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The J. Paul Getty Trust THE J. PAUL GETTY TRUST 2004–2005 REPORT 6 Message from the Chairman 10 Introduction 88 The Getty Villa 96 Publications 8 Message from the Interim President 14 The J. Paul Getty Museum 100 Staff Acquisitions 105 Board of Trustees, Offi cers & Directors Exhibitions 107 Financial Information Scholars Councils Docents & Volunteers 38 The Getty Research Institute Acquisitions Exhibitions Scholars 54 The Getty Conservation Institute Conservation Projects Scholars 66 The Getty Foundation Grants Awarded The J. Paul Getty Trust is an international cultural and philanthropic organization serving both general audiences and specialized professionals. Educational in purpose and character, the Getty focuses on the visual arts in all of their dimensions and their capacity to strengthen and inspire aesthetic and humanistic values. The Getty makes a diff erence by weaving together the presentation, enjoyment, study, and conservation of the visual arts in order to increase the public’s knowledge and sensitivity, expand its awareness and creativity, sharpen its understanding and caring—all with the conviction that cultural enlightenment and community involvement in the arts can help lead to a more civil society. Acquisition of the J. Paul Getty Museum: Acquisition of the Getty Research Institute: François Boucher. The Birth and Triumph Alice Le Plongeon. Augustus Le Plongeon of Venus (detail), ca. 1743. Black chalk and Photographing the Governor’s Palace at Uxmal, gouache. (JPGM) Mexico, (detail), ca. 1873. Copy print from a wet collodion glass plate negative. (GRI) Getty Foundation “On the Record” special Getty Conservation Institute fi eld project: initiative: Gathering of Los Angeles art fi gures Close-up view of half fi gure of Nefertari. on the steps of the Los Angeles County From a 1992 view of Chambers C and G in Museum of Art, 1968. Courtesy of the Los the tomb of Queen Nefertari in the Valley of Angeles County Museum of Art the Queens, Egypt, following a six-year wall paintings conservation project undertaken by the GCI and Egyptian antiquities authorities. During 2004 and 2005, an evaluation of the wall paintings project was undertaken by the GCI. Photo: Guillermo Aldana Message from the Chairman I have been privileged to serve as a trustee of the J. Paul Getty Trust Though she no longer is with the Getty, I salute Marion True, for seven years, the last two years as board chair. It is said that the former curator of antiquities, for the role she played in carefully and true mettle of an individual or an organization reveals itself during lovingly directing the revitalization of the Villa. Likewise, I thank periods of great tension and transition. This certainly has been a Barbara Fleischman, formerly a member of the board of trustees, period marked by signifi cant change at the Getty, some very positive and her husband Lawrence, for their signifi cant contributions to and exciting, some very diffi cult and challenging. Through all of it, the Getty. the Getty has demonstrated it remains one of the most dynamic, In October 2004, Deborah Gribbon, director of the J. Paul Getty resilient, and exciting art institutions in the world, and that gives Museum and vice president of the Getty Trust announced her resig- everyone associated with the Getty reason for pride. nation after 20 years at the Getty. Her leadership of the museum was Perhaps the greatest recent accomplishment is the reopening of marked by an extraordinary slate of exhibitions and the acquisition the Getty Villa. Completely “reimagined” by architects Rodolfo of some of the fi nest works in our collection. Following Deborah’s Machado and Jorge Silvetti, the J. Paul Getty Museum at the Villa departure, we were fortunate that William Griswold served as in- becomes the only museum in the United States exclusively dedi- terim director, until he was named director and president of the cated to the collection and study of Greek, Roman and Etruscan Minneapolis Institute of Arts. We are very pleased to welcome antiquities. The Getty Villa, once the sole site of the J. Paul Getty Michael Brand, who joined the Getty in December 2005, as the Museum, now also includes facilities for both the Getty Research new director of the J. Paul Getty Museum, after having served as Institute and the Getty Conservation Institute. The interdisciplin- director of the Virginia Museum of Fine Arts. A specialist in Indian ary work of these three programs is shaping the exhibitions and art, Michael brings a new perspective to our activities. We are also programming in very exciting ways, complemented by the grant- grateful to Pamela Johnson, former vice president for communi- making activities of the Foundation. cations, and Bradley W. Wells, outgoing vice president, fi nance for 6 RR3_Getty_013_FINAL.indd3_Getty_013_FINAL.indd Sec1:6Sec1:6 110/25/060/25/06 55:31:21:31:21 PPMM their service to the Getty. Finally, this past year, we welcomed Ron have welcomed new trustees Joanne Kozberg, Stewart Resnick, Mark Hartwig as new vice president of communications. Siegel, William Siart, Peter Taylor, and Jay Wintrob, who bring a wide This also has been a period of transition for the leadership of the array of experience and perspectives in organizational leadership and J. Paul Getty Trust. After eight years, marked by progress in integrat- backgrounds in community engagement and involvement in the arts. ing the work of the Getty’s programs, and streamlining operations, This will be my last report as board chair, as I recently an- President and CEO Barry Munitz resigned from that post. We have nounced my intention to resign. However, I leave confi dent that launched a search for a new president. I want to thank Deborah the challenges faced by the Getty will make it stronger and more Marrow, who has been at the Getty more than 20 years in a num- vital moving forward. The Getty’s unique organization, with its four ber of positions, most recently as director of the Getty Foundation, programs—the J. Paul Getty Museum, the Getty Research Institute, for agreeing to serve as interim chief executive. Deborah’s steady the Getty Conservation Institute and the Getty Foundation—allows leadership has been critical during this transition. She has moved for dynamic collaboration and innovation on many fronts. Together quickly to improve internal communication and to implement a they will continue to focus on providing the Los Angeles com- number of new and strengthened policies and procedures adopted munity, indeed the world, with excellence in the exhibition, study, by the board that are designed to ensure the J. Paul Getty Trust is a and conservation of the visual arts. leader in non-profi t governance. A number of board trustees who have retired or resigned since the last Trust report was published deserve our thanks, among them John Biggs David Gardner, my predecessor as board chair, Helene Kaplan, Lewis Chair Bernard, Blenda Wilson, Agnes Gund, Lloyd Cotsen, Ron Burkle, Barbara Fleischman, and Steven Sample. Since the last report, we August 10, 2006 7 Message from the Interim President These two years have included many challenges and changes for the tions capitalizing on the strengths of its own collection, including J. Paul Getty Trust. Through it all, the Getty programs remain strong Jean-Antoine Houdon: Sculptor of the Enlightenment, which brought and have undertaken extraordinary work here in Los Angeles and together more than 70 Houdon sculptures from nearly 50 collec- around the world. This dedication to our mission—to increase the tions around the world for the fi rst time in nearly two centuries. understanding and preservation of the visual arts—is a solid basis The Getty Conservation Institute, working in China since 1997 on on which to move forward as we work through our challenges and developing the China Principles, a landmark set of national heri- look with renewed confi dence toward the future. tage conservation guidelines, continued the dissemination of those Having been part of the Getty for more than 20 years, I feel a guidelines, through bilingual publications, a major international tremendous sense of pride in its current and cumulative accomplish- conference, and a training workshop for managers of sites through- ments. Visitors to the Getty Center now total 1.3 million annually, out the country. The Getty Foundation, in its own longstanding and visitors to the Getty Villa are projected to reach 350,000 during commitment to cultural heritage preservation, continued the Cam- the fi rst year; the Getty’s Web site (getty.edu), another important out- pus Heritage initiative, awarding 38 grants during this period to help post for our work, records more than a million visits every month. American institutions of higher education to protect some of the Welcoming the public at our two locations is a highly visible most important buildings and landscapes in the country. The Getty aspect of what we do, but we also work elsewhere in the city, the Research Institute made a number of signifi cant new acquisitions nation, and the world. In fact the Getty conducts or supports projects for its illustrious special collections, including two major architec- on all seven continents, while maintaining a deep and abiding com- ture-related archives—those of renowned Los Angeles photographer mitment to our home city of Los Angeles, host to a vibrant artistic Julius Shulman, and those of the Los Angeles Philharmonic’s Walt and intellectual community and myriad cultural institutions. Disney Concert Hall project, designed by Frank Gehry. The far-reaching scope and impact of Getty initiatives make it dif- Each Getty program makes its unique contribution to the pub- fi cult, in this brief report, to single out individual projects, but here are lic, but at the same time, all four programs work closely together, just a few examples from each program: The J.
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