SPRING/SUMMER 2010 A letter from the director

In 2014, the Hirshhorn will celebrate its fortieth anniversary. Many of these elements are already an intrinsic part of the As we approach this signifi cant milestone, I am pleased to Hirshhorn’s work. Our ongoing commitment to research and launch a series of letters informing you about a range of excit- substantive exhibitions is evidenced by the opening of Yves ing initiatives now underway to mark this event. The core of Klein: With the Void, Full Powers, the fi rst US retrospective this effort is a recently adopted plan outlining seven priorities in nearly thirty years of the career of one of the most for the Museum in the coming years that together will make infl uential artists of the twentieth century. And the depth, the Hirshhorn not only a renowned museum of modern and breadth, and strength of our collection is central to current contemporary art, but a truly international resource for the art exhibitions on renowned abstract artist and educator Josef and ideas of our time. Albers—the Hirshhorn’s holdings are among the largest and most comprehensive in the world—as well as an exploration Briefl y, the seven priorities are: of artists’ diverse approaches to color and abstraction in ColorForms and the latest Directions project featuring a fundamental commitment to research and cutting-edge new media work by Irish artist greatly heightened focus on education for all audiences John Gerrard. and generations that enhances our role in the Smithsonian’s knowledge-based mission; Other aspects represent new areas of emphasis, crucial to a twenty-fi rst-century museum. In our approaches to our an emphasis on thematic content in exhibitions physical, digital, and educational presence, the Hirshhorn and programming dealing with key issues in art will be developing ways of more broadly connecting to and society; and engaging with its local, national, and international community to explore of the art, ideas, and issues of today. a forward-thinking approach to collecting and We look forward to having you with us in the exciting conserving works of art; times ahead.

a revitalization of the Museum’s public spaces as gathering places and educational centers;

a deployment of state-of-the-art technologies connecting our audiences on-site and online; Richard Koshalek Director the continual, direct engagement of artists in the life of the Museum and its programs;

exciting new collaborations with other cultural and educational institutions, nationwide and internationally.

General Information The Hirshhorn is located on the Administrative Offi ces: Admission is free. To subscribe to the National Mall on Independence Avenue 202-633-4674 eNews, e-mail [email protected]. at Seventh Street, SW, Washington, DC. For up-to-date information about tours The nearest Metro stops are L’Enfant Press/Marketing: and program listings, please call Plaza (Maryland Avenue/Smithsonian 202-633-1618 202-633-1000 or visit our website: Museum exit) and Smithsonian. hirshhorn.si.edu. Development/Membership: Contact 202-633-2836 Hours and Location Information: Open daily except December 25 202-633-1000 This publication is a benefi t of Museum: 10 am to 5:30 pm membership in the Hirshhorn Annual Plaza: 7:30 am to 5:30 pm Programs/Tour Information: Circle. Join today by visiting Sculpture Garden: 7:30 am to dusk 202-633-EDUC (202-633-3382) hirshhorn.si.edu or call 202-633-2836. Design concept sketches by Diller Scofi dio + Renfro for the seasonal infl atable pavilion, which would provide a vibrant public space for a range of education and arts programs at the Museum.

“ ...the Hirshhorn project is informal, egalitarian and free of conventional hierarchies. It aims to provide an elastic framework for a more inclusive culture, one that is in a continual process of re-invention.” — Nicolai Ouroussoff, New York Times JOSEF ALBERS: INNOVATION AND INSPIRATION On view through April 11

In a career that spanned more than would be commercially manufactured in well known as an abstract painter and fi fty years, Josef Albers (American, laminated glass for use as windows in colorist. Believing that colors have b. Bottrop, Germany, 1888–1976) buildings. no inherent emotional associations, not only established his own artistic When the Bauhaus closed after he emphasized the subjectivity of prominence through his exploration the rise of the Nazi regime in 1933, visual perception. Restricting himself of abstract form and color, but also Albers and his wife, noted fi ber artist to a standardized format of only a infl uenced generations of European and Anni Albers, fl ed to the United States. few superimposed squares, Albers American artists and designers through There, he was recruited to head Black generated innumerable studies of the his innovative teaching methods. Mountain College, an experimental interactions of multiple colors until his Albers began his career in the early new school in North Carolina, where he death in 1976. 1920s at the revolutionary Bauhaus taught a modifi ed Bauhaus curriculum Josef Albers: Innovation and school in Weimar, Germany, which for fi fteen years. An enthusiastic Inspiration presents nearly sixty works championed vanguard aesthetics and motivator, Albers shared his experience from the Museum’s extensive, world- promoted ways to improve modern life with materials and design before renowned collection, never before on through pragmatic art and design. He gradually focusing on color. view. The exhibition is enhanced by key created bold compositions in black and By the time Albers became loans from the Josef and Anni Albers white, as well as the primary colors chairman of the design department Foundation. Documentary photographs red, yellow, and blue, which he hoped at Yale University in 1950, he was and examples of his teaching aids offer Previous page, from left to right: Josef Albers, Homage to the Square: I-S (LXXI-B), 1971; Homage to the Square: Blue Reminding, 1966; Homage to the Square: Yellow and Ochre, 1964; this page, top and right: Josef Albers, Fugue (B), 1925–28; Final Study for “6 and 3,” 1931. All works from the Hirshhorn’s collection. Photos by Lee Stalsworth

insights into Albers’ artistic endeavors, process, and concepts. The exhibition concludes with a display of works by artists who studied under, worked with, or directly inspired Albers, notably Anni Albers, Richard Anuskiewicz, Ilya Bolotowsky, Burgoyne Diller, Jacob Lawrence, Robert Rauschenberg, and Donald Judd.

Josef Albers: Innovation and Inspiration is organized by senior curator Valerie Fletcher. The exhibition is made possible in part by the Hirshhorn’s Board of Trustees and donors to the Annual Circle.

hirshhorn.si.edu 3

YVES KLEIN: WITH THE VOID, FULL POWERS May 20– September 12

m to line Previous page Yves Klein, Le Saut dans le vide [Leap into the Void], 1960. Private Collection. Image courtesy Yves Klein Archives

Yves Klein, Untitled Fire Painting, 1961. Private Collection. Image courtesy Yves Klein Archives Yves Klein making Fire Paintings at the Centre d’Essais du Gaz de France, Paris, 1961. Image courtesy Yves Klein Archives

“ What he was trying to Yves Klein (French, b. Nice, 1928– immaterial spirituality through pure establish through the trace 1962) created what he considered his color (primarily an ultramarine blue of fi rst artwork when he signed the sky his own invention—International Klein of fi re…was the ‘presence above Nice in 1947. This simple yet Blue), inaugurating his defi ning series of absence,’ the mark of bold statement encapsulates the es- of monochromes in 1957. He even life that is diffused energy.” sence of the artist’s goal—to capture went so far in his renowned 1958 —Pierre Restany and convey the immaterial. During an exhibition of “the Void” to present intense, prolifi c career that lasted only white galleries emptied of all artworks. from 1954 to 1962, when he suffered Among Klein’s best-known works are a heart attack at the age of 34, Klein the Anthropometries, begun in 1958. took the art scene by storm with his Under his direction, nude female models experiments in painting, sculpture, were smeared with his ultramarine blue performance, photography, music, the- and used as “living brushes” to make ater, fi lm, architecture, and theoretical body prints on prepared paper. The writing. resulting images are not only imprints Self-identifi ed as “the painter of of the models but also represent their space,” Klein sought to achieve temporary physical presence. hirshhorn.si.edu 7 Yves Klein, Untitled Anthropometry, 1960. From the Hirshhorn’s collection. Photo by Lee Stalsworth

Yves Klein, Untitled Blue Sponge Relief, 1960. Glenstone. Image courtesy Glenstone, photo by Tim Nighswander/Imaging4Art

In the late 1950s, but most notably modern art’s concern with the material beginning in 1961, Klein began literally object to contemporary notions of the to use fi re, which he considered “the conceptual nature of art and is informed universal principle of expression,” as part by Klein’s study of the mystical sect of his creative process. His Fire Paintings, Rosicrucianism, philosophical and poetic in which fi re either replaced or was investigations of space and science, and combined with paint, embody the ideas the practice of judo, which he described of process, transformation, creation, as “the discovery of the human body in a destruction, dissolution, and elemental spiritual space.” cosmology that were so essential to The fi rst major retrospective of the all of his art. artist’s work in the US in nearly thirty The artist’s diverse body of work years, Yves Klein: With the Void, represents a pivotal transition from Full Powers features examples from all Yves Klein, 1961. “ All paintings, of whatever kind, abstract or representational, Image courtesy have on me the effect of the bars on a prison window. Yves Klein Archives. Photo by Charles Wilp Freedom lies in the far away dominion of color! The ‘reader’ of a painting of lines, forms, and composition remains a prisoner of his fi ve senses…. Then I immersed myself in the monochrome space, in everything, in the boundless pictorial sensibility.” —Yves Klein

of Klein’s major series as well as The exhibition is co-organized by the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, selections of his lesser-known gold and Washington, DC, and the Walker Art Center, Minneapolis, pink monochromes, sponge reliefs, MN. Major exhibition funding is provided by The Andy “air architecture,” and immaterial Warhol Foundation for the Visual Arts, Martha and Bruce Atwater, Judy Dayton and The Glenstone Foundation. works, and also foregrounds the artist’s Additional generous support is provided by RBC Wealth process and conceptual projects Management, Constance R. Caplan, and Lewis Shrensky, through a range of ephemera, including with additional catalogue support from Sotheby’s and L&M Arts representing the Estate of Yves Klein, United sketches, photographs, letters, States. Offi cial airline partner: Delta Airlines. and writings. All images © 2010 Artists Rights Society (ARS), Yves Klein: With the Void, Full Powers is organized by New York/ADAGP, Paris Kerry Brougher, Deputy Director and Chief Curator, Hirshhorn Museum and Sculpture Garden, and Philippe Vergne, Director, Dia Art Foundation.

hirshhorn.si.edu 9 COLORFORMS On view through

January 2011 Top: Paul Sharits, Shutter Interface, 1975

Bottom: Anish Kapoor, At the Hub of Things, 1987

Both works from the Hirshhorn’s collection

A fi eld of yellow hazelnut pollen that to the present and demonstrate color’s appears to fl oat just above the ground. inimitable capacity to evoke spatial A gallery with its darkness penetrated structures as well as more elusive only by colored fl uorescent light that at effects. once defi nes and challenges perception. Throughout the history of Western Projected expanses of ever-changing art, from the lyrical tones of the color and blackness that yield a “fl icker” fourteenth-century Sienese painter effect. Although dramatically different Duccio to the bold, unnaturalistic hues in aesthetics and composition, these of the Fauves, German Expressionists, works by Wolfgang Laib, James Turrell, and beyond, color has long been and Paul Sharits, respectively, share a artists’ primary means of emotional mesmerizing blend of color and abstract and symbolic expression. ColorForms form. These pieces, along with a linear presents some of the diverse ways yarn sculpture by Fred Sandback, a that contemporary artists, freed spherical sculpture by Anish Kapoor, from the limits of representation and and luminous paintings by Mark Rothko, empowered by an array of new media, come together in ColorForms to explore deploy abstract form to explore color’s the ways in which color remains an evocative possibilities, from the purely essential tool for artists, regardless of optical to the metaphysical. medium. This selection of artworks from the ColorForms is organized by associate curator Evelyn Hankins. The exhibition is made possible with support Hirshhorn’s collection, along with several from the Hirshhorn Board of Trustees and the Museum’s paintings on loan from the National National Benefactors and Director’s Circle donors. Gallery’s renowned Mark Rothko holdings, date from the postwar era Still from BLOCK B, 2008. Image courtesy of the artist

BLACK BOX: CHRIS CHONG CHAN FUI: BLOCK B April 19–August 1

A motionless camera watches night and Voice-overs, which seem to correlate feature-length fi lms, and his most day as dramas unfold on the various with the diverse scenarios playing recent project, HEAVENHELL, 2009, fl oors of a massive apartment complex, out on the building’s many terraces, an audio-visual installation based home to Indian expatriates working in act as the aural equivalent of a zoom on Akira Kurosawa’s fi lm High and Malaysia, in BLOCK B, 2008, by Chris shot, focusing viewers’ attention on Low, 1963, premiered last fall at Chong Chan Fui (Malaysian, b. Borneo, realistic details. Ultimately, however, it the International Festival of Arts and 1982; lives and works in Kuala Lumpur). remains unclear whether the narration Media in Yokohama, Japan. The fi lm, which has won awards at is an authentic aspect of the fabric several international fi lm festivals, of daily life or derived solely from the Black Box is organized by associate curator Kelly Gordon. Support for the Black Box program is provided in part by records this scene uninterrupted, artist’s imagination, raising questions Lawrence A. Cohen/Ringler Associates. without special effects or manipulated about surveillance, voyeurism, and lighting, as if it is a documentary. authenticity. Chong has also created hirshhorn.si.edu 11 PROGRAMS

Friday Gallery Talks Meet the Artist: Artist at Work with Youth: Fridays at 12:30 pm John Gerrard Zoe Charlton Meet at the information desk Thursday, March 18, 7 pm Saturdays, March 13, April 10, Ring Auditorium and May 15 10 am to noon (ages 6–9) Drop by the Hirshhorn during your John Gerrard’s works hover between 1 to 3 pm (ages 10–13) lunch break for half-hour gallery talks fact and fi ction. They present actual Registration required: hirshhorn.si.edu focused on special exhibitions and scenes from desolate corners of led by Hirshhorn curators, educators, America—including an oil derrick, a DC-based artists, and scholars from a This spring, aspiring young artists and pig processing plant, and a vintage variety of fi elds. Visit hirshhorn.si.edu their families and friends are invited to storm photo superimposed on a real for current listings of upcoming talks. the Hirshhorn for a series of hands-on farmscape—and unfold in real time, yet art-making workshops. After visiting what looks as if it is streaming live is, in works in the galleries, artist-in-residence fact, a fabricated image. The artist will Zoe Charlton will lead participants in discuss the complex process behind his creative projects inspired by two new In Conversation: stark, realistic works, which re-imagine shows of works from the permanent Richard Koshalek and landscape art and offer meditations on collections: Josef Albers: Innovation Ivan Chermayeff on the impact of our habits of consumption. Josef Albers and Inspiration and ColorForms. Charlton is a Baltimore-based artist and Thursday, March 11, 7 pm This event is presented in conjunction with the 2010 Environmental Film Festival. assistant professor of art at American Lerner Room University whose drawings, videos, and installations address issues of identity. Ivan Chermayeff, a noted designer, Participation in all three workshops is illustrator, and artist, and founding encouraged but not required. partner of the graphic design fi rm Chermayeff & Geismar, discusses Support for educational programs is provided by the Vivian I. Pollock Fund and contributions to the Josef Albers’ infl uence on his own Hirshhorn Education Fund. artistic career with Hirshhorn director Richard Koshalek. Chermayeff studied under Albers, who was chairman of the design department at Yale. ArtLab for Teens:

Refreshments following the discussion provided Creative Color by SOVA Espresso & Wine. Sundays, March 28 and April 4, 11, and 18 2 to 5 pm (ages 13–17) Installation view of Directions: John Gerrard. Registration required: artlab.si.edu Photo by Lee Stalsworth ArtLab for Teens is back with an exciting four-day workshop exploring the dynamic, diverse uses of color in art, from painting and sculpture to fi lm and installation. Drawing inspiration from works on view throughout the Museum, particularly those in Josef Albers: Innovation and Inspiration and ColorForms, participants will create their own artworks in a variety of media. No previous art experience is necessary and all materials are provided by the Museum. Zoe Charlton. Image courtesy of the artist

After Hours Event: Friday, April 9 The Many Faces of Yves Thursday, May 27, 6:30 pm 8 pm to midnight Second-level galleries $18; advance tickets only To purchase: call 202-633-4629 Yves Klein’s life and art were informed or visit hirshhorn.si.edu/afterhours by a diverse body of subject matter— On sale March 9 from the mystical sect Rosicrucianism Become a member and a get free to judo to progressive philosophical admission to the event as well as and architectural concepts. Exhibition access to the VIP lounge. curator Kerry Brougher and experts in a range of fi elds will explore Washington’s premiere contemporary multiple facets of Klein’s career in art event is back! Stay up late this gallery event. and enjoy extended Museum hours, a curator-led gallery tour of current special exhibitions, music on the plaza, and live performances.

Lecture: Valerie Fletcher on James T. Demetrion Maximum Effect from Lecture: Simon Schama Minimum Means: on The Beast Josef Albers in Contemporary Art Tuesday, April 6, 7 pm Thursday, May 6, 7 pm Lerner Room Ring Auditorium

When Josef Albers came to the United Simon Schama, professor of art history States from Germany in 1933, he and history at Columbia University, brought art and ideas grounded in has written extensively on topics as utopian idealism and pure abstraction diverse as seventeenth-century Dutch that he explored and shared throughout art, environmental history, twenty-fi rst- his career, including during his tenure century land and earth art, and the at Black Mountain College in North 2008 presidential election. He has Carolina in the 1930s and 1940s and also produced several documentary at Yale University in the 1950s. Senior series for the BBC and PBS, including curator Valerie Fletcher examines how A History of Britain, Power of Art, and this artist tirelessly pursued the elusive The American Future: A History. Simon Schama. Image courtesy of the speaker subtleties of materials, form, and, most notably, color, and inspired countless students with his expertise, insight, and enthusiasm.

Refreshments following the lecture provided by SOVA Espresso & Wine.

For a complete listing of all programs, please visit our website at hirshhorn.si.edu

hirshhorn.si.edu 13 FILM PROGRAM

Featuring a variety of exceptional, unusual, and recently released works, the Hirshhorn provides the opportunity to view some of the best in contemporary fi lmmaking from around the world.

Still from Beetle Queen Conquers Tokyo, 2008. Still from Everything you always wanted to know Still from Lunch Break, 2008. © Sharon Lockhart, Image courtesy the artist about the making of a video installation, 2009. Courtesy Gladstone Gallery, New York, Blum & Poe, Image courtesy the artist Los Angeles, and Neugeriemschneider, Berlin

FILM 1ST. a girl & a gun, 2009 Everything you always wanted Lunch Break, 2008 Thursday, March 4 to know about the making Thursday, April 22 of a video installation, 2009 For this episode of their series Film 1st, Thursday, April 8 Several years in the making, Sharon Gustav Deutsch and Hanna Schimek Lockhart’s eighty-minute fi lm has been spent four years mining over 2,500 Performance art wonder woman called a masterpiece by experimental shorts, features, and reels of archival Marina Abramovic, who is currently the fi lm giant Michael Snow. Set in the footage dating from the 1890s to the subject of a major retrospective at the mile-long corridor of Bath Iron Works, 1940s to compile an experimental Museum of Modern Art in New York, a ship building fi rm in Maine, the montage based on Jean-Luc Godard’s commissioned this behind-the-scenes fi lm depicts previously unexamined notorious claim about what it takes documentation of a performance dimensions of labor and leisure. The to make a movie. This strange and project she created in Luang Prabang, camera follows forty-two blue-collar fascinating assemblage also offers Laos. This elegant, insightful workers, documenting their off-the-clock insight into artistic and scientifi c fi lm documentary captures the artist’s moments. Set to a soundtrack developed portrayals of sex and death during the creative process but also serves as a by Becky Allen, Lunch Break offers an beginning decades of cinema history. portrait of this living legend. unforgettable narrative experience that evokes performance art. Beetle Queen Conquers Wavelength, 1967 Tokyo, 2008 Thursday, April 15 Democracy Challenge Finalists Thursday, March 25 Thursday, April 29 Michael Snow’s landmark avant-garde Director Jessica Oreck explores a fi lm has been described by the artist as The US Department of State gathered centuries-old Japanese subculture: “a summation of my nervous system, fi lm and media industry to promote individuals who revere, collect, and religious inklings, and aesthetic ideas.” its second international competition market some of the most preposterous, Set in a New York loft space, the fi lm of three-minute fi lms that address bizarre-looking creatures on earth— subtly shifts between drama and the the meaning of democracy. Judge for insects. The fi lm uncovers perspectives sheer duration of documentation, pure yourself which of these fi nalists best that can transform our ideas about simplicity and utter complexity. Rarely grapples with this complex topic. nature, beauty, and daily life.The screened, Wavelength is a must-see for director will discuss the fi lm. any serious cinephile.

This fi lm is presented in collaboration with the American Film Institute, the Japanese Information For the most current information on our fi lm program, and Cultural Center, and the Environmental Film visit hirshhorn.si.edu. All screenings are in the Festival in Washington, DC. Ring Auditorium at 8 pm. Admission is free, but seating is limited and available on a fi rst-come basis. Films may contain adult content. SUMMER CAMP

Apesploitation!!!

Simian cinema writ large is the theme of Summer Camp, featuring introductions by fi lm scholar Dave Wilt.

Still from Konga

Gorilla at Large, 1954 Konga, 1961 The Mighty Peking Man Thursday, June 10 Thursday, June 17 [Hsing Hsing Wang], 1976 Thursday, June 24 Harmon Jones’ cult classic is part mur- Known for his low-budget, high-concept der mystery, part romance, part monkey gems, Herman (I Was a Teenage Were- In Ho Meng Hua’s action-packed adven- tale. Did Goliath, the great ape star of wolf) Cohen weaves his plot around a ture, a Quentin Tarantino fave, Utam, the Garden of Eden Carnival, kill a man? mad scientist, growth serum, mind-melt- a gigantic, ape-like creature, emerges Or was it Laverne Miller (Anne Bancroft), ing jungle drugs, and Konga, the colos- from an earthquake in the Himalayas the aerialist who drives men bananas, sal chimp who makes mince meat of and stomps through the Indian jungles. or, perhaps, her jealous husband (Ray- central London. Big Ben will never seem He’s stalked by Johnny Feng (Danny mond Burr)? Detective Sergeant Gar- so big again.... Lee), who wants to capture him to ex- rison (Lee J. Cobb) will get to the bottom ploit him as a sideshow feature. During of this who-dunnit. their wild encounters, Samantha (Evelyn Kraft), a lady Tarzan raised by Utam, comes between the two. The showdown puts the Kong in Hong Kong, and it’s not pretty. For the most current information on Summer Camp, visit hirshhorn.si.edu. All screenings are in the In Mandarin with English subtitles. Ring Auditorium at 8 pm. Admission is free, but seating is limited and available on a fi rst-come basis. Films may contain adult content.

hirshhorn.si.edu 15 BOARD OF TRUSTEES Current and Former Trustees 2009–2010 Board of Trustees J. Tomilson Hill, Chairman Since Joseph Hirshhorn’s initial gift to the nation to create John Wieland, Vice Chairman Robert B. Goergen, Secretary the museum that would bear his name, the Hirshhorn Museum Steven A. Tananbaum, Treasurer and Sculpture Garden has had a strong tradition of attracting Constance R. Caplan Glenn R. Fuhrman dedicated individuals committed to its mission of collecting, Ann Hamilton preserving, and presenting to the public the art of our time. Robert Lehrman Jacqueline Leland Barbara Levine As we express our gratitude to those who have made the Richard S. Levitt John Pappajohn Hirshhorn’s exhibitions, programs, and acquisitions possible Daniel Sallick during this past year, we also want to take a moment to honor Thomas H. Stoner Ginny Williams the impressive roster of men and women who have Ex-Offi cio demonstrated their extraordinary support and enthusiasm for The Honorable John G. Roberts, Jr., Chief Justice of the United States the institution by serving as members of our Board of Trustees G. Wayne Clough, over the last thirty-fi ve years since the fi rst Board was appointed Secretary of the Smithsonian Institution by the President of the United States in 1971. This outstanding Honorary Trustees Jerome Greene* group of art collectors, public servants, scholars, and Olga Hirshhorn civic-minded entrepreneurs encapsulates and helps foster the Sydney Lewis* Emeritus Trustees strengths of the Museum: devotion to art, scholarship, and Melva Bucksbaum public service. Joseph H. Hirshhorn* Former Trustees H. Harvard Arnason* The ability to build on these strengths is only possible thanks Charles Blitzer* to the generosity of our donors—past, present, and future. Leigh B.Block* Edward R. Broida* This year, we have been fortunate to have received support Robert T. Buck* Theodore E. Cummings from numerous individuals, foundations, and corporations that Peggy C. Davis has made a substantial contribution to the success of our Anne d’Harnoncourt* Thomas M. Evans major exhibitions and public programs that reach the more than Jerome L. Greene* 680,000 people who visit us on the Mall as well as the million Richard Greenfi eld Agnes Gund plus virtual visitors who explore our collection, installations, George H. Hamilton* and events online. We are also grateful to have welcomed many Elisabeth Houghton* Audrey Irmas gifts of art that have signifi cantly enhanced the collection. Michael L. Klein Sydney Lewis* Linda Macklowe As we look toward our fortieth anniversary and embark on a Dorothy C. Miller* range of exciting initiatives to make the Hirshhorn an essential Daniel Patrick Moynihan* Steven Mnuchin hub for art and ideas in the twenty-fi rst century, we hope that we Marvin Mordes, M.D. Steven H. Oliver will be able to count on the continued support of so many—and Camille Oliver-Hoffmann welcome others—who share the Museum’s vision and are Marsha Reines Perelman Ponchitta Pierce essential members of the Hirshhorn community. Anthony Podesta Mitchell Rales Craig Robins J. Tomilson Hill Robert Rosenblum* Chairman of the Board Taft B. Schreiber* A. James Speyer* Jerry I. Speyer Hal B. Wallis* *Deceased SUSTAINED SUPPORT Thank you for your support

The Hirshhorn is pleased to acknowledge the following donors who made generous contributions to the Museum between October 1, 2008 and September 30, 2009. Annual gifts support the Hirshhorn’s ambitious exhibition program, groundbreaking conservation efforts, and innovative public programs, ensuring the Hirshhorn’s status as a leader among museums of modern and contemporary art. We deeply appreciate this vital support, which is crucial in helping us realize our mission and vision for the future.

Joseph H. Hirshhorn Society** National Benefactors ($10,000–$24,999) CONTEMPORARY ACQUISITIONS $5,000,000+ Carl and Nancy Gewirz COUNCIL The Glenstone Foundation/Mitchell P. Rales Henry H. and Carol B. Goldberg Jacqueline and Marc Leland Foundation Brian Aitken and Andrea Evers $1,000,000–$4,999,999 Penn Lupovich Joanne Gold Robert and Aimee Lehrman Robert Mnuchin Philippa P. B. Hughes Mr. and Mrs. J. Tomilson Hill Mark and AnaPaula Watson Katherine M. Nicholson Richard James Price **Cumulative giving Studio Circle ($5,000–$9,999) Kelly Vrana Charles Block Virginia Fulton LEGACY SOCIETY ANNUAL LEADERSHIP GIFTS Olga Hirshhorn, Mrs. Joseph H. Betty Bass $100,000–$249,000 Curators’ Circle ($2,500–$4,999) Robert G. Bragg Glenn R. Fuhrman Laura de Jaager Lowell and Joan Creitz Mr. and Mrs. J. Tomilson Hill Rody Douzoglou Christie G. Harris Kitty and Tom Stoner Cary J. Freize Joseph H.* and Olga Hirshhorn Marilyn Glickfi eld Penn Lupovich $50,000–$75,000 Harry Grubert R. Andrew Beyer and Susan Vallon Constance R. Caplan Josephine Haden and Charles Ludolph Robert and Pamela Goergen Jean Efron and Anthony P. Picadio *Deceased Robert and Aimee Lehrman James A. and Marsha Perry Mateyka Aaron and Barbara Levine Frederick P. Ognibene, M.D. Richard and Jeanne Levitt Shari Rothstein John and Mary Pappajohn Robert J. Shapiro Steven and Lisa Tananbaum Virginia Shore Sue and John Wieland Sid Stolz and David Hatfi eld

Director’s Circle ($25,000–$49,999) Friends Circle ($1,000–$2,499) Robert and Arlene Kogod Philip Barlow and Lisa Gilotty R. Andrew Beyer and Susan Vallon Annie Gawlak Ann Hamilton Margaret Heiner Mrs. and Mr. Robert C. Liotta Laura Roulet Steven M. Sumberg John and Eunice Thomas Betty Ustun

hirshhorn.si.edu 17 MEMBERS Daniel Ein Gregg J. Justice III Lars Etzkorn Negar Katirai Gifts between $100–$999 David Fabian Rebecca Katz Anonymous (2) Sharon Faulkner Jennifer King Omar Abou-Samra Samantha Ferguson Laurence Koehrsen Mansour Abu-Rahmeh Guy Filippelli Joseph Krakoski J. S. Adams Pattie Firestone Lindsay Krasnoff Hamed Alaghebanchan Amy Fitterer Joanna Ku Moody Altamimi Dr. and Mrs. Howard Friedenberg Jeanette Kurucz Amy Altman William Gallagher Kaylyn Kvochak Henock Andargle Colleen Garibaldi Andrew Lacy David Anderson Jacqueline Gauline Ms. Anica Landreneau Sue Andreadis Jacqueline Geis Philippe Lanier Nadim Bacho Stefanie Gilbert Francis Larcin Carol Baker Traci L. Gimbel Larry Kirkland Elaine Baker Dana L. Gleason Vivienne Lassman Jessica Banks Jeanne Gobat Michael S. Ledford Erin Barnes and Randall Brater Susannah Goodman Julia Lee Adya Beasley Elizabeth F. Gore Kevin Leehey Miranda Beebe James Gorski Margot Lehman Justin Belcher Richard Gould and Lena Skanby Jane Leibrock Jacob Bell Russell Green Kerry Lenahan T. David Bell Nicole Guerra Michael Lestingi Joseph Berger Carlos M. Guiterrez, Jr. Dorothy Levy Juliet D. Berger Joshua Haave Choong Sup Lim Ellen R. Berlow Todd Hahn Ghotbee Lim Megan Berry Joseph Hale Arlene Limas Betsy Stuart Ben and Lois Halpern Ms. Amy Lin David A. Bilodeau, Jr. Barbara Hankins Rebecca E. Lindrew Diane Blackwell James Hanna Dalya Luttwak Nancy Bratton Susan Harrison Eileen Lyons-Murphy Michelle Brown Larry Hawk Ric Macchiaroli Ciarra Brox-Gonzalez Sarah Heidema Tal Machnes Claire Casey Scott Henry Alexander Maltas Morris J. Chalick Linda Hesh J. Andrew Martin Jackie Chalkley and Dr. Wayne Calloway Steven C. Hill James A. Martin Tony Chan Paul C. Hines Aline Martinez Sumanth K. Chepuri Nancy Hirshbein Jennifer May Irene Clouthier Alex Hodges Harris Mehos Robert S. Cohen Ilyse G. Hogue Matt Merrick Andrea Collins John Holland Dorothy A. Miller Mr. and Mrs. Daniel F. Collins Michael Holland Kevin Mistry Justin Comins William Hopkins Patrik R. Mittal Paula Cooper Mary-Jo Horner Erik Moe R. Clarke Cooper Mary Howland Patrick Monahan Annie Cronin Daniel Hudson Claire Ann Monderer Lowry Crook Peep Hughes Richard D. Moore Tim J. Curran Maria Hutcheson Michael Moriarty James Damato Dr. Martin J. Irvine Mark Morrel Victor D’Ambrosia Veronica Jackson Mary Moshos Kate Damon Dan Jacobs Carrie A. Mumah Joan Danziger Dr. Mindy Jacobs Scott Nguyen John Delmore Evan S. Jacobson Cheryl Numark Jason A. Denby Irwin J. Jaeger Foundation Oraegbunam Nwabueze Denyette Depierro Reem Jafari Jeanan Oxley Jennifer Deskins Joette James Donald Paine Katie Desmond Judy Jashinksy Tobi Palmer Alex Diaz-Asper Rajesh Jha Marguerite Pappaioanou Ali Dimatteo J. C. Johnson III Christina Parascandola Charles Divine James A. Johnson Mark Parascandola Edward Dombroski James Jones Beatrize Paz Bohdan Dubas Sarah Jones Jason Perkins Julie Dyall David Jordan Elenora Petersen Robert Eckhardt Sean Juman Elizabeth Pfl um Mr. Christopher Phillips Lynn White CORPORATE, FOUNDATION, and Mr. Dan Phillips Ryan H. White AND INSTITUTIONAL SUPPORT Matthew Pickett Amy Winchester Michael Pollack Jonathan D. Wing The Agnes Gund Foundation Andrea Pollan Suzanne Wnek Altria Group, Inc. Mary Porter Olivia Wong AXA Art Insurance Corporation Bethany Powell Sharon Wu Capital Pride Alliance Inc. Deborah Rabinowitz Michelle Yankey Colección Patricia Phelps de Cisneros Angela Ramsey Karen Yankowsky Du Pont Fabros Technology, LP Brandon Reed Leon Zilber Fundación/Colección Jumex—Eugenio Lopez Ricardo A. Reinoso Annette Zimin The Easton Foundation, Inc. Brigitte Reyes Aaron Zollman Ellsworth Kelly Foundation Erin Richards Diane Helyne Zyats Envision EMI, LLC Brendan Roddy Embassy of Israel Michael Rodgers Ray Evans Foundation Mr. and Mrs. Edward Rose INDIVIDUAL PROGRAM AND Frederick R. Weisman Philanthropic Mike Rosen EXHIBITION SUPPORT Bruce T. Halle Family Foundation Loretta K. Rosenthal The Henry Luce Foundation Sharon Ross Philip and Shelley Fox Aarons L&M Fine Art Ethan Rowe Tiqui Atencio and Ago Demirdjian Maryland Institute College of Art Amy Rude Martha and Bruce Atwater Media Matters of America Kimberly Sackin Charles E. and Carol Balbach The Pink Line Project Soledad Salame Mr. and Mrs. Charles W. Banta The Judith Rothschild Foundation Julie M. Santi Moisés and Diana Berezdivin Sotheby’s Inc. Lili-Charlotte Sarnoff Esty and Dan Brodsky Trellis Fund Catherine Satterlee Constance R. Caplan The Andy Warhol Foundation Michael Savage Judy Cotton and Yale Kneeland for the Visual Arts Carolyn Sewell Celia F. Crawford Paul M. and Deane Shatz Judy Dayton Beth Sheehy Jim and Barbara Demetrion IN-KIND SUPPORT Stephanie Shosh Jean Efron and Anthony Picadio Stephanie Showell Mrs. Robert Eichholz Buck’s Fishing and Camping Melissa Shuffi eld Ella Fontanals-Cisneros Diageo Fanchon Silberstein Glenn R. Fuhrman Emperor Vodka Ellen W. Sinel The Glenstone Foundation/Mitchell P. Rales Fandango Productions Leo Slater and Eden Savino Nora Kohen and Alfredo Ghirardo Henry H. and Carol B. Goldberg Dean and Andree Smith Henry H. and Carol B. Goldberg Daniel and Mirella Levinas Jennifer A. Smith Tim Gunn Aaron and Barbara Levine Frances Sniffen Christie G. Harris Orange Barrel Media, Inc. Paul So Lorie Peters Lauthier Sony Electronics Inc. Janet Solinger Dr. and Mrs. Robert Magoon SOVA Expresso & Wine Melinda Sossamon Mr. and Mrs. Steven Mishaan Henry L. Thaggert III Barbara Spangenberg Frederick M. Nichols Joseph Springer Dr. and Mrs. Mark Oren Kathryn Stach Vivian I. Pollock GIFTS OF ART Kevin Steele George R. Roberts Rebecca Stein Charles Salisbury Anonymous James B. Stidham Roger and Vicki Sant Walead Beshty Nicole L. Stout Lynn and Rodney Sharp James and Katherine Goodman Theresa Sullivan Lewis Shrensky Lucy Hogg Daniel Swartz Humberto and Rosalía Ugobono Holenia Purchase Fund, Donald Syriani Betty Ustun in memory of Joseph H. Hirshhorn Duncan and Katherine Tebow Ginny Williams Marvin and Elayne Mordes Roland Tharp Heather and Tony Podesta Earl Ravenal Mark Rosman and Jacqueline Corcoran Dick Sullivan Mary Sabbatino Erin E. Till Richard Spear and Athena Tacha in honor of Beth Tuttle Robert Venturi and Denise Scott Brown Ricardo Valverde Stan Wall John Walsh Lori Washington Benjamin Werner Angela Westwater hirshhorn.si.edu 19 YVES KLEIN: WITH THE VOID, FULL POWERS Opens May 20 Image courtesy Paris of Museum Contemporary Art, © 2010 Artists Tokyo Rights Society (ARS), New York/ADAGP,

Smithsonian Hirshhorn Museum and Sculpture Garden