The BULLETIN 1998-1999

CONTENTS

Board and Committee Members 4 Report of the Chair and Director 5 Mission Statement 7

Volume 10, 1998-1999 Front cover: Three Kingdoms period, Silla King­ Studies in the Permanent Collection Copyright © 2000 by The David and Alfred Smart dom (57 B.c.E-935 C-E-) Pedestalledjar, 5th—6th Museum of Art, The University of , 5550 century stoneware with impressed and combed Metaphors and Metaphorphosis: The of South Greenwood Avenue, Chicago, , decoration and natural ash glaze deposits, h. 16 in the Early 1960s 9 60637. All rights reserved. inches (40.6 cm), Gift of Brooks McCormick Jr., RICHARD A. BORN 1999.13. ISSN: 1099-2413 Back cover: The Smart Museum's Vera and A.D. Black and White and Red All Over: Continuity and Transition in Elden Sculpture Garden, recently re-landscaped Editor: Stephanie P. Smith with a gift from Joel and Carole Bernstein. Robert Colescott's Paintings of the Late 1980s 17 Design: Joan Sommers Design STEPHANIE P. SMITH

Printing: M&G Commercial Printing Photography credits: Pages 8-13, 16, 18, 24-40, Tom van Eynde. Page 20, Stephen Fleming. Pages Activities and Support 41 —43» 4 6> 48> 51. Lloyd de Grane. Pages 44, 45, 49, Rose Grayson. Page 5, Jim Newberry. Page 53, Acquisitions to the Permanent Collection 25 Jim Ziv. Front and back covers, Tom van Eynde.

Loans from the Permanent Collection 36 The images on pages 18-22 are reproduced courtesy of Robert Colescott. The work by Imre Kinszki illustrated on page 24 and 31 is reproduced Exhibitions 39 courtesy of Howard Greenberg Gallery, New York. The work by Ed Paschke illustrated on page 26 is Education Programs and Public Events 43 reproduced by permission of the artist. The work by Robert Hudson illustrated on page 27 is Sources of Support 50 reproduced by permission of the artist. The work by Gerhard Marcks illustrated on page 29 is Operating Statement 5 5 reproduced by permission of Kunsthaus Lempertz, Cologne. The work by Hiroshi Sugimoto illustrated Smart Museum Staff 56 on page 34 is reproduced by permission of Sonnabend Gallery, New York.

Every effort has been made to contact rights holders for all photographs reproduced. Additional rights holders please contact the Smart Museum. Smart Museum Board of Governors 1998-1999

Richard Gray, Chair Jack Halpern Elizabeth Helsinger, Vice Chair Joan W. Harris Claudio Aspesi Neil Harris Mrs. Edwin A. Bergman Mary Harvey (ex officio) Robert Bergman (ex-officio) Randy Holgate Joel E. Bernstein William M. Landes Richard Elden Kimerly Rorschach (ex-officio) Robert Feitler Raymond Smart Lorna Ferguson Joel Snyder (ex-officio) Alan Fern John N. Stern Stanley M. Freehling Michael Wyatt

The Visiting Committee on the Visual Arts Report of the Chair and Director

Robert H. Bergman, Chair Marshall M. Holleb Anne Abrons Ruth P. Horwich Mrs. James W. Alsdorf Burton Kanter Chinese art; and a special Father's Day Family Dorothy L. Baumgarten Alan Koppel Day in June, co-sponsored by the Oriental David L. Blumberg Ardith M. Lauerman Institute Museum, which drew over 300 Andy Austin Cohen Julius Lewis members of the University and greater Chicago Phyllis Gordon Cohen Eloise Martin community. Marion Wood Covey Mrs. Robert B. Mayer As a university art museum, we strive to Becky (Georgette) D'Angelo Brooks McCormick Jr. serve audiences within the University of Chicago Robert G. Donnelley Mary M. McDonald by enriching the cultural and intellectual life of Gail M. Elden Helen Harvey Mills the campus in ways that only contact with Sally H. Fairweather Evelyn E. Padorr original works of art can do. To this end, we Joan E. Feitler Marshall J. Padorr continued to pursue a vigorous program of Robert Feitler Beatrice Perry events planned specifically for students, including Joan S. Freehling Elizabeth Plotnick our "Thursday Nights" series of student Stanley M. Freehling Margot L. Pritzker Marshall Front Thomas Jay Pritzker performances and readings in the museum's Allan Frumkin Laura Campbell Rhind 1998-99 was a banner year for the Smart Museum galleries. We also strive to bring the fruits of the Adele B. Gidwitz Irmgard Hess Rosenberger in exhibitions, programs, and acquisitions. As university community's research and thinking Helen F. Goodkin Joseph P. Shure prescribed in our 1997 Long-Range Strategic to a broader audience in greater metropolitan Michael J. Goodkin Granvil I. Specks Plan, we began to increase our commitment Chicago, the nation, and the world. This goal Richard Gray Marcia G. Specks to contemporary art through an expanded is accomplished through ambitious exhibitions Joyce Z. Greenberg John N. Stern program of contemporary exhibitions, including such as Transience, which was curated by Leo S. Guthman Dorie Sternberg the groundbreaking Transience: Chinese Wu Hung, the Ilarrie A. Vanderstappen Alice Q. Hargrave Allen M. Turner Experimental Art at the End of the Twentieth Distinguished Service Professor of Chinese Art David C. Hilliard James Nowell Wood Century. We acquired 164 works of art for the History at the University of Chicago. Smaller- Doris B. Holleb Mrs. George B. Young collection, focusing on areas of greatest strength scale but equally intellectually distinctive and potential, including modern and contempo­ exhibitions also serve this goal, such as Weimar Education Advisory Committee rary an, photographs and German modernist Bodies: Fantasies about the Body in Weimar Art,

Candida Alvarez Marvin Hoffman graphics, and East Asian art. We hosted some of Science, and Medicine, curated by Sander Dawoud Bey Zachary A. Intrator our most successful programs and events ever, Gilman, the Henry R. Luce Distinguished Theresa Carson Mark Johnson including the Transience opening reception and Service Professor of the Liberal Arts in Human Mary Cobb Michelle Obama performance, which attracted over 400 people; Biology, and Stephanie D'Alessandro, our Aracely Munoz Contreras Richard Pettengill two international symposia on contemporary former Coordinating Curator of Mellon Projects. Kay Grissom Kiely

5 We are grateful to these scholars, and to the exciting new thematic display, which will rotate many other faculty members and students who regularly and better reflect contemporary trends worked with us to present distinctive programs in art-historical thinking and museum exhibition and exhibitions to an ever increasing public. practices. Our new Education Study Room We are also grateful to the Andrew W. Mellon better serves both university students and Foundation, whose ongoing support has primary and secondary school groups, and our underwritten our collaborations with faculty new storage space now comfortably houses our and students to such exciting effect. growing collection of paintings, prints, drawings, Furthering our ties with the community, we and photographs. Designed by John Vinci and once again offered a full range of school programs Phil Hamp of Vinci/Hamp Architects, the for children. Both our Docent for a Day and renovation also includes upgrades of our security MusArts programs flourished, creating numerous and climate control systems and a new state-of- opportunities for local schoolchildren and the-art lighting system. teachers to integrate the museum and its resources More ambitious activities require greater into their classrooms. We also expanded our levels of funding, and we enjoyed our most Mission Statement efforts to strengthen the Smart's ties with the successful fundraising year ever, with individual, south-side community through a new collabora­ foundation, and corporate support increasing by In support of the University of Chicago's community, and primary and secondary school tive program initiative with the North Kenwood/ 75 percent over the previous year. We express educational mission, the Smart Museum students. By means of its exhibitions, programs, Oakland Charter School, of which the University our gratitude to the many friends and supporters collects, preserves, exhibits, and interprets and publications, the Museum makes available of Chicago is one of the founding partners. who made possible all our activities. To all our works of art for the benefit of the University the University's unique intellectual resources to In the spring, we were extremely pleased donors, both to annual funds and to the Silver community, the citizens of greater Chicago and this wider audience, thus providing a public to celebrate the renovation of the Vera and A.D. Anniversary Renewal Campaign, we extend other general audiences, and the scholarly world "window" on aspects of the University's Flden Sculpture garden, thanks to a generous gift hearty thanks. Their names are listed on pages at large. In the belief that contact with original scholarly discourse. At the same time, the by Smart Museum Board member Joel Bernstein 50-54. We are also grateful to the many works of art in a museum setting is an essential Museum serves as a training ground for future and his wife Carole. This gift to re-landscape and generous donors of works of art to the collection; component of a liberal education, and a key teachers, artists, and museum professionals, endow the garden was especially significant, for these gifts are detailed on pages 2 5-3 5. Finally, factor in understanding the world in which involving a wide range of University of Chicago it benefits not only the Smart Museum, but also we are very pleased to announce the receipt of a we live, the Museum presents exhibitions, students in essential museum activities. In doing the Department of Art History, the Court bequest of $5 million from Paul A. and Miriam produces catalogues and other publications, and so, we serve not only the University, but also the Theatre, and the entire University campus. H. Kirkley, which will be used to establish the sponsors programs such as lectures, symposia, larger community, by enlarging the pool of We also launched the Smart Museum's museum's first endowed acquisition fund. readings, and tours to elucidate the works on individuals committed to increasing under­ Silver Anniversary Renewal Campaign to fund Many thanks for your interest in the view and connect them to a wider intellectual, standing of the visual arts among a range of the $2 million renovation and reinstallation of University of Chicago's David and Alfred Smart historical, and cultural discourse. While diverse audiences. the entire museum that began in April. As we go Museum of Art. We greatly value your involve­ embracing and serving the University of to press, we have raised $1.7 million toward our ment and support. Chicago audience, the Museum also reaches goal, and the museum has just reopened to great beyond this audience, serving general adult Approved by the Smart Museum Board of Governors on acclaim. Our new facilities allow us to present Richard Gray visitors, the greater scholarly and artistic September 17, 1997. larger and more ambitious special exhibitions Chairman, Board of Governors and more of our burgeoning American and

European modern, contemporary, and East Kimerly Rorschach Asian collections. We have also reinstalled our Dana Feitler Director Old Master and classical collections in an

6 7 STUDIES IN THE PERMANENT COLLECTION

meidpnor ana meiamorpnosis: ine bculpture of Bernard Meadows in the Early 1960s

In 1952, at the age of thirty-seven, the British by the humanist positivism and artistic inter­ sculptor Bernard Meadows received wide-spread nationalism of the decades between the two world international attention and critical acclaim on the wars. The next generation of British sculptors had occasion of an exhibition of eight young British been conditioned by very different historical

sculptors at the of the Venice realities: the massive devastation and inhumanity of 1 Biennale. Titled New Aspects of British Sculpture, the years 1939-1945 and threat of nuclear annihi­ the exhibition included Robert Adams, Kenneth lation in the resulting Cold War. In the essay of the Armitage, , , Geoffrey accompanying catalogue, Read first used the Clarke, , and William Turnbull in expression, "the ," to describe the addition to Meadows. The selection of artists had work of this new generation of sculptors in Britain. been made by a committee of the British Council, The 1952 show thus announced unequivocally and but the guiding force was the pre-eminent British in a highly visible international artistic arena that a critic . Before World War II, Read quite different artistic climate had arisen in Great had promoted modernist art in England, especially Britain.

2 geometric abstraction and Surrealism. In partic­ A number of the sculptors in the New Aspects ular, he had supported the efforts of show, like Meadows, had had their nascent artistic and , sculptors who had careers disrupted by World War II. Others espoused the aesthetic of direct carving in wood emerged from the art schools of and

and stone, the concept of "truth to material," and elsewhere in Britain in the second half of the 1940s 5 the internationalism of modern British art. and made sojourns to Paris, where they were As its title suggests, the timing of New exposed to new developments in French art and Aspects of British Sculpture was both ideological literature that are linked conceptually to the and symbolic. The show's appearance as the British existentialist writings of Paul Camus and Jean-Paul entrant in the 1952 Venice Biennale followed one- Sartre. A common formal device of many of the person shows of the sculpture of Henry Moore and exhibited in the 1952 show was the Barbara Hepworth in the 1948 and 1950 Bienniales, unrefined surfaces of their direct-metal pieces and respectively. With the memory of those two castings. This acted as a collective, if not con­ exhibitions still fresh—stimulated in part by the sciously formulated, group simile for the anxiety- placement of a sculpture by Moore at the entrance ridden psyche of post-war Britain. Meadows used

to the pavilion—the scenario was complete. Moore such a device in a series of crab and bird sculptures and Hepworth represented an ongoing tradition of of the 1950s, and in a three-dimensional plaster modernist British sculpture that had been informed figure of Agamemnon for a production of The Flies

RICHARD A. BORN

9 of Standing Armed Figure relate to those of the artist's immediately preceding series of bird sculptures. This series was begun in 1955 and culminated in two large bronzes, each entitled Shot Bird, from 1959 and i960 (Bowness 66 and 70, respectively). In a 1959 statement, Meadows offered a clue to the meaning of the scarred surfaces in his animal sculptures:

I look upon birds and crabs as human substi­ tutes. They are vehicles, expressing my feelings about human beings.... Lately Ihave been interested in the tragedy of damaged figures, maybe one half destroyed, the bone structure crushed to pulp and the other half alive and striving to carry the damaged side. There is little so tragic as being half alive: a brain fully alive and a body only half working. A bird with a damaged wing trying to fly. A man with an arm or leg useless trying to get out of danger.''

Meadows visited Florence in 1960, a year after making this statement, and the experience led to a major change in his sculpture, first announced in by Sartre, staged in London in 1951,4 Ten years acquired warrior sculptures in the context of a the large bronze, Armed Bust I, of 1961 (Bowness later Meadows turned back to this protean period transitional moment in Meadows' work in the BM 72) which displays a marked shift from "animal of his career with a series of warrior figures cast in a early 1960s, when he redirected an iconography to human, from victim to aggressor." Meadows similar style. drawn primarily from the world of animals to one was impressed by the dark side of the history of the In 1997, when the Smart Museum organized a based on a recognizable human form in the guise Renaissance city rather than its enlightened past as thematic exhibition from its extensive modern of alternately battered, defiant, and threatening the cradle of the humanist revival of antiquity. British art collection, many significant movements personages. For him, Florence and its public monuments, most and directions of twentieth-century British art from In addition to a common imagistic concern visible in the fortified, rusticated facades of its Vorticism to early Pop were represented in the and shared iconography, these works evince similar palaces, civic structures, and towers, represented a collection.5 While the Smart Museum has excep­ Figure 2. formal properties. Little Augustus and Armed city of fear and terror, characterized not by the Bernard Meadows (British, tional holdings of work by Moore, Hepworth, Bust V exhibit bulky torsos from which spindly born 1915), Little Augustus, dispassionate scholar's studio but by the conflict of and most of the sculptors from the 1952 New legs, stake- or talon-like stunted arms, and 1962, cast bronze, h. 13 in. warring social factions who were ruled by wealthy Aspects exhibition. Meadows was represented in distorted cranial extensions protrude. Head and (33 cm.), From the collection Condottiere brutally seeking and exercising power the show by just one work, a medium-sized cast Shoulders of Standing Armed Figure may be seen of Janice and Henri Lazarof, for the political domination of the city-state.11 bronze relief of a dessicated and decomposing fish, 1999.41. as a form study of imagery—blocky head and neck Diverse sources helped focus this initial from 1955 i)-6 encased by an enveloping armor protecting torso response into the new sculptural vocabulary This situation changed when three sculptures and shoulders—more fully realized and integrated heralded in Armed Bust I. Foremost among these from Meadows' warrior series—Little Augustus 8 into full-length figures such as Little Augustus. is Michaelangelo's unfinished marble bust of the (1962, Bowness BM 72), Armed Bust V (196}, Surfaces of all three works are generally rough in infamous Roman statesman-assassin Brutus Bowness BM 94) and Head and Shoulders of texture and marred by slashes, gouges, nicks, and (Bargello Museum), which the Renaissance master Standing Armed Figure (1962, Bowness BM 77)— other intrusive or destructive markings. Forms himself likened to "a beast in human form."12 were acquired by the Smart Museum in 1999 (figs. that are smooth, curvilinear, and polished to a Another imposing Florentine Renaissance sculp­ 2-4). These works formed part of a major gift from luster rarely appear among this series, with the ture, a monumental stone figure of the Ghibelline Janice and Henri Lazarof that included seven notable exception of prominently protruding eyes, leader Giovanni dalle Bande Nere portrayed in bronze sculptures and nine watercolor drawings as in Armed Bust V. antique Roman armor, is especially close in pose and prints executed by Meadows between 1962 and The battered and bruised surfaces of Little and psychological intensity to Meadows' bronzes 1984.7 This article will analyze the three newly Augustus, Armed Bust V, and Head and Shoulders of seated (and standing) armor-clad personages.

10 1 1 In Meadows' words: "The figures [of Brutus and their cycle beside him; attacking, escaping, hiding

Bande Nere] are armoured, aggressive, protected, and disappearing."13 The artist incorporated these but inside the safety of the shell they are completely memories into the sculptures and drawings that soft and vulnerable."13 were exhibited in the New Aspects show at the Meadows' language here recalls the 1952 Venice Biennale. Two cast bronze crab metaphoric analogies that he established a decade sculptures and several drawings on the crab theme earlier in his images of crabs. When Meadows likened the horrific side of human life in the began to explore animal forms as vehicles that modern nuclear age to the uncertain and expressed the condition of contemporary life, he contentious existence of the crab.16 The tough mined an experience from his service in the Royal armor-like exterior shell hides and protects a soft, Air Force during World War II. During the war he vulnerable body.

had been posted to the Cocos Islands, 500 miles Although the applicability of Read's phrase, south of Java in the Indian Ocean. His most "geometry of fear," to the work of all the artists in profound impression of this period was the natural the New Aspects show has been questioned, his Figure 4. life of the island, in particular the crabs that teemed identification of a collective anxiety in the work of Bernard Meadows (British, 14 on the beaches and in the forests. In her dis­ this emerging generation of British sculptors is born 1915), Head and Shoulders of Standing Armed cussion of the impact of this experience on especially appropriate to Meadows. The ties to Figure, 1962, cast bronze, 5'/« x Meadows, Penelope Curtis vividly recounts: Meadows' imagery and its underlying meaning 11 V.x 7 V2 in. (13.3x28.6 x "Meadows observed ponderous tree-crabs, fast become especially clear when the celebrated phrase 19.1 cm.), From the collection mosquito crabs, slow tank-like crabs living out is returned to Read's original passage: of Janice and Henri Lazarof, 1999.42.

Figure 3. Bernard Meadows (British, These new images belong to the iconography of second powerful metaphor of modern man's born 1915), Armed Bust V, despair, or of defiance; and the more innocent uncertain fate. By 195 5, he turned exclusively to 1963, cast bronze, h. 22'/« in. the artist, the more effectively he transmits the bird compositions that increasingly manifested (61 cm.). From the collection collective guilt. Here are images of flight, of states of human tragedy, severe injury and heroic of Janice and Henri Lazarof, ragged claws "scuttling across the floors of silent resistance in the face of death or adversity. 1999.36. seas," of excoriated flesh, frustrated sex, the Nevertheless, the formal and thematic lessons geometry of fear.17 learned in his crab sculptures remained important

Read appropriated his marine allusion from T.S. points of reference in these later works and Eliot's The Love Song of J. Alfred Prufrock (1917), reappear in allusive motifs in his warrior figures of in which Prufrock fantasizes, "I should have been a the early 1960s. There is a telling detail in pair of ragged claws / Scuttling across the floors of Meadows' Armed Bust V, for instance, in which silent seas."18 David Mellor has argued persuasively the "soft" flesh of the caparisoned human figure's that the critical language of Read's "geometry of ocular orb—a round, polished surface—pops fear" relates to a larger cultural perception of above the corroded, protective corselet of the anxiety grounded in French Existentialist thought, torso. This motif underscores the parallel the and nuanced by the repertory of guilt and spiritual sculptor is drawing in the work of the early 1960s bleakness in Eliot's verse and drama, which enjoyed between crab and human (or humanoid) existence: great prestige in London in the late 1940s.19 For the literal "chink in the armor" of crabs are the Meadows and Read, crab imagery served as a eyes, which of necessity must protrude from their powerful metaphor of the inevitable tragedy of the protective coatings. human condition in post-war life, in which A close examination of Little Augustus destabilized bodies experience the physical reveals other mining by Meadows of his work from suffering and mental stress of a ruined world again the early 1950s, but prior to his development of the under attack by the threat of nuclear annihilation. crab/human simile. Meadows had worked as a Meadows' development of crab imagery studio assistant to Henry Moore during the late paralleled his investigation of bird forms as a 1930s, and several of Meadows' freestanding

12 13 sculptures from 1950 and 1951 betray Moore's and its military legacy in Renaissance Florence. They NOTES influence in the modified Surrealist formal provide an historical reading of the otherwise open- 1. For a general history of the British Pavilion at the 195 2 10. Alan Bowness, "Meadows and the 'Geometry of Fear,'" vocabulary employed in these carvings and castings ended interpretation of other works from the series Venice Biennale, see Sophie Bowness and Give Philipot, in Bowness, Bernard Meadows:Sculpture and Drawings eds., Britain at the Venice Biennale1895-1995 [exh. cat.] (London: in association with of smooth, organic surfaces.20 The choice of the called Armed Bust and Standing Armed Figure. (London: British Council, 1995). The excitement generated Lund Humphries, 1995), p.l 5. With the series of armed warriors, Meadows by the British show at the Venice Biennale for two American standing human figure motif, and the use of 11. Ibid., 15, and Penelope Curtis, "Bernard Meadows: An visitors and art enthusiasts, who subsequently advocated the carefully incised details to delineate parts of the redirected the idealized standing figures of the Interior World," in Bowness, Bernard Meadows, pp.19-20. acquisition of works by these sculptors for the University of anatomy—eyes and mouths, in particular—recall early years of the 1950s, which had denied the Michigan Museum of Art, Ann Arbor, is recounted in Diane 12. Michelangelo quoted in Bowness, "Meadows and the 'Geometry of Fear,'" p. 15. properties of Moore's sculpture after 1936. dashed hopes of the years before World War II. Kirkpatrick, "Modern British Sculpture at the University of Michigan Museum of Art," Bulletin, Museums of Art and 13. Ibid. By referring to the intervening groups of crab and Prominent, even defining, motifs in many of Archaeology, The University of Michigan 4(1981): 55. 14. A photograph taken around 1941 shows Meadows Meadows' standing figures are pairs of legs bird sculptures, he recast his standing and seated 2. See Herbert Read, "A Nest of Gentle Artists," in observing a large crab on a beach in the Cocos Islands executed in the round that support solid torsos, armor-clad figures of the early 1960s into sites of Marlborough Fine Art, Art in Britain 1930-1940 Centered (Bowness, Bernard Meadows, frontispiece). Around Axis, Circle, Unit One [exh. cat.] (London: truncated or missing arms, and the careful emotional tension and apocalyptic chaos. It may 15. Curtis, "Bernard Meadows: An Interior World," p. 19. Marlborough Fine Art and Marlborough New London execution of eyes, whether small incised dots or not be entirely coincidental that this significant Gallery, 1965), pp. 6-7. 16. For a photograph of the installation of Meadows' crab sculptures and drawings at the 1952 Venice Biennale, sec openings cut through the matrix of the head.21 shift in Meadows' sculpture coincides with the 3. Moore and Hepworth sought this internationalism Sandy Nairne and Nicholas Scrota, eds., British Sculpture in through association with recent continental movements and These anatomic features reappear in Meadows' continuing uncertainty of an entrenched Cold War the Twentieth Century [exh. cat.] (London: Whitechapcl Art artists, many of whom—Naum Gabo, Las/16 Moholy-Nagy, Gallery, 1981), p. 145. work in 1961, when he re-introduced the human that came to points of crisis in Europe and the and Piet Mondrian, for example—briefly lived in London at body into his sculptural repertoire. Americas in the early 1960s with the erection of the the end of the1930s, in proximity to Moore and Hepworth, 17. Read quoted in Dennis Farr and Eva Chadwick, Lynn as they followed a path of exilefrom the Fascist cultural C.hadwick Sculptor: With a Complete Illustrated Catalogue Meadows had, in part, abandoned the human Berlin Wall and the Cuban missile crisis. In his policies and political aggression of Nazi Germany on the eve 1947-1988 (Oxford: Clarendon Press; New York: Oxford figure for animal imagery as a way of distancing sculptural series of armed warriors, Meadows of World War II. University Press, 1990), p. 8. himself from Moore's influence and finding his own developed memorable images that elided the 4. This figure (Bowness BM 15) was destroyed. 18. Ibid., p. 17, n. 30. sculptural idiom. He did this also by replacing the destructive militarism of ancient, early modern, 5. See Richard A. Born and Keith Hartley, From Blast to Pop: 19. David Mellor, "Existentialism and Post-War British Aspects of Modern British Art, 1915-1965 [exh. cat.] Art," in Francis Morris, Paris Post War: Ar t and flawless surfaces he shared with Moore with the and mid-twentieth-century life into universal (Chicago: David and Alfred Smart Museum of Art, Existentialism 1945-55 [exh. cat.] (London: Tate Gallery, excoriated "flesh" of his tragic birds. As the visible statements of aggression, anxiety, and resilience in University of Chicago, 1997). '993>.P- 55- expression of an existential reality, these expressive the face of ever present dangers. 6. Ibid., pp. 86-87,cat- no. 61. 20. In 1936, the young art student met Moore for the first time, and soon after was engaged as a studio assistant. In surfaces were perfectly suited to the terror and fear 7. All the works by Meadows and six additional 1939, Meadows assisted Moore in the carving of the I lorton contemporary British sculptures, by , of Meadows' armed warrior imagery. Memories of stone Recumbent Figure (Lund I lumphries 191) and helped Richard A. Born is Senior Curator of the Smart Paul Mount, and William Turnbull, are listed below, under the Italian sojourn that had stimulated the sculptor with the Dale stone Three Standing Figures (Lund Acquisitions to the Permanent Collection, pp. 25-27, 30. Museum of Art. He has published works on early Humphries 268), carving most of the left-hand figure in to return to direct human imagery are explicitly modernism in England, most recently the Smart 8. Head andShoulders of Standing Armed Figure appears to 1947-48. Bowness, "Meadows and the 'Geometry of Fear,'" recalled in titles such as Little Caesar and Augustus, Museum exhibition catalogue From Blast to Pop: be a working model for the larger bronze, Head and pp. 8-10. Shoulders of Augustus (Bowness BM 89), begun in 1962 but which offered specific reference to Imperial Rome Aspects of Modern British Art, 1915-1965 (1997). 21. See, for example, the sculptures, all titled Standing finished two years later. Figure, reproduced in Bowness, Bernard Meadows, pp. 9. Meadows quoted from a statement prepared for an 135-36, Bowness BM 2, 4, 6-8, and16. exhibition at gallery in London, in Kirkpatrick, "Modern British Sculpture," p. 61. The second version of Shot Bird coincides with Meadows being named Professor of Sculpture of the in London, the senior academic for sculpture in Britain.

14 15 STUDIES IN THE PERMANENT COLLECTION

Black and White and Red All Over: Continuity and Transition in Robert Colescott's Paintings of the Late 1980s

Robert Colescott (American, b. 1925) has famously moment in the artist's career. Inside/Outside was described his painting strategy as a "one-two the first painting Colescott made after he returned punch:" a sensuous, colorful style combined with to his work as an art professor in Tucson, Arizona discomforting social content.1 The metaphor may following eight months of painting in the New be slightly misleading, however, for Colescott's Mexico desert. During that time in New Mexico, paintings are never hamhanded assaults. This is Colescott had refined and developed the intricate perhaps most clear in his paintings since the late compositions and allusive/elusive content that 1980s, in which figures and objects fill interlocking mark his mature style. This essay will place Inside/ spaces. The relationships among these spaces and Outside within the context of this transitional images are rarely obvious, although they are clearly moment in the artist's career, paying particular meant to challenge the viewer to think about issues attention to the development and implications of such as sexuality, social justice, relationships within Colescott's increasingly complex spatial strategies. and across racial boundaries, and everyday After receiving his B.A. and M.A. degrees interactions among people. These works are also from the University of California at Berkeley, clearly about painting, both in terms of the studies with Fernand Leger in Paris, and several pleasure Colescott so obviously takes in making years working in Egypt, Colescott first attracted these objects, and also in relation to the history of wide notice in the mid-1970s when he began to Western art that informs his work. Colescott's revise images from art history and popular culture paintings since the late 1980s do not "punch," but by changing the races of the figures and painting instead guide the viewer toward provocative ideas: them in a loose, cartoon-like style. In George their complexity encourages one to linger, look and Washington Carver Crossing the Delaware: Page make connections among the overlapping images from an American History Textbook (1975, Sims contained within the paintings. RC:R 15), for example, Colescott transforms the In 1998, the Smart Museum acquired an figures in Emmanuel Leutze's well-known painting important Colescott painting, Inside/Outside Washington Crossing the Delaware (1851). The (1987) (fig. i).2 This gift enriches the museum's famous black scientist supplants our first president, strong holdings of contemporary figurative and stereotypical figures of African-Americans paintings and fills a significant gap, for the museum replace the other members of the crew. Through has no other works by Colescott, who prefigured, such paintings, Colescott lampoons the limited participated in, and outlasted the so-called revival representations of African-Americans within of large-scale figurative painting during the 1980s. mainstream American history and culture. Curator The work was also made at a particularly important and art historian Lowery Sims has described the

STEPHANIE P. SMITH

17 representational spaces of paintings like Shirley difference in focus between Colescott and the Temple Black and Bill Robinson White, instead younger artists. As Fleming describes it, "there are reworking the fractured spaces of classic modernist two categories of artists who do residencies. Some images by Cezanne and Picasso."' 1 le refined these know what to do and do it, and others are in spatial strategies in 1986 with the series Knowledge transition, meditating on why they do what they of the Past is the Key to the Future.6 In these do. Colescott was in the first category. He wasn't works, Colescott's compositions became even more there to put his feet up; he worked straight through complex, crowding figures from many different and then sat down to play the drums by 5:30 every moments in time and space onto the canvas. The day."9 Fleming also noted a connection between artist pushed these developments further during Colescott's focus and maturity, and a sure-handed 1987, the year he painted Inside/Outside.' technique. After laying down a magenta ground, That January, Colescott unpacked his paint­ Colescott sketched the composition, and once he brushes and a drum set inside two small studios in started painting he rarely ovcrpainted or reworked the high flat desert of southeastern New Mexico the canvas. (fig. 3). These two spare buildings and a cluster of The Roswell residency was an extremely others form the Roswell Artist-in-Residence productive time for Colescott, who made around a Program near Roswell, New Mexico.8 Colescott dozen large, spatially complex paintings during his had been invited to participate as a distinguished eight-month stay, but curator Miriam Roberts senior artist, rather than going through the usual overstates the case when she describes the Roswell application process. Stephen Fleming, the current residency as the year that Colescott first moved director of the Roswell program and an artist in "away from single, unified compositions to residence during Colescott's stay, recognized a structures broken up into multiple parts, each

satirical "what if" factor in these works.3 In a later Renaissance-style perspectival tricks to depict Robert Colescott painting that takes this question to the movies, the three-dimensional space. A board walkway, for (American, b. 1925), Inside/Outside, 1987, question is "what if child star Shirley Temple's skin instance, recedes from the lower edge of the acrylic on canvas, were the same color as her later, married surname painting. This visually pulls the viewer into the 90 x 114 inches —Black—and her dance partner Bill Robinson's deep space of an Edenic garden: one could imagine (228 x289.6 cm), were not?" (Shirley Temple Black and Bill stepping into this technicolor, topsy-turvy parallel Gift of Elisabeth and Robinson White, 1980, Sims RC:R 19) (fig. 2). This universe. Composition and content work together William Landes, 1998.14 simple, punning transformation—seemingly the as Colescott combines acerbic humor, comic strip visual equivalent of a one-liner, or perhaps a style and perspectival space to undermine the ways punch—actually raises a host of tough questions that the almost believable worlds depicted in about race and gender. As Sims notes, "the work movies and paintings support stereotypes. produces revelation as we consider the extent to In the early 1980s, the solid, singular space of which we associate specific behavior and social the earlier paintings was gradually replaced by position with groups of people."4 something more fragmented and complex. In The spatial construction of Shirley Temple paintings like Listening to Amos and Andy (1982, Black and Bill Robinson White reinforces these Sims RC:R 20), Colescott uses the equivalent of the Figure 2. responses. Like most of Colescott's works from the split screen in movies: he divides the painting into Robert Colescott (American, 1970s and early 1980s, this painting relies on a several areas, with day-dreams, thoughts, or other b. 1925), Shirley Temple Black fairly conventional, if cartoonish, depiction of situations contained within the otherwise believ­ and Bill Robinson White, 1980, acrylic on canvas, 84 x 72 space. Colescott modeled the work on a repre­ able space of the rest of the paintings. During this inches (213.4 x 182.8), sentational source—the painting suggests a frozen period, Colescott also returned to his earlier series Collection Arlene and Harold moment in a movie or a film still—and used of revisionist paintings. He moved away from the Schnitzler, Portland, Oregon.

18 1 1

competing element existing in its own cubist, Colescott's work, however, since the artist himself 1986 and in New Mexico, for it was the first painting isolated space."1" As discussed above, fractured has underscored the connections between his Colescott made after his time in Roswell.1'' This Figure 3. spaces had appeared in Colescott's work in the compositional structures and those of jazz. Robert Colescott with his complex, unstable composition features several early 1980s and were crucial to the Knowledge of drums in his temporary studio Describing his work of the late 1980s, Colescott has overlapping or adjacent figures which Colescott series. Still, the Roswell residency offered the Past at the Roswell Artist-in- used analogies between the spaces in his paintings painted in a range of "white" and "black" skin tones, Colescott uninterrupted time and a stack of blank Residence Program, Roswell, and the abrupt shifts found in some jazz music, as from beige to yellowish brown to mahogany to

canvases on which to refine these tactics. As he New Mexico, 1987. n both use quick cuts rather than even transitions. brownish black. These figures seem to be dreaming, describes it, the residency allowed him to "step Further, Colescott played the drums nearly every day contemplating or conjuring up one another. On the away from all the things that Ihad been doing in during his residency at Roswell, so the staccato left side of the painting, a rope leads through the terms of surface, color, composition.I thought rhythms and syncopated textures of jazz drumming bars of a window and around the neck of a man in a about space as a cubist thing rather than as con­ formed a daily counterpoint to the fractured spaces white tank top. The rope reappears at the other fined within the frame, and thought about the ways and quick cuts of the paintings. One might also link side of the painting, where it connects a tiny man figures operate in a creative rendition of three- the complex structures of jazz to those found in the with a suitcase, purple suit and hat back through an dimensional space."11 modernist European and American paintings open door and into a crazily-angled red brick jail. Many of these paintings were exhibited at the that inspire Colescott, for jazz music and artistic This man reappears in the center of the painting, Roswell Museum and Art Center in July and culture have mingled at various points in the century surrounded by a swirl of figures: a woman watches August 1987. In these works Colescott continued (for example, the 1920s Parisian fascination with him as she sits near a group of objects that includes to explore the expressive potential of overlapping, African-American jazz). These references do not a purse, a gun, and several books; another woman disjointed spaces. In one work of these paintings, minimize the importance of Western art history as sits on the lap of a skeleton wearing a prison A Letter from Willy (1987) (fig. 4), the center and an influence on Colescott's paintings. Instead, they uniform; a man eats a sandwich; smoke from another right side of the picture contain a shackled, dark- make an illuminating connection between Colescott's man's cigar and burning money forms a halo some of the same painterly tricks and caustic humor skinned young man sitting on a bed, beneath a visual art and his practice as an amateur musician.16 around the noosed man; a nude man and woman within the convoluted compositions that have barred window set in a brick wall. The young man's Colescott's late-1980s compositions can also share a cigarette. These figures are intricately remained a hallmark of his work to the present. space is conventionally depicted, but it is not be analyzed in relation to film.17 More specifically, connected not only through the narrative links Colescott's compositions from the late 1980s, stable, for the angles of the walls and floors tilt these paintings function like "associational" films. suggested by Colescott's images, but also through including the works painted during the Roswell toward the center of the painting. Several other Scholars David Bordwell and Kristin Thompson the compositional devices of doubling, filmic residency, have sometimes been linked to the spaces and times seem to collide around this young use this term to describe experimental films that associational spaces, and the directional lines that structures of jazz." Sims has tried to limit this man: the head of an older man hovers above, "suggest expressive qualities and concepts by draw the viewer's eye from one to the next. interpretive model by noting that "Colescott's several scantily clad, dark-skinned women occupy grouping images.... The very fact that the images As in A Letter from Willy, the central images paintings are inevitably interpreted through the the margins, and a pale woman with a long, dis­ and sounds are juxtaposed prods us to look for in Inside/Outside relate to jail, evoking the links modality of jazz, the route of least resistance in the torted face holds the eponymous letter and also some connection—an association that binds them between those in jail and those outside as well as analysis of the work of African-American visual appears "outside" the window, peering up through together."18 Colescott's paintings from the late the social problems that propel a disproportionate artists. To be sure, Colescott's work of the last the bars. For Colescott, such spatial distortions 1980s seem to work in a similar fashion. Carefully number of young African-American men in and decade does exhibit syncopation and repetitive- were inextricably tied to the content of the chosen moments are arranged in the paintings— out of jail. Colescott draws his iconography from ness, but the artful balance of shapes of different paintings. In a statement in the exhibition edited or "cut" together—to suggest particular contemporary culture, using images like bars and sizes comes directly out [of] Western painting and brochure, he wrote that stories, concepts and moods. A wide but not skeletons to provide cues for the viewer. The the need to navigate and balance multi-episodic endless array of associations is set into play as the books, for instance, work on several levels. They There's a comic-manic edge to these paintings compositions of serious portent."14 Sims rightly produced by gross exaggerations and crazy viewer makes connections among the various might mark the woman near them as well-read; the calls attention to the fact that Colescott is a well- juxtapositions. It's expressive of the insane images in the paintings. This marks a shift from words that form their titles—The Plague, The traveled, well-educated artist thoroughly steeped collage of relationships I'm dealing with. We do Shirley Temple Black and Bill Robinson White, a Trial, [Les] Miserahles—reinforce the imagery of in Western art history. The spatial constructions laugh and cry at the same things. Consider the painting that also referred to film and that dealt the painting; and the novels to which the titles refer of his work since the mid-1980s certainly owe a intricate network of human relations and with issues of similar complexity to the late 1980s also present fictional worlds in which people interdependencies that have existed since dim loving and self-conscious debt to the politicized work. By shifting to this new, less stable space, become caught within unjust bureaucratic pre-history (it's no coincidence that the darker German expressionist artists of the 1910s and Colescott has made the lack of narrative stability structures. In his own description of the work, Europeans live closer to Africa). Then consider 20s, to cubist treatments of space and time as and the viewer's role in constructing the meaning however, Colescott pushes further. He notes that that most people of either race go around acting experienced from a number of perspectives, like we're not even related. It adds up to a of each painting both more obvious and better we are all locked up in one way or another, not just and to surrealist blurs between the spaces of historic absurdity of tragic dimensions.12 aligned with the complexity and mutability of the those who have literally been to prison: "the dream, reality, and imagination. issues his paintings address. economic system puts us all in the position of being In the Roswell paintings Colescott explored topics It seems neither gratuitous nor a race-based Inside/Outside shares thematic concerns and captives of our future and our past."20 To expand that were related to his earlier works, and used default to use jazz as a means to understand compositional strategies with works produced in on Colescott's comments, "inside" and "outside"

20 21 become arbitrary divisions, both in relation to the NOTES work's content and to its composition. Since these I would like to thank Robert Colescott; Stephen Fleming, 11. Robert Colescott, telephone conversation with the Director of the Roswell Artist-in Residence Program; and spaces are interconnected, none of the characters author, January 20, 2000. Wesley Rusnell, Curator at the Roswell Museum and Art 12. Statement by the artist in Colescott, Robert Colescott: are securely inside or outside: once again Colescott Center, for their generosity in sharing memories of Recent Paintings (exh. brochure], (Roswell New Mexico: Colescott's time in Roswell and insights into his work of that depicts an "insane collage of relationships." The Roswell Museum and Art Center, 1987), n.p. period. G.R. N'Namdi Gallery inChicago, and Phyllis Kind spatial metaphors set up by the painting's title, Gallery in Chicago and New York, also provided helpful 13. Roberts, for instance, describes Colescott's work of this composition, and imagery reinforce the associational information. period as polyrhythmic and improvisational, "combining European and African sources and constantly blurring the links between one image and the next while setting 1. In a 1988 statement Colescott wrote, "When I get my distinctions between classical,popular, and folk idioms." other possible meanings into play. As in the work up in a gallery, you see this room full of big, sensuous Roberts, p. to, 12. paintings. It's the first impact that people get. They walk in immediately preceding works, the placement of 14. Sims, "Robert Colescott Redux," in Robert Colescott: and say, 'Oh wow!' and then, 'Oh shit!' when they see what Recent Paintings (San Jose), p. 40. figures and objects within complex, jazzy spaces they have to deal with in subject matter. It's an integrated 'one-two punch': it gets them every time." Colescott, 15. Colescott feels that these abrupt transitions are a basic opens a range of possible meanings for the painting. "Cultivating a Subversive Palette," in Reimagtng America: element of jazz, but has mentioned jazz musician Charlie In 1997 Colescott represented the United The Arts of Social Change, Mark O'Brien and Craig Little Parker as particularly influential. Robert Colescott, States at the Venice Biennale. The exhibition eds., (Philadelphia, Pennsylvania and SantaCruz, telephone interviews with the author, January 20, 2000 and California: New Society Publishers, 1990), p. 305. The March 10, 2000. As another example, one related tothe included paintings from 1987 through 1997, and phrase has been widely circulated, as in Sally Euclaire's notion of the "one-two punch," in 1988 Colescott wrote that showed both change and continuity between works article "One-two Punchinello," in ArtNEWS 96 (June "I was brought up to make paintings that were important 1997): 104-107 and Quincy Troupe's poem, "Robert visually, with an internal structure and rhythm that grabs like Inside/Outside and his more recent Colescott's One-Two Punch" in Colescott, Robert Colescott: people, surprises them, and moves them, like Duke paintings.21 Overall, his paintings have become Recent Paintings, [exh. cat.], (SITE Santa Feand the Ellington ..." ("Cultivating a Subversive Palette," p. 304). more abstract, and text has become increasingly University of Arizona Museum of Art, 1997), pp. 8-9. 16. Colescott's drumming was a significant, memorable part of his residency; it was one of the first things mentioned by prominent within the works. Colescott no longer 2. Inside/Outside (1987), gift of Elisabeth and William Landes, 1998.14. Stephen Fleming and Wesley Rusnell, Curator at the confines his wordplay to punning references in Roswell Museum and Art Center, during our telephone- 3. See Sims, "Robert Colescott, 1975-1986," in Sims, Robert titles (Shirley Temple Black) or words attached to conversations. Colescott confirmed this when we spoke, and Figure 4. Colescott: A Retrospective, [exh. cat.] (SanJose, California: noted that the level of his activity as a drummer "comes and objects (the books in Inside/Outside). Instead, he San Jose Museum of Art, 1987), pp. 3-5. Robert Colescott (American, goes. I haven't analyzed my relationship to the drums." manipulates both the formal and contextual and ethnic backgrounds by painting muddy b. 1925), A Letter from Willy, 4. Ibid, p. 5. 17. Other commentators have used the analogy to film in possibilities of language by painting titles and other combinations of black, brown, red, white and 1987, acrylic on canvas, 5. The 1985 series At the Bathers Pool (Sims RC:R 25-27) is relation to Colescott's work of this period, although without 22 84 x 72 inches (213.4 x 182.8), at least partially a homage to Cezanne, while Demoiselles exploring its implications. Sec Roberts, p. 10, or Sims, words directly onto his canvases and by giving yellow skin over the magenta backgrounds. d'Alabama: Vestidas and Les Demoiselles d'Alabama: "Robert Colescott Redux," pp. 32 and 36. Echoing his compositional strategies, colors bleed Roswell Museum and Art some figures "speech balloons." Despite these Desnudas (both 1985) (Sims RC:R 21 and 22, respectively) Center, Roswell, New Mexico. 18. David Bordwcll and Kristin Thompson, Tilm Art, an together and divisions are unclear. To shift from revise Picasso's cubist classic Les Demoiselles d'Avignon. changes, however, Colescott's recent works share Introduction, fourth edition, (New York, McGraw Hill, Colescott created some abstracted images earlier in the these racial connotations to another link, the 1993), p. 127. many of the strategies of his late-1980s paintings. revisionist series. For example, I Gets a I hrill Too When He remains interested in the same kinds of topics, punning shift between "red all over" and "read all I Sees de Koo (1978, reproduced in Sims, "Bob Colescott 19. Colescott wrote "'Insidc-Outside © September 1987 Ain't Just Misbehaving," in Artforum (March 1984): 57) Robert Colescott Tucson AZ Acrylic/ 1st painting in Tucson and continues to address them by filling his over" suggests the activity of visually scanning a grafts the grinning head of Aunt Jemima onto one of Willcm after Roswell N.M." on the back of the stretcher. He has surface in order to make sense of it. As with many paintings with evocative, overlapping spaces and de Kooning's Women within a shallow, abstract space. described that notation as simply a way to locate the of Colescott's paintings, the newspaper in this joke painting in time and space. Telephone conversation with the images. Words simply provide another means 6. Two works from the series are reproduced in Sims, RC:R author, January 20, 2000. through which Colescott simultaneously expands is not just read, but read all over, suggesting an 28 and 29. 20. Ibid. and limits our readings of his paintings. unstable or multiple point of view. 7. 1987 also marked Colescott's first large one-person museum exhibition, Robert Colescott A Retrospective (see 21. Robert Colescott: Recent Paintings (San Jose) is the As Inside/Outside and Colescott's other Given Colescott's penchant for humor, it note 3). The exhibition was organized by the SanJose catalogue for this exhibition, which is still traveling and will seems fitting to end with a joke: Question: What's works since the late 1980s demonstrate, the artist Museum of Art and toured to nine venues across the United eventually be seen at eight venues in the United States in addition to the Venice presentation. The exhibition does not offer us one-two punches or simplistic States from 1987 through 1989. black and white and red all over? Answer 1: A included two works from the Roswell residency, The Star: A 8. The Roswell Artist-in-Residence program was founded by newspaper. Answer2: A bloody zebra. One can jokes. Instead, he sets up a play of associations and View from the Pinnacle (1987, RC:RP p. 13) and Hard Hats businessman John B. Anderson in 1967, and is run as a possible meanings that shift and shimmy as the (1987, RC:RP p. 27). take this as a simple, dumb joke, but it works on partnership with the Roswell Museum and Art Center. The 22. Sims notes that "Colescott scumbles dark values into other levels. In the joke, the mundane and the viewer spends time with his works. Colescott offers residency offers visual artists residencies ranging from six months to a year, in a locale perhaps best known as a Mecca light in his figures—and vice versa—as if to remind us of the us the paintings themselves. Often funny and violently exotic are triangulated through the pun for those who believe in UFOs and extra-terrestrial life. inevitable interchangeability of the races" in "Robert always humane, these complexly structured and Colescott Redux," p. 44. on red/read. The colors in question are also loaded, 9. Stephen Fleming, telephone conversation with the author, for black, white, and red are abstractions for skin lushly painted works evoke the messily intertwined January 19, 2000. color, as well as for the imposed or self-chosen realities of contemporary American culture. 10. Roberts, "Robert Colescott: Recent Paintings," in Colescott, Robert Colescott: Recent Paintings, (San Jose), p. 10. categories that link and separate groups of people. When brought into contact with Colescott's work Stephanie P. Smith is Associate Curator at the since the late 1980s, the joke suggests a third Smart Museum. Her current research focuses on answer: we Americans are black and white and red the intersection of contemporary art and all over. Colescott gives form to our mixed racial environmental issues.

23 22 ACTIVITIES AND SUPPORT/ COLLECTIONS

Acquisitions to the Permanent Collection

Objects listed below entered the permanent collection from July i, ,998 through June 30, t999. Dimensions are in ches followed by centimeters in parentheses; unless otherwise indicated, height precedes width precedes depth Known catalogue raisonne references follow dimensions.

EUROPEAN AND AMERICAN RICHARD FLORSHEIM MIYOKO ITO American, I9I6-I979 Untitled, circa 1983 PAINTINGS Vision of an Atomic Age, 15)47 Oil and charcoal on canvas, Oil on canvas, sight: 31VA x 37% MANIERRE DAWSON 45x32(114.3x81.3) (80.7 x 95-9) Gift of Alan Ichiyasu, 1999.30 American, 1887—1969 Marcia and Granvil Specks Two Trees Before Bridge, I 9IO LESTER JOHNSON Collection, I998.IO9 Oil on wood panel, with artist's American, born 1919 original frame, iox 15 (25.4x38.1) MIYOKO ITO Untitled, i960 Gift of Mary and John Gedo, American, 1918—1983 Oil on canvasboard, i998.59a-b Untitled, circa 1983 30 x 36VH (76.2 x 76.5) Oil and charcoal on canvas, GiftofLannan Foundation, 1999.34 46'/« x 42 (118.4 x 106.7) ED PASCHKE Gift of Alan Ichiyasu, i999.29 American, born 1939 Mighty Mask, 1969 Oil on canvas, in artist's original frame, 36 x 26 (91.4 x 66) Gift of Arthur Paul, 1998.65

KARL WIRSUM

American, born i939 Chain Smoker, circa 15)75 Acrylic on vinyl (reverse painting) with folded cigarette pack frame, 17 x 14 <43-2 x 35.6)

Gift of Arthur Paul, 1998.69

LYNN CHADWICK

British, born i9i4

Two Lying Figures on Base II, 1974 Cast bronze, ed. 3/8, 8 Z2 x 18 LA x

(21.6 x 46.4 x 34.9) Farr-Chadwick 680S From the collection of Janice and

Henri Lazarof, i999.47 Manierre Dawson, Two Trees Before Bridge, Geo, 1998.59a b

25 BERNARD MEADOWS PAUL MOUNT BERNARD MEADOWS British, bom 1915 British The Attack, 1976 Head and Shoulders of Standing The Argument Graphite and watercolor on paper, Armed Figure, 1962 Cast bronze, 12 VI x 5 VA X 5 VA sight: 7x7(17.8 x 17.8) Cast bronze, 5 V* x 11 VA X 7V 2 (31.8 x 13.3 x 13.3) From the collection of Janice and (13.3 x 28.6 x 19.1) From the collection of Janice and Henri Lazarof, 1999.57 Bowness BM 77 Henri Lazarof, 1999.44 BERNARD MEADOWS From the collection of Janice and PAUL MOUNT Watchers, 1979 Henri Lazarof, 1999.42 Chiave, 1976 Graphite and watercolor on paper, BERNARD MEADOWS Cast bronze, 8 VA X 8 VA X 5 VA sight: 5 x 5 (12.7 x 12.7) Little Augustus, 1962 (21 x 21 x 14.6) From the collection of Janice and Cast bronze, 13 x 8 VA X 4 From the collection of Janice and Henri Lazarof, 1999.56 (33 x 21 x 10.2) Henri Lazarof, 1999.45 BERNARD MEADOWS Bowness BM 78 PAUL MOUNT Fruit, 1979 From the collection of Janice and Interlock, circa 1979 Graphite and watercolor on paper, Henri Lazarof, 199941 Cast and polished bronze, ed. 4/6, sight: 91/4 x n (23.5 x 27.9) BERNARD MEADOWS 4V4 x 71/2 (12.1 x 19.1) From the collection of Janice and Armed Bust V, 1963 From the collection of Janice and Henri Lazarof, 1999.52 Cast bronze, ed. 3/6, 22'A x 25 x Henri Lazarof, 1999.46 BERNARD MEADOWS I}VA(6I X63.5 x 34.9) WILLIAM TURNBULL Fruit Forms: A Pair, 1979-80 Bowness BM 94 British, born 1922 Graphite and watercolor on paper, From the collection of Janice and Metamorphosis II, 1980 sight: 5 x 6V A (12.7 x 15.9) Henri Lazarof, 1999.36 Cast bronze, ed. 2/9, 157/s x 15 XV A From the collection of Janice and BERNARD MEADOWS (47.6 x 38.1 x 11.4) Henri Lazarof, 1999.54 Armed Bust: Two Eyes, 1965 From the collection of Janice and BERNARD MEADOWS Cast and partially polished bronze, Henri Lazarof, 1999.43 Small Crab, 1980 two units, ed. of 5, 14 '/2 x 19 V2 x J£an-L£on Gerome, Victory, 1998.108 DRAWINGS Graphite and watercolor on paper, 5% (36.8 x 49.5 x 14.6) sight: 8 Zi x 8 (21.6 x 20.3) Bowness BM 97 JUNE LEAF From the collection of Janice and From the collection of Janice and American, lives in Canada, Henri Lazarof, 1999.53 Henri Lazarof, 1999.40 born 1929 Artist's Studio, 1969 BERNARD MEADOWS BERNARD MEADOWS Ed Paschke, Mighty Mask, 1998.65 Pencil, pen and ink, and watercolor Watcher, 1984 Pointing Figure, 1967 on wove paper, sheet: 38 x 49Vi Graphite and watercolor on paper, Cast polished bronze, ed. 2/6, i7'/2 (96.5 x 125.7) sight: 6'/AX fVilif.yx 14.6) 1 IVSX 27V2 (44.5 x 28.9 x 69.9) LYNN CHADWICK PAUL VAN HOEYDONCK Gift of Arthur Paul, 1998.62 From the collection of Janice and Bowness BM 106 Three Sifting Figures, 1976 Belgian, bom 1925 Henri Lazarof, 1999.51 From the collection of Janice and ROBERT LOSTUTTER Cast bronze, ed. 8/8,7% x 12 x Cyb Hand, 1969 Henri Lazarof, 1999.38 American, born 1939 JULES PASCIN 9(19.7x30.5x22.9) Mixed media, h. 16 (40.6) Untitled, 1971 (JULIUS PINCHAS) Farr-Chadwick 634S Gift of Arthur Paul, 1998.61 BERNARD MEADOWS Watercolor on wove paper, sight: American, born in Bulgaria and From the collection of Janice and Pointing Figure with Child, 1967 ROBERT HUDSON 23% x i6'/4 (60.3 x 42.6) active in France, 1885-1930 Henri Lazarof, 1999.48 Cast polished bronze, ed. 2/6, i4'/2 American, bom 1938 Gift of Arthur Paul, 1998.64 Two Girls, 1922 15 x IZVA (36.8 x 38.1 x 56.5) JEAN-LTON G£R6ME Diamond Back, 1964 Pencil on wove paper, sight 17'/4 x Bowness BM 113 BERNARD MEADOWS French, 1824-1904 Painted welded steel, h. 65 VA (165.7) 23% (43.8 x 60.3) From the collection of Janice and British, born 1915 Victory, circa 1900 Gift of Allan Frumkin, 1998.110 Gift of Arthur Paul, 1998.66 Henri Lazarof, 1999.37 Reclining Pointed Figure, 1964 Gilded and polychromed cast MARILYN LEVINE Graphite and watercolor on paper, bronze affixed to stone BERNARD MEADOWS Canadian, lives inU.S.A.. bom 1935 sight: 6'/4 x 8 (15.9 x 20.3) American, born 1939 (alabaster?) base, Large "Watchers", 1979 Suitcase, circa 1970 From the collection of Janice and Untitled, 1966 h. without base 9% (24.5), h. with Cast bronze, ed. 2/6, 18V2 x 22V2 x Handbuilt stoneware with Henri Lazarof, 1999.50 Colored pencils on spiral notebook base 14% (37.2) SVA (47x57.2x22.2) oxide stains. 14 x 19x9 page, sheet: 13VAX ii (34.9 x 27.9) Gift ofjohn N. Stern, 1998.108 Bowness BM 126 BERNARD MEADOWS (35.6x48.3x22.9) Gift of Arthur Paul, 1998.68 From the collection of Janice and Drawings for Sculpture, 1974-7 5 TED HALKIN Gift of Arthur Paul, 1998.63 Henri Lazarof, 1999.39 Graphite and watercolor on paper, American, born 1924 three sheets, sight: 4 x 41/2 (10.2 x Canned Art, 1961 11.4), 4 x 4(4 (10.2 x 11.4), 4V4 x 7 Mixed-media painted construction, (12.1 x 17.8) 16V4 x 10% (41.3 x 25.7) From the collection of Janice and Gift ofjohn F. Peloza, 1998.111 Robert Hudson, Diamond Back, 1998.110 Henri Lazarof, 1999.55

26 27 RICHARD JANTHUR PRINTS ASAPH BEN-MENAHEM LOVIS CORINTH Court of Justice (Scene from A Couple and a Beast, W-23, 1983 German, 1858-1925 Dostoevski's "The Brothers ARTIST UNKNOWN Woodcut, artist's proof impression, Female Nude, Bent Backwards, 1919 after a preparatory drawing by Karamazoff), 1919 sheet: 18 x 12 (45.8 x 30.5) Woodcut, proof impression, block: Lithograph, composition: Marten van Heemskerk Marcia and Granvil Specks 97/8X 91/16(25 x 23) (Dutch, 1498-1574) i4'/8 x 10V2 (36.4 x 26.7) Collection, 1998.73 Schwarz 369 Probably Dutch, 16th-17th century Marcia and Granvil Specks Marcia and Granvil Specks ASAPH BEN-MENAHEM Collection, 1998.88 Tobit's Dispute with His Wife, Collection, 1998.76 Anna, n.d. Untitled, 1984 RICHARD JANTHUR Plate 2 from a series of Woodcut, artist's proof impression, CHARLES (CARL) CRODEL A Couple and Children Who Are to engravings. History ofTobit sheet: }6Vitx 24'/s (91.4 x 61.2) German, 1894-1973 Playing in the Street, circa 1920 Engraving, plate: 8x91/2 Marcia and Granvil Specks Bathers at Siljan, 1924 Lithograph, ed. 15/30, composition: (20.3 x 24.1) Collection, 1998.74 Color lithograph and woodcut, I25/l6 x io'/i (31 x 26) Hollstein 513 artist's hand-pulled impression, BERT VAN BORK Marcia and Granvil Specks Gift of Neil Harris and Teri J. composition: 15 V* X1 3 (40 x 33) German, lives in U.S.A., born 1928 Collection, 1998.89 Edelstein, 1998.47 Steckner 232/III City, 1994 Marcia and Granvil Specks RICHARD JANTHUR ARTIST UNKNOWN Portfolio of 6 etchings, trial proof Collection, 1998.77 Robinson Crusoe in his Cabin, 1921 after T. Dc Thulstrup and impressions, each plate (one Plate 11 from the series, Charles Graham horizontal): 19V4 x 15 "/i6 CHARLES (CARL) CRODEL Robinson Crusoe American, 19th century (50.2 x 40.5) Nudes, 1923 Colored lithograph, The New Orleans Exposition— Marcia and Granvil Specks Color lithograph, composition: 89/i6X 5% (21.8 x 14.7) The Approach to the Horticultural Collection, 1998.75 a—f composition: 11 l5/i6 x 9I/16 (30 x 23) Marcia and Granvil Specks Hall, published in Harper's Weekly, Steckner 234/II/c/B THOMAS COOK Collection, 1998.90 3 January 1885 Marcia and Granvil Specks Gerhard Marcks, Cain and Abel, 1998.100 English, 1697-1764 Wood engraving, block: 13 V2 x 9 Collection, 1998.78 RICHARD JANTHUR Harlots Progress (after William (34.3x22.9) Robinson Crusoe is Astonished to Hogarth), 1732 (plate, this FRANCIS DODD Gift of Neil Harris and Teri J. OTTO GLEICHM ANN KARL HOFER Find a Footprint, 1921 impression 1812) English, 1874-1949 Edelstein, 1998.46 Second Book of Maccabees: German, 1878-1955 Plate 16 from the series, Plate 1 fr om the Hogarth series, Zaragoza, n.d. Antiochus, circa 1920 Zenana, 1923 Robinson Crusoe JIRI ANDERLE A Harlot's Progress Drypoint, plate: 9% x i67/s Portfolio of 10 lithographs, ed. 2/50, Portfolio of 10 lithographs (in Colored lithograph, Czech, born 1936 Etching and engraving, (24.5 x 42.9) each composition approx.: original Marces-Gesellschaft mats) composition: 8 VA X 5 VI (21 x 14) Soldier, Girl and Parents, 1980 plate: 1 IVA X 14V6 (29.9 x 36.8) Gift of Neil Harris and Teri J. 7V4 x 6'/s (19.7 x 16.2) with title/colophon page, ed. 90/120, Marcia and Granvil Specks From the series, Illusion and Reality Paulson 121 Edelstein, 1998.45 Marcia and Granvil Specks each sheet varies: 18 '/i6-i 8 Vi x Collection, 1998.91 Drypoint and mezzotint with Gift of Neil Harris and Teri J. FRIEDRICH FEIGL Collection, 1998.82a-) 13-13V16 (46.1-47.6 x 33-33.4) attached photograph, ed. of 35, Edelstein, 1998.50 RICHARD JANTHUR Austro-Hungarian/Czechoslovakian Rathenau 173-182 sheet: 37"/i6 x 25 VIB (95.6 x 63.8) OTTO GLEICHMANN A Ship, 1921 THOMAS COOK (born in Prague), 1884-1966 Marcia and Granvil Specks Gift of Anne Baruch in memory of Theater Box, 1922 Plate 18 from the series, Harlots Progress (after William Prague, circa 1923 Collection, 1998.86a-) Ray Poplett, 1998.56 Lithograph, composition: Robinson Crusoe Hogarth), 1732 (plate, this Portfolio of 10 lithographs with I2'/l6X97/l6(30.6x 24) MIYOKO ITO Colored lithograph, ASAPH BEN-MENAHEM impression 1812) tide/colophon page, each hand- Marcia and Granvil Specks American, 1918-1983 composition: 8% x 5 1 '/ift (21 x 14.5) Israeli, bom 1940 Plate 2 from the Hogarth series, colored in watercolor, edition II, Collection, 1998.83 Untitled, circa 1949 Marcia and Granvil Specks Three Figures on a Beach, W-16, 1976 A Harlot's Progress no. XIV, each sheet: 15 VA X 21 VA Lithographic stone with still life Collection, 1998.92 Woodcut, artist's proof impression, Etching and engraving, (38.7 x 54) RUDOLF GROSSMANN composition in lithographic crayon, ! sheet: 18 x 24 /8 (45.8 x 61.2) plate: 11V* x 14V2 (29.9 x 36.8) Marcia and Granvil Specks German, 1882-1941 RICHARD JANTHUR 19 x 16 x 2% (48.3 x 40.6 x 5.4) Marcia and Granvil Specks Paulson 122 Collection, 1998.793-)' The Old Gardener, 1921 Dance of the Savages,1921 Gift of Alan Ichiyasu, 1999.31 Collection, 1998.70 Gift of Neil Harris and Teri J. n OTTO GLEICHMANN Etching, plate: 7 /i6 x 5 "/16 Plate 20 from the series, Edelstein, 1998.49 MIYOKO ITO Robinson Crusoe ASAPH BEN-MENAHEM German, 1887-1963 (19.5 x 14.5) Marcia and Granvil Specks Untitled, circa 1949 Colored lithograph, composition: W-17, 1976 THOMAS COOK Guests at Table, 1918 Lithographic stone with still life 87/i6x 5 "/16 (21.5 x 14.5) Woodcut, artist's proof impression, The Industrious 'Prentice Lord Mayor Lithograph, composition: Collection, 1998.84 composition in lithographic crayon, 7 Marcia and Granvil Specks sheet: 24'/fc x i7 /i6 (61.2 x 44.2) of London (after William Hogarth), 10% x 8% (27 x 22) OTTO HERBIG 11VA x 15 V* x IV* (29.2 x 40 x 7) Marcia and Granvil Specks Collection, 1998.93 Marcia and Granvil Specks 1747 (plate, this impression 1812) German, 1889-1971 Gift of Alan Ichiyasu, 1999.32 Collection, 1998.71 Plate 12 from the Hogarth series. Collection, 1998.80 Mother Kissing Her Reclining Child, RICHARD JANTHUR Industry and Idleness RICHARD JANTHUR ASAPH BEN-MENAHEM OTTO GLEICHM ANN 1923 Those who Remain Await Their Etching and engraving, Lithograph, composition: 97/i6 x 11 German, 1883-1956 Departure, 1921 A Couple, W-18,1977 Second Book of Maccabees: Judas plate: io'/2X 151/2(26.7x39.4) A Winter's Tale (from Shakespeare), Plate 27 from the series, Woodcut, ed. 2/50, sheet: 28'/8 x Maccabdeus, circa 1920 'V16 (24 x 30) Paulson 179 Marcia and Granvil Specks 1918 Robinson Crusoe 24 !/8 (72 x 61.2) Portfolio of 10 lithographs, ed. 2/50, Gift of Neil Harris and Teri J. Lithograph, composition: Colored lithograph, composition: Marcia and Granvil Specks each composition approx.: Collection, 1998.85 Edelstein, 1998.48 11 "/i6 x 7 7/8 (30 x 20) 87/i6x 51 '/i6 (21.5 x 14.5) Collection, 1998.72 7Vix6'/8(i9.7x 16.2) Marcia and Granvil Specks Marcia and Granvil Specks Marcia and Granvil Specks Collection, 1998.87 Collection, 1998.8 ia-j Collection, 1998.94

29 28 STEFAN THEMERSON MUAN XINGDAO (MOKUAN PAUL KLEINSCHMIDT HANS MEID MAX PECHSTEIN Polish, 1910-1988 SHOTO) German, 1883-1949 German, 1883-1957 German, 1881-1955 Collage of Thirteen Images from the Active in Japan, 1611-1684 Two Bathing Female Nudes, 1914 Nikolaus Lenau: Faust, 1921 The Critic (Dr. Paul Fechter), 1921 Film Short Circuit, 193 5 Single Line Calligraphy: The Great Etching, plate: 6VH> X 5 "/16 Portfolio of 10 etchings, proof Etching and drypoint, unsigned ed. L Vintage gelatin silver prints mounted Teacher and Grand Patriarch (15-7 x 14.5) impressions, ed. of 10, plates 1, 2 and of 150, plate: 15 'A x 12 A on card stock, stock sheet: 12x10 Daruma, n.d. Marcia and Granvil Specks 5: 5 '/4 x 4'/s (13.3 x 10.5), plate 3: 51/4 (38.7x31.1) (30.5 x 25.4) Hanging scroll, brush and ink on Collection, 1998.95 x 4VM13.3 x 11.1), plates 4,6 and 8: KriigerRi24 Purchase, Bequest of Joseph Halle paper, calligraphy panel: 52 x io7/s 5!/«x 4'/B (13 x 11.1), plates 7 and 9: Gift of John F. Peloza, 1998.112 PAUL KLEINSCHMIDT Schaffner in memory of his beloved 55/« x 4'/8 (13.7 x 11.1), plate 10: 5'/» (132.1 x 27.6) Pregnant Woman II, circa 1920 JAMES ROSENQUIST mother, Sara H. Schaffner, by Purchase, Brooks McCormick Jr. x 4 Vi (13.3 x 11.4) Etching and drypoint, American, born 1933 exchange, 1999.60 Fund, 1999.28 Jentsch 327-336 plate: 7u/i6X 5 (19.6 x 14.7) A Drawing While Waiting for an Marcia and Granvil Specks Marcia and Granvil Specks Idea, 1966 DECORATIVE ARTS CHINESE: CERAMICS Collection, 1998.101a—) Collection, 1998.96 Lithograph, ed. 30/52, sight: Hellenistic, South Italy Late Neolithic period-Late Shang LUDWIG MEIDNER 11 Vi x 8'/2 (29.2 x 21.6) PAUL KLEINSCHMIDT Guttus (Oil Feeder), dynasty German, 1884-1966 Gift of Arthur Paul, 1998.67 At the Fortune Teller's, 1922 circa 325-275 B.C.E. Liding (Tripod Cooking Vessel), Old Man, 1919 Etching and drypoint, PETER SAUL Molded and modeled earthenware 2000-1300 B.C.E. Lithograph, composition: plate: 13 x 8 "/if. (33 x 22.7) American, born 1951 with applied, incised and black Burnished black earthenware, I29/l6X 1115/i6 (32 x 30) Marcia and Granvil Specks World of America No. 2,1967 slip-painted decoration, diam. of h. IO'/B (26.4) Tenner 22 Collection, 1998.97 Color lithograph on black wove bowl 4'/4 (10.8), h. 3'/8 (8.6) Gift of Isaac S. and Jennifer A. Marcia and Granvil Specks paper, ed. 1/25, sheet: 23% x 18 Anonymous gift, 1999.22 Goldman, 1999.4 PAUL KLEINSCHMIDT Collection, 1998.102 (60.3 x 45.7) Woman at Her Toilette, 1923 JIM HODGES Late Neolithic period-Late Shang LUDWIG MEIDNER Gift of John F. Peloza, 1998.113 Etching and drypoint, American, born 1957 dynasty The Actor Eugen Klopfer, 1922 plate: 9n/i6 x I25/i (24.7 x 32.4) GEORG TAPPERT If There Had Been a Pool, It Would Li (Tripod Cooking Vessel), Etching, plate: io7/i6 x 8 Vi6 Marcia and Granvil Specks German, 1880-1957 Have Reflected Us, 1998 2000-1300 B.C.E. (26.5 x 20.8) Collection, 1998.98 The Entombment of Christ, 1917 Blanket, 52 x 72 (132.1 x 182.9) Red-orange earthenware, Marcia and Granvil Specks Etching, plate: 6'/s x 119/i6 Gift of The Peter Norton Family, h. 4'/8 (10.5) PAUL KLEINSCHMIDT Collection, 1998.103 (16.8 x 29.4) 1998.125 Gift of Isaac S. and Jennifer A. Reclining Female Nude, 1923 Imre Kinszki, Untitled, 1999.58 ED PASCHKE Karsch 63, Wietek 165 Goldman, 1999.3 Lithograph, composition: GERTUD NATZLER AND American, born 1939 Marcia and Granvil Specks 11 '/s x 15 VH (28.3 x 39.1) OTTO NATZLER Han dynasty (206 B.C.E.-220 C.E.) Bad, 1991 Collection, 1998.104 Marcia and Granvil Specks American, born in Austria, Vase, 206 B.C.E.—8 C.E. Color screenprint, ed. 12/60, PHOTOGRAPHS Collection, 1998.99 GEORG TAPPERT 1908-1971 and born 1908 Unglazed earthenware with remains composition: 1415/i6 x 12 Vs Christ on the Mount of Olives, 1917 JAROMLR FUNKE (respectively) of polychrome cold-painted GERHARD MARCKS (37.9x30.8) Etching, plate: i27/I6 x 91/» Czech, 1896-1945 Bowl, n.d. decoration, h. 5 Z2 (14) German, 1889-1981 Gift of the artist, 1999.23 (31.6x23.5) Untitled [Glass and Shadows], Glazed earthenware, h. 4 '/2 (11.4), Gift of Isaac S. and Jennifer A. Cain and Abel, 1923 ED PASCHKE Karsch 64, Wietek 166 circa 1923 diam. of mouth 7V8 (18.1) Goldman, 1999.27 Woodcut, block: 11 VK x 13 Z 2 Flamenco, 1991 Marcia and Granvil Specks Vintage chlorobromide print, sheet: Gift of Mary and John Gedo, (29x34.3) 7 Ming dynasty (1368-1644), made for Color screenprint, ed. 8/60, Collection, 1998.105 9 /8X 11 Vi6 (23.2 x 29.1) 1998.60. Lammek H 83 the Japanese market, with spurious composition: 21% x 237/s Purchase, Bequest of Joseph Halle Marcia and Granvil Specks FRANZ URBAN (DESIGNER) Xuande mark (54.9x60.6) Schaffner in memory of his beloved Collection, 1998.100 Austrian, b. 1868 Spanish, lived in France, 1881-1973 Dish, circa early 17th century Gift of the artist, 1999.24 mother, Sara H. Schaffner, by Sleeping Couple, circa 1920 French, Villauris, Madoura Pottery Porcelain with underglaze blue-and- BERNARD MEADOWS exchange, 1999.5 9 ED PASCHKE Woodcut, block: 11 ZS x 13 Works (manufacturer) white decoration, diam. of rim 6(15) British, born 1915 In America, 1997 (28.3 x 33) IMRE KINSZKI Centaur, 1956 Gift of Robert W. Christy, 1998.32 Mullan, 1966 Color etching, aquatint and Marcia and Granvil Specks Hungarian, 1901-1943? Molded partially glazed earthenware Twenty etchings and acquatints, Late Ming (1368-1644)-early Qing photo etching, ed. 80/80, Collection, 1998.106 Untitled [Street Scene from Above], plate with engobe decoration, printed horizontally four per sheet, dynasty (1644-1912), plate: i7"/i6X 231 Vi^ (45.3 X60.4) circa 1930 ed. 50/100, diam. 16 Vi (42) ed. 6/10, each sheet: 7x22 OSSIP ZADKINE Footed Tray (Sweetmeat Tray), Gift of the artist. 1999.25 Vintage gelatin silver print, Anonymous gift, 1998.58 (17.8x55.9) Russian, active in France, 1890-1967 sheet: 6Z2 x 4% (16.5 x 12.1) 17th century From the collection of Janice and ED PASCHKE The Labors of Hercules, 1960 Purchase, Bequest of Joseph Halle Transitional ware, porcelain with ASIAN Henri Lazarof, 1999.49 Missile, 1997 Portfolio of 28 lithographs, ed. Schaffner in memory of his beloved underglaze blue decoration, 7 Color lithograph, ed. 13/44. 6/350, each sheet: 27V16 x 20 /s mother, Sara H. Schaffner, by h. 3V2 (8.9), diam. of tray 9Z2 (24.1) CHINESE: PAINTING From the collection of Sydney R. composition: 11 V2 x 18 V* <69 x 53) exchange, 1999.58 (29.2x47.6) Marcia and Granvil Specks JIFEI RUYI (SOKUHI JOITSU) Zatz, Gift of Shirley Berc, 1999.7 Gift of the artist. 1999.26 Collection, i998.io7a-bb Active in Japan, 1616-1671 Reading a Sutra Under the Moon, probably between 1657-71 Hanging scroll, ink on paper, painting: 19% x 12/4 (50.3 x 31) Gift of Robert W. Christy, 1998.28

30 31 I

ARTIST UNKNOWN TOKUDAIJI JITSUI Qing dynasty (1644-1912), JAPANESE: PAINTING OAIMYO [LORD] N ABESHIM A Meiji period (1868-1912), Died 1682 NADEIRO underglaze blue six character seal of ARTIST UNKNOWN seal of Korin Waka Poem, 17th century 1846-1921 the Qianlong Emperor reign Edo period (1610-1868), signature Vine and Wisteria, late i9th-early Poem slip (tanzaku), ink on Waka Poem, late 19th century-early (1736-95) of Moronobu 20th century komugami paper with painted gold 20th century Pair of Bowls, 18th century Brothel Scene, late 17th century Diptych, ink and color on silk, each and silver decoration, Poem slip (tanzaku), ink on paper Porcelain with underglaze blue Hanging scroll, ink and color on painting: 8V2 x 7% (21.6 x 19.4) 7 with printed gold and spattered decoration, h. 2 V*(6), diam. of I3 /SX 2'/I6(35.2 x 5.9 ) paper, painting: 20 V2X 18 VA Gift of Robert W. Christy, 1998.33 Gift of Brooks McCormick Jr., gold stencil decoration, 14/IB x IVS mouth 5 (12.7) and h. 2V16 (5.9), (52.1 x 46.4) and 1998.34 (36 x 6) diam. of mouth 4% (12.4) 1998.38 Gift of Robert W. Christy, 1998.22 Gift of Brooks McCormick Jr., From the collection of Sydney R. ARTIST UNKNOWN IT O JOSOKU ARTIST UNKNOWN 1998.42 Zatz, Gift of Shirley Berc, 1999.8 Meiji period (1868-1912), signature Circa 1805-circa 1865 Edo period (1610—1868) and 1999.9 and seal of Sotatsu Waka Poem, 19th century NANTENBO TOJU Letters, 18th century Moon and Beans, late i9th-early Poem slip (tanzaku), ink on paper ,839-,925 Qing dynasty (1644-1912), Three sheets mounted as a hanging 20th century with printed silver and painted (?) Sun RiseEnso, 1920 Fujian province, possibly for scroll, each sheet: brush and ink on Hanging scroll, ink and color on brown decoration, Folding fan mounted as a hanging thcjapancse market paper, top: 6 x SVA (15.2 x 22.2), paper, painting: 41V2 x 13 5 2'/.6 scroll, ink on mica-covered paper, Brush Pot, 18th-19th century !4 /i6 x (36 x 5.9 ) middle: 6 x 14% (15.2 x 37.5), 8 x i8> /4 (20.3 x 46.4) Soft-paste porcelain (huashi) with (105.3x32.5) Gift of Brooks McCormick Jr., bottom: 5"/i6X n'/Hi 5.1 x 29.9) Gift of Robert W. Christy, 1998.23 Purchase, Brooks McCormick Jr. molded and applied decoration, 1998.39 Gift of Brooks McCormick Jr., Fund, 1998.57 h. 4Z2 (11.4), diam. of mouth 1999-53-c EIICHI KANCHU 4/4 (11.4) Dates unknown Dates unknown OHO From the collection of Sydney R. ARTIST UNKNOWN Hotei Viewing the Moon, Waka Poem, 2nd half of 19th century 1808-1841 Zatz, Gift of Shirley Berc, 1999.10 Edo period (1610-1868) 19th century Poem slip (tanzaku), ink on paper Crane, 2nd quarter of 19th century Waka Poem, 18th century Hanging scroll, ink and light colors with printed green and mica Hanging scroll, ink on paper, Qing dynasty (1644-1912), Poem sheet (shikishi), brush and ink on paper, painting: 38x11 painting: 24 x 9V4 (61 x 24.8) underglaze blue six character seal decoration, 14Vi x iVa (36.2 x 6) on paper with painted gold (96.2 x 28.1) Gift of Brooks McCormick Jr., Gift of Robert W. Christy, 1998.24 of the Guangxu Emperor reign 1 decoration, 9 x 6 Vi6 (22.9 x 17.3) Gift of Robert W. Christy, 1998.21 (1875-1908) 1998.41 Gift of Brooks McCormick Jr., SENSO Footed Tray (Sweetmeat Tray), Dates unknown 1999.6 HOKUZANTEI [OSAN IS A I ] KANO TSUNENOBU late 19th-early 20th century 1821-1880 1636-1713 Sixteen Rakan, early 20th century Porcelain with underglaze blue ARTIST UNKNOWN Kensu, n.d. Fukurokuju, late 17th century Hanging scroll, ink and color on silk, decoration, h. 4 (10.2), Edo period (1610-1868), signature Hanging scroll, ink on paper, Hanging scroll, ink on paper, painting: 51 V2 x 16% (130.8 x 42.5) diam. of tray 6 VA (17.2) and seal of Sesshu Toyo painting: 44V4 x 20 (113.7 x 50 .8) painting: 11 V2 x 15 VA (29.2 x 39.2) Gift of Robert W. Christy, 1998.25 From the collection of Sydney R. Winter Landscape, 18th century (?) Gift of Robert W. Christy, 1998.29 Gift of Robert W. Christy, 1998.20 Zatz, Gift of Shirley Berc, 1999.11 Hanging scroll, ink on paper, painting: 18 x 12'/* (45.7 x 30.8) CHINESE: METALWORK Gift of Robert W. Christy, 1998.26

Eastern Zhou dynasty ARTIST UNKNOWN (770-256 B.C.E.) Meiji period (1868-1912), signature Garment Hook (Guimou), circa and seal of Tani Buncho 4th-3rd century B.C.E. Kanzan, late i9th-early 20th century Cast bronze with silver and gold (?) Hanging scroll, ink and light color inlay, 1. 6Vs (16.2) on paper, painting: 521/4 x i6 '/4 Gift of Mrs. Geraldine Schmitt-Poor (132.7x42.2) and Dr. Robert J. Poor, 1998.123 Gift of Robert W. Christy, 1998.27

Han dynasty (206 B.C.E.-220 B.C.) ARTIST UNKNOWN Square Wine jar (Fanghu), Meiji period (1868-191*)> signature circa 2nd century B.C.E. and seal of Hokusai Cast bronze, h. 11 VA (28.6) Landscape and Figures: Spring and Gift of Mrs. Geraldine Schmitt-Poor Autumn, late i9th-early 20th and Dr. Robert J. Poor, 1998.124 century Pair of hanging scrolls, ink and color Qing dynasty (1644-1912), spurious on silk, each painting: 44 VA X 20 inscribed six character seal of the (113.7 x 50.8) Ming dynasty Xuande Emperor Muan Xingdao, Single Line Gift of Robert W. Christy, 1998.35 reign (1426-35) Calligraphy, 1999.28 and 1998.36 Fanghu, 17th—18th century (?)

Cast bronze, h. 3V A (8.3), squared diam. of mouth 17/s (4.8) From the collection of Sydney R. Zatz, Gift of Shirley Berc, 1999.12 Sumiyoshi Gukei, Imperial Outing, 1998.19

32 33 JAPANESE: SUMIYOSHI GUKEI Meiji period (1868-1912) I'hanka, I9th-20th century PHOTOGRAPHS 1631-1705 Incense Box in the Shapeof a Crane, Hanging scroll, pigment on cloth,

Imperial Outing, late 17th century HIROSHI SUGIMOTO late I9th-early 20th century painting: 20 LAX 15 VA (51.4 x 40) Hanging scroll, ink and light color Born 1948 Unglazed modeled earthenware Gift of Mrs. Geraldine Schmitt-Poor on paper, painting: 15 x 25 !/i Ordovician Period, 1992 (Bizen ware),l. 2 % (6.8) and Dr. Robert J. Poor, 1998.116 (37.8 x 64.8) Gelatin silver print, sheet: 20 x 24 Gift of Robert W. Christy, 1998.31 Thanka: Cakrasamvara and Gift of Robert W. Christy, 1998.19 (50.8 x 61) HAMADA SHINSAKU Vajravarahi ?, 19th-2oth century Purchase, Bequest of Joseph Halle UJO Born 1930 1 langing scroll, pigment on cloth, Schaffner in memory of his beloved Dates unknown Squared Curved Flask, n.d. unmounted painting: 34 x 2yV» mother, Sara H.Schaffner, by Waka Poem, 1st half of 19th century Glazed molded and modeled (86.4 x 70.8) exchange, 1999.61 Poem slip (tanzaku), ink on paper stoneware, h. yV* (18.4) Gift of Mrs. Geraldine Schmitt-Poor with spattered gold stencil Gift of Mr. and Mrs. Michael R. JAPANESE: CERAMICS and Dr. Robert J. Poor, 1998.117 decoration, 14V16 x 25/s (36 x 6) Cunningham in honor of Fr. Harrie Muromachi period (1333-1568), Gift of Brooks McCormick Jr., Thanka, i9th-20th century Echizen kilns A. Vanderstappen S.V.D., 1998.51 Hanging scroll, pigment on cloth, 1998.40 Storage jar (Tsubo), 14-15 th century JAPANESE: painting: i2*/8X IO'/R(3I.4 X 27) Stoneware with natural ash glaze and JAPANESE: PRINTS DECORATIVE ARTS Gift of Mrs. Geraldine Schmitt-Poor kiln deposits, h. 14 (35.6) and Dr. Robert J. Poor, 1998.118 CHIKANOBU YOUSHU Gift of Brooks McCormick Jr., 1999.1 Meiji period (1868-1912) 1832-1912 Gourd-shaped Box, circa 1900 I'hanka, 19th-20th century Meiji period (1868-1912) Reflection of the Period: Kanei Lacquer, 1. yV2 (8.9) 1 langing scroll, pigment on cloth, Water Basin, late 19th century ("1624-1643), 5 Au gust 1897 Gift of Robert W. Christy, 1998.30 unmounted painting: 21 VH X 14 ZH Stoneware with applied modeled Color woodblock, sheet: 14 x 97/s (54-3 X 35-9) Hiroshi Sugimoto, Ordovician Period, 1999.61 and underglaze iron-oxide and green KOREAN: SCULPTURE (35.9x25.1) Gift of Mrs. Geraldine Schmitt-Poor overglaze decoration (Oribe ware), Gift of Brooks McCormick Jr., Choson dynasty (1392-1910) and Dr. Robert J. Poor, 1998.118 h. 9% (23.9), max. diam. of squared 1999.14 Seated Buddha (Amit'a), CHIKANOBU YOUSHU HASUI KAWASE rim 10V2 (52.1) Thanka, i9th-20th century 15 th—16th century CHIKANOBU YOUSHU Reflection of the Period: Tenpo Shiohara Hatakeshita, 1946 Gift of Alan Ichiyasu, 1999.33 Hanging scroll, pigment on cloth, Cast bronze with traces of gilding, Reflection of the Period: Genroku (1830-1843), 5 August 1897 Color woodblock, sheet: 14 x 9V16 painting: i)V*x 8(33.3 x 21.3) h. 7VA (18.4) ("1688-1704), 5 June 1897 Color woodblock, sheet: 14V8 x 9'/s (35.6x23.3) Gift of Mrs. Geraldine Schmitt-Poor 9 Purchase, Brooks McCormick Jr. Color woodblock, sheet: i4 /i6 x 9% (37.2 x 25.1) Gift of Robert W. Christy in memory and Dr. Robert J. Poor, 1998.120 Fund, 1999.2 (37x25.1) Gift of Brooks McCormick Jr., of Robert Anders Park, 1998.54 Thanka, i9th-2oth century Gift of Brooks McCormick Jr., 1999.19 KUNICHIKA KOREAN: CERAMICS Hanging scroll, pigment on cloth, 1999.15 1835-1900 painting: io7/« x 8 (27.6 x 20.3) CHIKANOBU YOUSHU Three Kingdoms period, Silla CHIKANOBU YOUSHU Reflection of the Period: Meiji Series of Fourteen Actor Prints, n.d. Gift of Mrs. Geraldine Schmitt-Poor kingdom (57 B.C.E.-935 c.E.) Reflection of the Period: Kyoh-ho (1868-1912), 5 January 1898 Color woodblocks, each sheet: and Dr. Robert J. Poor, 1998.121 PedestalledJar, 5th-6th century ("1716-1733), 5 June 1897 Color woodblock, sheet: i4'/4 x 9 /8 67/8X4'/2(i7.5 x 11.4) Stoneware with impressed and Thanka, I9th-20th century 9 Color woodblock, sheet: 14 /i6 x (37.5x25.1) Gift of Robert W. Christy, combed decoration and natural ash Hanging scroll, pigment on cloth, 915/i6 (37x24.9) Gift of Brooks McCormick Jr., 1998.373-111 glaze deposits, h. 16 (40.6) painting: 23% x 17(58.7x43.2) Gift of Brooks McCormick Jr., 1999.20 MUNAKATA SHIKO Gift of Brooks McCormick Jr., Gift of Mrs. Geraldine Schmitt-Poor 1999.16 CHIKANOBU YOUSHU 1903-1975 1999.13 and Dr. Robert J. Poor, 1998.122 CHIKANOBU YOUSHU Reflection of the Period: Meiji SeatedBodhisattva with Owl, i960 TIBETAN: PAINTING Woodblock, block: 12Vie x 9V2 Reflection of the Period: Meiwa (1868-1912), 5 January 1898 AFRICAN ("1764-1771), 1 February 1897 Color woodblock, sheet: 141 '/i6 x 9'/» (31 X24.1) Thanka, i9th-20th century 7 Burkina Faso, Mossi peoples Color woodblock, sheet: 14% x 9 /s (37.3x25.1) Gift of Kenji and Chibako Kajiwara, Hanging scroll, woodblock (?) Female Figure, 20th century (37.2x25.1) Gift of Brooks McCormick Jr., 1998.52 printed in red on gold cloth, image Gift of Brooks McCormick Jr., Carved wood, h. 11 (27.9) 1999.21 KATSUHIRA TOKUSHI panel: 23 Vs x i6 '/s (59.4 x 41) Gift of Richard J. Faletti, 1998.43 1999.17 Gift of Mrs. Geraldine Schmitt-Poor HASUI KAWASE 1904-197I and Dr. Robert J. Poor, 1998.114 Ivory Coast, Senufo peoples CHIKANOBU YOUSHU 1883-1957 Sasamaki, Akita, 1942 7 Heddle Pulley, 20th century Reflection of the Period: Anei Snow on Mukojime, December 1931 Color woodblock, block: io /s x 14'A Thanka: Green Tara ?, Carved wood, h. 6V2 (16.5) ("1772-1780), 5 Au gust 1897 Color woodblock, sheet: 14'A x 9 Zi (27.6x37.5) I9th-20th century Gift of Richard J. Faletti, 1998.44 Color woodblock, sheet: 14V2 x 9 78 (36.2 x 24.1) Gift of Robert W. Christy, 1998.5 5 Hanging scroll, pigment on cloth, (36.8 x 25.1) Gift of Robert W. Christy in memory painting: I6'/4X 13% (41.3x33.7) Gift of Brooks McCormick Jr., of Robert Anders Park, 1998.53 Gift of Mrs. Geraldine Schmitt-Poor 1999.18 and Dr. Robert J. Poor, 1998.115 Seated Buddha, 1999.2

34 35 ACTIVITIES AND SUPPORT/ Frank Lloyd Wright (designer) COLLECTIONS Window, circa 1909 Designed for the Frederick C. Robie Residence, Chicago Original painted and varnished wood casing, clear and colored leaded glass and original metal hardware, 39% x 3oVi( 100.6 x 78.1) University Transfer, 1967.8 5

Tokyo Metropolitan Teien Art Museum, Tokyo The Liberty Style 12 June-25 July 1999 Traveling to: Hokkaido Obihiro Museum of Art, Obihiro, August 6-September 15, 1999; Hakodate Museum of Art, Hokkaido, September 19-October 23, 1999; Daimaru Museum, Kobe, October 28-November 9, 1999; Daimaru Museum, Umeda- Loans from the Permanent Collection Osaka, February 23-March 13, 2000; The Museum of Art, Kochi, April 1-23, 2000; Kumamoto Prefectural Museum of Art, April 2-May 28, 2000; Hiroshima Museum of Art, June 3—July 9, 2000 Exhibitions to which works of art from the permanent collection have been lent are listed alphabetically by thectyof Edmond Johnson (manufacturer) the organizing institution. Dimensions are in inches followed by centimeters; height precedes width precedes depth. Irish, i840s-before 1902 Loans listed date from July i, 1998 through June 30, 1999. The Ardagh Chalice, circa 1892 (after 8th-century original) Museum of Our National Heritage, Lexington, The Chicago Cultural Center. Chicago Silver, glass and enamel, h. 6VA (15.9), Massachusetts Vera Klement: Paintings 1 965-1999 diam. of mouth: 71/2(19.1) Designing in the Wright Style: Furniture and Interiors May 8—July 18, 1999 Frank Lloyd Wright, Barrel Arm Chair, 1967.70 Gift of Mr. and Mrs. Edward A. Maser, 1977.125 by Frank Lloyd Wright and George Mann Niedecken Vera Klement February 13-September 6, 1999 Edmond Johnson (manufacturer) American, born in Danzig, born 1929 George Mann Niedecken (designer, in association The Shrine of St. Patrick's Bell, circa 1892 Swimmer, 1988 with Frank Lloyd Wright) Frank Lloyd Wright (designer) (after circa 1100 original) Diptych, oil on canvas, 62 V* x 144I/2 Arm Chair, 1900 Gilt over unidentified metal, silver and glass, (158.1 x 367) (overall) American, 1878-1945 h. 11 (28) Side Chair, circa 1909 Designed for the B. Harley Bradley House, Gift of the artist, 1993.21 Designed for the Frederick C. Robie Residence, Kankakee, Illinois University Transfer, Gift of the Field Museum of Oak, 36xh x 32 x 28 (92.7 x 81.3 x 71.1) Natural History, 1967.121.1 Museum of Contemporary Art, Chicago Chicago University Transfer, Gift of Mr. Marvin Hammack, Roger Brown Memorial Exhibition Oak and metal, 38 x 17V2 x 20 (96.5 x 44.5 x 50.8) Kankakee, 1967.67 February 21-August 2, 1998 University Transfer, 1967.54 Roger Brown George Mann Niedecken (designer, in association Frank Lloyd Wright (designer) American, 1941-1997 with Frank Lloyd Wright) Barrel Arm Chair, 1900 Mask for Chairman of the Board of Directors, 1974 Arm Chair, circa 1909 Designed for the B. Harley Bradley House, Acrylic on wood construction with leather thongs, Designed for the Frederick C. Robie Residence, Kankakee, Illinois 37X9X 14(94x22.9x35.6) Chicago Oak with (replacement) upholstered seat, 27V2 The George Veronda Collection, 1996.16 Oak, 39'/2 x 31V2 x 31 (100.4 x 80 x 78.8) 27 x x 28 (68.6 x 69.8 x 71.1) University Transfer, 1967.5 7 University Transfer, Gift of Mr. Marvin Hammack, Ente Casa Buonarroti, Florence, Italy Kankakee, 1967.70 Cecco Bravo: Pittore seuza regola George Mann Niedecken (designer, in association Frank Lloyd Wright (designer) June 22-September 30, 1999 with Frank Lloyd Wright) Rocking Chair, circa 1909 Dining Table Chair, 1907-10 Francesco Montelatici (called Cecco Bravo) Designed for the Frederick C. Robie Residence, Designed for the Frederick C. Robie Residence, Italian, Florentine School, 1607-1661 Chicago Chicago Angelica and Ruggiero, circa 1660 Oak, 35 x 17% x 24 (88.9 x 44.1 x 61) Oak with (replacement) leather slip seat, Oil on canvas, 18I/4 x 23 V2 (47.6 x 59.7) University Transfer, 1967.5 8 521/2 x 18 x 19V2 (133.4 x 45.7 x 49.5) Gift of the Samuel H. Kress Foundation, 1973.42 University Transfer, 1967.80 Frank Lloyd Wright (designer) Frank Lloyd Wright (designer) American, 1867-1959 Arm Chair, 1900 Headboard, 1908 Designed for the B. Harley Bradley House. From the guest room bed designed for the Kankakee, Illinois Frederick C. Robie Residence, Chicago Oak, 34V2 x 36I/2 x 28 (87.6 x 92.7 x 71.1) Oak, 46 x 63 x 4I/4 (116.8 x 160 x 12.1) University Transfer, Gift of Mr. Marvin Hammack, University Transfer, 1967.63 Kankakee, 1967.66

37 36 ACTIVITIES AND SUPPORT/ EXHIBITIONS, PROGRAMS AND EVENTS

Exhibitions

Permanent collection, loan, and traveling exhibitions from July i, 1998 through June 30, 1999. Please note that the museum closed for renovation and reinstallation on April 19, 1999.

Get Out: Nine Artists from Midway Studios, exploration of performative work. Get Out University of Chicago featured Kurt Andernach, Victoria Beal, Jessica July 16-August, 9 1998 Buben, Noelle DeLage, Shawn Dubay, Julie This exhibition presented work by nine students Nauman, Zena Sakowski, Steve Wetzel, and graduating from the University of Chicago's Amy Zucker. Midway Studios. The culmination of two years as Get Out was organized by Courtenay Smith with Master of Fine Arts students, Get Out represented assistance from Amy Bingaman, Curatorial Intern a variety of concerns of the studio art department. and MFA Coordinator. A color brochure with an It also reflected the pluralism of contemporary introductory essay by Smith accompanied the artistic practice: the use of media once considered exhibition. Get Out was made possible through non-traditional (such as video, computers, and the support of the Visiting Committee on the found objects), an interest in temporality that took Visual Arts at the University of Chicago. the form of short-lived installations, and the Recent Acquisitions: Modern and Contemporary Art August 25-October 18, 1998 This intimate exhibition showcased 20th-century works acquired by the Smart Museum since 1996. It featured paintings and and sculpture by Robert Barnes, Robert Colescott, Joseph Goto, Red Grooms, Miyoko Ito, Edward Kienholz, and David Smith, many of which had not previously been on public view. The exhibition addressed the cultural, regional and stylistic diversity of American art since World War II, and marked the Smart Museum's commitment to enhancing its collection of 20th-century art. Recent Acquisitions was organized by Richard A. Born.

Blunt Object September 11-October 25, 1998 Blunt Object offered a humorous and fresh look at contemporary sculpture. The exhibition featured both well-known and emerging artists from Europe and the United States, and explored a recent shift in object making from the large-scale and heroic to the vernacular, spunky, and blatant. The exhibition included Aaron Baker, John Beech, Mark Cole, Meredith Danluck, Bill Davenport, Installation view of Blunt Object

39 Sally Elesby, Tom Friedman, Matt Harle, Elizabeth Space/Sight/Self McGrath, Charles Long, Franz West, Sarah November 19,1998-January 10, 1999 Whipple, Alan Wiener, and Daniel Wiener. This exhibition addressed contemporary Blunt Object was organized by Courtenay Smith. portraiture as the nexus of three issues: visuality, A color catalogue with an essay by Smith location, and identity. It was the culmination of a accompanied the exhibition. University of Chicago interdisciplinary course in art, art history, and gender studies that investigated Weimar Bodies: Fantasies About the Body in Weimar the practices, paradigms, and aesthetics of Art, Science, and Medicine contemporary portraiture. The course also November 4 1998-January 10, 1999 explored the role of seeing in knowledge Weimar Bodies brought together art works and production, identity formation, and visual other kinds of images to explore the range of education. Space/Sight/Self was the collaborative popular ideas about the human body in Weimar result of students' research and thinking about Germany and to provide a sense of how the short­ these issues. It featured artists Lynn Barlow, lived Weimar Republic (1919-1933) saw itself. Dawoud Bey, Brett Bloom, Alice Hargrave, Jurgen The exhibition placed images of the body within Mayer Hermann, Byron Kim, Nina Levitt, Ana a broad cultural perspective, and addressed the Mendieta, Holly Rittenhouse, Inez van ways that vast and varied audiences responded to Lamsweerde, and Francesca Woodman. them. The exhibition included prints and Space/Sight/Self was organized by Laura Letinsky, drawings from the Smart Museum and the Assistant Professor, Committee on the Visual Arts, Regenstein and Crerar Libraries, as well as University of Chicago with assistance from contemporary anthropological, sociological, Elizabeth Bloom, Curatorial Intern and Ph.D. and medical texts. candidate in art history at the University of Weimar Bodies was organized by Sander Gilman, Chicago. The exhibition was accompanied by a Henry R. Luce Distinguished Service Professor of catalogue featuring an essay co-authored by the Liberal Arts in Human Biology, University of Letinsky and Bloom, as well as contributions by Chicago, and Stephanie D'Alessandro, formerly students in the course. The exhibition was funded the Smart Museum's Coordinating Curator of through the generosity of the Smart Family Mellon Projects, now Andrew W. Mellon Foundation, Inc., and Dorie and Dr. Paul Curatorial Fellow, . A Sternberg. brochure with an essay co-authored by Gilman and D'Alessandro accompanied the exhibition. Visitors at the opening reception for Transience Weimar Bodies was funded in part by a multiple- year grant from the Andrew W. Mellon Foundation.

Transience: Chinese Experimental Art at the End through paintings, sculptures, photographs, of the Twentieth Century videos, and installations presented in three February 18—April 18, 1999 thematically linked sections: "Demystification," This groundbreaking exhibition documented "Ruins," and "Transience." major trends in current Chinese experimental art Transience was curated by Wu Hung, Harrie A. (shiyan meishu), which is characterized by a strong Vanderstappen Distinguished Service Professor in desire to explore new territories in artistic Chinese Art History, University of Chicago. The expression. The twenty-one featured artists come exhibition was accompanied by a color catalogue from different parts of mainland China or are written by Wu Hung, with contributions from Kris living abroad in Europe and the United States, and Ercums, Curatorial Intern and Ph.D candidate in their styles and modes of expression vary. These art history at the University of Chicago. The artists work primarily for a domestic audience, and exhibition was funded through the generosity of they respond directly to China's complex, rapidly the Smart Family Foundation, Inc.; the Lannan changing culture. Many of these artists derive Foundation; the Andy Warhol Foundation for materials, techniques, and concepts from both the Visual Arts; and the Nathan Cummings western and traditional Chinese aesthetics. Their Foundation, with the support and encouragement pathbreaking experiments thus address the of Mrs. Beatrice Cummings Mayer; Mary and Roy relationship between regionality and globalization Cullen; and the John Nuveen Company. Following in contemporary art, and demonstrate convinc­ its presentation in Chicago, Transience traveled to ingly how originality can be constituted by the University of Oregon Museum of Art in combining an Asian art tradition with artistic Eugene, Oregon and the Hood Museum of Art, internationalism. Transience explored these issues Dartmouth College in Hanover, New Hampshire.

Installation view of Space/Sight/Self

40 41 ACTIVITIES AND SUPPORT/ EXHIBITIONS, PROGRAMS AND EVENTS

Education Programs and Public Events

As an integral part of its mission, the Smart Museum sponsored by other cultural organizations or offers education programs and public events that University of Chicago departments. In conjunction make its collections and exhibitions accessible to a with Get Out: Nine Artists from Midway Studios, diverse audience. These events and programs University of Chicago, New Art Examiner editor Ann encourage cross-disciplinary insight and provide the Wiens lectured on alternative exhibition strategies in participants with tools to engage art, explore its Chicago, and exhibition curator Courtenay Smith led context, and find meaning and pleasure. In January a special tour. A number of programs offered insight 1999, the permanent collection went into storage to into Blunt Object, including a curator's tour by Smith make room for the extraordinary exhibition and provocative lectures by critic, artist and art Transience: Chinese Experimental Art at the End of the historian Johanna Drucker and artists Stefan 20th Century. In April, all of the galleries were closed Eberstadt and Charles Long. Artists Jiirgen Mayer as we began renovation. Despite these disruptions, Hermann and Liisa Roberts both explored the issues 1998-1999 was an exciting and innovative year of raised by Space/Sight/Self in public talks. Smart programming. Museum members explored art in a different context when they toured the corporate collection of LINC Programs and Events Capital, Inc. during the fall Collectors Series event.

During the 1998-1999 season, the Smart Museum Many special programs were held in conjunction offered an engaging, challenging series of exhibition- with Transience: Chinese Experimental Art at the End related programs. Many of these events were co- of the Twentieth Century. At the crowded, festive opening, artist Yin Xiuzhen performed and exhibition curator Wu Ilung offered welcoming remarks. Seven of the exhibiting artists participated in a seminar in February for University of Chicago students and the general public. Later in the month the film Good Morning Beijing was screened in collaboration with the University of Chicago's DOC Films. The Smart Museum also worked with the Department of Cultural Affairs to present a free concert by renowned pipa player Min Xiao-Fen, which drew an enthusiastic crowd of over 300 people. Guests at the museum's spring Collectors Series event joined exhibition curator Wu Hung and graduate research assistant Kris Ercums for brunch and behind-the-scenes insights into the process of organizing the exhibition. During the final weekend of the exhibition, a symposium, Global Perspectives on Contemporary Chinese Art, explored the issues raised by Transience within a two- Transience curator Wu Hung, the Harrie A.Vanderstappen day, interdisciplinary conference on modern East Distinguished Service Professor in Chinese Art History, Asian culture sponsored by the Regional Worlds lectures at the exhibition opening. Program, Globalization Project, Center for

43 International Studies, and Center for East Asian Space/Sight/Self offered a special opportunity for Studies, the University of Chicago. students to learn about contemporary art, critical For all exhibitions, the museum offered tours for theory, and curatorial practices. The project began the general public as well as for private groups. Tours with a course on portraiture taught by Laura Letinsky, for Transience were available in both Mandarin and Assistant Professor, Committee on the Visual Arts, English. As in past years, the Smart Museum also University of Chicago. Students in this interdiscipli­ hosted a series of Sunday afternoon concerts nary course explored ideas about vision, identity, and sponsored by Mostly Music. Before each concert, contemporary art. Under Letinsky's guidance, with museum docents led tours of special exhibitions and assistance from Smart Museum staff, these ideas were permanent collection galleries. translated into an exhibition and a catalogue. University of Chicago graduate and undergraduate Programs and Events for University of students also learned about museum practices Chicago Students through paid internships in several departments. During 1998-1999, curatorial interns assisted with University of Chicago graduate and undergraduate many exhibitions, including researching and writing students form the core of the Museum's docent wall texts and catalogue entries. Education interns program. This unique program provides paid researched and wrote guides for teachers and families, positions for students from all departments and trains and developed the Music and Art Loan Box and the them to be educators within the museum setting. The background materials for the Transience Docent for a program connects University of Chicago students with Day program. Projects for the registration interns the greater Chicago community and fulfills the included adding images and provenance information Museum's mission of making its resources available to to the museum's collections database. The public a broad public. Transience offered the docents new relations and marketing intern helped spread the opportunities to expand their interpretive skills. word about the museum by writing press releases and Through a series of special training sessions, they other materials. Internships like these enhance the became familiar with contemporary art practices and overall learning experience for many University of gained insight into a remarkable period of recent Chicago students, make possible the successful Seminar students and Assistant Professor of Romance Languages and Literatures Larry Norman meet in the Smart Chinese art. They applied this knowledge by leading realization of the museum's programs, and provide an Museum's sculpture garden to discuss The Theatrical Baroque. eighteen tours for high school, college, and adult important service to the larger museum and academic visitors, and at a special Docent for a Day program communities. focused on the exhibition. The University of Chicago community also Ingrid Rowland and her graduate students selected the participated in a variety of other special events during objects for The Place of the Antique in Early Modern 1998-1999. The Museum's education staff Europe (November 23, 1999-February 29, 2000). They collaborated with the Chinese Scholars and Students spent much of the following year writing the text for Association, the Asian Student Union, the Center for the accompanying catalogue. During this same period East Asian Studies, the Chinese Undergraduate Professor Linda Seidel, also in Art 1 listory, helped to Students Association, and DOC Films to present a define the thematic emphases of the exhibition Pious series of programs in conjunction with Transience, Journeys: Christian Devotional Art and Practice in the including the artists' seminar, the screening of Good Later Middle Ages and Renaissance. Three graduate Morning Beijing and a Student Open House. The students are writing the catalogue, while the exhibition Smart Museum also continued its Thursday Night (March 14-September 10, 2000) will serve as a three- student performance series, designed to introduce dimensional "textbook" for an undergraduate course students to the Museum. Last year's series featured a on medieval piety. In the spring of 1999, Assistant series of concerts and a poetry reading. Professor Larry Norman from the Department of Romance Languages and Literatures taught a graduate Mellon Projects seminar on the relationship between theater and the visual arts in the seventeenth century. Through 1998-1999 was a year of preparation for three readings, discussions, and work with visiting scholars, upcoming exhibitions supported by a grant from the students helped define a set of issues to be explored in Andrew W. Mellon Foundation. These collaborative the resulting exhibition, The Theatrical Baroque projects offer an important opportunity to experiment (January 9-April 22, 2000). Norman and his graduate with and expand the unique role of the university art students are writing the accompanying catalogue. museum. They bring together University faculty members, students and Smart Museum staff to School Programs research and present materials from the Museum's permanent collection. Their thematic organization Interdisciplinary school programs encourage students will allow familiar objects and rarely displayed works and teachers to look carefully, think critically and share to be viewed side by side in a new context. ideas, opinions and discoveries. The museum focuses During 1998-1999, Coordinating Curator for on providing in-depth, sequential art experiences to Mellon Projects Elizabeth Rodini worked with elementary, middle and high school students. professors and students to develop three projects. In a In 1998-1999, the Smart Museum joined the Hyde

Associate Professor of Art History Martha Ward and a group of students examine works from the Smart Museum's collection. winter 1998 seminar, Associate Professor of Art History Park Art Center, the University of Chicago's Music

44 45 visual language. Students developed public speaking Object, and explored the process of making sculpture skills during final presentations in which each child through hands-on activities. Another successful family talked in the Museum's galleries about an artwork of event was held in June 1999. when the Smart Museum, his or her own choice. In February and March, four the Oriental Institute Museum, and the Hyde Park classrooms participated in a special Docent for a Day Art Center presented a special Father's Day Family program focused on Transience. Fifth and sixth Day at the Oriental Institute. Over 400 people enjoyed graders learned about recent Chinese history in tours of the Egyptian Gallery, sing-alongs, and lace- preparation for their visits. Over the course of five painting. Children created Egyptian-style crowns for museum sessions and a series of classroom hands-on their fathers, and family members made portraits of sessions, they became familiar with visual language each other. With families in mind, the education staff and contemporary art processes and explored the also developed Take a Look gallery guides for the relationship between art and social context. During Blunt Object and Space/Sight/Self exhibitions to help the final events, students shared with their families young visitors engage contemporary art. and friends their own interpretations of the works in The Smart Museum also continued to offer the exhibition. 1998-1999 Docent for a Day programs community-based programming. For the third year, were supported through generous grants from the the museum collaborated with the Harper Court Sara Lee Foundation and Kraft Foods, Inc. Foundation, the South East Chicago Commission, Sixth, seventh, and eighth grade students from the Hyde Park Art Center, the Museum of Science ten schools on Chicago's South Side explored the and Industry, Artwcrk Gallery, and Regents Park by expressive connections between jazz and visual art the Clinton Company to present Artscape. For four during the 1998-1999 MusArts program. As in past days in early October, artists worked on the streets years, this unique program was made possible through of I lyde Park and created artwork inspired by the a grant from the Polk Bros. Foundation. A total of neighborhood. The Smart Museum hosted the awards 1,100 students participated in teacher-led classroom reception on October 22, 1998. The Museum also discussions. Works by 480 students were on view collaborated with the Harper Court Foundation Families look at 5th graders' personal collections at the culminating event for the Smart's collaboration with the North during the final event exhibition. In addition to and several Hyde Park institutions and groups to Kenwood/ Oakland Charter School. classroom discussions, artmaking sessions, and visits produce and distribute a 1998-1999 Hyde Park to the Smart Museum, the program included music Cultural Calendar. workshops for students led in each of the schools by Department, University Theater, the Oriental Institute in a special evening for NKOCH families in May that prominent performers from the Association for the Education Advisory Committee Museum, and Court Theater to implement the included student presentations and an exhibition of Advancement of Creative Musicians (AACM). These University of Chicago/Regents Park Fine Arts student collections. Each family received a copy of an Supported by funding from the Polk Bros. Foundation, workshops were so successful that the Museum plans Partnership's first year of programs. This new initiative informal catalog showcasing the students' essays. the Smart Museum's Education Advisory Committee was spearheaded by Bruce Clinton, Chairman of The to make them a central part of the program next year. 1998-1999 marked the sixth year of the South Side continued to serve as an essential planning and Clinton Company, and the University of Chicago's Students and their families had a chance to see these Arts Partnership (SSAP), a Chicago Arts Partnerships evaluation tool not only for the education staff, but for Community Affairs office with the purpose of expanding talented musicians perform during the final event (CAPE) initiative. As part of the year's programs, 90 the entire museum. The committee met quarterly at arts experiences for schoolchildren in the community. concert in March. Ray School third graders visited the Museum to look the Museum. Advice and ideas gathered during the This partnership enabled the Smart Museum to at how artists depict the human body as part of a Family and Community Programs meetings helped the staff find effective ways to develop new programs at Kenwood Academy High multi-disciplinary curriculum unit. An eighth grade communicate with the community, initiate plans for The Smart Museum continues to offer a welcoming School and at North Kenwood/Oakland Charter class explored the exhibition Space/Sight/Self as part expanded family programs, and more effectively plan environment in which families and community School. At Kenwood Academy High School, of a language arts and fine arts project focused on the development of an education web page. Five new members can explore art. We encourage our visitors, Education Director Jacqueline Terrassa and issues of identity. Smart Museum staff also provided members joined the group in 1998-1999: Candida young and not-so-young, to imagine, inquire and Education Assistant Sara Skelly worked closely with curriculum consultation and materials to Ray School Alvarez (School of the Art Institute of Chicago), share ideas about what they see. English, architecture, and fine arts faculty to and Murray Language Academy and helped plan and Dawoud Bey (Columbia College Chicago), Theresa incorporate Smart Museum resources into their evaluate activities during monthly SSAP steering Family programs during 1998-1999 ranged from Carson (University of Chicago News Office), Kay curriculum. Activities included a teacher workshop, committee meetings. afternoons of art-making to specialized gallery guides. Grissom Kiely (Hyde Park Art Center), and Dr. slide talks at the school by Museum staff, a student At a Family Workshop held in September 1998, Marvin Hoffman (Center for School Improvement In addition to offering thematic visits and guided visit to Transience, and the development of curriculum families participated in tours of the exhibition Blunt and North Ken wood/Oakland Charter School). tours of its special exhibitions to school groups, the materials. At the new North Kenwood/Oakland Smart Museum continued to offer two popular Charter School, founded by the University of programs—Docent for a Day and MusArts. In Chicago's Center for School Improvement, the Smart October, teachers participated in the Docent for a Museum initiated an exciting partnership. Museum Day Teacher Workshop; the MusArts Workshop was education staff worked with 5 th grade teachers Dr. held in December. During these training sessions Marvin Hoffman and Lou Bradley to design and teachers became tamiliar with the programs, received implement an intensive program focused on the teaching materials, and learned strategies for leading theme of collections. Terrassa and Skelly visited the art discussions and activities in their classrooms. school on a weekly basis to lead ten sessions with fifth graders. The students learned why people collect, Six classrooms participated in Docent for a Day developed their own collections of objects, wrote during the fall, including a fourth grade classroom essays about these objects, visited the Art Institute of from the University's Laboratory Schools. As in past Chicago to see how collections can be presented, and years, the fall program used the Museum's permanent prepared their own displays. The program culminated collection to introduce students to art, museums, and

46 47 Public events sponsored, co-sponsored or organized by the Smart Museum from June 30, 1998 through July 1, 1999. Events organized for teachers, classes and private groups were not included in this list. Public exhibition tours: February 28; March 14; March 28; April 11, 1999 Get Out: Nine Artists from Midway Studios, University Space/Sight/Self Available in English and Mandarin. of Chicago Opening reception: November 22, 1998 Symposium: April 17, 1999 Opening reception: July 16, 1998 Featuring an artist talk by Jiirgen Mayer Hermann, Global Perspectives on Contemporary Chinese Art Featuring a slide presentation and lecture on held at the University of Chicago Art History featuring exhibition curator Professor Wu Hung; alternative exhibition strategies in Chicago by Ann Department. Johnson Chang of the Hanart TZ Gallery, Hong Wiens, editor of New Art Examiner. Held at the Kong; Gao Minglu, curator of the exhibition University of Chicago Art History Department. Artist talk: November 19, 1998 Inside Out: New Chinese Art; Hou Hanru, Paris- Featuring multi-media artist Liisa Roberts. Held at based critic and curator; and Andrew Solomon of Curator's Tour: August 9, 1998 the University of Chicago Film Studies Center and the New York Times. Part of a larger conference on co-sponsored by the University of Chicago Center Blunt Object visual culture, regional identities and transnational for Gender Studies. modernities in East Asia, sponsored by the Opening reception: September 13, 1998 Regional Worlds Program, Globalization Project, Collectors Series Event: December 5, 1998 Center for International Studies, and Center for Family Workshop: September 27, 1998 Tour of LINC Capital, Inc., corporate art East Asian Studies, the University of Chicago. collection. Led by LINC collection curator Lynne Curators Tour: October 10, 1998 1 leld at the Donnelley Biological Sciences Sowder. In conjunction with the 1998 University of Learning Center. Chicago Humanities Open House. Public exhibition tours: November 29, 1998; Mostly Music Concert: February 21,1999 Lecture: October 15, 1998 December 13,1998; January 13,1999 Salute to the Exhibit "Transience" featuring Betty Featuring Johanna Drucker, artist, critic, and art Thursday Night: December 3, 1999 'i ang, on erhu, Wei Yang on pipa and yangquin, and historian. Held at the University of Chicago Art Making art at the Blunt Object Family Day. Featuring the student a capella group Men in Drag. Martha L. Faulhaber as accompanist. History Department. /hursday Night: February 25, 1999 Artist talk: October 20,1998 Mostly Music Concert: December 13, 1998 Transience: Chinese Experimental Art at the End of the Featuring a poetry reading organized by the Minority Featuring German sculptor Stefan Eberstadt. The Incomparable Ray Still featuring Ray Still, Twentieth Century Graduate Student Association. Held at the University of Chicago Midway Studios. Emeritus Chair of the Chicago Symphony Orchestra performing on oboe, with a string Opening reception: February 18, 1999 Artist talk: October 21,1998 Thursday Night: March 4, 1999 quartet of young artists. featuring a performance by Beijing-based artist Featuring sculptor Charles Long. Held at the Featuring musicians Pctr Dolak and Anna Milazzo. in Xiuzhen and a talk by exhibition curator University of Chicago Art History Department. New Year's Open House: January 7, 1999 Professor Wu Hung. M usArts Final Event: March 13, 1999 Featuring a gallery walk through Weimar Bodies led by Thursday Night: September 24, 1998 Featuring an exhibition of student artwork and a exhibition co-curator Professor Sander Gilman, a tour Seminar: February 19, 1999 Featuring musical improvisations by the concert by members of the Association for the of Space/Sight/Self \ed by student Jasmine Davila, and Chinese Experimental Art at the End of the Long/Payne/Vida Trio. Advancement of Creative Musicians. live music by the Jazz X-Tet. Twentieth Century, featuring artists Cai Jin, Xu Bing, Yin Xiuzhen, Yu Ian, Zhan Wang, Zhang Hongtu, Art scape Young at Art: May 16 and May 17, 1999 and Zhang Huan. Held at the University of Street Festival: October 1-4, 1998 University of Chicago/Regents Park Fine Arts Chicago Art History Department and sponsored Community event co-sponsored by the Harper Court Partnership final events held at and by the Adelyn Bogert Fund of the Franke Institute Foundation, the South East Chicago Commission, the and Kenwood High School. Co-sponsored by the for the Humanities, the University of Chicago. Hyde Park Art Center, the Museum of Science and University's Community Affairs Office, the University Industry, Artwerk Gallery, and Regents Park by the Film screening: February 27, 1999 of Chicago Music Department, Court Theater, the Clinton Company. Good Morning Beijing (1990, directed by Zhang Hyde Park Art Center, University Theater, and the Oriental Institute. Awards reception: October 22, 1998 Nuanxin), with an introduction by Tang Xiaobing, Associate Professor, Department of East Asian Mostly Music Concert: November 1, 1998 North Kenwood/Oakland Charter School Final Languages and Civilizations, the University of An American in Paris: Bach, Baroque and Exhibition: May 18, 1999 Chicago. Co-sponsored by and held at DOC films, Contemporary Works featuring harpsichordist Jory Featuring a display of students' collection projects Max Palevsky Cinema. Vinikour accompanied by oboist Patricia Morehead. and student presentations. Student Open House: March 4, 1999 Weimar Bodies: Fantasies About the Body in Weimar Reception in honor of Carole and Joel Bernstein : Concert: March 28, 1999 Art, Science, and Medicine June 16, 1999 Min Xiao-fen, internationally renowned master of Reception to celebrate their gift to re-landscape and Opening reception: November 4, 1998 the pipa. Co-sponsored by the Chicago endow the Vera and A.D. Elden Sculpture Garden. Department of Cultural Affairs as part of the New Featuring a lecture by Maria Tatar, Professor of Millennium/New Music Series, held at the bather's Day Tamily Day: June 20, 1999 German, Harvard University. Held at the Chicago Cultural Center. Co-sponsored by the Oriental Institute Museum and the University of Chicago Art History Department. Hyde Park Art Center. Held at the Oriental Institute. Collectors Series Event: April 3, 1999 Featuring exhibition curator Wu Hung and graduate research assistant Kris Ercums.

Artist Yin Xiuzhen performs Suitcase (1995) at the opening of Transience.

49 ACTIVITIES AND SUPPORT/ SOURCES OF SUPPORT Howard Gilbert Eugene Goldwasser and Deone Jackman Harold Gootrad Philip and Suzanne Gossett Mr. and Mrs. Robert Grant Paul Gray and Dedrea Armour Gray Mr. and Mrs. Lester Guttman Mrs. Samuel Haber Helen Ann Hagedorn Brian and Linda Hanessian Miriam Hansen and Michael Geyer Mary J. Harvey Sources of Support Mr. and Mrs. R. H. Helmholz Mr. and Mrs. Marshall M. Holleb Ruth P. Horwich William J. Hunckler and Patricia Cox Hunckler Cash and in-kind contributions received from July t, through June ^ ^ Michael Igoe jr. Patricia John and Kenneth Corporate and Foundation Northcott Grants Silver Anniversary Renewal $5,000 and above Mr. and Mrs. Robert D. Kestnbaum Campaign Architect John Vinci, Kimerly Rorschach, and Richard Born examine plans for the museum's $2 million renovation,funded by the Silver Anniversary Mr. and Mrs. Robert Kirschner Grants of $50,000 or more Bruce Sagan and Bette Cerf Hill $500,000 and above Renewal Campaign. Prof. William Kruskal TTic Andrew W. Mellon Foundation Dr. Eva F. Lichtenberg The Smart Family Foundation. Inc. The Smart Family Foundation, Inc. $1,000 and above Mr. and Mrs. Robert Lifton Mary J. Harvey Council of Fellows and gifts of Mr. and Mrs. Maurice Jacobs Mr. and Mrs. James Lorie $250,000 and above $1,000-54,999 Blanche M. Koffler Mr. and Mrs. Asher Margolis Grants of $25,000-549,999 Minoru Saito. in honor of Brooks McCormick Jr. Hon. and Mrs. Edward H. Levi McKim Marriott Richard and Mary L. Gray Ayco Charitable Foundation The Nathan Cummings Foundation Mrs. Glen Lloyd Robert McDermott Elisabeth and William M. Landes E. M. Bakwin Inc. Inge Maser J. Clifford Moos Contributors and Friends of Mr. and Mrs. Robert Delaney Lannan Foundation Mr. and Mrs. Richard Morrow the Smart Museum Mr. and Mrs. Robert Donnelley William and Kate Morrison Ihe Sara Lee Foundation Irmgard Rosenberger $ 100,000 and above Kimberly Duchossois Mr. and Mrs. Joseph E. Nathan The Andy Warhol Foundation for Jean and Joel Snyder Henry Otto Joel and Carole Bernstein Gifts of $10,000 or more Mr. and Mrs. Alan Fern the Visual Arts Mr. and Mrs. Geoffrey Stone Mr. and Mrs. Peter Foreman Jane and George Overton Richard and Gail M. Elden Mary and Roy Cullen David and Mary Winton Green Howard and Donna Stone Mr. and Mrs. Ward Perrin Mr. and Mrs. Donald G. Fisher Mr. and Mrs. Arnold Zellner Grants of $10,000-$24,999 Joyce Zeger Greenberg Mr. and Mrs. Richard B. Philbrick $50,000 and above Mr. and Mrs. Stanley M. Freehling Mr. and Mrs. Nathan Grossman Mr. and Mrs. Alfred Putnam The Chicago Community Trust Ardith M. Lauerman Mrs. Edwin A. Bergman Jack and Helen Halpern Mrs. Max J. Putzel (Jetty Grant Program Brooks McCormick Jr. Fellows and gifts of $1 50-$499 Joan and Irving B. Harris Mr. and Mrs. Irving B. Harris George A. Ranney, Sr. Illinois Arts Council, a state agency Mr. and Mrs. John N. Stern Elizabeth Baum John N. Stem Randy Holgate and John H. Howard J. Romanek McKinsey & Company. Inc. John and Gail Bauman Anne Rorimer Polk Bros. Foundation Peterson Robert H. Bergman and Marie Benefactors and gifts of Mr. and Mrs. Burton W. Kanter Kimerly Rorschach The University of Chicago Visiting $25,000 and above Krane Bergman $5,000-59,999 Mr. and Mrs. Robert M. Levy Mrs. Samuel R. Rosenthal Committee on the Visual Arts Loma C. Ferguson and Terry N Mr. and Mrs. R. Stephen Berry Mrs. Morris Rossin Claudio Aspesi Mrs. Robert B. Mayer Clark Mr. and Mrs. Asher Birnbaum Mr. and Mrs. John F. Richards Sara and Horst Schastok The Donnelley Foundation Mr. and Mrs. Henry Buchbinder Grants $2,500-59,999 Judith Neisser Virginia Rorschach Alexander Sherman Mr. and Mrs. Robert Feitler The John Nuveen Company Philip M. Burno and Katherine Mr. and Mrs. Phil Shorr American National Can Company Minoru Saito Morrison Burno Bernece and Marvin Simon Arete Foundation Clark0' FCrgUSOn 3nd Terry N- Mr. and Mrs. Hugo F. Sonnenschein Joyce Chelberg Dr. Paul and Dorie Sternberg Mr. and Mrs. Granvil I. Specks Krf'F?ocJs' an grating company $ 10,000 and above Richard and Mary L. Gray Lilo Closs Dr. Jean Paul Spire of I hilip Morris Companies Inc Ann S. Hardy Dr. and Mrs. John Ultmann Robert P. Coale Arthur G. Strauss The John Nuvecn Company William and Elisabeth Landes Jack and Helen Halpern Douglas and Carol Cohen Mr. and Mrs. Bernard M. Susman The University of Chicago/Regents Mrs. Harold T.Martin Ruth Horwich Sustaining Fellows and gifts of Mr. and Mrs. John Coulson Zena Sutherland I 'neArts Partnership Ardith M. Lauerman Mr. and Mrs. Michael A. Wyatt $500-5999 Mr. and Mrs. Roger Covey Patricia K. Swanson Ihe Women's Board of The The Women's Board of The Dorothy and David Crabb University of Chicago Sharon Flanagan and Ross Loretta Thurm University of Chicago Mr. and Mrs. Leon M. Despres Buchanan Mr. and Mrs. Wilbur Tuggle Deborah and David Epstein Mr. and Mrs. James Frank Allen Turner Mr. and Mrs. Richard J. Faletti Neil Harris and Teri J. Edelstein John Vinci Mr. and Mrs. Paul Freehling Neison Harris Mr. and Mrs. David Vitale Tom and Darlene Furst 50 Michael Hyman Jim and Joan Webster Adele B. Gidwitz Susan and Robert Wislow

51 Gifts under $50 Leo S. Guthman June Nash Mrs. Robert Gardner Anderson Vivian S. Hawes Larry Olin Joan Arenberg Albert and Alice Hayes Susan Orden David and Betty Hess Gary M. Ossewaarde Michael Behnke Wynn Hopkins Mrs. Cora Passin Vanice Billups Aimee I. Horton Mr. and Mrs. Robert C. Peters Helen Lewis Bidwell Patricia Hume Eleanor P. Petersen Cara Adler Bishop Dori Jacobsohn Mrs. Howard R. Peterson Catharine Blair Mr. and Mrs. Richard Jaffe Gloria Phares Sophie Bloom Penny R. Johnson Dr. Louise L. Polak Alan R. Brodie Jack M. Kamen Eugene Pomerance Mr. and Mrs. Arnold Brookstone Emile Karafiol Dr. Ruth G. Ramsey Jean Brown Dan Kletnick Christen Rattenborg, M.D. and Nancy Mae Brown Jacques Koek Agnethc Rattenborg Richard C. Bumstead Ruth A. Kolb Joy Reese Dr. and Mrs. Richard Chessick ShelleyJ. Korshak, M.D. Marlene F. Richman Miriam K. Clarke Catherine Krause Leona Z. Rosenberg Mr. and Mrs. Eugene Cotton Richard G. Kron Dr. Maurice Rosenthal David Curry Jeff Laird Mr. and Mrs. Albert Jay Rosenthal Dr. and Mrs. Leslie J. De Groot Louise H. Landau Ann Rothschild Ann Englander Robin Larson Jacquelyn Sanders Re-landscaping of the Vera and A. D. Elden Sculpture Garden, thanks to a gift from Joel and Carole Bernstein, 1998. Mr. and Mrs. William E. Erickson Elisabeth Lassers Lawrence J. Scheff Sue Epstein Mary S. Lawton Marie Schilling Mrs. Robert Donald Erickson Gretel Lowinsky Carl Selby Arthur M. Wood Sylvia B. Mann Mr. and Mrs. Robert D. Fitzgerald Mr. and Mrs. Phillip Schiller Sally H. Fairweather Mary Kelton Seyfarth Michael Preston Worley, Ph.D. Mr. and Mrs. Arthur Mason Barbara H. Frci Dr. and Mrs. Nathan Schlessinger Mr. and Mrs. Joe Ferrari Alan and Daila Shefner Marvin Zonis and Lucy Salenger Mr. and Mrs. Irving M. Friedman Robert E. Schrade Mary D. Fieldman Mr. and Mrs. Evan Maurer Ethel Shufro Georgianna Maynard Mr. and Mrs. Maurice Fulton Mr. and Mrs. Charles P. Schwartz Jr. Zollie S. Frank Joseph P. Shu re Mr. and Mrs. Jacob W. Getzels Mary M. McDonald Friends and gifts of $50-$ 149 Mrs. Robert L. Scranton Deborah Friedrich Roberta Siegel Mr. and Mrs. Arnold M. Gilbert Jan Serr and John Shannon Lore Friedrich Eunice H. McGuire Charlene K. Smith Rolf Achilles and Pamela Morris Mr. and Mrs. Howard Goldberg Melissa A. Shennan Stefi S. Geisel Mr. and Mrs. Daniel Michel Mr. and Mrs. Max Sonderby Robert H. Adams Mr. and Mrs. Charles E. Gregerscn Sheila and Mel Shochet Sylvia Glagov Ruth Aizuss Migdal Mrs. Janice Spofford Deborah Aliber Robert and Margot Haselkorn Mr. and Mrs. D.F. Shortino Cara Glatt Margaret P. Mine Amy Dru Stanley and Craig Becker Sylvia Sleigh Alloway Mr. and Mrs. R. H. Helmholz Mr. and Mrs. John G. Sickle Mr. and Mrs. Marvin A. Gordon Mr. and Mrs. Ralph Mills Oliver Statler Dr. Eugene Baiter and Judith Dr. and Mrs. Arthur L. Herbst J. A. Simpson Robert R. Gowland Charles H. Mottier Helaine R. Staver Phillips Dorothy Heyman Richard and Rosemary Snow Marcus D. Grayck Margaret Mottier Dr. George Steinbrecher Ramsey S. Barlow Mr. and Mrs. Roger Hildebrand Charles and Joan Staples Georgina G. Gronner Angela Kramer Murphy Helmut Strauss Mr. and Mrs. Richard Barnes Dr. Knox C. Hill Dr. Jane W. Stedman and Mr. Mr. and Mrs. Steven A. Taylor Howard and Marjorie Barron Mr. and Mrs. George D. Hirsh George McElroy Dr. Paul W. Titman Mrs. Guity N. Becker Mr. and Mrs. Philip Jackson Nikki and Fred Stein Dr. and Mrs. Harry Trosman Mr. and Mrs. David Bevington Mr. and Mrs. John C. Kern Dr. Donald F. Steiner Mr. and Mrs. Robert Uretz Leonard and Mary Jane Bczark Jr. Peter J. Kosiba Ernest Stern Natalie van Straaten Mr. and Mrs. Sidney Block Mr. and Mrs. John G. Levi Jon Stern Nathalie Weil Gretel Braidwood and Raymond Marguerite Lytic Marjorie Stinespring Michelle York Tindel W.R. Magnus Dr. and Mrs. Francis H. Straus, II Sonia Zaks Jerry and Joy Carlin Mr. and Mrs. James G. Marks John Q. Easton and Sem C. Sutter Ms. Joanne Zimmerman Cleve Carney Dr. S. K. McDonald Mr. and Mrs. Martin Swerdlow AliceJ. Zimring Mrs. S. Chandrasekhar R. M. Menegaz and Prof. R. D. Bock Lester G. Telser Lydia G. Cochrane Mr. and Mrs. David B. Midgley Lisa and Martin Thaler Corporate and Foundation Mr. and Mrs. Gilbert Cornfield Mr. and Mrs. Hans W. Morsbach Phyllis M. Thompson Matching Gifts Irene and Charles Custer David Muschler and Ann Becker Prof. Harrie Vanderstappen Kenneth and Marcia Dam Ameritech Foundation Mr. and Mrs. Charles O'Connell Bob and Barbara Wagner Prof, and Mrs. Sidney Davidson Mr. and Mrs. Richard Orlikoff Amoco Corporation Mr. and Mrs. Robert Wagner Alyce DeCosta Michael Pagliuco Mrs. Roy Warshawsky Bank of America Foundation Mr. and Mrs. George Dick Charles and Melanie Payne Christine H. Weisblat Bank One Corporation Dr. and Mrs. Erl Dordal Mr. and Mrs. Robert F. Picken IBM Florence G. Weisblatt Mr. and Mrs. E. Bruce Dunn Dr. William Plotkin John D. and Catherine T. Mr. and Mrs. Jarl E. Dyrud Mr. and Mrs. Bernard Weissbourd Mr. and Mrs. James M. Ratcliffe James M. Wells MacArthur Foundation Sondra Ward Eisenberg Mr. and Mrs. Lester Rosen Northern Trust Company Dr. and Mrs. Jesse K. Wheeler Dr. and Mrs. Richard Evans Martin Runkle The John Nuveen Company Prof. Wu Hung and Judith T. Zeitlin Dr. and Mrs. Philip Falk Carolyn L. Sachs Mrs. Allen A. Zuraw Emily H. Fine Margaret Sagers Patrons Joel and Carole Bernstein honored for their gift to re-landscape and endow the Vera and A.D. Elden Sculpture Garden.

52

53 Gifts in Memory Visiting Committee on the Donors to the Collection OPERATING STATEMENT Visual Arts Contributors Eileen Hastings Duncan in memory Anonymous (2) of Ardith Lauerman Anne Baruch These gifts benefit the Smart Museum, Mr. and Mrs. A.J. Laskin in memory the Department of Art History, and Shirley Berc of Bernice Fcitler Midway Studios Robert W. Christy Dr. and Mrs. Robert W. Mann in Mr. and Mrs. Michael R. Mr. and Mrs. Lee Baumgarten memory of Bernice Fcitler Cunningham Robert H. Bergman and Marie Betty A. Philipsborn in memory of Richard J. Faletti Krane Bergman Bernice Feitler Allan Frumkin Mr. and Mrs. David Blumberg Mr. and Mrs. Ernest F. Rice in Mary and John Gedo Andy Austin Cohen memory of Bernice Fcitler Isaac S. and Jennifer A. Goldman The Elliott and Ann Donnelley Charlotte and Bill Schield in Neil Harris and Teri J. Edelstein Foundation memory of Bernice Feitler Alan Ichiyasu Sally Fairweathcr Mrs. John G. Sickle in memory of Kenji and Chibako Kajiwara Mr. and Mrs. Michael Goodkin Bernice Feitler Lannan Foundation Richard and Mary L. Gray Arthur Strauss in memory of Janice and Henri Lazarof Leo S. Guthman Bernice Feitler Brooks McCormick Jr. Jack and Helen Halpern Statement of operations (unaudited) from July i, 1998 through June 30, 1999. Brooks McCormick Jr. Fund Mr. and Mrs. David C. Milliard Gifts in Kind Peter Norton Family Mr. and Mrs. Marshall Holleb Ed Paschke Revenues The Arts Club of Chicago Ruth Horwich Arthur Paul Hyde Park Co-Op Ardith M. Lauerman Earned income 66,000 John F. Peloza Chicago Arts Partnership in Julius Lewis Corporate grants Joseph Halle Schaffner Bequest, by 75,000 Education Mrs. Robert B. Mayer exchange Foundation grants 294,000 Brooks McCormick Jr. Mrs. Geraldine Schmitt-Poor and Government grants Mr. and Mrs. Marshall J. Padorr 15,000 Dr. Robert J. Poor Mr. and Mrs. Harvey B. Plotnick Individual contributions 206,000 Marcia and Granvil Specks The Otto L. and Hazel T. Rhoadcs Gala benefit John N. Stern 73,000 Fund University allocation for direct expenses 278,000 Irmgard Rosenberger Joseph P. Shure Lenders to the Collection University allocation for physical plant expense 125,000 Mr. and Mrs. John N. Stern Anonymous (3) University allocation for capital improvements 40,000 Dr. Paul and Doric Sternberg Rolf Achilles Endowment payout 227,000 Mary Adams Young Estate of Lloyd Bowers Henry Cohen

G.U.C. Collection TOTAL REVENUES $1,399,000 Robert W. Christy Isaac S. and Jennifer A. Goldman Mr. and Mrs. Lester Guttman Expenses Julius and Harriet Hyman Staff salaries 450,000 Ronald B. Inden Mary and Earle Ludgin Collection Benefits 78,000

Oriental Institute Museum Operations and maintenance of physical plant 12 5,000 Mr. and Mrs. French Peterson Amortized capital improvement expense 40,000 Judith and James Rhinestein Supplies and services (, 3 David Sharpe 7>000 Marcia and Granvil Specks Contingency/Reserve fund 69,000 John N. and Fay S. Stern John L. Straus Jr. TOTALEXPENSES $1 ,399,000

Net operating results o

54 SMART MUSEUM STAFF 1998-1999

Kimerly Rorschach, Dana Feitler Director

Burton Avery, Administrative Assistant Rudy I. Bernal, Chief Preparator Richard Born, Curator LaShawn Bryant, Receptionist (through March 1999) Brian Ferriso, Assistant Director Julie Gard Freeney, Membership and Special Events Coordinator Elizabeth Rodini, Coordinating Curator for Mellon Projects Sara Skelly, Education Assistant (as of October 1998) Courtenay Smith, Associate Curator (through March 1999) Priscilla Stratten, Operations Manager Jacqueline Terrassa, Education Director (as of August 1998) Stefanie White, Public Relations and Marketing Manager Jennifer Widman, Registrar (as of September 1998) Jennifer Zitron, Education Programs Coordinator (through September 1998)

Interns Caitlin A. Hughes Operations Manager Zachary A. Intrator Amy Bingaman, Curatorial Assistants Lance C.Jackson Elizabeth Bloom, Curatorial David Gates Drake Jenkins Joseph Catalano, Preparation Seth Clippard Jason C. Laine Kris Ercums, Curatorial Rajshree Solanki Kathryn E. Lofton Rose Grayson, Public Relations and Marketing Benjamin David Kerman Cafe Attendants Todd A. Komoroski Matthew Irvin, Education Marc D'Urbano Maria C. Krasinski Nenette Luarca, Education Rhaina Echols Daniel S. Kunnecke Chris Roch, Curatorial Meredith Goodwin Long-Giang T. Le Stefania Rosenstein, Curatorial Peter M. Hattan Youjin Lee Olga Stefan, Curatorial, Education, Elizabeth V. Meksin Justin Mathes and Registration Jauna T. Moore Cory C. McClure Jenny Tsai, Registration Karla I. Ramos Simon L. Miller Volunteers Alexis Mills Security Supervisors Joanna E. Moon Helen Halpern, Curatorial Joe Monaghan Joseph P. Shure, Curatorial Jauna T. Moore Mauricio Vierra Agnes Zellner, Curatorial Peter O'Keefe Andrew Penner Student Docents Guards Areli Padilla Nancy Barry Ayhan Akman Gloria E. Padilla Elise Beyer Camille Y. Askins Frances Ramos Sienna Brown Aaron Q. Black Karla I. Ramos Wen-shing Chou Michael S. Chagnon Kavitha Reddy Catherine Cooper Chia C. Chou Noemi Robinson Carolyn Cracraft Laquita K. Shade Kyle R. Cole Rhaina Echols Michelle N. Skaer Laura E. Culbertson Adrienne Hosek Sean M. Stevenson Marc D'Urbano Matthew Irvin Michael D. Stratten Sonia V. Diaz Robin Kim Alen Takhsh Trent A. Drake Cory Korkow Read S. Taylor Anthony Gannon Pamela Rabov Maurice Thompson Sally A. Gee Stefania Rosenstein Tijwana L. Witt Tiffany J. Gholar Surella Seelig Albert Yu Rose Grayson Celka Straughn Adam Zanokini Karin A. Hamberlin Jenny Tsai Brioni E. Huff Aaron Tugendhaft Rachel Ziemba

56