Terra Foundation Report for American Art July 2012–June 2014

Section a Contents

3 Introduction

4 Grants and Initiatives Inspiring Worldwide Engagement with American Art

36 Fellowships and Awards Fostering a Global Network of American Art Scholars

48 Paris Center Events Cultivating American Art in Europe

56 Collection Loans and Acquisition American Art as Ambassador

68 Board and Staff

70 Financial Information

Rembrandt Peale George Washington, Porthole Portrait (detail), after 1824 Oil on canvas, 36 ¼ × 29 ₃⁄₁₆ inches Terra Foundation for American Art, Daniel J. Terra Collection, 1992.53

b Report 2012–14 Introduction

In 2015 we look forward to celebrating the Chicago who invokes American art to help 10-year anniversary of the Terra Foundation’s students develop visual literacy. international grantmaking program—a mile- stone resulting in our support of approximately What these individuals, and many of you reading 500 American art exhibitions and academic this report, have in common is a desire to and research programs in more than 30 coun- participate in a rich and expanding discussion tries altogether. For this achievement, we are about the integral role art plays in connecting deeply indebted to a vast and varied array of people across the globe. This is our measure partners who equally embrace our commit- of success. At the Terra Foundation, we believe ment to share the historical art of the United art has the power both to distinguish cultures States with audiences around the world. and unite them. We strive to nurture a commu- nity that generates new ideas about American In the pages that follow, you’ll briefly meet art and amplifies them vigorously. To all of some of the people with whom we’ve had the you who help us realize this mission: thank you! privilege to work. They include the director of We are pleased to share these stories with the Archives of American Art, where more you, and we look forward to another decade of than 20% of the most significant holdings— working together. nearly 2.5 million files—have been digitized, as well as the recipient of the Terra Foundation’s inaugural research fellowship at Tate. You will also be introduced to a PhD candidate at China’s Tsinghua University who received a travel grant to the United States to conduct Gerhard Casper Elizabeth Glassman research for his dissertation on the Harlem Chairman, President and Renaissance and a museum educator in Board of Directors Chief Executive Officer

William Sidney Mount Fruit Piece: Apples on Tin Cups (detail), 1864 Oil on academy board, 6 ½ × 9 ⅟₁₆ inches Terra Foundation for American Art, Daniel J. Terra Collection, 1999.100

Introduction 3 Grants and Initiatives

Through its international grant program, the Terra Foundation actively supports and initiates historical American art exhibitions, academic programs, and research in Chicago, the United States, and around the world. The foundation funds projects that focus on art of the United States made between 1500 to 1980.

Chicago Department of FY2013 Cultural Affairs & Special Events July 1, 2012–June 30, 2013 $25,000 To support Rising Up: Hale Woodruff’s Murals from Talladega College, organized by the High Exhibitions Museum of Art. Presented at the Chicago Cultural Center in 2013, the exhibition focuses Art Institute of Chicago on six newly conserved, large-scale murals $125,000 that Hale Woodruff executed for Talladega To support the 2013–14 exhibition Art College’s Savery Library between 1939 and 1942. and Appetite, which examines how, from America’s earliest decades, artists DePaul Art Museum continually turn to the subject of food as $12,560 a means of celebrating and critiquing To support the 2013 exhibition For and Against issues of politics, race, class, gender, Modern Art: The Armory Show + 100, a select and economics and of tracing the develop- presentation of prints and drawings from ment of American identity. Along with DePaul Art Museum’s collection and several paintings, the exhibition highlights Chicago-area academic museums. The decorative arts objects related to the exhibition explores both the causes and American table from the eighteenth consequences of the shock waves generated in Mountainville, NY. Photo: Henry Luce Foundation through twentieth centuries. by the 1913 Armory Show. Chinese scholars at Storm King Art Center

4 Report 2012–14 Section 5 fruitful approach has helped to introduce French Regional American Museum Exchange the artist’s work in Europe in more than technical art history into the American art field, $250,000 40 years, at the Ludwig Forum für and has also opened up the conversation to To support Joseph Cornell and Surrealism in Internationale Kunst (Aachen, Germany). practicing artists and art teachers who are New York: Dalí, Duchamp, Ernst, Man Ray…, The show focuses on works produced between always eager for deep information about artists’ an exhibition at the Musée des Beaux-Arts de 1969 and 1979, a decade that illustrates methods and materials. Lyon and the University of Virginia Art Museum. how Graves vitalized contemporary art with Co-organized by a French and an American striking innovations. What are some current trends in the field? curator, the exhibition concentrates on the One trend in the field recognizes that career of Joseph Cornell in the 1930s and Metropolitan Museum of Art American art has an international context. 1940s, examining his engagement with a set of $300,000 Most American artists did not work in a motifs, artistic techniques, and processes. To support the exhibition American West in vacuum, and many, as we know, studied and Bronze, 1850–1925, presented at the Metro- lived in Europe, showed an interest in the Hirshhorn Museum and Sculpture Garden politan Museum of Art, the Denver Art Museum, Far East, and embraced contact with other $250,000 and the Nanjing Museum. The landmark cultures. New scholarship that points to To support the exhibition, catalogue, and display of some 65 works is the first full-scale such exchange, to overlapping spheres of related programming for Damage Control: exhibition exploring the complex aesthetic influence, to pivotal moments when the Art and Destruction since 1950. Organized by the and cultural impulses behind the creation of American art world embraced or collided with Hirshhorn Museum and Sculpture Garden, bronze statuettes of the American West. international artistic movements, are the exhibition explores the motif of destruction contributing to this expanded context for and includes a diverse range of more than Mona Bismarck American Center American art. 40 international artists working in painting, for Art & Culture sculpture, photography, film, installation, and $20,000 Q&A with What new/exciting project(s) performance. It opens at the Hirshhorn in To support the 2013 exhibition Quilt Art: L’Art Martha Tedeschi are you working on? 2013 and travels to the Kunsthaus Graz (Austria) du Patchwork at the Mona Bismarck American Deputy Director for Art and Research, I’m spending a lot of time thinking about the and the Musée d’Art Moderne Grand-Duc Center for Art & Culture (Paris). The exhibition Art Institute of Chicago training of the next generation of museum Jean (Luxembourg) the following year. includes 25 quilts from the collection of the professionals and how the museum can take a American Museum in Britain exemplifying the How have you been impacted by your leadership role in this critically important Isamu Noguchi Foundation and Garden Museum diversity and depth of American quilt-making relationship with the Terra Foundation and aspect of our future. We have a number of pilot $150,000 traditions, including early whole-cloth quilts how has it, in turn, impacted the field of projects underway that focus on both graduate To support Isamu Noguchi and Qi Baishi, a 2013 and more contemporary versions of the quilts American art scholarship? and undergraduate art history education, and exhibition co-organized by the Isamu Noguchi of Gee’s Bend. The Terra Foundation grants for the Winslow I’m excited about thinking in new ways about Foundation and Garden Museum (New York) and Homer and John Marin watercolor projects the museum as classroom. the University of Michigan Museum of Art. The Musée du Quai Branly allowed us to think out-of-the-box about these exhibition focuses on the artistic encounter of $250,000 two much-studied artists. We were able to What is one favorite fun/interesting fact that American sculptor Isamu Noguchi and Chinese To support Les Indiens des Plaines, an carry out in-depth conservation surveys, people should know about American art? ink painter Qi Baishi in Beijing in 1930. It is the exhibition of masterpieces revealing the pigment analysis, and to document every aspect At the Art Institute we never tire of surprising first museum show devoted to Noguchi’s Peking continuum of the Plains Indians’ artistic of the watercolor practice of these inventive people with the fact that the famous couple Scroll drawings, created while working with Qi. expression against the backdrop of cultural artists. This approach yielded new insights into in Grant Wood’s painting American Gothic— changes. The exhibition is presented at the minds of these artists, allowing us to usually taken as husband and wife—are actually Ludwig Forum für Internationale Kunst the Musée du Quai Branly (Paris), the Nelson- document the experimental, intuitive, and intended by the artist to be father and $142,208 Atkins Museum of Art (Kansas City), iterative methods of two artists who shaped the daughter. The models were Wood’s sister To support Nancy Graves Project & Special and the Metropolitan Museum of Art and development of modern watercolor. This and his dentist. Guests, the first comprehensive exhibition of is accompanied by a scholarly catalogue.

6 Report 2012–14 Grants and Initiatives 7

Journeys Museum of Fine Arts, Boston Reva and David Logan Center for the Arts Thomas Hart Benton $100,000 $100,000 Slaves, 1924–27 To support Asia and the New World, which To support the exhibition AfriCOBRA in Chicago, examines the influence of Asia in the arts of a collaboration of the South Side Community Depicting a harrowing scene from the nation’s the Americas during the colonial period. Art Center, the Reva and David Logan Center past, this powerful painting has traveled to The exhibition presents a wide range of for the Arts at the University of Chicago, numerous countries throughout Europe and objects, including silver, sculpture, furniture, and the DuSable Museum of African American Asia. Featured in the exhibitions Art in America: textiles, ceramics, oil paintings, and History, which explores works produced 300 Years of Innovation and Art Across America, “enconchados” (paintings over mother-of- by AfriCOBRA and closely associated fellow Slaves exemplifies the contemporary relevance pearl). A scholarly symposium accompanies members of the Black Arts Movement. The of historical American art and its ability to the exhibition. project features three linked, consecutive transcend geographical, political, and even exhibitions; public programming; educational temporal boundaries. Nasher Museum of Art opportunities; and performances. $150,000 Oil on cotton duck mounted on board, To support Archibald Motley: Jazz Age Modernist, San Francisco Museum of Modern Art 66 ⁷⁄₁₆ × 72 ⅜ inches an exhibition that considers the artist’s Terra Foundation for American Art, Daniel J. Terra $240,000 Art Acquisition Endowment Fund, 2003.4 work within an early twentieth-century To support the first retrospective in 25 years of international modernist context. Archibald the work of Garry Winogrand, renowned photog- Motley’s work includes observations of a rapher of New York City and American life from vibrant and tumultuous African American the 1950s through the early 1980s. Jointly org- community in the years just prior to and after anized by the San Francisco Museum of Modern 1 3 6 Musée du Louvre, Paris Shanghai Museum; National Museum the Great Depression, references to France Art and the National Gallery of Art (Washington, Jun 14–Sep 18, 2006 Shanghai Museum of of Korea, Seoul in the late 1920s, and reflections on the DC), the exhibition is conceived and guest-curat- Contemporary Art Feb 4–May 12, 2013 2 Apr 30–Jun 30, 2007 so-called “El Milagro Mexicano” in post-World ed by photographer and author Leo Rubinfien, National Art Museum 7 War II Mexico. Grant funds support the who was among Winogrand’s circle of friends in of China, Beijing 4 Daejeon Museum of Art Feb 9–Apr 5, 2007 Pushkin Museum Jun 7–Sep 1, 2013 presentations at the Nasher Museum of Art the 1970s. The retrospective is the most compre- of Fine Arts, Moscow (Durham, North Carolina) and the Chicago hensive museum survey and catalogue to date of Jul 23–Sep 9, 2007 Cultural Center. the photographer’s oeuvre. Grant funds support 5 the exhibition’s presentation at the co-organizing Guggenheim Museum Bilbao Neue Nationalgalerie venues, as well as the Jeu de Paume (Paris) Oct 15, 2007–Apr 27, 2008 $375,000 and the Fundación MAPFRE (Madrid). To support the first solo exhibition of the 4 work of Marsden Hartley in Europe since San Francisco State University Art Gallery 1915. Marsden Hartley: Die Deutschen Bilder $95,165 1913–1915 concentrates on works painted To support the 2013 exhibition The Moment for 2 in Berlin between 1913 and 1915 and consists Ink, a collaboration between the San Francisco 1 6 5 of roughly 40 paintings from this period, State University Art Gallery, the Asian Art 7 with earlier and later paintings that show his Museum of San Francisco, the Chinese Cultural stylistic development and emphasize the Center of San Francisco, and the Silicon Valley 3 enormous change in his work at the time. Asian Art Center, which documents the growth The exhibition is presented at the Neue of ink painting in the United States beginning Nationalgalerie (Berlin) and the Los Angeles in the early twentieth century and continuing to County Museum of Art. the present.

8 Report 2012–14 Grants and Initiatives 9 Q&A with the Neue Nationalgalerie in Berlin in 2009, for the 2014 exhibition Josef Albers: Minimal Association of Research Dieter Scholz I suggested we do an exhibition of Hartley’s Means, Maximum Effect, on view at the Institutes in Art History Curator, Neue Nationalgalerie German paintings from 1913 to 1915. And so Fundación Juan March (Madrid), and Henie $75,000 Curator of the 2014 exhibition the “German Officer” returned in 2014. Onstad Kunstsenter (Høvikodden, Norway). To support three American art research Marsden Hartley: Die Deutschen Bilder fellowships offered through the Association of 1913–1915 What is the importance of studying/ Lyonel-Feininger-Galerie Research Institutes in Art History (Miami Beach, presenting American art? $4,550 Florida). Each four-month residential How did you come to be involved with Concerning modern art of the United States, To support Björn Egging’s research trip to fellowship brings a scholar to one host institute American art? the public knows Edward Hopper and Georgia the United States to investigate material for an to visit and conduct research. The program is In 1993 I visited the European exhibition O’Keeffe, but there are still a lot of highly exhibition on Lyonel Feininger’s woodcuts. intended to build collegial relationships and American Art in the Twentieth Century, interesting artists to be shown in order to strengthen ties with the scholarly communities and I was deeply impressed by modern expand the knowledge of American art abroad. Philadelphia Museum of Art of East Asia and create new opportunities for American painters like Charles Demuth, $25,000 collaborations. Joseph Stella, Charles Sheeler, and also What new project(s) are you working on? Convening Grant Marsden Hartley, whose Portrait of a German The next one-person show I’m going to To support two meetings in Luzzara, Italy, Centre Pompidou-Metz Officer was the first image in the catalogue. organize will be a retrospective exhibition of the to further preparations for the exhibition $25,000 The painting made a lasting impression modern German sculptor Rudolf Belling. Paul Strand: Master of Modern Photography. To support a 2012 publication on Sol LeWitt. on me, and when a new director started at And then hopefully an American artist again. The first convening brings together key project The 288-page book in English and French staff from the Philadelphia Museum of Art consists of two parts: the first is dedicated to and the international tour venues. The second LeWitt’s oeuvre, including his wall drawings; meeting assembles a group of scholars the second brings together the artist’s writings and creative artists for a roundtable discussion. and an anthology of interviews with LeWitt. Solomon R. Guggenheim Foundation examined as a discrete body of work. A scholarly The exhibition opens at the Philadelphia $200,000 catalogue accompanies the exhibition. Museum of Art, before traveling to Montana State University To support the 2013–14 exhibition Robert Fotomuseum Winterthur (Winterthur, $30,140 Motherwell: The Early Collages. Featuring a Switzerland), Fundación MAPFRE (Madrid), To support “Dialect[ic]s of Diplomacy: group of approximately 60 objects made Exhibition Research & and the Victoria and Albert Museum. American and French Political Portraits during between 1941 and 1951, and drawn from Development the Revolutionary and Federal Eras, circa museum and private collections in the United 1776–1815,” an international conference in States and Europe, the exhibition offers an Fondation de l’Hermitage Academic Programs September 2014, at and in partnership with in-depth study of this pivotal period for the $3,950 the Smithsonian’s National Portrait Gallery. artist. The exhibition is presented at the Curatorial Travel Grant Archives of American Art, The conference brings together American Peggy Guggenheim Collection (Venice) and To support William Hauptman’s travel to various Smithsonian Institution and French scholars to consider American- the Solomon R. Guggenheim Museum. museums in the United States to organize the $37,500 French political-cultural exchange through 2014 exhibition Peindre L’Amérique: Les Artistes To support the first symposium on digital an analysis of portraiture. Telfair Museum of Art du Nouveau Monde (1830–1900), at the Fondation humanities and American art, which $150,000 de l’Hermitage (Lausanne, Switzerland). convenes key thinkers from a variety of Newberry Library To support the 2013–14 exhibition Spanish disciplines and research centers to $25,000 Sojourns: Robert Henri and the Spirit of Spain, Fundación Juan March consider the tools, methodologies, and To support “Pictures from an Expedition: which explores Henri’s Spanish-themed works $5,000 resources for digital pedagogy. The two-day Aesthetics of Cartographic Exploration in created between 1904 and 1923, at the Telfair Curatorial Travel Grant event in November 2013 comprises the Americas,” a two-day symposium in 2013 Museum of Art (Savannah, Georgia). This is the To support the travel of Manual Fontán and panel presentations, workshops, and at the Newberry Library (Chicago) that first time that the artist’s Spanish subjects are María Toledo to the United States to prepare moderated conversations. brings together national and international

10 Report 2012–14 Grants and Initiatives 11 art historians, historians, and geographers Moderna Museet. The event takes a new look How have you been impacted by your to present and discuss research on the visual at the appearance of American art in Europe relationship with the Terra Foundation material created during nineteenth-century in the 1960s, considering it through the lens and how has it, in turn, impacted cartographic explorations in the Americas. of the Stockholm art scene, which is used as a the field of American art scholarship? The event refocuses attention on maps as aes- point of departure to reassess East-West My doctoral dissertation and book manuscript thetic objects produced in dialogue with other transnational strategies. Forms of Persuasion: Art and Business in the aspects of nineteenth-century visual culture, 1960s was all about the influence of patrons such as methods of printing and production, Tate on cultural production. Appropriately, my technologies of display and distribution, and $435,546 research would have not been possible without the role of government and commerce in artistic To support the appointment of a Terra the varied funding programs of the Terra and cartographic production. Foundation Research Fellow in American Art Foundation—though their support, thankfully, at Tate. The fellow spearheads research came with none of the strings that characterize New York University and reflection around a range of American art my historical case studies! $20,000 works in Tate’s collection, both celebrated To support the international graduate- and lesser known, over a period of three years What are some current trends in the field? student symposium “Mapping the Landscape: through scholarly workshops, an international Digitization projects continue to reshape the Geography, Power, and the Imagination in symposium, essays, and more. possibilities of research in the humanities. the Art of the Americas” in March 2013 at In art history, they are bringing a new rigor to New York University’s Institute of Fine Arts. Terra Foundation Research Travel Grants our engagement with historical sources, The event focuses on the North and South $79,000 and broadening the possibilities for contextual American landscape in the nineteenth and To support the 2014 travel grants, which research. The Terra Foundation’s support twentieth centuries and explores mapping enable scholars studying American art for archive digitization represents an especially as a conceptual and artistic practice from outside the United States to consult resources Q&A with valuable tool for international research in a hemispheric perspective. which are only available in the United States. Alex Taylor American art. Between nine and thirteen travel grants are Terra Foundation Research Fellow in Smithsonian American Art Museum awarded annually. American Art at Tate What new project(s) are you working on? and the Renwick Gallery Terra Foundation for American Art International In 2011 my scholarship on Alexander Calder $25,000 Terra Summer Residency Essay Prize, 2011; Terra Foundation for was recognized with the Terra Foundation’s To support travel by an international member $395,400 American Art Predoctoral Fellowship at the international essay prize. As Terra Foundation of the editorial board of American Art and by To support the 2014 and 2015 Terra Summer Smithsonian American Art Museum, 2011; Research Fellow in American Art at Tate, the journal’s executive editor to strengthen Residency, which brings together doctoral-level Terra Summer Residency, 2013 I have the opportunity to revisit my work on the global ties and networks of the journal, researchers and emerging artists for eight this artist for the museum’s major Calder bolstering the journal’s ongoing efforts to inter- weeks of intensive work and discussion with How did you come to be involved with retrospective in 2015. nationalize its base of scholarly contributors, established artists and scholars in Giverny, American art? topics of inquiry, and readership. France. Created in 2001, the residency’s Long before anyone called me an Americanist, main objectives are to internationalize the study it was American art history that set the direction Södertörn University of American art and create cross-cultural for my scholarship. As an exchange student at $25,725 professional networks. Berkeley in the late 1990s, I read Sarah Burns’s To support “Art in Transfer: Curatorial Inventing the Modern Artist. The book was a Practices and Transnational Strategies in United States Studies Centre revelation, opening a whole field of questions the Era of Pop,” a two-and-a-half-day $20,000 that eventually led to my book Perils of the Studio. symposium in fall 2014 at Södertörn University To support a 2013 symposium, organized by the American art history, in other words, has (Flemingsberg, Sweden) and the Stockholm United States Studies Centre at the University ramifications far beyond national borders.

12 Report 2012–14 Grants and Initiatives 13 of Sydney, that addresses a major collection of mixed-media installations, and performance Q&A with students develop visual literacy and compe- American art from the 1960s and 1970s at the art by artists of African descent on both sides Heidi Moisan tencies using diverse media in their studies Art Gallery of New South Wales (Sydney). The of the Atlantic as they visualize slavery within School Programs Manager, and in everyday life. Accessing art through event, “Minimal. Conceptual. Pop: A Symposium America and across the black diaspora. The Chicago History Museum digital platforms provides resources that past on American Art, 1960–80,” brings together May 2013 event is co-organized with and held generations never had. But viewing original four American and six Australian scholars. at the Rothermere American Institute at the What is the importance of studying/ art in a museum still evokes a “wow” factor University of Oxford. presenting American art? and inspires kids. I see the world becoming a University of Glasgow When I facilitate our American art-centered smaller place where blended instruction is $100,000 program, “Painted Memories: The Great the rule rather than the exception, and the To support an inventory of historical American Chicago K–12 Education Chicago Fire,” I see firsthand the power that possibilities are so exciting. art in UK public collections that records and American art has to inspire students—to tap promotes important aspects of the history of Art Institute of Chicago into their natural wonder and curiosity. The Where would you like to see Anglo-American artistic links over three $100,000 visual window into the past that American the field in 10 years? centuries. The project is the first systematic To support the development and implemen- art provides stimulates insightful conversations I’m excited by the ever-increasing democratiza- account of historical American art held in tation of “American Sources: Using Visual and creative responses and helps students tion of the cultural landscape. As the arts British public collections since a small booklet Art in the Humanities Curriculum,” a yearlong make logical inferences and form empathy become more accessible, people working in was published in 1974, and it complements professional-development program that for the people of the past. cultural organizations can act as connectors, so and builds on existing online resources explores the use of American artworks that the nine-year-old student or the senior detailing American art worldwide being as primary documents and guides participants What are some current trends in the field? citizen can all make a personal and meaningful compiled by the Smithsonian American Art in the development of related curriculum. I see American art playing a vital role in helping connection with American art. Museum and by the Musée du Louvre. American Sources serves up to 30 local middle- and high-school teachers of social University of Kentucky studies, American studies, and English. $61,443 To support “American Art in Exhibition: Columbia College Chicago Thinking and American Art,” a professional- those of other artists, such as Claes Oldenburg, Presentations of American Art at Home $40,000 development program serving 50 Chicago H. C. Westermann, and Peter Saul. The and Abroad from the Nineteenth Century To support a professional-development program Public Schools teachers—25 art teachers symposium is organized in partnership with to the Present,” a 2013 conference for 25 Chicago Public Schools teachers during working in partnership with 25 teachers and presented at the DePaul Art Museum. co-organized by professors from the University the 2012–13 school year, focusing on increasing of other subjects. The lesson plans developed of Kentucky and Tsinghua University and their capacity to critically examine works of during the program are disseminated on the Frank Lloyd Wright Trust presented at Tsinghua University. The event American photography and integrate them into Chicago Teachers’ Center website. $75,000 examines key exhibitions and museum their teaching. The project makes a strong To support a series of six free public lectures presentations of American art that have connection to the Common Core State Standards in Chicago in the summers of 2013 and 2014. played a pivotal role in shaping an evolving in English Language Arts, demonstrating how Chicago Public Programs The series, “Frank Lloyd Wright: Origins & historical understanding of what American photographs can be used to teach skills called Influences,” interprets Wright’s approach and art is at home and abroad. for in these rigorous new standards. Elmhurst College work within an international context of $18,870 early-modern architecture and design history, University of Nottingham Northeastern Illinois University, To support a one-day public symposium in with a focus on Wright’s Frederick C. Robie $17,450 Chicago Teachers’ Center April 2013 exploring the role of humor in House. Wright’s work is explored in relation to To support the two-day symposium “Art $40,000 American art of the 1960s through the 1980s. British and international design movements, Across the Black Diaspora: Visualizing To support the Chicago Teachers’ Center at The program examines the use of satire, irony, including Arts and Crafts, Vienna Secession Slavery in America,” which examines the Northeastern Illinois University in the second and visual/verbal puns by Chicago Imagists and Jugendstil, Dutch schools of modernism, sculpture, paintings, photography, digital art, year of the three-year initiative “Studio and their approaches to humor in relation to and Japanese art and design.

14 Report 2012–14 Grants and Initiatives 15 Window to the World Communications examination of five portraits that demonstrate What is the importance of studying/ (WTTW) how portraiture style evolved in the late presenting American art? $300,000 eighteenth and early nineteenth centuries as I think diversity is a main feature of American To support the production of segments from American and European painters were art, and for Korean audiences, this was exem- 2012 to 2014 about American art in Chicago for influenced by each other. Accompanied by a plified byArt Across America. In the exhibition WTTW’s popular weeknight news show Chicago scholarly catalogue, the presentation opens at catalogue, one scholar mentioned that it is Tonight. With past Terra Foundation grants, the Musée du Louvre and travels to the impossible to show all the complexities and con- the series covered a rich array of subjects, Crystal Bridges Museum of American Art and tradictions of multiple cultures through from major movements and artists identified the High Museum of Art. exhibition only, however, in my opinion the with Chicago to significant but lesser-known Korean audience could see an American identity collections and notable exhibitions. Art Across America made of multiple races, cultures, and traditions. $849,968 To support the 2013–14 exhibition tour of What new projects are you working on? Initiatives & Partnerships Art Across America at the National Museum of I am organizing exchange exhibitions with Korea, the Daejeon Museum of Art, and the major museums in Italy and Russia. The American Art at the Core of Learning Art Gallery of New South Wales (Sydney). National Museum of Korea is preparing various $733,210 Co-organized by the Los Angeles County traveling exhibitions to introduce Korean To support a three-year initiative, “American Museum of Art; the Museum of Fine Arts, culture to international audiences and, Art at the Core of Learning,” which helps Houston; the National Museum of Korea; the reversely, working to present the art of the Chicago cultural organizations address the Philadelphia Museum of Art; and the Terra many cultures of the world to Korea. new Common Core State Standards in English Foundation, the exhibition is the first major Language Arts that have been adopted by survey of historical American art mounted in What is one favorite fun/interesting Chicago Public Schools and districts Korea and Australia and features more than Q&A with fact that people should know about nationwide. The initiative provides grants for 100 American paintings and six vignettes of Seung-ik Kim American art? museum-based programs that address the decorative arts and design drawn from the Associate Curator, National Museum of Korea In Art Across America, John George Brown’s Common Core standards and a learning collections of the US partners. In addition to Co-curator of the 2013 Picnic Party in the Woods from the Terra community for educators at 13 organizations the support provided to the co-organizers, exhibition Art Across America Foundation’s collection was the most popular with American art holdings plus the schools the National Museum of Korea and the Art artwork in the exhibition. The painting is filled and teachers with which they work. The Gallery of New South Wales receive funding for How did you discover the Terra Foundation with adorable children and presents an program will produce classroom curricula, a series of public lectures, education programs, and what has been your relationship with it? optimistic view of reconstruction after the model teaching strategies, and a web-based and a major publication featuring texts in Art Across America was a large-scale special American Civil War. The interesting point is resource for teachers and new museum- Korean and English. exhibition that became a huge success in Korea that the song “Oats, Peas, Beans, and Barley based programs for teachers and students. thanks to the Terra Foundation. With the Grow” being sung by the children in the Chicago Art History Initiative foundation’s support, we were able to publish painting was introduced to Korea during the American Encounters: Anglo-American $39,000 exhibition catalogues both in Korean and Korean War, so Korean children used to sing it Portraiture in an Era of Revolution To support planning for programming focused English, and provide related academic lectures translated into Korean. In the aftermath of $68,600 on Chicago’s art and design legacy. The grant and programs. Since lectures on American art the Korean War, Korean children sang the song To support the third in a series of four annual funds an advisory committee to assess are rarely held in Korea, many Korean art with new hope. So although it may appear presentations of American art co-organized program and content ideas for the initiative historians and students showed great interest that American art has no relationship to Korea, by the Crystal Bridges Museum of American and to develop an overarching plan, including and participated in them with great enthusiasm. this painting is an example of how art can Art (Bentonville, Arkansas), the High Museum various kinds of public and K–12 programs, transcend time and space to make a connection. of Art, the Musée du Louvre, and the Terra archival projects, publications, and more. As such, cultural exchange provides important Foundation. The presentation provides a close Additionally, the project explores avenues for moments to understand each other.

16 Report 2012–14 Grants and Initiatives 17

updating and expanding a 1991 directory of oeuvre in relation to artistic practices and ideas Gallery of the Louvre remains one of the Chicago art and design archival resources. inherited from the 1960s and 1970s. Eleven Terra Foundation’s best-loved paintings, traveling speakers, including the artist, address the frequently and acting as an ambassador of “From Tierra del Fuego to the Arctic: legacy of the photographic medium, its American art and innovation. In the last 10 years, Landscape Painting in the Americas” institutional history, and the debates around it has appeared in seven American states, $17,500 race that marked the period. Spain, and France, where it was featured in the To support a symposium at the Instituto de 2006 exhibition American Artists and the Louvre, Investigaciones Esteticas (Mexico City), the Terra Foundation Research Series the Musée du Louvre’s first-ever exhibition of premier scholarly event in Latin America. $117,000 American art. Reflecting the topic of the 2015 exhibition To support the Terra Foundation’s international From Tierra del Fuego to the Arctic: Landscape publication initiative “Terra Foundation Research In 2015 the painting embarks on a multi-year Painting in the Americas, organized by the Series,” which explores fundamental ideas tour across the United States in the exhibition Art Gallery of Ontario, the Pinacoteca do shaping American art and culture. The series Samuel F. B. Morse’s “Gallery of the Louvre” and Estado de São Paulo, and the Terra Foundation, comprises thematic volumes—each articulated Journeys the Art of Invention. Culminating the work’s exten- the multi-day symposium features approx- around a single concept—bringing together Samuel F. B. Morse sive conservation treatment in 2010 and years imately 30 papers by scholars from throughout essays by US and international scholars. The Gallery of the Louvre, 1831–33 of scholarly investigation, the show will visit nine the Americas whose work on a broad range first two volumes are dedicated to the themes museums across the country, kicking off at the Oil on canvas, 73 ¾ × 108 inches of landscape topics from all historical of “Picture Theory” and “Scale.” Terra Foundation for American Art, Huntington, in San Marino, California, January periods showcase diverse disciplinary Daniel J. Terra Collection, 1992.51 24–April 20. orientations and methodological approaches to the subject. FY2014 July 1, 2013–June 30, 2014 Gallery of the Louvre Anthology 1 4 6 8 Art Institute of Chicago Guggenheim Museum Bilbao Los Angeles County National Gallery of Art, $150,000 Apr 15, 2005–May 17, 2006 Oct 15, 2007–Apr 27, 2008 Museum of Art Washington, DC To support a scholarly, peer-reviewed Exhibitions Feb 28–May 23, 2010 Jul 3, 2011–Jul 8, 2012 anthology to accompany the exhibition Samuel 2 5 Musée du Louvre, Paris Metropolitan Museum 7 9 F. B. Morse’s “Gallery of the Louvre” and the Art Gallery of New South Wales Jun 14–Sep 18, 2006 of Art, New York Yale University Pennsylvania Academy Art of Invention on its tour of museums across $120,000 Oct 5, 2009–Jan 24, 2010 Art Gallery, New Haven of the Fine Arts, Philadelphia 3 Mar 1–Jun 12, 2011 Jul 4, 2012–Sep 22, 2013 the United States. The book examines various To support Pop to Popism: Origins to New High Museum of Art, Atlanta aspects of Morse’s painting and represents Wave, 1955–85, the first exhibition of Pop Art Oct 16, 2006–Sep 2, 2007 the culmination of three years of intensive in Australia since 1985, at the Art Gallery of scholarly research and exchange that New South Wales (Sydney). The show comprises commenced with the monumental painting’s approximately 180 works that trace the conservation in 2010. movement’s development in the United States, the United Kingdom, Europe, and Australia. Lorna Simpson Panel Discussions A fully illustrated catalogue accompanies 2 $23,260 the exhibition. To support a series of three scholarly panel 1 7 discussions, “Lorna Simpson: Mémoire et Sens” Asia Society Museum 5 4 (“Lorna Simpson: Memory and Meanings”), at $300,000 6 8 9 the Jeu de Paume (Paris) on the occasion of To support Nam June Paik: Becoming Robot, the first retrospective of Lorna Simpson’s work which brings together key works by Nam June 3 in France. The events explore Simpson’s Paik, an influential figure of New York’s

18 Report 2012–14 Museum of Art (Ithaca, New York) to the presents works spanning Halsman’s career, Crocker Art Museum (Sacramento, California) from 1932 to the 1960s. A catalogue in French and one or two other venues. The exhibition and English and a series of scholarly lectures includes an English-language catalogue. accompany the exhibition.

Loyola University Museum of Art Museum of the City of New York $46,000 $150,000 To support Gather Up the Fragments: The To support Jacob Riis and His Photographs: Andrews Shaker Collection, an exhibition Revealing New York’s “Other Half,” which organized by the Hancock Shaker Village brings together the Jacob A. Riis Papers that presents more than 190 Shaker from the Library of Congress and the Jacob objects, including crafts and household A. Riis Collection of Photographs from objects. The exhibition retells the story of the museum’s holdings in celebration of the religious movement and examines the Riis’s contributions to social documentary role of Faith and Edward Andrews, avid photography. The exhibition is presented collectors, dealers, and scholars, in the in conjunction with a publication on Riis by

at the Museum Ludwig, Cologne. Photo: Birgid Haensel preservation of Shaker heritage. A catalogue, the exhibition’s curator and tours interna- published by Loyola University Museum of tionally in Denmark. Art (Chicago), accompanies the exhibition. Museum Ludwig

Ludwig Pop Goes Mary & Leigh Block Museum of Art $185,000 $85,000 To support Ludwig Goes Pop, an exhibition avant-garde scene in the 1960s. The exhibition Hara Museum of Contemporary Art To support the 2014 exhibition The Left dedicated to the history of the collection of is presented at the Asia Society Museum in $90,000 Front: Radical Artists in the “Red Decade,” Irene and Peter Ludwig, passionate advocates New York and the Asia Society Hong Kong To support the first exhibition of Cy Twombly’s 1929–1940, at the Mary & Leigh Block of the American Pop Art movement. The Center and is accompanied by a fully illustrated work in Japan. Cy Twombly: 50 Years of Works Museum of Art (Evanston, Illinois), which collection includes key works by Andy Warhol, English-language catalogue. on Paper is presented at the Hara Museum of explores the links between art and leftist Roy Lichtenstein, Robert Rauschenberg, Contemporary Art (Tokyo) and the Hara Museum politics in 1930s America, with special Claes Oldenburg, and others, and is considered DIA Art Foundation ARC (Gunma Prefecture, Japan) and is accom- consideration given to the John Reed Club to be one of the most important collections $220,000 panied by educational programming and an and the American Artists Congress. of American Pop Art outside of the United To support Carl Andre: Sculpture as Place, introductory catalogue in Japanese and English. Approximately 100 works are featured in States. The exhibition travels from the 1958–2010, which surveys all major historical a gallery space converted to a makeshift Museum Ludwig (Cologne) to the Museum and aesthetic shifts in the artistic practice Herbert F. Johnson Museum of Art John Reed Club, and the publication for Moderner Kunst Stiftung Ludwig Wien of Carl Andre, drawing on iconic pieces $115,000 the exhibition is a free newspaper styled (Vienna). A catalogue in German and English from the 1960s and 1970s, more recent To support JapanAmerica: Points of Contact, after 1930s leftist journals. accompanies the exhibition. sculptural experiments, and a selection of 1876–1970, which explores the formation of the artist’s poems. The exhibition is presented the West’s conception of a Japanese aesthetic Musée de l’Elysée NHK Promotions, Inc. at DIA: Beacon, the Museo Nacional in the context of the “opening” of Japan by $85,000 $250,000 Centro de Arte Reina Sofía (Madrid), the the United States in 1853 and the interest To support Philippe Halsman, Astonish Me!, the To support a retrospective of the work of Nationalgalerie im Hamburger Bahnhof of Western artists and collectors in the art of first survey of the work of Philippe Halsman, James McNeill Whistler presented at the (Berlin), and the Musée d’Art Moderne Japan at the time. The exhibition includes one of the twentieth century’s most successful National Museum of Modern Art (Kyoto) and de la Ville de Paris. A scholarly publication works by both American and Japanese artists, commercial photographers, at the Musée de the Yokohama Museum of Art. The first of accompanies the exhibition. and travels from the Herbert F. Johnson l’Elysée (Lausanne, Switzerland). The exhibition its kind since 1987, this exhibition introduces

20 Report 2012–14 Grants and Initiatives 21 the artist’s work to the Japanese public, Städische Galerie im Lenbachhaus paying special attention to the influence und Kunstbau München of Japanese art on the development of $200,000 Whistler’s style. A catalogue accompanies To support Florine Stettheimer, an exhibition the exhibition. that explores Stettheimer’s place in the international modernist movement and the Philadelphia Museum of Art New York art world, at the Städische Galerie $165,000 im Lenbachhaus und Kunstbau München To support Paul Strand: Photography and Film (Munich). A German- and English-language for the Twentieth Century, the first catalogue, the first scholarly publication

comprehensive presentation of the work of dedicated to Stettheimer in 20 years,

Paul Strand since 1971. The exhibition includes accompanies the exhibition. at the approximately 220 prints and three films drawn mainly from the Philadelphia Museum Tate Liverpool of Art’s holdings, along with selected works $100,000 by Strand’s contemporaries. The show travels To support Transmitting Andy Warhol, which to the Fotomuseum Winterthur (Winthertur, explores Warhol’s relationship with the Switzerland), the Fundación MAPFRE (Madrid), mass reception of his work. The exhibition and the Victoria and Albert Museum. examines the ways in which Warhol extended English- and Spanish-language publications the channels of artistic distribution as he Rijksmuseum, Amsterdam. Andreas Warner Photo: accompany the exhibition. embraced dispersive strategies like film, Stabile Jerusalem Calder’s Alexander publishing, and fashion in the 1960s. The Rijksmuseum presentation is accompanied by a catalogue the exhibition Allan Kaprow. Otherways., at exhibition Robert Rauschenberg in Thailand, $135,000 and a one-day symposium. the Fundació Antoni Tàpies (Barcelona). 1964/1983, to be presented at the Thai Art To support an exhibition of large-scale Archives (Bangkok). sculptures by Alexander Calder in the newly Georgia O’Keeffe Museum designed Rijksmuseum Gardens. A catalogue $25,000 Musée des Beaux-Arts de Montréal in Dutch and English, and a variety of public Exhibition Research & Convening Grant $5,000 programs accompany the exhibition. Development To support two curatorial convenings—one in Curatorial Travel Grant Australia and one in the United States—of key To support Stéphane Aquin’s two research trips Smart Museum of Art, French Regional American Museum Exchange curatorial staff from the Georgia O’Keeffe to the United States to prepare for an exhibition University of Chicago $10,000 Museum (Santa Fe, New Mexico), Heide Museum on visual representations of the American West $50,000 Curatorial Travel Grant of Modern Art (Victoria, Australia), and Art at the Denver Art Museum and the Musée des To support Monster Roster: Existentialist Art in To support Pierre Provoyeur and Chantal Gallery of New South Wales (Sydney), and invited Beaux-Arts de Montréal. Postwar Chicago, an exhibition that explores Meslin-Perrier’s trip to the United States scholars. The meetings facilitated discussion the work of the Chicago-based group “Monster to prepare for the exhibition The Arts of of key ideas and new research associated with Museo Thyssen-Bornemisza Roster” in the development of American art, the Table in France and in the United States. an upcoming exhibition and catalogue. $6,064 at the Smart Museum of Art, University of Curatorial Travel Grant Chicago. The exhibition includes works by Leon Fundació Antoni Tàpies Gregory Galligan To support Guillermo Solana and Laura Golub, Dominick Di Meo, Cosmo Campoli, $3,834 $5,000 Andrada’s travel to the United States to prepare June Leaf, Seymour Rosofsky, and Nancy Spero, Curatorial Travel Grant Curatorial Travel Grant for the exhibition Wyeth: Andrew and Jamie in and is accompanied by a catalogue and public To support Soledad Gutierrez’s travel to To support Gregory Galligan’s travel to the Studio, at the Museo Thyssen-Bornemisza programming. Los Angeles to conduct research for New York to conduct research for the and Denver Art Museum.

22 Report 2012–14 Grants and Initiatives 23 sometimes discouraged people from diving into and the ways in which these visual forms our resources—they chose topics “closer to Academic Programs informed geographic, cultural, economic, and home,” which sometimes meant they didn’t aesthetic knowledge. choose a pathway into American art. To think Archives of American Art, that now anyone in the world with a computer Smithsonian Institution Freer Gallery of Art and and an internet connection can read Horace $413,000 Arthur M. Sackler Gallery Pippin’s memoir about his experience in World To support the surveying of American art-related $25,000 War I, or virtually dig through the exhibition archival collections located in the Chicago area, To support the webcast panel discussion files of the famous Betty Parsons Gallery, or the development of a search portal for these “Whistler and Kiyochika: Modernity, Melancholy, scour Thomas Eakins’s letters to his family for collections on the Archives of American Art’s and the Nocturne,” during which five scholars clues about his practice—that opens doors to website, the documentation of the Archive’s from Japan, France, and the United States research that had been closed for decades. own Chicago-related resources, and the consider the nocturne as a vehicle for both The Terra Foundation’s support of digitization completion of ten new oral-history interviews James McNeill Whistler and Kobayashi at the Archives has, without question, made the with key figures in Chicago’s art history. Kiyochika to express a particularly modern serious study of American art by people around sensibility. Organized by the Freer Gallery the world possible. That’s why we honored Asian/Pacific/American Institute of Art and Arthur M. Sackler Gallery the foundation in 2014 with our inaugural at New York University (Washington, DC). The program is presented Philanthropic Leadership Award. $16,100 online in English, French, and Japanese. To support the symposium “Asian American What is the importance of studying/ Art: Transnational Circulations and Diasporic Griffith Centre for Cultural Research presenting American art? Framings” at the Archives of American Art $29,000 If you don’t have some understanding of a in 2014. The event brings together scholars, To support the three-day symposium Q&A with country’s art, you can never have a full curators, and artists to explore global “Broken Images: A Symposium on Early Kate Haw understanding of that country’s history. At the comparative diasporic framings and current American Photography in the Asia Pacific, Director, Archives of American Art, Smithsonian we talk about telling America’s scholarship, and examines the importance 1850–1950,” organized by the Griffith Centre Smithsonian Institution whole story. You simply can’t tell it without art. of Asian American artistic expressions based for Cultural Research (Nathan, Australia), in ink painting of transnational and diasporic which analyzes American photographs How did you discover the Terra Foundation What is one favorite fun/interesting fact that identities in American art. of the exploration of the Asia Pacific in the and what has been your relationship with it? people should know about American art? mid-nineteenth century. I have long been aware of the great work of Among Jackson Pollock’s papers at the Archives College of the Holy Cross the Terra Foundation, but it wasn’t until I came of American Art is his passport, unsigned and $25,000 Institute of International Education— to the Archives that I had the pleasure of unused; the artist never traveled outside the To support the two-day conference “Global Council for International Exchange of Scholars working with the foundation. Terra has United States. Under “distinguishing marks or Encounters in Early America,” which addresses $902,898 absolutely transformed the way we work at the features” is the note: right index finger partly the visual means by which early Americans To support opportunities for US Fulbright Archives—and by extension, has transformed missing. You can see it for yourself in the Terra studied and understood the world, at the Scholars to teach American art history in China opportunities for research on American Foundation Center for Digital Collections on American Antiquarian Society (Worcester, and in select countries in Europe. For each art—through its support of the digitization of our website! Massachusetts) and College of the Holy Cross of three years, the Institute of International our collections. Where once scholars from (Worcester, Massachusetts). The event Education (Washington, DC) features two around the world had to come to the Archives features a series of academic presentations awards for senior scholars to teach at univer- headquarters in Washington to use our vast augmented by pedagogical and professional sities in China and two awards for early-career primary sources in research, now they can see workshops for specialized audiences. scholars to teach in European Union millions of documents online. The financial Papers investigate maps, atlases, engravings, countries (excluding France, Germany, and burden of having to travel from faraway places paintings, and decorative arts in early America the United Kingdom).

24 Report 2012–14 Grants and Initiatives 25 Prue Ahrens Moderna Museet To support the conference “The Ends of Art Historian $20,000 American Art,” a two-day event that addresses To support the symposium “Duchamp and new possibilities for thinking about the future “In 2010 I was very fortunate to receive a Sweden—On the Reception of Marcel of American art history. Ten principal speakers Terra Foundation post-doctoral award through Duchamp after World War II,” which presents from the United States and Europe discuss the Smithsonian American Art Museum to recent research on the subject by interna- key questions about the current nature and investigate American painting in the South tional scholars to a Swedish audience, at prospective future of the discipline. Pacific, which developed into an exploration the Moderna Museet (Stockholm). The of images that tell us much about Western museum collaborates with professors from Terra Foundation Research Travel Grants myth-making of the enchanted South Sea Stockholm University and Södertörn $303,900 Islands and American desires and expectations University, who organize an advanced-level To support the 2015–17 travel grants, which in the South Pacific. This research spurred a course on Duchamp. enable scholars studying American art outside further engagement with the Terra Foundation the United States the opportunity to consult for a larger investigation on American New-York Historical Society resources which are only available in the United photography in the region and its history Museum & Library States. Between nine and thirteen travel grants of broken links with the Asia Pacific in the $25,000 are awarded annually. century preceding this ‘Asian Century.’ ” To support the symposium “The Armory Show at 100,” presented in conjunction with Universidad Estadual de Campinas the Terra Foundation-funded exhibition of (UNICAMP)—Instituto de Artes the same name. Organized in partnership $25,000 with the Musée d’Orsay, the event features To support the 2015 conference “New Worlds: scholars addressing a number of topics Frontiers, Inclusion, Utopias,” which brings that shed new light on the Armory Show and together scholars from around the world the nature of international exchange in the to consider issues of global art history from InTRu—Université François-Rabelais global perspective through discussion of twentieth century. the reference point of the Americas. Organized $25,000 the international development of Pop by the Universidad Estadual de Campinas To support “Ed Ruscha Redux,” which Art in Latin America, Asia, New York, and Spencer Museum of Art (UNICAMP)—Instituto de Artes (São Paulo), explores the topic of appropriation as an California. $35,000 the conference is presented in Rio de Janeiro important element in both Ruscha’s art To support “Hybrid Practices in the Arts, and the proceedings are published in book and in the many homages that his work has McNeil Center for Early American Studies Sciences, and Technology from the 1960s form and on the Brazilian Committee of Art generated. The 2015 event includes a $25,000 to Today,” a conference organized by the History’s website. two-day symposium at the Centre Pompidou, To support “Fraktur and the Everyday Lives Spencer Museum of Art (Lawrence, Kansas) a half-day program at the Centre de of Germans in Pennsylvania and the Atlantic that examines the factors that influenced Université Catholique de Louvain Création Contemporaine (Tours, France), World, 1683–1850,” a conference organized collaborative projects uniting the arts, sciences, $6,000 and a series of themed paper presentation by the McNeil Center for Early American and technology in the United States and the To support “‘Human Systems’ as Cultural panels for scholars. Studies at the University of Pennsylvania United Kingdom in the 1960s. Eighteen Ready-mades: The Work of Douglas Huebler,” in partnership with the Philadelphia international scholars present papers at a 2014 conference at the Université Kobe University Museum of Art and the Free Library of the March 2015 conference, which is followed Catholique de Louvain (Louvain-la-Neuve, $20,200 Philadelphia. The event places Pennsylvanian by a one-day colloquium in the summer. Belgium) bringing together an international To support “Multi-Locale Pops in the Germans in broader contexts and their group of scholars to examine Huebler’s 1960s,” a symposium that brings together Fraktur as a point of entry for a much Stanford University oeuvre within and beyond the context seven post-war art specialists to promote broader understanding of the significance Department of Art and Art History of conceptual art. Conference papers are scholarship of American art from a of their art and culture. $30,780 published as an edited volume.

26 Report 2012–14 Grants and Initiatives 27 there really is an international community University of California, Santa Barbara vitally interested in American art that is $136,479 Chicago K–12 Education contributing to the dialogue in illuminating To support the academic exchange, and unexpected ways. That was really brought symposium, and publication associated Art Institute of Chicago home through teaching in Hangzhou this fall: with “Modernism in the United States and $100,000 my Chinese graduate students felt like China,” a project co-organized by the China To support the second year of “American American students in their range of attitudes Academy of Art (Hangzhou) and the Sources: Using Visual Art in the Humanities and interests, and they had a profound interest University of California, Santa Barbara. Curriculum,” a professional-development in how American art operated in China for The project aims to promote an exchange program for teachers. The program explores Chinese artists and audiences. of information and methodologies about the use of art from the Terra Foundation’s and these two national art histories, with Art Institute of Chicago’s collections as What is the importance of studying/ lasting effects for the faculty and graduate primary-source documents and guides presenting American art? students that are captured in published participants in developing related curriculum I don’t think you can understand the United proceedings on the subject. that aligns with Common Core Standards in States, certainly in the last 30 or 40 years, English Language Arts. The program serves up without understanding what artists have to say University of Chicago Press to 30 local middle- and high-school teachers, about it. And of course the same is true for $121,000 including 20 Chicago Public Schools teachers. earlier periods. I come to American art as To support the development of the first someone born outside the United States and comprehensive history of Chicago art and Chicago Metro History Education Center who only became a citizen in 2000. That is design from the latter part of the nineteenth $30,000 to say, I have a real zeal about American politics century to the early twenty-first century. To support a professional– and curriculum- and political culture, and find it fascinating— The illustrated book explores the development development program for Chicago Public Q&A with it’s the great American art form. So for me of the city’s artistic culture in a series of Schools teachers on the subject of the visual E. Bruce Robertson the most basic connection is between the primary chapters, each written by a different arts of the Black Arts Movement in Chicago. Professor, Department of History of political structure and its expression in politics, scholar with expertise related to Chicago’s art Hosted at the Newberry Library, the program Art and Architecture, University of California, culture, and art. and design history. Additional authors brings together local scholars and teachers in Santa Barbara contribute short essays and side-bar articles grades 6–12 for a weeklong summer institute Guest Instructor, “Modernism in the United What are some current trends in the field? that draw upon archival resources to illuminate focused on increasing teacher understanding of States and China” seminar at the China Academy The revival of interest in eighteenth-century key aspects of this history. Civil Rights and Black Power movements of Art, in Hangzhou art is particularly encouraging. I find also the through artworks. assimilation of classically European modernist Yale Center for British Art How have you been impacted by your critiques of visuality by younger scholars, $25,000 Museum of Contemporary Photography relationship with the Terra Foundation and even as they retain the basic profile of the To support the loan of Hiram Power’s The $60,000 how has it, in turn, impacted the field of Americanist impulse to move from the object Greek Slave and a two-day colloquium in To support a two-year professional- and American art scholarship? into social context, really wonderful. The conjunction with the exhibition Sculpture curriculum-development program for Chicago The Terra Foundation has done a really up-and-coming generation of scholars who are Victorious: Art in an Age of Invention, 1837–1901, Public Schools teachers on the subject of remarkable job opening up American art to the publishing their first books is sophisticated co-organized by the Yale Center for British American photography and literacy. The work- world, and vice versa. One of the things about and strong. I also think that the move toward Art and Tate Britain. The 2014 colloquium shops focus on deepening understanding of reading [grant] applications is that you learn material studies (not just visual studies) will examines the role of The Greek Slave in both a American photography and the Common Core a lot about what’s going on in the field, and so grow stronger over time, and that inter-media British and international context, bringing State Standards in English Language Arts and reading applications from many foreign studies—ones that focus on painting, sculpture, together scholars from both sides of the support teachers in developing and implemen- museums and scholars has really opened my furniture, architecture, etc., simultaneously— Atlantic to discuss the statue, its maker, and ting their own curriculum. The program serves eyes to the ways in which, through the Terra, will become more prevalent. the broader cultural context they inhabited. 40 teachers and is informed by the Museum

28 Report 2012–14 Grants and Initiatives 29 of Contemporary Photography’s participation documentary about the life, work, and How did you come to be involved with in the Terra Foundation-led “American Art at legacy of Dorothea Lange. The 90-minute American art? the Core of Learning” initiative. documentary, entitled Grab a Hunk of I started to work very early on American art, Lightning, features new scholarship and when I was a curator at the Musée d’Orsay. previously unseen archival materials. Taylor One of my first exhibitions was in 1987 on Chicago Public Programs is the granddaughter of Lange and was Chicago architecture, which we shared with taught to photograph by her grandmother. the Art Institute of Chicago. As director of Art Institute of Chicago the museum, I bought a beautiful James $64,800 School of the Art Institute of Chicago McNeill Whistler landscape and organized To support three years of “Lectures in American $10,000 an important Thomas Eakins retrospective Art: Innovation and Scholarship” that encompass To support “The Wall of Respect and People’s with the Philadelphia Museum of Art and the 11 public lectures throughout the 2014–17 Art Since 1967,” a two-part public program and Metropolitan Museum of Art. seasons. This grant marks the fourth year of a working session for scholars in spring 2015. the series, which presents fresh and innovative The program examines the history and influence How did you discover the Terra Foundation scholarship in American art and links these of the Wall of Respect, a Civil Rights-era mural and what has been your relationship with it? findings to works in the Art Institute of created in 1967 on Chicago’s South Side to I became familiar with the Terra Foundation Chicago’s collection. The 2014–15 series is counter negative media representations of through the Musée d’Art Américain Giverny, themed “Discoveries in American Art.” people of color. The wall was a milestone in the where I discovered the high quality of the mural movement and in Chicago’s cultural foundation’s collection and the exhibitions it Art Institute of Chicago history. The program is realized in conjunction supports. Then, when I became the director of $23,454 with the South Side Community Art Center, the Louvre, I decided to improve the collection To support the third season of “Lectures in the University of Chicago, and the committee of American artwork there, to enlarge it, and American Art: Innovation and Scholarship,” WOR50 and informs plans for the fiftieth anni- Q&A with make American art better known to the Louvre’s a public lecture series intended to link new versary of the wall in 2017. Henri Loyrette audiences. We did it with the help of the Terra findings in American art to the Art Institute Chairman of ADMICAL, a French organization Foundation, organizing a special exhibition, of Chicago’s collection. dedicated to corporate philanthropy; Les artistes américains et le Louvre, and building Initiatives & Partnerships Director, Musée du Louvre (2001–2013) a fruitful long-term partnership with the Chicago Humanities Festival Member of the Terra Foundation foundation, the High Museum of Art, and the $10,090 American Encounters: for American Art International Board Crystal Bridges Museum of American Art. To support “From Bauhaus to Bunny and Beyond,” The Simple Pleasures of Still Life a program at the 2014 Chicago Humanities $83,600 How have you been impacted by your relation- Festival. James Goggin, a Chicago-based design- To support the fourth show of the American ship with the Terra Foundation and how has er, interviews Art Paul, the first art director for Encounters series, co-organized by the it, in turn, impacted changes in the reception Playboy magazine, about his experience at the Crystal Bridges Museum of American Art of American art among European audiences? Institute of Design in Chicago, his innovations (Bentonville, Arkansas), the High Museum of Europeans now have a better understanding of at the magazine, the ways in which his Bauhaus- Art, the Musée du Louvre, and the Terra eighteenth- and nineteenth-century American influenced training shaped his practice at Foundation. The presentation investigates the art. Surely, there is a lot more to do on a number Playboy, and his personal work as an artist. blossoming of a national voice in American of different fronts, and I’m confident that the still-life painting and comprises eight foundation will continue to play an integral Museum of Contemporary Photography nineteenth-century American paintings along role—organizing exhibitions, promoting $5,000 with one Dutch and one French example. research, lending works from its collection to To support a public lecture at Columbia College The exhibition is accompanied by a publication different museums—in expanding the appreci- Chicago by filmmaker Dyanna Taylor on her and travels to the three organizing museums. ation of American art throughout Europe.

30 Report 2012–14 Grants and Initiatives 31 conclude my PhD—the director of the museum, Chicago Art History Initiative Workshops of two, two-day conferences dedicated to new Ivo Mesquita, approached me to say that he $27,225 scholarship on American artists in Rome in the had been visited by representatives from To support a series of three Chicago Art History immediate post-World War II years. The 2015 the foundation, who expressed an interest in Initiative scholar’s workshops designed to events are hosted at and organized in partner- collaborating with institutions in South America. stimulate research on under-studied areas ship with the American Academy in Rome. He proposed an idea we had talked about of Chicago’s art and design history. These before but had absolutely no means to make workshops bring together academics, curators, Terra Foundation for American Art happen, which was an exhibition about land- archivists, and advanced graduate students International Publication Grants scape painting all over the Americas. The for the opportunity to share current research $321,055 fact that the Terra Foundation undertook this and receive feedback, and to identify To support publication grants designed to project, and brought the Art Gallery of possibilities for collaboration. advance and internationalize scholarship on Ontario into the partnership, was really what American art and provide individuals outside made it possible to transform this idea into From Tierra del Fuego to the Arctic: the United States with greater access to an exhibition and a publication. Landscape Painting in the Americas resources in the field. The program subsidizes $1,251,717 promising forthcoming publications in three What is the importance of studying/ To support an exhibition examining landscape award categories: grants to US publishers to presenting American art? painting circa 1830–1930 in a pan-American support books on American art in an For me, studying American art and presenting context and featuring approximately 120 works international context, grants to non-US publish- it to Brazilians creates an unprecedented oppor- of art. A 300-page scholarly book, an exhibition ers to support books on American art, and tunity to hear other voices and bring different website, and related programming accompany grants to support the translation of American issues to the artistic debate—not only in terms the exhibition at the three venues: the Art art publications to or from English. Grants are of what artworks can reveal but also where Gallery of Ontario, the Crystal Bridges Museum competitive and awarded annually through the Q&A with scholarship, methodology, historiography, and of American Art (Bentonville, Arkansas), and College Art Association starting in 2015. Valéria Piccoli curatorial practice all intersect. the Pinacoteca do Estado de São Paulo. Chief Curator, Pinacoteca do Estado de São Paulo Terra Foundation Research Series Co-curator of the 2015 exhibition From Tierra Where would you like to see the field in 10 years Gallery of the Louvre Exhibition Tour $148,000 del Fuego to the Arctic: Landscape Painting in and what needs to be done to get it there? $261,000 To support the third and fourth volumes of the Americas I would like to see the dialogue and To support the national tour of Samuel F. B. the “Terra Foundation Research Series,” collaboration between curators and scholars Morse’s painting Gallery of the Louvre, which is publications that explore fundamental ideas How did you come to be involved with from all over the Americas become a more presented in conjunction with the Terra Founda- shaping American art and culture. Each American art? regular occurrence. I believe much effort was tion’s scholarly publication Samuel F. B. Morse’s volume comprises five to seven essays from In 2002 the catalogue American Sublime came put into building our respective art historical “Gallery of the Louvre” and the Art of Invention. The leading American and international scholars into my hands. It accompanied an exhibition on narratives, and it is about time to expand upon tour includes the Amon Carter Museum of Amer- that are united by a common theme. Volume landscape painting in the US held at Tate Britain them. How can we learn from one another? ican Art (Fort Worth, Texas), the Seattle Art three focuses on “Circulation” and volume that year. I couldn’t help but immediately begin What are the things we share? These are the Museum, the Crystal Bridges Museum of Amer- four on “Experience”—both scheduled for making comparisons with Brazilian landscape questions I am interested in finding answers to ican Art (Bentonville, Arkansas), and the Reynolda release in 2017. painting, the subject I was studying then. in the future. And this is what I’ve learned from House Museum of American Art (Winston-Salem, the landscapes project: the notion that, despite North Carolina), among other venues. William Merritt Chase Convenings How did you discover the Terra Foundation our differences, we share common concerns $34,600 and what has been your relationship with it? and ambitions, which are visible in works of art. “Rome Revisited” Conference Series To support two pre-exhibition convenings I was lucky enough to actually be discovered $31,600 for a major retrospective devoted to American by the Terra Foundation! In 2010, upon my To support “Rome Revisited: Rethinking artist William Merritt Chase, co-organized by return to Pinacoteca—after some time off to Narratives of Postwar American Art,” a series the Fondazione Musei Civici Venezia; Museum

32 Report 2012–14 Grants and Initiatives 33

Journeys of Fine Arts, Boston; Phillips Collection scholarship on historical American art. Single- William Merritt Chase (Washington, DC); and Terra Foundation. author, book-length academic publications in a Morning at Breakwater, Shinnecock, non-English language—whether unpublished c. 1897 William Merritt Chase Retrospective or published within the previous five calendar $600,000 years—are eligible for consideration. The prize A cornerstone of American Impressionist To support a major retrospective of William seeks to advance and internationalize scholar- painting in the Terra Foundation’s collection, Merritt Chase, comprising 90 paintings and ship on American art by giving a non-US this work most recently appeared in the pastels, that re-examines the important scholar the opportunity to publish with a leading 2014–15 exhibition L’Impressionnisme et les and influential American artist through all US academic press. The winner receives a Américains, which debuted in Giverny, France, phases of his long career. Co-organized by the $5,000 award, and the manuscript is published before traveling to Edinburgh and Madrid. Fondazione Musei Civici Venezia; Museum by Yale University Press. The painting also traveled across Canada in of Fine Arts, Boston; Phillips Collection 2009–10 as part of Expanding Horizons: (Washington, DC); and Terra Foundation, American and Canadian Painting and Photography, the exhibition is presented at the three 1860–1918. In 2016 William Merritt Chase organizing museums. Oil on canvas, 40 × 50 inches will be the subject of a major retrospective Terra Foundation for American Art, organized by the Terra Foundation, with Daniel J. Terra Collection, 1999.30 Yale University Press and Terra Foundation presentations planned for venues in Boston; American Art in Translation Book Prize Washington, DC; and Venice. $80,000 To support a translation prize for a publication by a non-US author that contributes to

1 3 6 Musée d’Art Américain Vancouver Art Gallery Scottish National Gallery, Giverny Oct 17, 2009–Jan 17, 2010 Edinburgh Jul 10–Oct 30, 2005 Jul 19–Oct 19, 2014 Apr 1–Oct 29, 2006 4 Jul 15–Oct 31, 2007 Fondazione Palazzo Strozzi, 7 Apr 1–Oct 31, 2008 Florence Museo Thyssen- Mar 2–Jul 15, 2012 Bornemisza, Madrid 2 Nov 4, 2014–Feb 1, 2015 Montréal Museum 5 of Fine Arts Musée d’Art Jun 18–Sep 27, 2009 Américain Giverny Mar 28–Jun 29, 2014

6 3

5 1 2 4 7 Photo: Chicago Metro History Chicago Metro Center Education Photo: Teachers pose before a mural in Chicago’s Bronzeville neighborhood. Bronzeville Chicago’s in mural a before pose Teachers

34 Report 2012–14 Grants and Initiatives 35 Fellowships and 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.

Catherine Spencer, University of York Terra Summer Residency “Fieldwork: Performing Social Science, in Giverny, France 1958–1971”

Alex Taylor, Oxford University 2013 “Forms of Persuasion: Art and Corporate Enterprise in the 1960s” Doctoral Fellows

Mazie Harris, Brown University Tatsiana Zhurauliova, Yale University “The Portraits and Proprietary Claims “Arcadia Americana: American of New York Photography Studios on Landscape in the Art of Arshile Gorky, Broadway, 1853–1884” Pavel Tchelitchew, and Yasuo Kuniyoshi during World War II” Miri Kim, Princeton University “‘Right Matter in the Right Place’: Artist Fellows The Paintings of Megan Cotts, California Institute of the Arts Albert Pinkham Ryder” Sculpture and installation

Roberta Serpolli, Università Cà Foscari Florian Fouché, École Nationale “Display of Art in the Supérieure des Beaux-Arts in Giverny, France. Photo: Lucy Pike Panza di Biumo Collection” Sculpture and photography Residency Summer Terra the at converse Fellows

36 Report 2012–14 Section 37 Julia Klein, Bard College How did you discover the Terra Foundation Sculpture and publishing 2014 and what has been your relationship with it? I discovered the Terra Foundation when I Sophie Lamm, École Nationale Supérieure Doctoral Fellows was the assistant at the conference “American des Beaux-Arts Kristen Adlhoch, University of St. Andrews Art in Exhibition: Presentations of American Drawing and painting “Play of Light: Abstract Photography, Synaes- Art at Home and Abroad from the Nineteenth thesia, and the Intermedia between the Wars” Century to the Present,” which was organized Senior Scholars by the Terra Foundation and Tsinghua Univer- Jean-Philippe Antoine, Université Paris 8 Paisid Aramphongphan, Harvard University sity. Then I applied for a travel grant from “Sleeper Modernism: Jack Smith, Freddy Herko, the foundation, which I was fortunate to receive. Kellie Jones, Columbia University Andy Warhol, circa 1960” What are some current trends in the field? Senior Artists Emilie Boone, Northwestern University Honestly, art history is a relatively new field Ursula Biemann, artist, theorist, and curator “Repetition through Photography: of research in China. In Western countries, James Van Der Zee and the Making of African art history is not an isolated field of research— Ken Gonzales-Day, Scripps College Diasporic Visual Culture and Artistic Practice” one works with many other subjects, such as philosophy, sociology, psychology, etc. So more Guest Lecturers Laura Igoe, Temple University and more Chinese scholars are changing Patricia Hills, Boston University “The Opulent City and the Sylvan State: their method of researching: not only paying Art and Environmental Embodiment in attention to the artwork itself but also Tirza T. Latimer, California College of the Arts Early National Philadelphia” considering other factors.

Q&A with What new project(s) are you working on? Zhang “Sunny” Mengyang I have just come back from my amazing journey PhD Candidate, Tsinghua University in the United States, and I am working on Research Travel Grant to the United States, 2014 my dissertation on African American art of the Harlem Renaissance. Moreover, since I’ve How did you come to be involved with been visiting museums all over the United American art? States, I am planning to write something that American art was my interest for a long time, presents to the Chinese people the fabulous and my advisor at Tsinghua University, collections of American museums I experienced Professor Zhang Gan, is also working on during my travels. American art. There was not one special moment or project that made me decide this. I think it was just a natural progression that I chose American art as my dissertation and further research. Terra Summer Residency fellows attend a lecture.

38 Report 2012–14 Fellowships and Awards 39 Jonathan Maho, Université Paris Diderot-Paris 7 How have you been impacted by your “Robert Mapplethorpe: Reception Research Travel Grants relationship with the Terra Foundation beyond the Culture Wars (1970–2010)” to the United States and how has it, in turn, impacted the field of American art scholarship? Angélique Quillay, Université Paris My relationship with the Terra Foundation Diderot-Paris 7 2013 has certainly widened my experience as an “The Visual Culture of the Pennsylvania Hospital academic, as it has offered me a number of for the Insane under the Superintendence of Doctoral Fellows opportunities to talk about my work in front Thomas Story Kükbride, 1841–1883” Larne Abse Gogarty, University College London of international audiences. I hope it has, in “The Politics of Collective and Community turn, helped to internationalize and diversify Artist Fellows Art in the USA in the 1930s and 1990s” the field of American art scholarship. Sylvain Azam, École Nationale Supérieure des Beaux-Arts Patrizia Antonella Munforte, Where would you like to see the field Painting Universität Zürich in 10 years and what needs to be done to “Interrelations between Private Portraits get it there? Nelly Cesar, University of of the Dead and Memorial Images in I’d like to see the field further diversified and British Columbia the History of Art and Photography of the internationalized. It’s been happening in many Performance, sculpture, installation, and Nineteenth Century” ways already, but more needs to be done. I’d creative writing like to see more American art and modern art Laure Poupard, Université Paris-Sorbonne scholars (both inside and outside the United Betsy Seder, University of California, Irvine (Paris IV) States) taking comparative and multicultural Photography and video “The Artistic Sources of Propaganda approaches. I don’t know how exactly this can Photographs: Official Photographic Exhibitions Q&A with be achieved, but support from an institution Ann Trondson, University of in America, 1935–1946” Hiroko Ikegami like the Terra Foundation will certainly be of Southern California Associate Professor, Graduate School of critical importance. Video, film, installation, and performance Postdoctoral Fellows Intercultural Studies at Kobe University Sébastien Delot, Institut National du Organizer of the 2014 symposium “Multi-Locale What new project(s) are you working on? Senior Scholars Patrimoine Pops in the 1960s” at Sophia University, in Tokyo; I’ve been working as a consulting curator on Jean-François Chevrier, École Nationale “New York Contemporary Galleries that Publication Grant, 2014 International Pop, scheduled to open at the Supérieure des Beaux-Arts Made International Avant-Garde: 1943–1993” Walker Art Center in April 2015. The exhibition How did you come to be involved with will take a look at various Pop-related art Bryan Wolf, Stanford University Jordi Ballesta, Centre National American art? movements that emerged in places around de la Recherche Scientifique I took a class on post-1945 art when I was the world. I am in charge of the selection of Senior Artists “The Photographic Archives and Geographic Art studying as an undergraduate exchange student Japanese artworks, many of which will be Carlos Amorales, artist, theorist, and curator of John Brinckerhoff Jackson” at the University of Sussex in England. It was a shown in the United States for the first time. very new subject to me, and I was particularly Annette Lemieux, artist interested in artists such as Jasper Johns and 2014 Robert Rauschenberg. I had no idea I would end Guest Lecturers up writing my dissertation on Rauschenberg! Jennifer Greenhill, University of Illinois Doctoral Fellows at Urbana-Champaign Giles Fielke, University of Melbourne “Hollis Frampton: Cinema Vasif Kortun, SALT Cultural Center and the Theatre of Memory”

40 Report 2012–14 Fellowships and Awards 41 working in the field. It also made me realize Victoria Horne, University of Edinburgh The Carnegie Corporation of New York’s the importance of diverse points of view on “A History of Feminist Art History: British Dominions Exhibitions, 1934–1941” American art in enriching our thinking about it. Remaking a Discipline and Its Institutions” Antje Krause-Wahl, Goethe-Universität Where would you like to see the field Yun Li, Tsinghua University “On Art and Fashion in Artist and Fashion in 10 years and what needs to be done to “New York Scene and American Modern Art, Magazines in the Twentieth Century” get it there? 1893–1929” There is one practical blind spot that the field at Haiping Liu, Shandong University of Arts large could benefit from eliminating. The study Hao Lu, China Academy of Art “American Women Artists Paintings in the 1970s” of American art has yet to productively utilize “Evolution or Revolution: Walter Pach and the full potential of available digital tools, both Modernism in the United States in the Early Stephen Monteiro, American University of Paris in research itself and its dissemination. Much of Twentieth Century” “Idle Work: Andy Warhol American art scholarship is still conveyed in the and the Post-Industrial Body” traditional form of essays with accompanying Amy Tobin, University of York images or, at best, online galleries of artworks. “Working Apart, Working Together: Dafne Porchini Cruz, Universidad Nacional There is much to be said for this form of delivery, Feminism, Art, and Collaboration, Autonoma de Mexico much of art history has been built on argumen- 1970–1980” “Transnational Cultural Networks between tative essays with illustrations. On the other Mexico and the United States (1930–1945) hand, so much more is possible—consider an Andrew Witt, University College London through the Lenses of Walter Pach, René electronic essay on Jasper Johns’s flag paintings “The Reinvention of Documentary/ d’Harnoncourt, and Carl Zigrosser” that allows the readers to compare various works On the Crisis of Representation in the 1970s” in the series and their iterations by overlapping Gregor Stemmrich, Freie Universität Berlin Q&A with them or comparing the zoomed-in fragments. Zhang Mengyang, Tsinghua University “Robert Rauschenberg’s Erased Edyta Frelik Electronic media can be harnessed to offer new “Hymning in the Dark: Portraits by de Kooning Drawing (1953)” Assistant Professor, Department of American perspectives on the material that seemed to have African American Artists during the 1920s” Studies, Maria Curie-Skłodowska University been thoroughly researched. Terra Foundation for American Art International Postdoctoral and Senior Fellows Terra Foundation for Essay Prize, 2013 What is one favorite fun/interesting fact that Fiona Anderson, University of York American Art International people should know about American art? “The Representation of the Ruin or Essay Prize How have you been impacted by your Some American artists were also prodigious Abandoned Space in Queer Artistic Practices relationship with the Terra Foundation writers. Indifferent to the admonition from in New York between the Late 1950s and and how has it, in turn, impacted the Henri Matisse that “He who wants to dedicate the Early 1980s” 2013 field of American art scholarship? himself to painting should start by cutting out Needless to say, receiving the Terra Foundation his tongue,” they more than dabbled in ink. Davide Colombo, Università degli Edyta Frelik, Maria Curie- for American Art International Essay Prize Thomas Hart Benton found one autobiography Studi di Milano Skłodowska University soon after completing my doctoral dissertation inadequate to aptly tell the story of his life “‘What’s America? What’s Italy?’ Analysis “Ad Reinhardt: Painter-as-Writer” has been an absolutely decisive event. It has and ended up authoring three autobiographies! of the Relations between Italy and the confirmed to me that pursuing the study of So did Marsden Hartley! USA during the 1950s and 1960s: Different American artists’ writings, my principal field Interests and Approaches by Dorazio, Afro, 2014 at the moment, is of interest to others and a and Scialoja” potentially worthwhile addition to the field. John Fagg, University of Birmingham It has opened a few doors for me and put me Caroline Jordan, La Trobe University “Bedpans and Gibson Girls: Clutter in contact with a number of wonderful people “Cultural Change or Cultural Diplomacy? and Matter in John Sloan’s Graphic Art”

42 Report 2012–14 Fellowships and Awards 43 but many have followed after me, and Edward Sullivan I am happy to see a pool of young scholars Publication Grants From San Juan to Paris and Back: Francisco of American art developing in Paris. Oller, Caribbean Artist in the Age of Impressionism, Yale University Press, USA What is the importance of studying/ 2013 presenting American art? I am interested in the history of visual arts in John J. Curley 2014 the United States because I think that history A Conspiracy of Images: Andy Warhol, still has an impact on how images are made, Gerhard Richter, and Cold War Visuality, Jean-Philippe Antoine circulated, and received today. We live with Yale University Press, USA Conférences sur l’Affinité de la Peinture images, most of them coming from American avec le Reste des Beaux-Arts, Les Presses culture. Yet, although people in Europe are Melissa Dabakis du Réel, France very familiar with many visual productions The American Corinnes: Women Sculptors coming from the United States, they often and the Eternal City, 1850–1876, Marie Cordié Levy ignore their sources and the way they Pennsylvania State University Press, USA Petite Histoire de l’Autoportrait were shaped. This is something that is very Photographique en Amérique (1839–1939), important in my teaching. Camille Morineau Mare et Martin, France Roy Lichtenstein: Ce que Je Crée, What are some current trends in the field? C’est de la Forme: Entretiens, Serge Guilbaut, ed. I see American art historians taking their 1963–1997, Éditions du Breathless Days, 1959–1960, Duke University inspiration from current developments in other Centre Pompidou, France Press, USA disciplines in the humanities. I am particu- Q&A with larly interested in the new approaches on art Hélène Valance and environment, in art historical uses of the Terra Foundation for American Art methods of spatial and sensory history. Postdoctoral Teaching Fellow at the Courtauld Institute of Art What is one favorite fun/interesting fact that Research Travel Grant to the United States, 2008; people should know about American art? Terra Summer Residency, 2010; Terra Foundation I have always been fascinated by the fluidity for American Art Predoctoral Fellowship at of borders in the history of American visual the Smithsonian American Art Museum, 2012 arts, and I often tell my students about the multiple careers many American artists had— How have you been impacted by your John James Audubon, Charles Willson Peale, relationship with the Terra Foundation and Rembrandt Peale were naturalists, Samuel and how has it, in turn, impacted the Morse and Robert Fulton were painters before field of American art scholarship? being inventors. The support I received from the Terra Foundation throughout my doctoral research allowed me to complete research on a much wider scale and greatly increased the quality of my work. I was among the first students in my program at Université Paris Diderot-Paris 7 to receive funding from the Terra Foundation, Selection of books resulting from Terra Foundation publication grants

44 Report 2012–14 Fellowships and Awards 45 “After the New Deal: American Artists Sarah Archino, City University of New York and Soviet Friendship in the Early Cold War” (2013–2015)

Luis Vargas-Santiago, University of Texas at Austin Visiting Professorships at the “The Diaspora of Emiliano Zapata: From the Courtauld Institute of Art Mexican Revolution to the American Imagination” Julia Bryan-Wilson, University of California, Berkeley (Spring 2014) 2014 Daniel A. Barber, University of Senior Fellows Pennsylvania School of Design (Spring 2015) Nina Schleif, Bavarian State Art Museums “Warhol’s Drawings of the Fifties: Sources, Techniques, Meanings” Visiting Professorships at the Institut National d’Histoire de l’Art ShiPu Wang, University of California, Merced “The Other American Moderns” Jennifer Greenhill, University of Illinois at Urbana-Champaign (Spring 2014) Predoctoral Fellows

Smithsonian AmericanSmithsonian Art Christopher Crews Photo: Museum. Kirill Chunikhin, Jacobs University Bremen Wendy Bellion, University of Delaware “Representation and Reception of American (Spring 2015) Hiroko Ikegami Visual Art in the USSR during the Cold War” The Great Migrator: Robert Terra Foundation for Rauschenberg and the Global American Art Fellowships Han-Chih Wang, Temple University Visiting Professorships at Rise of American Art, Sangensha at the Smithsonian “The Profane and Profound: American Road the John F. Kennedy Institute, Publishers, Inc., Japan American Art Museum Photography from 1930 to the Present” Freie Universität Berlin

Anaël Lejeune Andrew Hemingway, University College London Perspective et Géométral. 2013 Postdoctoral Teaching (Fall–Winter 2013) Problématisation de la Sculpture Fellowships at Courtauld aux États-Unis (1966–1973), Senior Fellows Institute of Art Kenneth Haltman, University of Oklahoma Les Presses du Réel, France Melissa Dabakis, Kenyon College (Spring–Summer 2014) “A Cultural History of Italo-American Ellery Foutch, University of Pennsylvania Rolf Lundén Relations, 1760–1900” (2013–2014) Michael Schreyach, Trinity University Man Triumphant: The Divided Life of (Fall–Winter 2014) David Edstrom, Acta Universitatis Fabiola Martinez, St. Louis University, Hélène Valance, Université Paris Upsaliensis, Sweden Madrid Campus Diderot-Paris 7 (2014–2015) Michele Bogart, Stony Brook University “The Mexican Connection: Shaping (Spring–Summer 2015) Olivier Mignon American Modernism in New York” Robert Smithson: Learning Postdoctoral Teaching from New Jersey and Elsewhere, Predoctoral Fellows Fellowships at the Institut National (SIC), Belgium Julia Bailey, University College London d’Histoire de l’Art

46 Report 2012–14 Fellowships and Awards 47 Paris Center Events

Since 2009 the Terra Foundation Paris Center has served as the hub of our European activities, welcoming a growing 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.

“Eccentricity and Identity: Sexuality, Dialogues and Workshops Regionalism, and Legacy in Mid-twentieth Century American Art” “Hopper, Peinture, Architecture, Cinema” November 8, 2012 September 27, 2012 Christine Guth, Victoria and Albert Museum/ Jean-Loup Bourget, École Normale Supérieure Royal College of Art Géraldine Chouard, Université Paris Dauphine Christopher Reed, Pennsylvania State University and Terra Foundation for American Art Visiting “La Galerie John Gibson et le ‘Narrative Professor at the Courtauld Institute of Art

Art,’ l’Invention d’une Mouvance Transatlantique des Années 1970” “Starburst: Color Photography in America, October 11, 2012 1970–1980” Alexandre Quoi, Université Paris-Sorbonne November 16, 2012 (Paris IV) Kevin Moore, Independent curator and scholar

“La Galerie Paula Cooper, “Performance, Film, and Photography Première Galerie Commercial after 1969” dans SoHo” December 3, 2012 October 11, 2012 William McManus, Terra Foundation for Sébastien Delot, Institut National du American Art Postdoctoral Teaching Fellow at at the Paris Center. Photo: Lucy Pike Patrimoine the Courtauld Institute of Art dialogue Chassey in de Éric and Crow Thomas

48 Report 2012–14 Section 49 “After Conceptualism: Spaces of “Barnett Newman, Jackson Pollock How did you come to be involved with Transference and Separation, circa 1977” et le Problème de l’Espace: en Affinités American art? December 6, 2012 et aux Antipodes” I was a predoctoral fellow at the Terra Summer William McManus, Terra Foundation for November 21, 2013 Residency in Giverny in 2005, just as I was American Art Postdoctoral Teaching Fellow at Cyril Crignon, Université Paris 1 beginning to write the first chapter of my the Courtauld Institute of Art Panthéon-Sorbonne dissertation. I benefited tremendously from the conversations I had with everyone in “The Transgenerational Trauma of Slavery “D’Andrew Warhola à Andy Warhol: Giverny, and this could not have happened in Faith Ringgold’s Slave Rape Story Quilt” les Logiques Artistiques at a more opportune moment in the life December 6, 2012 d’un Illustrateur Publicitaire of my project. I wrote the first chapter of my Vivien Green Fryd, Vanderbilt University and (1949–1961)” dissertation there—a chapter on Winslow Terra Foundation for American Art Visiting November 21, 2013 Homer and the mechanics of visual deadpan— Professor at John F. Kennedy Institute, Freie Marine Schütz, Institut National d’Histoire and this work became the foundation for the Universität Berlin de l’Art rest of the dissertation and later the book manuscript, published as Playing It Straight: “Land Art” “Beyond Imperialist Nostalgia: Art and Humor in the Gilded Age. January 31, 2013 Rosa Bonheur, Cyrus Dallin, Philippe-Alain Michaud, Centre Pompidou Chief Red Shirt, and Chief Rocky Bear What new project(s) are you working on? Joy Sleeman, Slade School of Fine Art at the 1889 Exposition” For the past few years, while working on Gilles Tiberghien, Université Paris 1 December 12, 2013 other projects, I have been involved in Panthéon-Sorbonne Emily Burns, Auburn University something of a labor of love with John Davis and Jason LaFountain: A Companion to American “Race and Battlefield: Seeing “Les Couleurs de l’Exotisme à Q&A with Art, which presents 35 newly-commissioned and Not Seeing the Civil War” l’Epoque Romantique ou la Jennifer Greenhill essays that showcase a diversity of critical March 21, 2013 Représentation des Amérindiens Associate Professor of Art History, approaches to American art history. Although John Davis, Smith College and Terra aux Salons Parisiens” University of Illinois at Urbana-Champaign this anthology is a whopping 688 pages, our Foundation for American Art Visiting Professor December 12, 2013 Terra Summer Residency, 2005; Publication goals are really rather modest: to provide a at the Institut National d’Histoire de l’Art Agathe Cabau, Université Paris 1 Grant, 2012; Terra Summer Residency snapshot of some of the dominant strains of William Gleeson, Université Paris Panthéon-Sorbonne Guest Lecturer, 2013; Terra Foundation for thought on American art, which we hope will Diderot-Paris 7 American Art Visiting Professorship at have a ripple effect, inspiring passionate Presentation of the exhibition the Institut National d’Histoire de l’Art, 2014 debate in the future. With this project finally “Joseph Cornell et les Surréalistes à New York” L’Impressionnisme et les Américains wrapping up—it will be published in January September 26, 2013 April 3, 2014 2015—I can now focus full-time on my other Patrick Mauriès, Independent scholar Katherine Bourguignon, Terra Foundation book project, The Commercial Imagination, Sylvie Ramond, Musée des Beaux-Arts de Lyon for American Art which theorizes the haptic and conceptual expectations of popular illustration in the early “Rothko’s Breakthrough and “The United States as Seen by Europe” twentieth century, when illustrators developed the Art of Medieval Europe” May 14, 2014 remarkably complex, multi-sensorial strategies October 10, 2013 François Brunet, Université Paris of viewer engagement. Thomas Crow, Institute of Fine Arts, Diderot-Paris 7 New York University Christof Decker, Ludwig-Maximilians- Éric de Chassey, Académie de France à Universität München Rome-Villa Médicis John Fagg, University of Birmingham

50 Report 2012–14 Paris Center Events 51 “American Indian Images: Patricia Hills: “Modern Art in the USA: Issues Making and Breaking George Catlin’s Legacy” and Controversies of the Twentieth Century” March 8, 2013 May 24, 2013 National Portrait Gallery, London Muzeum Sztuki

“Retracing America: “Lorna Simpson: Mémoire et Sens” Modernism after Paul Strand” June 4–8, 2013 March 9, 2013 Jeu de Paume University College London “Hidden Forces: ‘Painting’ in “Sketching the Sublime” the 1960s and 1970s” March 23, 2013 June 14–15, 2013 National Gallery, London MMK Museum für Moderne Kunst

“New Light on American Photography” “Expanded Cinema” March 25, 2013 June 27–28, 2013 Institut National d’Histoire de l’Art Institut National d’Histoire de l’Art

William McManus: “Surface, Space, “Allan Sekula” Phantasms: Spectators and Effects in June 28, 2013

Michael Schreyach and Eva Ehninger at the Paris Center. Photo: Lucy Pike Warhol’s Late Films” Centre Pompidou May 7, 2013 Jennifer Greenhill, University of Illinois Christopher Reed: “Japanese Aesthetics Courtauld Institute of Art “Reimagining Modernism, Mapping the at Urbana-Champaign and Terra Foundation for in Constructions of Occidental Forms Contemporary: Critical Perspectives on American Art Visiting Professor at the Institut of Masculinity” John Davis: “What Was Modern about Transnationality in Art” National d’Histoire de l’Art November 15, 2012 American Landscape Painting in the 1880s?” September 23–24, 2013 Courtauld Institute of Art May 14, 2013 University of Cambridge “American Indian Masks: The Ethical Institut National d’Histoire de l’Art Uses of Cultural Knowledge “American Icons and Monuments” “L’Amérique des Images: Histoire et in the Twenty-first Century” January 25, 2013 “Historical Displacements and Culture Visuelles des États-Unis” June 25, 2014 John F. Kennedy Institute, Vital Narratives after the American Century” September 24, 2013 Janet Catherine Berlo, University of Rochester Freie Universität Berlin May 18, 2013 École Nationale Supérieure d’Architecture Courtauld Institute of Art Paris-Val de Seine “‘Tales Told’: Representation and Conferences, Symposia, Narration in American Art, “American Families” Mel Bochner: “Blah, Blah, Blah. Réflexions and Study Days Eighteenth to Twentieth Centuries” May 20–24, 2013 Sur La Couleur, Le Langage et La Peinture” Co-organized and Supported February 4–18, 2013 Centro Studi Americani September 25, 2013 by the Paris Center Musée du Louvre Centre Pompidou Patricia Hills: “New York Women “La Ville Magique” David Lubin: “About Face: World War I, Plastic Artists Move into Feminism in “Cracking the Code: Secret Messages in November 23–24, 2012 Surgery, and the Modern Beauty Revolution” the 1970s” American Daguerreotype Portraits Revealed” Centre Allemand d’Histoire de l’Art and Lille March 5, 2013 May 22, 2013 September 26, 2013 Métropole Musée d’Art Moderne Università Cà Foscari Adam Mickiewicz University Université Paris Diderot-Paris 7

52 Report 2012–14 Paris Center Events 53 What is the importance of studying/ “Robert Smithson (1938–1973): Portraiture in an Era of Revolution presenting American art? Entropie et Mémoire” January 19, 2014 I have been specifically interested in American September 26–27, 2013 Musée du Louvre art and visual culture of the nineteenth and Centre Pompidou early twentieth centuries, which is little known “Le Cinéma sans Caméra in France, for at least two reasons: 1) because Thomas Crow: “Lichtenstein avant de Joseph Cornell” of its great visual originality and diversity, Lichtenstein” February 7–8, 2014 which greatly adds to the comprehension of October 9, 2013 Institut National d’Histoire de l’Art and American culture and literature of the period Centre Pompidou Musée des Beaux-Arts de Lyon (literature being traditionally better known in English departments such as mine), and “Avec un Accent Français: La Lithographie “Funny Papers: Humor in American Art” 2) because both the historical conditions of aux États-Unis jusqu’à 1860” March 27, 2014 American art and culture and the often October 11, 2013 Institut National d’Histoire de l’Art innovative American historiography of Musée Goupil American art provide extremely compelling “L’Impressionnisme et la Politique” alternatives to the more rigidly stratified “The Armory Show at 100” May 23, 2014 conditions of art and culture in France. December 6–7, 2013 Musée des Impressionnismes Giverny Musée d’Orsay What are some current trends in the field? “Arts et Savoirs des Indiens des Plaines” What I see in France is the development of Kevin Murphy: Presentation of the exhibition June 18–19, 2014 trends initiated in the United States one, American Encounters: Anglo-American Musée du Quai Branly two, or three decades ago, particularly from Q&A with visual culture studies and cultural studies. François Brunet What I see in the United States is a new and Professor, Université Paris Diderot-Paris 7 more refined stage of the dynamics of art Research Travel Grant to the United States, 2008; history incorporating these “cultural turns,” Terra Summer Residency, 2010; Terra Foundation and one that is particularly fruitful concerning for American Art Fellowship at the Smithsonian the nineteenth century. American Art Museum, 2012

How have you been impacted by your relationship with the Terra Foundation and how has it, in turn, impacted the field of American art scholarship? I have been impacted very strongly and very positively, and this relationship has obviously helped not only my career but also, I think, the progress of scholarship by younger people— doctoral and postdoctoral—in France at least. Scholars gather in Giverny, France, to discuss the politics of Impressionism. Photo: Jennifer Donnelly Jennifer Impressionism. Photo: politics of the

54 Report 2012–14 Paris Center Events 55 Collection Loans and Acquisition

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 nearly 800 paintings, prints, drawings, photographs, and sculptures spanning the colonial period to 1945. We work to ensure the collection is widely accessible, lending artworks to exhibitions worldwide, creating focused collaborative shows for public exhibition, and maintaining a comprehensive database of the collection online.

Americans in Florence: Sargent Exhibition Loans and the American Impressionists Fondazione Palazzo Strozzi, Da Hopper a Warhol. Pittura Americana March 2–July 15, 2012 del XX Secolo a San Marino Frank Benson, The Sisters, 1899 (Organized by Linea d’ombra) Palazzo SUMS, William Merritt Chase, The Olive Grove, c. 1910 January 21, 2012–June 3, 2012 William Merritt Chase, Morning at

Thomas Hart Benton, Industry Breakwater, Shinnecock, c. 1897 (Women Spinning), 1924–27 Joseph DeCamp, The Hammock, c. 1895 Lyonel Feininger, Denstedt, 1917 Lilla Cabot Perry, The Green Hat, 1913 Rockwell Kent, Cranberrying, Monhegan, c. 1907 Jamie Wyeth, Rockwell Kent, and Monhegan Farnsworth Art Museum (organizer), The Art of Golf May 12–December 30, 2012; Brandywine River High Museum of Art, February 5–June 3, 2012; Museum, June 15–November 17, 2013 Oklahoma City Museum of Art, July 18– Rockwell Kent, Cranberrying, Monhegan, c. 1907 October 7, 2012; Museum of Fine Arts, St. Petersburg, Florida, November 3, 2012– Artist and Visionary: February 17, 2013 William Matthew Prior Revealed James McNeill Whistler, Grey and Silver: Fenimore Museum of Art, Installing George Caleb Bingham’s The Jolly Flatboatmen The Golf Links, Dublin, 1900 May 26–December 31, 2012 at the Musée du Louvre. Photo: Musée du Louvre

56 Report 2012–14 Section 57

William Matthew Prior, Double Portrait of Lilly Martin Spencer, The Home of the Journeys Mary Cary and Susan Elizabeth Johnson, 1848 Red, White and Blue, c. 1867–68 Edward Hopper Dawn in Pennsylvania, 1942 Bold, Cautious, True: Walt Whitman and Weatherbeaten: Winslow Homer and Maine American Art of the Civil War Era Portland Museum of Art, September 22– The 2012 retrospective Edward Hopper drew Virginia Museum of Fine Arts, June 2– December 30, 2012 record-breaking crowds to Paris’s Réunion des August 26, 2012 Winslow Homer, The Life Line, 1884 Museés Nationaux Grand Palais—second only to Frederic Edwin Church, the Monet retrospective there two years earlier— Our Banner in the Sky, 1861 La Ville Magique no small feat for an exhibition of American art Sanford Robinson Gifford, Lille Métropole Musée d’Art Moderne d’Art abroad. The popularity of Dawn in Pennsylvania, Hunter Mountain, Twilight, 1866 Contemporain et d’Art Brut, September 29, which was featured in the exhibition, has made 2012–January 15, 2013 it one of the most traveled paintings in the George Bellows Charles Demuth, Rue du singe qui pêche, 1921 Terra Foundation’s collection: in the past decade National Gallery of Art, Washington, DC, Edward Hopper, Night Shadows, 1921 alone, it has visited seven countries, logging (co-organizer), June 10–October 8, 2012; Armin Landeck, Pop’s Tavern, 1934 over 34,000 miles. It was also featured in Art in Oil on canvas, 24 ⅜ × 44 ¼ inches Joseph Stella, Telegraph Poles with Buildings, 1917 Metropolitan Museum of Art (co-organizer), Terra Foundation for American Art, America: 300 Years of Innovation, among the November 14, 2012–February 18, 2013; Daniel J. Terra Collection, 1999.77 first surveys of American art to travel to China. Royal Academy of Arts (co-organizer), A Good Light: The Artist’s Studio March 16–June 9, 2013 in Cos Cob and Beyond George Bellows, Nude Girl, Miss Leslie Hall, 1909 Greenwich Historical Society, Bush-Holley George Bellows, The Palisades, 1909 Historic Site, October 3, 2012–January 6, 2013 1 5 9 13 Attributed to Frederick MacMonnies, Art Institute of Chicago Guggenheim Museum Bilbao Fondation de l’Hermitage, Museo Thyssen- Edward Hopper Atelier at Giverny, 1896 or 1897 Apr 15, 2005–May 16, 2006 Oct 15, 2007–Apr 27, 2008 Lausanne Bornemisza, Madrid Jun 25–Oct 17, 2010 Jun 12–Sep 16, 2012 Museo Thyssen-Bornemisza (co-organizer), 2 6 June 12–September 16, 2012; Réunion des Teaching the Body: Artistic Anatomy in the Musée du Louvre, Paris Kunsthalle Wien, Vienna 10 14 Jun 14–Sep 18, 2006 Oct 2, 2008–Feb 15, 2009 Smithsonian American Art Réunion des Musées Museés Nationaux Grand Palais (co-organizer), American Academy, from Copley, Rimmer and Museum, Washington, DC Nationaux Grand Palais, October 5, 2012–January 28, 2013 Eakins to Contemporary Artists 3 7 Mar 11–Sep 5, 2011 Paris National Art Museum Palazzo Reale, Milan Oct 5, 2012–Jan 28, 2013 George Bellows, Billy Sunday, 1923 (Réunion Boston University Art Gallery, January 31– of China, Beijing Oct 15, 2009–Jan 24, 2010 11 des Museés Nationaux Grand Palais only) April 7, 2013 Feb 9–Apr 5, 2007 Nelson-Atkins Museum 15 Edward Hopper, Dawn in Pennsylvania, 1942 Frank Duveneck, Reclining Nude, c. 1890 8 of Art, Kansas City Dallas Museum of Art 4 Fondazione Roma Museo, Oct 8–Dec 31, 2011 Nov 17, 2013–Feb 16, 2014 Edward Hopper, East Side Interior, 1922 Shanghai Museum; Rome (Museo Thyssen-Bornemisza only) En Été au Bord de l’Eau: Loisirs et Impressionisme Shanghai Museum of Feb 23–Jun 23, 2010 12 16 Contemporary Art Georgia Museum of Art Walker Art Center, Musee des Beaux-Arts de Caen (co-organizer Apr 30–Jun 30, 2007 at University of Georgia, Minneapolis Angels and Tomboys: Girlhood in with Réunion des Museés Nationaux Grand Athens Mar 15–Jun 20, 2014 Feb 18–Apr 16, 2012 19th-Century American Art Palais), April 27–September 29, 2013 Newark Museum (organizer), September 12, James McNeill Whistler, The Sea, Pourville, 1899 2012–January 6, 2013; Memphis Brooks Museum of Art, February 16–May 26, 2013; Hopper Drawing: A Painter’s Process 2, 14 6 Crystal Bridges Museum of American Art, Whitney Museum of American Art (organizer), 16 1 5 7 3 May 23–October 6, 2013; Dallas Museum of Art, 9 June 28–September 30, 2013 11 10 8 John George Brown, The Cider Mill, 1880 November 17, 2013–February 16, 2014; Walker 13 Charles Courtney Curran, Lotus Lilies, 1888 Art Center, March 15–June 20, 2014 15 12 4 Ammi Phillips, Girl in a Red Dress, c. 1835 Edward Hopper, Dawn in Pennsylvania, 1942

58 Report 2012–14 Australian Impressionists in France San Antonio Museum of Art, Center, March 6–August 31, 2015; Whitney Into the Light: The Paintings National Gallery of Victoria, February 8–May 11, 2014 Museum of American Art, September 2015– of William Blair Bruce June 15–October 6, 2013 Thomas Sully, Portrait of Blanch Sully, 1839 February 29, 2016 Art Gallery of Hamilton, May 24– Frederick Frieseke, Archibald J. Motley Jr., Between Acts, 1935 October 5, 2014 Breakfast in the Garden, c. 1911 Art and Appetite: American Painting, John Leslie Breck, Garden at Giverny Culture and Cuisine William Glackens (In Monet’s Garden), between 1887 and 1891 Swing Time: Reginald Marsh Art Institute of Chicago (organizer), Nova Southeastern University’s Museum John Leslie Breck, Giverny Hillside, and Thirties New York November 12, 2013–January 27, 2014; of Art, Fort Lauderdale (organizer), between 1887 and 1891 New-York Historical Society Museum Amon Carter Museum of American Art, February 23–June 1, 2014; Parrish Art Museum, Dawson Dawson-Watson, Giverny, 1888 & Library, June 21–September 2, 2013 February 22–May 18, 2014 July 27–October 13, 2014; Barnes Foundation, Louis Ritter, Willows and Stream, Giverny, 1887 Reginald Marsh, Pip and Flip, 1932 Stuart Davis, Super Table, 1925 November 8, 2014–February 2, 2015 Robert Spear Dunning, Harvest of Cherries, 1866 William Glackens, Bal Bullier, c. 1895 Peindre L’Amérique: Maurice Prendergast: By the Sea William Glackens, Beach, St. Jean de Luz, 1929 Les Artistes du Nouveau Monde Bowdoin College Museum of Art, June 29– The Left Front: Radical Art in the (Parrish Art Museum only) (1830–1900) October 13, 2013 “Red Decade,” 1929–1940 Fondation de l’Hermitage, 6 works loaned, including: Mary & Leigh Block Museum of Art (organizer), Marsden Hartley: Die Deutschen Bilder June 27–October 26, 2014 Maurice Brazil Prendergast, Telegraph Hill I, January 17–June 22, 2014; Gray Art Gallery, 1913–1915 William Bradford, Floe-Ice, 1872 between 1895 and 1897 New York University, January 13–April 4, 2015 Neue Nationalgalerie (organizer), April 5– Frederic Edwin Church, The Iceberg, c. 1875 Boris Gorelick, Sweat Shop, c. 1938 June 29, 2014; Los Angeles County Museum of John Frederick Kensett, George Bellows and the Reginald Marsh, Chicago, 1930 Art, August 3–November 30, 2014 Almy Pond, Newport, c. 1857 American Experience Kenneth Hayes Miller, Leaving the Shop, 1929 Marsden Hartley, Painting No. 50, 1914–15 Irving Ramsey Wiles, On the Veranda, 1887 Columbus Museum of Art, August 23, 2013– Raphael Soyer, The Mission, c. 1935 January 5, 2014 George Bellows, The Palisades, 1909 ArtWork: Art and Labor Sheldon Museum of Art, January 24– Industrial Sublime: Modernism and May 25, 2014 the Transformation of New York’s Rivers, George de Forest Brush, The Weaver, 1889 1900–1940 Walter Ufer, Builders of the Desert, 1923 Hudson River Museum (organizer), October 5, 2013–January 19, 2014; Norton Museum of Art, Striking Resemblance: The Changing March 20–June 22, 2014 Art of Portraiture

Ernest Lawson, Brooklyn Bridge, 1917–20 Zimmerli Art Museum, Rutgers University, January 25–July 13, 2014 The Armory Show at 100: Modern Art Susan Macdowell Eakins, and Revolution Portrait of Luigi Maratti, 1932

New-York Historical Society . Photo: Newberry Library Museum & Library, October 11, 2013– Archibald Motley: Jazz Age Modernist February 23, 2014 Nasher Museum of Art at Duke University Robert Henri, Figure in Motion, 1913 (organizer), January 30–May 11, 2014; Amon Carter Museum of American Art, Thomas Sully: Painted Performance June 14–September 7, 2014; Los Angeles Milwaukee Art Museum (organizer), County Museum of Art, October 19, 2014– Installation view of the exhibition Front: Home October 11, 2013–January 5, 2014; February 1, 2015; Chicago Cultural Daily Life in the Civil War North

60 Report 2012–14 Collection Loans and Acquisition 61 30 works loaned, including: What is the importance of studying/ Terra Collection Initiatives Thomas Hart Benton, Slaves, 1924–27 presenting American art? John Singleton Copley, Art is central to the experience of being human, Organized by the foundation’s curatorial Portrait of a Lady in a Blue Dress, 1763 which is what all humanities subjects staff in concert with institutional partners, Frederick Frieseke, Lilies, by 1911 ultimately explore. My teaching experiences Terra Collection Initiatives are collaborative Walt Kuhn, Clown with Drum, 1942 in programs funded by the Terra Foundation exhibition projects that further scholarship John La Farge, Paradise Valley, 1866–68 have revealed so clearly that many teachers on the foundation’s collection and make Everett Shinn, Theater Scene, 1903 are intimidated by interpreting American art, significant contributions to the study of George Caleb Bingham, or they just don’t think about using art in their historical American art. Although such The Jolly Flatboatmen, 1877–78 lesson plans. These barriers have closed off collaborations vary in nature, the goal of opportunities for students to interact with a Terra Collection Initiatives is to inspire a rich Through American Eyes: Frederic Church critical component of American history and cross-cultural dialogue on and new ways and the Landscape Oil Sketch culture. Helping teachers find ways to teach of thinking about American art, utilizing the National Gallery, London (co-organizer), using American art and to break down barriers collection as the basis for both scholarly February 6–April 23, 2013; Scottish National to including art in their lesson plans has been interpretation and contextualized presentation. Gallery, May 11–September 8, 2013 an especially rewarding experience. Frederic Edwin Church, A New Look: Samuel F. B. Morse’s Our Banner in the Sky, 1861 What are some current trends in the field? “Gallery of the Louvre” Frederic Edwin Church, The Iceberg, c. 1875 Home Front: Daily Life in the Civil War North was Pennsylvania Academy of the Fine Arts an example of the way that museum exhibitions (co-organizer), July 4, 2012–September 22, 2013 Home Front: Daily Life in the may combine paintings with other formats Samuel F. B. Morse, Francis I, Study for “Gallery Civil War North and types of materials. In the exhibition, we of the Louvre,” between 1831 and 1832 Newberry Library (co-organizer), Q&A with put the Terra Foundation’s Civil War-era Samuel F. B. Morse, Gallery of the Louvre, 1831–33 September 26, 2013–March 24, 2014 Daniel Greene paintings in a larger context by showing them 9 works loaned, including: Adjunct Professor of History, Northwestern alongside books, maps, manuscripts, photo- American Encounters: Genre Painting Samuel Colman, Jr., University, and Guest Exhibition Curator, graphs, sheet music, magazines, and artifacts and Everyday Life Ships Unloading, New York, 1868 United States Holocaust Memorial Museum from the period. By including a mix of fine Musée du Louvre (co-organizer), January 19– Winslow Homer, On Guard, 1864 Co-curator of the 2013 exhibition Home Front: art and library collections, we hoped to model April 22, 2013; Crystal Bridges Museum of Thomas Moran, Autumn Afternoon, Daily Life in the Civil War North the potential impact of interdisciplinary study. American Art (co-organizer), May 11–August 12, the Wissahickon, 1864 Many museums have taken steps to move in 2013; High Museum of Art (co-organizer), William Sidney Mount, this direction, and I personally believe it makes September 14, 2013–January 12, 2014 Fruit Piece: Apples on Tin Cups, 1864 the experiences of American art richer for George Caleb Bingham, The Jolly Flatboatmen, museum-goers. I hope the field continues 1877–78 America: Painting a Nation to move in this direction. Art Gallery of New South Wales (co-organizer); Art Across America Los Angeles County Museum of Art What new project(s) are you working on? Los Angeles County Museum of Art (co-organizer); Museum of Fine Arts, Houston I left my position at the Newberry Library in (co-organizer); Museum of Fine Arts, Houston (co-organizer); and Philadelphia Museum 2014 to curate an exhibition on Americans and (co-organizer); National Museum of Korea of Art (co-organizer). Art Gallery of New South the Holocaust, which will open in 2018 at the (co-organizer); and Philadelphia Museum Wales, November 9, 2013–February 8, 2014 United States Holocaust Memorial Museum in of Art (co-organizer). National Museum of 21 works loaned, including: Washington, DC. Korea, February 4–May 12, 2013; Daejeon Joseph H. Boston, From Shore to Shore, 1885 Museum of Art, June 7–September 1, 2013 Charles Demuth, Welcome to Our City, 1921

62 Report 2012–14 Collection Loans and Acquisition Section 63 modest start to what could be a significant Edward Hicks, A Peaceable Kingdom Helen Torr, Purple and Green Leaves, 1927 dialogue between Australian and American with Quakers Bearing Banners, 1829 or 1830 Charles Sheeler, Bucks County Barn, 1940 scholars. As a younger nation, Australia is William S. Jewett, The Promised Land— still strongly connected with aspects of colonial The Grayson Family, 1850 Pennsylvania Academy of the Fine Arts, art; such as landscape, genre painting, and Jacob Lawrence, Bar-b-que, 1942 December 2010–December 2014 regional experience. I’d like to see Australian John Marin, Sailboat, Brooklyn Bridge, George Tooker, Highway, 1953 scholars prompting their American peers New York Skyline, 1934 to revisit art overshadowed by the triumph Musée de Impressionnismes Giverny, of American modernism. American Encounters: Anglo-American July 2012–November 2015 Portraiture in an Era of Revolution John Leslie Breck, Morning Fog and Sun, 1892 What is the importance of studying/ Musée du Louvre (co-organizer), January 31– Willard Metcalf, The Lily Pond, 1887 presenting American art? April 28, 2014; Crystal Bridges Museum of Lilla Cabot Perry, At a personal level, I initially connected American Art (co-organizer), May 17–September Autumn Afternoon, Giverny, undated American art with my fascination with the 15, 2014; High Museum of Art (co-organizer), Guy Rose, Giverny Hillside, culture of rock ’n’ roll, Hollywood, and larger- September 28, 2014–January 18, 2015 between 1890 and 1891 than-life consumer culture. It all seemed Rembrandt Peale, George Washington, Theodore Wendel, Brook, Giverny, 1887 to be about ambition, mobility, and over-the- Porthole Portrait, after 1824 top scale. Now I see American art as involving rigor as well as ambition; there’s a deep L’Impressionnisme et les Américains commitment to experiment and a determin- Musée des Impressionnismes Giverny ation to explore the implications of cultural (co-organizer), March 28–June 29, 2014; risk-taking. National Galleries of Scotland, July 19– Q&A with October 19, 2014; Museo Thyssen-Bornemisza, Dr. Chris McAuliffe Where would you like to see the field November 4, 2014–February 1, 2015 Art Historian, Writer, and Curator in 10 years, and what needs to be done to 36 works loaned, including: Curatorial consultant for the 2013 exhibition get it there? John Leslie Breck, Studies of an Autumn Day America: Painting a Nation Ideally I’d like to see art museums set aside (12 study installation), 1891 some of the distractions of spectacle and Mary Cassatt, Summertime, 1894 How have you been impacted by your recover the idea of close attention to art’s Childe Hassam, Horticulture Building, relationship with the Terra Foundation and materiality. For me, America: Painting a Nation World’s Columbian Exposition, Chicago, 1893 how has it, in turn, impacted the field of was about encouraging visitors to look closely John Singer Sargent, Dennis Miller Bunker American art scholarship? at the artworks, to see how carefully and Painting at Calcot, 1888 The Terra Foundation’s support of America: rigorously artists build a visual experience. Edmund Tarbell, In the Orchard, 1891 Painting a Nation allowed me to work with And to understand that every move an artist remarkable artworks from some of the great makes is an inducement to reflection, American collections. This was occasionally an knowledge, or emotion. Multi-year Loans almost visceral experience; it’s one thing to look at a Pollock, it’s something else to hold one What is one favorite fun/interesting fact Art Institute of Chicago, April 2005–Present in your white-gloved hands. The project gave that people should know about American art? 52 paintings, including: the Art Gallery of New South Wales a sense of Martin Lewis, an Australian artist born in Winslow Homer, Whittling Boy, 1873 mission; for most visitors, the exhibition was Castlemaine, just a few miles from my home, John H. Twachtman, Road near Honfleur, c. 1885 a first encounter with artists like Copley, Cole, gave Edward Hopper lessons in etching Maurice Brazil Prendergast, Opal Sea, Moran, and others. The exhibition was a in New York in 1915. between 1907 and 1910

64 Report 2012–14 Collection Loans and Acquisition 65 which detailed the movement of African Acquisition Americans from the rural South to the industrial North. The Phillips Collection and Jacob Lawrence, Bar-b-que, 1942 the Museum of Modern Art each purchased Jacob Lawrence’s gouache-on-paper painting half of the series and sent it on an extended Bar-b-que belongs to his thematic group of work national tour for the duration of World War II, about life in Harlem, a focal point of African- making him the most celebrated African American culture in the twentieth century, American artist in the country at the time. where he moved to in 1930. By 1935 he began creating images of his community, using “Bar-b-que is among Lawrence’s first paintings commercial poster paints and lightweight to combine multiple stories into one compos- brown paper. Many portrayed working-class ition,” explains Terra Foundation President & life, including unvarnished observations of CEO Elizabeth Glassman. “It complements poverty and crime. important works from the Terra Foundation’s collection by artists associated with Lawrence, Lawrence first achieved national prominence such as Stuart Davis, John Marin, and Charles when he created a 60-panel series of narrative Sheeler, all of whom exhibited alongside paintings called “The Migration of the Negro” Lawrence at New York’s Downtown Gallery (now known simply as “The Migration Series”), throughout the 1940s.”

Gouache on paper, 30 ⅞ × 22 ½ inches Terra Foundation for American Art, Daniel J. Terra Art Acquisition Fund, 2013.1. © 2013 The Jacob and Gwendolyn Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York. Image courtesy of DC Moore Gallery, New York.

66 Report 2012–14 Collection Loans and Acquisition 67 Jennifer Siegenthaler Board and Chicago Staff Program Director, Education Grants & Initiatives Peter John Brownlee, PhD Staff Curator Lynne Summers Executive Assistant July 1, 2012–December 31, 2014 Murphy Elizabeth Crain Grants Associate, Exhibitions and Academic Programs Paris Staff

Shari Felty Sarah Bentley (until fall 2014) Collection Associate Office Manager

Amy Gunderson Ewa Bobrowska, PhD Grants Manager Associate Program Officer, Academic Programs & Library Carrie Haslett, PhD Program Director, Véronique Bossard Exhibition & Academic Grants Residencies Manager Board of Directors Executive Staff Sara Jatcko Katherine Bourguignon, PhD Gerhard Casper, Chairman Elizabeth Glassman Education Grants and Programs Associate Curator Max Berry President & Chief Executive Officer Nora Daley Caroline Kearns Miranda Fontaine Charles Eldredge (until fall 2013) Donald H. Ratner Executive Assistant to EVP & CFO Academic Programs Coordinator Ruth Fine Executive Vice President & (until fall 2013) Mimi Gardner Gates Chief Financial Officer Charles Mutscheller Chet Gougis Manager of Communications Patricia Gaunet Charles Harper Elizabeth Hutton Turner, PhD Director of Office Administration David Kabiller (until fall 2013) (until spring 2014) Eleanore Neumann (until fall 2012) Peter Krivkovich Vice President of Collections & Program & Communications Associate Rebecca Park Michael Leja Curatorial Affairs Administrative Assistant Henri Loyrette (International Board) Maria Natschke Peter Lunder Amy Zinck Director of Finance Lucy Pike Clare Muñana Vice President Program Coordinator William Osborn (until fall 2012) Director, Terra Foundation Shoshana Resnikoff Larry Richman for American Art Europe Curatorial Associate Francesca Rose John Rogers, Jr. (until fall 2012) Program Director, Publications Gloria Scoby Catherine Ricciardelli Manager of Communications, Europe Michael Shapiro Registrar Marilynn Thoma Veerle Thielemans, PhD David Weinberg (until fall 2013) Alissa Schapiro (until spring 2014) European Academic Greg Williamson Collection Associate Program Director

68 Report 2012–14 Board and Staff 69 Condensed Consolidated Statements of Financial Position (Unaudited) Financial as of June 30, 2013, and June 30, 2014 Information Assets 2013 2014 Cash and Investments $ 333,222,415 $ 370,394,114 Other Assets $ 643,337 $ 1,150,734 Fixed Assets, Net of Depreciation $ 13,356,026 $ 13,583,170 Art Collection $ 178,394,476 $ 178,429,476

Total $ 525,616,254 $ 563,557,494

Liabilities & Net Assets Accounts Payable and Accrued Expenses $ 16,002,264 $ 15,637,371 Net Assets $ 509,613,990 $ 547,920,123

Total $ 525,616,254 $ 563,557,494

Condensed Consolidated Statements of Activity (Unaudited) as of June 30, 2013, and June 30, 2014

Revenues 2013 2014 Investment Income (Loss), Net of Related Expenses $ 25,640,139 $ 51,537,384 Rental Income, Net of Related Expenses $ 2,203,917 $ 0 Other $ 74,812 $ 360,424

Total Revenues $ 27,918,868 $ 51,897,808

Expenses Grants, Exhibitions, and Education Programs $ 8,349,528 $ 7,643,699 Collection Support $ 672,006 $ 740,485 Foundation Operations $ 5,373,320 $ 4,641,068 Total Grants and Operating Expenses $ 14,394,854 $ 13,025,252

Gain (loss) on Closing of Michigan Avenue Property $ 75,154,139 (– $ 666,178)

Increase (Decrease) in Net Assets $ 88,678,153 $ 38,206,378

70 Report 2012–14 Financial Information 71 Terra Foundation for American Art Report July 2012–June 2014

Project Manager: Charles Mutscheller Content Manager: Sarah Hansen Editor: Shelly Roman Design: Practise, Chicago Print: The Avery Group at Shapco Printing, Minneapolis

Copyright ©2015 Terra Foundation for American Art 120 East Erie Street Chicago, Illinois 60611 United States terraamericanart.org

All rights reserved

Opposite John Singleton Copley, Portrait of a Lady in a Blue Dress (detail), 1763 Oil on canvas, 50 ¼ × 39 ¾ inches Terra Foundation for American Art, Daniel J. Terra Collection, 1992.28

Cover Installation view of the 2013 exhibition Art Across America at the National Museum of Korea, Seoul. Photo: National Museum of Korea

Section c 120 East Erie Street 29 rue des Pyramides Chicago, Illinois 60611 75001 Paris United States France terraamericanart.org +1 312 664 3939 +33 1 43 20 67 01

d Report 2012–14