluminum and silicone Gift of Gail Binney Sterne Head with large headdress, n.d. SCOTT, Dread. American, born 1965 Leo Castelli vapor deposit coating Clay Boom BOOM!, 2001 Sidney Guberman Gift of the Irene M. Hunter (Irene Mennen, class of 1939) Gift of Gail Binney Sterne Screenprint printed in color on Stonehenge white paper 1-color lithographs on on Zerkall Copperplate deluxe paper 2004 Trust

2 2 acquisitions acquisitions 2 3 Exhibition highlight i SUGAR: Maria Magdalena Campos-Pons

Left: History of a People Who Were Not Heroes: A Town Portrait, 1994. Mixed media installation (wood, he work of Maria Magdalena Campos-Pons addresses the Afro-Cuban were brought to Cuba to work for the sugar mills as they became glass, steel, clay tablets, black and diaspora and her exilic identity as a woman of Yoruba ancestry, born in increasingly mechanized. Video components of the installation white photographs, video, stereo T sound). Dimensions variable. Matanzas, Cuba, and living and working in Boston. include an interview with the revered Cuba singer Omara Collection of the artist. Left: Sugar/Bittersweet, 2010. Portuondo from the Buena Vista Social Club. Mixed media installation (wood, glass, Right: Meanwhile the Girls Were raw sugar, metal, video, stereo sound). Sugar: Maria Magdalena Campos-Pons was developed in connection with the Playing, 1999-2000. Mixed media Dimensions variable. installation (metallic organdy, silk, collaborative Museums10 event, Table for Ten: The Art, History and Science of Sugar/Bittersweet was shown in the context of two other Collection of the artist. embroidered fabric, pâte de verre Food. The exhibition featured a newly commissioned site-specific installation, installations by Campos-Pons: History of a People Who Were flowers, four projected video tracks, Sugar/Bittersweet, with two earlier installations by the artist related to her Not Heroes: A Town Portrait (1994) and Meanwhile the Girls stereo sound). Dimensions variable. Collection of the artist. family’s ties to the sugar industry in Cuba. In many ways, Campos-Pons’s Were Playing (1999–2000). A Town Portrait recasts architectural personal history mirrors the so-called sugar triangle, a transatlantic trade route elements from her hometown La Vega—a domelike fountain, a involving many European nations and the United States, particularly New tower from the nearby sugar factory, a door, and a wall— and England, in the infamous exchange of slaves from Africa for sugar from the merges personal family memories with moments of Afro-Cuban Caribbean. From South Pacific origins, spreading from India and the Middle history. The tower in the installation is one of several former East to Mediterranean and Africa, sugar cane crossed the ocean to the New distillery towers from the now defunct sugar mill and represents and other Cuban artists have reclaimed official histories of the nation—and World in the late fifteenth century and became the agent of human dislocation a conflicted landmark for the artist.Meanwhile the Girls Were the dominant narratives of slavery and sugar—and recast them for the future. "Sugar makes me cry. And the tears are salty and bitter." and tragedy on an epic scale. In the nineteenth century, Cuba’s slave-based Playing combines textiles, cast-glass flowers, and video projections ~ Maria Magdalena Campos-Pons, Fall 2010 plantation economy rose to become a leading sugar producer worldwide. of toys, sugar, and cotton candy, intermingling memories of Sugar was supported, in part, by a grant from the National Endowment for the childhood innocence with the conflicted legacy of sugar cane. Arts and funds from the Artists' Resource Trust of the Berkshire Taconic Community The artist conceived of Sugar/Bittersweet as a representation of a sugar cane Foundation, International Molasses Corporation, Ltd., and the Phyllis and Jerome Lyle field, with columns of disks of raw sugar and cast-glass forms pierced by Taking over the lower level of the Museum, the three installations Rappaport Foundation. Additional support was provided by the Selma P. Seltzer, class of African spears as visual metaphors for the tall, graceful stalks of the sugar created a powerful visual and artistic statement of the way in which 1919, estate and the Tryon Associates of SCMA. Program support was provided in part cane plant. These forms, set into African stools, referenced the slaves who sugar is inextricably tied to the artist’s personal history, to Cuba’s by a grant to Museums10 from Mass Humanities. worked the sugar cane fields. Other elements of the installation referred to national identity, and to slavery. As historian Alejandro de la Fuente Above: The artist in her studio, working on Sugar/Bittersweet, summer 2010. another aspect of the artist’s ancestry: the Chinese indentured laborers who discussed in his essay for the exhibition catalogue, Campos-Pons For a complete list of related programs see page 41.

2 4 e x h i b i t i o n h i g h l i g h t i e x h i b i t i o n h i g h l i g h t i 2 5 Kevin Quashie chats with with a Featuring 50 works from the early 1990s to the present, visitor following his gallery talk the exhibition focused on the development of Kin, a series Exhibition highlight ii More Than You Know: Works by Whitfield Lovell on February 11, 2011. of portrait drawings on paper. In 2008, SCMA purchased a drawing from this series entitled Kin XXXII (Run Like the Wind). The source material for the Kin drawings are identification photographs such as passport, photo booth, he American artist Whitfield Lovell is best known for his signature and mug shots. This type of institutional photography is Tsculptural tableaux of meticulously-drawn portraits of anonymous designed to represent or classify the sitter in a markedly African-Americans juxtaposed with resonant objects. These installations different manner than the staged portraits Lovell used in create a context in which viewers can contemplate and engage with ordinary, other bodies of work. The static positioning, harsh lighting, forgotten individuals through an evocative yet undirected narrative structure. and blank background that distinguish identification photographs are used by Lovell to concentrate on the The exhibition and related programming were warmly received and well- sitter’s face, allowing him to tease out such intangibles as Faculty Perspective attended. Visitors described the work as powerful, inspiring, thought- personality and emotional state in deft strokes of conté provoking, and reflective. crayon. Similarly, his use of a limited number of objects (often This is the way our contemporary world works: everything moves fast as if one) in relation to the portrait distills the implied narrative, on a screen with a crawl at the bottom and text boxes on the side; news is With a range of photographs as their source, Lovell’s emotionally moving while simultaneously opening the work to deeper viewer reported as it is happening and before there is time to make sense of it, it is drawings engage themes of memory, history, and ancestry through the interpretation. done with. All is overload, and what is lost is the art of studying—the slow, representation of African-American individuals living after the Civil War and quiet engagement that does not promise anything other than the pleasure to before the Civil Rights Movement. The objects Lovell chooses are as important Lovell visited Smith during March 2011 for a week-long be had in paying attention. as the portraits: each holds a history of use, wear, and ownership, and acts as a residency during which he was a Visiting Artist at the Smith virtual stand-in for the physical presence of people long past. During the early College Print Workshop and delivered the Dulcy Blume To study, to pay attention: I had been teaching about Whitfield Lovell for a 20th century, photography was an important way in which African-Americans Miller, class of 1946, Distinguished Lecture in Art. As a while, though always as part of a brief unit on contemporary black culture. were able to assert and present their own identities in the face of active result of Lovell’s residency, the Print Workshop published What the Museum’s exhibit allowed was the chance for me to slow down and cultural denial of their rights as individuals in the United States. a limited-edition lithograph, Deuce (2011) copies of which deliberate on his work. And what a rich opportunity this proved to be. are available for sale through the SCMA Shop. Kin VII (Scent of Magnolia), 2008 Kin XXXII (Run Like the Wind), 2008 Conte crayon on paper with attached wreath Conte crayon on paper with attached barbed wire I knew I would be on leave from teaching during the exhibit, so I was sure to Courtesy of DC Moore Gallery Permanent Collection, SCMA. More Than You Know was supported by the Judith emphasize Lovell the semester before, to generate student interest. The 40 Purchased with the Dorothy C. Miller, Plesser Targan, class of 1953, Art Museum Fund and the class of 1925, Fund students in the class—Intro to Black Culture—were struck by Lovell’s drawings, "At first I did not know how to see these images. Then, through the Suzannah J. Fabing Programs Fund for SCMA. creative, most economical relationships between the person and the those faces that are so bold and beautiful and that look like people we know. But what they could not get enough of was the relationship between the object, my imagination was flowing." ~ SCMA Visitor For a complete list of related programs see page 42. image and the artifact in Lovell’s Kin series. Spending time with Lovell’s work

2 6 e x h i b i t i o n h i g h l i g h t i i f a c u l t y perspective ` 2 7 Staff Perspective helped to expand our conversation about doubleness as a central feature of And there are other things too: As part of a workshop on race and pedagogy, black culture. That same semester, as further evidence of the bounty of the I spent time at the exhibition with colleagues from the School for Social Work; Museum, students were treated to a visit from Fred Wilson, whose work we two students I know (one at Smith, one at Columbia) are doing work that is were also studying. (See related information, page 40.) inspired by Lovell’s use of juxtaposition; the exhibition was part of a lecture I gave in New York to Smith alumnae; a brief essay I wrote on the exhibition I began working at SCMA in the summer corridor installation for summer 2011. The show was called Mapping the City, So students were excited to know about the upcoming exhibition, and that for The Massachusetts Review will be used as the foreword to a new art book of 2010, two months after graduating from and focused on American prints and photographs between 1890 and 1930. Part Lovell would deliver the annual Miller Lecture. And of course, selfishly, I let it on Lovell’s Kin series; and (on a personal note), the breathtaking Scent of Oberlin College. of my inspiration came from the Museum’s collection of Alfred Stieglitz photo- slip that I would be giving a brief talk about Lovell’s work as part of the Second Magnolia, will serve as the cover for my forthcoming book on quiet. graphs and Edward Hopper etchings. I fell instantly and madly in love with the Friday series in March. It wasn’t that I was worried about having an audience, There is a great deal of variety in what I do at work of these two artists. I had the curatorial bug: I needed to hang these ob- since the series has a terrific reputation in the local community; it was more that In short, the exhibition has yielded many fortunes; even the one difficult the Museum. During the semester, I schedule jects on the wall. I was also interested generally in a theme connecting Stieglitz's I know how much I am inspired by the good company of students, and how moment during the week’s events ended up inspiring grace. I continue to find and oversee class visits to the Cunningham and Hopper’s work: the depiction of urban space, specifically New York City, comforting it would be to see a few of their faces across the room. traces of Lovell’s visit all over my life, in my syllabi and writing and thinking, Center and manage the Student Picks exhibi- during a period of industrial, commercial expansion. This led me to explore two in the deeper kinship between me and my colleagues at the Museum, even tion program. Throughout the year I catalog strains of American printmaking and photography: the Ashcan realism of artists The presentation at Second Friday was exquisite, much of that having to do in some of the ways I am in the world. new accessions, create and manage object such as John Sloan and George Bellows, and the avant-garde Modernism of with the way that Lovell’s work invites—no,­ demands—a kind of attentiveness. files, and pull and put away prints. Some artists such as Stieglitz and John Marin. It was as if all of us were seduced by his arresting images, and were left to Lovell’s work is a master class, not just about race and American culture, weeks I read and research, others I write and search in our hearts for stories to match what we thought we could see in the but also about what it means to study: to pay close attention, to look over edit, and others I might teach a class session When I was applying for post-graduate museum positions during my senior faces and objects. We were swimming in the big tableau of humanity Lovell again and again, to notice. There are no answers or even questions here, but on Rembrandt or Japanese woodblock prints. year of college, I formed an idea in my head of my dream job. I was astonished offered. there is an invitation to be engaged and to be deliberate, as if this were our to find it really existed. I knew in my gut that the Post-Baccalaureate Fellow- responsibility as people living in this American century, as if this were our I have also had the opportunity to work on independent long-term projects ship at SCMA was right for me. As an undergraduate at Oberlin, I worked What I didn’t realize was how much else would manifest from Lovell’s exhibit: responsibility as human beings. that have fascinated and challenged me. I manage Student Picks, the Mu- at the Allen Memorial Art Museum as a Print Study Room and Academic one of my advisees, a double major in Art History and Afro-American studies, seum’s student exhibition program (see related article, p. 30), which enables Programs Assistant. This position has allowed me to continue to enjoy work I was invited to host Lovell at a lunch for students. She was thrilled…and scared. I like to think that this is what museums do best—that they compel you to seven students each year to organize individual art exhibitions using the works love and to hone skills I first tested in college. It has also provided totally new We spent an afternoon brainstorming questions, thinking about the format listen, see, think, imagine, that they are exceptional sites of inquisitiveness. on paper collection. I mentor the students, helping them develop a theme and challenges and opportunities, and made the way for fresh obsessions and pas- (well, other things too, like should she wait until the end of the event to eat? If this is true, then Whitfield Lovell’s work is perfectly placed in a museum. a checklist for their shows. I also promote the shows themselves, with support sions in the world of art. And since this was a once-in-a-career moment, what should she wear?). I was And, at the end of More Than You Know, one is a little more human and a from the Marketing office. impressed by the amount of research she had done in preparation, and, in little more capable. A master class indeed. ~ Amanda Shubert the end, she was lovely—engaging and capable in her questions, generous in The Cunningham Center regularly rotates its permanent collection installations Brown Post-Baccalaureate Curatorial Fellow her moderation of the conversation (these qualities were also true of Lovell’s ~ Kevin Quashie in the Nixon Gallery and Cunningham Center corridor. Aprile Gallant, curator Cunningham Center for the Study of Prints, Drawings, & Photographs participation). Associate Professor, Afro-American Studies, SC of prints, drawings, and photographs, gave me the opportunity to organize a

2 8 e x h i b i t i o n h i g h l i g h t i i e x h i b i t i o n h i g h l i g h t i i 2 9 Left: Martin Puryear. American, born 1941 Student Picks: October–May Karintha, from the portfolio Cane, 2000 Woodblock printed in black ink on Kitakata paper unningham center focus Your choice. Your vision. Your show. Purchased with the gift of the Arch W. Shaw Founda- C tion, through the courtesy of Nancy Simonds Shaw, class of 1972, administrator, and other individuals

Right: Kitagawa Utamaro. Japanese, 1753–1806 Three Women in Circular Panel, Act I from Chunshingura Series, ca. 1800 Woodcut printed in color on paper Gift of Mr. and Mrs. James Barker (Margaret Clark Rankin, class of 1908)

Sample show: Women, Woodblock Prints and Words 2010–2011 Student Picks Curators & Shows: Excerpt of curatorial statement by Lori Harris: direct offshoot of the Museum’s mission—to deepen engagement with students October 1, 2010: Yollian DaSilva ’13 Combining the creative genius of Martin Puryear, the literary A and offer hands-on learning opportunities connected with the permanent collec- Perspectives on Theater, Perspectives in Theater tion—Student Picks offers seven students selected by lottery the opportunity to organize richness of Jean Toomer’s Cane, and the ethereal beauty of a one-day show in the Museum's Cunningham Center. Japanese Ukiyo-e, this exhibition highlights the significance November 5, 2010: Elizabeth Jackson ‘14 of the cultural, literary and artistic nuances of the woodblock Portraying Our Greatest and Most Natural Emotions Through Art Student Picks typically falls on the first Friday of every month of the academic year: seven print. Woodblock prints have always captured my imagination December 3, 2010: Kendyll Gage-Ripa ‘12 students; seven months; seven shows. This year, out of a record 427 lottery entrants, as an art form, especially with respect to their beginnings and Who Is She, Really?: Interrogating Representations of the Female Body seven “curators-to-be” were chosen at random. In consultation with Amanda Shubert connections to East Asia. Through coursework on the Harlem Renaissance with Professor Daphne Lamothe, I became aware (see Staff Perspective, p. 29), coordinator of this program, each student developed a February 4, 2011: Nellie Knox ‘11 that the Smith College Museum of Art owned a volume of theme for her exhibition, chose ten objects from the works on paper collection to display, Advertising in Art and wrote a curatorial statement. woodblock illustrations created by Martin Puryear. Puryear's illustrations reference and act as companions to Jean Toomer's March 4, 2011: Lori E. Harris ‘AC Student Picks immerses a small but diverse group of students in an intensive, highly super- text, a work that in turn reflects through a fusion of literary Women, Woodblock Prints and Words: Locating Cultural Similarities vised learning experience. On the flip side, it also provides a social destination experience, genres both the culture of the Harlem Renaissance and the in the Work of Martin Puryear and Ukiyo-e attracting the friends, family, peers, and mentors of show organizers. The Cunningham history of African-Americans in America. By creating abstract April 1, 2011: Caroline Hackett ‘14 Center is usually open by appointment only, but Student Picks transforms the Cunning- portraits of female characters from Toomer’s book, Puryear’s Top: Lori Harris, AC ’11, with some of the ham Center from a study space to a gallery, opening the doors to all Museum visitors. A Tour of Utopias work she selected for her Student Picks show. illustrations situate the viewer in the historical context of the In FY11, a total of 319 Museum visitors attended Student Picks shows. Of these, 53% Bottom: Lori Harris, Jessica Nicoll, and Crystal period, calling attention to the connections between words, April 29, 2011: Natale Novak ‘13 indicated that it was their first visit to the Cunningham Center, and 56% were students. K. Jones discuss Lori’s selections. community, relationships and culture. Pics on a Scandal

3 0 c u n n i n g h a m c e n t e r f o c u s c u n n i n g h a m c e n t e r f o c u s 3 1

A cademic programs & public education Understanding Our Audiences Class Visits & Museum-Based Courses As part of the Museum-Based Course Program, several successful courses were offered again this year with the Museum’s support:

As a teaching museum, we continually ask ourselves if—and­­ how—we are Museum Educator (SME) program were encouraged to explore opportunities in Faculty members across disciplines deepened Fall 2010 meeting the needs of our audiences. This year the Education team thought anew other departments such as volunteering in conservation or developing academic their engagement with the Museum by First Year Seminar 181: Playtime: Theories of Creativity, Games, and incorporating the permanent collection and about the needs of the Museum’s audiences, asking ourselves questions inspired projects with the installation team. As an example, an advanced architecture Learning, Samuel Intrator, Professor of Education and Child Study by the Museum’s impact statements: how do we cultivate museum and visual lit- class led by Professor James Middlebrook worked with the interdepartmental special exhibitions into their teaching. eracy? What makes a transformative experience with art objects? And, how can Museum Experience Team (METs) to develop ideas for a redesign of SCMA’s Museums Concentration (MUX) 118: The History and Critical Issues we determine our effectiveness in achieving these impact goals? Developing new coatroom. * SCMA served as a client for the students of Museums, Jessica Nicoll ’83, Director and Louise Ines Doyle ’34 programs, assessing existing ones, and compiling data about our visitors were all in ARS 386, an advanced architecture course. Chief Curator, SCMA components of our search for answers. Several existing programs and exhibitions involved assessment components this Redesign of the Museum’s coatroom formed Spring 2011 year. An exit survey in More Than You Know: Works by Whitfield Lovell asked the basis of the students’ work, resulting in a series of models that were presented for Open Eyes, a new public program, visitors about their experience with the exhibition. Our K–12 constituents were Art 101: Approaches to Visual Representation: The Lives of Objects, discussion to staff. engages visitors to discover meaning in presented with options for thematic tours and asked to choose which were Frazer Ward, Associate Professor of Art a work of art through group discussion most relevant to school curricula. Our Teachers Advisory Committee provided * The 70 students in an introductory Ameri- Art 171: Introduction to the Materials of Art, David Dempsey, Associate using the Visual Thinking Strategies (VTS) insight into changes in our online resources. Student interns compiled years of can Studies course, which uses the 1890s as Director for Museum Services; Phoebe Dent Weil, Instructor; Sarah teaching method. This viewer-centered event surveys and charted statistics about school and family visitation. These Artist Campos-Pons speaks with a focal point for investigation, visited SCMA Belchetz-Swenson, Assistant Instructor method was also used with museum- and other assessment projects helped education staff to hone program goals. students, November 2010. for focused study and conversation about based courses and class visits from many two works of art: Childe Hassam’s Union Chemistry 100: Perspectives in Chemistry, Lâle Burk, Senior Lecturer, academic disciplines. Education staff Working closely with PR/Marketing and Membership staff, we engaged in an Chemistry; David Dempsey, Associate Director for Museum Services Square in Spring (1896) and Alfred Stieglitz’s joined newly formed exhibition teams to extensive audience research project to better understand and serve our key The Terminal (1893). East Asian Languages and Literature 237: Chinese Poetry and the Other offer perspective and ideas about serving audiences. We compiled information with the goal of creating a communica- Arts, Sujane Wu, Assistant Professor, East Asian Languages and Literature the Museum’s audiences earlier in the ex- tions plan for each audience segment, including community, faculty, students, * Multiple classes ranging from FYS 148: hibition planning process. We looked to families, K–12, and supporters. This ongoing project has proved helpful in African American Migration Narratives to Education and Child Studies 305: The Teaching of Visual Art in the deepen Smith student experiences at the thinking more deeply about the types of programming we offer and how we SWG 230: Feminism and the Fate of the Classroom, Cathy Topal, Lecturer in Education and Child Study Father and sons examine an ancient Museum by involving departments other communicate information about those programs. Planet visited for facilitated discussions Museums Concentration (MUX) 300: Museums Concentration Research Greek vase in Sabin Gallery. than education. Volunteers in the Student centered around Sugar: Maria Magdalena Capstone Seminar, Jessica Nicoll ’83, Director and Louise Ines Doyle ’34 Campos-Pons. Chief Curator, SCMA

3 2 a c a d e m i c p r o g r a m s & p u b l i c e d u c a t i o n a c a d e m i c p r o g r a m s & p u b l i c e d u c a t i o n 3 3

The Museums Concentration Museums Concentration Courses: Smith '11 & '12 Graduates with a Concentration in Museums Museums Concentration

Supporting student investigation of museums MUX 118: The History and • 10/27/11: Making Meaning and Capstone Research Projects: Advisory Committee and the critical issues they engage. Critical Issues of Museums Sustaining Communities: The Culture of Museum Education, Ted Lind, The Anneliese Baierl '11, Open Space: A Student Artists Collective and Alternative 2010-2011 guests and speakers: Newark Museum Jessica Nicoll '83 Aprile Gallant Spotlight: Amber Sinicrope ’12 Exhibition Space for Smith College Museums Concentration Curator of Prints, Drawings • 9/8/10: From Princely Collection • 11/3/10: Paradox or Prisoner’s Shereen Choudhury '11, Collecting the Remains: Curating Performance Art Transferring to Smith as a junior in Fall 2010, Amber indicated that the Director and Photographs, SCMA to Public Museum in Enlightenment Dilemma? Contemporary Art in the Experiencing Plants Through Art: An Investigation Museums Concentration was one of the main reasons she chose to apply Ceilidh C. Galloway-Kane '11, Director and Louise Ines Doyle Europe, Andrew McClellan, Tufts Context of the Traditional American of the Importance of Early Childhood Art Education and Alternative Interdisciplinary to Smith. She noted in her application to the program that it "is a rare and '34 Chief Curator, SCMA Dana Leibsohn University Art Museum, Andrea Miller-Keller, Teaching Methods exciting undergraduate opportunity that caters to my specific interest in Priscilla Paine Van der Poel Wadsworth Athenaeum, Hartford CT • 9/15/10: Faltering and Founding: Hannah M. Griggs '11, Creating Adult Programming for Underserved Audiences: Soldier Martin Antonetti Professor of Art, SC museum studies." (1975-1998). Museums Arise in the United States, ON at SCMA to Enrich Community Outreach and Smith Student Engagement Curator of Rare Books, SC Carol Clark, Amherst College Lori E. Harris AC '11, Silent Voices—African American Women and Reproductive Health, Richard Millington During her first semester at Smith, Amber tookArt 290: Collecting the Past: • 11/10/10: Battling Entropy: A Brief 1920-1940: A Public History Exhibition Brigitte Buettner Professor of American Studies Art, Artifact and Ancient America, taught by Professors Dana Leibsohn and History of Conservation in Museums, • 9/22/10: Monument, Mall, Machine: Louise Ines Doyle '34 and of English Language and David Dempsey, SCMA Rebecca-Emma Kaplan '11, Rework/Revamp: Updating the Storage System of the Elizabeth Klarich. As part of this course, the students were introduced to a po- A History of Museum Architecture, Professor of Art, SC Literature, SC Smith College Historic Dress Collection tential new acquisition of Pre-Columbian objects at SCMA. This collection be- Helen Searing, Smith College • 11/17/10: Preserving University Art came the focus of her Capstone Research Project, which addressed the issues of Erin King '11, Issues in Contemporary Art Conservation Lâle Burk Ann E. Musser • 9/29/10: Living Museum Collections, Museum Collections: A Cautionary provenance and cultural property rights raised by this material. Through a close Ashley Knowles '11, An Even Larger Noise: The Quest for Relevancy, Heritage and Senior Lecturer in Chemistry, SC Associate Director of Michael Marcotrigiano, Smith College Tale, Michael Rush, Brandeis University reading of the UNESCO guidelines, Amber Participation at the Pompey Museum of the Bahamas Academic Programs & Public Rosetta Marantz Cohen Education, SCMA made specific recommendations about how the • 10/6/10: Defining the History • 12/1/10: The Silent Message of the Suzanne Oppenheimer '11, A Generation of Women Speak: Curating the Voices of Smith Sylvia Dlugasch Bauman Museum could be most diligent in researching Museum: The New National Museum Museum, Fred Wilson Hannah Pitt '11, The Revitalization of Museums: Exploring How the Art of Professor of Education & Child Kiki Smith and potentially incorporating these objects into of American Jewish History, Josh Americas Wing at the Museum of Fine Arts Boston Reconstructs Museum Study Professor of Theatre, SC the collection. She writes that “The structure Perelman, PhD, National Museum of • 12/8/10: From Mining the Museum Traditions and the Visitor Experience Director, Smithsonian of the Concentration and its culminating semi- American Jewish History to Directing the Museum, Lisa Corrin, Teaching Visual Literacies in Museum and Commercial Spheres Rosaura Sofia Sanchez '12J, Program Fraser Stables nar foster an environment where students are Williams College Museum of Art • 10/13/10: The History of the Smith Amber Sinicrope '12, Issues of Provenance in Collecting Pre-Columbian Artifacts: Director, Kahn Liberal Arts Associate Professor of Art, SC able to step outside of typical undergraduate A Smith College Museum of Art Case Study Institute, SC College Museum of Art, Linda Muehlig, MUX 300: Museums research and pursue unusual and creative proj- Frazer Ward SCMA Concentration Research Leila Tamari '11, Exhibiting the Wall: Rethinking Public Art Space in the West Bank ects that manifest themselves in an incredible David Dempsey Associate Professor of Art, SC Capstone Seminar Jessica Watson '11, Soundscapes at the Smith College Museum of Art: Bringing variety of ways.” Associate Director of Museum • 10/20/10: Re-imagining the Pukara Music and Art Together in the Galleries Senior concentrators presented Lithic Museum: Bureacracy, Identity, Services, SCMA capstone projects at "Smith Zenobia Wingate '11, Marked Indigenous: An Exhibition Proposal for the Smith Amber Sinicrope ’12, Museum and Timelessness in Highland Peru, Concentrator and Art History major Collaborations" on April 16, 2011 College Museum of Art Elizabeth Klarich, Smith College

3 4 a c a d e m i c p r o g r a m s & p u b l i c e d u c a t i o n a c a d e m i c p r o g r a m s & p u b l i c e d u c a t i o n 3 5 Student Museum Educator Program Students in SIAMS 2010 review the progress of their team efforts with Marion Goethals. Participation in the Student Museum Educator (SME) program often serves as a gateway for deeper involvement in the Museum. After being introduced to museum work through the tour guide training program, several SMEs took their interest in the field to the next level by seeking additional learning opportunities. Danielle Covatta ‘11, an architecture major with an interest in museum design, used her experience as a SME as a launching pad for becoming involved with other depart- ments at SCMA. Danielle created a special studies project with the installation team, designing a potential layout for a future exhibition. Upon graduation, she obtained both a part-time position at the National Building Museum and an internship in the SMEs helping Family Day participants, fall 2010 (left) Smithsonian design department. and spring 2011 (right). Summer Institute in Art Museum Studies (SIAMS) SIAMS Summer 2010 All of the SMEs contributed countless volunteer hours toward leading tours and hands-on activities at Family Days. They continue to serve as the bridge between Alyssa Anker, Bowdoin College Fifteen students from around the country gathered for six summer weeks to “their Museum” and the community at large, welcoming visitors of all ages and Emily Banas, Stonehill College SMEs 2010–2011 investigate the practice and theory of art museums under the leadership of Marion helping them to engage more closely with SCMA’s collection and exhibitions. Annette Becker, University of Kansas Robin Elizabeth Acker AC '12 Maggie Kean ‘14 Goethals and Katy Kline. Using SCMA both as home base and case study, they Annick Benavides, Williams College

Ashley Brickhouse '11 Erin King '11 traveled for visits with over 50 museum professionals at 24 museums in the region, Meredith Ekberg, W. Washington University Danielle Covatta '11 Nellie Knox '11 New York, and Boston. Smith alumnae contributed their expertise, hospitality, and Melanie Feaster, University of Maryland Kendra Danowski '12 Camille Kulig '13 many helpful contacts. Students wrote about issues raised on trips and debated Allison Frew, Virginia Commonwealth University CROSSCURRENTS

ART OF THE SOUTHEASTERN CONGO Education Kimberly Drew ‘12 Francesca LoGalbo '12 Kendyll Gage-Ripa, Smith College Information relevant readings in class. They attended graduate training panels and took ad- Many exhibitions of African Art have either swept across the continent presenting the great variety of African “masterpieces” or focused on the visual arts of a single people often conveying the impression of cultural isolation axchange of ideas, as well as the transmission of new materials and forms of cultural expression.In recent African art historical studies there has been an increasing awareness of the “histories” of diverse ethnic groups preserved in oral traditions expressing and shaping the General Show collective memory of the cultural sojourn of a widespread group, the distinctive Maro Elliott '11 Sabrina Montenigro '13 Audrey Habermann, University of Chicago Information vantage of career counseling. Their final group project, the exhibition Constructed: Many exhibitions of African Art have either swept across the continent presenting the great variety of African “masterpieces” or focused on the visual arts of a single people often conveying the impression of cultural isolation and the absence of historical change. In recent African art historical studies there has been an increasing awareness of the “histories” of diverse ethnic groups preserved in oral traditions Ceilidh Galloway-Kane '11 Katherine Nelson '12J Alice Kovacik, St. Olaf College expressing and shaping the collective memory of the cultural sojourn of a widespread group, the distinctive identities of sub-groups, of lineages with their Images of Labor, was organized with SCMA mentors; the project included a pub- chieftancies, and individual families with di ering kinship systems. There has also been a recognition of the movement and meeting of Africa’s peoples, their impact upon one another in the modication of social systems, the exchange of ideas, as well as the transmission of new materials and forms of cultural expression. Janelle Bianca Gatchalian '12 Sophie Ong '12 lished catalogue, opening invitation, marketing materials, and education programs Zoe Litsios, Smith College Catharina Gress-Wright '11 Hannah Pitt '11 Kristin Liu, Bowdoin College all with an overarching design. Hannah Griggs '11 Sarah Sargent '12 Mariana Mendes, Bates College Hailey Hargraves '13 Katie Segreto '12 Kendra Stern, Amherst College Mock-­up of Title Wall Support from the Andrew W. Mellon Foundation, the Brown Foundation, Inc. of Malika Hunasikatti '11 Zoe Sternbach-Taubman '11 Amanda Underwood, Grinnell College Mock-­up of Alcove Houston, and the Samuel H. Kress Foundation provided sufficient financial aid Graduate Assistants: Katia Zavistovski, MA, for the eight qualifying students, and a strong financial foundation for the 2010 Williams College Graduate Program in the History of Art and SIAMS program. ~ Marion Goethals, Director, SIAMS A schematic design for the Crosscurrents exhibition, Hallie Scott, Ph.D. candidate, City University of New York developed by Danielle Covatta ’11.

3 86 acquisition a c a d e m i c p rh o i g g r h a l m i g s h & t p u b l i c e d u c a t i o n a c a d e m i c p r o g r a macquisition s & p u b l i c e h d ui g c h a l t i i g o h n t 3 97 School & Teacher Programs Teacher Workshops Public & campus programs Seeking the guidance of local teachers proved helpful in planning the 10/19/10 Big Art, Big Message slate of school and teacher offerings this year. In the summer of 2010, Gallery talk with curator Linda Muehlig in Sugar: Maria Magdalena an online survey was sent to forty teachers who visit SCMA annually Campos-Pons, and a hands-on banner-making activity with local artist In consultation with curators, faculty, and students, the Museum’s education Family Events with their classes to ask them which aspects of upcoming exhibitions Amy Johnquest. staff coordinate an in-depth series of public and campus programs each year. would be most relevant to their curricula and appealing to their stu- Fall Family Day: November 6, 2010 dents. The responses to this survey informed the thematic school tour 12/7/10 Connecting the Garden and the Museum and teacher workshop offerings, and the themes tied the special exhi- (repeated from spring 2010) Family Programs Big Art bitions in with objects in the permanent collection. The survey results Observation and hands-on activities led jointly at both sites by Madelaine and the advice of the SCMA Teacher Advisory Committee, a group Zadik, Manager of Education and Outreach, Smith College Botanic We worked to understand the Museum's audiences by analyzing evaluation Spring Family Day: April 2, 2011 forms collected from Family Day events. This project was begun by Claire of local teachers from a variety of schools, helped to steer education Garden, and Julie McLean, Associate Educator for School and Family Face to Face staff in better understanding the needs of our K–12 audiences. Programs, Smith College Museum of Art. Denton-Spalding ’10 and completed by Camille Kulig ’13, who combed five years of countless evaluation forms and entered data into spreadsheet form. Second Friday Fun! (for ages 4+) Big Art, Big Message, the fall programming theme, looked at large- 2/4/11 Picturing People (repeated on 2/15/11) The results led Museum staff to valuable insights. We learned that 60 percent July~ Luscious-inspired scale works of contemporary art by artists seeking to convey social, Gallery looking exercises and lesson planning activity led by Julie of Family Day visitors are not affiliated with the Five Colleges, 90 percent are construction paper donuts cultural, political, or personal messages through their works. The five McLean. Gallery talk in More Than You Know: Works by Whitfield Lovell not Museum members, and 50 percent are from the Northampton area, and August~ Art activity booklet stops on this guided tour included pieces in the permanent collection by curator Aprile Gallant. 50 percent from surrounding cities and towns. These statistics will help to hone about immigration, factory farming, and Native American identity; program offerings for the future. September~ Decorative treasure boxes the tour culminated in the exhibition, Sugar: Maria Magdalena October~ Cardboard swings Campos-Pons, exploring personal and collective memories of Cuban The two facets of regular family programming—Family Days and Second November~ Riddle scavenger hunt sugar plantations. Fridays—benefited from the creative input of Smith student interns. Rosaura December~ Cubist collages Sofia Sanchez ‘12J, the Museum’s OCIP Intern for Museum Education (an On January~ Self-portraits The spring theme, Picturing People, used the drawings in More Than Campus Internship funded by the College), planned the two Family Days using February~ Vintage photo collages You Know: Works by Whitfield Lovell as a basis for discussion about topics that coincided with those chosen for K–12 programming, offering our March~ Women’s History Month images of people made through centuries of history, from ancient young visitors a seamless themed experience at the Museum each semester. cards with images by women artists Egypt to today. Teacher Workshops were also offered on both of Ruby Western ’12 and Sabrina Montenigro ’13 focused on the Second Fridays April~ Narrative art books these themes, allowing teachers to engage with the material on site Fun! series, providing visitors with opportunities to create craft projects inspired May~ Beading activity Second Friday participants: contemplative art-looking; social art-making to better prepare their students for field trips. by works of art on display at the Museum. June~ Shape stencils Big Art, Big Message Teacher Workshop participants

43 08 acquisition a c a d e m i c p rh o i g g r h a l m i g s h & t p u b l i c e d u c a t i o n p u b l i c p r o g r a m s & c a m p u s p r o g r a m s 3 9 Visiting Artists & Panel Discussion Exhibition-Related Programs: December 1 & 2 Lecture by Fred Wilson: The Silent Message of the Museum and campus visit Metropolitan Museum of Art, the Corcoran Gallery of Art, and the Sugar: Maria Magdalena Campos-Pons Smithsonian American Art Museum, among others. Renowned contemporary artist Fred Wilson works with museum collections September 28 and reinstalls them, creating criti- April 5 Lecture: On Sugar, Slavery, and the Pursuit of (Cuban) Happiness cal interventions that lead viewers Screening and Panel Discuss: Censorship and Art: A Fire in my Belly Alejandro de la Fuente spoke on the history of sugar production to ask questions about issues of (7 and 14 minute versions) by David Wojnarowicz and slavery in Cuba. display, value, and historical truth. Artist Compos-Pons signs her catalogue In his December 1 lecture program The Museum presented a screening of an unfinished video by David for Museum visitors (top) and performs October 29 offered as part of the Museums Wojnarowicz (1954–1992). Frazer Ward, Associate Professor of Art, introduced in the Atrium (right). Concentration, Wilson talked about the program and led an interdisciplinary panel discussion about the work, the Hot Seat Discussion: Sugar, Food, and Fair Trade these projects and his perspective removal of a related video piece from the exhibition Hide/Seek: Difference Panel discussion about the moral dilemmas inherent in on the world of museums. Dur- and Desire in American Portraiture at the National Portrait Gallery, and the our consumption of sugar and other food staples. ing his two-day visit, Wilson also subsequent protests against the work's censorship. Panelists included Alexan- spoke to faculty members dra Keller, Associate Professor, Film Studies and the Director of the Film Studies November 11 in an informal seminar, Program; Daniel Rivers, Lecturer in the Study of Women and Gender, and Jen- Artist Talk: The Making of Sugar/Bittersweet participated in a student lunch nifer Walters, Dean of Religious Life. This event marked the beginning of the Co-Sponsored Programs: Campos-Pons placed this new installation into the conversation, and attended the continuous screening of the two versions of A Fire in My Belly in the Museum larger context of her work and career. Afro-American studies class from April 6–13. March 10 Contemporary Art and the Relevance of Feminism: Introduction to Black Culture. November 12 A Conversation Between Moyra Davey and Helen Molesworth March 31 Artist Performance: “They told me that…” Eighth Annual Dulcy B. Miller Artist Moyra Davey joined Helen Molesworth, Chief Curator A new performance piece by Campos-Pons that (class of 1946) Lecture in Art at the Institute of Contemporary Art in Boston, for an informal explored the triangulation of sugar production. conversation. Presented in collaboration with the Program for Presented by contemporary American artist Whitfield Lovell, in conjunction Top Left: Artist Fred Wilson, during the Study of Women & Gender and the Department of Art. December 2 with More Than You Know: Works by Whitfield Lovell. Lovell captivated a his two-day residency, fall 2010. Middle Left: Wilson addresses Kevin Quashie's capacity audience of 400 with an anecdotal, detailed summary of his recent April 19 Film Screening: Traces of the Trade: A Story from the class, Introduction to Black Culture. Student Tea: Tapati Guha-Thakurta, Professor of History at Deep North (2008, Documentary). This film follows the work. A recipient of numerous awards and grants, including a MacArthur Bottom: Whitfield Lovell delivers the Centre for Studies in Social Sciences, Calcutta. Presented descendents of a slave-trading family in New England as Fellowship in 2007, Lovell’s work is held in the collections of the SCMA, the the Miller Lecture. in collaboration with the Global Studies Center. they retrace the steps of the Triangle Trade.

4 0 p u b l i c p r o g r a m s p u b l i c p r o g r a m s 4 1 More Than You Know: Works by Whitfield Lovell L.A. Style: Printmaking at Gemini G.E.L, Awards & Recognition SCMA launched the first phase of its redesigned 1966–1976 website in December 2010, following 15 months of February 24 Highlights development work with SRS. Exploring our Roots with Henry Louis Gates, Jr: June 10 African American Lives [episode 1] Panel Discussion: Is it Original? IMLS Grant to Digitize Permanent Collection The new SCMA website represents a complete This PBS documentary traces the lineage of a diverse Master printers and artists explored the SCMA received a Museums for America Program reconsideration of how the Museum communicates group of accomplished African-Americans back to terms “original” and “reproduction” as Grant from The Institute of Museum and Library with its many audiences. Visual and verbal content Africa using geneology, oral history, and DNA analysis. well as issues of authenticity and value in Services (IMLS) to digitize its extensive collection has expanded by more than 40% as a result of the Follow-up discussion facilitated by Arianne Andrews, printmaking with an emphasis on current of art objects. The project will create a library of complete redesign—all made more accessible with Lecturer in Afro-American Studies. digital processes.Panelists: Liz Chalfin, images of objects in the collection. SCMA is one a new graphic design and reorganized structure. Artist, Founder & Director, Zea Mays of 15 Massachusetts museums to receive this Built using an advanced content management March 28–March 30 Printmaking, Florence, MA; Scott Prior, prestigious award, and one of 160 institutions system (CMS) that allows for ongoing updates and Smith College Print Workshop: Whitfield Lovell Artist, Northampton, MA; and Jonathan nationally, from a pool of 481 applicants. A collaboration between artist Whitfield Lovell revisions by Museum staff, the system fully inte- Singer, Singer Editions, Boston. and Master Printer Maurice Sanchez. New England Museum Association (NEMA) grates Web 2.0 features, such as the new Cunning- Award for Best Website Redesign ham Center blog, “paper + people,” and integra- April 1 tion of social media such as Facebook and YouTube. Student Lunch conversation with artist Whitfield SCMA and Slate Roof Studio (SRS) jointly received Intern Programming organized by Jessica Magyar '10, Top: Celebrating L.A. Style: A visitor Lovell. Moderated by Kimberly Drew ’12. the 2011 Judges Choice Award for Best Website Brown Post-Baccalaureate Fellow for Museum Education in the gallery. Bottom: Is it Original? Valley Advocate Readers’ Poll 2011: panelists discuss the impact of new Redesign from NEMA. Best Art Museum April 14 January 28: Resumé and Cover Letter Brunch technologies on printmaking today. Exploring our Roots with Henry Louis Gates, Jr: for SCMA Students For the fifth consecutive year, SCMA was voted African American Lives [episode 2] March 4: Job and Graduate School the #1 art museum in the Pioneer Valley, followed Follow-up discussion facilitated by Arianne Interview Brunch for SCMA Students by the Springfield Museums and the Eric Carle Andrews, Lecturer in Afro-American Studies. April 8: Going Beyond the Template: Creating Original, Museum of Picture Book Art. The Valley Advocate, Artistic, Engaging Presentations (Lunchtime workshop a weekly local newspaper, conducts an annual poll about PowerPoint for SCMA Students) asking readers to weigh in on the best local options April 15: The “In” on InDesign in dining, entertainment, arts, services, and more. (Lunchtime workshop about Adobe InDesign for The Advocate cited the appeal of the Museum’s SCMA Students) broad collection and an abundance of public events May 4: End of the Year/Thank-You Lunch as features that helped it take the top spot in the Smith students attend a Museum program. A screen shot of the Musuem's new website. eyes of Valley art lovers.

4 2 p u b l i c p r o g r a m s a w a r d s & recognition 4 3 secondFRIDAY

On the second Friday of the month, SCMA offers free July 9 January 14 May 13 admission and a range of programming for all ages from Second Fridays Fun! (for ages 4+): Emily Eveleth-inspired construction: Second Fridays Fun! (for ages 4+): Second Fridays Fun! (for ages 4+): 4–8 p.m. Average attendance is 300–350 per Second paper donuts Self-portraits Beading activity Friday evening. Gallery Talk on the exhibition Luscious by the artist, Emily Eveleth ‘83 Open Eyes discussion about 16 Photographs Open Eyes discussion about Cardbird 1, 1971 from Paris, 2009 by Moyra Davey by Robert Rauschenberg This year the Museum launched OPEN EYES, a new August 13 series of Second Friday gallery conversations. Educators Second Fridays Fun! (for ages 4+): Art activity booklet February 11 June 10 used Visual Thinking Strategies to facilitate discussion Open Eyes discussion about Unmasked, 2005 by John Bankston Second Fridays Fun! (for all ages): Vintage Second Fridays Fun! (for ages 4+): rather than lecture, engaging visitors in an interactive photo collages Shape stencils discovery process. September 10 Gallery Talk by Kevin Quashie, for the Panel Discussion In conjunction with Second Fridays Fun! (for all ages): Decorative treasure boxes exhibition More Than You Know: Works L.A Style: Is It Original with Liz Chalfin, Gallery Talk on the exhibition Luscious by the artist, Emily Eveleth ‘83 by Whitfield Lovell Artist, Founder & Director, ZeaMays Printmaking, Florence, MA; Jonathan Singer, October 8 March 11 Singer Editions, Boston; and Scott Prior, Young Second Friday visitors examine Museum shop merchandise. Second Fridays Fun! (for ages 4+): Cardboard swings inspired by Romako’s Second Fridays Fun! (for ages 4+): artist, Northampton, MA. Moderator: Girl on a Swing Women’s History Month cards with images Aprile Gallant, Curator, Prints, Drawings Open Eyes discussion about South Pass, Wind River Mountains, Wyoming, by women artists & Photographs 1860 by Francis Seth Frost Open Eyes discussion about Kin VII (Scent of Magnolia), 2008 by Whitfield Lovell November 12 Second Fridays Fun! (for ages 4+): Riddle scavenger hunt April 8 Performance by Maria Magdalena Campos-Pons in conjunction with her Second Fridays Fun! (for ages 4+): Narrative site-specific installation,Sugar: Bittersweet art books Open Eyes discussion about The First Leaves, Second Friday visitors of all ages enjoy the permanent December 10 1889 by Dwight Tryon collection galleries (above) and the chance to make art. Second Fridays Fun! (for ages 4+): Cubist collages Open Eyes discussion about Sunrise, 1978 by Philip Guston

4 4 s e c o n d f i r d a y s e c o n d f i r d a y 4 5 eadership in iving Christina Janson Eldridge ’53 Estelle Glatt Sosland ’46 and Morton Sosland Janice Carlson Oresman ’55 L G Georgianna Bray Erskine ’54 and Paul Erskine Ellen Braestrup Strickler ’57 and Daniel Strickler Monica and Richard Segal Elizabeth Mugar Eveillard ’69 and Jean-Marie Eveillard Judith Plesser Targan ’53 Mary Gorman Singh ’82 Nancy Boeschenstein Fessenden ’50 and Hart Fessenden Judy Emil Tenney ’49 Mary Coffey Solomon ’84 Visiting Committee Asian Art Task Force Tryon Associates Catherine Blanton Freedberg ’64 Jane M. Timken ’64 Amy Shepherd Weinberg ’82 (As of June 30, 2011) (As of June 30, 2011) Margot Eisner Freedman ’62 Lucy Keith Tittmann ’53 and Barclay Tittmann Tryon Associates annual membership dues provide crucial Jan Fullgraf Golann ’71 Ann Kirkland Wales ’57 All gifts and grants were made to SCMA during the Susanne Barber Grousbeck ’58 Roberta Rosenberg Weinstein ’67 and David Weinstein 2011 fiscal year: July 1, 2010–June 30, 2011. Every Honorary Member Joan Cohen ’54, Chair Museum support by underwriting special exhibitions and programmatic and organizational activities. Susan Lampman Hill ’63 and Robert Hill Melissa Willoughby Wells ’93 effort has been made to accurately report all donors. Sue Welsh Reed ’58 Patricia Beckwith ’68 Anne Attfield Hubbard ’55 and Thomas Hubbard Elsie Trask Wheeler ’54 Stephen Beckwith The Museum wishes to acknowledge the Tryon Associates, Rebecca Barclay Humphrey ’48 Anita Volz Wien ’62 Members Nancy Colman Blume ’61 whose exceedingly generous support underwrote the Eileen Casey Jachym ’75 and Peter Jachym Isabel Brown Wilson ’53 and Wallace S. Wilson Janice Carlson Oresman ’55, Chair Jane Chace Carroll ’53 following activities this year: Joan Leiman Jacobson ’47 and Dr. Julius H. Jacobson II Martha Manchester Wright ’60 Jane Chace Carroll ’53 Victoria Chan-Palay ’65 • Acquisitions—shipping and conservation; travel Ann F. Kaplan ’67 Margaret Von Blon Wurtele ’67 Victoria Chan-Palay ’65 Ying Chua ’95 • Collection Management—conservation, insurance Elizabeth Sessions Kelsey ’55 and Thomas Kelsey Joan Lebold Cohen ’54 Peggy Block Danziger ’62 and storage Janet Wright Ketcham ’53 Wendy M. Cromwell ’86 Walter Denny Contemporary Associates • Curatorial Consultants—Asian art Alice Kramer ’52 Peggy Block Danziger ’62 Nancy Boeschenstein Fessenden ’50 • Exhibition support—Sugar: Maria Magdalena Campos-Pons Sarah Griswold Leahy ’54 and Richard Leahy Catherine Blanton Freedberg ’64 Joan Leiman Jacobson ’47 The Museum is grateful for the vital support of the and Crosscurrents: Art of the Southeastern Congo Phoebe Reese Lewis ’51 and John Lewis Contemporary Associates, whose annual membership Jan Fullgraf Golann ’71, Associates Chair Moon Jung (Jean) Choi Kim ’90 • General administration Margot Tishman Linton ’52 and Robert Linton dues fund purchases of contemporary art, primarily in the Thelma Golden ’87 Wan Kyun Rha Kim ’60 • Staffing assistance in Membership, Exhibition Preparation, Marilyn Graves Lummis ’54 areas of new media including film, video, and photography. Susanne Barber Grousbeck ’58 Alix Hoch Laager ’80 This fiscal year the Contemporary Associates supported the Education, and Guest Services Ann Safford Mandel ’53 and Stephen F. Mandel (deceased) Sarah Griswold Leahy ’54 Sally Griswold Leahy ’54 following new acquisitions: Andrea Fraser, Little Frank & • Strategic planning Mary Kiley Newman ’61 and Fredric S. Newman Ellen W. Lee ’71 Julia Meech ’63 His Carp; Roman Signer, 56 Small Helicopters; and Beat • Summer student workers in Administration, Diane Allen Nixon ’57 Shinju-ku 01-05-99. Margot Tishman Linton ’52 Yamini Mehta ’93 Streuli, (See Acquisitions, pages 10–23.) Collections Management, and Education Eliot Chace Nolen ’55 and Wilson Nolen Anne Marie Manning ’89 Samuel Morse Janice Carlson Oresman ’55 and Roger Oresman (deceased) Diane Allen Nixon ’57 Jessica F. Nicoll ’83 Laura Resnic Brounstein ’84 Elsie Vanderbilt Aidinoff ’53 Irving W. Rabb (deceased) Eliot Chace Nolen ’54, Nominations Chair Eliot Chace Nolen ’54 Cathy McDonnell Carron ’79 and Andrew Carron Patricia Moore Ashton ’53 Susan Wechsler Rose ’63 and Elihu Rose Rebecca Rabinow ’88, Acquisitions Chair Tom Rohlich Marilyn Levin Cohen ’68 Jane Chace Carroll ’53 Bonnie Johnson Sacerdote ’64 and Peter Sacerdote Betty Hamady Sams ’57 Betty Hamady Sams ’57 Brenda Cotsen ’84 and Jeffrey Benjamin Victoria Chan-Palay ’65 and Peter Rajsingh (deceased) Louisa Stude Sarofim ’58 Louisa Stude Sarofim ’58 Wendy M. Cromwell ’86 Betty Hamady Sams ’57 Ann Weinbaum Solomon ’59 Carol Christ and Paul Alpers Louise Eliasof ’87 Mona Ghosh Sinha ’88 Holly Trostle Brigham. American, born 1965 Joan Lebold Cohen ’54 and Jerome A. Cohen Louise Stude Sarofim ’58 Charlotte Feng Ford ’83 Judith Plesser Targan ’53 Ann Weinbaum Solomon ’59 Persephone: Rebirth of Spring. 1995 Ann Kane Collier ’55 and Marvin Collier Gursharan and Elvira Sidhu Jane M. Timken ’64 Carlyn Koch Steiner ’67 Carol Lee Franklin ’75 Watercolor on paper Joyce Berger Cowin ’51 Ann Weinbaum Solomon ’59 and Richard Solomon Moon Jung (Jean) Choi Kim ’90 Gift of Elizabeth and Neil Swinton in honor Martha Manchester Wright ’60 Hilary Tolman ’87 of Julia Meech, class of 1963 Peggy Block Danziger ’62 and Richard M. Danziger Roberta Peck Sommers ’64 and Jeffrey Sommers Martha Manchester Wright ’60 Bridget Moore ’79 John L. Eastman Sujane Wu

4 6 l e a d e r s h i p i n g i v i n g l e a d e r s h i p i n g i v i n g 4 7 Gifts to the museum

Andrew W. Mellon Foundation Priscilla Hurd Donaldson ‘49 Patricia Tucker GST Exempt, through the initiative of Joan Asian Art Initiatives Grant Support Lebold Cohen ‘54 $1 Million Challenge Fund Elizabeth Ring Mather and William Gwinn Mather Fund, The Museum is thankful for the following donors who The Andrew W. Mellon Foundation through the initiative of Elizabeth Williams Ireland ‘79 Phoebe R. and John D. Lewis Foundation, through the The Museum wishes to acknowledge the following made contributions to support various initiatives assisting Artist’s Resource Trust of the Berkshire Taconic Community initiative of Phoebe Reese Lewis ’51 and John Lewis donors for supporting the Andrew W. Mellon Foundation Georgianna Bray Erskine ‘54 the Museum with strengthening its Asian art collection Foundation and related programs: $1 Million Endowment Challenge Fund to strengthen the Catherine Blanton Freedberg ‘64 Madeleine Watson Plaut ’86 and Timothy Plaut The Brown Foundation, Inc. of Houston curricular role of SCMA’s collections and programs: Thelma Golden ‘87 Point Gammon Foundation, through the initiative College and University Art Museum Program through the of Jane Chace Carroll ‘53 Anonymous Grousbeck Family Foundation, through the initiative initiative of Yale University Art Gallery Joan Lebold Cohen ‘54 Alice and Allan Kaplan Philanthropic Fund, through the of Susanne Barber Grousbeck ‘58 Point Gammon Foundation, through the initiative of Jane The Freeman Foundation Undergraduate Asian Studies initiative of Alice Drucker Kaplan ‘58 Chace Carroll ’53, in memory of Roger Oresman Janice Carlson Oresman ‘55 Susan Hiller ‘61 Initiative through the initiative of the Smith College Rebecca Rabinow ‘88 Mary and Harry Anderson Janet Wright Ketcham Foundation, through the initiative Point Gammon Foundation, through the initiative Department of East Asian Languages and Literatures of Jane Chace Carroll ‘53 Patricia Moore Ashton ‘53 of Janet Wright Ketcham ‘53 Sue Welsh Reed ‘58 Massachusetts Cultural Council, a State Agency S. Beckwith Advised Fund, through the initiative of Patricia Betty H. Sams Fund, through the initiative of Betty Hamady Katherine Gillespie Fund, through the initiative of Katherine Richard, Ann, John & James Solomon Families Foundation, General Operational Support and Museums10 Sams ‘57 through the initiative of Ann Weinbaum Solomon ‘59 Mertens Beckwith ’68 and Stephen Beckwith Deuel Gillespie ‘62 National Endowment for the Arts, a Federal Agency Brown Foundation, Inc., Houston, through the initiative Fronia Wissman Simpson ’74 and Marc Simpson Elizabeth Sessions Kelsey ‘55 The Samuel H. Kress Foundation of Louisa Stude Sarofim ‘58 Louise Mold Krieger ‘84 Claudia Slacik ‘79 Funds for Other Purposes Susan Brundage ‘71 Sarah Griswold Leahy ‘54 Penelope Weadock Slough ‘50 Caroline Dwight Bain ’44 and Sherwood Bain Victoria Chan-Palay ‘65 Ellen W. Lee ‘71 Ellen Braestrup Strickler ‘57 Joan Epstein Bragen ‘56 All gifts and grants were made to SCMA during the 2011 fiscal year: July 1, 2010–June 30, 2011. Every Charlotte & Charles Fullgraf Fund, through the initiative Dorothy Carsey Sumner ‘57 Community Foundation of Western Massachusetts, through Margot Tishman Linton ‘52 effort has been made to accurately report all donors. of Jan Fullgraf Golann ‘71 the initiative of Marcy Eisenberg Anne Manning ‘89 Judith Plesser Targan ‘53 Carol Christ George and Carlyn Steiner Family Foundation, through the Janice Carlson Oresman ‘55 Mary MacPhail Taylor ’55, in memory of Roger Oresman Joan Lebold Cohen ‘54 initiative of Carlyn Koch Steiner ‘67 Jean Shin. American, born South Korea, 1971 Janice Carlson Oresman ’55, in honor of Janet Wright Anita Volz Wien ’62 and Byron Wien Carol Goodfriend ’63 and James Goodfriend Pressed Blouse, 2010 Ann Kane Collier ‘55 Ketcham ‘53 Wien Family Fund, through the initiative of Three-plate collagraph printed in color on Rives BFK paper David Magidson, in memory of Hinda Praskin Magidson ‘58 Purchased with the Richard and Rebecca Evans (Rebecca Wendy M. Cromwell ‘86 Janice Carlson Oresman ’55, in memory of Elliot Offner Anita Volz Wien ’62 and Byron Wien Morris, class of 1932) Foundation Fund Deeds Foundation, Inc., through the initiative of Diane Janice Carlson Oresman ’55, in honor of Jessica Nicoll ’83, Isabel Brown Wilson ‘53 Nixon ‘57 Susan Bourque, and Christine Shelton, in memory Martha Manchester Wright ‘60 Diana Fund, through the initiative of Edith Stenhouse of Anne Bryant Ross ’55 and H. Rex Guinivere Bingham ‘55

4 8 g i f t s t o t h e m u s e u m g i f t s t o t h e m u s e u m 4 9 Gay Flood ‘57 Ceseli Dillingham Foster ‘64 Karen Maloney ‘75 Jane Nichols Fogg ‘54 Anne Dalrymple Hull ‘38 Elizabeth Rowland Mayor ‘57 with thanks to museum members Patricia Glatfelter Foulkrod ‘66 Jack H. Vernon Revocable Trust, through the initiative Jean and Paul McAuliffe Leslie Mandelson Freudenheim ‘63 of Anne Bennett Vernon ’53 and Jack Vernon Mary McLarnon and Lawrence Zingesser Ruth Weiss Friendly ‘45 Barbara Petchesky Jakobson ‘54 Cynthia Melcher and David Basler Linle Jenkins Froeb ‘89 Janet Upjohn Stearns Charitable Trust, through the initiative Ann Milne ‘72 of Janet Ley ’52, in memory of Janet Stearns Walter Gibson Ann Mitchell ‘75 Janklow Foundation, through the initiative of Linda Le Roy Membership Support Barbara Zevon Berlin ’56 and Donald Berlin Bonnie Bottenus Clendenning ‘67 Celia Stone Gilbert ‘54 Luisa Motten ‘83 Janklow ‘59 Peggy Tenenbaum Berman ‘47 Martha Clute ‘48 Sarah Sather Given ‘48 Pricilla Johnston Murphy ‘69 Membership dues provide essential support for Catherine Jenkins ‘96 the Museum. This year, Members helped to support Bettina L. Burr Trust 1996, through the initiative Anne Cohen ‘76 Thelma Golden ‘87 Muspratt Family Fund, through the initiative of Suzannah Lydia Jenner ‘01 the following initiatives: of Bettina Looram Burr ‘68 Susan Komroff Cohen ‘62 Karen Golding-Staelin and Charles Staelin Fabing and James Muspratt, in memory of Ann Johnson Jill Johnson Allegra Biery ‘84 Karen Cooper ‘70 Alice Hildreth Goldman ‘62 Sybil Gottlieb Nadel ’57 and Alfred Nadel Ann Jones and Peter Stallybrass • Family and reunion weekends Virginia Perry Biggs ‘55 Emily McKnight Corry ‘53 Gail Gordon ‘71 Mary Shaw Newman ‘50 Betty Jones ’47, in memory of Emily Jones Ross ‘45 • Second Fridays Nancy Keebler Bissell ‘61 Ann Field Coxe ‘50 Julia and Thomas Grace Lisa Lorch Novick ’89 and Steven Novick Barbara Brown Judge ‘46 • School bus subsidies Barbara Borenstein Blumenthal ’75 and Joseph Blumenthal Pricilla Cunningham ’58 Elizabeth Oyen Graham ’79 and George Graham Judy Oberlander ‘78 Alice Drucker Kaplan ‘58 • Family and youth programs Andrea Zeitlan Bonn ’73 and John Bonn Deborah Holmes Cushman ‘77 Natalie Stolk Graham ‘49 Nancy Millar O’Boyle ‘52 Nancy Booth Kelly ‘56 • Special exhibitions Amanda Bowen and Clyde Sutton Joan Wanous D’Aoust ‘61 Melanie Grant ‘61 Maureen O’Brien ‘54 Elizabeth Hummel Kinney ’57 and Douglas Kinney Nancy Mason Bradbury ’74 and Scott Bradbury Mary McRae Davis ‘64 Anne Egbert Grape ‘81 Deidre O’Flaherty ‘70 Florence Kmetz The following individuals gave to SCMA at the Brenner Rudman Charitable Trust, through the initiative Lisa and Porter Dawson Sally and Alfred Griggs Marcia Lontz Osborn ‘53 Leadership Membership level this year: of Linda Brenner and Andrew Brenner Josefa Manella Kolodzieczyk ‘75 Barbara Rausch Deely ‘42 Elizabeth Johns Guthman ‘60 Alison Overseth ‘80 Erika Smith Brewer ’86 and William Brewer Conrad Kronholm, Jr. Alice Robbins and Walter Denny Haarlow Family Charitable Foundation, through the initiative Paul Joel Alpers Trust Dated 11-08-1996, through the Abernathy Charitable Contribution, through the initiative of Anne Brower ‘60 Marcy Larmon initiative of Paul Alpers Edith Dinneen ’69, in memory of Edith Donahoe Dinneen ‘27 of Laurel McCain Haarlow ‘88 AnnaMaria Herbert Abernathy ’50 and Frederick Abernathy Anne Birdsell Brown ‘62 Stefanie Blank Lauer ‘50 Elisabeth Morgan Pendleton ‘62 Donna Kargman Donaghy ‘59 Gail Hecht ’58 and Harvey Hecht Jacqueline Anderson ‘80 J. Elizabeth Burbank Lianne Lazetera ‘84 Frances Garber Pepper ‘62 Susan Van Deuren Donovan ‘76 Paul Henry Daryl DeValerio Andrews ‘97 Lale Aka Burk ’64 and Carl Burk Alla and Jaroslaw Leshko Mary Bryan Perkins ‘58 Nancy Ruddell Duck ‘63 Jane Herzenberg and James Sagalyn Anonymous Brookes Clyde Byrd ‘65 Marilyn Lampert Levine ‘64 Ellen Perl ‘77 Deborah Duncan ‘77 Ann Wellmeier Hilliard ‘59 Esther Arnette ‘75 Edith Byron Susan Badian Lindenauer ’61 and Arthur Lindenauer Jeannine Perrot ‘81 Polly Carruthers Ehrgood ‘47 Janet and Kenneth Hoffman Juliet Schoen-Rene Baker ‘62 Elizabeth and Thomas Caine Janet Listowich ‘73 Carole Manishin Pesner ‘59 Ernst and Young Foundation, through the initiative Julie Gold Hoffman ‘76 Dee Bates Christopher Loring Ann and Jeffery Caplan of Marry Schimminger Hinds ‘76 Anna Craig Hogan ‘66 Sally Whitney Pillsbury ‘46 Mary Fiske Beck ‘56 Margaret Lucey Judith Carroll ‘74 Margo Frey Evans ‘62 Susan Horlitz ‘94 Mary Damiano Pinney ‘58 Shayne Beede ‘82 Heather Macchi ‘93 Eunice Armstrong Chambers ‘77 Chantal Fabres ‘86 Helen and Daniel Horowitz Renna and Christopher Pye Sarah Bellrichard ‘94 Sarah Cash MacCullough ’80 and Glenn MacCullough Phylliss Chappell ‘76 Kristina Fares Robin Howell ‘86 Barbara Quilty ‘75 Lucy Wilson Benson ‘49 Susan Baris Mace ‘60 Carol Christ Nancy Ferguson ‘76 Robin Fraser Hudnut ‘56 Elizabeth Rajam Wendy Berg, Gerald Eichner, and Thomas Wartenberg Patricia Mail ‘65 Mary Clemsha ‘41 Bernice Perloff Fierman ‘50 Hugh and Frances Foster Trust, through the initiative of Ralph & Nancy Davison Charitable Fund, through the

5 0 m e m b e r t h a n k - y o u m e m b e r t h a n k - y o u 5 1 initiative of Nancy Reynolds Davison ’66 and Ralph Davison Estelle Glatt Sosland ’46 and Morton Sosland Matching Gifts Members’ Extras: Art Insights & Please Be Seated Sally Wallace Rand ‘47 Elizabeth Soyster ‘71 Gartner Matching Gift Center, through the initiative Janet Rassweiler ‘80 Bonnie Stacy ‘80 of Phyllis Fewster Rosser ’56 and William Rosser Members enhance their Museum January 20, 2011 Please Be Seated: Andrea Ray ‘85 Joanna Sternberg ‘91 Jackson National Life Insurance Co, through the initiative experience by participating in MUSEUM TALK Open Eyes for of Heather Stewart Finan ’90 and Terry Finan September 29, 2010 Sue Welsh Reed ‘58 Marjory Gorman Stoller ‘57 a wide array of programming. Members with Taiga Ermansons, Alejandro de la Fuente lecture Barbara Fisher Reynolds ‘61 Lysbeth Kaye Stone ’53 and George Stone SCMA is expanding the depth of education program planner Donald Roberts Martha Wood Subber ’69, in honor of Emily Churchill Wood All gifts and grants were made to SCMA during the member programming based on November 11, 2010 Phyllis Fewster Rosser ‘56 ’46, and in memory of Ruth Pierson Churchill ‘19 2011 fiscal year: July 1, 2010–June 30, 2011. Every March 29, 2011 effort has been made to accurately report all donors. the Museum’s Strategic Plan in MUSEUM TALK AND PRINT Maria Magdalena Campos-Pons Katherine Santomassino Rostand ’65 and Stephen Rostand Elizabeth Crosby Sussman ‘54 order to cultivate museum and WORKSHOP VISIT More Than You lecture Elizabeth Woodbury Rowe ‘59 Gretchen and Richard Swibold visual literacy and promote trans- Know: Works by Whitfield Lovell Ruth De Young Kohler 1999 Trust, through the initiative Helen Brock Tomb ’42 and John Tomb December 1, 2010 formative learning experiences with Aprile Gallant of Ruth Kohler ‘63 Barbara Judge Townsend ’74, in memory of Lyn Judge Fred Wilson lecture Diana Mancusi-Ungaro Saltarelli ’66, in memory of Frances Corbett ‘74 with art objects. April 28, 2011 Chambers Mancusi-Ungaro ‘26 Susan Van Dyne March 31, 2011 Art Insights: MUSEUM TALK Open Eyes Members at the preview of L.A. Style: Printmaking Barbara and Robert Salthouse Carolyn Willis Vena ‘60 Eighth Annual Dulcy Blume at Gemini G.E.L., 1966–1976. for Members with Rita Seplowitz Saltz ‘60 Deborah Smith Vernon ‘50 July 9, 2010 (class of 1946) Taiga Ermansons Dorothy Massie Sawyer ‘55 Barbara Wham Waite ‘56 MUSEUM TALK Luscious: Paintings Miller Lecture in Art: Whitfield Lovell Schwab Fund for Charitable Giving, through the initiative Kalle Gerritz Weeks ‘67 by Emily Eveleth with the artist May 12, 2011 of Claire Mansur ’76 and John Ryan Phoebe Weil MUSEUM TALK Exhibition Other Offerings: October 15, 2010 Judith Schwartz ‘66 C. Ann Rowland Welsh ‘76 Preview of L.A. Style: MUSEUM TALK Sugar: Maria September 10, 2010 Susan Seamans ‘70 Mary Tison Wheeler ‘61 Printmaking at Gemini G.E.L., Magdalena Campos-Pons with SMIP Doughnut Drop-in Deborah and Henry Seay Barbara O’Donovan White ‘46 1966–1976 with Aprile Gallant Jane Schwartzchild Shackelford ‘71 Linda Muehlig for Student Members Kathryn Loeb Wiener ‘50 " . . . the Museum was among my top Jane Dawson Shang ‘82 June 2, 2011 Wiese/Cavanaugh Family Foundation, through November 6, 2010 February 11, 2011 reasons to come to Smith. Having Eliza Shulman ‘96 the initiative of Lisa Cavanaugh Wiese ‘78 MUSEUM TALK Open Eyes BUS TRIP New York City Art Scene SMIP gathering for Student Members Diana Simplair ‘87 Anne Williams ‘65 for Members with SCMA as a part of my community has truly with Louise Kohrman, membership Susan Spencer Small ‘48 Toni Grotta Wolfman ‘64 Taiga Ermansons enriched my life. Becoming a member and gifts assistant November 11–14, 2011 and Catharine Carton Smith ‘34 Kathryn Davie Wood ’86 and Bruce Wood June 9–12, 2011 was a way to show my gratitude." Jerrie Marcus Smith ’57 and Frederick Smith Elizabeth Hutchinson Wuori ‘73 December 17, 2010 Members Double Discount Days D. Rebecca Snow ‘66 Jennifer Chin Yen ‘95 MUSEUM TALK George Bellows’ at the Museum Shop ~ Julie Bomba '11, Student Member Naomi Goldfarb Solomon ‘56 Karen Zens ‘71 Museum visitors in Doyle Gallery. Pennsylvania

Cynthia Sommer ’75 and Andrew Balder Excavation with Jessica Nicoll

5 2 m e m b e r - t h a n k y o u m e m b e r t h a n k - y o u 5 3 E xhibitions July 2010–June 2011

July 9–October 24, 2010 February 11–May 2, 2011 Luscious: Paintings by Emily Eveleth* Asian Art in Miniature Curated by Linda Muehlig, associate director for curatorial Curated by Fan Zhang, Freeman/McPherson affairs, and curator of painting and sculpture Post-Doctoral Curatorial and Teaching Fellow in Asian Art Sacerdote Gallery, 1st floor Chace Alcove, 3rd floor

July 23–September 12, 2010 February 18–May 29, 2011 Constructed: Images of Labor Yoruba Beaded Art Organized by SIAMS Students, Summer 2010 Curated by John Pemberton III, consulting curator Installation view: Framework VII: Restoring the Boundaries. Installation view: L.A. Style: Printmaking at Gemini G.E.L., 1966–1976. Winslow Gallery, lower level for African art Ketcham Gallery, 3rd floor September 24, 2010–January 2, 2011 Sugar: Maria Magdalena Campos-Pons* February 18–May 29, 2011 May 13–September 11, 2011 Curated by Linda Muehlig Portraits L.A. Style: Printmaking at Gemini G.E.L., 1966–1976 Targan and Dalrymple Galleries, lower level Curated by Henriette Kets de Vries and Amanda Shubert, Curated by Aprile Gallant Brown Post-Baccalaureate Curatorial Fellow Sacerdote Gallery, 1st floor October 1, 2010–February 13, 2011 Cunningham Corridor, 2nd floor Flemish and Belgian Works on Paper June 1–September 25, 2011 Curated by Henriette Kets de Vries, April 29–August 21, 2011 Mapping the City Cunningham Center manager Susan Hiller: The Last Silent Movie Curated by Amanda Shubert Cunningham Corridor, 2nd floor Curated by Linda Muehlig Cunningham Corridor, 2nd floor Nixon Gallery, 2nd floor January 28–May 1, 2011 More Than You Know: Works by Whitfield Lovell May 13, 2011–May 6, 2012 Curated by Aprile Gallant, curator of prints, drawings, and photographs Framework VII: Restoring the Boundaries Sacerdote Gallery, 1st floor Curated by William Myers, chief preparator, and David Dempsey, associate director for museum services * Part of the Museum10 collaborative project, Table for Installation view: Luscious: Paintings by Emily Eveleth. Chace Alcove, 3rd floor Ten: The Art, History and Science of Food, 2010.

5 4 exhibitions exhibitions 5 5

Museum Assistants Museum Staff

Conservation Leila Tamari ‘11 Morgyn-Britney Hall ‘13 Student Assistants Museum Shop Jessica Nicoll '83 Henriette Kets de Vries Amanda Shubert Security System Specialists Ruby Western '12 Lydia Harrington Lucha Rodriguez- Director and Louise Ines Doyle ’34 Cunningham Center Manager Brown Post-Baccalaureate Curatorial Fellow Jim Adamski Student Assistants (Hampshire ’10) Gonzalez ‘12 Student Assistants Chief Curator Heather Clark '94 Claire Kerker '12 OCIP Intern for Museum Zachery Johnson Bingyun Wang ‘14 Virginia Choi '11 Louise M. Kohrman ’02 Stephanie Sullivan Michelle Cotugno AC '02 Education Paddy Kelly Esther Park '11 Stacey Anasazi Membership and Gifts Assistant Installation Assistant Sue Farrell Exhibition Production Rosaura Sofia Sanchez '12J Lucy White '11 Financial and Systems Coordinator Larry Friedman Assistant Rachel Kim '14 Membership and Marketing Louise M. Krieger ’84 Richard Turschman Patrick Gaudet Amber Sinicrope '12 SMEs Emma Kimata '14 Volunteers David Andrews Assistant to the Director Assistant Manager for Security Patricia Jackson See p.36 Frances Lazare '14 Student Assistants Gillian Morbey Admissions Assistant Deb Kowal Cunningham Center STRIDE Scholar Danielle Lenhard Julie Bomba ‘11 Emily Sanders Louise Laplante Fan Zhang Jack Martin Amanda Lewis '14 Janet Weber Margi Caplan Collections Manager/Registrar Freeman/McPherson Post-Doctoral Student Assistants Rebecca Raymond- Maro Elliott ‘11 Jordan Morris Membership and Marketing Director Kolker '13 Rachel McDonald '14 Ingrid Jacobson '11 Julie Warchol Curatorial & Teaching Fellow Richard Samuelson Karla Giorgio AC ‘13J Maggie Lind Erin McElhone '14 Erin King ‘11 Fran Taylor Robin Elizabeth Acker Summer Institute in Art David Dempsey Associate Educator for Academic Programs Museum Guards Sarah Musiker ‘11 Registrar's Office AC ’12 Museum Studies (SIAMS) Catherine Popovici ‘13 Associate Director for Museum Services Nellie Brahms Lily Newton '14 SCheMA 2010-2011 Isabel McCagg '13 Martha Voorheis ‘13 Student Assistant Jessica Magyar ‘10 Larry Carlson STRIDE Scholar Anna Olkovsky '14 Chelsea Bartholomew ‘13 Martha Ebner Brown Post-Baccalaureate Fellow for Cynthia Consentino Editor: Nancy Yerian ‘13 Family Day and Second Friday Student Museum Clarissa Ong '13 Web and Marketing Coordinator Museum Education Paula Corbett Margi Caplan Volunteers Advisory Committee (SMAC) Kayvia Pemberton ‘13J Ryan Duffy Director's Office Julie Bomba ‘11, Chair Molly Bennet '14 Lena Sernoff '14 Taiga Ermansons AC ’03 Ann Mayo ’83 Nancy Elwell Design: Stephanie Berrios ‘11 Elizabeth BelBruno ‘13 Education Program Planner Manager of Security and Guest Services Student Assistants Matt Samolewicz Pamela Ferrechio Radwell Communication by Design Catherine Betances ‘13 Ingrid Jacobsen ‘11 Melissa Breor ’11 Melody Setoodehnia ‘14 Leonard FourHawks Sarah Brault '14 Christina Johns ‘12 Nan Fleming Julie McLean Dave Hart Special Assistance: Grace Kim ’11 Pranayeta Shroff ‘14 Museum Store Manager Associate Educator for School Carole Chalfin-Renard ‘13 Amanda Lewis ‘14 Carlotta Hoffman Erin King '11; Emily Weir Adrien Ouellette ’11 and Family Programs Other Volunteers Anna Novaes Kim Knight Cindy Chiang '14 Aprile Gallant Carole Renard ’13 (events and tours) de Oliveira ‘11 Donna Kurkul Photography: Sally Curcio Curator of Prints, Drawings and Linda D. Muehlig Laura Arellano-Weddleton'11J Lisa Pradhan ‘14 Julia Max Art and Object ~ Petegorsky & Gipe STRIDE Scholar Sarah D'Angelo '14 Photographs Associate Director for Curatorial Affairs Taylor Bayer '12 Shama Rahman ‘13 Jason Mazzotta Exhibition ~ Stephen Petegorsky Asako Mikami ’14 Hannah Erb '14 and Senior Curator of Painting and Sculpture and One Match Films Yunan "Susan" Liang '13 Mia Stange ‘14 Susan Gelotte Brendan McCauley Ashton Fancy '14 Lourdes Morales Event, Portrait, and Candid ~ Derek Fowles Education Alynn McCormick '12 Kia Williams ‘11 Assistant Museum Store Manager Ann E. Musser Kiana Figueroa Anganile Mwalukomo Inside cover ~ Lynne Graves Malika Noor Mehta '11 Associate Director for Academic Programs Student Assistants Hope Fried '14 Hannah Richards '05 Outside cover ~ Paul Shoul Alexx Shuman '12 Kelly Holbert and Public Education Jasmina Chuck ‘11 Anna Gelotte Second Yulin San Claire Solomon '13 Top: Smith students assisting at a Exhibition Coordinator Friday Ben Shohan Sabrina Montenigro '13 Anna Gerhard '12 program. Bottom: Aprile Gallant, William F. Myers Mailing wrapper: printed on 100% post-consumer Guest Services Maggie Lind, and Taiga Ermansons Isa Gutierrez ‘11 Kate Kearns '01 Chief Preparator Jenni Sussman waste paper. Inside cover and text pages: printed on 50% Maggie Kean '14 chat with Kevin Quashie. Collections Management Imaging Christie Svane recycled fibers, 25% post-consumer waste. All paper stocks Project Coordinator Kasha Toone are FSC certified and printed with vegetable-based inks. Diane Westman

5 6 m u s e u m a s s i s t a n t s acquisition h i g h l i g h t 5 9 Elm Street at Bedford Terrace Tues–Sat 10–4; Sun 12–4 Northampton, Massachusetts 01063 Second Fridays 10–8 (4–8 FREE) Closed Mondays and major holidays

413.585.2760

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inspiration everywhere