New Curators Open the Corcoran Legacy Collection 2 Moves Like Walter Moves Like Walter 1 Moves Like Walter: New Curators Open the Corcoran Legacy Collection

MOVES LIKE WALTER: NEW CURATORS OPEN THE CORCORAN LEGACY COLLECTION 2 MOVES LIKE WALTER MOVES LIKE WALTER 1 MOVES LIKE WALTER: NEW CURATORS OPEN THE CORCORAN LEGACY COLLECTION

American University Museum Collection

September 3 – December 15, 2019 Previous page: Bernis von zur Muehlen, American University Museum at the Katzen Arts Center Marilyn, 1981. Chromogenic color print, mat: 24 x 20 in., sheet: 20 x 16 in. Gift from the Trustees of the Corcoran Gallery of Art Washington, DC (Gift of the artist), 2018.15.1479. TABLE OF CONTENTS

Introduction 9 Abigail Swaringam, MA Student, Art History

Boundless: Existing Within Ambiguous Space 15

The Road Home 27

The Selfless Spirit: Nature vs. Nurture and the Effects 35 of Motherhood in the Corcoran Collection

American Legacy: Reconsidering Non-Western Subjects 53 in the Corcoran Collection

Redefining the Gaze: Shifting the Power 69

Checklist 89

Michael Goldberg, Untitled, 1968. Oil and pastel, unframed: 48 x 48 in. Gift from the Trustees of the Corcoran Gallery of Art (Museum Purchase, Director’s Discretionary Fund), 2018.15.30.

MOVES LIKE WALTER 5

INTRODUCTION

Moves like Walter: New Curators Open the Corcoran scholarly engagement (written by a Corcoran cura- Legacy Collection is a product of director and curator tor) with the history of the Corcoran Gallery of Art and Jack Rasmussen’s spring 2019 course on curatorial its support of American art is Sarah Cash’s Corcoran practice. Upon the museum’s receipt of the Corcoran Gallery of Art: American Paintings to 1945. She describes Collection, graduate students in art history, arts manage- the catalog as an attempt to fill a gap in its American ment, and studio art have curated a playful and provoc- paintings but also to examine its habits of collecting and ative interpretation of the 9,000-piece gift. The exhibition art patronage.2 By creating this catalog, Cash expresses is inspired by and pays humorous homage to Walter her interest in rendering the “holdings accessible to Hopps (1932-2005), briefly the director of the Corcoran the field of American art and to future generations of from 1970 to mid-1972 and an erratic but seminal Amer- museum visitors.”3 Certainly, Cash’s essay was useful to ican curator of contemporary art. Hopps was known us, the future curators of museums and institutions, as for being unpredictable, challenging, and off schedule. we worked on the first complete exhibition of American However, it has been stated that he always brought a University Museum’s gift. personal and fierce perspective to exhibition-making. He put together shows that put artists on the map, The Corcoran was the first cultural institution to be 4 including Sam Gilliam and others. Our exhibition marks established as only exhibiting art. William Corcoran’s the 50th anniversary of Hopps’s exhibition Gilliam, Krebs, interest in collecting did not first arise from an interest in 5 McGowin at the Corcoran, arguably the most import- art but, as Cash notes, from an interest in philanthropy. ant show of Washington art in the 20th century. In his He first began collecting European art but eventually posthumously published autobiography, The Dream decided to focus on work by Americans. Although not Colony: A Life in Art, (2017) Hopps consistently described bluntly, Cash leads us to believe that the shift to collect- his enthusiasm and lack of fear at putting on risky and ing American art was both a political and self-preserving political shows. By using him as a curatorial model, we decision. Corcoran was a supporter of the South during hope to create an exhibition that takes risks and does the Civil War, and after bad favor with the national gov- 6 not exclude any thoughts. It will not clean up into neat ernment, he fled the United States. After the South was statements. Instead, we hope to break rules, open as defeated and Corcoran returned to the United States, many dialogues as possible, and engage in surprising he proclaimed his new interest in American art. At this conversations about history, art, institutions, and people. time, Corcoran described his investment in American art to display “successful individuals” who “were proud Alongside interrogating the process of curation and of American achievement and deeply mindful of their museum practices, the exhibition engages directly with responsibilities for the country’s social and cultural the history of the Corcoran Gallery of Art. The Corcoran improvement.”7 By supporting American art, and claiming was founded by William Wilson Corcoran (1798-1888) in to support the great American people, Corcoran cleverly 1869.1 The museum started out as a private collection, regained public favor. but eventually turned into a museum. The only in-depth

George Biddle, Terai Hara, 1922. Oil on canvas, unframed: 22 x 16 in., framed: 29 1/4 x 23 1/4 x 7/8 in. Gift from the Trustees of the Corcoran Gallery of Art (Gift of the artist), 2018.15.51.

8 MOVES LIKE WALTER MOVES LIKE WALTER 9 His collection took off in the nation’s capital. His decision Redefining the Gaze: Shifting the Power. All groups in to place the collection in Washington, DC, was clearly the exhibition show how the idea of a total vision of politically motivated. He described his inspiration in American art in the Corcoran’s collection has never the Washington Art Association’s mission, which was existed and never been possible. We have realized the “to advance the fine artists in regard to comprehensive Corcoran Gallery of Art did not end up fostering one national interests.”8 His investment was not just for agenda or interpretation of American genius but set up momentary personal favor and political gain, but to think multiple trajectories through its various directors and about “not only local and temporary interests but of the curators. Some groups reveal the impossibility of totality whole country and the far future.”9 by investigating older paintings and representations of the “other,” while other focus on feminist, post-colonial, or The idea of an everlasting vision of art is expressed abstract contemporary art that by nature is incompatible within the Corcoran’s architecture. The original gallery with a total American experience or vision. was based on wings of the Louvre, which is known to champion a Western universality. By recognizing that the Creating this exhibition has prompted unexpected and architecture is laden with these ideas, Cash notes that challenging situations. As students of art, we have “from the outset, visitors to the Corcoran Gallery were been learning and thinking about museum practices meant to view American paintings and sculpture as a and testing the limits of presentation. Moves Like continuation of the great tradition of Western art.”10 Walter combines the participants’ varied approaches to museum function, art culture, and art historical research. Our exhibition intends to shake up the glorifying narra- It stands as an experiment in institutional critique and tives proposed by William Corcoran. After inspecting the as a collaboration between 20 student curators. As a works received, we have divided into five subgroups that group, we hope that the viewing of this exhibition will have been titled Boundless: Existing Within Ambiguous prompt viewers to take more risks, ask more questions, Space; The Road Home; The Selfless Spirit: Nature vs. and love art feverishly. Nurture and the Effects of Motherhood in the Corcoran Collection; American Legacy: Reconsidering Non- Abigail Swaringam Western Subjects in the Corcoran Collection; and MA Student, Art History

1 Sarah Cash, ed., Corcoran Gallery of Art: American Paintings to 1945 (Washington, DC: The Corcoran Gallery of Art, 2011), 6. 2 Cash, 6. Robert Goodnough, The Bug, c. 1958. Oil on canvas, framed: 51 5/8 x 70 1/4 x 1 3/4 in., unframed: 50 x 67 3/16 in. Gift from the Trustees of the Corcoran Gallery of Art 3 Cash, 11. (Gift of Mr. and Mrs. Thomas B. Winston), 2018.15.688. 4 Cash, 15. 5 Cash, 17. 6 Cash, 28. 7 Cash, 18. 8 Cash, 22. 9 Cash, 23. 10 Cash, 25.

10 MOVES LIKE WALTER MOVES LIKE WALTER 11 MOVES LIKE WALTER: NEW CURATORS OPEN THE CORCORAN LEGACY COLLECTION BOUNDLESS: EXISTING WITHIN AMBIGUOUS SPACE Moves Like Walter: New Curators Open the Corcoran Legacy Collection By J’han D. Brady, MFA Student, Studio Art Moves Like Walter honors the Corcoran’s collecting history and the spirit of the late curator and director Walter Hopps. Hopps was famous for his innovative and elaborate exhibitions, but he also valued the relationships he made with artists and helped boost their reputations and careers.1 He was a radical thinker; he saw the world differently and was interested in experimentation, the avant-garde, and edgy artworks.2

The Corcoran Legacy Collection at the American University Museum consists of many works by influential and underrepresented American and European artists. In our selection for this exhibition, both abstract and representational works are juxtaposed to explore why it is necessary to break from analyzing critiques of representational artwork and instead direct the viewer’s attention to the inherent value of art.

Intention The primary goal of the exhibition is to present great art, from great artists, and demonstrate why the work was important enough to be collected by the Corcoran Gallery of Art.

Educating and encouraging reflection are important aspects of the Corcoran Legacy Collection, as art is often influenced by, or reflects, both culture and time. Artists’ ideas derive from the experience of their everyday lives, culture, politics, and society. But art is generally read for its composition, construction, and application of medium. Why a particular piece of art exists should also be taken into consideration. Does this way of looking create a greater understanding of intent and content? Can a display of abstract artworks be appreciated as an exploration of genre and experimentation, without the need to place the work within an ana- lytical or historical context?

Opposite: Earl Cavis Kerkam, Composition with Forms of the Head (detail), 1964. Oil on canvas board, framed: 21 3/4 x 17 1/4 x 1 3/8 in., unframed: 21 x 16 1/2 in. Gift from the Trustees of the Corcoran Gallery of Art (Gift of E. Bruce Kirk), 2018.15.44.

16 MOVES LIKE WALTER MOVES LIKE WALTER 17 Context A relatively small but key section of the exhibition is devoted to abstraction, as abstract art redefined painting and allowed for both expansion and experimentation with form, composition, and subject matter.3 Both before and after World War II, artists were breaking free of the constraints of traditional painting, and the ability to experiment generated freedoms of application and the expansion of expression—gestural mark making, personal narrative, and intuition. Mimi DuBois Bolton, The Cathedral, 1955. Oil on canvas, unframed: 21 3/4 x 39 7/8 in. Gift from the Trustees of the Corcoran Gallery of Art The post-war abstract expressionist (Museum Purchase, Annual Exhibition Area Purchase Fund), 2018.15.56. period was at the heart of this process of tapping into the imagination, Marjoree Nee Deo, Foliage, 1962. Oil on masonite with Milet Andrejevic, Private Indicator, 1961. Oil, charcoal applied pieces of paper, framed: 49 1/4 x 41 1/4 x 2 1/8 on canvas, framed: 39 5/8 x 29 3/4 x 1 1/8 in. Gift creating unknown worlds of expres- in. Gift from the Trustees of the Corcoran Gallery of Art from the Trustees of the Corcoran Gallery of Art THE Works Cited 2005/03/23/arts/design/walter- sion that would lead to some prevalent (Museum exchange with the artist), 2018.15.739. (Gift of David Bourbon), 2018.15.312. Lavin, Irving. “Abstraction in Modern hopps-72-curator-with-a-flair-for- expansion within the mind.4 Through LANGUAGE OF Painting: A Comparison.” The Metro- the-modern-is-dead.html. time, the blend of gestural mark mak- politan Museum of Art Bulletin 19, ing, color, and subject defined the pic- the viewer can be immersed within an In conclusion, abstraction is a power- ABSTRACTION no. 6 (1961); doi:10.2307/3257872. Smith, Wendy. “Gonzo Museum ture plane as no longer just a support abstract language. Scale is an element, ful tool for communication, allowing Director Walter Hopps Paints His for imagery but an experience, a way of as large artworks can become encom- the viewer to engage in creative think- IS THE MOST Mann, Jon. “How Pollock and the Colorful Life in Art.” The Washington seeing and feeling. passing and viewers can relate to their ing: to use the senses, open the mind to Abstract Expressionists Created Post, July 25, 2017. https://www. presence in comparison to their own. a different way of thinking, and allow RELATABLE a New Visual Language.” Artsy. washingtonpost.com/entertainment/ Design In contrast, smaller artworks invite the imagination to build meaning. WAY TO January 02, 2018. https://www. books/gonzo-museum-director- Space restraints limited the art the viewer to step closer to inspect and Every artist has a unique story and the artsy.net/series/art-history-101/ walter-hopps-paints-his- included in the abstraction section. discern the details. Finally, by placing imagery each creates contains a nar- ACKNOWLEDGE artsy-editorial-pollock-abstract- colorful-life-in-art/2017/07/25/ Still, there is a diverse selection of artworks that are constructed geomet- rative influenced by experience. Cri- expressionists-created-new- d52949c4-70b7-11e7-9eac- styles and artists: Mimi DuBois Bolton, rically in opposition to the gestural or tiques will always be determined by the OUR COMPLEX visual-language. d56bd5568db8_story.html Paula Crawford, Minnie Klavans, Car- representational, there exists a visual viewer but, ultimately, art stimulates roll Sockwell, Louis le Brocquy, Victor comparison that allows the viewer to thinking about why it matters and the PERSPECTIVES. Smith, Roberta. “Walter Hopps, 72, Candell, and Michael Goldberg. Ideally, consider the effect of the artists’ time different ways it can influence others. Curator With a Flair for the Modern, this produces an environment where periods and stylistic differences. Is Dead.” The New York Times, March 23, 2005. https://www.nytimes.com/

18 MOVES LIKE WALTER MOVES LIKE WALTER 19 Abstraction of the to modernism and contemporary art infinite, and form could take on any Human Form styles. Abstract art continues to be the element or material. most underrepresented genre, even in By Tomora Wright, MA Student, the Corcoran Legacy Collection. Viewers are asked to see reality as Arts Management abstraction, abstraction as reality. Our It is hard as a viewer to acknowledge This exhibition explores perspectives mind abstracts reality and the images the disorder of the infinite lines and on the body as something beyond the in the show confirm that distortion, impulsive symbolism of abstraction. intelligence of the naked eye. The pho- making them real and relatable. We We argue over the relevance of rarely acknowledge or document abstraction included in Moves how the mind processes the infor- Like Walter: New Curators Open mation of what we see because the Corcoran Legacy Collection. this forces us to come to terms The figurative and nonfigurative with our most personal mental abstract works in this collection process, our subconscious. are discussed here from a contemporary 21st-century Western The language of abstraction is the perspective. Abstract works are most relatable way to acknowl- often pushed out of the contem- edge our complex perspectives. porary canon because they are How is this language used to bring nonrepresentative. They do not us to understand representations always directly speak to political of the body or representations of agendas, give cultural contexts, our most abstract thoughts? The or have direct narratives. The works by Elisabeth Sunday and art is then ostracized and used as Katherine Fishman are some backdrops in high-end apartment of many abstract photographs lobbies. Katherine Fishman, Cinderella from the series in the collection that explore “Dayton, Women, and Dreams,” 1980. Hand-painted gelatin silver print, mat: 24 x 20 in., paper: 20 x 16 in. the various photography styles Juxtaposing abstract expres- Gift from the Trustees of the Corcoran Gallery of Art across the abstract and surrealist Kenneth Callahan, The Waiters, 1964. Oil on canvas, framed: 50 15/16 x 33 (Gift of the artist), 2018.15.821. 3/8 x 1 1/2 in., unframed: 43 x 27 in. Gift from the Trustees of the Corcoran sionist artists such as Jimmy genres. The photographs present Gallery of Art (Gift of the Friends of the Corcoran), 2018.15.24. Ernst and Kenneth Callahan, we a surreal experience, one far from experience nonrepresentative works tos in this exhibition bend our under- “normal” because of the body position- that stand out because they are rad- standing of the human form. The work ing, lighting, or style of exposure. The ical by nature when compared with challenges us to see past what we have images evoke a mysticism and dream- From top right: Louis le Brocquy, Study for Head of Keats, 1968. Oil on canvas, framed: 16 3/4 x 13 1/2 x 1 in., unframed: 16 1/8 x 13 in. Gift from the the figurative paintings in the collec- experienced and known thus far. Here like fantasy that is an abstraction of Trustees of the Corcoran Gallery of Art (Gift of Olga Hirshhorn), 2018.15.286.; tion. It is important to also note the the body defies its foundational struc- reality. With these images, we want Robert C. Osborn, The Assassin, 1964. Charcoal, pastel, and stump on off-white paper, unframed: 30 1/16 x 22 3/8 in. Gift from the Trustees of the decades in which these painters were ture and moves beyond limitations. the audience to experience uncertainty Corcoran Gallery of Art (Gift of the Women’s Committee of the Corcoran pushed out for their nonconformance Time travel is possible, movement is and sit with the distortion. Gallery of Art), 2018.15.1436.

20 MOVES LIKE WALTER MOVES LIKE WALTER 21 “Why?” the general attitude surrounding the pretentious. Abstract art is so weird SOMETIMES, aggressive scribbles, and angular a realistic painting of a human heart enjoyment of abstract and otherwise and elitist.” He looked me square in the shapes. The energy of the drawing per- get the feeling across, or would warm By Caroline Hana Salant, non-figurative art. eye. “I just feel like the people who say fectly expresses the artist’s well-docu- sweeps of paint on a huge canvas get MA Student, Arts Management THE ABSTRACT they see things in abstract art are lying mented struggles and emotions. What the job done in a way that feels more When Tomora, J’han and I first pro- I’ve talked to a lot of people about this to look smarter.” CAN DEPICT might look to some like scribbles on a natural and human? What if, like many posed this feature of the Corcoran’s project, and many of them have said the page is actually a powerful emotional artists, you wanted to express the pro- abstract gifts, it was met with some same thing. “Oh.” A beat. “Abstract art Now, I do not doubt that there are WHAT MAY BE snapshot in the life of an artist who found influence jazz has had on your predictably mixed reactions. Some of isn’t really my thing.” people out there who only claim some would go on to take his own life. life in your visual art? DC Color School my colleagues smiled in what I per- deep, profound understanding of TOO PAINFUL, artist Kenneth Young accomplished ceived to either be appreciation for Naturally, I’d press them for more abstract art in order to impress oth- COMPLICATED, Abstract art can also transport view- this very successfully, using repeti- abstract art or appreciation of the dif- details. By far, the most common ers. The human urge to ingratiate runs ers into a surreal space through the tion of form and bold, bright colors to ficult task we had ahead of us. Others response was “I don’t like art if I can’t deep in our old brain. I believe that OR OTHERWISE distortion of such concrete visual express the musical in the realm of the remained apathetic. A few cocked a understand it.” Then, usually, some these people are fewer and farther ideas like the human figure. When a purely visual. smug eyebrow. I do not and could not variation on the kicker delivered to me between than the cynics I’ve spoken UNDESIRABLE concept that is as readily available to begrudge them for that; I think that is by my best friend: “I just think it’s really to would believe, though. the human mind as a person’s body I hope that audiences will keep their TO DEPICT is somehow “not right,” the brain’s minds and hearts open as they jour- Jack Rasmussen, the Director & Cura- automatic response is to become ney through Boundless. The great- tor of the AU Museum, broke through MORE LITERALLY deeply uncomfortable. Sitting with est barrier between a viewer and a the cynicism to ask us a much more IN ONE’S ART. and working through that discomfort meaningful experience with a work of piercing and thought-provoking ques- can lead to a deeper appreciation for abstract art is the pervasive attitude tion. He nodded a bit and just asked the effects abstract art can have on the of “it isn’t really my thing.” We are “Why?” One of our main motives for putting mind. It would be disingenuous not to showcasing this work in part to foster on Boundless is to showcase the very concede that this has the potential to a greater understanding of abstract “Why what?” I replied. visceral, emotional nature of abstract further alienate people already skep- art, but also in hopes of lifting what- art. Sometimes, the abstract can depict tical about the value of abstract art. ever veils of elitism and pretension “Why program abstract art?” It was what may be too painful, complicated, We hope, however, that audiences will exist that prevent some viewers from a fair question. Though it has its dev- or otherwise undesirable to depict instead follow the trail of thoughts that seeking out abstract work. Abstraction otees, abstract art seems much less more literally in one’s art. Take, for the art provokes to its natural conclu- is emotional. Abstraction is spiritual, popular and appreciated than figu- example, work by DC artist Carroll sion. If the art affected you negatively, untouchable, ambiguous, and human. rative art. I knew well what I valued Sockwell featured in our exhibition. is that not still powerful? Is there not It truly is boundless, and it holds all in abstract art, and these values were Sockwell had a traumatic early life and some value in that power even if you do sorts of value for all kinds of people. overwhelmingly shared by my team- much of his art clearly expressed his not like the work? mates, J’han and Tomora. We were struggles and frustration with depres- able to explain ourselves sufficiently, sion, anti-Blackness, alcoholism, and Abstract art is also an ideal avenue for but that was far from the end of my his childhood. Scattered Space, (1970) expressing non-visual ideas, or the thoughts about the question. a charcoal abstraction shown here, is influence of the intangible. If some- Victor Candell, Forest Theme, 1954. Oil on canvas, unframed: 36 x 42 in., framed: 37 3/8 x comprised mostly of dynamic lines, one asked you to paint “love,” would 43 1/2 x 1 1/4 in. Gift from the Trustees of the Corcoran Gallery of Art (Gift of Helen Meredith Norcross), 2018.15.332.

22 MOVES LIKE WALTER MOVES LIKE WALTER 23 Carroll Sockwell, Scattered Space, 1970. Colored pencil, graphite, white and gray chalk on heavy off-white paper, unframed: 39 x 50 5/8 in. Gift from the Trustees of the Corcoran Gallery of Art (Gift of Robert Scott Wiles), 2018.15.1474.

From top left, clockwise: Michael Goldberg, Untitled, 1968. Oil and pastel, unframed: 48 x 48 in. Gift from the Trustees of the Corcoran Gallery of Art (Museum Purchase, Director’s Discretionary Fund), 2018.15.30.; Jimmy Ernst, Icarus, n.d. Oil on canvas, unframed: 55 1/4 x 76 1/8 in. Gift from the Trustees of the Corcoran Gallery of Art (Gift of the Ford Foundation), 2018.15.694.; Paula Crawford, Cat’s Game, 1998. Oil on linen, unframed: 36 x 36 in. Gift from the Trustees of the Corcoran Gallery of Art (Gift of Susan L. and Dixon M. Butler), 2018.15.43.; Robert Goodnough, The Bug, c. 1958. Oil on canvas, framed: 51 5/8 x 70 1/4 x 1 3/4 in., unframed: 50 x 67 3/16 in. Gift from the Trustees of the Corcoran Gallery of Art (Gift of Mr. and Mrs. Thomas B. Winston), 2018.15.688. Minnie Klavans, Nanjemoy, 1972. Acrylic and ink, Canvas size: 100 3/8 x 80 in. Gift from the Trustees of the Corcoran Gallery of Art (Gift of the artist), 2018.15.740.

24 MOVES LIKE WALTER MOVES LIKE WALTER 25 THE ROAD HOME The Road Home By Erika Bryant-Northcut, MA Student, Arts Management

If you close your eyes, and think of your home, what images come to mind? Do you see sunshine, rain? Is it colorful or faded? I see woods that I used to pretend were my castle, trees that I would climb and wish for a treehouse I would never have. I think of stories of my family. My mother and father who worked in tobacco fields and lived in small farm houses. I remember seeing those homes many years later and crying. These now-abandoned shacks held stories of my grandmother’s resilience from domestic violence. How she worked multiple jobs to support her daughters. My father’s large, ruddy face lighting up as he told excited tales of using a tobacco stick as a pony to play “cowboy” after a long day’s work.

The photographs displayed are examples of works that struck a chord in me and reminded me of home—a region of wild beauty and resilience in the face of several natural disasters in the last few years. Thomas Shuler and Steve Szabo’s “Eastern Shore” portfolios show the unchanging majesty of dirt roads and forests that twist indistin- guishably from the wild flowers and loom over the tepid waters of the south. These photographers capture the nostalgia of place in a way Steve Szabo, Interior, Christ M.E. Church, from the portfolio “Eastern Shore,” 1976. Platinum print, mat: 14 x 16 in., sheet: 8 1/2 x 11 in. Gift from the Trustees of the Corcoran Gallery of Art (Gift of Joshua P. Smith), 2018.15.618.9. Opposite: Thomas H. Shuler Jr., Two Trees plus Vines, Washington, D.C. (detail), 1978. Palladium print, mat: 12 x 10 in., sheet: 9 1/4 x 7 3/8 in. Gift from the Trustees of the Corcoran Gallery of Art (Gift of Mr. Evans Walker), 2018.15.341.5.

28 MOVES LIKE WALTER MOVES LIKE WALTER 29 Gayle Rothschild, Wet Spot from the series Thomas H. Shuler Jr., Path, Great Falls, Thomas H. Shuler Jr., Country Side, Virginia, “C & O Canal,” 1992. Vintage gelatin silver Virginia, 1978. Palladium print, mat: 12 x 10 in., 1975. Palladium print, mat: 12 x 10 in., sheet: print, sheet: 15 7/8 x 20 1/8 in. Gift from the sheet: 8 3/8 x 5 1/2 in. Gift from the Trustees 7 1/2 x 8 7/8 in. Gift from the Trustees of the Trustees of the Corcoran Gallery of Art of the Corcoran Gallery of Art (Gift of Mr. Corcoran Gallery of Art (Gift of Mr. Evans (Gift of Sharon Keim), 2018.15.1468. Evans Walker), 2018.15.341.7. Walker), 2018.15.341.2.

that is so unique. At first glance, the Szabo was a Pennsylvania native who photographs are unremarkable. Look began his photography career as a deeper and you see a comforting sen- photojournalist in the 1960s with the timentality that only places of home Washington Post. From there he began and belonging elicit. We often take for to photograph the Chesapeake Bay granted complicated multidimensions area, which began his “Eastern Shore” “PLACE” IS of place, seeing it as a simple black and series. He resigned from the Post in white picture instead of the dizzying 1972 to pursue his artistic interests SUCH AN maze of grey. full-time, creating some of the most timeless pieces of the Corcoran UNDERRATED The Corcoran Legacy Collection collection. He ended his career by INDICATOR boasts thousands of photographs, but teaching at the Corcoran School of the the natural intimacy and intensity Arts and Design. OF MEMORIES of these landscapes bewitched me. Crawford Barton, Calla Lilies, Dorland Street, San Francisco, 1973. Gelatin silver “Place” is such an underrated indicator Shuler is a Michigan native who has print, mat: 20 x 16 in., sheet: 14 x 11 in. Gift AND IDENTITY. From top left, clockwise: Steve Szabo, Piano, Methodist Church, Upper Fairmount, of memories and identity. You almost lived and worked in the DC area for from the Trustees of the Corcoran Gallery from the portfolio “Eastern Shore,” 1976. Platinum print, mat: 16 x 14 in., sheet: 11 x of Art (Gift of Mr. Edward Brooks DeCelle), 8 1/2 in. Gift from the Trustees of the Corcoran Gallery of Art (Gift of Joshua P. Smith), never recount a memory without set- the majority of his career. He taught 2018.15.1407. 2018.15.618.4. ting a scene first. Those moments that photography at the Smithsonian Steve Szabo, House, Pokomoke Forest, from the portfolio “Eastern Shore,” 1976. are so precious and formative all occur Institution and has been a professor Platinum print, mat: 14 x 16 in., sheet: 8 1/2 x 11 in. Gift from the Trustees of the Corcoran Gallery of Art (Gift of Joshua P. Smith), 2018.15.618.2. in the backdrop of our lives. at Northern Virginia Community Steve Szabo, Goat House, Wolf Trap Creek, from the portfolio “Eastern Shore,” College-Annandale. 1976. Platinum print, mat: 14 x 16 in., sheet: 8 1/2 x 11 in. Gift from the Trustees of the Corcoran Gallery of Art (Gift of Joshua P. Smith), 2018.15.618.1.

30 MOVES LIKE WALTER MOVES LIKE WALTER 31 From top, clockwise: Steve Szabo, Tree, O.C. Smith Farm, from the portfolio “Eastern Shore,” 1976. Platinum print, mat: 14 x 16 in., sheet: 8 1/2 x 11 in. Gift from the Trustees of the Corcoran Gallery of Art (Gift of Joshua P. Smith), From top: Thomas H. Shuler Jr., Tall Grass, Eastern Shore, Maryland, 1976. Palladium print, mat: 12 x 10 in., 2018.15.618.7.; Thomas H. Shuler Jr., Tree, Great Falls, Virginia, 1978. Palladium print, mat: 12 x 10 in., sheet: 8 3/8 x sheet: 7 1/4 x 8 1/4 in. Gift from the Trustees of the Corcoran Gallery of Art (Gift of Mr. Evans Walker), 6 1/2 in. Gift from the Trustees of the Corcoran Gallery of Art (Gift of Mr. Evans Walker), 2018.15.341.8.; Steve Szabo, 2018.15.341.3.; Thomas H. Shuler Jr., Corn, Virginia, 1978. Palladium print, mat: 12 x 10 in. sheet: 7 1/2 x Woods, O.C. Smith Farm, from the portfolio “Eastern Shore,” 1976. Platinum print, mat: 16 x 14 in., sheet: 11 x 8 1/2 in. 8 1/2 in. Gift from the Trustees of the Corcoran Gallery of Art (Gift of Mr. Evans Walker), 2018.15.341.4. Gift from the Trustees of the Corcoran Gallery of Art (Gift of Joshua P. Smith), 2018.15.618.5.

32 MOVES LIKE WALTER MOVES LIKE WALTER 33 THE SELFLESS SPIRIT: NATURE VS. NURTURE AND THE EFFECTS OF MOTHERHOOD IN THE CORCORAN COLLECTION The Selfless Spirit By La’Nae Charles, MA Student, Arts Management

Ghost children—this was our initial point of focus. “Spectral Youth and Haunted Dreams” was an interestingly uncanny topic that would make viewers stop, do a double-take, and stare for more than a few brief moments. Centuries-old paintings of children would be positioned alongside photos by artist Arthur Tress. The juxtaposition between painted children and Tress’s surrealist interpretations of children’s dreams would lead viewers to reflect on the evolution and representations of children through time.

Both the paintings and the photographs capture moments in time, presenting eerily distorted portrayals of these children. Ultimately, the goal was to have the audience reminisce about periods in their own childhoods where dreams and imaginations ran free. Over time, our focus began to shift.

We—my cocurators Anya Simmons, Hope Cagle, Yue Li, and I—began to explore the influences that par- ents, specifically mothers, had on the lives and development of their children. We wanted to examine this on a deeper level. However, we weren’t yet ready to let go of our initial infatuation with spectral youth. We tasked ourselves with finding a way to fuse both themes together in a way that would ultimately be relatable, interesting, and inspiring to us as well as the viewer.

From ghost children, to female representation, to the Selfless Spirit of motherhood, our exhibition has trans- formed and blossomed into something that we all can relate to in some shape or form. Arthur Tress, Girl in Mask, Rhinebeck, New York. From the “Theater of the Mind” Series, 1975. Gelatin silver print, mat: 22 x 22 in., sheet: 19 7/8 x 15 7/8 in. Gift The title was inspired by Li, based on a proposal from the Trustees of the Corcoran Gallery of Art (Gift she presented. The term selfless spirit refers to and of Dr. and Mrs. John V. Knaus), 2018.15.1382. expresses the selflessness of a mother’s love. It is also Opposite: Arthur Tress, Mother and Daughter, New York City. From the “Theater of the Mind” Series, 1978. a reflection of the vital role she assumes as the care- Gelatin silver print, mat: 22 x 22 in., sheet: 19 7/8 x 15 7/8 in. Gift from the Trustees of the Corcoran Gallery giver. As we focus on maternal love—what it is, what of Art (Gift of Dr. and Mrs. John V. Knaus), 2018.15.1385. it means, and why it’s important—we selected pieces

36 MOVES LIKE WALTER MOVES LIKE WALTER 37 from the Corcoran Legacy Collection had different experi- The second piece to which I was imme- that guide the viewer to reflect on their ences and relation- diately drawn was Arthur Tress’s Fly- own childhoods and the relationships ships throughout their ing Dream (1971). This photograph that they have with their mothers and childhoods. depicts three small children who their own children. appear to be lying on a net or fence. Each piece is important This took me back to summers in The collection has a vast variety of and serves the over- the Virgin Islands, where my friends subjects. It spans various socioeco- all exhibition; how- and I would rush to the playground nomic backgrounds, centuries, and ever, based on my own each day after summer camp. Many media; we were able to discover pieces childhood experiences rounds of freeze tag, hide and seek, that convey the influence of mother- and relationship with or kickball were played until we were hood on childhood development. Our my mother, there were too exhausted to take another step. exhibition portrays various themes two specific pieces Somehow, we would always find the and interactions of a mother’s selfless that I was immediately energy and strength to climb up the spirit with the world, separated into drawn to. The first “pyramid,” which was an upside-down the child’s experience, the mother’s is Alexander Lapin’s prism-shaped fence that held a mesh experience, and the collective experi- Mother and Daugh- net at the top. There we would lie worn ence, or You, Me, Us. ter (1987) from the out from our day’s activities, sipping “A Kiss” series. In the on our juice boxes and preparing for We decided to group the works as in photograph, a mother the adventures of the following day. a collage. This way, conversations bends to kiss her Again, it is another memory of when can be sparked between each piece as daughter. This spoke things were simple and life was always well as each viewer. We believe this volumes to me, as I can joyful. This was such a personally sig-

format creates a more casual, infor- vividly remember a Alexander Lapin, Mother and Daughter from the Series nificant piece, as it reminded me of all mal, or homey feeling for the viewer, time where my younger “A Kiss,” 1987. Gelatin silver print, mat: 20 x 16 in., sheet: 8 3/4 the lifelong friendships I developed on x 12 3/4 in., image: 7 x 10 3/4 in. Gift from the Trustees of the which can echo the intimate feeling sister and I would anx- Corcoran Gallery of Art (Gift of the artist), 2018.15.998. the top of that fence. that a mother’s love can provide. As we iously wait to receive a moved through the curatorial process, hug and kiss from “Ma” I know that my experiences are my this exhibition became increasingly as she is affectionately called. This kisses—were such raw examples of the own and the feelings and reactions that personal. When deciding which spe- had become a daily ritual for us. Each love she carried for us. Who knew that I had to certain works in our exhibition cific pieces to use, we focused on the morning before we got on the school such a small gesture would be remem- may not necessarily be that of another emotional message that would be con- bus and each evening before we went bered two decades later? Seeing and viewer. However, this is the beauty of veyed, as well as each piece’s aesthetic to bed, my mother would make time to working with this piece brought back it. I urge each viewer to take the time relevance to our topic. This was very indulge us in what became a necessity. memories of a time when I was filled to dig deep and find the simple joys of important, and a particularly inter- with never-ending joy. It also brought their childhood and reflect on the rela- From top: Joan Cassis, Untitled, n.d. Chromogenic color print, mount: 17 x 14 in., paper: 8 x 10 in., image: 5 9/16 x 8 1/4 in. Gift from the Trustees of the Corcoran Gallery of Art esting portion of the entire process, The simplicity of this action— me to reflect on the huge impact of tionships developed because of them. (Gift of Victoria Cassis in memory of her daughter Joan Cassis), 2018.15.1553.; Arthur mainly because each cocurator has her warm embraces and tender what seemed like a minuscule action. Tress, Flying Dream, Queens, New York. From the “Dream Collector” Series, 1971. Gelatin silver print, mat: 22 x 22 in., sheet: 19 7/8 x 15 7/8 in. Gift from the Trustees of the Corcoran Gallery of Art (Gift of Dr. and Mrs. John V. Knaus), 2018.15.1379.

38 MOVES LIKE WALTER MOVES LIKE WALTER 39 The Selfless Spirit: You, Me, Us By Yue Li, MA Student, Art History What we wish to express to viewers is found in our exhibition title, The Self- less Spirit: Nature vs. Nurture and the Effects of Motherhood.When looking at the art in the Corcoran Legacy Col- lection, I am inspired by the idea of the representation of women within a global context. As the saying goes, my life begins with opening my eyes and falling in love with my mother’s face. Demeter Balla, Anticipation, 1964. Toned gelatin silver print, sheet: 19 5/8 x 23 1/2 in. Gift from the Trustees of the Corcoran Gallery of Art (Gift of Joshua P. Smith), 2018.15.1405. I believe everyone has both physical and psychological intimacy with their The work is divided into three sub- Although the photographer does not mothers. Maternal love is the selfless themes: You, Me, Us. We are Me our- show the identity and social back- spirit and an important perspective selves, we are You in the eyes of oth- ground of the figure, the photograph to interpret motherhood—as we often ers, and we are Us in society. These suggests a kind of expectation and hear, a mother’s hug can be her chil- personal pronouns are the identities new hope from the mother. Childhood dren’s home. This kind of selfless spirit of everyone. You, Me, Us suggests begins in the mother’s womb and builds the interaction with mothers association between each subgroup. grows after that. and children. When designing the exhibition, cocurators chose to give “the mother with In addition to maternal love, the exhi- The works selected are mostly photo- children” the central place. bition also includes images of children graphs with some oil paintings. The fig- that reflect their independent spirit, ures in these pieces come from differ- For instance, Demeter Balla’s pho- not defined by their backgrounds, ent social and economic backgrounds, tograph Anticipation (1964) shows a countries, and families’ financial sit- countries, races, and regions. The young, pregnant woman. The woman uations. Rather, it is revealed from intention of the team was to overcome who will become a mother sits quietly children’s expressions of sadness, the limitations of time and space to on the bedside, her left hand placed isolation, playfulness, and self-dis- highlight the intimacy between moth- close to the breast and the heart. Her covery—strikingly manifest in Arthur ers and children, as well as the spirit of posture indicates that she is lost in Tress’s Flying Dream and Boy in freedom in childhood. thought. What she is concerned with Wheelchair with Sister (1973), with its might be the approaching newborn. combination of Me and Us. From top, clockwise: Joan Cassis, Untitled, n.d. Gelatin silver print, mount: 17 x 14 in., paper: 5 3/8 x 8 1/8 in., image: 5 3/8 x 8 1/8 in. Gift from the Trustees of the Corcoran Gallery of Art (Gift of Victoria Cassis in memory of her daughter Joan Cassis), 2018.15.1566.; Steve Hart, Sensita and Rosa from the series “Married Not Dead,” 1993. Gelatin silver print, mat: 20 x 24 in., sheet: 15 7/8 x 19 7/8 in., image: 13 1/2 x 18 3/8 in. Gift from the Trustees of the Corcoran Gallery of Art (Gift of the artist), 2018.15.1418.; Arthur Tress, Boy in Wheelchair with Sister, Montauk, New York. From the “Theater of the Mind” Series, 1973. Gelatin silver print, mat: 22 x 22 in., sheet: 19 7/8 x 15 7/8 in. Gift from the Trustees of the Corcoran Gallery of Art (Gift of Dr. and Mrs. John V. Knaus), 2018.15.1381.

40 MOVES LIKE WALTER MOVES LIKE WALTER 41 Finding Inspiration for taking a new, fresh approach to repre- WE DECIDED The Selfless Spirit in senting the women of the Corcoran the Corcoran’s Past Legacy Collection. TO INCLUDE By Anya Simmons, During my first look through the col- BOTH WOMEN MA Student, Arts Management lection, I was surprised to discover a The Selfless Spirit: Nature vs. Nurture wealth of artworks covering a broad AND CHILDREN and the Effects of Motherhood is both range of subjects and periods, and a celebration of universal themes and immediately knew I wanted to high- BECAUSE THE an analysis of the former Corcoran light the depth of the collection within EXPERIENCES Gallery of Art’s permanent collection. this new exhibition. Unlike The Gilded Since the beginning of this project, I Cage, which showcased white women OF MOTHERS knew I wanted to focus on representa- of a high socioeconomic status, this tions of women in the Corcoran Leg- exhibition would need to have a varied AND CHILDREN acy Collection. While doing research group of subjects. When choosing art- on past Corcoran exhibitions, I came works, cocurators Hope Cagle, Yue Li, ARE SO across a 2002 exhibition entitled La’Nae Charles, and I strove to include The Gilded Cage: Views of American representations of women and chil- INTERTWINED. Women, 1873–1921, which presented dren from diverse backgrounds. Thus, painting and sculpture from the per- this exhibition spans socioeconomic manent collection by artists including backgrounds, centuries, and media. that childhood and motherhood are John Singer Sargent, Mary Cassatt, Early on, we decided to focus on moth- universal, intimate themes unbound and Childe Hassam that depict upper- ers specifically, and look at the effects by temporal limits. class American women engaging in lei- of motherhood on childhood devel- sure activities during the Progressive opment. We decided to include both The title The Selfless Spirit came from Era. The exhibition was described as women and children because the expe- a proposal from Li early on in the cura- follows: “Despite variations in style riences of mothers and children are so torial process, before the exhibition and specific subject, most portray- intertwined; it seemed impossible to had been fully realized, describing the als of the Gilded Age woman embody talk about one without the other. selflessness of a mother’s love and the spirituality and serenity. Safe in their caring yet vital role she assumes as a luxurious homes—their ‘cages’—they The main goal of The Selfless Spirit is mother. I was also drawn to this title are totally removed from the crass to present an intimate look into the because it harkens back to the Gilded manifestations of the turbulent world Corcoran Legacy Collection and create Cage, refuting the idea that a women’s around them.”5 I was inspired to create a sense of universality between the art- role is a cage in which she is entrapped; something that would be in dialogue works presented and the viewer’s own the term “selfless” suggests a more pos- with, or a response to, The Gilded Cage, personal experiences, underscoring itive tone, celebrating a woman’s role

From top, clockwise: Mark Power, Untitled, 1973. Gelatin silver print, mat: 16 x 20 in., sheet: 11 x 14 in., image: 7 5/8 x 11 9/16 in. Gift from the Trustees of the Corcoran Gallery of Art (Gift of Joe Mills), 2018.15.1451.; Dion Johnson, Waiting for Daddy, 1992. Gelatin silver print, mat: 24 x 20 in., image: 12 1/2 x 17 7/8 in., sheet: 20 x 16 in. Gift from the Trustees of the Corcoran Gallery of Art (Gift of the artist), 2018.15.1424.; Joseph Rodriguez, Elim Transitional Housing, St. Paul, 1999. Gelatin silver print, mat: 20 x 16 in., sheet: 14 x 11 in. Gift from the Trustees of the Corcoran Gallery of Art (Gift of Joseph Rodriguez), 2018.15.1459.

42 MOVES LIKE WALTER MOVES LIKE WALTER 43 as a mother as a noble and of homelessness they are a woman reclining, watching her giving one. These women facing. Though these children play before her, while Back- and children are not “safe works are vastly different yard Knights depicts two young boys in their luxurious homes… in context, their meanings dressed as medieval knights playing in totally removed from the are strikingly similar. Both a field. Both present similarly playful, crass manifestations of the Lapin and Shames hide fleeting moments of joyful children. turbulent world around any clues to the subjects’ Bucher, describing her “Southwest” them,” but rather very surroundings in order to series, says, “I am fascinated by how… much in the real world, bring a sense of humanity the new and the traditional blend and navigating real life and Emanuel Gottlieb Leutze, The Amazon and Her Children, 1851. Oil on and vulnerability to four clash in unexpected ways.”8 The uni- canvas, framed: 52 1/2 x 74 in., unframed: 40 1/2 x 62 1/4 in. Gift from real issues. the Trustees of the Corcoran Gallery of Art (Gift of William Wilson subjects defined by their versality of children playing brings Corcoran), 2018.15.695. interactions. These touch- these two works together in a surpris- We chose to group the ing moments of mother ing and joyous way. works as a collage so that they are exhibition, and according to a review and child highlight the universality of in conversation with one another. from the The Chicago Tribune, was “the a mother’s love. One of my favorite artists in the exhi- The collage creates a more informal first full-scale exhibition of contempo- bition is photographer Joan D. Cassis. Karen Bucher, Backyard Knights presentation to represent the com- rary Russian photography ever staged Part two of the exhibition focuses on Even during my first look through the from the series “Growing Up in the fortable, casual feelings of home. by an American museum.”6 Lapin’s childhood. The children shown are collection, I was immediately drawn to Southwest,” 1998. Chromogenic color print, sheet: 20 x 24 in., image: The exhibition is split into two parts: photograph of a mother bent down to from very different eras, locations, and her photographs. They are honest and 15 x 22 1/2 in. Gift from the Trustees motherhood and childhood. Part one kiss her child is a touching, vulnerable environments. We wanted to, again, raw; their sense of realism and vul- of the Corcoran Gallery of Art (Gift of Karen Bucher), 2018.15.1438. of the exhibition explores the moth- moment frozen in time. It’s completely show the depth of representation in the nerability is incredibly striking. We er-child relationship and questions separated from the political and soci- collection, as well as survey the spirit felt it was important to include Cassis how the role of motherhood compares etal turmoil of the nineties; instead, it of childhood, question the factors that because with so few female artists in over time, geographical locations, eth- shows how life in the newly dissolved contribute to childhood development, the collection, it seemed necessary to nicities, and circumstances. One of Soviet Union was actually lived. and investigate nature versus nurture. showcase her works in comparison to my favorite comparisons is Stephen By including the large-scale 19th-cen- the male artists. It’s refreshing to see Shames’s El Paso Child Crisis Center Shames’s photograph was first exhib- tury allegorical painting The Amazon these works of mothers and children (1999) and Alexander Lapin’s Mother ited during the Corcoran’s 1999 and her Children (1851) by Emanuel through a female lens. and Daughter from the “A Kiss” series. exhibition The Way Home: Ending Gottlieb Leutze with the contemporary Both works aim to give a sense of real- Homelessness in America (along with color photograph Backyard Knights Ultimately, The Selfless Spirit aims ism and humanity to their subjects by Joseph Rodriguez’s Elim Transi- (1998) from the “Young Southwest: to show humanity and realism in showing a touching moment between tional Housing, St. Paul, which is also Growing up in Las Cruces, New Mex- the Corcoran Legacy Collection by mother and child. included in The Selfless Spirit).7 El Paso ico” series by Karen Bucher, we aim to highlighting universal themes: the Stephen Shames, El Paso Child Crisis Center, 1999. Gelatin silver Crisis Center depicts a mother and highlight the similarities between the uncertainties of childhood and a print, mat: 24 x 20 in., sheet: 19 7/8 Lapin’s photograph was exhibited child laughing together; it’s a joyous two starkly different works, both in mother’s love. x 16 in. Gift from the Trustees of the Corcoran Gallery of Art (Gift of during the Corcoran’s 1991 Changing and heartfelt moment frozen in time. context and time, and the unchanging Stephen Shames), 2018.15.1496. Reality: Recent Soviet Photography Only the title reveals the stark reality spirit of childhood. The Amazon shows

44 MOVES LIKE WALTER MOVES LIKE WALTER 45 The Evolution of The Selfless Spirit By Hope Cagle, MA Student, Arts Management This class provided an opportunity to work with almost 9,000 pieces of art recently acquired by Ameri- can University Museum from the Corcoran Gallery of Art. Combing through hundreds of paintings and thousands of photographs was a daunting task, especially without a central theme. As I looked through the rows of paintings, I began to feel

uneasy at the sight of eerie, stiff 18th- Simpson Kalisher, Untitled, 1963. Gelatin silver print, mat: 16 x 20 in., sheet: 10 15/16 x 13 7/8 in., century portraits of children. In par- image: 8 7/16 x 12 1/2 in. Gift from the Trustees of the Corcoran Gallery of Art (Gift of Gloria Richards), 2018.15.1430. ticular, Franz Von Lenbach’s Portrait of a Child (1898) seemed ghostly and unnerving, and I repeatedly returned and this juxtaposition provided an to it for inspiration as I searched for interesting vehicle for tracking the a theme. portrayal of childhood development.

I playfully referred to the portraits I My research into representations of found as “ghost children,” and what children in art led me to an article by began as a hyperbolic commentary Kimberley Reynolds detailing chil- on the narcissistic nature of family dren in British literature. Reynolds portraits soon turned into an investi- follows this progression from the gation into the Corcoran’s patterns of Puritan practice of “saving children’s collecting. The portion of the collection souls through instruction and by pro- that focused on children ran from rigid, viding role models for their behavior” posed painted portraits of children to through 19th- and 20th-century texts.

whimsical, almost surreal abstract By the mid-18th century, “childhood Franz Seraph von Lenbach (Germany, photographs. My cocurator Anya Sim- came to be associated with a set of pos- 1882–1904), Portrait of a Child, 1898. Oil on paperboard, framed: 43 1/4 x 37 1/2 x 3 3/4 in. mons suggested that I look into Arthur itive meanings and attributes, notably Gift from the Trustees of the Corcoran Tress’s photographs as a possible way innocence, freedom, creativity, emo- Gallery of Art (Edward C. and Mary Walker Collection), CGA.37.30. Illustration only, From top, clockwise: Ed Grazda, Mazar-I Sharif, Afghanistan, 1997. Gelatin silver print, mat: 20 x 24 in. sheet: 16 x 20 in. image: to illustrate the Corcoran’s evolution, tion, spontaneity and, perhaps most not included in exhibition. 18 1/2 x 12 1/4 in. Gift from the Trustees of the Corcoran Gallery of Art (Gift of Julia J. Norrell in honor of Abby Frankson), 2018.15.1412.; Elisabeth Sunday, Dogon Mother from the “Africa I” series, 1987. Gold-toned gelatin silver print, sheet: 23 7/8 x 20 in. Gift from the Trustees of the Corcoran Gallery of Art (Gift of Michael Yochum and Priscilla Otani), 2018.15.1508.; Joan Cassis, Untitled, n.d. Chromogenic color print, mount: 17 x 14 in., paper: 10 x 8 in., image: 7 7/8 x 5 1/4 in. Gift from the Trustees of the Corcoran Gallery of Art (Gift of Victoria Cassis in memory of her daughter Joan Cassis), 2018.15.1555.

46 MOVES LIKE WALTER MOVES LIKE WALTER 47 importantly for those charged with cultural understandings of childhood. collection, I allowed the theme to prog- raising and educating children, malle- Writers generally attempt to show ress into Spectral Youths and Haunted ability.”9 This text encapsulates what their young readers what adults think Dreams: Representations of Youth in I hoped the viewer would see in this children should be like. It should the Corcoran Collection. exhibition. Reynolds continues: also be noted that many writers who idealized childhood were men, and My proposal was as follows: “…in children’s books (and other kinds so unlikely to be responsible for the of literature and art too) childhood day-to-day care of children, inevitably The juxtaposition of painterly chil- innocence, goodness, frankness and affecting how they viewed them.”10 dren frozen in time and Tress’s sur- vision regularly restore the moral well realist interpretations of children’s being of adults and society. That ways This passage greatly influenced my dreams will move the viewer to of thinking about and representing original proposal. I hoped to convey reflect on the evolution of distorted childhood could change so thoroughly the reality of the subjects’ lives by posi- and eerie portrayals of children. Both Unidentified,The Three Huidekoper Children, over time shows that images and ideas tioning portraits from this time period Tress’s photographs and the various c. 1853. Oil on canvas, framed: 45 1/4 x 38 1/4 about childhood are different from the against photographs that convey the portraits capture a moment in time, in., unframed: 35 x 29 in. Gift from the Trustees of the Corcoran Gallery of Art (Gift of Elizabeth actual lived experience of real chil- freedom, spontaneity, and innocence both planned and posed. The portraits H. Stabler), 2018.15.17. dren… Even when texts appear realis- Reynolds writes about, with a touch of depict once-living real children, while tic, they will be underpinned by certain morbidity. As I looked further into the the photographs illustrate the musings of now-grown real children, yet both seem otherworldly, slightly morbid, “…IMAGES AND and grotesque. The audience will leave considering their own memories and IDEAS ABOUT evidence of childhood, questioning what they soundly remember and CHILDHOOD what their dreams and imaginations ARE DIFFERENT have filled in. FROM THE After I wrote this, Simmons and I, along with La’Nae Charles, began to ACTUAL LIVED fully develop the idea, finding opportunities within the collection to cre- EXPERIENCE ate dialogue between pieces. Pairings like The Three Huidekoper Children From top: Joan Cassis, Untitled, 1970-1976. Gelatin silver print, mat: 14 x 18 in., sheet: 8 x 10 in. OF REAL (c. 1853) and Tress’s Flying Dream Gift from the Trustees of the Corcoran Gallery of Art (Gift of Victoria Cassis in memory of her CHILDREN…” show how the concept of childhood daughter Joan Cassis), 2018.15.1532. William Albert Allard, Untitled, 1981/1989. Dye transfer print, sheet: 16 1/2 x 21 3/16 in., image: and play has changed over time. The Regina DeLuise, Girl on Rock, Chandrunk, Nepal, 1994. Platinum palladium print, mat: 14 x 13 1/8 x 19 13/16 in. Gift from the Trustees of the Corcoran Gallery of Art (Gift of Eastman Kodak 18 in., sheet: 8 1/2 x 10 1/2 in. Gift from the Trustees of the Corcoran Gallery of Art (Gift of Company), 2018.15.1404. stiff painted portraits of the three Mitchell D. Story in honor of Edward DeCelle), 2018.15.784.

48 MOVES LIKE WALTER MOVES LIKE WALTER 49 Huidekoper children compared to the dreamlike shadows of the three children lying in the sunshine relate to an acceptance of creativity and imagination in childhood development.

While the subject of the evolution of depictions of childhood was compel- ling, we found that Li’s proposal of representations of motherhood provided a more complex, intimate and personal lens to our theme. Li had described motherhood as the “representation of the selfless spirit,” and J. Baylor Roberts, Untitled, 1937. Dye transfer print, sheet: 10 1/4 x 12 3/4 in., image: 7 1/4 Charles Webster Hawthorne, The Fisherman’s our work started to gravitate around x 10 1/2 in. Gift from the Trustees of the Corcoran Gallery of Art (Gift of Eastman Kodak Daughter, c. 1912. Oil on wood panel, unframed: that description. Charles, Li, Simmons, Company), 2018.15.1452. 60 x 48 in., framed: 67 x 55 x 3 in. Gift from the Trustees of the Corcoran Gallery of Art (Museum and I began grouping works into sub- Purchase, Gallery Fund), 2018.15.271. themes using the idea of the selfless spirit as our compass. We found that the subthemes formed naturally into children’s portraits, particularly in views of motherhood and how their Works Cited interactions of the mother’s selfless Regina DeLuise’s Girl on Rock, Chan- relationships have impacted their Carroll, Lewis. Three Sunsets and spirit with the world, separated into drunk, Nepal (1994) speaks to the childhood memories. This selection Other Poems (classic Reprint). the child’s experience, the mother’s impact of the mother-child relation- from Lewis Carroll’s poem “Solitude,” New York, NY: MacMillan and, experience, and the collective experi- ship. Children’s behavior when they which was quoted by Reynolds, per- Limited, 1898. ence, or You, Me, Us. are seemingly without maternal or fectly describes my own memories of adult guidance provides an interest- childhood: Reynolds, Kimberley. “Perceptions The collage-style groupings capture a ing insight into social development. of Childhood.” British Library. piece of the mother’s identity as inter- While Girl on Rock conveys feelings of I’d give all the wealth that years have May 15, 2014. Accessed March preted by the artist. The depictions of isolation, Cassis’s Untitled (n.d.) pho- piled, / The slow result of life’s decay, / 01, 2019. https://www.bl.uk/ motherhood vary from women who tograph of a young girl in green playing To be once more a little child, / romantics-and-victorians/articles/ wrap themselves in or hide behind dress-up projects the subject’s imagi- For one bright summer day. perceptions-of-childhood. their children’s identities, as in Joan native aspirations, most likely inspired Arthur Tress, Museum of Natural History, Mexico City, 1964. Gelatin silver print, mat: 26 x Cassis’s Untitled (n.d.) photograph of by her mother. 22 in., sheet: 19 3/4 x 15 7/8 in. Gift from the Trustees of the Corcoran Gallery of Art (Gift of Dr. and Mrs. John V. Knaus), 2018.15.1373. a woman hiding behind her baby, to mothers who view their children as an This exhibition is deeply personal, extension of themselves. The absence and we hope that the viewers will of mothers and mother figures in the feel inspired to reflect on their own

50 MOVES LIKE WALTER MOVES LIKE WALTER 51 AMERICAN LEGACY: RECONSIDERING NON-WESTERN SUBJECTS IN THE CORCORAN COLLECTION The Legacy of Spectacles: A Photograph by Joseph E. Rock By Qianlan Miao, MA Student, Art History Elaborate headpiece, colorful costume, dangling banners—a man with a deep complexion, a bow in one hand and a staff in another, is stepping on a tiger skin. This is an image of a man from southwestern China produced by Joseph E. Rock in 1928—an image that satisfies Westerners’ imagination of the Orient. People once believed that “the camera does not lie”; what is shown in a photograph was taken as the objective truth. It was easy to forget that it was men who decided where to point the camera and when to press the shutter. A photograph, just like a painting, reflects the subjectivity of the photographer.11

Rock arrived in western China in 1922. From 1922 to 1927, he worked as a bot- anist and an emissary of the United States Agriculture Department, with the mission to collect plant specimens and seeds in China. He also served as a representative of National Geographic Magazine in China and published nine articles. After 1927, Rock began his research into the culture of the Nashi, an ethnic minority living in the northwestern part of what is known today as Yun- nan Province, as well as the southwestern part of Sichuan Province.12 For the rest of his 27 years in China, Rock studied the local culture with respect, learned the Nashi language, and dressed in local clothing, which earned him the love and respect of the local people. His extensive research on Nashi culture also led Joseph F. Rock, Untitled, 1928. Dye transfer print, sheet: 16 3/8 x 11 5/8 in., image: 10 x 7 3/8 in. Gift him to be known as the “father of from the Trustees of the Corcoran Gallery of Art Nashi study” by both Western and (Gift of Eastman Kodak Company), 2018.15.1454. Eastern scholars.13 Opposite: Frederic Clay Bartlett, Canton Street (detail), 1919. Oil on canvas, framed: 41 x 45 x 2 1/4 in. Gift from the Trustees of the Corcoran Gallery of Art (Museum Purchase, Gallery Fund), 2018.15.75.

54 MOVES LIKE WALTER MOVES LIKE WALTER 55 However, in 1928, Rock was still trav- personal identity. Under Rock’s camera Rebecca at the Well eling as an explorer who looked at lens, he is reduced to a sample of the By Michael Quituisaca, China through the lens of an American, local culture, another object added to MA Student, Art History viewing the local people and their cul- Rock’s “human menagerie.” ture as spectacles, which is reflected Thomas Prichard Rossiter was a in his many photos taken during this Despite Rock’s later relationship with 19th-century painter of portraits, time frame. the locals and his contribution to the historical scenes, and religious sub- scholarship on China’s ethnic minority, jects. Born and raised in New Haven, The representations of the “Oriental” as the photograph was published with Connecticut, he would become part or “third-world countries” in West- a group of images of Tibetan religious of a small but powerful cohort, the ern visual media tend to have three practice by National Geographic under male elites of the northeastern United common characteristics: unchanged, the title “Demon-possessed Tibetans States.15 His connections would earn unrestrained, and uncivilized.14 The and Their Incredible Feats” in Octo- him a membership into the National earlier photographs by Rock embody ber 1935, the sense of “spectacle” and Academy of Design in 1840, placing these characteristics as well. The pho- “other” was deeply rooted in the image. him in the same social circles as artists tograph preserves the old architecture Thanks to the wide distribution of the such as Thomas Cole, Asher B. Durand, blurred in the background and the magazine, the idea of a wondrous yet and John Frederick Kensett. While his timeless costume wore by the model in mysterious land in the far east was put contemporaries would capture scenes a time capsule, untouched and seem- into every American reader’s mind, of American wilderness on their can- ingly never to be touched by the rapid naturalized, and was taken as objec- vases, a movement we now refer to changes happening around the world. tive fact for decades. Rock’s true legacy, as the Hudson River School, Rossiter The metalwork on the headpiece and his researches and publications on the would take on portrait commissions. the vibrant embroidery on the banners local culture of southwestern China, He would build a successful practice and costumes show exquisite crafts- was lesser known to people outside of that would earn him the liberty of manship that, in the Western world, the academic world. After all, “a picture painting religious subjects at a time

was being replaced by machines and is worth a thousand words.” when there was very little demand Thomas Prichard Rossiter, Rebecca at the Well, 1852. Oil on canvas, unframed: 39 x 32 in. mass production. At the same time, for it. Gift from the Trustees of the Corcoran Gallery of Art (Gift of William Wilson Corcoran), 2018.15.31. there is the suggestion of violence and Works Cited wildness—the man is holding a bow Yang, Zhenzhi, Hu Haixia, (Iris), and Rebecca at the Well is a marriage just outside the city. The bracelet and complete his God-ordained mis- in his hand, with a dozen arrows by Wall, Geoffrey.From gaze to dialogue: between Rossiter’s portrait prac- that Rebecca holds in her right hand sion. Rossiter highlights her moment his side, a coil of rope hanging on his host–guest relationships in Lijiang, tice and his exploration of religious reflects the moment the characters of crisis. Does she believe this man arm, and a large blade leaning against China, as illustrated by the case of stories. Created in 1852, it depicts a meet, in which Eliezer bestows gifts when he says he was sent not only by his seat, his feet resting on a large tiger Joseph F. Rock. Asia Pacific Journal of moment from the tale of Rebecca and upon her. Her attentive gaze suggests Abraham, but by God? Her choice to skin. He is sitting motionlessly, with Tourism Research, 22:1 (2016): 74-87. Eliezer from the book of Genesis. After she is listening to Eliezer’s request, leave and marry a man she had never no expression on his face, only a sus- being sent to Aram-Naharaim to find which demands she leave everything met was based on faith alone, but the picious look in his eyes. There is no a divinely chosen wife for Abraham’s behind—her family, her home, her story illustrates that her faith was not sign of personality or any record of his son, Isaac, Eliezer finds her at a well life—to return with him to Canaan misplaced. She would go on to be loved

56 MOVES LIKE WALTER MOVES LIKE WALTER 57 by Isaac and bear twins with him. Her in subordinate position in Church LIKE MANY at the Well displays an early interest in 19th century elites that everyone was story reinforces notions of trusting in and State, and assigned by man to the the subject. Rossiter had never set foot or should be like them, and that, if nec- God’s judgement, even when it requires domestic sphere. Man has endeavored OF HIS CONTEM- in the Near East. Like many of his con- essary, they were prepared to show sacrifice and faith in the marriage to destroy woman’s self-respect and temporaries, his vision of “the Orient” how things are done.”19 There was no system. keep her dependent.17 PORARIES, was conjured from fantasy books and regard for exacerbating the already- the tales of missionaries. Despite his skewed vision of the Near East prop- Rossiter’s immortalization of the The convention would see the creation HIS VISION OF ignorance of the landscape, Rossiter agated in fiction. For Rossiter, the use moment before Rebecca decides to of a Declaration of Sentiments. Mod- confidently creates his own version of “the Orient” was simply a means get married comes at a time when the eled after the Declaration of Indepen- “THE ORIENT” of Aram-Naharaim, complete with of spreading his message. In the case institution of marriage itself was being dence, the sentiments would call for a WAS CONJURED the tropes of Orientalism: deserts and of Rebecca at the Well, the sanctity of questioned by American women. Just recognition that all creatures created an oasis. marriage and the God-fearing woman four years prior to the completion of by God, regardless of gender, be con- FROM FANTASY are reemphasized. This was in direct Rebecca at the Well, the first women’s sidered equals. One of the grievances Rebecca’s appearance also skews contrast to the discourse surround- rights movement would successfully listed is “[h]e [man] has usurped the BOOKS AND towards a twisted version of Near East ing marriage being held at women’s take place in Seneca Falls, New York. prerogative of Jehovah himself, representation. The only clue that the conventions and soon to be debated The Seneca Falls Convention would claiming it as his right to assign to her THE TALES OF book of Genesis gives about Rebecca’s in Congress. be heralded as the first major step in a sphere of action, when that belongs appearance is that she is “very beau- the fight for gender equality.16 Hun- to her conscience and to her God.” The MISSIONARIES. tiful.” Rossiter, however, takes this Works Cited dreds of men and women gathered to document concludes with a powerful opportunity to dress her as a West- Edwards, Holly. “A Million and One discuss the social place and civil rights statement that would live on in the erner would stereotypically anticipate, Nights: Orientalism in America of women. fight for women’s suffrage: “We insist women, becoming a wife meant sub- wearing a turban and a long flowing 1870-1930.” In Noble Dreams, that [women] have immediate admis- jecting themselves to their husband’s robe. His disregard for accurate Near Wicked Pleasures: Orientalism in Historian Gerda Lerner lists out the sion to all the rights and privileges will, being denied their own civil rights, Eastern portrayal is made even more American, 1870–1930, edited by Holly social realities that women had to which belong to them as citizens of and not being given the proper legal apparent by the inclusion of a Greek Edwards, 11-57. Princeton: Princeton endure in the mid-19th century: these United States.”18 The Declara- channels to resist. The painting shows key embroidered on her robe. To top it University Press in association with tion would be signed by 100 attendees, Rossiter’s attempts keep the status quo all off, Rossiter depicts Rebecca with the Clark Institute, 2000. Woman had been denied “her inalien- mostly women, and dispersed to media alive, in which wealthy males such as white skin, making her appear more able right to the elective franchise”; outlets as if to serve notice. himself kept their dominant place like one of his New England portrait Lerner, Gerda. “The Meaning of she had no voice in the making of laws; over women. It ignores the changes patrons and less like a person of Near Seneca Falls.” In Living with History/ she was deprived of other rights of cit- With the sociohistorical context of the on the horizon—the first wave of fem- Eastern descent. Making Social Change, edited by izenship; she was declared civilly dead painting in mind, Rebecca at the Well inism that would earn women their Gerda Lerner, 73-84. Chapel Hill: upon marriage; she was deprived of reads as an emphatic call to preserve civil rights and a higher legal status As Holly Edwards states, 19th-century University of North Carolina Press, her property and wages; she was dis- the institution of marriage as it stood. as wives. American painters used “Oriental” 2009. criminated against in case of divorce, Rebecca subjugates herself to the will subjects to “universalize the values of and in payment for work. Women of man and of God, in becoming a wife. Orientalism in America would not pro- the dominant culture in America sim- were denied equal access to education In doing so, she is blessed with for- liferate until the 1870s, but Rossiter’s ply by presenting them in oriental garb. and kept out of the professions, held tune and family. However, for modern exploration of these themes in Rebecca In effect, this Orient served to reassure

58 MOVES LIKE WALTER MOVES LIKE WALTER 59 Curating the New It is easy to assume that there has been American University a fundamental shift in the way the Museum Collection work of African American artists and Africans in the diaspora as subjects By Kayla Redman, MA Student, of artworks are valued. We have come Arts Management far from an art world in America that While exploring the art in the Corcoran rejected or was hesitant about these Legacy Collection, I became intrigued artworks, not forgetting that Africans with the relationship artists have with in the diaspora as subjects, depicted by their art, the relationship that insti- artists that are not people of color, were tutions have with artworks they have more widely accepted. We are moving welcomed into their collection, or art forward to an art world where there William Tolliver, Noises in the Dark, n.d. Oil on canvas, framed: 31 1/4 x 37 1/8 x 1 1/2 in., they have temporarily displayed, but has been an increasing urge to acquire canvas size: 28 1/2 x 35 1/4 x 1 in. Gift from the Trustees of the Corcoran Gallery of Art George Biddle, Terai Hara, 1922. Oil on (Gift of Julia J. Norrell), 2018.15.69. do not keep. I noticed something else that same work. canvas, unframed: 22 x 16 in., framed: 29 1/4 while researching the collection: there x 23 1/4 x 7/8 in. Gift from the Trustees of the Corcoran Gallery of Art (Gift of the artist), were paintings depicting Africans in Within the collection, I found several 2018.15.51. community, what was the relationship In Noises in the Dark, Tolliver depicted carry value. These two paintings from the diaspora and or foreign places, but paintings that had Africans in the he had with Terai Hara and the natives a family walking home from a prayer the Corcoran Legacy Collection, Terai the artists were not people of color, diaspora as the subject; all but one for his artworks. His Terai Hara paint- of the land? That also brings up a ques- meeting in the woods. The child, Tolli- Hara and Noises in the Dark, are great except for a few artists of African was gifted to the Corcoran. Accord- ing was inspired by a trip to Tahiti in tion of white people depicting Africans ver’s mother, hears a noise. As the curi- examples of that. descent who showed the same subjec- ing to the object files that came with 1920. There, he spent 23 months in a in the diaspora—in their native land osity in her eyes seems to flow from the tivity in their paintings. Therefore, I the artworks, the Corcoran had an Polynesian village, experimenting in or not, what are the outcomes/effects canvas, the impression arises that the Works Cited chose to research the relationship art- interest in “African American art” and different media. The subject of this of this? viewer is the noise in the night. This “African American Artists Are ists had with the subjects of their art- had been working to acquire more. painting is a Polynesian woman named statement gives a whole new meaning More Visible Than Ever. So Why works, where the subject is an African Biddle’s Terai Hara was given as a gift Terai Hara. In Biddle’s case, I appreci- Tolliver was a versatile artist who han- to the piece. Are Museums Giving Them in the diaspora, and the relationship by the artist himself, and Tolliver’s ate the fact that he titled the painting dled figure studies, portraits, human Short Shrift?” Artnet News. the Corcoran Legacy Collection had Noises in the Dark was also donated to after the elegant, native Polynesian interest situations, landscapes, and In closing, artworks with the subject Last modified September 19, 2018. with the artworks as well. The two the Corcoran by the painting’s owner. women who gave him the inspiration semi-abstractions equally well. “His of Africans in the diaspora and/or of https://news.artnet.com/market/ paintings I focused on—Terai Hara The Corcoran accepted both to grow its and permission to capture her in such mastery of color, harmony, and design foreign lands, created by either an Afri- african-american-research- (1922) by George Biddle and Noises in collection of artworks by “African a raw, vulnerable manner. In doing so is unmatched in the artworld. He is at can in the diaspora artist or by an artist museums-1350362. the Dark (n.d.) by William Tolliver—are American artists.” he gave credit and recognition to Terai home in every painterly medium and not of color, convey what the subject here displayed in American Legacy: Hara, his muse. I also appreciate that uses a diversity of styles, all of which has been through and the things they “William Tolliver—Biography.” Reconsidering Non-Western Subjects Biddle was a white American painter, there is public recognition of the place are polished and bear the unmistakable have seen. The degree of the artist’s RoGallery.com—Fine Art Auctions in the Corcoran Collection alongside muralist, and lithographer, best known where Biddle created this painting. stamp of his personality… He portrays understanding of the culture, peoples, and Select Artworks Online. other non-Western-themed artworks for his social realism and combat art; Learning about Biddle and his journey his subjects with a pride and dignity and land being depicted will affect the Accessed May 2, 2019. https:// that have messages. he also created indigenous art in to Tahiti left me wondering; after this that heretofore has been uncommon outcome of the artwork. Paintings are rogallery.com/tolliver_william/ America. Biddle had many influences white artist inserted himself into this among modern artists.”20 more than just paint on a canvas. They tolliver_biography.htm.

60 MOVES LIKE WALTER MOVES LIKE WALTER 61 Old and Neo- Reimagining Non-Western Subjects in classes at the Corcoran, and her hard but it is plausible to assume that Eanes Orientalism Within the Corcoran Collection to pose ques- work won her first prize in a Corcoran included this phrase in her will, which the Corcoran tions about gender, hierarchy, and student show in 1933. 21 Unfortunately, seems to be the source for the sum of Legacy Collection expectations. there is little scholarly material about Richard’s article. Considering Ean- Eanes despite her fervent love for the es’s dedication to the Corcoran, it is By Abigail Swaringam, Eanes is a little-known name in the Corcoran school and Corcoran Gal- disturbing that she is not better repre- MA Student, Art History art-historical canon. She was born in lery of Art. Upon her death in 1974, she sented and researched. This might be For this exhibition, I chose to pair Fan- Leesville, Virginia, in 1885. She briefly bequeathed a large portion of her estate attributed to the fact that she was an nie S. Eanes’s painting Still Life with worked as a public school teacher in and 257 paintings to the Corcoran as an older woman working in a traditionally Oriental Objects (c. 1931) alongside Virginia before moving on to bank unrestricted gift. Her will recorded her conservative genre when abstraction Hung Liu’s seven-color chine-collé secretarial work at several locations. respect for institutions, particularly was beginning to take off. print, Children at Work: Boy with Pots It is not known if Eanes was inter- the Corcoran, noting the “‘cultural (2000). It is crucial to start with the ested in art earlier in her life, but she influence exercised by art galleries’ Still Life with Oriental Objects depicts obvious: both artworks were created enrolled at the Corcoran School of Art and the Corcoran’s ‘important role in what appears to be an end table with by women and both are forms of still in 1930. At the time, she was unmar- this field of human endeavor.’”22 After a direct light cast on it. On the table life. I have chosen to juxtapose these ried, 46, and significantly older than her passing, the Corcoran included are miniature sculptures, including a two works within American Legacy: her classmates. She took 546 hours of her in an exhibition in 1975 that was seated Buddha, a vase, and other trin- reviewed by the Washington Post. kets. The objects depicted are as indis- This article contains some of the criminate as the title suggests. Cultures only information about Eanes; I could and time periods are homogenized ascertain no exhibitions in which her under the term “Oriental.” A still life work was included after 1975. is a genre inherently about studying, observing, and depicting. Eanes’s pic- Although there is a general lack of ture casts the “Oriental” as an object of information on Eanes, the 1975 Wash- suitable study for art, and for a woman. ington Post article by Paul Richard Eanes exploits the concept to gain sta- tells us quite a lot in few words. Rich- tus in the art world. By using “Oriental” ard describes her use of still life and material objects, she projects a sense of Fannie S. Eanes, Still Life with Oriental Objects, c. 1931. Oil on canvas, framed: 27 1/2 x 22 1/2 x Orientalism as “just the sort of pic- taste and refinement to her audience. 1 1/4 in., unframed: 24 x 19 in. Gift from the Trustees of the Corcoran Gallery of Art (Bequest of tures expected of artistically inclined Fannie S. Eanes), 2018.15.96. young ladies in the art schools of this Liu’s Children at Work: Boy with Pots city.”23 He also described her years at also takes up the topic of “oriental” still stated, “My responsibility as a classi- by old and new resident aliens.”25 In the Corcoran as the “’happiest years of life. Liu often expresses her interest in cally trained Chinese artist in Amer- her statement, it is not clear where her life.’”24 Richard includes this infor- making her work connect with Chi- ica is not to assimilate, but to express the pressure comes from (through her mation within quotations, signaling nese identity, history, memory, and the my Chineseness as clearly as I can. By own opinion, the opinion of the nation-

Hung Liu, Children at Work: Boy with Pots, 2000. Seven-color lithograph with chine-collé, that the phrase comes from another idea of an immigrant. When reflecting doing so, I hope to contribute to my state, or the opinion of the public). unframed: 17 3/4 x 22 7/8 in., framed: 24 1/2 x 32 1/4 in. Gift from the Trustees of the Corcoran source. The sentence is not footnoted, on her interest in immigrants, she has new home, which is a land inhabited Gallery of Art (Gift of Bud and Fran Moreland Johns), 2018.15.1435.

62 MOVES LIKE WALTER MOVES LIKE WALTER 63 In her recent book, Local Invisibility, that Johns described his interest in artists faced difficulties and prejudice The Gendering In a 2018 interview with Moscow art is not to say that Antoshina’s work is Postcolonial Feminisms, Laura Fan- collecting arising from a one-credit art by simply being women making art, of the “Orient”: critic Igor Grebelnikov, Antoshina derivative, but rather to note that the tone has argued that Liu is a self-posi- appreciation course that turned him but as I have detailed, each exploited Tatiana Antoshina’s reflects on the astonishment she felt as representation of the female nude in tioning artist. Liu’s work is labeled as onto “accumulating.” In the curatorial Chinese culture for a different pur- The Turkish Bath an art history student with how many art has been a point of ongoing inter- Chinese and not as Asian American. By justification for accepting the Liu print, pose. Eanes, as a white woman, used naked female bodies there were in art national feminist critique for many recognizing this, and observing Liu’s curator Sarah Cash notes, “Hung Liu is Orientalism in her work to gain power, By Elizabeth Von Buhr, and how few naked male bodies could years, indicating that the issue is yet essentializing subject matter, Fan- a great artist,” but does not elaborate on display a sense of taste, and receive MA Student, Art History be found beyond the classical period.28 unresolved. tone arrives at the conclusion that she how or why. These descriptions, which respect for her work. Liu self-Orien- Thomas Prichard Rossiter was an She sought to address this disparity in self-Orientalizes to critique neo-Ori- lack any noteworthy justification for talizes to make broader points about artist working contemporaneously Museum of a Woman, “a place where While the gendering of the nude and entalist appetites and Eurocentrism her political and moving positionality, contemporary art and immigrants in with the French artist Jean-Auguste- everything is in accordance with the the gaze of the viewer seem at first within contemporary art.26 demonstrates the exact problems that America. Most powerfully, Liu has Dominque Ingres. Both explored Ori- tastes, viewpoints, and interests of glance to be Antoshina’s prime con- Laura Fantone has pointed out about said, “An American is something I’m entalist themes and female subjects in women, as we haven’t had the ability cerns with her version of The Turkish Children at Work: Boy with Pots reflects the contemporary art world. Liu’s print always becoming—it’s a verb.”27 their work, although they approached to voice these for quite a long time.”29 Bath, the historical and political con- these assertions. The print depicts was seen as great due to her intentional them from different angles and with She visualizes this female viewpoint texts of both Ingres’s original painting what Americans view as their concept use of Chinese objects and techniques Works Cited different aims. While Rossiter’s in her work by replacing female figures and Antoshina’s series reveal other of China and Chinese art: pots, elegant that were already perceived as great by Dahlgren, Karl, Summoning Ghosts: Rebecca at the Well depicts a biblical in famous works with male figures, and related concerns, primarily that of leaves, flowing rivers. These elements American audiences. The Art of Hung Liu. Berkeley: subject, one of Ingres’s most famous vice versa. Antoshina reimagines tra- are typically recognized as “ancient” University of California Press, 2013. works, The Turkish Bath (1852-1859), ditional gender roles as presented in and “past” glories of Chinese culture When I began to go through the AU explores the subject of the harem. art and appropriates the traditional SHE PRESENTS that play on American perceptions of Museum’s 9,000-piece gift from the Fantone, Laura, Local Invisibility, Ingres’s work is firmly situated in the male eroticizing gaze for herself. She Chinese art. By specifically choosing Corcoran, I wanted to think about what Postcolonial Feminisms: Asian art-historical canon, and his Turkish is not the first artist to challenge the AN ORIENTALIST to work in print, Liu highlights the had been naturalized within the collec- American Contemporary Artists Bath in particular has become the blind worship of “sacred classics,” nor commercialization of China through a tion. As I sifted through the paintings, in California. New York: Palgrave focus of much interpretation by con- the first to parody Ingres’sThe Turk- IMAGE IN WHICH commercial medium. Chine-collé is a I noticed that the depictions of people Macmillan, 2018. temporary artists and art historians ish Bath in such a manner. In 1973, Chinese technique that was exported of color were all by white people. I had around the world. Tatiana Antoshina, Sylvia Sleigh created an overtly satir- THE EROTICIZED to Europe. By using this technique, an overall pessimistic outlook on these Richard, Paul. “Remembering’ the a contemporary artist based in Mos- ical image by taking a cropped portion OBJECTS OF she further creates an art object unde- paintings, but my groupmate Qianlan Corcoran and Fannie Eanes: Fannie cow, applies her extensive background of Ingres’s painting and replacing all niably appealing as “Chinese” for an Miao pointed out that the gift also Eanes Remembers.” The Washington in art history to explore and manipu- of his bathers with naked man, all art THE VIEWERS American audience. contained a Liu print. I found this an Post, August 14, 1975. late the artistic canon through her critics, including her own husband.30 interesting counterpoint, but also very photography. Antoshina’s The Turkish These men, unlike Ingres’s bathers, GAZE ARE Her strategies are validated by the telling about the Corcoran’s interests Bath (1999) is part of her “Museum face directly out at the viewer, con- history of this print’s provenance. and perceptions about the “Oriental.” of a Woman” series, which parodies fronting their gaze. Antoshina’s The NOW NUDE It was gifted to the Corcoran by Roy Knowing Liu critiques the contem- famous works by artists such as Ingres. Turkish Bath, made about 25 years C. Johns, a writer and collector. The porary art world, artworks collected, Antoshina’s version of Ingres’s paint- later, continues to challenge conven- MALE BODIES, print arrived with 61 others that were and why led me to compare these two ing critiques the original work’s use of tional notions of gender and sexuality IMAGINED BY A perceived as classically American. In female artists to think about gender, gender, sexuality, agency, and the gaze. through a similar inversion of the male the description of the gift, it is noted hierarchy, and expectations. Both gaze and a reversal of gender roles. This FEMALE ARTIST.

64 MOVES LIKE WALTER MOVES LIKE WALTER 65 to women of other countries. Montagu of this period.”36 Antoshina, with her with anti-Patriotic Western values and Works Cited described the baths as public institu- version of The Turkish Bath, nearly American feminism. To make such a Ali, Isra. “The Harem Fantasy in tions, sites for women to gather and brings Nochlin’s vision to life. Instead claim for a feminist project at this time Nineteenth-Century Orientalist engage in civic life, a place marked “by of imagining a gender-reversal of Dela- was indeed a political move on the part Paintings.” Dialectical Anthropology an admirable decorum.”32 Ingres takes croix’s Death of Sardanapalus (1827), of the artist. 39, no. 1 (March 2015). this account of the public baths and as Nochlin did, Antoshina applies turns it into a private harem scene, a the same concepts to Ingres’s Turk- However, Antoshina is not alone in Antoshina, Tatiana. “Tatiana male fantasy. He removes Montagu ish Bath. She presents an Orientalist using body-based art to address social Antoshina on Museum of A Woman.” from the scene and eliminates all pres- image in which the eroticized objects and identity issues in central and east- Interview by Igor Grebelnikov in ence of a Western observer, an absence of the viewers’ gaze are now nude male ern Europe in the post-Soviet era. White Space Gallery. Translated Linda Nochlin defines as one of the key bodies, imagined by a female artist. This era, precipitated by the fall of the to English by Jacob Jones components of Orientalist painting.33 Antoshina’s interest in this subject Berlin Wall in 1989, experienced what (October 4, 2018). Ingres turns the baths into the harem, reveals how global and timeless these Pat Simpson has called a “collapse of the primary site in which the eroticism issues of gendering seem to be, as they patriarchy,” at both the psychological Nochlin, Linda. “The Imaginary of the “Orient” is depicted in visual art are just as prevalent in Antoshina’s level of the male individual and broadly Orient.” In The Politics of Vision: of the 19th century.34 These are not 1990s Russia as they were in Ingres’s at the level of socioeconomic struc- Essays on Nineteenth-Century Art realistic images but constructs that 1850s France. tures.38 A number of Russian male art- and Society. New York: Harper and are designed to appeal to a Western ists participated in strategic responses Row, 1989. audience. Most of Ingres’s bathers As Antoshina herself notes, even to, or staged enactments of, this loss of are light-skinned, a particular type though Soviet women were some of patriarchal identity on the site of the Simpson, Pat. “Peripheralising of oriental woman, the Circassians, the first women to receive constitu- male body.39 Antoshina’s artistic act Patriarchy? Gender and Identity in who “had the allure of the exotic ori- tional rights, gender discrimination of swapping out Ingres’s Orientalized Post-Soviet Art: A View from the ental but were fair-skinned and light- was prevalent in the Soviet Union female bathers with the Russian male West.” Oxford Art Journal 27, no. 3 haired, and so conformed to European and still is today in Russia. Antoshina body in this context creates another (October 1, 2004). Tania Antoshina, The Turkish Bath from the series “Museum of A Woman,” 1999. Chromogenic color print, sheet: 29 x 24 in. Gift from the Trustees of the Corcoran Gallery of Art (Gift of The ideals of beauty.”35 Depictions of nude describes “severe patriarchy” and gen- layer of political meaning to her work. Heather and Tony Podesta Collection, Washington DC), CGA.2006.005.001. women in this space allowed Western der discrimination as prevalent in the As Simpson argues, femininity was Yeazell, Ruth. “Public Baths and male artists to access places they were public subconscious, but also among strongly tied to spaces of consumerism Private Harems: Lady Mary Wortley the gendering of the “Orient,” and the but relied upon written accounts of otherwise prohibited from and allowed intellectuals, such as the Moscow in the post-Soviet era, to the point that Montagu and the Origins of Ingres’s complex relationships between the Charles Montesquieu and Lady Mary them to project erotic and often violent conceptual artists.37 Her “Museum of prostitution was “treated as the nat- ‘Bain Turc’.” The Yale Journal of imagined “east” and “west.” Ingres’s Montagu’s trips to Turkish baths to fantasies upon an imaginary “other.” a Woman” series received a great deal ural order of things and as a potential Criticism 7, no. 1 (January 1, 1994). painting is not just an image of female inform his own paintings.31 Ingres did of negative attention in the Moscow means to economic success.”40 Ingres’s nude bathers, but female nude bath- not directly translate such accounts, As Nochlin so aptly notes, it would be press when it was exhibited, which original work depicts a harem scene, ers in a Turkish bath, positioning the but used them loosely, adapting them difficult within the context of French the artist attributed to negative atti- implying prostitution. For Antoshina work within the tradition of French to fit his own imagination. One of the Orientalism “to imagine a Death of tudes towards feminism in Russia at to replace the women in this tradition- Orientalism. Like many 19th-cen- key themes of Montagu’s letters was Cleopatra, with voluptuous nude male the time. Within the Russian context, ally feminine space with Russian men tury Orientalist painters, Ingres had her account of the apparent freedom slaves being put to death by women feminism was associated with the is to challenge the gendering of space in never actually travelled to the east of the Turkish women when compared servants, painted by a woman artist Revolution and Soviet power, but also both Ingres’ time and her own.

66 MOVES LIKE WALTER MOVES LIKE WALTER 67 REDEFINING THE GAZE: SHIFTING THE POWER Redefining the Gaze: Shifting the Power By Alexandra Cantalupo, MA Student, Arts Management

One of the most unifying aspects of this collection of works, their framing, helps to define the softness, sexuality, or lack thereof within the photos selected for Redefining the Gaze: Shifting the Power. With the artistic power shifting from the almost exclusive male gaze to the female gaze in the seventies, many women photographers engrossed in second-wave feminism took the opportunity to use framing to redirect society’s gaze, which had been overwhelmingly influenced by the male gaze at the time.

Lynn Allen’s pieces exemplify this with Torso’s (1979) unique and almost sculp- tural framing and the plane of the chest celebrated in Jasper Stone (1977). In these images, the implicit sexuality that had been assigned to the female chest is abstracted to become more indicative of the subject and less of a male sexual gaze. The abstraction of the form allows for artists to free and empower their subjects to present themselves authentically and without fear.

Interestingly, much of the non-sexualization of these works comes from the framing in most of the photos that leave out the eyes of the subject. The eyes hold so much information and vulnerability that can be translated by viewers in whatever way they please (ranging from empathetic to salacious). In the one portrait where the gaze is present, Masked Woman (1979), the expression is free of the forced beauty or likeability that is demanded of women’s expressions.

This evolution of representation was largely led by female artists; however, some male artists explored framing and sexuality in representations of women. For example, in Mark Power’s Untitled (1979), framing is used to highlight the natural and perhaps utili- tarian nature of the female body in relation to motherhood. While Power’s representation still fits into a Mark Power, Untitled, 1979. Gelatin silver print, image: 9 1/2 x 9 3/8 in., sheet: 13 15/16 x 10 15/16 in. Gift from the Trustees of the Corcoran Gallery of Art (Museum Purchase), 2018.15.1447. Opposite: Lynn Allen, Suspended (detail), 1977. Gelatin silver print, mat: 18 x 14 in. Gift from the Trustees of the Corcoran Gallery of Art (Museum Purchase with the aid of funds from the Polaroid Corporation), 2018.15.744.

70 MOVES LIKE WALTER MOVES LIKE WALTER 71 narrative of women being the primary Women: (Re)framing caregivers for children, the influence of By Kathryn Heine, MA Student, his female contemporaries especially Art History during the time of his schooling, is still palpable. Within the juxtaposition of female bodies painted predominantly by men When exploring this style of framing and female bodies photographed by exemplified in the Corcoran Legacy women, this section examines how Collection, a clear evolution can be the media of painting and photography seen that leads us to today’s photog- allow for different representations of raphy practices. Increasingly, women women within the Corcoran Legacy are choosing to represent themselves Collection. through photography on social media, and the way that they choose to pho- Why do the tropes and motifs of the tograph themselves and other women idealized and sexualized woman shows the impact of the work that remain stagnant in painting, and why many female photographers were does photography allow for a diverse doing in the 1970s. representation of women across context, race, and age? The collection Gladys Nelson Smith, Reclining Female Nude, 1929-1930. Oil on canvas, unframed: 35 x It should be noted that the majority contains a large number of depictions 41 3/4 in., inframed: 40 3/4 x 48 x 2 3/4 in. Gift from the Trustees of the Corcoran Gallery of the nude photographs represented of nude women, all but one painted by of Art (Gift of Mr. David Frenzel), 2018.15.99. in this collection portray thin white males. Why did the Corcoran collect so women that are overwhelmingly many nude paintings, but so few from contains a much larger assemblage of studied portraiture at the Corcoran female-presenting. This restrictive the female perspective? Are women photography by women than paintings School of Art and in the 1930s was view of women shows how much the less likely to paint themselves or other by women artists. Is this due to avail- part of many art leagues and societies male gaze was still penetrating the women nude, possibly to further avoid ability? This section hopes to empha- based in Washington, DC, including zeitgeist even through female artists. the male gaze, in a male-dominated art size some of these questions of women the Twenty Women Painters. How With the evolution of feminism as well world? Why then are there so many and medium to the viewer, both within then did she transition from figures as the evolution of beauty in Western female nudes shot by female photogra- and behind the frame. of mothers and children to the image culture, artists and even advertisers phers in the collection? Is photography of a female reclining nude? Her later are now more accurately represent- more accessible to women as artists? This bifurcation is most visible in the subjects became more “psychologi- From top: Lynn Allen, Jasper Stone, 1977. Gelatin silver print, mat: 14 x 18 in. Gift from the ing the range of beauty of women and Trustees of the Corcoran Gallery of Art (Museum Purchase with the aid of funds from the What about the medium of painting art of Gladys Nelson Smith, the one cally charged,” and feelings of isola- femmes without the restrictive notions Polaroid Corporation), 2018.15.745. perpetuated the traditional repre- female artist in the collection who tion from the art world’s transition to Lynn Allen, Torso, 1979. Gelatin silver print, mat: 16 x 20 in. Gift from the Trustees of of femininity that were largely present the Corcoran Gallery of Art (Museum Purchase with the aid of funds from the Polaroid sentations and hierarchies of art, and painted nude women. Described as an modernism may have pushed her to in the late 20th century. Corporation), 2018.15.742. what about photography transcends artist with a “feminine sensibility,” she paint Reclining Female Nude (1929- these traditional gender roles within predominantly depicted landscapes 1930), whose breasts point towards art? The Corcoran Legacy Collection and mothers and children. Smith the viewer while her face looks away.41

72 MOVES LIKE WALTER MOVES LIKE WALTER 73 the artist a sense of ownership over the female body; male painters retain a feeling of domination over their sitters, while female photographers compose a sense of partnership over their subjects. The Corcoran Legacy Collection contains paintings and photographs that, juxtaposed aptly, showcase how a difference of medium, perspective, gaze, and gender can frame or (re)frame the artistic representation of the female nude.

Ruth Bernhard, In the Box – Horizontal, 1962 (printed 1992). Gelatin silver print, sheet: 18 x 24 in., image: 12 15/16 x 23 1/16 in. Gift from the Trustees Works Cited of the Corcoran Gallery of Art (Gift from the Estate of Ruth Bernhard), 2018.15.1411. Bernhard, Ruth, and Mitchell, Margaretta. Ruth Bernhard: the Is she avoiding the viewer’s gaze, ists to describe and subvert conven- alized and sexualized body. In the Eternal Body: a Collection of Fifty assuming it will be male, or is her lack tional social roles and experiences in Box-Horizontal places an unidenti- Nudes, 1st ed. Carmel, California: of the gaze reassuring to female view- a male-controlled world. Were pho- fied woman in a box, possibly com- Photography West Graphics, 1986. ers? Her continuation of the traditional tographers like Ruth Bernhard and menting on her role in society and the tropes of the female nude in painting Lynn Allen inspired by their times constraints she (and the artist) face Raven, Arlene, “Womanhouse.” In highlights the shifts in the representa- through and outside of the lens? The in a hierarchical world. Bernhard was The Power of Feminist Art, edited by tion and framing of the female body in dynamic of a female shooting a female steeped in the lesbian culture of New Judith Brodsky, p-p. London: Thames photography. nude is much different than a male York City. This image could be for the and Hudson, 1994. photographing (or painting) a female male gaze, but now it can (as all of these This painting is one of the earliest in nude. Of course, images like Ruth images can) be seen for a sexualized Simmons, Linda Crocker, our groupings of women. Many of the Bernhard’s In the Box-Horizontal female gaze.42 Nelson, Josephine., and Smith, paintings by men were made in the (1962, printed 1992) and Lynn Allen’s Gladys Nelson. Gladys Nelson Smith. decades of the sixties and seventies, Torso and Masked Woman confront The power of framing, or re(framing), Washington, DC: Corcoran Gallery as were many of the photographs by the viewer with sexuality and “eroti- is important within this collection of of Art, 1984. women. The seventies (the years of cism,” but they are taking ownership works. How the artist paints or pho- “free love”), were a liberating time of the body rather than exploiting it, tographs the body is intentional. Allen Simmons, Linda Crocker, and for female artists, Judy Chicago and like in Joseph Shannon’s painting The is exceptionally good at this, cropping Sultan, Terrie. The Forty-Fifth

Miriam Schapiro had presented their Hangman’s Wife (1970). Bernhard’s the head and fragmenting the body in Biennial: the Corcoran Collects, From top: Irving Block, La Louisiane, 1968. Pencil on paper, paper: 15 x 22 1/2 in. Gift from the famed group installation and perfor- depiction of the female nude is pre- Torso and removing the top of her head 1907–1998. Washington, D.C: Trustees of the Corcoran Gallery of Art (Gift of Olga Hirshhorn), 2018.15.178. mance space, Womanhouse (1972), sented in a studio setting, raising and bottom half in Masked Woman. Corcoran Gallery of Art, 1998. Irving Block, Seated Woman Knee to Elbow, 1966. Pastel on paper, paper: 18 x 24 in. Gift from the Trustees of the Corcoran Gallery of Art (Gift of Olga Hirshhorn), 2018.15.167. and made a safe place for female art- ideas of tropes and motifs on the ide- The distortion within framing gives

74 MOVES LIKE WALTER MOVES LIKE WALTER 75 Redefining the pay, health and reproductive rights, Corcoran Legacy Collection from the Tenneson Cohen’s interest in self- The color photographs of Marilyn Gaze: Shifting the and equality in education for women. 1960s through the early 1990s. With portraits examines the “identity” of (1981) and Teri (1982) by von zur Power: Women The second wave of Feminism in art works by Joyce Tenneson Cohen, Joan women during the 1970s, a theme Muehlen demonstrate the strength of and photography was both apparent D. Cassis, Lynn Allen, Ruth Bernhard, that has continued throughout the female gaze turned back onto the Photographers/ and an undercurrent in the work of Nancy Lensen-Tomasson, Callie Shell, her oeuvre. Self Portrait (Woman viewer. The blue head scarf in Marilyn Photographing women artists. Photographers Han- and Bernis von zur Muehlen, it offers a on Stone Bench) (1976) features is reminiscent of Johannes Vermeer’s Women nah Wilkie, Eleanor Antin, and Cindy view of women by women, and estab- a reclining woman and a female Girl with a Pearl Earring (1665). The By Carolyn Russo, Sherman photographed themselves lishes the power of identity through a onlooker. Like Bernhard’s In the color palette of blue and yellow and MA Student, Art History as a critique of how women were por- shifting gaze. Box, the image critiques the figure the figure’s three-quarter pose mimics trayed and stereotyped in advertising, and the traditional male gaze. In Self the Dutch painting. However, there Women artists in the 1960s and 1970s film, and society. Other artists such as Bernhard’s In the Box – Horizontal Portrait (Woman in Garden with is no pearl earring, and the look and created art that reflected their identi- Yoko Ono and Carolee Schneemann shows a reclining figure tucked into a Wreath) (1975), Tenneson Cohen demeanor of Marilyn is the opposite of ties in the changing American cultural used their bodies in performance box, with an arm spilled outside and stands in a garden holding a wreath, Vermeer’s acquiescent sitter. Teri, on landscape within the discourse of art and investigated the boundaries wrapped above her head. The photo- wearing blue jeans and a blazer, the other hand, is a full-frontal portrait political and social movements. The of spectatorship, now only accessi- graph was made in the early 1960s, and with a tied bow around her neck. of a woman that posits a conversation war in Vietnam, Civil Rights Move- ble through film documentation and perhaps symbolizes women stretch- The juxtaposition of the wreath with the color red. The background,

ment, and the Cold War coincided photographs. Women Photographers ing outward from their “boxed-in” Bernis von zur Muehlen, Marilyn, 1981. forming a ring around her lower shirt, and lips painted in red lipstick with a women’s movement that was | Photographing Women explores the social and sexual roles and restraints. Chromogenic color print, mat: 24 x 20 in., sheet: anatomy could be commenting on translate to an authoritative force 20 x 16 in. Gift from the Trustees of the Corcoran responding to issues regarding equal changing gaze in photography from the Bernhard became aware of her own Gallery of Art (Gift of the artist), 2018.15.1479. the power of women’s sexuality behind her stare. while at the same time critiquing the “craft-making” of the wreath Lensen-Tomasson’s photographs from bisexuality in the late 1920s and began to women’s work. the “Magnolia Series” depict women of photographing nude women in the the south in the south, and the magno- 1930s. The agency in her photographs Cassis’s Untitled (1970-1976) also lia flower is used as a symbolic gesture are early testaments to the perception includes a wreath on the wall above of the south. The two women in Sisters and power in the gaze of the female a pre-adolescent girl, reclined on her (1982) are dressed in purple and red. nude. Allen’s cropped nudes in Torso bed and posed with one arm behind With magnolias in hand, they embrace and Masked Woman resemble the her head and the other on her hip. Her each other to form a single unit, ampli- smooth surface of classical stone body language suggests agency, allud- fying the bond and unity of sisterhood. sculptures. With the form intertwined ing to an inner strength needed for a Lensen-Tomasson presents the tour within the boundaries of the sky and current situation or a victorious chal- de force of sisterhood during the sec- sea, the body becomes an integral lenge symbolized by the wreath above ond wave of feminism. The magnolia part of the environment—similar to her head. The image could also be a held by the sitter in Nubian (1982) how women were shaping new social, self-reflection on the photographer, becomes part of the body and blossoms political, and economic landscapes in and her own determination to succeed forth to signify a rebirth, growth, and the 1970s. in a male-dominated field. outward reclamation for women and

From left: Joyce Tenneson Cohen, Self Portrait (Woman in Garden with Wreath), 1975. Gelatin silver print, mat: 20 x 16 in., sheet: 14 x 11 in. Gift from their bodies. the Trustees of the Corcoran Gallery of Art (Gift of the artist), 2018.15.1200. Joyce Tenneson Cohen, Self Portrait (Woman on Stone Bench), 1976, Gelatin silver print, mat: 16 x 20 in., sheet: 11 x 14 in. Gift from the Trustees of the Corcoran Gallery of Art (Gift of the artist), 2018.15.1201

76 MOVES LIKE WALTER MOVES LIKE WALTER 77 THE AGENCY Shifting the Power IN BERNHARD’S By Shereka Mosley, PHOTOGRAPHS MA Student, Art History Redefining the Female Gaze: Shifting Joseph Shannon, ARE EARLY the Power examines the imbalance The Hangman’s Wife, of power between the sexes and its 1970. Acrylic on canvas, TESTAMENTS unframed: 18 1/4 x dominant force in the history of art. It 18 5/8 in., framed: is through his gaze that man emerges 22 1/4 x 22 3/8 x 1 7/8 in. TO THE Gift from the Trustees as the dominant power, and woman of the Corcoran Gallery of Art (Gift of Mr. and PERCEPTION is projected as a passive object for the Mrs. Huntington T. Block man’s active gaze, without acknowl- through the Women’s Committee of the AND POWER edging her importance to the story. The Corcoran Gallery of Art), Callie Shell, Seattle, 1999. Gelatin silver print, mat: 20 x 24 in., sheet: 15 15/16 x 19 7/8 in. concept for this exhibition focuses on a 2018.15.85. Gift from the Trustees of the Corcoran Gallery of Art (Gift of Callie Shell), 2018.15.1501. IN THE GAZE series of paintings of women embrac- ing themselves and their sensuality in These points in history, however, have in these depictions of nude women OF THE ways that would make the sitter feel allowed women to begin redefining the and the possible objectification of FEMALE NUDE. and look the most beautiful. These ideals to which they aspire. This means their bodies. series of paintings, whether the women that many more notions of beauty are are nude or clothed, express each indi- now available. My hope is that this exhibition will The Seattle street scenes from Callie vidual’s willingness to be themselves in engage visitors with a variety of paint- Shell offer glimpses into the lives of their most beautiful way. The variety I chose paintings that I felt most rep- ings and photographs that represent women from both a candid and direct of women allows visitors to create an resented the transformation of women women in different views of femininity perspective. In Seattle (1999), Shell open discussion on the roles women creating their own narrative with the and sensuality, while showcasing the captures a woman turning the gaze play in the history of works of art. juxtaposition of a man’s view of a nude range of artistic perspectives and the on herself in a storefront window, reclining female. In Smith’s Reclining history of the female sitter. Overall, the whereas her other subject in Seattle While it is essential to acknowledge Female Nude, the woman leans com- paintings and photography featured (1999) looks directly into the camera all the great pieces of artistic expres- fortably among her personal belong- in Redefining the Female Gaze: Shift- with confidence after receiving a job sion displaying the female form, some ings in a private setting, breasts lying ing the Power are focused on changing earlier in the day from the referral cen- deserve exclusivity for their unique- naturally, legs crossed, while her head the perspective of viewership from a ter she stands near. These photographs ness, and some artists merit kudos looks away from the would-be viewer. sexual gaze to an emotional one, thus demonstrate the commanding pres- for their awareness of the impor- Although painted by a man, Joseph reshaping how women are viewed ence of both photographer and subject tance of women in art. Of course, we Shannon’s The Hangman’s Wife is as objects without dignity into the in gazes that are both self-looking and cannot ignore how the ideals women still depicted as beautiful. Whether empowerment women have formed looked upon, reflecting the undercur- are asked to embody, regardless of by her own direction or the artist’s within themselves, through art, and in rent and alternating changes of power culture or continent, have been ham- is unknown; however, it allows the our current society. and women. mered out almost exclusively by men. viewer to question the difference Nancy Lensen-Tomasson, “Magnolia” series: Sisters, 1982. Chromogenic color print on Kodak paper, mat: 24 x 20 in., sheet: 20 x 16 in. Gift from the Trustees of the Corcoran Gallery of Art (Gift of the Artist), 2018.15.1433.

78 MOVES LIKE WALTER MOVES LIKE WALTER 79 (Re)presenting How do representations of While the female nude and its associ- women differ between men ations with the sensual female muse By Hannah Southern, and women? have existed throughout the entirety MA Student, Art History While it would be easy to point the fin- of the history of art, the modern con- (Re)presenting proposes a juxtaposi- ger and say, “male artists always paint notations of the female nude with fine tion between cisgender male-painted women misogynistically and female art originate from the turn of the nine- reclining female nudes and cisgen- artists do not,” a serious explanation teenth century. From that point for- der female-photographed women of the differences between female-con- ward, figural traditions of the female to pose questions of representation, structed female representation and nude take shape. Images of the heroic, agency, and accessibility within the male-constructed female representa- idealized male nude disappear, and Corcoran Legacy Collection. What tion isn’t quite so simple. Even female the sensual woman takes his place. does the collection normalize in its artists create artwork within a soci- The female nude becomes associated painted representations of women? It etal framework of aestheticism that with the genre of history painting and contains a large array of paintings of caters to the male gaze. The male gaze enters the hierarchy of art. She exists women, including depictions of nude is a term describing how men “assert to entice and titillate male viewers. women. However, the gender of paint- their power through the privileged… Female artists must also work within ers represented within the collection positions of looking, while females are this framework of associations in is predominantly male. By interject- the passive, powerless objects of their order to succeed, and thus negotiate ing photography of women by women controlling gaze.”43 In short, society the assumptions of the female muse. photographers into this narrative, assumes men actively “look” while (Re)presenting poses questions not women are “looked at.” In terms of The painting and photography only related to how women discretely visual representation, we inherently included in the Corcoran Legacy Col- portray their gender, but why such an assume artworks and visual culture lection spans a wide range of years unequal distribution of paintings in are created for cis men even when pro- and encompasses differing modes of the collection are created by men com- duced by a woman. production. The majority of the pho- pared to female constructed photog- tography and painting in this section raphy. The juxtaposition additionally Images of the female nude additionally of the exhibition date from the 1960s Bernis von zur Muehlen, Teri, 1982. Chromogenic color print, mat: 20 x 24 in., sheet: 16 x 20 in. Gift from the Trustees of the Corcoran Gallery of highlights the narrow presentation of carry implicit assumptions within the and 1970s. One painting, Reclining Art (Museum Purchase), 2018.15.1480. sexualized, young, white women in the art world. As art historians and Amer- Female Nude by Smith, dates outside paintings with the more diverse repre- ican University emeritus professors of this range, having been painted from sentation of race and age in the photo- Norma Broude and Mary Garrard 1929-1930, and photographs by Nancy graphs, while still adhering to many write, “representations, especially Lensen-Tomasson date from the 1980s. traditional tropes of female artistic of the body, are steeped in gender While these outlying photographs presentation. assumptions… these play a powerful and painting were chosen to describe role in the production and perpetua- specific aspects of female represen- tion of ideological gender attitudes”44 tation, the majority of painters and

80 MOVES LIKE WALTER MOVES LIKE WALTER 81 photographers included in this section Shannon’s The Hangman’s Wife, she the wide array of contexts and struc- What opportunities did of the exhibition were active within asserts control over her own sexuality tures in which the images are created. photography allow women artists the same timeframe and experienced as she controls what is exposed within As art historian Griselda Pollock con- that painting did not? American society simultaneously. the picture plane. Feminist author bell cludes, we cannot merely accept a com- Photography, as a medium, permitted hooks writes, “the ability to manipu- position at face value, but we “instead a wider range of aesthetic representa- While we would have preferred to com- late one’s gaze in the face of structures have to deal with the interplay of mul- tions and creative freedom to women pare male and female artists’ represen- of domination that would contain it, tiple histories, of the codes of art, the during the mid-20th century. Although tations within painting, the Corcoran opens up the possibility of agency.”46 ideologies of the art world, the forms of the accessibility of the medium did Collection only contains one painting Allen’s composition acknowledges production, the social classes, the fam- not differ from professional oil paint- of a female nude by a woman: Smith’s and functions within the framework of ily and sexual practices whose mutual ing—photography required expensive Reclining Female Nude. Women art- the male gaze. Yet by responding to the determinations and interdependencies equipment and access to a darkroom, ists had to fight for and negotiate framework of the male gaze, she gives have to be mapped together in precise comparable to the studio require- space within the art world, especially agency to the woman she captures. but heterogeneous configurations.”47 ments of oil painting—photography’s within the media at the top of the fine- Many social structures affect and ambiguous place within the hierarchy art hierarchy: painting and sculpture. To understand the differences in influence female representation of the of fine art allows for more flexibility

Most female artists were relegated to Lynn Allen, Masked Woman, 1979. Gelatin silver print, mat: 16 x 20 in. Gift from the Trustees female representation between male female form. within traditional aesthetic struc- “feminine art,” which did not include of the Corcoran Gallery of Art (Museum Purchase with the aid of funds from the Polaroid and female artists, we must first assess tures than traditional painting. Simply Corporation), 2018.15.743. use of the female nude. The majority of women artists were “deprived of the possibility of creating major differs from male artists’ in response the male gaze by only framing a por- works, unless one were a very inge- to sexism and lived experience. While tion of the body. Allen acknowledges nious lady indeed, or simply, as most the representations of nude women the objectification of the male gaze by of the women aspiring to be painters by women still maintain their osten- fragmenting the body for consumption. ultimately did, restricting oneself to sive sexuality, there is an agency and The viewer is allowed access to a par- the ‘minor’ fields of portraiture, genre, identity allowed these women com- tial view of the woman’s torso and her landscape, or still life.”45 Therefore, pared to the sexualized objects of the upper thigh. While there is sensuality the number of female nudes painted male-painted women. Lynn Allen’s in this image, there is no vulnerability. by women is minimal before the latter photograph Masked Woman shows Allen asserts dominance over the male half of the twentieth century. To create a bare-chested woman with a stern gaze by refocusing the gaze. Joseph this juxtaposition, we must use paint- face. She still conforms to societal Shannon’s painting The Hangman’s ing and photography to represent both aesthetic standards of beauty, but her Wife, on the other hand, is an image of genders of artist. nudity does not take up the majority total submission to the male gaze. Her of the picture plane. She withholds identity is removed by the black bag Though female artists must create all parts of her body below the waist placed over her head. Her genitals are art within this patriarchal societal from view. She is not dominated by on full display in a sexually vulnerable framework, we must give recogni- the male gaze. Allen’s photograph Torso pose. Although Allen’s Masked Woman tion to how female artists’ work still again purposefully restricts access of exists within the male gaze, unlike

Nancy Lensen-Tomasson, “Magnolia” series: Nubian, 1982. Chromogenic Mary Clark Branley, Child With a Blindfold, 1976. Gelatin silver color print on Kodak paper, mat: 24 x 20 in., sheet: 20 x 16 in. Gift from the print, mat: 18 x 14 in. Gift from the Trustees of the Corcoran Trustees of the Corcoran Gallery of Art (Museum Purchase), 2018.15.1434. Gallery of Art (Purchase prize award, “The Nation’s Capital Photographers” exhibition, 1976.), 2018.15.633.

82 MOVES LIKE WALTER MOVES LIKE WALTER 83 stated, photographers can break more gaze or these tropes in the way Allen with constructing and photography What does the Corcoran Legacy ingrained artistic “rules” without step- or Lensen-Tomasson’s nudes do. The with documentation. Although pho- Collection normalize within ping on as many societal and critical painted woman turns her head, pas- tographs are just as constructed as its painted representations toes as painters can. sively allowing the spectator to view paintings, this narrative represents of women? her form. While Smith painted her photography as a passive form of art- The wide array and diversity of female Returning to Smith’s Reclining Female scene 50 years before the photographs making, rendering it more acceptable images in photography demonstrate Nude, we can easily see how she uti- were taken, the academic style of the for female artists. the narrow presentation of nude lizes traditional figural tropes to composition reflects academic figure women in the collection’s paintings. depict her female nude. Smith operates painting still prevalent today. The more Painters also still continue to strug- Lensen-Tomasson’s photograph within the traditional academic aes- modern medium of photography, how- gle with the male artist-genius myth. Nubian from the “Magnolia” series, for thetic system by depicting the female ever, does not have the same long-de- While the stereotype of the male art- example, depicts a nude black woman. nude reclining, bosom exposed, eyes fined ties to an aesthetic tradition as ist-genius pervades the entirety of art Although this photograph includes Callie Shell, Seattle, 1999. Gelatin silver print, mat: 20 x 16 in., sheet: 14 x 11 in. Gift from the turned away from the spectator. Even painting. Photographers Allen and historical narrative across all media, problematic associations of the exotic Trustees of the Corcoran Gallery of Art (Gift of Callie Shell), 2018.15.1507. though Smith is a woman, she chooses Lensen-Tomasson freely explore the the “fairy tale” of the male artist with a and nature in the composition, the to perpetuate the hierarchy of art and compositional elements of the female prodigy-like talent dominates the story inclusion of black bodies contrasts Furthermore, the painted female photographed female nudes depict traditional female nude aesthetics with nude inaccessible within the tradi- of painting.48 Genius is gendered mas- emphatically with the homogeneity nudes depict young, sexually mature mature young women and conform to this representation. Smith’s nude nei- tional academic nude structure. More- culine, and his muse is gendered femi- of the paintings. The Corcoran Legacy women in compromising or revealing the traditional representations of the ther confronts nor resists the male over, a false narrative equates painting nine. This perception excludes female Collection’s paintings of the female positions for the male gaze. In contrast, objectified female nude. The Corcoran artists from the narrative of “great art.” nude all depict young, white women. the work of the female photographers Legacy Collection perpetuates a patri- Linda Nochlin’s watershed essay “Why Whether thin or Rubenesque, these is more ambiguous in this regard. Mary archal narrative that objectifies female Have There Been No Great Women painted women convey traditional Clark Branley’s photograph Child with bodies for the male gaze. Artists?” explores how the struc- standards of white beauty, and thus a Blindfold (1976) depicts a young tures of the art world refused access remind us of the Eurocentric nature girl nude before sexual maturity. Her to female painters across the histori- of the history of art. The collection’s youth confronts the traditional depic- cal spectrum of art well into the 20th choices of paintings perpetuates this tion of the female nude and the male century. While female photographers Eurocentric view of art and aestheti- gaze. Rather than assuming the pho- struggled with these preconceived cism; bell hooks argues the structures tograph is for the sexual pleasure of a notions of the male artist-genius, the of aestheticism perpetuate a spectator- heterosexual male audience, we are relative youth of the medium allowed ship “where the woman to be looked at, left with the questions of who is the for more serious consideration of and desired, is ‘white.’”49 Nubian addi- intended audience, and what purpose female photographers. The history of tionally contributes to this Eurocentric does the image serve? The image leaves photography does not hinge as dramat- narrative as Lensen-Tomasson’s use the viewer uncomfortable as we are ically on the perpetuation of the male of exotic themes frames the black forced to confront our own overarching artist-genius as the history of painting. woman as a primitive and exotic assumptions. If this image is designed Edmund Charles Tarbell, Charles C. Glover, 1918. Oil on canvas, unframed: 33 1/4 x 38 1/4 in., framed: 41 3/4 x 46 3/4 x 3 1/2 in. Gift Leon Kroll, Girl on Balcony, 1934. Oil on canvas, framed: 24 1/4 x 33 5/8 x 1 1/2 in., unframed: “other,” close to nature and separated for the male gaze inherent in visual from the Trustees of the Corcoran Gallery 17 7/8 x 28 in. Gift from the Trustees of the Corcoran Gallery of Art (Gift of the Estate of Mary S. from white culture. culture, it becomes pedophilic. While of Art (Museum Purchase, Gallery Fund), Higgins), 2018.15.257. this photograph stands out, the other 2018.15.275.

84 MOVES LIKE WALTER MOVES LIKE WALTER 85 Why does the Corcoran THE CORCORAN Collection contain more paintings by men than by women? LEGACY The simple answer: more recognized male painters exist within the scope COLLECTION of history than successful female painters. Up through the 20th cen- PERPETUATES tury, more men painted professionally than women. Institutional collectors A PATRIARCHAL will buy more art by men due to per- NARRATIVE petuated Eurocentric and patriarchal narratives of male achievement and THAT artistic genius. Purchasing a piece Reuben Nakian, Leda & Swan, 1968. Brush and ink, unframed: 12 1/8 x 17 3/8 in. Gift from the of art created by a well-known male Trustees of the Corcoran Gallery of Art (Gift of Olga Hirshhorn), 2018.15.201. OBJECTIFIES artist who benefitted from the male artist-genius stereotype will attract FEMALE BODIES more attention to the collection than grow through donations. Nine out of an unknown female artist. This art 14 photographs by female artists were FOR THE historical narrative also views the male donated to the collection by the pho- MALE GAZE. Gregorio Prestopino, Study for Big Red Nude, 1974. Oil on board, unframed: 8 x 10 1/4 in., artist as active and powerful, and the tographer or by the photographer’s framed: 15 1/4 x 17 1/2 x 3/4 in. Gift from the Trustees of the Corcoran Gallery of Art (Gift of Olga Hirshhorn), 2018.15.668. female artist as passively documenting family. In contrast, although many of what she sees. Men construct, women the paintings are gifts from trustees, copy. The male artist-genius narrative no painting was donated by the male “continues by default to give males the painter or by the painter’s family. This images? What reasons outside of the Works Cited Nochlin, Linda. “Why Have There power to define the nature of female suggests that the female photogra- male gaze can you think of for these Broude, Norma and Mary Garrard. Been No Great Women Artists?” bodies, for it leaves unchallenged phers felt compelled to ensure their images? How do our perceptions of “Introduction: Feminism and Art [1971]. In Women, Art and Power and the hierarchy of values that makes artwork found a place within any col- the images change when we assume History.” In Feminism and Art Other Essays, 145-178. New York City: ‘female-feminine’ an inferior position lection, while male painters felt no the audience is not cisgender men? History: Questioning the Litany, Harper & Row Publishers, Inc., 1988. and continues to privilege the socially such anxiety. How do the differing representations edited by Norma Broude and constructed ‘masculine’ by offering no of women change how we, the view- Mary Garrard, 1-17. New York City: Pollock, Griselda. “Women, Art and alternative to it.”50 (Re)presenting wants you to think ers, see them or interpret the body of Harper & Row Publishers, Inc., 1982. Ideology: Questions for Feminist Art critically about the representation of art? What narrative do you think the Historians.” Woman’s Art Journal 4, Institutions’ desire to purchase and women. What gender-based differ- Corcoran Legacy Collection conveys hooks, bell. “The Oppositional Gaze: no. 1 (1983): 39-47. Alan Feltus, Two Women, one seated, collect “great art,” gendered masculine, ences can you see between the photo- curtain, 1972. Oil on canvas, framed: 74 1/2 x with this series of images? Black Female Spectators.” In Black 49 1/4 x 1 5/8 in. Gift from the Trustees of in an effort to elevate their prestige graphs and the paintings? What tropes the Corcoran Gallery of Art (Gift of Dr. and American Cinema edited by Manthia and status. Additionally, collections remain the same across the various Mrs. Stanley H. Gottlieb), 2018.15.612. Diawara, 288-302. New York: Routledge, 1986.

86 MOVES LIKE WALTER MOVES LIKE WALTER 87 CHECKLIST

1 23 Roberta Smith, “Walter Hopps, 72, Curator With a Flair for the Modern, Ibid. William Albert Allard, Untitled, Tania Antoshina, The Turkish George Biddle, Terai Hara, Karen Bucher, Backyard Is Dead,” The New York Times, March 23, 2005. https://www.nytimes. 24 Ibid. Knights com/2005/03/23/arts/design/walter-hopps-72-curator-with-a-flair-for-the- 25 Karl Dahlgren, Summoning Ghosts: The Art of Hung Liu (Berkeley: University 1981/1989. Dye transfer print, Bath from the series “Museum 1922. Oil on canvas, unframed: from the series modern-is-dead.html. of California Press, 2013), 24. sheet: 16 1/2 x 21 3/16 in., image: of A Woman,” 1999. Chromo- 22 x 16 in., framed: 29 1/4 x “Growing Up in the Southwest,” 2 Wendy Smith, “Gonzo Museum Director Walter Hopps Paints His Colorful 26 Laura Fantone, Local Invisibility, Postcolonial Feminisms: Asian American 13 1/8 x 19 13/16 in. Gift from genic color print, sheet: 29 x 24 23 1/4 x 7/8 in. Gift from the 1998. Chromogenic color print, Life in Art.” The Washington Post. July 25, 2017. https://www.washingtonpost. Contemporary Artists in California (New York: Palgrave Macmillan, 2018), 19. the Trustees of the Corcoran in. Gift from the Trustees of the Trustees of the Corcoran sheet: 20 x 24 in., image: 15 x com/entertainment/books/gonzo-museum-director-walter-hopps-paints-his- 27 Fantone, 140. Gallery of Art (Gift of Eastman Corcoran Gallery of Art (Gift of Gallery of Art (Gift of the artist), 22 1/2 in. Gift from the Trustees 28 colorful-life-in-art/2017/07/25/d52949c4-70b7-11e7-9eac-d56bd5568db8_ Tatiana Antoshina, “Tatiana Antoshina on Museum of A Woman,” Interview Kodak Company), 2018.15.1404. The Heather and Tony Podesta 2018.15.51. of the Corcoran Gallery of story.html?utm_term=.a915130a0322. by Igor Grebelnikov in White Space Gallery. Translated to English by Jacob 3 Irving Lavin, “Abstraction in Modern Painting: A Comparison.” Jones (October 4, 2018). Collection, Washington DC), Art (Gift of Karen Bucher), The Metropolitan Museum of Art Bulletin 19, no. 6 (1961): 166. 29 Ibid. Lynn Allen, Torso, 1979. CGA.2006.005.001. Irving Block, Seated Woman 2018.15.1438. doi:10.2307/3257872. 30 Ruth Yeazell, “Public Baths and Private Harems: Lady Mary Wortley Montagu Gelatin silver print, mat: 16 x Knee to Elbow, 1966. Pastel 4 John Mann, “How Pollock and the Abstract Expressionists Created a New and the Origins of Ingres’s ‘Bain Turc,’” The Yale Journal of Criticism 7, no. 1 20 in. Gift from the Trustees Demeter Balla, Anticipation, on paper, paper: 18 x 24 in. Kenneth Callahan, The Waiters, Visual Language,” Artsy, January 02, 2018. https://www.artsy.net/series/art- (January 1, 1994): 134. of the Corcoran Gallery of Art 1964. Toned gelatin silver Gift from the Trustees of the 1964. Oil on canvas, framed: history-101/artsy-editorial-pollock-abstract-expressionists-created-new-visual- 31 Isra Ali, “The Harem Fantasy in Nineteenth-Century Orientalist Paintings,” (Museum Purchase with the print, sheet: 19 5/8 x 23 1/2 in. Corcoran Gallery of Art (Gift of 50 15/16 x 33 3/8 x 1 1/2 in., language. Dialectical Anthropology 39, no. 1 (March 2015): 41. aid of funds from the Polaroid Gift from the Trustees of the Olga Hirshhorn), 2018.15.167. unframed: 43 x 27 in. Gift from 5 “The Gilded Cage: Views of American Women, 1873–1921,” The Corcoran 32 Yeazell, “Public Baths and Private Harems,” 116. Gallery of Art, accessed April 19, 2019, https://www.corcoran.org/exhibitions/ 33 Linda Nochlin, “The Imaginary Orient,” in The Politics of Vision: Essays on Corporation), 2018.15.742. Corcoran Gallery of Art (Gift of the Trustees of the Corcoran gilded-cage-views-american-women-1873-1921. Nineteenth-Century Art and Society (New York: Harper and Row, 1989), 36. Joshua P. Smith), 2018.15.1405. Irving Block, La Louisiane, 1968. Gallery of Art (Gift of the Friends 6 Michael Kilian, “A Soviet Self-Portrait,” chicagotribune.com, accessed April 20, 34 Isra Ali, “The Harem Fantasy in Nineteenth-Century Orientalist Paintings,” Lynn Allen, Masked Woman, Pencil on paper, paper: 15 x of the Corcoran), 2018.15.24. 2019, https://www.chicagotribune.com/news/ct-xpm-1991-06-23-9102250466- Dialectical Anthropology 39, no. 1 (March 2015): 40. 1979. Gelatin silver print, mat: 16 Frederic Clay Bartlett, Canton 22 1/2 in. Gift from the Trustees story.html. 35 Ibid. x 20 in. Gift from the Trustees Street, 1919. Oil on canvas, of the Corcoran Gallery of Victor Candell, Forest 7 “The Way Home: Ending Homelessness in America,” The Corcoran Gallery of 36 Nochlin, “The Imaginary Orient,” 42–43. of the Corcoran Gallery of Art framed: 41 x 45 x 2 1/4 in. Art (Gift of Olga Hirshhorn), Theme, 1954. Oil on canvas, 37 Art, accessed April 20, 2019, https://www.corcoran.org/exhibitions/way-home- Antoshina, “Tatiana Antoshina on Museum of A Woman,” Interview by Igor (Museum Purchase with the Gift from the Trustees of 2018.15.178. unframed: 36 x 42 in., framed: ending-homelessness-america. Grebelnikov. 37 3/8 x 43 1/2 x 1 1/4 in. Gift 8 “Karen Bucher: Young Southwest,” Karen Bucher Photography, accessed 38 Pat Simpson, “Peripheralising Patriarchy? Gender and Identity in Post-Soviet aid of funds from the Polaroid the Corcoran Gallery of Art April 21, 2019, http://www.karenbucher.com/pages/southwestabout.html. Art: A View from the West,” Oxford Art Journal 27, no. 3 (October 1, 2004): Corporation), 2018.15.743. (Museum Purchase, Gallery Mimi DuBois Bolton, from the Trustees of the 9 Kimberley Reynolds, “Perceptions of Childhood,” British Library, Published 392. Fund), 2018.15.75. The Cathedral, 1955. Oil on Corcoran Gallery of Art (Gift May 15, 2014, https://www.bl.uk/romantics-and-victorians/articles/perceptions- 39 Ibid. Lynn Allen, Suspended, 1977. canvas, unframed: 21 3/4 x of Helen Meredith Norcross), of-childhood 40 Ibid. Gelatin silver print, mat: 18 x Crawford Barton, Calla Lilies, 39 7/8 in. Gift from the Trustees 2018.15.332. 10 Ibid. 41 Linda Crocker Simmons, Gladys Nelson Smith (Washington, DC: Corcoran 14 in. Gift from the Trustees of Dorland Street, San Francisco, of the Corcoran Gallery of Art 11 Zhenzhi Yang, Haixia (Iris) Hu and Geoffrey Wall, From gaze to dialogue: Gallery of Art, 1984) the Corcoran Gallery of Art 1973. Gelatin silver print, mat: (Museum Purchase, Annual Joan Cassis, Untitled, 1970– host–guest relationships in Lijiang, China, as illustrated by the case of 42 Ruth Bernhard and Margaretta Mitchell, Ruth Bernhard: the Eternal Body: 1976. Gelatin silver print, mat: Joseph F. Rock, in Asia Pacific Journal of Tourism Research, 22:1 (2016) 79. a Collection of Fifty Nudes (Carmel, California: Photography West Graphics, (Museum Purchase with the 20 x 16 in., sheet: 14 x 11 in. Exhibition Area Purchase Fund), 12 Yang, Hu, and Wall, From gaze to dialogue, 77. 1986) aid of funds from the Polaroid Gift from the Trustees of the 2018.15.56. 14 x 18 in., sheet: 8 x 10 in. 13 Yang, Hu, and Wall, From gaze to dialogue, 81. 43 Norma Broude and Mary Garrard, “Introduction: Feminism and Art History,” in Corporation), 2018.15.744. Corcoran Gallery of Art (Gift of Gift from the Trustees of the 14 Yang, Hu, and Wall, From gaze to dialogue, 75. Feminism and Art History: Questioning the Litany, edited by Norma Broude Mr. Edward Brooks DeCelle), Mary Clark Branley, Child With Corcoran Gallery of Art (Gift 15 Holly Edwards, “A Million and One Nights: Orientalism in America, 1870–1930” and Mary Garrard, 1-17 (New York City: Harper & Row Publishers, Inc., 1982): 7. Lynn Allen, Jasper Stone, 1977. 2018.15.1407. a Blindfold, 1976. Gelatin silver of Victoria Cassis in memory 44 in Noble Dreams, Wicked Pleasures: Orientalism in American, 1870–1930 Broude and Garrard, “Introduction,” 7. Gelatin silver print, mat: 14 x print, mat: 18 x 14 in. Gift from of her daughter Joan Cassis), (Princeton: Princeton University Press in association with the Clark Institute, 45 Linda Nochlin, “Why Have There Been No Great Women Artists?” [1971], in 18 in. Gift from the Trustees Ruth Bernhard, In the Box – the Trustees of the Corcoran 2018.15.1532. 2000), 14. Women, Art and Power and Other Essays, 145-178 (New York City: Harper & 16 Gerda Lerner, “The Meaning of Seneca Falls” in Living with History/Making Row Publishers, Inc., 1988): 160. of the Corcoran Gallery of Art Horizontal, 1962 (printed 1992). Gallery of Art (Purchase prize Social Change (Chapel Hill: University of North Carolina Press, 2009), 78. 46 bell hooks, “The Oppositional Gaze: Black Female Spectators,” in Black (Museum Purchase with the Gelatin silver print, sheet: 18 award, “The Nation’s Capital Joan Cassis, Untitled, n.d. 17 Ibid. American Cinema edited by Manthia Diawara (New York: Routledge, 1986): aid of funds from the Polaroid x 24 in., image: 12 15/16 x 23 Photographers” exhibition, Chromogenic color print, 18 Ibid. 289. Corporation), 2018.15.745. 1/16 in. Gift from the Trustees 1976.), 2018.15.633. mount: 17 x 14 in., paper: 8 x 19 Edwards, Orientalism in America, 17. 47 Griselda Pollock, “Women, Art and Ideology: Questions for Feminist Art of the Corcoran Gallery of Art 10 in., image: 5 9/16 x 8 1/4 in. 20 “William Tolliver—Biography.” RoGallery.com—Fine Art Auctions and Select Historians,” Woman’s Art Journal 4, no. 1 (1983): 43. Milet Andrejevic, Private Indica- 48 (Gift from the Estate of Ruth Gift from the Trustees of the Artworks Online. Accessed May 2, 2019. https://rogallery.com/tolliver_william/ Nochlin, “Why Have There Been No Great Women Artists?,” 154. tor, 1961. Oil, charcoal on can- tolliver_biography.htm. 49 hooks, “The Oppositional Gaze: Black Female Spectators,” 291. Bernhard), 2018.15.1411. Corcoran Gallery of Art (Gift 21 Paul Richard, “’Remembering’ the Corcoran and Fannie Eanes: Fannie Eanes 50 Broude and Mary Garrard, “Introduction: Feminism and Art History,” 5. vas, framed: 39 5/8 x 29 3/4 x 1 of Victoria Cassis in memory Remembers,” The Washington Post, August 14, 1975. 1/8 in. Gift from the Trustees of of her daughter Joan Cassis), 22 Ibid. the Corcoran Gallery of Art (Gift 2018.15.1553. of David Bourbon), 2018.15.312.

88 MOVES LIKE WALTER MOVES LIKE WALTER 89 Joan Cassis, Untitled, n.d. Marjoree Nee Deo, Foliage, Robert Goodnough, The Bug, Dion Johnson, Waiting for Louis le Brocquy, Study for Robert C. Osborn, The Joseph Rodriguez, Elim Callie Shell, Seattle, 1999. Chromogenic color print, 1962. Oil on masonite with c. 1958. Oil on canvas, framed: Daddy, 1992. Gelatin silver Head of Keats, 1968. Oil on Assassin, 1964. Charcoal, Transitional Housing, St. Paul, Gelatin silver print, mat: 20 x mount: 17 x 14 in., paper: 10 x applied pieces of paper, 51 5/8 x 70 1/4 x 1 3/4 in., print, mat: 24 x 20 in., image: canvas, framed: 16 3/4 x 13 1/2 pastel, and stump on off-white 1999. Gelatin silver print, 16 in., sheet: 14 x 11 in. Gift from 8 in., image: 7 7/8 x 5 1/4 in. framed: 49 1/4 x 41 1/4 x unframed: 50 x 67 3/16 in. 12 1/2 x 17 7/8 in., sheet: 20 x x 1 in., unframed: 16 1/8 x 13 in. paper, unframed: 30 1/16 x mat: 20 x 16 in., sheet: 14 x the Trustees of the Corcoran Gift from the Trustees of the 2 1/8 in. Gift from the Trustees Gift from the Trustees of the 16 in. Gift from the Trustees of Gift from the Trustees of the 22 3/8 in. Gift from the Trustees 11 in. Gift from the Trustees of Gallery of Art (Gift of Callie Corcoran Gallery of Art (Gift of the Corcoran Gallery of Art Corcoran Gallery of Art (Gift the Corcoran Gallery of Art Corcoran Gallery of Art (Gift of of the Corcoran Gallery of Art the Corcoran Gallery of Art Shell), 2018.15.1507. of Victoria Cassis in memory (Museum exchange with the of Mr. and Mrs. Thomas B. (Gift of the artist), 2018.15.1424. Olga Hirshhorn), 2018.15.286. (Gift of the Women’s Committee (Gift of Joseph Rodriguez), of her daughter Joan Cassis), artist), 2018.15.739. Winston), 2018.15.688. of the Corcoran Gallery of Art), 2018.15.1459. Thomas H. Shuler Jr., Country 2018.15.1555. Simpson Kalisher, Untitled, Nancy Lensen-Tomasson, 2018.15.1436. Side, Virginia, 1975. Palladium Fannie S. Eanes, Still Life with Ed Grazda, Mazar-I Sharif, 1963. Gelatin silver print, mat: “Magnolia” series: Sisters, Thomas Prichard Rossiter, print, mat: 12 x 10 in., sheet: 7 1/2 Joan Cassis, Untitled, n.d. Oriental Objects, c. 1931. Oil Afghanistan, 1997. Gelatin silver 16 x 20 in., sheet: 10 15/16 x 1982. Chromogenic color print Mark Power, Untitled, 1979. Rebecca at the Well, 1852. x 8 7/8 in. Gift from the Trustees Gelatin silver print, mount: on canvas, framed: 27 1/2 x print, mat: 20 x 24 in. sheet: 13 7/8 in., image: 8 7/16 x 12 1/2 on Kodak paper, mat: 24 x Gelatin silver print, image: Oil on canvas, unframed: 39 x of the Corcoran Gallery of 17 x 14 in., paper: 5 3/8 x 22 1/2 x 1 1/4 in., unframed: 24 16 x 20 in. image: 18 1/2 x 12 1/4 in. Gift from the Trustees of the 20 in., sheet: 20 x 16 in. 9 1/2 x 9 3/8 in., sheet: 13 15/16 32 in. Gift from the Trustees of Art (Gift of Mr. Evans Walker), 8 1/8 in., image: 5 3/8 x x 19 in. Gift from the Trustees in. Gift from the Trustees of the Corcoran Gallery of Art (Gift of Gift from the Trustees of the x 10 15/16 in. Gift from the the Corcoran Gallery of Art (Gift 2018.15.341.2. 8 1/8 in. Gift from the Trustees of the Corcoran Gallery of Art Corcoran Gallery of Art (Gift of Gloria Richards), 2018.15.1430. Corcoran Gallery of Art (Gift Trustees of the Corcoran of William Wilson Corcoran), of the Corcoran Gallery of (Bequest of Fannie S. Eanes), Julia J. Norrell in honor of Abby of the Artist), 2018.15.1433. Gallery of Art (Museum 2018.15.31. Thomas H. Shuler Jr., Tall Grass, Art (Gift of Victoria Cassis in 2018.15.96. Frankson), 2018.15.1412. Earl Cavis Kerkam, Composition Purchase), 2018.15.1447. Eastern Shore, Maryland, 1976. memory of her daughter with Forms of the Head, 1964. Nancy Lensen-Tomasson, Gayle Rothschild, Wet Spot Palladium print, mat: 12 x 10 in., Joan Cassis), 2018.15.1566. Jimmy Ernst, Icarus, n.d. Oil on Steve Hart, Sensita and Rosa Oil on canvas board, framed: “Magnolia” series: Nubian, 1982. Mark Power, Untitled, 1973. from the series “C & O Canal,” sheet: 7 1/4 x 8 1/4 in. Gift from canvas, unframed: 55 1/4 x from the series “Married Not 21 3/4 x 17 1/4 x 1 3/8 in., Chromogenic color print on Gelatin silver print, mat: 16 x 1992. Vintage gelatin silver the Trustees of the Corcoran Joyce Tenneson Cohen, Self 76 1/8 in. Gift from the Trustees Dead,” 1993. Gelatin silver print, unframed: 21 x 16 1/2 in. Kodak paper, mat: 24 x 20 in., 20 in., sheet: 11 x 14 in., image: print, sheet: 15 7/8 x 20 1/8 in. Gallery of Art (Gift of Mr. Evans Portrait (Woman in Garden with of the Corcoran Gallery of Art mat: 20 x 24 in., sheet: 15 7/8 x Gift from the Trustees of the sheet: 20 x 16 in. Gift from 7 5/8 x 11 9/16 in. Gift from Gift from the Trustees of the Walker), 2018.15.341.3. Wreath), 1975. Gelatin silver (Gift of the Ford Foundation), 19 7/8 in., image: 13 1/2 x 18 3/8 Corcoran Gallery of Art (Gift the Trustees of the Corcoran the Trustees of the Corcoran Corcoran Gallery of Art (Gift of print, mat: 20 x 16 in., sheet: 14 2018.15.694. in. Gift from the Trustees of the of E. Bruce Kirk), 2018.15.44. Gallery of Art (Museum Gallery of Art (Gift of Joe Mills), Sharon Keim), 2018.15.1468. Thomas H. Shuler Jr., Corn, x 11 in. Gift from the Trustees of Corcoran Gallery of Art (Gift of Purchase), 2018.15.1434. 2018.15.1451. Virginia, 1978. Palladium print, the Corcoran Gallery of Art (Gift Alan Feltus, Two Women, one the artist), 2018.15.1418. Minnie Klavans, Nanjemoy, Stephen Shames, El Paso Child mat: 12 x 10 in. sheet: 7 1/2 x of the artist), 2018.15.1200. seated, curtain, 1972. Oil on 1972. Acrylic and ink, Canvas Emanuel Gottlieb Leutze, Gregorio Prestopino, Study Crisis Center, 1999. Gelatin 8 1/2 in. Gift from the Trustees canvas, framed: 74 1/2 x 49 1/4 Charles Webster Hawthorne, size: 100 3/8 x 80 in. Gift from The Amazon and Her Children, for Big Red Nude, 1974. Oil on silver print, mat: 24 x 20 in., of the Corcoran Gallery of Joyce Tenneson Cohen, Self x 1 5/8 in. Gift from the Trustees The Fisherman’s Daughter, the Trustees of the Corcoran 1851. Oil on canvas, framed: board, unframed: 8 x 10 1/4 in., sheet: 19 7/8 x 16 in. Gift from Art (Gift of Mr. Evans Walker), Portrait (Woman on Stone of the Corcoran Gallery of Art c. 1912. Oil on wood panel, Gallery of Art (Gift of the artist), 52 1/2 x 74 in., unframed: framed: 15 1/4 x 17 1/2 x 3/4 in. the Trustees of the Corcoran 2018.15.341.4. Bench), 1976, Gelatin silver (Gift of Dr. and Mrs. Stanley H. unframed: 60 x 48 in., framed: 2018.15.740. 40 1/2 x 62 1/4 in. Gift from Gift from the Trustees of the Gallery of Art (Gift of Stephen print, mat: 16 x 20 in., sheet: 11 Gottlieb), 2018.15.612. 67 x 55 x 3 in. Gift from the the Trustees of the Corcoran Corcoran Gallery of Art (Gift of Shames), 2018.15.1496. Thomas H. Shuler Jr., Two Trees x 14 in. Gift from the Trustees of Trustees of the Corcoran Leon Kroll, Girl on Balcony, Gallery of Art (Gift of William Olga Hirshhorn), 2018.15.668. plus Vines, Washington, D.C., the Corcoran Gallery of Art (Gift Katherine Fishman, Cinderella Gallery of Art (Museum 1934. Oil on canvas, framed: Wilson Corcoran), 2018.15.695. Joseph Shannon, The Hang- 1978. Palladium print, mat: 12 of the artist), 2018.15.1201. from the series “Dayton, Purchase, Gallery Fund), 24 1/4 x 33 5/8 x 1 1/2 in., J. Baylor Roberts, Untitled, man’s Wife, 1970. Acrylic on x 10 in., sheet: 9 1/4 x 7 3/8 in. Women, and Dreams,” 1980. 2018.15.271. unframed: 17 7/8 x 28 in. Hung Liu, Children at Work: Boy 1937. Dye transfer print, sheet: canvas, unframed: 18 1/4 x Gift from the Trustees of the Paula Crawford, Cat’s Game, Hand-painted gelatin silver Gift from the Trustees of the with Pots, 2000. Seven-color 10 1/4 x 12 3/4 in., image: 7 1/4 x 18 5/8 in., framed: 22 1/4 x Corcoran Gallery of Art (Gift of 1998. Oil on linen, unframed: print, mat: 24 x 20 in., paper: George Peter Alexander Healy, Corcoran Gallery of Art (Gift of lithograph with chine-collé, 10 1/2 in. Gift from the Trustees 22 3/8 x 1 7/8 in. Gift from Mr. Evans Walker), 2018.15.341.5. 36 x 36 in. Gift from the Trust- 20 x 16 in. Gift from the Trustees Emily Clarissa King Barlow the Estate of Mary S. Higgins), unframed: 17 3/4 x 22 7/8 in., of the Corcoran Gallery of the Trustees of the Corcoran ees of the Corcoran Gallery of of the Corcoran Gallery of Art Volk and her daughter, Honora, 2018.15.257. framed: 24 1/2 x 32 1/4 in. Art (Gift of Eastman Kodak Gallery of Art (Gift of Mr. and Thomas H. Shuler Jr., Path, Art (Gift of Susan L. and Dixon (Gift of the artist), 2018.15.821. 1862. Oil on canvas, framed: Gift from the Trustees of the Company), 2018.15.1452. Mrs. Huntington T. Block Great Falls, Virginia, 1978. M. Butler), 2018.15.43. 33 3/4 x 39 5/8 x 3 1/4 in., Alexander Lapin, Mother and Corcoran Gallery of Art (Gift of through the Women’s Commit- Palladium print, mat: 12 x 10 in., Michael Goldberg, Untitled, unframed: 25 1/2 x 32 in. Daughter from the Series “A Bud and Fran Moreland Johns), Joseph F. Rock, Untitled, 1928. tee of the Corcoran Gallery of sheet: 8 3/8 x 5 1/2 in. Gift from Regina DeLuise, Girl on Rock, 1968. Oil and pastel, unframed: Gift from the Trustees of the Kiss,” 1987. Gelatin silver print, 2018.15.1435. Dye transfer print, sheet: 16 3/8 Art), 2018.15.85. the Trustees of the Corcoran Chandrunk, Nepal, 1994. 48 x 48 in. Gift from the Trust- Corcoran Gallery of Art (Gift of mat: 20 x 16 in., sheet: 8 3/4 x x 11 5/8 in., image: 10 x 7 3/8 in. Gallery of Art (Gift of Mr. Evans Platinum palladium print, mat: ees of the Corcoran Gallery Emily C. Smith), 2018.15.337. 12 3/4 in., image: 7 x 10 3/4 in. Reuben Nakian, Leda & Swan, Gift from the Trustees of the Callie Shell, Seattle, 1999. Walker), 2018.15.341.7. 14 x 18 in., sheet: 8 1/2 x 10 1/2 of Art (Museum Purchase, Gift from the Trustees of the 1968. Brush and ink, unframed: Corcoran Gallery of Art (Gift Gelatin silver print, mat: 20 x in. Gift from the Trustees of the Director’s Discretionary Fund), Corcoran Gallery of Art (Gift of 12 1/8 x 17 3/8 in. Gift from of Eastman Kodak Company), 24 in., sheet: 15 15/16 x 19 7/8 Corcoran Gallery of Art (Gift 2018.15.30. the artist), 2018.15.998. the Trustees of the Corcoran 2018.15.1454. in. Gift from the Trustees of the of Mitchell D. Story in honor of Gallery of Art (Gift of Olga Corcoran Gallery of Art (Gift of Edward DeCelle), 2018.15.784. Hirshhorn), 2018.15.201. Callie Shell), 2018.15.1501.

90 MOVES LIKE WALTER MOVES LIKE WALTER 91 Thomas H. Shuler Jr., Tree, Steve Szabo, House, Edmund Charles Tarbell, Arthur Tress, Girl in Mask, Great Falls, Virginia, 1978. Pokomoke Forest, from the Charles C. Glover, 1918. Oil Rhinebeck, New York. From the Palladium print, mat: 12 x 10 in., portfolio “Eastern Shore,” 1976. on canvas, unframed: 33 1/4 x “Theater of the Mind” Series, sheet: 8 3/8 x 6 1/2 in. Gift from Platinum print, mat: 14 x 16 in., 38 1/4 in., framed: 41 3/4 x 1975. Gelatin silver print, mat: the Trustees of the Corcoran sheet: 8 1/2 x 11 in. Gift from 46 3/4 x 3 1/2 in. Gift from 22 x 22 in., sheet: 19 7/8 x Gallery of Art (Gift of Mr. Evans the Trustees of the Corcoran the Trustees of the Corcoran 15 7/8 in. Gift from the Trustees Walker), 2018.15.341.8. Gallery of Art (Gift of Joshua P. Gallery of Art (Museum of the Corcoran Gallery of Art Smith), 2018.15.618.2. Purchase, Gallery Fund), (Gift of Dr. and Mrs. John V. Gladys Nelson Smith, Reclining 2018.15.275. Knaus), 2018.15.1382. Female Nude, 1929–1930. Oil Steve Szabo, Piano, Methodist on canvas, unframed: 35 x Church, Upper Fairmount, from William Tolliver, Noises in Arthur Tress, Mother and 41 3/4 in., inframed: 40 3/4 x 48 the portfolio “Eastern Shore,” the Dark, n.d. Oil on canvas, Daughter, New York City. x 2 3/4 in. Gift from the Trustees 1976. Platinum print, mat: 16 x framed: 31 1/4 x 37 1/8 x 1 1/2 in., From the “Theater of the Mind” of the Corcoran Gallery of 14 in., sheet: 11 x 8 1/2 in. Gift canvas size: 28 1/2 x 35 1/4 x Series, 1978. Gelatin silver print, Art (Gift of Mr. David Frenzel), from the Trustees of the 1 in. Gift from the Trustees of the mat: 22 x 22 in., sheet: 19 7/8 x 2018.15.99. Corcoran Gallery of Art (Gift of Corcoran Gallery of Art (Gift of 15 7/8 in. Gift from the Trustees Joshua P. Smith), 2018.15.618.4. Julia J. Norrell), 2018.15.69. of the Corcoran Gallery of Art Carroll Sockwell, Scattered (Gift of Dr. and Mrs. John V. Space, 1970. Colored pencil, Steve Szabo, Woods, O.C. Arthur Tress, Museum of Knaus), 2018.15.1385. graphite, white and gray Smith Farm, from the portfolio Natural History, Mexico City, chalk on heavy off-white “Eastern Shore,” 1976. Platinum 1964. Gelatin silver print, mat: Unidentified,The Three paper, unframed: 39 x print, mat: 16 x 14 in., sheet: 11 x 26 x 22 in., sheet: 19 3/4 x Huidekoper Children, c. 1853. 50 5/8 in. Gift from the 8 1/2 in. Gift from the Trustees 15 7/8 in. Gift from the Trustees Oil on canvas, framed: 45 1/4 Trustees of the Corcoran of the Corcoran Gallery of of the Corcoran Gallery of Art x 38 1/4 in., unframed: 35 x Gallery of Art (Gift of Robert Art (Gift of Joshua P. Smith), (Gift of Dr. and Mrs. John V. 29 in. Gift from the Trustees Scott Wiles), 2018.15.1474. 2018.15.618.5. Knaus), 2018.15.1373. of the Corcoran Gallery of Art (Gift of Elizabeth H. Stabler), Elisabeth Sunday, Dogon Steve Szabo, Tree, O.C. Arthur Tress, Flying Dream, 2018.15.17. Mother from the “Africa I” series, Smith Farm, from the portfolio Queens, New York. From the 1987. Gold-toned gelatin silver “Eastern Shore,” 1976. Platinum “Dream Collector” Series, 1971. Bernis von zur Muehlen, print, sheet: 23 7/8 x 20 in. print, mat: 14 x 16 in., sheet: Gelatin silver print, mat: 22 x Marilyn, 1981. Chromogenic Gift from the Trustees of the 8 1/2 x 11 in. Gift from the 22 in., sheet: 19 7/8 x 15 7/8 in. color print, mat: 24 x 20 in., Corcoran Gallery of Art (Gift of Trustees of the Corcoran Gift from the Trustees of the sheet: 20 x 16 in. Gift from Michael Yochum and Priscilla Gallery of Art (Gift of Joshua P. Corcoran Gallery of Art (Gift of the Trustees of the Corcoran Otani), 2018.15.1508. Smith), 2018.15.618.7. Dr. and Mrs. John V. Knaus), Gallery of Art (Gift of the artist), 2018.15.1379. 2018.15.1479. Steve Szabo, Goat House, Steve Szabo, Interior, Christ Wolf Trap Creek, from the M.E. Church, from the portfolio Arthur Tress, Boy in Wheelchair Bernis von zur Muehlen, Teri, portfolio “Eastern Shore,” 1976. “Eastern Shore,” 1976. Platinum with Sister, Montauk, New York. 1982. Chromogenic color print, Platinum print, mat: 14 x 16 in., print, mat: 14 x 16 in., sheet: From the “Theater of the Mind” mat: 20 x 24 in., sheet: 16 x sheet: 8 1/2 x 11 in. Gift from 8 1/2 x 11 in. Gift from the Trust- Series, 1973. Gelatin silver print, 20 in. Gift from the Trustees the Trustees of the Corcoran ees of the Corcoran Gallery mat: 22 x 22 in., sheet: 19 7/8 x of the Corcoran Gallery of Gallery of Art (Gift of Joshua P. of Art (Gift of Joshua P. Smith), 15 7/8 in. Gift from the Trustees Art (Museum Purchase), Smith), 2018.15.618.1. 2018.15.618.9. of the Corcoran Gallery of Art 2018.15.1480. (Gift of Dr. and Mrs. John V. Knaus), 2018.15.1381.

92 MOVES LIKE WALTER MOVES LIKE WALTER 93 The Corcoran Gallery of Art, one of the first private museums in the United States, was established in 1869 by William Wilson Corcoran and expanded in 1880 to include the Corcoran College of Art and Design with the mission ‘dedicated to art and used solely for the purpose of encouraging the American genius.’ In 2014, the Corcoran transferred the college to the George Washington University and distributed the works from its Collection to museums and institutions in Washington, DC.

First published in conjunction with the exhibition Moves Like Walter: New Curators Open the Corcoran Legacy Collection September 3–December 15, 2019 American University Museum at the Katzen Arts Center Washington, DC

Design by Lloyd Greenberg Design, LLC

All images courtesy of Greg Staley.

Back cover: Alan Feltus, Two Women, one seated, curtain (detail), 1972. Oil on canvas, framed: 74 1/2 x 49 1/4 x 1 5/8 in. Gift from the Trustees of the Corcoran Gallery of Art (Gift of Dr. and Mrs. Stanley H. Gottlieb), 2018.15.612.

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94 MOVES LIKE WALTER