Terra Foundation Report for American Art July 2016–June 2019

Fifteen Years of Grantmaking Looking Back and Moving Forward “As part of Art Design Chicago, the 2018 initiative celebrating the city’s art and design history, thousands of people gathered Contents on a September evening for the launch of Art on theMART, a digital art installation on the facade of Chicago’s landmark Merchandise Mart. The piece shown here, by artist Jan Tichy, pays homage to Chicago artists of the past. Artworks like this have a transformational effect on the community, creating lively forums for sharing art. It is a fitting visual metaphor for the work we have been doing the past 15 years throughout the world, bringing people together locally, nationally, and inter- Introduction 2 nationally to join a conversation, experience, and reflect on Elizabeth Glassman’s 4 the visual arts of the United States.” Years at the Terra Foundation: A Conversation Elizabeth Glassman with Michael E. Shapiro President & Chief Executive Officer

Fifteen Years of 12 Terra Foundation Grantmaking Report 2016–19

American Art in 14 Grants and Initiatives 38

— International Contexts Fellowships and 78 Scholarly Exchange 18 Academic Awards and Global Conversations Paris Center Events 90 Curatorial and 22 Academic Networks Terra Collection: 96 Initiatives, Loans, Access to Resources 26 and Acquisitions (detail), September 29, 2018. Photo by Jon Shaft. Study and Presentation 30 Financial Information 109 of American Art in the US Board and Staff 110 Experiences and 34 Scholarship in Chicago Launch of Art on theMART featuring Jan Tichy’s Artes in Horto Seven Gardens for Chicago for Gardens Seven From the outset, Daniel Terra considered his in important collaborations and conversa- collection of American art and his epony- tions on visual culture, national identity, Introduction mous foundation to be powerful vehicles to and the importance of building connections ensure that exposure to and interpretation across places and peoples that will reverber- of American art were expansive, cross-cul- ate for decades to come. This transformation tural, and inspiring. Fifteen years ago, in the has been led by Elizabeth Glassman, first as fall of 2005, after a strategic assessment, director of the foundation’s museums then as we reframed the Terra Foundation’s oper- president and CEO of the Terra Foundation, ating model and launched our first-ever who, along with a talented staff in Chicago grantmaking program to extend our reach and Paris, has created unprecedented oppor- and his vision around the globe. As we tunities for conversations and collaboration. embarked on this new journey, we could not We could not be more humbled or have imagined the range of partners that excited by these outcomes. We recognize would join us, nor the innovative ways in that this work is only possible because of which their thinking would help define and our close relationships with many dedicated shape our work. Together we have focused individuals and organizations. Our accom- on opening new channels of scholarship, plishments are their accomplishments. To applying new perspectives, and weaving new those who have shared in this experience narratives. It is heartening to realize that with us, we are in your debt. We remain as a result of this work American art is now committed to providing dynamic and innova- Elizabeth Glassman and Joseph P. Gromacki in squarely situated at the nexus of an exciting tive pathways to support and showcase your Chicago, September 2019. Photo by Nathan Keay. transnational and transcultural conversation. work so that together we can continue to In 2018 we achieved an important bring American art to the world and the milestone: our grantmaking distributions world to American art. reached $100 million. Our support has brought about some 1,000 exhibitions Joseph P. Gromacki Elizabeth Glassman and programs in 31 countries and enabled Chair, President & groundbreaking research undertaken in Board of Directors Chief Executive Officer museums and universities worldwide. We have also made important acquisitions for our collection, which now has nearly 800 objects, with 89% of its paintings exhibited since 2005. This report includes a special 15-year retrospective look at some of the initiatives we have launched with our partners and the projects we have funded, tracking their impact worldwide. Indeed, from Chicago to São Paulo and Beijing to Berlin, we have seen newly networked communities and heretofore-unimagined opportunities for scholars and the public alike to access and experience American art. They have engaged

2 Report 2016–2019 3 Michael Liz, before arriving in Chicago, what mission. If our interaction was purely financial did you learn early in your career that you support, that’s great. If it was using our collec- “Making art meaningful brought with you to the Terra Foundation? tion and our staff, that’s another way to help advance projects. The consistent thread was the is action between people” Elizabeth Growing up in Houston, I was mission as put forth by Daniel Terra of expand- frequently taken to exhibitions created by Mrs. ing enjoyment, appreciation, and understanding [Dominique] de Menil [founder of the Menil of American art. Frankly, it is just as important Collection] or by her colleagues, Jermayne for people in the United States to engage with MacAgy and James Johnson Sweeney, that filled international cultures—to understand that every Elizabeth Glassman’s Years me with wonder. Totems not Taboo [1958–59] nation has a national story. Talking about these at the Terra Foundation: was one such exhibition [Ill. 1]. The presenta- narratives in tandem makes you very aware of tions showcased the power, the mystery, or the differences and similarities. A Conversation with Michael E. Shapiro delight of an art object. Later, when I had the good fortune of working with Mrs. de Menil, our Michael Tell me about your first international collaboration made the wonder of seeing tangi- exhibition partnership, American Artists and the ble. These encounters sparked my interest in art. Louvre in 2006. I thought it was so engaging; I wanted more. Mrs. de Menil, who herself moved to Elizabeth My first conversation with Henri Houston from France, surrounded herself with Loyrette [director of the Musée du Louvre, people from around the world. At my home, as 2001–13] in 2003 was to suggest an exhibition well, my family traveled often and we welcomed on American art at the Louvre (see p. 16). We Elizabeth Glassman and Michael E. Shapiro in Paris, October 2016. international visitors regularly. As a young assembled the curators, and they developed woman, I wanted to be a diplomat and studied a wonderful concept. In the 1830s, French international relations in college. I appreciated artists took cues from American artists in their and nurtured the connection between cultures approach to paintings of contemporary events. and the conversations that can happen. Differ- Then, in the 1870s and beyond, American artists ent ways of seeing can be very expansive, and mined the treasures of the Louvre as a kind of art enlarged thinking was one direction that I academy before there were large museums was already interested in early in life. That was in America. also founder Daniel Terra’s orientation. I felt During this exhibition, we installed our that was the DNA of this foundation. large-scale painting Samuel F. B. Morse’s The Gallery of the Louvre in the Salon Carré, which Michael Could you tell us about the beginning it depicts in some imaginary way. To see this of your tenure at the foundation? painting in place expanded its vibrancy on many levels. Elizabeth From the start, the Terra Foundation board of directors and I agreed that the road to Michael So it started in Chicago, then Paris… success lay in both responding to requests for support and in proactively creating partnerships. Elizabeth Next, we decided that if we wanted to We understood that if we waited for people be a foundation with a truly international impact to come to us in Chicago, we would not have and reach, we needed to extend to and engage gotten very far. Our idea was to use the different with museums in Asia and South America. I had assets in our portfolio to engage people in our heard about an idea that Thomas Krens [director

4 Report 2016–2019 Elizabeth Glassman’s Years at the Terra Foundation 5 Michael That is such a great model. Is it important Bellows painting for its collection. sustainable? The second exhibition focused on oil sketches by Frederic Church. They connected it more deeply Elizabeth Sustainability is something I think to their own collection by having two facing gal- about. I often want to speak about a series of leries, one with American and the second with exhibitions rather than a single one. In this European oil sketches. way we can create a sustained conversation and Another way we work to sustain this level develop new audiences in a country over time. of interest in American art is to align teach- For example, I visited Nicholas Penny ing with the works of art. We build networks [director of the National Gallery in London, of scholarship around American art through 2008–15], who I knew was interested in museum exhibitions and their associated univer- American art. We considered possibilities, and sity teaching. together we came up with the notion of a small focused exhibition of American art every two Michael Where would that be? or three years. 1 Installation view of the exhibition Totems Not Taboo at the Museum of Fine Arts, Our curator collaborated with the Elizabeth We had one such project at the Art Houston (1958–59). Courtesy of Museum of Fine Arts, Houston Archives. National Gallery to mount a wonderful exhibi- Gallery of Western Australia and at the nearby tion on George Bellows’s work from 1909 and University of Western Australia. The curators 1910 [Ill. 2]. We try to initiate projects to which collaborated on a small but meaningful selection of the Solomon R. Guggenheim Foundation, Elizabeth I traveled with our team to São the foundation can contribute works from our of works of American and Australian landscapes 1988–2008] had been working on for some Paulo, Rio de Janeiro, and Buenos Aires. At the collection. This plus key loans came together from their collection and ours [Continental Shift: time. During the years he traveled to China, he Pinacoteca in São Paulo, we asked the director for an eye-opening exhibition, so much so that Nineteenth Century American and Australian made deep connections, and by the time I and curators about how we might help, and the National Gallery purchased a beautiful and Landscape Painting]. There was a complementary came to talk to him about the foundation being what their ideas were. One curator said, “I’ve university course on landscape painting taught involved, Tom had solidly paved the way. always wanted to explore an exhibition on land- by one Australian and two US professors. All com- 2 Visitors viewing the exhibition An American Together with the Guggenheim, our scape of the Americas: Canada, United States, Experiment: George Bellows and The Ashcan Painters at bined to offer dynamic approaches to the subject. curators created a sweeping survey of 300 years Central and South America.” the National Gallery, London (March 3–May 30, 2011). It’s like a portfolio. You invest in many of American art, which was presented at the This idea resonated with our team and types of subventions, not just one, with the National Art Museum of China, in Beijing, and fit squarely with the Terra Collection (see p. 24). idea that all of this seeding will grow to a forest, at the Shanghai Museum (see p. 17). The exhibi- We soon organized an international gathering whether it’s traveling grants for curators and tion laid groundwork for our future engagement of voices and approaches with curators from scholars, teaching fellowships, publication in China, and the Chinese-language catalogue Canada, the United States, Brazil, Mexico, grants, or exhibition support. We’ve always had has become a standard text. Argentina, and Peru. They explored where the a preference, which was also Daniel Terra’s, for In addition to our work with Chinese traditions connect and where they diverge. The people engaging in front of works of art. That’s universities and museums, we have created last line of our mission statement is that we the largest part of our portfolio. partnerships with museums in Japan, South believe that art has the power to distinguish cul- Korea, and Australia. The way we work tures and to unite them. It is an idea we return Michael What have you learned about people remains constant: we meet people and talk to constantly. and institutions? to them about how they might engage with Our goal in these projects, what we call our programs and support. Terra Collection Initiatives, is to use our financial Elizabeth I have learned about the power of resources, our curatorial voices, which are our extended contact and conversation with people. Michael What about South America? How did intellectual resources, and our art collection to And if they’re not interested today, that’s fine— that unfold? engage in a different, more collaborative model. it’s a big world out there. We don’t have to make

6 Report 2016–2019 Elizabeth Glassman’s Years at the Terra Foundation 7 anyone interested. What’s key is this sort of distinctive positioning allows us that kind of been a few pictures, photographs of people in openness to saying, “Maybe this isn’t the right flexibility. exhibitions that have moved me. For example, time, but please come back to us when you feel there is a photograph of a young boy in an exhi- you want to engage with American art. We’re Michael How are your audiences different bition in China drawing in front of one of the always here. How can we help?” than those of bricks-and-mortar museums? foundation’s Charles Demuth paintings, really We do arrive with funding. This is an absorbing the work [Ill. 3]. important incentive. We are contributors on Elizabeth Our primary audience, meaning the many levels. I believe that meeting people, lis- group the foundation targets, is the people to Michael What you’ve done here with your team tening, and not dictating how a project has to whom we give support—museums, scholars, so well is you’ve established new routes. be created are all important. One of the points graduate students. It’s a different way of think- that we underscore is that we’re not there to ing. Those people are our direct audience, but Elizabeth I think that there has to be not just a say this is how you have to present American not our end users. Our end users are the people willingness but a desire to reach out to someone. art. We’re not here to export American art; our grantees and partners impact—the audience. It is a matter of listening and engaging with we’re here to create conversation. partners, keeping up with them, and hearing We listen to our partners and talk to Michael What are a couple of things that you how they best connect to their own audience. them about how their audience relates. What wanted to do but for one reason or another hav- It’s not a partnership at arm’s length. It goes is going to be meaningful to them? When en’t had time or been able to do? beyond getting works of American art on the working on the 2018 exhibition Pathways to wall around the world. It’s much deeper. It Modernism with the Shanghai Museum (see 3 A young visitor studies Charles Demuth’s Elizabeth One of the biggest challenges of a doesn’t have a judgment and engaging hopefully p. 17), their curator traveled to Chicago and Welcome to our City in the exhibition Art in America: foundation is managing opportunity. There are can lead to the next engagement. It never stops. 300 Years of Innovation at the National Art Museum joined our team in front of the art. There was of China, Beijing (February 10–April 5, 2007). so many ways we can make a difference. We Making art and the experience of it one Terra Foundation painting that had not can fund in different program areas, or we can meaningful, it’s more than words. It’s action been pre-selected, Our Banner in the Sky by engage with different regions, and we still find that makes it more meaningful—action between Frederic Church. It’s a very small but powerful collection in significant ways without a bricks- ways to experiment. We often test possibilities people. Your partners are your colleagues. They American Civil War painting. The Chinese and-mortar museum. We can be a little more on smaller projects to see if they work for our love art the same way you do. The capacity to team absolutely wanted it in the show, and it fluid in terms of where and how we can make longer-term interests. impact a person who’s engaged—that is why we was indeed one of the most popular images, as an impact. I think it’s important to keep true not all do this work. We seek to find the groups or noted in the exhibition report. Our partners only to the founder’s intent but to your mission. the people, the individuals, the museums, the know what connections their audience might Michael What do you mean by fluid? There are wonderful opportunities everywhere, institutions, who really would like to connect make, whether it’s a formal relationship or a and you can be stronger if you make a difference and share American art with their publics. This narrative that is familiar. Our goal is to engage Elizabeth Well, take Art Design Chicago, for in your space. is our mission and it is true in Chicago as well as in a dialogue by including works that will be instance. Art Design Chicago was a yearlong around the globe. meaningful to their audiences. celebration of the vital role Chicago plays as Michael I wonder if there have been moments America’s crossroads of creativity and com- that come to mind, Liz, which have been more

Michael Do you think what you’ve created is a merce. To explore the city’s unique art and emotional for you. Those moments where you Michael E. Shapiro is Senior Galleries of Scotland. France model that might inspire other foundations? design legacy, we were able to think broadly see the ideas in action. Advisor of Museums and awarded Shapiro the Chev- Private Collections for alier dans l’Ordre des Arts et about impact. We asked ourselves early and Hindman Auctioneers. He des Lettres (Knight of the Elizabeth One of the ways in which we’re often: who is the audience for this initiative, Elizabeth When we partner on creating an was previously the director Order of Arts and Letters) unique is that we’re a foundation with a and where and how can we reach them in the exhibition I try to stay the next day to see of the High Museum of Art for his partnership with in Atlanta, where he had France in the advancement substantial collection. We operate at the inter- most impactful ways? Instead of one event people engaging with the works of art. It is very embarked on multi-year of the arts. He holds a PhD section of foundation, museum, and collection. at one institution, we partnered with over 95 gratifying when visitors are excited about the partnerships with museums from Harvard University and such as the Musée du Louvre; specializes in nineteenth- and I would hope that others might take as an organizations on 46 exhibitions and more than works and talking, even though I often can’t the Museum of Modern Art twentieth-century American example how we’ve been able to animate our 300 public programs throughout 2018. Our understand what they’re saying. There have also in New York; and the National painting and sculpture.

8 Report 2016–2019 Elizabeth Glassman’s Years at the Terra Foundation 9 The Foundation at Fifteen Fifteen Years Our Impact of Grantmaking at a Glance

In 2005, the Terra Foundation set out to well as reactive. It meant going beyond tradi- do something truly transformational for the tional grantmaking by strategically inititating field of American art: create a global plat- programs and forming unique partnerships. form for engagement that would more We set out and here we are now— fully integrate the art of the United States already 15 years have passed. It has been quite into conversations worldwide. Inspired a journey, which we are looking forward to 1,235 by the belief that art has the potential both continuing with an ever-expanding network to distinguish cultures and to unite them, of museum and university partners. The pages Grants Awarded this idea of building an expansive and inclu- that follow illustrate some of the ways the sive community—in Chicago and around Terra Foundation endeavors to create spirited the world—guided our thinking about the conversations on the study and presentation 31 foundation’s mission of fostering exploration, of American art around the world. It is a pleas- understanding, and enjoyment of the visual ure and privilege to work alongside so many Countries arts of the United States. people making what we envisioned years Reached Informed by a commissioned research ago possible today. Thank you for being part 45M $110M study and indepth exchanges with both of the ongoing dialogue. Exhibition Distributed national and international professionals in the discipline, we identified needs and Visitors Elizabeth Glassman Amy Zinck in Grants challenges. In response, we reimagined our President & Executive Reached since 2005 way of working. We created a hybrid model, Chief Executive Officer Vice President combining our grantmaking, collection, and 616 initiatives in order to make a significant dif- ference on many fronts. Individual Structurally, this meant that going Fellowships forward our work would be designed to seed, populate, and cultivate new possibilities for 415 Awarded the study, interpretation, and presentation of American art in regions where such activity Terra Collection was less established, as well as to deepen Works Exhibited the reach and encourage fresh thinking in places where American art was firmly rooted. Operationally, it meant being proactive as

12 Report 2016–2019 13 American Art in International Contexts

Belief in the transformational power of This transnational model, with cross-cultural firsthand experiences with original works of artistic exchanges at its core, exemplifies how art has always been a cornerstone of the Terra we work throughout the world, whether it be in Foundation’s ethos. Beginning in 2005, the Europe, Australia, or the Americas. Similarly, the foundation began to develop plans for ways to Terra Foundation also deepened conversation raise awareness of American art both within about American art in Asia and cultivated partner- and beyond the United States. Through grant- ships and alliances toward this goal. The Terra making activities and proactively building Collection Initiative exhibition Art in America: 300 partnerships with museums, universities, Years of Innovation, co-organized with the Solomon and cultural institutions, the foundation has R. Guggenheim Museum, was a major survey of supported more than 250 exhibitions and historical American art presented in China. In a portfolio of diverse academic programs recent years the foundation redoubled its com- around the world. mitment in Asia. Twenty grants supported exhibi- In 2006, the Terra Foundation worked tions in the region, including three co-organized with the Museé du Louvre to co-organize by the foundation, on such artists as Mary American Artists and the Louvre, a Terra Collec- Cassatt, Ben Shahn, Marcel Duchamp, Jackson tion Initiative exhibition accompanied by an Pollock, Nam June Paik, and Isamu Noguchi. international symposium that shared treas- The majority of these exhibitions were presented ures from the collections of the foundation at venues in Japan, China, South Korea, and and several American museums. This marked Singapore. Seventeen grants fostered academic the first time that the work of American scholarship on American art in Asia, including artists had been shown at the Louvre at that symposia, professorships and faculty exchanges, scale and it served as a starting point for and research travel grants. In 2018, the exhi- sustained dialogue between European and bi-tion Pathways to Modernism: American Art, American paintings, museums, and cura- 1865–1945, a Terra Collection Initiative co-organ- tors. Building upon that first experience, the ized with the Art Institute of Chicago and the multi-year, internationally touring exhibi- Shanghai Museum, featured 80 paintings, includ- tion series American Encounters saw the foun- ing 43 from the Terra Foundation's collection. dation collaborate once again with the Along with Art in America: 300 Years of Innovation, Louvre with additional partners in the United these exhibitions and their catalogues have con- States, the High Museum of Art and the tributed new teaching resources and broadened Crystal Bridges Museum of American Art. the study of the art of the United States in Asia.

14 Report 2016–2019 Research Travel Grants Since 2005 Since 2012 enable scholars to con- Exhibition Grant Research Travel Grants sult resources and visit 131 collections worldwide. Program Launches Program Expands Internationally

“It is not just audiences that are having more opportunities to see American art. Curators, museum administrators, and even collectors in other countries are growing increasingly interested in American art… . The Terra Foundation name and logo have graced almost every international project of significance.” Cody Hartley, Director, Georgia O’Keeffe Museum

Exhibition Grants

Countries of 266 28 329 35M Research Travel Exhibitions Countries Venues Visitors Grant Recipients

2006–15 “Europeans now have a better understanding of Since 2007 eighteenth- and nineteenth-century American Collaborating art… . I’m confident that the foundation will con- Partnerships in China with the Louvre tinue to play an integral role...in expanding the “During the 2018 exhibition the Terra Founda- appreciation of American art throughout Europe.” tion launched a workshop with Fudan University. Henri Loyrette, former Director, Musée du Louvre It was a huge success. The students were all scholars of art studies from all over the country. Five Exhibitions Thomas Cole and the Anglo-American Portraiture They really gained a deeper understanding of over Nine Years Narrative Landscape in an Era of Revolution modern American art and thus could spread what they’ve learned and experienced to more people in China.” Bao Wenwei, Assistant Curator, Shanghai Museum

2007 Art in America: 300 Years of Innovation 2013 UC Santa Barbara-China Art Academy exchange 2015 Fulbright Awards in the 2006 » 2012 » 2013 » 2014 » 2015 History of American Art in China American Artists Genre Painting The Simple Pleasures 2018–19 Pathways to Modernism: and the Louvre and Everyday Life of Still Life American Art, 1865–1945

16 Report 2016–2019 American Art in International Contexts 17 Scholarly Exchange and Global Conversations

An important long-term strategy for expand- this conversation to Japan and Australia. In ing the field of American art is to stimulate Japan, Doshisha University and Kobe University scholarly exchange around the globe. Today, have joined up to offer courses in American after a decade and a half of pioneering part- art history and to organize annual conferences. nerships, the foundation supports a rich In Australia, a teaching and research program amalgamation of domestic and international at the University of Sydney’s Power Institute fellowships and professorships, research introduces Native American art to Australian and travel support, publications, workshops students and initiates research on the con- and symposia, and resource development and nections between the Indigenous cultures of dissemination. Australia, Asia-Pacific, and North America. This dialogue was first initiated in 2005 In addition, short-term art history courses in with a symposia series spanning ten years at conjunction with Terra Collection Initiative the Smithsonian American Art Museum that exhibitions have been organized in Latin included participants from five continents and America. explored transnational exchanges. A series of Beginning in 2014, collection research grants, beginning in 2009, supported visit- conducted by foundation-supported fellow- ing professorships and postdoctoral teaching ships at several European museums—the Tate fellowships in American art at universities in in London, the Museum Ludwig in Cologne, France, Germany, the United Kingdom, and the Rijksmuseum in Amsterdam—each with China. These programs were successful and significant holdings of American art, has shed served as a catalyst for the permanent incor- new light on the American art collections poration of American art in the curricula at held by these institutions. The museum-based several international universities. For example, fellowships seed research that will lead to with Terra Foundation support, the Centre for original scholarship on these collections and, American Art at the Courtauld Institute of Art by extension, result in associated exhibitions, was established; it engages in the research and publications, re-installations, or seminars. study of American art of all periods. Two recently inaugurated programs of visiting professorships broaden the scope of

18 Report 2016–2019 2006–2015 Since 2014 Connecting Scholars at the Supporting Research 29 Smithsonian American Art Museum in European Collections Essays on Tate objects published online based on “The Terra-funded symposia have been able new research to connect scholars, curators, and visitors/ viewers from different countries and cul- tures, which in turn encouraged a broader but deeper dialogue on what ‘American art’ 2014 » 2018 » 2020 means, a dialogue accessible to an interna- Research Fellowship Collection Research Research Fellowship in tional audience.” in American Art at Tate Fellowship in American American Photography at ShiPu Wang, Professor of Art History, Art at Museum Ludwig the Rijksmuseum University of California, Merced Yuko Kikuchi and Melody Deusner presenting at the symposium “Shifting Terrain” (2015). Five Symposia across Ten Years

2006 » 2009 » 2011 » 2013 » 2015 American East-West Inter- Encuentros: Artistic American Art in Shifting Terrain: Map- Art in a Global sections in Exchange between the Dialogue with Africa ping a Transnational Context American Art US and Latin America and its Diaspora American Art History

Visiting Professors Since 2009 52 1,910 Since 2016 Teaching around the World Visiting Professors and Students enrolled Collection and Teaching Teaching Fellows 2009–2018 Partnership with the 143 1,420 University of Oxford “Spending the year in Berlin at Freie Public lectures Audience members Universität helped me understand attending 22 study days the national differences in higher 2016–17 2017–18 2018–19 2019–20 education in general and in the field David W. Lubin Miguel de Baca John R. Blakinger Amy M. Mooney of art history in particular. I’d written about this in a book that considers 2016 Visiting professorship & 2018 America’s Cool Modernism, 2019 Terra Collection loan German expats, but the immersion in loans to Ashmolean Museum Terra Collection Initiative to Ashmolean Museum another institution helped me clarify what’s distinct about the study of visual arts in the United States.” Lauren Kroiz, Associate Professor, History of Art, University of California, Berkeley; Visiting Professor, Freie Universität Berlin, 2017–18

20 Report 2016–2019 Scholarly Exchange and Global Conversations 21 Curatorial and Academic Networks

Aware that advances in any field are predicated like the Terra Summer Residency, the foun- on layered knowledge, the Terra Foundation dation funds conversations and convenings seeks to foster curatorial and academic net- worldwide with its responsive academic grant works and to offer a point of connection for program. With 106 grants awarded since 2005, scholars, curators, students, artists, and organ- symposia, conferences, and public lectures izations, serving as a crossroads where inquiry support and strengthen the integration of trans- and exchange occur, information flows easily, national perspectives in the United States and and the sphere of opportunity is boundless. For abroad. The foundation also seeks to encour- 15 years, the Terra Foundation has worked to age the creation of an international network provide peers near and far with the means to of museum directors and curators, exploring gather and the tools to share, explore, incubate, models for partnerships and supporting dia- hone, and test ideas and theories. logues on American art. Exhibition research The foundation’s Paris Center, open since and development grants, for example, deepen 2009, serves as the hub of its European activities, research and encourage and enrich interna- connecting scholars via its academic programs, tional cooperation. exhibitions and institutional partnerships, Collaboration is at the heart of Terra and research library—the only one of its kind Collection Initiatives—exhibitions and pro- devoted exclusively to American art in Europe. grams that further scholarship on the collection The Terra Summer Residency in Giverny, developed by the foundation’s curatorial team France, is a prime example of the foundation’s in concert with institutional partners through- work to cultivate meaningful cross-cultural out the world. By mobilizing staff expertise dialogues and foster the next generation of and engaging scholars around the world, scholars. Created in 2001, it was the foun- these proactive initiatives advance research dation’s first such program and since then it and scholarship on American art, build inter- has offered outstanding doctoral students and national networks, and engage museum and emerging artists from around the world the rare academic collaborators and their audiences. opportunity to work for nine weeks in a setting In facilitating international collaboration, conducive to focused independent work and they help circulate new models for working fruitful intellectual exchange among a commu- cross-culturally, elicit fresh perspectives, and nity of peers. spark new conversations. In addition to providing opportunities for cultural exchange with individual fellowships

22 Report 2016–2019 Terra Summer Since 2001 Residency Fellows Since 2005 Dún Laoghaire Institute of A Scholarly Community in Giverny Academic Program Grants Art, Design & Technology and University of Bergen, Foster International Exchange “Photography as Contact “The Terra Summer Residency [in Giverny] 96 51 Zones: Migration and Cultur- program is probably the single most impor- Doctoral & Senior & al Encounters in America”

tant and respected predoctoral fellowship International Artist Fellows Guest Lecturers in American art history. The contacts made there have been essential to all of my Kobe University, work and professional achievements since.” 95 58 106 “Multi-Locale Jason Hill (TSR 2009), Associate Professor, Doctoral & Senior & Academic Program Pops in the 1960s”

University of Delaware States United Artist Fellows Guest Lecturers Grants worldwide

Griffith Centre for Cul- tural Research, “Broken Images: A Symposium on Early American Instituto MESA, Photography in the Asia “Flipping Pop” Pacific, 1850-1950”

Since 2005 Since 2016 Activating the Terra Collection 44 62 Connecting Curators Globally Terra Collection US & international Our curatorial staff works with partners Initiatives curatorial collaborators The Association of Art Museum Curators around the world to develop Terra Collec- Foundation Engagement Program for tion Initiatives—collaborative exhibitions 2015–16: Picturing the Americas: International Curators offers curators that further scholarship on the collection opportunities for international dialogue, and make significant contributions to the Landscape Painting from Tierra del exchange, and partnership. study and understanding of US art. Fuego to the Arctic “The exchange provided a rare and valuable opportunity to step off the treadmill— to make meaningful new connections with peers and to reflect on important issues for the sector.” Nicholas Chambers (AAMC Foundation Engagement Program for International Curators, 2016–18 Inter- national Awardee), Senior Curator, Art Gallery of New South Wales

24 Report 2016–2019 Curatorial and Academic Networks 25 Access to Resources

Increased access to primary source materials and percent of the combined publications program unfettered dissemination of scholarship made projects support translations or titles in lan- possible through new technology has been pro- guages other than English, overcoming language foundly democratizing and transformational to barriers and facilitating international research the field of American art and cultural studies. The and collaboration. Terra Foundation’s single largest commitment to To provide a much-needed resource for the this breakthrough has been a decade of support teaching, study, and understanding of American for collections digitization and access, and an visual arts for national and international audi- endowment at the Smithsonian Institution’s ences, Terra Foundation staff launched an initi- Archives of American Art, the most significant ative to develop the anthology Art of the United resource for primary material related to the art of States, 1750–2000: Primary Sources. Combining the United States. To date, over 200 collections, a wide-ranging selection of texts with artworks, almost 3 million images, and thousands of docu- this sourcebook brings together multiple voices ments have been digitized and are now accessible to provide a framework for learning and criti- online through the Archives’ Terra Foundation cal thinking on US art. Published by the Terra Center for Digital Collections. The availability of Foundation, the English-language edition is these materials has expanded research possibili- scheduled for release in early 2020. Future ties, propelling scholarship on American art both editions will make these essential sources and in the United States and internationally. Scholars documents available in multiple European and from Shanghai to San Francisco routinely remark Asian languages. that digitization of the collections has reshaped In order to broaden access to its collection, their research and teaching. the foundation also published Conversations with Since its launch in 2010, the foundation’s the Collection, a handbook featuring 114 impor- publications program has broadened in scope to tant works. Essays by leading scholars from include new avenues for publication and trans- 14 countries contextualize each piece, and a lation, accelerating all manner of projects and responsive digital companion on the foundation’s initiatives that have enhanced access to resources website delivers video and other related content. on American art. Books, journals, awards, and This new platform for engagement with the Terra digital publication initiatives have increased Foundation’s collection includes an exploration the flow of important scholarship on American tool, responsive and interactive content based on art globally and provided first-time publishing Online Scholarly Catalogue Initiative standards, opportunities for scores of scholars. Fifty-four and an e-publication.

26 Report 2016–2019 In addition to the website’s collection pages, Since 2004 Conversations with the Collection, a handbook with Since 2005 Terra Collection Available Online digital components that allow for deeper explora- Terra Foundation Center for Digital tion was released in 2018, showcasing more than 100 paintings from the foundation’s holdings. Collections at the Archives of American Art

Work from the Terra Collection International authors most viewed online: Mary Cassatt’s contributed to Conversations Summertime (1894) 35 with the Collection

Supporting Publications around the World The Collections Digitization and Foundation, has greatly expand- Since 2010 Access Program at the Archives of ed who can access the archives, American Art, Smithsonian Institution, as well as how and when these supported over a decade by the Terra materials can be used. Digitized Materials

2010 » 2012 » 2016 » International Essay Prize International Publication American Art in Translation Grants Book Prize 2.8M 5,798 1,450 Images Documents Audiovisual items

Access (2004–2018)

2016 » 2017 » 2020 Terra Foundation Digital Publication Primary Sources 6.4M 8.7M 27M Essays Initiatives Anthologies Unique users Sessions Pageviews

28 Report 2016–2019 Access to Resources 29 Study and Presentation of American Art in the US

Increasing engagement with American art teaching and learning resource on American across the United States has remained a priority history and art developed and distributed by of the Terra Foundation. Motivated by a desire Smarthistory and a consortium of 16 museums to add to the scholarship and presentation of in the United States. With the goal of having American art nationwide, the foundation has users explore the diverse history of the United sought new pathways for deeper investigations States through art, the resource gives digital and meaningful exhibitions. An emphasis on access to the collections of a group of partners. exchange, often cross-cultural groups of schol- Structured on themes from the International ars and curators working together, has enriched Baccalaureate program, this project is the the landscape and produced projects that offer result of collaboration between educators and new narratives and ways of seeing. Since 2005, museum curators and makes key resources more than 171 exhibitions and close to 80 aca- available nationwide and beyond. demic programs presented in the United States In 2017, the Terra Foundation joined have received grant support from the founda- forces with the newly formed Art Bridges tion, and 250 US-based scholars have benefited foundation to expand access to outstanding from individual fellowship programs. works of American art across the United States While artwork from the Terra Foundation’s and broaden the relevance of museums in the collection travels extensively, the national twenty-first century. The Art Bridges + Terra tour of Samuel F. B. Morse’s monumental nine- Foundation Initiative is a unique grant program teenth-century masterpiece Gallery of the Louvre that supports multi-year, multi-institutional (1831–33) makes the painting among the most exhibition partnerships among groups that shared of the group. The eight-venue exhibi- include a metropolitan museum and institu- tion made stops in regions across the United tions in primarily non-metropolitan areas. States, and was prompted by the completion of Sharing collections and resources, these cohorts conservation treatment. A published anthol- collaborate to create a series of exhibitions ogy and accompanying video amplified the exhi- custom-designed to engage local communities. bition, treating visitors to the fresh insights of To date, 30 arts organizations are part of the academics, curators, and conservators focused Art Bridges + Terra Foundation Initiative, on the painting’s visual components and cul- which is slated to generate some 70 American tural contexts. art exhibitions nationwide. Terra Foundation support helped launch Seeing America, a multimedia web-based

30 Report 2016–2019 5 Exhibition Cohorts 2018 Detroit Institute of Arts Art Bridges + Terra 9 Michigan partners Foundation Initiative Los Angeles County Museum of Art 4 LA County partners Museum of Fine Arts, Boston Nationwide initiative that supports multi- 4 New England partners year, collaborative exhibition partnerships Philadelphia Museum of Art among large metropolitan museums and 8 Pennsylvania partners institutions in primarily non-metropolitan Smithsonian American Art Museum areas serving local communities. 5 American West partners Since 2005 Internationalizing 250 108 the Field in the US US-based fellows Loans of Terra supported by Collection works academic grants to US institutions

Academic programs, exhibitions, and fellowships in the US support the study of American art in an 171 78 international context, furthering Exhibitions Academic programs cross-cultural dialogue. supported in the US supported in the US

The conservation and multi-year exhibition tour 16 Museum Partners Amon Carter Museum of 2015–17 of the Terra Collection work, Morse’s Gallery of the Since 2018 American Art / Art Institute of Chicago / Brooklyn Samuel F. B. Morse’s “Gallery of Louvre (1831–33), to 8 US venues was accompanied by Seeing America: An Online Museum / Crystal Bridges Museum of American the Louvre” and the Art of Invention an anthology of texts by international academics, Multimedia Learning Resource Art / Denver Art Museum / Fine Arts Museums of curators, and conservators, focusing on the painting’s San Francisco / Los Angeles County Museum of visual components and cultural contexts. on US History and Art Art / Minneapolis Institute of Art / National Museum of the American Indian, Smithsonian Institution / Newark Museum / Pennsylvania Academy of the Seattle Art Museum Fine Arts / Philadelphia Museum of Art / Portland “It is no exaggeration to state that Terra’s Art Museum / Smithsonian American Art Museum / Peabody support is visionary in several ways. Essex Toledo Museum of Art / Wadsworth Atheneum Museum Terra has allowed us to move forward Detroit Institute Museum of Art of Arts with the ambitious goal of rethinking how New Britain American art is taught. … We believe Museum of Crystal Bridges American Art that projects like have an Museum of Seeing America American Art important role to play in demonstrating Reynolda House the value of looking and learning more Huntington Library, Museum of Art Museum, and American Art broadly—across collections and across the Botanical Gardens Amon Carter country and beyond.” Museum Beth Harris and Steven Zucker, Executive Directors, Smarthistory

32 Experiences and Scholarship in Chicago

Chicago was Daniel Terra’s city. It was here that galvanized and mobilized a constellation of he started his chemical company in 1940, lived cultural partners to examine Chicago’s dis- most of his life, and established his eponymous tinct creative legacy, showcasing artists and foundation in 1978. For over 40 years, the Terra designers, organizations, and key moments in Foundation’s commitment to Chicago has been Chicago’s cultural history. Forty-six exhibitions, steadfast. It was redoubled in 2005 with the more than 300 public programs, and a robust creation of a dedicated Chicago Program, a spe- marketing campaign supported by the initiative cial allocation for grants within the city, and the united the city’s arts community in sustained gradual introduction of Chicago-specific edu- activity during 2018. Groundbreaking schol- cation and teaching programs. In Chicago, the arship is now available in books, such as Art in foundation has been at the nexus of enriched Chicago: A History from the Fire to Now, and in a experiences with original works of American host of digital resources, such as the searchable art, pioneered new models for teaching that online guide to art-related archival materials have enlivened the cultural landscape, and intro- in 75 Chicago-area collections, developed by duced new opportunities for the interpretation the Archives of American Art. In collaboration of the city’s cultural identity. with the Chicago Humanities Festival and Since 2005, artworks from the Terra EXPO CHICAGO, international curator Hans Foundation’s collection have been on loan to Ulrich Obrist conducted his first US marathon the Art Institute of Chicago, enriching the interview session with more than 20 innova- museum’s American art galleries. In addition, tive and influential Chicagoans, of which the the foundation developed American Art at book Creative Chicago: An Inter-view Marathon the Core of Learning, which brought together provides a valuable record. Equally significant, Chicago-based museum educators to share most of Chicago’s major universities developed best practices on how to engage students with new courses on the city’s art and design history. American art. Classroom teachers and liter- Reflecting the overarching goal of the founda- acy specialists co-created model lessons and tion’s engagement in its hometown, Art Design teaching tools designed to address the academic Chicago added to the city’s already lively cul- standards for literacy used in schools across tural tapestry, spurring ongoing conversations Chicago and Illinois. and reconceptualizing prevailing narratives One of the foundation’s boldest under- about Chicago’s artistic and cultural history. takings to date in the city was Art Design Chicago. Six years in the making, this initiative

34 Report 2016–2019 76 works from the Terra Collection have been Since 2005 exhibited on a rotating basis at the Art Institute of 2018 Terra Collection Artworks Loaned Chicago since 2005. This longstanding partnership Art Design Chicago brings together works from both collections to en- to the Art Institute of Chicago hance the Art Institute’s presentation of American The first large-scale exploration art for local and international audiences. of Chicago’s art and design history.

“In one beautifully crafted initiative that engaged scores of partners, the Terra Foundation created a movement around the theme of Art Design Chicago. The rich and varied conversations, exhibitions, public programs, and newly available resources have already changed the landscape and will continue to inform research and projects that examine Chicago’s legacy in art and design for decades to come.” Kim Coventry, former Executive Director, Walt Kuhn, Clown George Bellows, Stuart Davis, James McNeill John Singer Sargent, with Drum, 1942 The Palisades, 1909 Super Table, 1925 Whistler, Note in Red: Dennis Miller Bunker Richard H. Driehaus Foundation The Siesta, by 1884 Painting at Calcot, 1888

Kindergarten through High School (K–12) Teaching Initiatives 2.5M 107 46 36 People attended Art Art Design Chicago Exhibitions Academic convenings 2005–13 Design Chicago exhi- grants to 72 Terra Teacher Lab bitions and programs partner organizations

Introduced more than 175 teachers from 75 Chicago Public Schools to American art history and strategies for teaching with works of art that promote critical thinking and enliven the 95 300+ 45 study of US history and literature. Participating Public programs, New publications organizations tours, and and digital projects 2012–14 special events American Art at the Core of Learning

35 Chicago-based museum educators worked with literacy instructors to create classroom resources and shared their best practices in museum teaching that help build literacy skills.

Report 2016–2019 Section 37 Grants and Initiatives

Through its programs, the Terra Foundation actively supports and initiates historical American art exhibitions, academic programs, publications, and research in Chicago, the United States, and around the world.

Art Gallery of Ontario FY2017 $250,000 July 1, 2016–June 30, 2017 To support Riopelle/Mitchell: Face to Face, co- organized by the Art Gallery of Ontario and the Musée National des Beaux-Arts du Québec. Exhibitions The exhibition is devoted to the personal and

artistic relationship between American Joan Art, Design & Architecture Museum at the Mitchell and Canadian Jean-Paul Riopelle, University of California, Santa Barbara illuminating the roles these painters played $170,111 within the Parisian and international abstract To support Chiura Obata: An American Modern, movements. The exhibition is accompanied an exhibition presenting the first survey of by a catalogue in English and French. the art of Chiura Obata, a Japanese American (1971) by Frank Bowling at artist whose work illuminates both Japanese Berkeley Art Museum and Pacific Film Archive artistic traditions and American modernism. $150,000 Along with the organizing venue, the exhibition To support Charles Howard: A Margin of Chaos, travels to the Utah Museum of Fine Arts, the the first US overview of artist Charles Houghton Smithsonian American Art Museum, the Crocker Howard in 60 years and the first scholarly cat- Art Museum, and the Okayama Prefectural alogue ever devoted to his work. The exhibition Museum. A catalogue in English- and Japanese- examines Howard’s artistic trajectory and role Soul of a Nation: Art in the Age of Black Power at Modern Tate (July 12–October 22, 2017). Photo: Tate, Seraphina Neville. language editions accompanies the exhibition. in cross-pollinating major artistic movements Installation shot Louise of Texas

38 Report 2016–2019 Section 39 as they developed in the United States and together with those of artists of the New York Portuguese-, German-, and English-language profound impact that American artists had on Europe. The exhibition travels to the Art Gallery School. The exhibition considers the ways in editions accompanies the exhibition. the cultural and artistic lives of Australians. of Ontario and is accompanied by a catalogue. which Eastern traditions from Chinese and The exhibition includes major works by Mark Japanese calligraphy to Zen Buddhism advanced Museum Ludwig Rothko, Willem de Kooning, Lee Krasner, Centre Pompidou Abstract Expressionism’s aesthetic agenda $300,000 Jackson Pollock, Andy Warhol, Claes $225,000 regardless of the artist. The exhibition is accom- To support James Rosenquist: Painting as Oldenburg, and many others. The exhibition is To support Walker Evans, a major retrospective panied by a catalogue. Immersion, an exhibition positioning painter accompanied by a catalogue. on the vernacular work of American photog- James Rosenquist as one of the most influ- rapher Walker Evans that spans the artist’s Jewish Museum ential figures of the Pop art movement in the Phillips Collection entire career and features more than 300 pho- $200,000 United States and around the world. Over 30 $200,000 tographs and some 100 contextual documents To support Florine Stettheimer: Painting Poetry, large-scale works from the late 1950s through To support 10 American Artists: After Paul and objects, including drawings and paintings an examination of over 50 paintings and the 2000s are featured, with an emphasis on Klee, co-organized by the Phillips Collection by Evans and his personal postcard collection. drawings, selected costumes and theater Rosenquist’s output from the 1960s and 1970s. and the Zentrum Paul Klee. The exhibition The exhibition travels to the San Francisco designs, photographs, ephemera, and poetry The exhibition travels to the ARoS Aarhus examines the artistic impact of Swiss-born Museum of Modern Art and is accompanied by that tell the story of Stettheimer’s personal life Kunstmuseum and is accompanied by German- artist Paul Klee on the development of an illustrated album in English and French, as and her artistic development. The exhibition and English-language catalogues. Jackson Pollock, Robert Motherwell, Adolph well as a French-language catalogue. travels to the Art Gallery of Ontario—the Gottlieb, Bradley Walker Tomlin, Mark Tobey, first-ever solo exhibition of the artist in National Gallery of Australia Theodoros Stamos, William Baziotes, Kenneth Dulwich Picture Gallery Canada—and is accompanied by a catalogue. $250,000 Noland, Gene Davis, and Lee Gatch. English- $35,000 To support American Masters: 1940–1980, a and German-language catalogues accompany To support Sargent’s Watercolours: A New Look, Mary and Leigh Block Museum of Art survey of American postwar art and the the exhibition. an exhibition of over 80 works that highlights $100,000 the modernist, experimental nature of John To support William Blake and the Age of Aquarius, Singer Sargent’s watercolors, demonstrating which explores the impact of British visionary his bold and idiosyncratic views of the world. poet and artist William Blake on American The exhibition is accompanied by a catalogue. artists in the years following the Second World War. The exhibition considers how Blake’s art Harvard Art Museums and ideas were absorbed and filtered through $250,000 the work of Diane Arbus, Wallace Berman, Jay To support The Philosophy Chamber: Harvard’s DeFeo, Robert Frank, Charles Seliger, Clyfford Lost Collection, 1766–1820, an exhibition that Still, Minor White, and others. The exhibition is

re-assembles and re-assesses a collection of accompanied by a catalogue. at the Jewish Museum over 100 works of art and artifacts that exem- plify the intellectual spirit of the Enlightenment. Metropolitan Museum of Art The exhibition travels to the Hunterian Museum $350,000 and Art Gallery at the University of Glasgow and To support The Irving Penn Centennial, an exhibi- is accompanied by a catalogue. tion featuring 225 photographs primarily drawn from the Metropolitan Museum’s collection that Honolulu Museum of Art traces the career of American photographer $125,000 Irving Penn and marks the centennial of his To support Abstract Expressionism: Looking birth. The exhibition travels to the Galeries East from the Far West, an exhibition that brings Nationales du Grand Palais, the Instituto Moreira

the contributions of Asian American artists Salles, and C/O Berlin. A catalogue in French-, Visitors Poetry Painting Stettheimer: at Florine (May 5–September 24, 2017). Photo: © 2017 Scott Rudd.

40 Report 2016–2019 Grants and Initiatives 41 Royal Academy of Arts The exhibition brings together 60 major works devoted to art history that takes place in the $175,000 with a focus on Saul’s early work from the Academic Programs château and town of Fontainebleau. The United To support Jasper Johns: Something 1950s and 1960s. The exhibition travels to For additional FY2017 academic programs, States is the country of honor for the festival’s Resembling Truth, the first major retrospective Sammlung Falckenberg at Deichtorhallen see Initiatives & Partnerships (pp. 51–53) 2017 edition. During the three days of the festival, of Jasper Johns in the UK since 1964. The Hamburg and is accompanied by English- and more than 300 conferences, debates, tours, con- exhibition charts the artist’s development German-language catalogues. Courtauld Institute of Art certs, exhibitions, films, lectures, and workshops from the 1950s onward, examining both his $51,800 are offered to the public by museum curators, thematic interests and the many techniques Tate Modern To support the Centre for the Study of American artists, and scholars. and materials employed in his artistic practice $250,000 Art, an initiative which establishes a national, throughout his career. The exhibition travels To support Soul of a Nation: Art in the Age of Black European, and international nexus for the study Miriam and Ira D. Wallach Art Gallery to the Broad Museum and is accompanied by a Power, an exhibition of leading African American of historical American art at the Courtauld $25,000 catalogue. artists working between 1963 and 1983. Bringing Institute of Art. To support “Posing Modernity: The Black Muse together more than 150 works from private and from Manet to Matisse, Bearden and Beyond,” Schirn Kunsthalle Frankfurt public collections, the exhibition features paint- Deutsches Forum für Kunstgeschichte Paris a symposium held at Columbia University’s $170,610 ings, collage, photographs, prints, and sculpture $24,740 Wallach Art Gallery. The symposium offers To support Peter Saul, the first German from Norman Lewis, Romare Bearden, Elizabeth To support “Networks, Museums, and Collections: presentations and discussions to build awareness retrospective exhibition of the artist, whose Catlett, Betye Saar, Faith Ringgold, Sam Gilliam, Surrealism in the United States,” an international of the black presence in the social and artistic idiosyncratic style draws on Pop art, and many others. The exhibition travels to the conference organized by the Deutsches Forum circles of French artists and explores how African Surrealism, Abstract Expressionism, Chicago Crystal Bridges Museum of American Art, the für Kunstgeschichte Paris in collaboration American artists associated with the Harlem Imagism, and California Funk in its explora- Broad, and the Brooklyn Museum and is accom- with the Université Paris Ouest Nanterre La Renaissance were in close dialogue with their tions of American politics and pop culture. panied by a catalogue. Defense; Universität Leipzig; and Texas Christian white European and American peers. University. The conference, focused on the development of Surrealism in the United States University of Kent between 1930 and 1950, is hosted in Paris. $9,345 To support “The Cartographic Imagination: Art, Dún Laoghaire Institute of Art, Design & Literature, and Mapping in the United States, Technology 1945–1980,” a conference co-organized by the

$24,155 University of Kent and the Université de Strasbourg. at To support “Photography as Contact Zones: The two-day event provides a forum for interdisci- Migration and Cultural Encounters in America,” plinary dialogue between the fields of art history a workshop and symposium co-organized by and literary studies, focusing on how space is the Dún Laoghaire Institute of Art, Design & constructed, imagined, reconfigured, displaced, Technology and the University of Bergen. The and questioned in various artistic forms. programs investigate the impact of geographic migration within the practice of American pho- University of Nottingham tography and bring into dialogue the aesthetics $25,734 and cultural politics of American photography To support “Rethinking Regionalism: The Midwest from 1850 to 1980. in American Art History,” a two-day intensive workshop and symposium that investigates the Institut National d’Histoire de l’Art ways in which accounts of American cultural $44,713 production have been informed by an unacknowl- To support the seventh edition of the Festival de edged “invisible middle” from the late nineteenth Installation Immersion as view Painting Rosenquist: of James Museum Ludwig, Cologne (November 18, 2017–March 4, 2018). 2017–March 2018). 4, 18, Ludwig,Museum (November Cologne Photo: Rheinisches Cologne/Rico Bildarchiv Köln, Photo: Burgmann. l’Histoire de l’Art, France’s annual gathering century to the present.

42 Report 2016–2019 Grants and Initiatives 43 University of Sydney teachers about Chicago outsider artist Henry to $24,500 Darger, released in conjunction with a year- the To support “Transatlantic Gardens and long series of programs and exhibitions at Intuit Enlightenment Ideas in American Art,” a two- commemorating the 125th anniversary of the day international symposium co-organized by artist’s birth. the University of Sydney and the University of

Southampton. Ten speakers investigate how Newberry Library ideas about and representations of landscapes $15,600

developed and were transmitted across the To support a new teacher and student program Atlantic in the eighteenth century. The event about the art and visual culture of World War II. is hosted at the Robert H. Smith International Chicago Public Schools high-school teachers Center for Jefferson Studies at Monticello, attending a one-day seminar, led by an art Thomas Jefferson’s Virginia estate. historian, explore a range of primary and sec- ondary sources from the Newberry’s collection University of Texas at Dallas of WWII material and learn techniques for $17,000 teaching with and about these sources in the To support “György Kepes’s Vision + Value Series classroom. The program also includes student and the History of Cybernetic Art,” presented field trips to the Newberry Library. by the Edith O’Donnell Institute for Art History. The program explores the role that Hungarian- Smarthistory Center (October 2018–March 27, 3, 2019). Photo: Jon Shaft. American artist and writer György Kepes $486,500 Visitors Art, Chicago: Designers in at American African Commerce, and the Politics of Race Chicago Cultural the at played in the development of digital and cyber- To support Seeing America, a multi-year project netic art internationally. to create a free, comprehensive, web-based dynamic exhibition history of the collective and the learning resource on the history of American Art Design Chicago greater character of Chicago itself. Artists include art, developed and distributed by Smarthistory Exhibitions, Academic and Public Programs, Jim Falconer, Art Green, Suellen Rocca, Gladys Chicago K–12 Programs in partnership with a consortium of museums. and Publications Nilsson, Jim Nutt, and Karl Wirsum. Smarthistory is a widely used resource for the The exhibition is accompanied by a catalogue. Crystal Bridges Museum of American Art study of art and cultural heritage, with a grow- Art Institute of Chicago $25,000 ing collection of object-centered videos and $35,000 Art Institute of Chicago To support a planning convening of approxi- essays available on smarthistory.org. To support Block Party, a large-scale public pro- $150,000 mately 24 educators and American art curators gram consisting of short talks, tours, interactive To support Charles White: A Retrospective, co-orga- from 10 museums around the United States experiences, and performances. The program nized by the Art Institute of Chicago and the Museum as the initial step in the development of Seeing Chicago Public Programs activates the entire museum over the course of of Modern Art, which explores the life and work America, an ambitious interdisciplinary online one day and provide visitors with opportunities of Charles White, one of the pre-eminent artists resource on the history of American art Art21 to participate in meaningful conversations and during the Black Chicago Renaissance of the 1930s developed by Smarthistory, producer of online $10,000 creative activities in response to the museum’s and 1940s. The exhibition travels to both co-orga- essays and videos on art and cultural history. To support a free public panel discussion and Chicago-related collections and exhibitions. nizing institutions and to the Los Angeles County video screening at the Art Institute of Chicago Museum of Art, and is accompanied by a catalogue. Intuit: The Center for with artist and graphic novelist Chris Ware on Art Institute of Chicago Intuitive and Outsider Art the role of comics in American art, organized $200,000 Caxton Club $25,000 in conjunction with the presentation of Art21’s To support Hairy Who?, an exhibition that coincides $7,000 To support the creation of a free online cur- documentary series Art in the Twenty-First with the 50th anniversary of the final Hairy Who To support the production of Chicago by the Book: riculum resource for middle- and high-school Century on PBS. exhibition at the Hyde Park Art Center and speaks 101 Publications that Shaped the City and its Image,

44 Report 2016–2019 Grants and Initiatives 45 the visual and material culture of American bi- Chicago Public Library Foundation cycling. With a look at objects and ephemera $49,170

associated with bicycling, this exhibition explores To support the Chicago Teen Printmaking the significant role of Chicago’s artists and Project, a program focused on the history of designers in developing the look, feel, and mythos printmaking and printing in Chicago and its of America’s popular bicycling phenomenon. applications today. This 12-week mentor-led experience, offered by the library’s YOUmedia Chicago History Museum program, culminates in traveling teen-created $200,000 exhibitions and printmaking workshops at To support Modern by Design: Chicago Stream- library branches around the city. lines America, an exhibition about Chicago’s influence on the look and feel of modern daily life DePaul Art Museum in America. Featuring nearly 300 photographs, $160,000 printed materials, and industrial and household To support Someday, Chicago: Yasuhiro Ishimoto objects from the 1930s to 1950s, Modern by and the Institute of Design, an exhibition that Design examines how Chicago designers and examines the legacy of American-born manufacturers brought modern design to the Japanese photographer Yasuhiro Ishimoto American marketplace on an unprecedented through the lens of Chicago—the artist’s home scale by producing affordable, mass-produced for more than a decade, which he revisited streamlined products. The exhibition is accom- throughout his career. The project explores Photo: David Kindler, T. courtesy of the Chicago Humanities Festival. Art Green, Gerald Williams, Suellen Rocca, and Hans Ulrich Obrist during panied by a multi-author book published by the how Ishimoto helped to spread his modernist “Creative Chicago: An Interview Marathon” at Navy Pier (September 29, 2018). Chicago Art Deco Society. vision, developed while studying and working in published by the University of Chicago Press ments, and other art forms developed in several Chicago, into an international arena. The exhibi- in fall 2018. Spanning 1844 through 2015, this Chicago neighborhoods. Chicago Humanities Festival tion is accompanied by a catalogue. volume surveys 101 publications that illuminate $300,000 the diverse elements, such as historic events Chicago Department of To support a series of public programs on DuSable Museum of African American History and key individuals and institutions, that have Cultural Affairs and Special Events Chicago’s history of art and design during the $70,000 shaped the distinctive identity and reputation $125,000 multi-week Fallfest, a citywide celebration To support The Art and Influence of Dr. Margaret T. of a major American city. To support African American Designers in Chicago: of the humanities staged at venues throughout Burroughs. This exhibition explores the art and Art, Commerce, and the Politics of Race, an exhibition Chicago annually. Fallfest features perfor- legacy of celebrated Chicago artist, writer, and Chicago Cultural Alliance that explores how the city’s African American design- mances and presentations by nationally and cultural leader Margaret Burroughs during the $16,000 ers worked across different media and practices to internationally recognized artists, scholars, 1960s and 70s, whose practice, activism, and To support a collaborative program series define a role for African Americans in the design pro- writers and journalists, scientists, politicians, philosophies continue to have a profound influ- highlighting the cultural contributions fessions. The exhibition highlights the diverse array and other influential thinkers. ence on institutions and artists to this day. of immigrant artists and designers in of design styles and practices that were innovated Chicago and ways in which they intersected. and how, over the course of the twentieth century Chicago Parks Foundation Elmhurst College Collaborative partners include the Swedish from the Great Migration to the 1980s, Chicago became $10,000 $18,445 American Museum, Chinese American a national center for African American design. To support the “Art in the Park Tour Series,” To support “The Figure, Humor, and the Chicago Museum, American Indian Center, National bus and walking tours highlighting the Imagists,” a program that explores the sub- Museum of Puerto Rican Arts and Culture, and Chicago Design Museum exceptional art and design collection found jects and sensibility of the Chicago Imagists. Bronzeville Historical Society, among others. $15,000 in the city’s green spaces, including sculp- Organized by artist and curator Suellen Rocca The site-specific programs examine murals, To support Keep Moving: Designing Chicago’s Bicycle ture, fountains, monuments, murals, and land- (an original member of the Hairy Who), the pro- decorative sculpture, architecture, monu- Culture, an exhibition about Chicago’s role in shaping scape design. gram also highlights the college’s art collection,

46 Report 2016–2019 Grants and Initiatives 47 comprising work by Chicago artists from the which highlights the role of vernacular the 1950s to 1970s. Goldsholl Design Associates National Museum of Mexican Art 1950s to the present. design and interior design in the lives of pioneered work in print, packaging, identity $150,000 everyday Chicagoans. This interactive, com- design, and commercial film at a time when To support Arte Diseño Xicágo: Mexican Inspiration Frances Young Tang Teaching Museum munity-based program includes a digital Chicago rose to prominence as the leading from the World’s Columbian Exposition to the Civil and Art Gallery documentation project, community exhibitions center for industrial and educational film pro- Rights Era, an exhibition surveying the artistic $100,000 and public programs in neighborhoods around duction in the country. activity of Mexican travelers and immigrants in To support The Imagist Object: New Dimensions Chicago, and a culminating exhibition in down- Chicago starting in the nineteenth century. The in Chicago Art, 1964–1980, an exhibition that town Chicago. Museum of Contemporary Art Chicago exhibition assembles photographs, objects, and examines the little-known sculptural work and $80,000 artworks from the years between the World’s dimensional paintings made in the 1960s and Jane Addams Hull-House Museum To support Picture Fictions: Kenneth Josephson Columbian Exposition in 1893 and the Civil Rights 1970s by artists commonly identified as Chicago $30,000 and Contemporary Photography, an exploration Era of the 1970s. A catalogue in English and Imagists—Karl Wirsum, Art Green, Suellen To support the public programming series of the role Kenneth Josephson played in shap- Spanish accompanies the exhibition. Rocca, Jim Nutt, Christina Ramberg, Barbara “Participatory Arts: The Legacy of Chicago’s ing the history of photography while teaching at Rossi, Roger Brown, Ed Paschke, and several Hull-House Artists,” which focuses on the School of the Art Institute of Chicago, and National Public Housing Museum others—and by artists closely affiliated with the Hull-House settlement artists and arts the ways in which his ideas pervade image- $28,400 Imagists, including Don Baum, Ray Yoshida, programs and the ways in which they influ- based culture and art practices today. To support the creation of interactive content for and H. C. Westermann. The exhibition is accom- enced Chicago’s art and design history. The Homecoming: Public Art for a Public Museum, a panied by a catalogue. series explores this history through public Museum of Contemporary Photography re-installation and interpretation of the large- discussions, art and artifact collections, and $130,000 scale public-sculpture ensemble Animal Court, Graham School of Continuing immersive workshops at the museum. To support The Many Hats of Ralph Arnold: Art, commissioned in the 1930s for the Jane Addams Liberal and Professional Studies at Identity, and Politics, an exhibition of photo- Homes (site of the future museum) and designed the University of Chicago Koehnline Museum of Art, Oakton graphic collages of the 1960s and 1970s by by Edgar Miller. Removed for conservation sev- $25,000 Community College prolific Chicago artist Ralph Arnold. Arnold’s eral years ago, the sculptures were an important To support “Art Speaks,” a public programming $20,000 multi-layered identity as a black gay Korean gathering place for community members. series composed of nine free programs that high- To support Sculpting a Chicago Artist: Richard War veteran, activist, prominent teacher, and light key themes across and connections between Hunt and his Teachers: Nelli Bar and Egon member of Chicago’s art community is reflect- Newberry Library Art Design Chicago exhibitions and programs. Weiner, an exhibition on three closely linked ed in his vivid and complex visual arrangements, $16,330 sculptors who met through the School of incorporating photomontage, painting, and To support an interdisciplinary scholarly seminar Illinois Executive Mansion Association the Art Institute of Chicago. The exhibition text, with appropriated and mass-media imag- series “Chicago: City of Design and Commerce, $75,000 includes approximately 45 sculptures, ery. A catalogue accompanies the exhibition. 1890–1990.” The seminars focus on Chicago’s To support Art of Illinois, an exhibition of drawings, and prints, along with historical contributions to design history and offer a forum paintings, sculptures, and decorative arts that photographs of the artists and video of Hunt Museum of Modern Art for scholars to gather, share works-in-progress, showcases the creative achievements of artists reflecting on his teachers. The exhibition is $150,000 and engage in conversation and debate. and artisans working in Chicago and other parts accompanied by a catalogue. To support Charles White: A Retrospective, co- of Illinois from the mid-nineteenth century to organized by the Art Institute of Chicago and Newberry Library the present. The exhibition is presented at the Mary and Leigh Block Museum of Art the Museum of Modern Art, which explores $16,425 state’s historic Executive Mansion in Springfield $180,000 the life and work of Charles White, one of To support the “American Art and Visual Culture as part of the state bicentennial celebration. To support Designers in Film: Avant-Garde and the preeminent artists to emerge during Seminar” during the 2017/18 and 2018/19 Commercial Cinema in Mid-Century Chicago, an the Black Chicago Renaissance of the 1930s academic years, which have a special emphasis Illinois Humanities exhibition and digital catalogue that examines and 1940s. The exhibition travels to both co- on Chicago’s art and visual-culture history $35,000 the Chicago-based design firm Goldsholl organizing institutions and to the Los Angeles in alignment with Art Design Chicago. The To support the public programming series Design Associates and its national impact on County Museum of Art, and is accompanied by seminars convene a diverse community of local “Everyone’s a Designer/Everyone’s Design,” design, advertising, and commerical film from a catalogue. and regional Americanists for intellectual

48 Report 2016–2019 Grants and Initiatives 49 exchange and provide a forum for presenting an influential Chicago artist and central figure current research. in the history of modern American Jewish art. In addition to paintings, prints, and works on Newberry Library paper, the exhibition features items from the $22,000 Spertus’ extensive archive of Geller’s personal To support a series of three public programs materials, encompassing preparatory sketches,

that showcase aspects of Chicago art and letters, books, postcards, periodicals, news design history that are also well represented articles, photographs, posters, book illustra- by the library’s collections. The three programs tions, and bookplates. consist of dialogue between experts followed by an open discussion. UChicago Arts $20,000 Smart Museum of Art, University of Chicago To support a series of public programs on $149,950 Italian-born sculptor Virginio Ferrari, whose To support The Time is Now! Art Worlds of Chicago’s practice has been deeply embedded in Chicago South Side, 1960–1980. This exhibition reveals the since he made the city his home in the mid- dynamism of the art scene on Chicago’s South 1960s. Ferrari was one of the most widely Side during the 1960s and 70s, which gave rise commissioned sculptors in postwar Chicago, to influential movements, collectives, and prac- and his monumental works can be found tices, including the Community Mural Movement, throughout the city, in other US cities, and Visitors at Pathways to Modernism: American Art, 1865–1945 at AfriCOBRA, and the Hairy Who; and to individuals around the globe. The series includes public 23, (September 2018–January Museum 2019). Shanghai 6, the who charted new artistic paths, challenged the conversations, lectures, art tours, K–12 pro- political status quo, created new spaces for art, grams, and family programs. Université Paris Sorbonne. The colloquium and reimagined the future. focuses on the cultural contributions of Initiatives & Partnerships Ukrainian Institute of Modern Art Chicago’s South and West Sides, the role South Side Community Art Center $35,000 of Chicago artists in defining an African American Academy in Rome $50,000 To support LIONS: Founding Years of UIMA in American identity nationally, and the Black $309,000 To support Change the Canvas, Change the World: A Chicago, an exhibition and documentary film Chicago Renaissance as distinct from the To support a residential fellowship at the Landscape of Cultural Discovery, an exhibition high- project that examines the history of the Harlem Renaissance. American Academy in Rome for postdoctoral or lighting the South Side Community Art Center’s Ukrainian Institute of Modern Art and the senior scholars conducting research on Ameri- early history and a group of influential artists artists and patrons who helped to found it. Video Game Art Gallery can art and visual culture. The fellowship allows who were closely linked to the institution during The project explores the influence and inter- $50,000 scholars to pursue their work in an atmosphere its formation, including Margaret Burroughs, actions of Ukrainian artists in Chicago, as To support Chicago New Media, 1973–1992, conducive to intellectual and artistic freedom, Eldzier Cortor, Gordon Parks, Elizabeth Catlett, practitioners, scholars, and teachers, and the first exhibition to survey Chicago’s role interdisciplinary exchange, and innovation. and Charles White. Art from SSCAC’s collection is draws from UIMA’s collection. in the history of new media and digital art. the centerpiece of the exhibition, which features The exhibition, at the University of Illinois Art Institute of Chicago / approximately 40 objects. University of Chicago Center in Paris at Chicago’s Gallery 400, chronicles the Terra Foundation for American Art $17,000 contributions of artists at the Electronic $819,860 Spertus Institute for To support “The Black Metropolis, Between Visualization Lab at UIC and at the School of To support Pathways to Modernism: American Jewish Learning and Leadership Past and Future: Race, Urban Planning, and the Art Institute of Chicago, with video game Art, 1865–1945, a major Terra Collection Initiative $50,000 African-American Culture in Chicago,” a three- artifacts, historical photographs, game stills, exhibition partnership between the Art Institute To support Todros Geller: Strange Worlds, an exhi- day colloquium, co-hosted and organized with playable video game consoles, and more. of Chicago and the Terra Foundation, featuring bition on the multifaceted work of Todros Geller, faculty at Université Paris Diderot and A catalogue accompanies the exhibition. paintings and works on paper by American

50 Report 2016–2019 Grants and Initiatives 51 masters such as Winslow Homer, James McNeill Clark Art Institute Institut National d’Histoire de l’Art the Terra Foundation and short-term visiting pro- Whistler, Mary Cassatt, Georgia O’Keeffe, Edward $14,200 $185,920 fessor fellowships funded by the host institutions’ Hopper, and Jackson Pollock. The exhibition To support a workshop co-organized by the Clark To support the creation of an annual research regular programs of fellowships for invited inter- opens at the Shanghai Museum and is accompan- Art Institute and the Terra Foundation that gathers fellowship for post-doctoral candidates at the national researchers. The grant also supports a ied by a Chinese-language catalogue (see p. 98). international scholars to consider how the attribu- Institut National d’Histoire de l’Art (INHA), the one-semester course on the history of American tion of artistic value to artworks in American and central art historical institute in France, for three art within the master’s program in art history in Ashmolean Museum of Art and Archaeology / European contexts has been paired with value sys- years. During the residency at INHA, fellows will fall 2017. Terra Foundation for American Art tems that operate within the domains of economy, advance their postdoctoral research and work $400,000 law, and ethics. towards the completion of a book manuscript. University of Edinburgh To support America’s Cool Modernism: O’Keeffe to Additionally, fellows will have access to local li- $184,850 Hopper, a Terra Collection Initiative exhibition co- College Art Association braries and archives, including the INHA library, To support an anthology on European writing on organized by the Ashmolean Museum and the $336,665 one of the largest art history libraries in the world. the art of the United States (1945–1990) led by the Terra Foundation that is devoted to American mod- To support a three-year renewal of the Terra editorial team of Art in Translation. The volume ernism and focuses on a specific set of aesthetic Foundation International Publication Grants pro- Terra Foundation International is the second part of a collaborative research characteristics and theoretical questions related gram, which advances and internationalizes schol- Museum Partnerships Fund and publication project that focuses on the to emotional detachment, removal, and absence arship on American art and provides individuals $330,000 reception of American visual arts in the writings in American art during this period. The exhibition outside the United States with greater access to To support the continuation of the International of European art historians, artists, and critics is accompanied by a catalogue, an academic resources in the field. The grants encourage the Museum Partnerships Fund to encourage the between 1945 and 1990. conference, and public lectures (see p. 98). publication of book-length scholarly manuscripts creation of an international network of museum in the history of pre-1980 American art, visual directors and curators and to explore models University of Oxford Association of Historians of Nineteenth- studies, and related subjects that are under con- for international partnerships. Awardees have $477,840 Century Art tract or consideration for publication. included such institutions as the Association of To support the renewal of the annual Terra $50,000 Art Museum Curators. Foundation for American Art Visiting Professor- To support “American Art History Digitally,” an Conversations with the Collection ship at the University of Oxford for three years, online publishing initiative in partnership with $265,815 Terra Foundation Essays starting fall 2018 and ending spring 2021. The Nineteenth-Century Art Worldwide. The series of To produce the Terra Foundation Publication Con- $29,440 professor teaches courses at the master’s and six digital art history articles on various aspects versations with the Collection, a handbook with To support international study days in Paris and undergraduate levels, supervises master’s of nineteenth-century American art culminates digital companion that features approximately 100 London for the third and fourth volumes of Terra students, and gives a series of public lectures on in a special issue devoted to the symposium important works from the Terra Foundation’s art Foundation Essays, which are Circulation and campus and elsewhere. “The Multisensory Interior in Nineteenth-Century collection. The publication emphasizes the unique Experience, respectively. The Terra Foundation America” held in spring 2019. ways the collection has been used to advance Essays series consists of volumes that explore the Terra Foundation’s mission of initiating inter- themes of critical importance to the history FY2018 British Museum / Terra Foundation national dialogue and cross-cultural exchange of American art through a series of innovative July 1, 2017–June 30, 2018 for American Art through engagement with original works of commissioned essays. $161,570 American art (see p. 28). To support The American Dream, an exhibition Université Paris Nanterre Exhibitions co-produced by the British Museum, Fondation Doshisha University $206,500 Custodia, and Terra Foundation. Drawn from the $474,630 To support the creation of a four-year teaching Barbican Centre Trust British Museum’s exhibition The American Dream: To establish a visiting professorship shared by program in American art starting in fall 2018, $350,000 Pop to the Present, this smaller, reconfigured Doshisha University and Kobe University through hosted by the Université Paris Nanterre and the To support Lee Krasner, a retrospective featuring exhibition at the Fondation Custodia presents which three American art historians reside in Université Paris Diderot. The program consists approximately 100 paintings, drawings, and select prints created by leading American artists Kyoto for one year each, offering four courses of a combination of two-year postdoctoral teach- collages set in context by film and photography between 1960 and 1980. annually in pre-1980 American art history. ing and research fellowships supported by from the postwar period. The exhibition travels to

52 Report 2016–2019 Grants and Initiatives 53 the Schirn Kunsthalle, Zentrum Paul Klee, and of Matisse, whose fascination with Inuit people Jeu de Paume Mead Art Museum Guggenheim Bilbao. A catalogue accompanies and culture inspired many of his works. The $100,000 $40,000 the exhibition. exhibition draws attention to the contributions of To support Dorothea Lange: Politics of Seeing, which To support Dimensionism: Modern Art in the Age Native art to modern art. A catalogue in English presents the documentary photography of Lange of Einstein, an exhibition that explores the impact Berkeley Art Museum and Central Yup’ik with some texts in French and demonstrates how she used photography as of groundbreaking scientific discoveries on and Pacific Film Archive accompanies the exhibition. an instrument for social change. The exhibition American and European artists in the twentieth $200,000 features over 100 vintage prints, supplemented by century. The traveling exhibition opens at the To support Harvey Quaytman: Against the Static, Isamu Noguchi Foundation and Garden Museum a selection of large-format prints digitized from Berkeley Art Museum and Pacific Film Archive a retrospective focused on the four-decade $350,000 Lange’s original negatives. A catalogue in French and is accompanied by a catalogue. career of the abstract painter. Quaytman’s work To support Changing and Unchanging Things: and English accompanies the exhibition. reveals the interplay between earlier strands Noguchi and Hasegawa in Postwar Japan, a Musée des Beaux-Arts de Montréal of European modernism and American postwar collaborative exhibition by the Noguchi Museum Kettle’s Yard, University of Cambridge $350,000 abstraction, pushing the formal and conceptual and the Yokohama Museum of Art that focuses $80,000 To support Radical Inventor: A Retrospective of boundaries of abstract painting. The exhibition is on the brief but impactful friendship between To support New Beginnings: Richard Pousette- Alexander Calder, an exhibition that includes accompanied by a catalogue. Isamu Noguchi and Saburo Hasegawa. The Dart, an exhibition reassessing Pousette- over 100 key works by Calder, illuminating a exhibition documents the artists’ exploration Dart’s contributions to the development of career focused on developing novel approaches Heard Museum of Japanese art, design, and culture through Abstract Expressionism while also examining to a range of media. The exhibition travels to $200,000 approximately 80 works. Presented at the part- the artist’s over 40-year friendship with the National Gallery of Victoria and the To support Yua: Henri Matisse and the Inner Arctic nering institutions, the exhibition then travels Kettle’s Yard founder, Jim Ede, whose collection Smithsonian American Art Museum, and is Spirit, an exhibition that presents masks and to the Asian Art Museum in San Francisco. A forms the basis of the museum. The exhibition accompanied by a catalogue in English- and drawings by Alaskan Natives alongside the work catalogue accompanies the exhibition. is accompanied by a catalogue. French-language editions.

Kunstmuseum Basel Musée d’Orsay $200,000 $150,000 To support The Music of Color: Sam Gilliam, 1964– To support The Water Lilies: American Abstract

1973, the first monographic exhibition in Painting and the Last Monet, an exhibition at Europe of Gilliam focusing on the artist’s early the Musée de l’Orangerie in celebration of and most radical work produced in the 1960s the 100th anniversary of Claude Monet’s gift and 1970s. German- and English-language of the Waterlilies series to the French State. catalogues accompany the exhibition. The exhibition considers the modernity of the work and its legacy by focusing on 20 Ludwig Forum für Internationale Kunst works by American abstract artists working in $177,000 the 1950s. The exhibition is accompanied by a To support Pattern and Decoration: Ornament as French-language catalogue. Promise, an exhibition co-organized by and presented at the Ludwig Forum and the Museum Museu de Arte de São Paulo Moderner Kunst Stiftung Ludwig Vienna. This $150,000 comprehensive survey of the US movement that To support Afro-Atlantic Histories, co-organized by emerged among artists committed to feminist the Museu de Arte de São Paulo and the Instituto causes showcases 65 works with wallpaper-like Tomie Ohtake and presented simultaneously at patterns, decorative ornamentation, and colorful both venues to mark the 130th anniversary of compositions. German- and English-language the abolition of slavery in Brazil. The exhibition the Fondation Custodia (June 2–September 2, 2018). Photo: Philip Provily. The American Dream: Pop to the Present. Prints from the British Museum at catalogues accompany the exhibition. highlights paintings that explore the sometimes

54 Report 2016–2019 Grants and Initiatives 55 under-recognized and often divided history of Minimalism, an influential postwar movement Serpentine Galleries redefine her contributions to twentieth-century one of the largest forced population migrations most strongly associated with the United States, $50,000 art and design, and to explore how her practice in world history, and includes US art from the and considers the international practice and To support Christo and Jeanne-Claude ‘Barrels,’ relates to contemporary movements in painting nineteenth and twentieth centuries to reflect on manifestations that continue to shape con- an exhibition focused on Christo and Jeanne- and textile practice. The exhibition is accompanied the legacy of slavery in the Western Hemisphere. temporary art and culture today. A catalogue Claude’s work with barrels, presenting the by a catalogue in English and German. A catalogue in Portuguese and English accompa- accompanies the exhibition. completed The Mastaba, an installation 50 nies the exhibition. years in the making. A catalogue accompanies University of Queensland Art Museum National Museum of Modern Art, Tokyo the exhibition. $269,276 Museum Folkwang $100,000 To support Robert Smithson: Time Crystals, the $132,400 To support A Retrospective of Gordon Matta-Clark, Sidney and Lois Eskenazi Museum of Art first exhibition in Australia to focus on sculptor, To support Nancy Spero Retrospective, an in-depth the first Asian retrospective of the American $300,000 photographer, and pioneering land artist Robert examination of the artist’s depictions of primarily conceptual artist who opened new horizons To support Americans Abroad: Landscape and Smithson. The exhibition travels to the Monash female figures to raise fundamental questions in sculpture and photography. The exhibition Artistic Exchange, 1800–1920, an inaugural University Museum of Art and is accompanied by about feminism, gender, and violence. The exhi- re-evaluates Matta-Clark’s pioneering site- collaboration between the Sidney and Lois a catalogue. bition travels to the Nordic Watercolour Museum, specific and installation works from a contem- Eskenazi Museum of Art at Indiana University the Louisiana Museum of Modern Art, and the porary standpoint. A catalogue in Japanese and and the Tsinghua University Art Museum in Lillehammer Art Museum, and is accompanied English accompanies the exhibition. Beijing. The exhibition presents approximately Academic Programs by German- and English-language catalogues. 50 landscape paintings largely drawn from For additional FY2018 academic programs, Nationalmuseum (Stockholm) the Eskenazi Museum’s collection along with see Initiatives & Partnerships (pp. 63–65) Museum of Contemporary Art Chicago $200,000 key supplemental loans, including seven from $50,000 To support John Singer Sargent, a mono- the Terra Foundation. The exhibition is accom- Instituto MESA To support Howardena Pindell: What Remains to graphic exhibition featuring career highlights panied by a Chinese-language catalogue with $20,000 be Seen, an inaugural survey of the New York- of Sargent’s landscapes, formal and informal supporting texts in English. To support “Flipping Pop,” a seminar held in based, multidisciplinary artist which spans the portraits, figure studies, and genre scenes. conjunction with the 50th anniversaries of two key course of her 50-year career. The exhibition The exhibition launches with the reopening Smithsonian American Art Museum and Ren- moments in postwar Brazilian art. The seminar, travels to the Virginia Museum of Fine Arts and of the Nationalmuseum after a five-year wick Gallery hosted by the Museu de Arte de São Paulo, consid- is accompanied by a catalogue. renovation and features the Sargent paint- $200,000 ers both American Pop art and Brazilian vanguard ing A Parisian Beggar Girl from the Terra To support Artists Respond: American Art practices, focusing on popular, political, and cul- National Gallery of Art (Washington, DC) Foundation’s collection. A catalogue in Swedish- and the Vietnam War, 1965–1975, an exhibition tural contexts to shed new light on how American $150,000 and English-language editions accompanies of 80 works by 55 artists that explores how art was interpreted and used by Brazilian artists, To support The American Pre-Raphaelites: Radical the exhibition. American artists responded to international critics, and activists in their work. Realists, an exhibition that explores the profound conflict during the 1960s and 1970s, and how influence of John Ruskin on artists associated Philadelphia Museum of Art art about the war influenced contemporary Johannes Gutenberg-Universität Mainz with “American Pre-Raphaelitism,” a movement $350,000 art practice. The exhibition travels to the $15,000 that peaked between 1857 and 1867 and espoused To support The Essential Duchamp, the first com- Minneapolis Institute of Art and is accompanied To support “Sublimation: Matter, Mind, Concept that artists draw and paint outside in nature in prehensive, monographic exhibition on Marcel by a catalogue. in Art After Modernism,” a three-day public precise detail. The exhibition is accompanied by Duchamp presented in Asia. The exhibition conference featuring an interdisciplinary group of a catalogue. travels to three international venues: the Tokyo Tate Modern scholars exploring the implications of the notion National Museum; the Art Gallery of New South $250,000 of “sublimation” in art, specifically with regard National Gallery Singapore Wales; and the National Museum of Modern and To support Anni Albers, a retrospective co- to conceptualism and other experimental art $200,000 Contemporary Art in South Korea. A catalogue presented by Tate Modern and Kunstsammlung practices in the United States from the late 1950s To support Minimalism: Space, Light, Object, an in English-, Japanese-, and Hangul-language Nordrhein-Westfalen (K20) that brings togeth- through the 1970s. A volume of peer-reviewed exhibition that introduces local audiences to editions accompanies the exhibition. er important works by Albers to examine and papers will be published following the conference.

56 Report 2016–2019 Grants and Initiatives 57 Power Institute Foundation for Art and and less-examined circulation of designs and estimated 600 students annually. At the American artists commissioned to create or Visual Culture, University of Sydney design techniques in Asian art that has culmination of the program, student artworks, submit original artworks referencing the legacy $19,415 influenced American art and material culture. inspired by outsider art and artists, are of Chicago’s immigrant artists and designers. To support “Economic Thinking and the Work of exhibited at Intuit and the teachers’ lesson Art: Mining Value,” a symposium that explores Winterthur Museum, Garden and Library plans are published on Intuit’s website. Center for Urban Education at the relationships among artists, art objects, the $25,000 DePaul University School for New Learning material resources used to create art, and the To support “Image, Copyright, and the Public $100,500 concept of value. Papers re-evaluate artworks Domain in the Long Nineteenth Century,” two Art Design Chicago To support the Art Design Chicago Field Trip in terms of how they use or consume material international symposia co-presented by the Exhibitions, Academic and Public Programs, Program, serving approximately 50 Chicago resources and at the same time produce goods/ Winterthur Museum and the Laboratoire de and Publications Public Schools, 4,500 students, and 150 teachers, materials of high economic value—mining Recherches sur les Cultures Anglophones, a giving access to Art Design Chicago exhibitions museums to excavate meaning. research unit of Université Paris Diderot. The 6018North and enhancing the classroom curriculum. The program examines the changes in the methods $25,000 project includes free buses for field trips, profes- Smith College of production and the expanded circulation of To support Living Architecture, an immersive sional development for teachers, and curriculum $20,000 pictures, raising new questions about the own- interdisciplinary exhibition inspired by the resources to help teachers incorporate the field To support “Pacific America: Art, Travel, and ership and use of images. Three publications will immigrant designer Richard Bock, whose dec- trip and works of art into their instruction. Collecting, ca. 1750–1850,” two scholarly be produced in conjunction with the symposia. orative elements are original to the historic workshops organized by Smith College in home that houses 6018North’s exhibitions Chicago Design Museum collaboration with the University of Warwick in Chicago’s Edgewater neighborhood. This $15,000 that focus on the Indigenous art and material Chicago K–12 Programs project showcases approximately 50 Chicago- To support “Great Ideas of Humanity: Art Design culture of the American Pacific Rim region. The based immigrant and/or first-generation Chicago,” a poster design series inspired by the workshops are hosted at the de Young Museum Art Institute of Chicago and the University of Warwick. $150,000 To support the “Terra Foundation American Texas A&M Research Foundation Sources Program: Teachers Using Artworks $25,000 as Primary Sources” for the 2018/2019 and

To support “American Art of the Sixties: The 2019/2020 academic years. This intensive

Meanings of Visual and Material Forms in a program uses American art to build teachers’ at the Transnational Context,” a two-day symposium and students’ skills in historical inquiry, source on American art of the 1960s that brings analysis, and visual literacy. Primary activities together national and international scholars include professional development for teachers, with the goal of presenting research that curriculum development, and museum visits bridges what has been called the “Americanist- for students. Modernist” divide. Intuit: The Center for University of Delaware Intuitive and Outsider Art $25,000 $70,000 To support “In Search of Global Impact of Asian To support the Teacher Fellowship Program Aesthetics on American Art and Material for the 2017/2018 and 2018/2019 school years. Culture,” a symposium and workshop The program provides professional development presented by the University of Delaware in about American outsider art and artists for partnership with the Winterthur Museum, approximately 24 Chicago Public Schools Hyde Park Art Center (November 5, 2017–April 8, 2018). Photo: Jon Shaft. Garden and Library and focused on the complex teachers at 12 schools each year, serving an Curator Juarez Hawkins and visitors Griot Urban Walker: to Bill

58 Report 2016–2019 Grants and Initiatives 59 iconic Great Ideas of Western Man advertising DePaul Art Museum symposia, a participatory-research space within Museum of Contemporary Photography campaign of the Container Corporation of $15,000 an installation environment, and a series of pro- at Columbia College Chicago America from 1950 to 1975, exhibited at the To support Barbara Jones-Hogu: Resist, Relate, grams, all documented via a publication and an $21,965 Chicago Design Museum. Unite 1968–1975, the first solo museum exhibition archive produced through the project. To support “‘Say It with Pictures’ Then and and publication to highlight the work of Jones- Now: Chicago’s African American Chicago Film Archives Hogu, who was a central figure of the Black Arts Intuit: The Center for Intuitive and Outsider Art Photographers from 1890 through the 1930s,” $24,300 Movement. A founding member of AfriCOBRA, $20,000 a multi-tiered academic project exploring the To support “Designed to be Seen: Art and Jones-Hogu was also a contributor to the ground- To support an international convening for under-recognized impact of African American Function in Chicago Mid-Century Film,” a film breaking Wall of Respect mural on Chicago’s South scholars and the general public, organized in communities in Chicago on the history of series exploring the distinct genres and modes Side. A catalogue accompanies the exhibition. conjunction with the exhibition Chicago Calling: commercial photography in the United States. of production that characterize the history of Art Against the Flow. Proceedings include panel This program jumpstarts a collaborative cinema in Chicago and shed new light on ways in Edgar Miller Legacy discussions, participant workshops, and tours research project charting the role of African which art, design, and commerce intersected in $35,000 to Chicago-area sites and collections of interest. American photographers, studios, and media in the city. The four screenings reveal Chicago as To support “Edgar Miller, Pioneer of Art in The program explores the theme and idea of Chicago from 1890 through the 1930s in shaping a powerhouse of industrial, corporate, educa- Design in Chicago,” a program series focused place in relation to outsider art, considering and disseminating a black modern subjectivity tional, and sponsored filmmaking from the late on Chicago artist Edgar Miller and his impact the artists’ influences on places in which they nationally and internationally. 1940s through the 1970s and highlight the city’s on a wide range of art practices in the city and worked, and how locality and sense of place artists, studios, and interconnected histories of region. The series increases awareness of an have influenced the presentation of non-main- Museum of Vernacular Arts and Knowledge commercial and artistic film production. under-recognized artist integral to Chicago’s stream art nationally and internationally. $30,000 art and design legacy, and jumpstarts research To support “Art Moves: Chicago’s Innovative Chicago History Museum on a scholarly compilation of essays charting Jane Addams-Hull House Museum Structures of Address,” an innovative program $29,785 Miller’s life and work. $50,000 series inspired by a grass-roots model from To support “Uncovering Art and Design in To support Participatory Arts: Crafting Social the late 1960s and 1970s for disseminating Chicago,” a professional-development program Floating Museum Change at Hull-House, an exhibition in conjunction information about black artists to residents on for middle- and high-school teachers that $25,000 with the programming series “Participatory the South Side of Chicago. Enlisting a diverse leverages Art Design Chicago exhibitions to build To support the Cultural Transit Assembly, a public art Arts: The Legacy of Chicago’s Hull-House team of experienced community educators, participants’ knowledge of Chicago’s history, project on and along Chicago’s CTA Green Line, to Artists,” which highlights the Hull-House MoVAK expands art history lessons beyond the art, and design, while also enhancing their include a modified train car art gallery space and settlement as home to Chicago’s first public art walls of institutions. teaching practices. Over 10 sessions, 15 teachers art installations in Chicago Park District sites adja- gallery, opened in 1891. A publication accompa- engage with content and materials from the cent to the train route. The installations interpret nies the exhibition. Opendox exhibitions and ways to bring these resources objects related to Chicago’s art and design history, $25,000 into their history instruction. with connections elucidated through signage, walk- Minneapolis Institute of Art To support The New Bauhaus, a documentary ing tours, and other interpretive programs. $47,300 film exploring the artistic practice, legacy, and Chicago Park District To support New to Mia: Art from Chicago, a public ongoing relevance of László Moholy-Nagy, with $40,000 Glass Curtain Gallery, Columbia College Chicago programming series and special installation particular focus on his time spent as founder To support “The Art of Flocking: Cultural $37,650 featuring works by Chicago artists from the and director of the New Bauhaus in Chicago Stewardship in the Parks,” an intergenerational To support “Where the Future Came From,” a museum’s permanent collection. An introduc- during the 1930s and 1940s. The film traces public-program and exhibition series that collective research project on the integral role of tion to key figures in Chicago’s art history, the the impact of the New Bauhaus on design and celebrates the legacy of community-based feminism and women-run art activities throughout installation features approximately 30 works of commerce in the United States, and features art practice nurtured within the Chicago Park Chicago’s history. This project documents and photography, painting, collage, screen-printing, archival and contemporary interviews; images District. The initiative provides art-making contextualizes the role of women and feminism and more. Three public programs—a panel of archival material, artworks, and ephemera; experiences inspired by Chicago’s mural tradi- within Chicago’s art history, from the late discussion, film screening, and artists’ discus- and a graphic aesthetic drawing from Moholy- tion and sculpture in the parks. nineteenth century to the present, and includes sion—provide context for the works on display. Nagy’s artistic style.

60 Report 2016–2019 Grants and Initiatives 61 South Side Projections the history of three centuries of US art through a $5,250 wide range of historical voices, bringing together To support “Chicago’s Black Arts Movement on period documents and artworks. The publication Film,” a film series presented at various loca- will be released in multiple language editions, tions exploring Chicago’s Black Arts Movement including English, French, German, and Spanish. of the 1960s and 1970s. The program screens

films that highlight the intersections between Courtauld Institute of Art art and artists, music, and literature in Chicago. $66,600 To support the Terra Foundation Immersion University of Chicago, Department of Art History Semesters in American Art History, a new aca- $23,575 demic program in partnership with four major To support “The Revolutionary Imagination: European universities: the Courtauld Institute of Chicago Surrealism from Object to Activism,” a Art, Humboldt-Universität zu Berlin, Université two-day, multi-venue program exploring the Paris Diderot, and Université Paris Nanterre—all reception and practice of Surrealism in Chicago of which have previously collaborated with the and the city’s role in both the history and histo- Terra Foundation on teaching programs. riography of the movement. The program is held in conjunction with the Arts Club of Chicago’s Art Humboldt-Universität zu Berlin Design Chicago exhibition, A Home for Surrealism. $66,600 To support the Terra Foundation Immersion

Avery R. Young performs at the Museum of Contemporary Shaft. Jon Art Photo: 2018. Chicago, University of Southern California Semesters in American Art History, a new aca- $15,000 demic program in partnership with four major Project Osmosis Presented at the Stony Island Arts Bank, the exhi- To support “Expanding Outliers in American European universities: the Courtauld Institute of $35,000 bition conveys the influence and aesthetic of JPC Art,” a symposium in conjunction with the Art, Humboldt-Universität zu Berlin, Université To support the program “Inclusion by Design: in its prime, demonstrating the company’s role exhibition Outliers and the American Vanguard Paris Diderot, and Université Paris Nanterre—all Celebrating the Contributions of African in defining a black aesthetic and disseminating at the Los Angeles County Museum of Art. of which have previously collaborated with the American/Black Professionals in Chicago,” popularized images of black culture to national The symposium, co-organized by the University Terra Foundation on teaching programs. which exposes middle- and high-school stu- and international audiences. The exhibition is of Southern California and the University of dents to careers and working professionals accompanied by a publication. California, Santa Barbara, amplifies and Museu de Arte Contemporânea da Universidade in design and the applied arts. This program expands on issues represented in the exhibition, de São Paulo / Terra Foundation for American Art focuses on design practices represented Sixty Inches from Center examining topics related to diversity and differ- $84,670 in several Art Design Chicago exhibitions, $18,900 ence, class and race, canon formation, the art To support Atelier 17 e a gravura moderna nas expanding youth engagement with ADC content To support “Chicago Archives + Artists Project: market, and histories of overlooked regionalism Américas / Atelier 17 and Modern Printmaking and providing participants with meaningful Art Design Chicago Edition,” a two-day public in the United States. in the Americas, a Terra Collection Initiative career-related experiences and connections in symposium highlighting Chicago archives and exhibition produced in collaboration with the the art and design world. special collections to raise awareness of these Terra Foundation. The exhibition of approximately resources, and to grow Chicago’s current archi- Initiatives & Partnerships 60 prints drawn from the collections Rebuild Foundation val holdings by documenting and archiving the of both co-organizers, along with key loans $70,000 personal papers of contemporary Chicago artists. Art of the United States, 1750–2000 from select US collections, examines the influ- To support A Johnson Publishing Story, an As part of the project, Sixty Inches from Center $445,000 ence of artist and printmaker Stanley William immersive installation created in response is commissioning original artwork from three To support the production of the Terra Founda- Hayter on the evolution of printmaking in the to the legacy of the Johnson Publishing contemporary Chicago artists in response to a tion Publication, Art of the United States, 1750– United States and Brazil during the first half Company, publisher of Jet and Ebony magazines. Chicago-focused archival collection. 2000: Primary Sources, an anthology that presents of the twentieth century. A catalogue in English

62 Report 2016–2019 Grants and Initiatives 63 Terra Summer Residency the publication by Yale University Press. The $723,098 prize recipient also receives a cash award and To support the Terra Summer Residency pro- is invited to present a public lecture at Yale gram in 2019, 2020, and 2021. Founded by the University upon the translated book’s release. Terra Foundation in 2001, the Terra Summer Residency is a nine-week residential program that brings together 10 doctoral candidates Art Bridges + Terra and emerging artists in Giverny, France, for Foundation Initiative intensive work and exchange with distinguished academic and artistic advisors. Detroit Institute of Arts $416,456 Université Paris Diderot To support phase one of a model statewide $66,600 exhibition series serving up to 11 Michigan- To support the Terra Foundation Immersion based partners over a three-year period. Semesters in American Art History, a new This series works to bridge the gap between academic program in partnership with four Michigan’s largest city center and other cultural major European universities: the Courtauld organizations in the state by featuring works of Institute of Art, Humboldt-Universität zu art from the Detroit Institute of Art’s Manoogian Berlin, Université Paris Diderot, and Université Collection of American Art at partnering Paris Nanterre—all of which have previously venues. This exhibition partnership is made

Visitors to Atelier e a gravura 17 moderna nas Américas / Atelier and 17 Modern Printmaking in the Americas Arte Universidade de Contemporânea da Museu the at de São Paulo, Brazil (March 23–June 2, 2019). Photo: Ding Musa 04/2019. collaborated with the Terra Foundation on possible by the Art Bridges + Terra Foundation teaching programs. Initiative, a joint program of Art Bridges and the and Portuguese accompanies the exhibition Mellon Centre, in partnership with the Terra Foundation for American Art. (see p. 98). Yale Center for British Art, hosts fellows Université Paris Nanterre exploring the history of the artistic relation- $66,600 Los Angeles County Museum of Art Museum Ludwig ships between the United States and To support the Terra Foundation Immersion $12,836 $213,950 Britain in a global context. Fellows have Semesters in American Art History, a new To support research and development for the To support the Terra Foundation Collection the opportunity to conduct research at academic program in partnership with four implementation of an Art Bridges + Terra Research Fellowship on American Art over a various institutions and present findings at major European universities: the Courtauld Foundation Initiative exhibition program. Grant two-year period and focused on the Museum the Paul Mellon Centre. Institute of Art, Humboldt-Universität zu funds support staff travel to Los Angeles-area Ludwig’s permanent collection, which includes Berlin, Université Paris Diderot, and Université art museums that may serve as potential close to 200 works by American Pop artists and Smithsonian American Art Museum Paris Nanterre—all of which have previously partners and also convening expenses once the deep holdings of Abstract Expressionism. The and Renwick Gallery collaborated with the Terra Foundation on partners have been determined. fellow works closely with museum curators to $580,399 teaching programs. re-install up to five galleries, share research To support the Terra Foundation Fellowships Museum of Fine Arts, Boston and findings through a museum blog, participate in American Art at the Smithsonian American Yale University Press $1,991,117 in a lecture series, and network with European Art Museum over a three-year period. First $80,000 To support three phases of a six-year regional scholars specializing in postwar American art. introduced in 2005, this fellowship program To support the second cycle of the American collection-sharing consortium organized by supports significant international scholar- Art in Translation Book Prize. Launched in 2015 the Museum of Fine Arts, Boston. The MFA Paul Mellon Centre for Studies in British Art ship on American art and its global context, and presented every three years, the prize will collaborate with four museums in the New $49,500 providing scholars the opportunity to pursue awards a non-US author whose published England region to develop a series of American To support the creation of postdoctoral research independent research closely related to the work contributes significantly to scholarship art exhibitions to be presented at partner fellowships over a three-year period. The Paul Smithsonian’s collections. on American art with an English translation of venues. This multi-year, multi-institutional

64 Report 2016–2019 Grants and Initiatives 65 exhibition partnership is made possible by artist. The complexity and diversity of Wright’s KW Institute for Contemporary Art the Art Bridges + Terra Foundation Initiative, FY2019 artistic practice is demonstrated through $128,000 a joint program of Art Bridges and the Terra July 1, 2018–June 30, 2019 vintage photographs, handwritten and typed To support The Making of Husbands, Christina Foundation for American Art. texts, and documents. A French-language Ramberg in Dialogue, the first substantial catalogue accompanies the exhibition. monographic presentation outside the Philadelphia Museum of Art Exhibitions United States of the work of artist and $9,640 Kunstmuseum Basel educator Christina Ramberg. The exhibition To support research and development for Art Institute of Chicago $200,000 explores Ramberg’s association with the the implementation of an Art Bridges + $75,000 To support Charmion von Wiegand: Coloring Chicago Imagists and highlights her body Terra Foundation Initiative exhibition To support Signs and Wonders: The Photographs Modernism, a retrospective which brings of comical, formally elegant, and erotically program. Grant funds support staff travel of John Beasley Greene, an exhibition presenting together von Wiegand’s paintings and collages sinister paintings. The exhibition travels to to art museums in Pennsylvania that may a survey of nineteenth-century photographer from 1930 to 1960, both published and unpub- three additional European venues and is serve as potential partners and also John Beasley Greene alongside selected works lished writings, material documenting her accompanied by a catalogue. convening expenses once the partners from the Ancient and Byzantine Department critical and curatorial work, as well as a select have been determined. at the Art Institute of Chicago. Through 100 number of works by other artists, including Les Abattoirs Musée d’Art Moderne et salted paper prints, the exhibition traces those of von Weigand’s contemporaries and Contemporain–FRAC Occitanie Toulouse Philadelphia Museum of Art Greene’s career from his formative years in Tibetan and Chinese works ranging from the $140,000 $702,000 France to his documentation of excavation sites ninth to the nineteenth century. The exhibition To support Peter Saul, Pop, Funk, Bad Painting To support phases one and two of a statewide in Egypt and Algeria. The exhibition travels travels to the Peggy Guggenheim Collection and More, an exhibition devoted to the work exhibition consortium organized by the from the San Francisco Museum of Modern Art and is accompanied by a catalogue in German of artist Peter Saul that explores his Philadelphia Museum of Art. PMA will develop to the Art Institute of Chicago and is accom- and English. engagement with sensitive issues of the the first two phases of a three-phase, col- panied by a catalogue. lections-sharing initiative with eight partner museums in Pennsylvania, with the goal of Chicago Department of Cultural Affairs

broadening public access to American art in and Special Events smaller cities with diverse populations while $150,000 addressing different cultural and educational To support Art and Race Matters: The Career of

needs. This multi-year, multi-institutional Robert Colescott, the first comprehensive retro- exhibition partnership is made possible by spective of multifaceted American artist Robert the Art Bridges + Terra Foundation Initiative, Colescott, who through his work attempted a joint program of Art Bridges and the Terra to deconstruct art and history; grapple with

Foundation for American Art. current events, cinema, and the media; and at the Fenimore Art Museum question standards of beauty and identity. The Smithsonian American Art Museum and exhibition is organized by the Contemporary Renwick Gallery Arts Center in Cincinnati and is also presented $10,400 at the Portland Art Museum. A catalogue To support research and development for the accompanies the exhibition. implementation of an Art Bridges + Terra Foundation Initiative exhibition program. Fondation Henri Cartier-Bresson Grant funds support staff travel to museums $146,000 in Western states that may serve as potential To support Wright Morris, an exhibition of the Eden of Garden the and Cole Thomas partners and also convening expenses once work of photographer and writer Wright Morris, (May 25–September 30, 2018). Photo: Fenimore Art Museum. exhibition exhibition the partners have been determined. an understudied and rarely exhibited American Initiative Foundation Art the during Terra Bridges event Public +

66 Report 2016–2019 Grants and Initiatives 67 twentieth and twenty-first centuries. Covering influence of American design in Scandinavia. Smithsonian American Art Museum Yorkshire Sculpture Park Saul’s career since the late 1950s to the present The exhibition expands the canonical history of and Renwick Gallery $200,000 day, the exhibition brings together more than American decorative arts and design history to $200,000 To support David Smith in Yorkshire, the largest 70 paintings, many previously unseen, as well include the extensive influence of Scandinavian To support Alexander von Humboldt and the exhibition on David Smith to take place in the as a collection of archival material. The exhibi- design and designers. The exhibition trav- United States: Art, Nature, and Culture, which United Kingdom outside of London. Smith was tion travels to the House of Culture in Belgium els to the Los Angeles County Museum of positions Prussian naturalist’s Alexander a key figure in the history of twentieth-century and is accompanied by a catalogue in English Art, the exhibition co-organizer, as well as von Humboldt’s ties to the United States as a sculpture, and the exhibition includes approxi- and French. the Nationalmuseum in Stockholm and the crucial factor in the construction of American mately 40 sculptures, drawn from four decades, Nasjonalmuseet in Oslo. A catalogue accompa- cultural identity and visual arts. The exhibition beginning with Smith’s earliest experimental Louisiana Museum of Modern Art (Denmark) nies the exhibition. examines Humboldt’s century-long influence works from the 1930s and ending with his $246,000 on five spheres of American cultural develop- large-scale sculptures of the 1960s, along with To support Marsden Hartley, the largest exhi- Museo de Arte Moderno de Medellín ment: visual arts, sciences, literature, politics, a selection of drawings. A catalogue accompa- bition of the work of American artist Marsden $150,000 and exploration. A catalogue accompanies nies the exhibition. Hartley in Europe to date. The exhibition pays To support Dan Flavin. Light and Space, an exhibi- the exhibition. particular attention to works of various media tion that presents 18 of Flavin’s fluorescent- that have often been overlooked, including tube artworks, made between 1963 and 1974. Tate Modern Academic Programs paintings, works on paper, and poetry, framing Together, these works trace the evolution of the $475,000 For additional academic programs, see these works as paths that led Hartley to his most artist’s developing interests in this commercially To support Nam June Paik: The Future is Now at Initiatives & Partnerships (pp. 74–77). iconic achievements. A catalogue published in produced medium. A catalogue in Spanish and all five venues: Tate Modern, Stedelijk Museum, Danish and English accompanies the exhibition. English accompanies the exhibition. Museum of Contemporary Art Chicago, San École Nationale Supérieure d’Arts de Paris- Francisco Museum of Modern Art, and Cergy and the École Supérieure d’Art et de McMaster Museum of Art Museu de Arte de São Paulo National Gallery Singapore. The exhibition Design TALM-Angers, Art by Translation $77,000 $75,000 is the first of its scale to present the Korean $17,640 To support Peripheral Vision(s): Perspectives on To support Picture Gallery in Transformation: American artist Nam June Paik as a key figure To support “Mel Bochner on Translation,” a the “Indian” Image by 19th-century Northern Plains MCA Chicago at MASP, which is part of a series to of the twentieth-century avant-garde move- one-day symposium exploring the career and Warrior-artists, Leonard Baskin, and Fritz Scholder, bring works of art by non-Brazilian artists from ment. English- and Dutch-language catalogues legacy of artist Mel Bochner, paying particular an exhibition that examines the complexities and the Museum of Contemporary Art Chicago’s accompany the exhibition. attention to how his work engages with linguis- contradictions embedded in the history of the collection to MASP for integration into the exhi- tic and translation theories and highlighting “Indian” image. By bringing together the work of bition displays of MASP’s own collection. Whitney Museum of American Art the relationship between Bochner’s work and twentieth-century artists Leonard Baskin and $250,000 the theories of Jean-Paul Sartre, Jacques Fritz Scholder with Lakota ledger drawings, the Richard H. Driehaus Museum To support The Impact of the Mexican Muralists Derrida, Roland Barthes, Martin Heidegger, exhibition examines the complicated attempts $100,000 on Artists in the United States, 1920–1950, which and Walter Benjamin. artists have made to dislodge representations To support Eternal Light: The Sacred Stained- focuses on the impact of the “Mexican Vogue” of Indigenous peoples in North America stuck Glass of Louis Comfort Tiffany, an exhibition on American art made between 1920 and Asian/Pacific/American Institute, New York in stereotype, cliché, and the trope of Manifest that examines ecclesiastical windows created 1950, a period defined by frequent travel of University Destiny. A catalogue accompanies the exhibition. by Louis Comfort Tiffany and his workshops Mexican and American artists and intellectuals $25,000 between 1880 and 1920. Commissioned by between the two countries. The exhibition To support “Activism and Diaspora: American Milwaukee Art Museum churches across the United States, these brings together approximately 180 works by Art Histories,” a program that brings together $350,000 works—varying from intimate portraits to mon- some 65 different artists from the United scholars from the overlapping fields of To support Scandinavian Design and the United umental triptychs—feature imagery drawn from States and Mexico. A catalogue accompanies diasporic art and American art for a two-day States, 1890–1980, the first major exhibition to the Christian religious tradition, illustrated in the exhibition, which will also be presented workshop. The program expands the con- examine the impact of Scandinavian design on the figurative style contemporary to the time. A at the McNay Art Museum and the Detroit ception of American art to include activist American material culture and, conversely, the catalogue accompanies the exhibition. Institute of Arts. art. It explores activist art produced by Asian

68 Report 2016–2019 Grants and Initiatives 69 American, Latinx, African American, Asian, and examines the afterlife of a Bauhaus weaving aes- Indigenous artists, and also considers the ways thetic as it was transformed across transnational in which art by some Asian American artists networks of dialogue and dissemination. addresses domestic and global concerns. Institut für Kunstgeschichte Center for Italian Modern Art der Universität Wien

$12,500 $17,300 To support “Methodologies of Exchange: To support “Untimely Media/Domestic MoMA’s Twentieth-Century Italian Art Techniques: The 60s and 70s between New York Exhibition (1949),” a program that examines and Vienna,” a two-day symposium examining the Museum of Modern Art’s 1949 exhibition how artists working in New York and Vienna in Twentieth-Century Italian Art and how this the 1960s and 1970s turned to “untimely media”— shaped American artists’ views of Italian such as textile, wallpaper, and outmoded

modernism. To study those involved in the technologies—as well as “domestic techniques,” at Modern Tate (October 11, MoMA show and those directly affected by its artistic engagement with intimate spaces that consequences, the program is divided into investigated the domestic sphere. Speakers rep- two main sections: the first half looking at resent methodologies informed by other fields, the reception of Italian art and artists in the from the histories of craft to cultures of display United States, and the second half focused and feminist and queer theory. on American artists.

Obama Institute for Installation shot of Albers Anni 2018–January 2019). 27, Photo: Tate, Seraphina Neville. Chicano Studies Research Center, Transnational American Studies University of California Los Angeles $9,975 from across the Western Hemisphere, $25,000 To support “Once Upon a Time in America,” a the program explores themes such as Chicago Public Programs To support “Art in the Global 18th–20th program consisting of a one-day conference Indigenous sites, deforestation and ecology, Centuries at California’s Missions: Expanding with art historians, curators, and academics ports and commerce, modern technology, Chicago Architecture Biennial ‘American’ Art to Incorporate the Legacy of from Europe and the United States and a one- and women intervening in the land. $50,000 Conquest,” a two-and-a-half-day program that day workshop for undergraduate and graduate To support a series of American art- and expands the view of American art to account for students, half spent in dialogue with the con- design-focused public programs as part of the the art collections at California’s missions and ference presenters and half a lightning round of Chicago K–12 Programs third Chicago Architecture Biennial, in 2019. The the effects of conquest on Indigenous makers. student papers. The gatherings bring together programs are intended to stimulate dialogue Americanist scholars from North America and National Museum of Mexican Art about contemporary topics related to the built University College London, Europe in conversation around transatlantic $22,000 environment, each re-evaluating the historical Department of History of Art perspectives on new developments in the field of To support “Nuestras Historias: Teaching impact and significance of American art, design, $24,995 early American studies. through Art,” including professional and related archival materials. To support “Anni Albers and the Modernist development for teachers, curriculum Textile,” a two-day conference that gathers Universidad de Los Andes development, field trips for participants’ Chicago Humanities Festival 16 scholars from academic institutions in $25,000 students, and artist residencies in the $90,000 the United Kingdom, the United States, Chile, To support “Landscape Art of the Americas: Sites classroom. The program highlights works To support a three-year grant for the annual Mexico, and Europe to discuss the critical of Human Intervention across the Nineteenth by Mexican American artists in NMMA’s Terra Foundation Lectures on American Art significance of textiles within the modernist Century,” a three-day program examining collection exhibition and serves 30 Chicago at the Chicago Humanities Festival’s Fallfest, project. Focusing on the work of the twentieth- landscape art of the Americas produced in the Public Schools teachers and approximately a multi-week celebration of the humanities century weaver Anni Albers, the conference long nineteenth century. Considering landscapes 900 students. across Chicago. For more than a decade, the

70 Report 2016–2019 Grants and Initiatives 71 Terra Foundation Annual Lectures have featured Art Institute of Chicago subject matter. The exhibition travels from Intuit: The Center for respected scholars, critics, and artists who $65,000 Goldsmiths Centre for Contemporary Art Intuitive and Outsider Art speak about American art topics related to the To support a publication growing from the to De La Warr Pavilion and is accompanied $75,000 annual festival theme. Terra Foundation-supported exhibition Never by a multi-author catalogue. To support costs associated with presenting a Lovely So Real: Photography and Film in Chicago, the exhibition Chicago Calling: Art Against the Design Museum of Chicago 1950–1980. Like the exhibition, the publication Elmhurst Art Museum Flow at four venues in Europe. Featuring the $7,000 showcases the work of artists and filmmakers $15,000 work of 10 prominent non-mainstream Chicago To support “Raising Products,” a public pro- who captured the life of their Chicago commu- To support The Figure and the Chicago Imagists: artists, the exhibition travels to Halle Saint gramming series that explores the impact and nities or those to which they were granted intimate Selections from the Elmhurst College Art Pierre, Paris; Kunsthaus Kaufbeuren, Germany; history of African American and Latinx artists access. The multi-author publication features Collection, an exhibition drawn from the cele- Collection de l’Art Brut, Lausanne; and Outsider and designers on product, fashion, furniture, and original essays addressing photography’s brated Elmhurst College collection, featuring Art Museum, Amsterdam. brand design in the United States. The project is relationship to the Black Arts Movement and works by prominent Chicago artists dating from produced in collaboration with blkHaUS studios, the role of film in activism, among other topics; the mid-twentieth century to the early twenty- Los Angeles County Museum of Art a socially focused creative studio that aims to transcribed interviews and statements by first century, with a particular concentration of $10,000 uplift and transform marginalized communities photographers represented in the exhibition; Imagist works. To support the presentation in Los Angeles through design projects at the neighborhood level. and related primary sources. of the Terra Foundation-supported exhibition Goldsmiths Centre for Contemporary Art Charles White: A Retrospective, co-organized by Elmhurst Art Museum Creative Chicago: An Interview Marathon $45,000 the Art Institute of Chicago and the Museum $15,000 $56,000 To support the traveling exhibition How Chicago! of Modern Art. The exhibition explores the life To support programming and the development To support the production of the Terra Foundation Imagists 1960s & 70s, which explores the and work of Charles White, beginning with his of a guidebook associated with the exhibition Publication Creative Chicago: An Interview Marathon, formative years of the network of Chicago emergence as a force in Chicago and tracing his What Came After: Figurative Painting in based on the 2018 Terra Foundation-funded public artists known as the Imagists. This exhibition career as artist, activist, and educator in New Chicago 1978–98, which surveys the legacy of program, “Creative Chicago Interview Marathon,” frames the artists’ creative output within the York and Los Angeles. A catalogue accompa- Chicago Imagism and the next generation produced by the Chicago Humanities Festival, and particular Chicago context in which it was nies the exhibition. of artists who responded to it. Programming presented during the international art fair EXPO produced, highlighting place-based influences includes a panel discussion; two public lec- Chicago. The daylong program brought 23 on the group’s aesthetics and subject matter. Museo Nacional Centro de Arte Reina Sofía tures; gallery tours with artist and exhibition prominent artists, designers, architects, writers, The exhibition travels from Goldsmiths Centre $175,000 curator, Phyllis Bramson; family day programs; and other creatives into conversation with one for Contemporary Art to De La Warr Pavilion To support H. C. Westermann: Goin’ Home, a and a student program. another and prominent curator and interviewer and is accompanied by a multi-author catalogue. retrospective consisting primarily of sculp- Hans Ulrich Obrist before a live audience. The tures—the art form for which Westermann National Veterans Art Museum richly illustrated publication includes interview Hayward Gallery Touring is best known—and including paintings, $25,000 texts, reproductions of artists’ works, and event $60,000 lithographs, drawings, and archival mate- To support programming offered in conjunction documentation. To support the traveling exhibition How Chicago! rials. Across these media, the exhibition with the inaugural National Veterans Art Museum Imagists 1960s & 70s, which explores the for- considers themes and concerns embedded in Triennial, featuring a survey exhibition exploring De La Warr Pavilion mative years of the network of Chicago artists Westermann’s work. Spanish- and English- 100 years of veteran art, from World War I to $45,000 known as the Imagists. This exhibition frames language catalogues accompany the exhibition. the present day. Public programming includes To support the traveling exhibition How Chicago! the artists’ creative output within the particular gallery tours, public dialogues, and workshops. Imagists 1960s & 70s, which explores the formative Chicago context in which it was produced, Museum of Contemporary Art, North Miami years of the network of Chicago artists known highlighting place-based influences on the $75,000 as the Imagists. This exhibition frames the artists’ group’s aesthetics and subject matter. The To support the exhibition AfriCOBRA: Nation Art Design Chicago creative output within the particular Chicago con- exhibition travels from Goldsmiths Centre for Time, presented in Italy in conjunction with Exhibitions, Academic and Public Programs, text in which it was produced, highlighting place- Contemporary Art to De La Warr Pavilion and is the 2019 Venice Biennale. The project features and Publications based influences on the group’s aesthetics and accompanied by a multi-author catalogue. 45 works of art along with archival materials

72 Report 2016–2019 Grants and Initiatives 73 about the artist collective AfriCOBRA, formed century. This extended loan to the Ashmolean history program in Europe exclusively devoted in Chicago in 1968. The exhibition is presented Initiatives & Partnerships Museum complements the Terra Foundation to the teaching and study of American art prior at the venue Ca’ Faccanon as part of the Visiting Professorships in American Art at the to 1980. A special unit within the Courtauld, the Biennale’s Collateral Events. A catalogue Art of the United States, 1750–2000 University of Oxford (2016–2021). Centre promotes research and education for accompanies the exhibition. $186,000 undergraduate and graduate students with a To support phase three of the Terra Foundation Cape Ann Museum / wide range of scholarly programs. University of Chicago Press Publication Art of the United States, 1750–2000: Terra Foundation for American Art $7,000 Primary Sources and the production of the anthol- $38,100 Instituto de Investigaciones Estéticas, To support the second edition of Chicago ogy in Japanese and Chinese languages. This To support Our Souls are by Nature Equal to Yours: Universidad Nacional Autónoma de México Apartments: A Century of Lakefront Luxury, by book presents the history of three centuries of The Life and Legacy of Judith Sargent Murray, a $50,325 cultural historian Neil Harris and originally US art through a wide range of historical voices, Terra Collection Initiative exhibition co-orga- To support “Mountain Aesthetics and Ecology: published by Acanthus Press. The book bringing together period documents and artworks. nized by the Cape Ann Museum, Sargent House The Conceptual Heritage of Alexander von provides social, cultural, economic, and Museum, and Terra Foundation. This focused Humboldt in the Americas,” a colloquium design context for the luxurious multi-unit Ashmolean Museum of Art and Archeology / exhibition examines the life and lasting con- co-organized by the Instituto de Investigaciones lakefront housing constructed between the Terra Foundation for American Art tributions of writer and early women’s rights Estéticas and the Terra Foundation. An interna- late nineteenth and twenty-first centuries. $32,000 advocate Judith Sargent Murray, centering on tional array of scholars of art history, geology, The new edition includes coverage of a dozen To support a multi-year loan of the Terra the Terra Foundation’s portrait of Murray by and urban studies, as well as artists and philos- additional buildings, a new preface, additions Foundation’s painting Autumn Afternoon, the John Singleton Copley and uniting the portrait ophers interested in the ecological aesthetics to the bibliography, and an emphasis on Wissahickon of 1864 by American artist Thomas with Murray’s writings for the first time. of landscape representation, will discuss interior design contemporary with the dates Moran for integration into a gallery devoted to and share their perspectives on the work of of the buildings. British landscape painting of the nineteenth College Art Association Alexander von Humboldt and his contributions $552,030 to environmental research, stimulating dia- To support the Terra Foundation Research logue between the sciences, humanities, and Travel Grants for a three-year period. visual arts. Administered by the College Art Association, two types of grant support are available to Louisiana Museum of Modern Art / individuals for research on topics concerning Terra Foundation for American Art American art prior to 1980: Research Travel $16,070 Grants to the United States and International To support an academic conference co- Research Travel Grants for US-based Scholars. organized by the Louisiana Museum of Modern These grants encourage direct contact Art (Denmark) and the Terra Foundation to between international scholars and collections, accompany the Terra Foundation-supported

resources, and experts in the US, and allow exhibition Marsden Hartley. The conference US-based scholars the opportunity to consult focuses on gender issues, spirituality, and archival collections, trace the trajectory of their Hartley’s influence on contemporary art in objects of study, and discuss their findings with relation to American modernism. local art historians. Musée des Impressionnismes Giverny / Courtauld Institute of Art Terra Foundation for American Art $275,000 $275,000 To support the programs of the Centre for To support The Studio of Nature: Landscapes American Art at the Courtauld Institute of Art. from the Terra Foundation for American Art, a Chicago History Museum, 2019. Photo: Jon Shaft. Art Design Chicago partner convening at the Founded in 2016, the Centre is the only art Terra Collection Initiative exhibition developed

74 Report 2016–2019 Grants and Initiatives 75

exhibitions throughout the various Tate institu- Smithsonian American Art Museum and tions, and provides an opportunity for audiences Renwick Gallery to engage with American art and artists. $1,997,029 To support the Smithsonian American Art Terra Foundation Exhibition Museum’s American West exhibition consor- Research and Development Fund tium over five years with five partners from $360,000 the Western region of the United States in To support the Terra Foundation’s Exhibition order to present American art and implement Research and Development Fund from 2020 to object-centered learning opportunities in 2022. This fund provides a variety of grants ways that deeply connect with the lives designed to encourage international curators and regional histories of audiences in the to learn more about historical American art West. This multi-year, multi-institutional and present exhibitions of American art at their exhibition partnership is made possible by home institutions, and to encourage US the Art Bridges + Terra Foundation Initiative, curators of American art to conduct research a joint program of Art Bridges and the Terra internationally and/or partner with interna- Foundation for American Art. tional institutions. Additionally it supports pre-exhibition convenings of US and non-US partners. During fiscal years 2017–2019, the foundation awarded grants to 28 organiza-

Visitors to the Art Bridges + Terra Foundation Initiative exhibition Hart Benton: Thomas A Visiting Masterpiece from the Museum of Fine Arts, Donald Boston and Michele the at D’Amour Museum of Fine Arts (June 19–December 30, 2018). Photo: Diana West. tions totaling $283,854 in research and devel- opment project support. in partnership with and presented at the Rijksmuseum Musée des Impressionnismes Giverny and $165,000 additional European venues. Through a To support the Terra Foundation Research Art Bridges + Terra selection of 60 paintings and prints from Fellowship in American Photography at the Foundation Initiative the Terra Foundation’s collection, the exhi- Rijksmuseum in Amsterdam (2020–2022) to bition explores the evolution of American spearhead research on works in the museum’s Los Angeles County Museum of Art landscape depiction from 1860 to 1910. A permanent collection. Two fellows will be $1,893,082 French-language catalogue accompanies selected for one year each to conduct in-depth To support the Los Angeles County Museum the exhibition. research on selected works, photographers, of Art’s six-year collaborative exhibition con- and/or themes based on the fellows’ individual sortium with two university galleries and two Power Institute Foundation for research. regional museums in the Greater Los Angeles Art and Visual Culture, University of Sydney area, with a goal of broadening access to $556,300 Tate American art. Three exhibitions in development To support a three-year visiting professor- $200,000 reframe and broaden the traditional idea of ship and research program devoted to To support “Terra Foundation for American American art, while allowing the public to Native American art at the Power Institute Art Series: New Perspectives,” a series of 10 access and engage with important segments of Foundation. The program introduces Native events that develop original research, generate LACMA’s collection. This multi-year, multi-in- American art to Australian students and debate, promote the exchange of ideas, and stitutional exhibition partnership is made initiates research on connections between contribute to an expanded view of American art possible by the Art Bridges + Terra Foundation the Indigenous cultures of Australia, Asia- and artists. The series amplifies a suite of Initiative, a joint program of Art Bridges and Pacific, and North America. seven recent and forthcoming American art the Terra Foundation for American Art.

76 Report 2016–2019 Grants and Initiatives 77 Fellowships and Academic Awards

The Terra Foundation offers a wide range of academic opportunities for both emerging and established scholars, including fellowships, residencies, travel grants, and visiting professorships. Undertaken collaboratively with our network of institutional partners, these programs bring together international scholars from diverse academic backgrounds and geographies, inspire a robust cross-cultural and interdisciplinary dialogue that explores American art in a global context, and disseminate scholarly resources worldwide.

“Regional Aesthetics for National Legitimization: RESEARCH The California Camera Club, 1890–1915”

Matthew Holman, University College London Terra Summer Residency “Frank O’Hara Abroad: Transnational Poetics & in Giverny, France The Idea of Europe”

Ashley Lazevnick, Princeton University 2017 “Precisionism in the Long 1920s”

Doctoral Fellows Levi Prombaum, University College London Jennifer Chuong, Harvard University “Portraits of James Baldwin, 1945–1965” “Surface Experiments in Early America” Artist Fellows John Vincent Decemvirale, University of Przemyslaw Branas, Academy of California, Santa Barbara Fine Arts, Krakow “Knowing Your Place and Making Do: Radical Photography, installation, and performance Art Activism in Black and Latino Los Angeles, 1960 to Present” Rebecca Digne, École Nationale Supérieure des Beaux-Arts de Paris 2017 Terra Summery Residency fellows in Giverny, France. Carolin Görgen, Université Paris Diderot Film Photo: Bruno Le Hir de Fallois.

78 Report 2016–2019 Section 79 Jose Figueroa, Pierre-Jacques Pernuit, Université Paris 1 Freya Field-Donovan, Senior Artists University of California, Berkeley Panthéon-Sorbonne University College London Pascal Frament, Paris Drawing and painting “In Media Res: Light as Intermedia in American “A Strange American Funeral: Dance and Art, 1911–1952” Technology in 1930s USA” Zoe Leonard, New York City Eeva Siivonen, Syracuse University Video Hannah Yohalem, Princeton University James Horton, École Normale Supérieure Guest Participants “Movement and Arrest: Jasper Johns, “’There Is No Guide No Voice No Word’: The Sébastien Pluot, École Supérieure des Beaux- Senior Scholars 1954–1968” Cut-up and Its Practitioners, History and Arts TALM Angers Alan Braddock, College of William & Mary Poetics of an International Underground, Artist Fellows 1959–1975” Elisa Schaar, University of Oxford Arnauld Pierre, Université Paris-Sorbonne Maricruz Alarcón López, Parsons School (Paris IV); Centre André Chastel of Design Laura Aimé Iglesias Lukin, Rutgers Drawing, video, and writing University Research Travel Grants Senior Artists “This Must Be the Place’: Latin American to the United States Simon Faithfull, Berlin and London Gaetano Cunsolo, Nuova Accademia di Artists in New York, 1965–1975” Belle Arti Coco Fusco, New York City Installation and sculpture Michaela Rife, University of Toronto 2017 “Public Art, Private Land: Settler Colonialism, Guest Lecturer Matthew Wilson, Columbia University Art, and Land Use on the Great Plains” Doctoral Fellows Tanya Sheehan, Colby College Sculpture and video Ilaria Grando, University of York Taylor Walsh, Harvard University “Visualizing Aids: Re-Codify the Body to Senior Scholars “Medium at the Margins: Bruce Nauman at the Re-Codify Society” 2018 Rachael Z. DeLue, Princeton University End of the Sixties” Nicolas Heimendinger, Université Paris 8– Doctoral Fellows Hiroko Ikegami, Kobe University Artist Fellows Vincennes, Saint-Denis Eliane de Larminat, Université Paris Diderot Juan Gugger, Universidad Torcuato Di Tella “Avant-Gardes and Public Art Institutions, “‘The Buildings and the Families’: On the Part Senior Artists Sculpture 1964–1981: A Paradoxical Reconciliation” Played by Photographic Representations Malala Andrialavidrazana, Paris in the History of Public Housing in Chicago Clara Jo, Universität der Künste Berlin Lola Lorant, Université Rennes 2 (1937–2000)” Silvia Kolbowski, New York City Film and installation “The New Realists: Arman, Christo and Niki de Saint-Phalle in the United Jonathan Dentler, University of Southern Guest Lecturer Byron Peters, California College of the Arts States During the Cold War from the California James Meyer, National Gallery of Art Mixed media and video Late 1950s to the Late 1980s” “Wire Service Photography and the Globalization (Washington, DC); Johns Hopkins University; of the Spectator, 1920–1955” Dia:Beacon Emily Shanahan, California Institute of Helena Rapp, Johannes Gutenberg Universität, the Arts Mainz Ellen Feiss, University of California, Berkeley Video “(Inter-)Cultural Strategies of the 20th & 21st “Maximum Feasible Participation: Art and the 2019 Century—Cultural Broker[age] by the Example War on Poverty, NYC, 1960–1968” Senior Scholars of Visual Arts” Doctoral Fellows Briony Fer, University College London Morgan Labar, Université Paris 1 Jessica Bardsley, Harvard University Laura Valette, Université Paris 1 Panthéon-Sorbonne “Fluid Materialisms in Contemporary Art Jonathan D. Katz, University of Pennsylvania; Panthéon-Sorbonne “The Aesthetic of ‘Bêtise’ in the Arts since 1965” (1960s–present)” State University of New York at Buffalo “Whistlerism in Europe (1878–1905)”

80 Report 2016–2019 Fellowships and Academic Awards 81 Helena Vilalta, University College London Melvin Edwards, Jean Kennedy, and Richard Understand’: The Whitney Women and American “Beyond ‘Information’: Embodied Conceptualism 2018 Wolford in Focus” Modern Art, 1905–1930” circa 1970” Doctoral Fellows Lucy Bradnock, University of Nottingham Elvan Zabunyan, Université Rennes 2 Postdoctoral and Senior Fellows Camille Balenieri, Université Paris 1 “Whatever Happened to the Frontier? “Traces, Lines, Trajectories. Contemporary Art Adeyemi Akande, University of Lagos Panthéon-Sorbonne Regionalism and American Art since 1950” History and the Memory of Slavery” “Extra Ezra: Understanding Modernism through “Protest Photographs: Chauncey Hare’s the Photography of Ezra Stoller” Photographic Work and Career” Justin Carville, Dún Laoghaire Institute of Art, Mengyang Sunny Zhang, Tsinghua University Design & Technology “Presenting Blackness in Projects: African- Kornelia Boczkowska, Adam Mickiewicz Jacob Birken, Universität Kassel “The Ungovernable Eye: Photography, Race, and American Art and State Funding in the New Deal” University in Pozna´n “That Californian Institution: Western World- the Global Irish” “Gazing Through Distorted Lenses: Landscape Views, ca. 1906” and Travelogue Forms in Selected Works of Özlem Dagoglu, independent scholar 2019 American Avant-garde and Experimental Film Madeleine Harrison, Courtauld Institute of Art “Mihri Rasim (1885–1954), A Turkish-American and Video (1950–1980)” “‘The Finding of One Another’: Migration, Female Portraitist and Her US Network” Doctoral Fellows Community, and Identity in Aaron Douglas’ Sequoia Barnes, University of Edinburgh Kirill Chunikhin, New Europe College Graphic Work, Paintings, and Murals, 1925–37” Amelia Groom, Universiteit van Amsterdam “Patrick Kelly is a Designer-Artist: Fashioning “Exhibiting American Visual Art in the USSR “Turning to Stone: Beverly Buchanan’s Built Pleasure in Disgust and Queering the Post-Black during Détente: Defining Strategies, Patterns, Matthew Holman, Freie Universität Berlin Rocks and Constructed Ruins” Ethos” and Impacts” “Frank O’Hara Abroad: Curatorship, Cosmopolitanism, and the Cold War” Ruth Iskin, independent scholar Gloria Boeri, University of Oxford Katarzyna Cytlak, National University of “Mary Cassatt’s Transatlantic Career, Legacy, “‘The Most Invisible of Photographers.’ Ugo San Martin Stella Jungmann, Universität Zürich and Afterlife” Mulas and the Documentation of Art and Artists, “Mapping a Feminist Criticism: Lucy R. Lippard’s “Imaging Japan in the US, 1850–1865” 1954–1973” Impact and Legacy in Non-Western Contexts” Elizabeth Johnson, Birkbeck, University of Robin Lynch, McGill University London Tiffany Charlotte Boyle, Birkbeck, University of Noriko Murai, Sophia University “Packaging the Environment: Art and Industry “Spectres of the Future: Bruce Nauman and the London “Visualizing Transformation: East 1937–1960” Holographic Figure” “Black Box and Desertscapes: Conceptual Asian-Inspired Images of Water in the Work of Revisions to Reading the Work of Donald Locke, John La Farge” Irene Revell, University of the Arts London Ed Krcma, University of East Anglia 1969–1980” “Performing ‘Womens Work’ (1975–78): What “Robert Rauschenberg’s Unstudied Solvent Magdalena Nieslony, Universität Stuttgart Constitutes a Feminist Performance Score Transfer Drawings from 1958” Valeria Espitia, Universidad Nacional Autónoma “Points of View: Post-Modernist Art in the Wake and How Does It Extend Our Understandings of de México of Mass Media” Contemporary Art Practices?” Kaja Marczewska, University of Westminster “Where Art is Joy? The Historiography of “Print Workshops and Self-Publishing in the ‘Primitive’ Art as Cultural Colonization” Gretchen Stolte, Australian National University Jonathan Vernon, Courtauld Institute of Art Visual Arts (1971–1979)” “Our Own Story: Developing the First Survey of “Brancusi, Sidney Geist, and the End of Modern- Freya Field-Donovan, University College London Nez-Perce-Specific Beadwork” ism: Writing against Nation and Appropriation Richard Read, University of Western Australia “A Strange American Funeral: Dance and in Post-War America and Communist Romania” “Ecology and Perception in British and American Technology in 1930s USA” Eva Wattolik, Friedrich-Alexander-Universität Landscape Painting and Aesthetic Writing” Erlangen-Nürnberg Postdoctoral and Senior Fellows Jennifer Jäger, Justus-Liebig-Universität “T. W. Ingersoll: Foreign Views through the Layiwola Adepeju, University of Lagos Devon Smither, University of Lethbridge Giessen Stereoscope around 1900” “Tracing Transatlantic Connections to Africa: “‘All Who Care Enough to Want to See and “Kay Sage—Silent Worlds: Imagery and

82 Report 2016–2019 Fellowships and Academic Awards 83 Perception of a Female Surrealist Artist Freya Gowrley, University of Edinburgh Elizabeth Doe Stone, University of Virginia Jennifer Greenhill, University of Southern (1938–58)” “Collage before Modernism: Art and Identity in “Cosmopolitan Facture: John Singer Sargent California Britain and North America, 1680–1912” and Anders Zorn, 1871–1915” “The Commercial Imagination: American Adiva Lawrence, University of Hull Illustration and the Advent of the Pictorial “Curating the History of Slavery: The Evolving Eleanor Roberts, University of Roehampton Karli Wurzelbacher, University of Delaware Advertising Age” Roles of Art and Archives” “Imposters: Art, Performance, Theatricality in “Reverse Painting on Glass: Seeing Through the the Work of Charlotte Moorman” Surface of American Modernism” Lauren Lessing, Colby College Museum of Art Ariadna Lorenzo Sunyer, Université de “Great Nature’s Theatre: Landscape Painting Lausanne; Universitat de Girona Amy Tobin, University of Cambridge Postdoctoral and Senior Fellows and Melodrama in Antebellum New York” “Artists’ Talks with Slide Shows in the USA “Sisterhood: Art and Feminist Politics in Britain Monica Bravo, Yale University 1940–1970” and the United States, 1968–80” “Picturing Greater America: US Modernist ShiPu Wang, University of California, Merced Photography and the Mexican Cultural “The Brush of Swords: US Cold War Cultural Martyna Ewa Majewska, University of St Jordan Elizabeth Troeller, independent scholar Renaissance, 1920–1945” Diplomacy, American Art, and Taiwan’s Andrews “Ruth Asawa at Home: Sculpture and Postcolonial Visuality” “Reclaiming Representation, Resisting Domesticity in Postwar San Francisco” Jill Bugajski, Art Institute of Chicago Overdetermination: African American Artists “American-Russian Art Dialogues, as Viewed Tatsiana Zhurauliova, University of Chicago Performing for the Camera since 1970” Rachel Warriner, Courtauld Institute of Art from Moscow” “Witnessing War: Yasuo Kuniyoshi and “Feminist Arts-Activism, New York: Collectives, W. Eugene Smith in Dialogue” Danielle Nastari, Universidade de São Paulo Actions, Agitations” Margaretta Lovell, University of California, “The Reception of Candido Portinari’s Work in Berkeley the United States: Beginnings, Ascension, Apex, “Itinerant Paintings: John Singleton Copley, 2019 1935–1945” International Research Imperial Britain and the Scottish Diaspora” Travel Grants for Doctoral Fellows Kimberly Schreiber, University College London US-based Scholars Amy Lyford, Occidental College Caroline Gillaspie, City University of New York “Still Lives in Changing Times: Prison “Dorothea Tanning’s Embodied Surrealism” “‘Delicious Libations’: Representing the Photography in the American South, 1959–1979” Nineteenth-Century Brazil–US Coffee Trade” 2017 Francesca Wilmott, Courtauld Institute of Art 2018 Serena Qiu, University of Pennsylvania “Far Out California: Regionalism in American Doctoral Fellows “The ‘Far East’ Nearby: Constructing China and Art of the 1960s and ’70s” Nisa Ari, Massachusetts Institute Doctoral Fellows Japan at American World’s Fairs, 1870s–1910s” of Technology Susan Eberhard, University of California, Postdoctoral and Senior Fellows “Cultural Mandates: Art and Political Parity in Berkeley Alba Campo Rosillo, University of Delaware Judy Annear, University of New South Wales Early Twentieth Century Palestine” “American Silver, Chinese Silverwares, and the “The Portraiture of George Peter Alexander “Allan Sekula and Australia: A Focused Global Circulation of Value” Healy in Europe” Research Project into the Sekula Archive at the Julia Neal, University of Texas at Austin Getty Research Institute” “Who Taught You To Think (Like That): Benjamin Natalia Vieyra, Temple University Patterson’s Conceptual Aesthetic” “Beyond the City of Light: Impressionists in the Fellowships at the Smithsonian Deborah Bürgel, independent scholar Americas and the Caribbean” American Art Museum “Marcel Duchamp’s Rrose Sélavy: Complete William Schwaller, Temple University Works and Collected Writings, 1920–1968” “Arte de Sistemas in Argentina and Postdoctoral and Senior Fellows Beyond: Theories of Systems Esthetics Maggie Cao, University of North Carolina at 2017 Valérie Da Costa, Université de Strasbourg and the Centro de Arte y Comunicación’s Chapel Hill Postdoctoral Fellow “Paul Thek in Italy (1963–1977)” International Network” “New Media in the Age of Sail” Jennifer Noonan, Caldwell University

84 Report 2016–2019 Fellowships and Academic Awards 85 “1970 Venice Biennale: The Politics of Display, Melanie Sherazi, California Institute of Politics on Display Abroad and At Home” 2019 Technology (2019–2020) Visiting Professorship at the University of Oxford Predoctoral Fellows Postdoctoral Fellows Alexander Jackson, University of East Anglia Hanna Hölling, University College London Terra Foundation Postdoctoral Miguel de Baca, Lake Forest College “Critical Mass: Art Writing and Popular “Fluxus and the Material Legacy of Research Fellowship in Paris (2017–2018) Periodicals, 1877–1913” Intermediality” Enrico Camporesi, Université Sorbonne John R. Blakinger, University of Southern Lauren Richman, Southern Methodist Caroline Riley, University of California, Davis Nouvelle–Paris 3 / Università di Bologna California (2018–2019) University “MoMA Goes to Paris in 1938: Building and (2017–2018) “The Mediating Lens: American Cultural Politicizing American Art” Amy M. Mooney, Columbia College Chicago Occupation and German National Identity in Emilie Blanc, Université Rennes 2 (2018–2019) (2019–2020) West Berlin, 1949–1968” Predoctoral Fellows Heather Caverhill, University of British Morgan Labar, Université Paris 1 Panthéon- Columbia Sorbonne (2019–2020) Visiting Professorship at the Freie 2018 “Mutable Modernisms: An Art Colony in Universität Berlin, John F. Kennedy Blackfoot Territory and the Lives of its Works” Institute for North American Postdoctoral Fellows Terra Foundation Collection Studies Paisid Aramphongphan, Leicester School Josie Johnson, Brown University Research Fellowship in American of Art “Photography Under Construction: Margaret Art at the Museum Ludwig Lauren Kroiz, University of California, “Paul Thek: Body Mass Index” Bourke-White and 1930s Russia” Berkeley (2017–2018) Janice Mitchell, University of the Arts London Alison Boyd, Kunsthistorisches Institut in Robin Lynch, McGill University (2018–2020) Laura Katzman, James Madison University Florenz, Max-Planck-Institut “Packaging Environments: The Art and Design (2018–2019) “‘Your Country? How Came It Yours?’: Program at the Container Corporation of Divergent Artistic and Political Claims for America” Joshua Shannon, University of Maryland the ‘Soil’ in America in the 1930s–1940s” TEACHING (2019–2020)

Sarah-Neel Smith, Maryland Institute Terra Foundation for College of Art American Art-Paul Mellon Centre Fulbright-Terra Foundation Award Visiting Professorship at Doshisha “Exhibiting the Middle East: The Lost History Fellowship in the History of American Art in University and Kobe University of America’s Cultural Exchanges” China & Europe Alison Clarke, University of Liverpool; National Caroline Blinder, University of London Predoctoral Fellows Gallery (London) (2018–2019) Janetta Benton, Pace University (2019–2020) Clarisse Fava-Piz, University of Pittsburgh Teaching at China Academy of Art (2017–2018) “Sculpting Beyond Borders: George Grey Amy Tobin, University of Cambridge Barnard and Andrew O’Connor during the (2019–2020) Katherine Hoffman, St. Anselm College Postdoctoral Teaching Age of Rodin” Teaching at Radboud University Nijmegen Fellowship at Université Paris (2017–2018) Nanterre and Université Helena Vilalta, University College London Terra Foundation-Affiliated Paris Diderot “From Information to Incorporation: Fellowship in Rome Rachel Sailor, University of Wyoming Embodied Conceptualism in New York, c. Teaching at Universitéit vu Lëtzebuerg Tatsiana Zhurauliova, University of Chicago 1970” David Ogawa, Union College (2018–2019) (2017–2018) (2018–2020)

86 Report 2016–2019 Fellowships and Academic Awards 87 2019 2018 Julia Bryan-Wilson, Art Workers: Radical Postdoctoral Teaching Paisid Aramphongphan, Leicester Benoît Buquet, Graphics: Art & Design Practice in the Vietnam War Era, translated from Fellowship at Humboldt- School of Art Graphique aux États-Unis dans les English to Korean (Youlhwadang Press) Universität zu Berlin “An Artist in the Secular World: Paul Thek’s Années 1960 et 1970 (Presses Universitaires Relics” François-Rabelais) Eddie Chambers, ed., The Routledge Companion Andrew Witt, University College London to African American Art History (Taylor & Francis) (2018–2020) Judy Chicago, Through the Flower—My Struggle Terra Foundation–Yale University as a Woman Artist, translated into French by Julia Drost, ed., Networks, Museums, and Press American Art in Translation Sophie Taam (Les Presses du Réel) Collections: Surrealism in the US, translated Immersion Semesters Book Prize from French to English (Deutsches Forum für Student Fellowships Patricia Hills, Modern Art in the USA: Issues Kunstgeschichte Paris) 2018 and Controversies of the 20th Century, 2018 Benoît Buquet, Graphics: Art & Design Graphique translated into Chinese by Qiao Hu (Jiangsu Natilee Harren, Fluxus Forms: Scores, Multiples, Yonit Aronowicz, Université Paris Diderot aux États-Unis dans les Années 1960 et 1970 Phoenix Fine Arts Publishing) and the Eternal Network (University of Chicago (Presses Universitaires François-Rabelais) Press) Lucie Grandjean, Université Paris Nanterre Frank Mehring, Riding on the Tidal Wave of Modernism: (Trans)National Approaches Eliane de Larminat, Houses and Homes. Madeleine Harrison, Courtauld Institute of Art International Publication Grants to the Artwork of Winold Reiss (Deutscher Photographier la maison américaine (Le Point du (administered by Kunstverlag) Jour) Laura Vielmetter-Diekmann, Humboldt- College Art Association) Universität zu Berlin Tanya Sheehan, Study in Black and White: Jody Patterson, Modernism for the Masses: 2017 Photography, Race, Humor (Pennsylvania State Painters, Politics, and Public Murals in New Deal 2019 Philippe Artières, Attica, USA, 1971 University Press) New York (Yale University Press) Max Böhner, Humboldt-Universität zu Berlin (Le Point du Jour) Gloria Sutton, Stan VanDerBeek’s Movie-Drome: Laurence Schmidlin, La Spatialisation du Francesca Wilmott, Courtauld Institute for Art Emily Burns, Transnational Frontiers: The Visual An Experience Machine, translated into French Dessin dans l’Art Américain des Années 1960 et Culture of the American West in the French Imagi- (Éditions B2) 1970 (Les Presses du Réel) Martyna Zielinska, Université Paris Diderot nation, 1867–1914 (University of Oklahoma Press) K. L. H. Wells, Weaving Modernism: Sophie Cras, L’Économie à l’Épreuve de l’Art. Postwar Tapestry Between Paris and New York Art et Capitalisme dans les Années 1960, trans- (Yale University Press) PUBLICATIONS lated into English (Yale University Press) 2019 Kenji Kajiya, Formless Modernism: Color Field Anni Albers, On Weaving, translated from International Essay Prize Painting and 20th-Century American Culture, trans- English to French (Les Presses du Réel) (administered by lated into Japanese (University of Tokyo Press) Smithsonian American Anna Arabindan-Kesson, Black Bodies, Art Museum) Kate Lemay, Triumph of the Dead: White Gold: Art, Cotton, and Commerce in the The American War Cemeteries in France Atlantic World (Duke University Press) 2017 (University of Alabama Press) Susanneh Bieber, Texas A&M University François Brunet, La Naissance de l’Idée de “Going Back to Kansas City: The Origins ShiPu Wang, The Other American Moderns Photographie, translated from French to English of Judd’s Minimal Art” (Penn State University Press) (Ryerson Image Centre)

88 Report 2016–2019 Fellowships and Academic Awards 89 Paris Center Events

Since 2009, the Terra Foundation Paris Center has served as the hub of our European activities, welcoming an international community of scholars and curators, as well as the interested public. The center provides a regular forum on the art and visual culture of the United States—the only one of its kind in Europe—through a wide variety of lectures, symposia, workshops, and other academic programs that emphasize interdisciplinary perspectives and cross-cultural exchange.

“Undoing Borders between Art, Craft, Conferences, Symposia, and and Design in the Museum Today” Other Academic Events at the March 13, 2017 Paris Center Glenn Adamson, Yale Center for British Art Olivier Gabet, Musée des Arts Décoratifs “American Painting in the 1930s”

September 27, 2016 “Painting Artists’ Studios in the Late Laurence Bertrand-Dorléac, Sciences-Po, Nineteenth Century: William Merritt Chase Paris (1849–1916)” Laurence des Cars, Musée de l’Orangerie May 18, 2017 Alain Bonnet, Université Grenoble Alpes “The Color Line” James Glisson, Huntington Library, October 10, 2016 Art Museum, and Botanical Gardens Richard J. Powell, Duke University Daniel Soutif, independent curator “A Different Way to Move: Minimalisms, New York, 1960–1980” “Grand Illusions: American Art September 28, 2017 and the First World War” Marcella Lista, Musée National d’Art Moderne, December 8, 2016 Centre Pompidou Laurent Le Bon, Musée National Picasso-Paris Valérie Mavridorakis, Haute École d’Art et de Ruth Fine and Jim Dine speaking during the conference “Art, David Lubin, Wake Forest University Design-HEAD-Genève Life & Politics: American Printmaking from the 1960s to Today” (June 4–5, 2018). Photo: Bruno Le Hir de Fallois.

90 Report 2016–2019 Section 91 “Women Inside and Outside “A Conflicted Geography: African American Élisabeth Lebovici, independent scholar “The Textures of Work” the Grid: New Approaches to Artists & African Diaspora” Laurence Schmidlin, Musée Cantonal des September 26–30, 2016 Modernist Sculpture” March 29, 2018 Beaux-Arts de Lausanne Terra Foundation Giverny November 16, 2017 Anne Lafont, École des Hautes Études Richard Shiff, University of Texas at Austin Jo Applin, Courtauld Institute of Art en Sciences Sociales Susan Tallman, School of the Art Institute of “Regarding Nicolas Calas: An International Miguel de Baca, Lake Forest College Steven Nelson, University of California, Los Angeles Chicago Symposium” Hervé Vanel, American University of Paris October 21–22, 2016 “Terra Foundation Research Workshop” “Framing Environmental Dimensions in Athens School of Fine Arts December 7, 2017 American Art” “Dorothea Lange, Photographe Documentaire” Pierre-Jacques Pernuit, Université Paris 1 April 5, 2018 September 27, 2018 “Conversations on Culture: Henri Loyrette Panthéon-Sorbonne Isabelle Gapp, University of York Abigail Solomon-Godeau, University of and Michael E. Shapiro” Sara Tarter, University of Birmingham Susann Köhler, Georg-August-Universität California, Santa Barbara October 26, 2016 Étienne Tornier, Université Paris Nanterre Göttingen Pia Viewing, Jeu de Paume Mona Bismarck American Center Hadrien Viraben, Université de Rouen Nina Leger, Université Paris 8 Bénédicte Ramade, Université de Montréal “Picturing a Nation” [series of four lectures] “Clement Greenberg Translated” Conferences, Symposia, and May 3–24, 2017 February 6, 2018 “Art, Life & Politics: American Printmaking Other Academic Events University of Oxford Caroline A. Jones, Massachusetts from the 1960s to Today” Co-organized and Supported Institute of Technology June 4–5, 2018 by the Paris Center “From Washington to Trump: Political Katia Schneller, École Supérieure d’Art et Stephen Coppel, British Museum Humor in American Art” Design Grenoble–Valence Jacqueline Francis, California College of the Arts “‘Local Color in Art’: Nationalism and May 24, 2017 Impressionism in the United States, Institute of Art History, Jagiellonian University Australia, and France” June 7, 2016 “Border Control: On the Edges of American Studies Center, University of American Art” Warsaw May 25–26, 2017 Tate Liverpool

“Impression as Nation: Impressionism

and Local Color in the United States, “No Representation without Circulation: Australia, and France” An Alternative History of American June 8, 2016 Visual Culture” Institute of Art History, June 7–8, 2017 Jagiellonian University Collège Franco-Britannique

“Seeing Through: Negotiating the Photograph” “At Home and Abroad: Movement, Influence, June 8–9, 2016 and Circulation in North American Art” John F. Kennedy Institute for North American June 28–29, 2017 Studies, Freie Universität Berlin John F. Kennedy Institute for North American Studies, Freie Universität Berlin “Un Portrait Intérieur, le Musée Imaginaire des Impressionnistes” “Experience and American Art” September 7–8, 2016 March 23–24, 2018 1960s to Today” (June 4–5, 2018). Photo: Bruno Le Hir de Fallois. conference “Art, Life & Politics: American Printmaking from the Élisabeth Lebovici presents “Matter(s) of Fact” during the Musée des Beaux-Arts de Rouen Courtauld Institute of Art

92 Report 2016–2019 Paris Center Events 93 “Distinguished W. E. B. Du Bois Lecture: “Video Art and the Public Sphere in the US: “‘Luminism’: Museums and the Production Faith Ringgold” 1965–1980” of Knowledge” April 23, 2018 June 18, 2018 March 7, 2019 Humboldt-Universität zu Berlin LUX Södertörn University

“The Body of a Nation” [series of “Annette Michelson and the ‘Radical “American Art in the 1940s: Global Currents, four lectures] Aspiration’ of Criticism” Local Tides” May 2–23, 2018 January 17, 2019 April 16–17, 2019 University of Oxford Institut National d’Histoire de l’Art Institut National d’Histoire de l’Art and Université Paris Diderot “Eccentric, Realist, Populist, Procedural: “Exile Modernism” The Politics of Figuration in American Art, February 6, 2019 “A Contest of Images: American Art as 1929–1980” Humboldt-Universität zu Berlin Culture War” [series of four lectures] May 18–19, 2018 May 8–29, 2019 Humboldt-Universität zu Berlin “‘Art Knows No Geographical Lines’: University of Oxford The Influence of Edwardian British “Empathy, Intimacy, and Ethics in Artists on Pittsburgh’s Carnegie “György Kepes: Undreaming the Bauhaus” American Art” International Exhibitions” June 21, 2019 June 5–6, 2018 February 27, 2019 Institute of Art History, Research Centre for the John F. Kennedy Institute for North American Paul Mellon Centre for Studies Humanities, Hungarian Academy of Sciences Studies, Freie Universität Berlin in British Art “1898: Imag(in)ing the Caribbean in the Age of the Spanish-American War” June 25, 2019 John F. Kennedy Institute for North American Studies, Freie Universität Berlin

“Arts Patronage in Modern America” June 26–28, 2019 Rothermere American Institute, University of Oxford John R. Blakinger, 2018–19 Terra Foundation Visiting Professor at the University of Oxford, at the Institute of Art History, Hungarian Academy of Sciences for the lecture “György Kepes: Undreaming the Bauhaus” (June 21, 2019). Photo: John R. Blakinger.

94 Report 2016–2019 Paris Center Events 95 Terra Collection: Initiatives, Loans, and Acquisitions

The Terra Foundation collection of American art, begun by Daniel J. Terra in the 1970s and growing to this day, reflects the rich artistic and cultural heritage of the United States. An inextricable part of our history and global mission, it includes 767 paintings, prints, drawings, photographs, and sculptures spanning 1750–1980. We work to ensure the collection is widely accessible, creating collaborative exhibitions with museum partners around the globe, lending artworks to exhibitions worldwide, and maintaining a comprehensive database of the collection online.

Botanical Gardens, January 24, 2015–May Terra Collection Initiatives 4, 2015; Amon Carter Museum of American Art, May 23, 2015–August 23, 2015; Seattle

Organized by the foundation’s curatorial Art Museum, September 16, 2015–January 10, staff in concert with institutional partners, 2016; Crystal Bridges Museum of American Terra Collection Initiatives are collaborative Art, January 23, 2016–April 18, 2016; Detroit exhibition projects that further scholarship Institute of Arts, June 18, 2016–September on the foundation’s collection and make sig- 18, 2016; Peabody Essex Museum, October nificant contributions to the study of historical 8, 2016– January 8, 2017; Reynolda House American art. Although such collaborations Museum of American Art, February 17,

vary in nature, the goal of Terra Collection 2017–June 4, 2017; New Britain Museum of at the Museum of Fine Arts, Initiatives is to inspire a rich cross-cultural American Art, June 17, 2017–October 15, 2017 dialogue on and new ways of thinking about Samuel F. B. Morse, Gallery of the Louvre, American art, utilizing the collection as the 1831–33 basis for both scholarly interpretation and Samuel F. B. Morse, Francis I, Study for contextualized presentation. “Gallery of the Louvre,” between 1831 and 1832 Samuel F. B. Morse’s “Gallery of the Louvre” and the Art of Invention William Merritt Chase Terra Foundation for American Art (orga- Terra Foundation for American Art (co- Boston (October 2016–January 9, 16, 2017). Spring Flowers (Peonies) (by 1889) from the Terra Collection on view nizer); Huntington Library, Art Museum, and organizer); Phillips Collection (co-organizer), during the exhibition Merritt Chase William

96 Report 2016–2019 Section 97 June 4–September 11, 2016; Museum of Fine Pathways to Modernism: American Art, Lovis Paul Dessar, Peasant Woman and Haystacks, O’Keeffe, Stettheimer, Torr, Zorach: Arts, Boston (co-organizer), October 9, 2016– 1865–1945 Art Institute of Chicago (co-organizer); Giverny, 1892 Women Modernists in New York January 16, 2017; Ca’ Pesaro (Fondazione Terra Foundation for American Art (co-organizer); Frederick Carl Frieseke, Breakfast in Norton Museum of Art (organizer), February Musei Civici Venezia) (co- Shanghai Museum, September 28, 2018–January the Garden, c. 1911 18–May 15, 2016; Portland Museum of Art, organizer), February 11–May 28, 2017 6, 2019 Theodore Robinson, Blossoms at Giverny, 1891-92 June 23–September 18, 2016 6 works, including: 43 works, including: Theodore Robinson, The Wedding March, 1892 Helen Torr, Purple and Green Leaves, 1927 William Merritt Chase, The Olive Grove, c. 1910 Romare Bearden, After Church, 1941 William Merritt Chase, Ready for a Walk, Frederic Edwin Church, Our Banner in the Ashmolean Museum of Art and Archeology, Impressionism: American Gardens c. 1885 Sky, 1861 October 2016–July 2018; March 2019–December on Canvas William Merritt Chase, Spring Flowers Arthur Dove, Boat Going through Inlet, c. 1929 2020 New York Botanical Garden (organizer), (Peonies), by 1889 Marsden Hartley, Painting No. 50, 1914–15 Charles Courtney Curran, In the Luxembourg May 14–September 11, 2016; Taubman (Garden), 1889 Museum of Art, February 3–May 16, 2017 Continental Shift: Nineteenth Century Atelier 17 e a gravura moderna nas Childe Hassam, French Peasant Girl, c. 1883 Hugh Henry Breckenridge, White Phlox, 1906 American and Australian Landscape Painting Américas / Atelier 17 and Modern Printmaking Maurice Brazil Prendergast, The Luxembourg Childe Hassam, Horticulture Building, Terra Foundation for American Art in the Americas Garden, Paris, c. 1890–94 World’s Columbian Exposition, Chicago, (co-organizer); Art Gallery of Western Terra Foundation for American Art (co-organizer); Thomas Moran, Autumn Afternoon, the 1893 Australia (co-organizer), July 30, 2016– Museu de Arte Contemporânea da Universidade Wissahickon, 1864 February 5, 2017; Ian Potter Museum of de São Paulo (co-organizer), March 23–June 2, 2019 Electric Paris Art (co-organizer), March 14–June 11, 2017 14 works, including: Bruce Museum, May 14–September 4, 2016 15 works, including: John Ferren, Sea Forms, 1937 Exhibition Loans Theodore Earl Butler, Place de Rome Thomas Cole, Landscape with Figures: A Scene Stanley William Hayter, Cinq Personnages, 1946 at Night, 1905 from “The Last of the Mohicans,” 1826 Armin Landeck, Studio Interior No. 1, 1935 Coney Island: Visions of an American Charles Courtney Curran, Paris at Night, 1889 Sanford Robinson Gifford, Hunter Mountain, Blanche Lazzell, Still Life, 1919 (block cut), Dreamland, 1861–2008 Willard Metcalf, Au café, 1888 Twilight, 1866 1931 (printed) Wadsworth Atheneum Museum of Art John La Farge, Paradise Valley, 1866–68 (organizer), January 31–May 31, 2015; Mabel Dodge Luhan & Company: American San Diego Museum of Art, July 11–October 18, Moderns and the West Bellows and the Body: The Real, The Ideal, Multi-year Loans 2015; Brooklyn Museum, November 20, Harwood Museum (organizer), May 22– and the Nude 2015–March 13, 2016; McNay Art Museum, May September 11, 2016; Albuquerque Museum of Barber Institute of Fine Arts (organizer), Art Institute of Chicago, 2005–present 11–September 11, 2016 Art and History, October 29, 2016–January 22, October 21, 2016–January 22, 2017 76 works have been exhibited, including: Reginald Marsh, Pip and Flip, 1932 2017; Burchfield Penney Art Center, March George Bellows, Nude Girl, Miss Leslie Thomas Cole, Landscape with Figures: A Scene from Reginald Marsh, Riders in a Mermaid 10–May 28, 2017 Hall, 1909 “The Last of the Mohicans,” 1826 Tunnel Boat, 1946 Walter Ufer, Builders of the Desert, 1923 William Stanley Haseltine, Rocks at Nahant, 1864 America’s Cool Modernism: O’Keeffe Fitz Henry Lane, Brace’s Rock, American Epics: Thomas Hart Benton Stuart Davis: In Full Swing to Hopper Brace’s Cove, 1864 and Hollywood Whitney Museum of American Art (co- Terra Foundation for American Art (co- Edward Hicks, A Peaceable Kingdom with Quakers Peabody Essex Museum (co-organizer), organizer), June 10–September 25, 2016; organizer); Ashmolean Museum of Art Bearing Banners, c. 1829–30 June 6–September 7, 2015; Nelson-Atkins National Gallery of Art, Washington, DC and Archaeology (co-organizer), March 23– Lilly Martin Spencer, The Home of the Red, White, Museum of Art (co-organizer), October 10, (co-organizer), November 20, 2016– July 22, 2018 and Blue, c. 1867–68 2015–January 3, 2016; Amon Carter Museum of March 5, 2017; de Young Museum, April 1– 27 works, including: American Art (co-organizer), February 6–May 1, August 6, 2017; Crystal Bridges Museum Patrick Henry Bruce, Peinture, 1917–18 Musée des Impressionismes Giverny, March–No- 2016; Milwaukee Art Museum, of American Art, September 16, 2017– Arthur Dove, Boat Going through Inlet, c. 1929 vember, 2016; March–November, 2017 June 9–September 5, 2016 January 1, 2018 Edward Hopper, Dawn in Pennsylvania, 1942 John Leslie Breck, Morning Fog and Sun, 1892 Thomas Hart Benton, Slaves, 1925 Stuart Davis, Super Table, 1925

98 Report 2016–2019 Terra Collection: Initiatives, Loans, and Acquisitions 99 Mary Cassatt–Retrospective Amon Carter Museum of American Art, Henry James and American Painting Jane Peterson: At Home and Abroad NHK, Tokyo and NHK Productions, Tokyo October 7, 2017–January 7, 2018 Morgan Library & Museum Mattatuck Museum (organizer), November 19, (co-organizers); Yokohama Museum of Art Richard La Barre Goodwin, Two Snipes, (organizer), June 9–September 10, 2017–January 28, 2018; Long Island Museum (co-organizer), June 25–September 11, 2016; c. 1880–1902 2017; Isabella Stewart Gardner of Art, February 11–April 22, 2018; Columbia National Museum of Modern Art, Kyoto (co- Museum, October 19, 2017–January 21, Museum of Art, May 13–July 22, 2018; Hyde organizer) September 27–December 4, 2016 World War I and American Art 2018 Collection, August 5–October 14, 2018 Mary Cassatt, Jenny and Her Sleepy Child, Pennsylvania Academy of the Fine Lilla Cabot Perry, The Green Hat, 1913 Jane C. Peterson, Marché aux Fleurs, 1908 c. 1891–92 Arts (organizer), November 4, 2016– Mary Cassatt, Summertime, 1894 April 9, 2017; New-York Historical Society, Monet’s Etretat: Destination and Motif Coming Away: Winslow Homer in England Mary Fairchild MacMonnies (later Low), May 26–September 3, 2017 (as World Timken Museum of Art, September 7– Worcester Art Museum (co-organizer), November The Breeze, 1895 War I Beyond the Trenches); Frist Center December 31, 2017 11, 2017–February 4, 2018; Milwaukee Art for the Visual Arts, October 6, 2017– George Inness, Sunset, Etretat, 1892 Museum (co-organizer), March 2–May 20, 2018 JapanAmerica: Points of Contact, 1876–1970 January 21, 2018 William Henry Lippincott, The Cliffs at Winslow Homer, The Nurse, 1867 Herbert F. Johnson Museum of Art (orga- Lyonel Feininger, Denstedt, 1917 Etretat, 1890 Winslow Homer, Perils of the Sea, 1888 nizer), August 27–December 18, 2016; Crocker Art Museum, February 12–May 21, American Watercolor in the Age of California Mexicana: Missions to Murals, Picturing Mississippi, 1817–2017: Land of 2017 Homer and Sargent 1820–1930 Plenty, Pain, Promise Childe Hassam, The White Kimono, 1915 Philadelphia Museum of Art, March 1– Laguna Art Museum, October 15, 2017– Mississippi Museum of Art, December 9, Edmund Tarbell, In the Orchard, 1891 May 14, 2017 January 14, 2018 2017–July 8, 2018 Winslow Homer, Apple Picking, 1878 William S. Jewett, The Promised Land — George Caleb Bingham, The Jolly Flatboatmen, The Color Line: African-American Artists Winslow Homer, A Garden in Nassau, 1885 The Grayson Family, 1850 1877–78 and Segregation Musée du Quai Branly, October 4, 2016– Charles Sheeler: Fashion, Photography, January 22, 2017 and Sculptural Form Jacob Lawrence, Bar-b-que, 1942 James A. Michener Art Museum,

Archibald J. Motley, Jr., Between Acts, 1935 March 18–July 9, 2017 at Charles Sheeler, Flower Forms (gelatin Icon of Modernism: Representing the silver print), between 1917 and 1926

Brooklyn Bridge, 1883–1950 (1850) on view Georgia Museum of Art, September 17– In Concert: Musical Instruments between December 11, 2016 the 1860s and the 1910s Ernest Lawson, Brooklyn Bridge, 1917–20 Musée des Impressionnismes Giverny, John Marin, Sailboat, Brooklyn Bridge, March 24–July 2, 2017 New York Skyline, 1934 Joseph DeCamp, The Violinist, c. 1902 John Marin, Brooklyn Bridge, No. 6, 1913 Arnold Rönnebeck, Brooklyn Bridge, 1925 Georgia O’Keeffe Tate Modern (organizer); Art Gallery of Wild Spaces, Open Places: Hunting and Ontario, April 22–July 30, 2017 Fishing in American Art Georgia O’Keeffe, Red Amaryllis, 1937 Dixon Gallery and Gardens, October 23, 2016–January 15, 2017; Joslyn Art Museum John Graham: Maverick Modernist (organizer), February 12–May 7, 2017; Parrish Art Museum, May 7–July 23, 2017 during the exhibition Murals, 1820–1930 to Missions Mexicana: California William Family Grayson S. Jewett’s Land—The Promised The Shelburne Museum, June 4–August 27, 2017; John Graham, The Green Chair, 1928 the Laguna Art Museum (October 15, 2017–January 14, 2018).

100 Report 2016–2019 Terra Collection: Initiatives, Loans, and Acquisitions 101 Mary Cassatt: An American Impressionist in Martin Johnson Heade, Newburyport Marshes: Paris Approaching Storm, c. 1871 Musée Jacquemart-André, March 9– July 23, 2018 John Singer Sargent Mary Cassatt, Jenny and Her Sleepy Child, Nationalmuseum (Stockholm), October 13, c. 1891–92 2018–January 13, 2019 Mary Cassatt, Summertime, 1894 John Singer Sargent, A Parisian Beggar Girl, c. 1880 John Singer Sargent and Chicago’s Gilded Age Art Institute of Chicago, June 28–September William J. Glackens and Pierre-Auguste Renoir: 30, 2018 Affinities and Distinctions Dennis Miller Bunker, The Mirror, 1890 NSU Art Museum Fort Lauderdale (organizer), John Singer Sargent, A Parisian Beggar Girl, October 21, 2018–May 5, 2019; Hunter Museum c. 1880 of American Art, June 21–September 21, 2019 William Glackens, Julia’s Sister, c. 1915 Winslow Homer and the Camera: Photography and the Art of Painting Once Upon a Time in America: Three Centuries Bowdoin College Museum of Art, June 23– of American Art October 28, 2018 Wallraf-Richartz Museum & Fondation Winslow Homer, On Guard, 1864 Corboud, November 23, 2018–March 24, 2019 Sanford Robinson Gifford, Morning in the Hudson, Americans Abroad: Landscape and Artistic Haverstraw Bay, 1866 Exchange, 1800–1920 John Haberle, One Dollar Bill, 1890 Sidney and Lois Eskenazi Museum of Art Robert Henri, Figure in Motion, 1913 (co-organizer); Tsinghua University Art Samuel F. B. Morse, Gallery of the Louvre, Museum (co-organizer), September 21, 1831–33 2018–March 17, 2019 Karl Anderson, Tennis Court at Hôtel Baudy, 1910 Documenting Change: Our Climate (Past, John Leslie Breck, Garden at Giverny, c. 1887–91 Present and Future) Lyonel Feininger, Denstedt, 1917 CU Art Museum, University of Colorado, Childe Hassam, Montmartre: July 14, 1889 Boulder, February 7–July 20, 2019 Robert Henri, Street Corner in Paris, 1896 Frederic Edwin Church, The Iceberg, c. 1875 of the subject during the 1920s. With its Winslow Homer, Haymakers, 1867 Acquisition simplified geometric forms, stylized rendering John H. Twachtman, Road near Honfleur, c. 1885 Yasuo Kuniyoshi of anatomy, and high horizon, the painting Boy with Cow, 1921 fuses Kuniyoshi’s interests in European Nature’s Nation: American Art and Environment Oil on canvas, 16 1/8 × 20 in. (41 × 50.8 cm) modernism, American folk art, and Japanese Princeton University Art Museum (organizer), Terra Foundation for American Art, Daniel J. prints. Despite harsh treatment by the United October 13, 2018–January 6, 2019; Peabody Terra Art Acquisition Endowment Fund, 2017.1 States government during World War II, Essex Museum, February 2, 2019–May 5, 2019; Kuniyoshi had a firmly established reputation Crystal Bridges Museum of American Art, May Inspired by the landscape and vernacular as a leading contemporary artist and teacher; 25, 2019–September 9, 2019 architecture of Maine, where Yasuo Kuniyoshi Boy with Cow was featured in subsequent retro- Sanford Robinson Gifford, Hunter Mountain, summered at the Ogunquit artists’ colony, Boy spectives by gallerist Edith Halpert and the Twilight, 1866 with Cow is one of several images he painted Whitney Museum of American Art.

102 Report 2016–2019 Terra Collection: Initiatives, Loans, and Acquisitions 103 named Sylvester Cunningham Smith, early large-scale masterwork from the Acquisition whom Henri remembered as a “great Acquisition most internationally known of the Chicago Robert Henri youngster” and “irresistible” subject. While Ed Paschke Imagists, Topcat Boy is vividly colored Sylvester, 1914 in California, Henri painted three portraits Topcat Boy, 1970 and visually arresting, drawing clearly Oil on canvas, 32 × 26 in. (81.2 × 66 cm) of Sylvester, although only the Terra Acrylic on canvas, 71 × 51 in. (180.3 × 129.5 cm) from Paschke’s fascination with life on the Terra Foundation for American Art, Daniel J. Foundation’s version features the colorful, Terra Foundation for American Art, Daniel J. social fringe in the sleazy nightclubs of Terra Art Acquisition Endowment Fund, 2017.2 bold setting characteristic of Henri’s La Terra Art Acquisition Endowment Fund, 2017.3 Chicago and New York. In addition to Jolla portraits. Joining four other works by extending the chronological breadth of Robert Henri’s Sylvester belongs to a group of Henri in the foundation’s collection, Sylvester Garish, flamboyant, and at times futuristic, the Terra Foundation’s collection, the portraits that the artist made in California is representative of his best work in child Ed Paschke’s imagery of the 1970s traffics acquisition of Topcat Boy celebrates and during the summer of 1914. The painting portraiture, a major focus of his career in the chunky, distended forms and glitter amplifies the successful 2018 Art Design depicts a local African American newsboy from about 1900 until his death in 1929. of the period aesthetic known as Glam. An Chicago initiative.

104 Report 2016–2019 Terra Collection: Initiatives, Loans, and Acquisitions 105 of Lady Jane Grey, the Protestant holder of the Untitled (Village Street Scene). Captivated Acquisition English throne. The painting reproduced in this Acquisition by the urban landscape, Delaney sought to Charles Burt exquisite engraving was exhibited and distributed Beauford Delaney visually interpret the energy of modern life The Signing of the Death Warrant through the American Art-Union’s annual lottery Untitled (Village Street Scene), 1948 through brilliant colors, thickly applied paint, of Lady Jane Grey, 1848 drawing in late 1848. Despite her short rule and Oil on canvas, 29 × 40 in. (73.7 × 101.6 cm) and bold, animated lines. Straddling two Engraving on paper, 17 × 21 3/4 in. (43 × 55 cm) beheading in 1554, Lady Jane Grey came to repre- Terra Foundation for American Art, Daniel J. worlds—the Harlem Renaissance movement Terra Foundation for American Art, Gift of sent a Protestant stand against Catholic tyranny Terra Art Acquisition Endowment Fund, 2018.2 and the avant-garde circles of Greenwich Wendy Greenhouse, 2018.1. in antebellum America, which resonated with Village—Delaney developed a spirited, ener- anti-Catholic and nativist sentiment prevalent The facades, lampposts, and general activity getic style for his figural work and cityscapes. This engraving by Charles Burt after Daniel during these years. This generous gift from Wendy of Greenwich Village were the focus of many Untitled is a seminal work by the artist, and Huntington’s painting of the same title depicts Greenhouse enhances the strength and nuance works that Beauford Delaney made in New represents the first work by Delaney to enter Catholic Mary Tudor signing the death warrant of the Terra Foundation’s pre-Civil War holdings. York City between 1940 and 1952, including the Terra Foundation’s collection.

106 Report 2016–2019 Terra Collection: Initiatives, Loans, and Acquisitions 107 Condensed Consolidated Statements Financial of Financial Position (unaudited) for the years ended June 30, 2017, Information June 30, 2018, and June 30, 2019

2019 2018 2017 Cash and Investments $ 379,240,314 $ 382,339,286 $ 368,193,721 Other Assets $ 5,915,112 $ 2,997,832 $ 445,187 Fixed Assets, Net of Depreciation $ 8,210,237 $ 8,679,404 $ 9,101,661 Art Collection $ 184,507,025 $ 185,253,840 $ 184,501,340

Total $ 577,872,688 $ 579,270,362 $ 562,241,909

Liabilities & Net Assets Accounts Payable and Accrued Expenses $ 18,103,258 $ 14,645,500 $ 15,355,077 Net Assets $ 559,769,430 $ 564,624,862 $ 546,886,832

Total $ 577,872,688 $ 579,270,362 $ 562,241,909

Condensed Consolidated Statements of Activity (unaudited) for the years ended June 30, 2017, June 30, 2018, and June 30, 2019

Revenues 2019 2018 2017 Investment Income (Loss), Net of Related Expenses $ 10,346,830 $ 32,676,006 $ 45,579,120 Other $ 4,863,128 $ 4,541,018 $ 411,926 exploration of natural disasters. With a black Acquisition sky above a glowing yellow horizon line, Total Revenues $ 15,209,958 $ 37,217,024 $ 45,991,046 Roger Brown the painting possesses major stylistic and The Big Jolt, 1972 thematic qualities of Brown’s Disaster series: Oil on canvas, 71 1/4 × 48 in. (181 × 121.9 cm) ominous in its cataclysmic activity and Expenses Terra Foundation for American Art, Daniel J. absurd in its precise, almost mechanical, Grants, Exhibitions, and Education Programs $ 15,326,769 $ 15,098,449 $ 14,222,986 Terra Art Acquisition Endowment Fund, 2019.1 portrayal of chaos. Of the 22 Disaster paint- Collection Support $ 684,883 $ 593,230 $ 566,506 ings recorded, only eight depict scenes similar Foundation Operations $ 4,053,738 $ 3,787,315 $ 3,973,885 An integral work in Roger Brown’s acclaimed to The Big Jolt, making this one of the most Total Grants and Operating Expenses $ 20,065,390 $ 19,478,994 $ 18,763,377 Disaster series, The Big Jolt is one of the desirable paintings by Brown and among the strongest examples of Brown’s career-long best Chicago Imagist works. Increase (Decrease) in Net Assets ($ 4,855,432) $ 17,738,030 $ 27,227,669

108 Report 2016–2019 Financial Information 109 Board Staff

We thank current and former members of our We thank current and former foundation Board of Directors for their leadership, serving staff for their collaboration since 2005. and shaping the foundation since 2005.

Tessa Mazor Katherine Caroline Kearns Board of Directors Former Directors As of Grants Assistant Bourguignon, PhD Elizabeth Kennedy, PhD Curator October 2019 Jan McNeill Dennis Murphy Joseph P. Gromacki, Chair Mark A. Angelson Librarian Véronique Dall’Agnol Charles Mutscheller Lonnie G. Bunch III Max Berry Residencies Manager Maria Natschke Executive Julia Poppy Nora Daley Norman R. Bobins Eleanore Neumann Officers Program Associate, Exhibition Patricia Gaunet Chester A. Gougis Gilda R. Buchbinder & Academic Grants Director, Office Administration Donald H. Ratner Charles Harper Robert F. Carr III† & Grants Administrator, Paris Shoshana Resnikoff Elizabeth Glassman Taylor L. Poulin Stephanie Harris Gerhard Casper Assistant Curator Shelly Roman President & Morgane Hamon Erica E. Hirshler, PhD Wanda M. Corn, PhD Chief Executive Officer Curatorial Associate Elizabeth Rossi Catherine Ricciardelli Michael Leja, PhD Ronald R. Davenport Alissa Schapiro Amy Zinck Director, Registration Thomas Hudson Henri Loyrette James R. Donnelley† Joseph Shansky Executive Vice President Executive & Office Assistant Raymond J. McGuire Charles C. Eldredge, PhD Jennifer Siegenthaler Elisabeth Smith Anne Munsch Program Director, Rebecca Park Morton O. Schapiro, PhD Marshall Field V Education Grants & Initiatives Elizabeth Hutton Chief Financial Officer Program Associate, Carl D. Thoma Ruth E. Fine Publications & Turner, PhD Adam D. Weinberg Kathleen A. Foster, PhD Eva Silverman Communications Julie Warchol Project Director, Art Design Greg Williamson Mimi Gardner Gates, PhD Chicago Chicago Lucy Pike Ariane Westin-McCaw Jay Xu, PhD Robert S. Hamada, PhD Program Associate, Academic Lynne Summers Programs & Public Events Catharine Hamilton Peter John Executive Assistant to the Paris Neil Harris, PhD Brownlee, PhD President & CEO and to EVP Francesca Rose E. Baker Jenner Jr. Curator Program Director, since 2009 Jessica Warchall Publications & Manager of David G. Kabiller Manager of Communications Communications, Europe Anne Cullen Sarah Bentley Fred A. Krehbiel Program Associate, Education Peter Krivkovich Grants Orly Zinkow Julie Boulage Office Manager and John Davis, PhD Peter Lunder Executive Assistant to CFO Former Staff Shari Felty Brigitte Deston Clare Muñana Assistant Registrar William A. Osborn Miranda Fontaine Larry Richman Janice Greene Paris Chicago Sophie Lévy Accounting Manager Constance Moréteau, John W. Rogers Jr. since 2005 PhD Gloria Scoby Amy Gunderson Diego Candil Veerle Thielemans, PhD Michael E. Shapiro, PhD Manager, Grants Director, Terra Foundation Leslie Buse Administration and for American Art Europe Laura Valette Marilynn Thoma Operations Murphy Elizabeth Crain Frederick Vogel III Ewa Bobrowska, PhD Elaine Holzman† Carrie Haslett, PhD Morris S. Weeden† Associate Program Officer, Maureen Jasculca Program Director, Academic Fellowships & David B. Weinberg Exhibition & Academic Grants Library Sara Jatcko

110 Report 2016–2019 Board and Staff 111 Terra Foundation for American Art Copyright © 2019 Report July 2016–June 2019 Terra Foundation for American Art 120 East Erie Street Project Manager: Francesca Rose Chicago, Illinois 60611 Project Coordinator: Rebecca Park United States Contributing Editor: Kim Coventry terraamericanart.org Copy Editor: Shelly Roman Design: Practise All rights reserved Lithography: Colour & Books Printing: Die Keure, Belgium

10 (from left to right, top to bottom): Copyright Solomon R. Bruno Le Hir de Fallois. William Merritt Chase at Ca Pesaro. Guggenheim Foundation, NY. Jessica Wyld Photography. Penn State University Press. Loyola University Chicago. Solange Puijalon. Tokyo National Museum. Jon Shaft. James Valéria Piccoli. Yannick Pyanee. Bruno Le Hir de Fallois. Goggin. Jon Shaft. https://www.tate.org.uk/research/ Stephen Ironside/Ironside Photography © 2015. Yannick publications/in-focus/gift-kenneth-noland (detail). Lucy Pike. Pyanee; 24 Terra Summer Residency. Bruno Le Hir de Courtauld Institute of Art. Art Gallery of Ontario. TFAA. Fallois. Picturing the Americas convening. Stephen Ironside/ Chicago Metro History Education Center. Jon Shaft.; 11 (from Ironside Photography © 2015; 25 Institute of Art, Design + left to right, top to bottom): Musée du Louvre. Jon Shaft. Technology, Dún Laoghaire. Instituto MESA. Lynn Lane Stanley William Hayter, Cinq Personnages (detail), 1946, Photography, courtesy of AAMC & AAMC Foundation; 27 engraving, soft-ground etching and scorper, silkscreen (from left to right, top to bottom): Romain Grésillon. John (printed in three colors: orange, turquoise-green and red- R. Blakinger. Archives of American Art (https://www.aaa. violet) on thick Kochi paper, Plate: 14 3/4 × 23 7/8 in. (37.5 × 60.6 si.edu/collections/leo-castelli-gallery-records-7351) cm), Sheet: 20 3/16 × 26 in. (51.3 × 66 cm), Terra Foundation for (detail). Yannick Pyanee. Milton Avery, Adolescence (detail), American Art, Daniel J. Terra Collection, 1995.37. Veronika 1947, oil and graphite on canvas, 30 × 40 in. (76.2 × 101.6

Tzekova. Los Angeles County Museum of Art. Nathan Keay, cm), Terra Foundation for American Art, Daniel J. Terra © MCA Chicago. Jacob Lawrence, Bar-b-que (detail), 1942, Collection, 1992.3. Romain Grésillon. James Goggin. gouache on wove paper, 30 7/8 × 22 1/2 in. (78.4 × 57.2 cm), Terra Yannick Pyanee. Arthur Dove, Boat Going through Inlet Foundation for American Art, Daniel J. Terra Art Acquisition (detail), c. 1929, oil on tin, 20 1/8 × 28 1/4 in. (51.1 × 71.8 cm), Endowment Fund, 2013.1. Shanghai Museum. Vanessa Terra Foundation for American Art, Daniel J. Terra Art Lecomte. National Museum of Korea. Tate Modern. Romain Acquisition Endowment Fund, 2015.6. Romain Grésillon. Grésillon. Charles Sheeler, Bucks County Barn (detail), 1940, James Goggin; 28 James Goggin. Romain Grésillon (Essay oil on canvas, 18 3/8 × 28 3/8 in. (46.7 × 72.1 cm), Terra Foundation Prize, Publication Grants, American Art in Translation for American Art, Daniel J. Terra Collection, 1999.135. Book Prize). James Goggin. http://www.19thc-artworldwide. Yannick Pyanee. Birgid Haensel; 15 (from left to right, top to org/spring19/orcutt-on-the-american-art-union-and-the- bottom): National Museum of Korea. Tate. Adeyemi Akande. rise-of-a-national-landscape-school. James Goggin; 29 Andreas Warner. The National Museum of Modern Art, Archives of American Art (https://www.aaa.si.edu/ Kyoto. National Museum of Korea. Tate, Seraphina Neville. collections/leo-castelli-gallery-records-7351); 31 (from Shi Guoxiang. National Gallery, London. Photo Fenêtres; 16 left to right, top to bottom): Gallery of the Louvre restoration. Photo Fenêtres; 17 Henry Luce Foundation. Tsinghua Los Angeles County Museum of Art. Diana West, Springfield University. Shanghai Museum; 19 (from left to right, top to Art Museums. Smithsonian American Art Museum. bottom): Laura Katzman. Smithsonian American Art Libby Weiler. Mattatuck Museum. Garrett Jenson. Gallery Museum. Yannick Pyanee (2 Paris Center event photos). of the Louvre installation at the Huntington Library, Art Smithsonian American Art Museum. TFAA. Yannick Pyanee Museum, and Botanical Gardens. University of California (detail), 1914. Oil on canvas, 32 × 26 in. (81.2 × 66 cm). (2 Paris Center event photos). Sarah Turner. Ashmolean Press. Fenimore Art Museum; 33 Fenimore Art Museum. Museum, University of Oxford; 20 Smithsonian American Art Mattatuck Museum. https://smarthistory.org/seeing- Museum. John F. Kennedy Institute, Freie Universität america-2/; 35 Sixth photo (from left to right, top to bottom) Berlin; 21 https://www.tate.org.uk/research/publications/ by David T. Kindler courtesy of the Chicago Humanities in-focus/gift-kenneth-noland. Tate Modern. Museum Festival. All other photos by Jon Shaft; 36 https://www. Ludwig. Rijksmuseum. Carter Jonas. Ashmolean Museum, terraamericanart.org/aacl/home/. American Art at the University of Oxford. Emily Jarrett; 23 (from left to right, top Core of Learning; 37 David T. Kindler courtesy of the Terra Foundation for American Art, Daniel J. Terra Art Acquisition Endowment Fund, 2017.2 to bottom): Bruno Le Hir de Fallois. Yannick Pyanee. TFAA. Chicago Humanities Festival. All other photos by Jon Shaft. Robert Henri, Sylvester

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