Contents

Board and Committees, 2003-2004 Volume 15,2003-2004 Photography and reproduction credits:

Report of the Chairman and Director Copyright © 2005 by The David and Alfred Front cover, frontispiece, and pages 9,19, 21, 22, Smart Museum of Art, The University of 25, 27, 28, 31, 33-35,37, 39, 41, 43: photography Mission Statement Chicago, 5550 South Greenwood Avenue, by Tom van Eynde. Chicago, Illinois, 60637- All rights reserved. http://smartmuseum.uchicago.edu Pages 47-50, 53-56, 57 (FIGURES 2 and 3), 58-61, ISSN: 1099-2413 65, 67, 69: photography by Jim Newberry. Into Practice: Contemporary Artists and Research Universities

Editor: Stephanie Smith Page 57 (FIGURE 1): photography by Katherine Laura Letinsky and Stephanie Smith Publication Assistant: Rachel Furnari Mino. Design: Froeter Design Company, Inc. Printing: Lowitz & Sons, Chicago Page 63: photography by Lloyd de Grane.

Acquisitions Frontispiece: © for works by E.L. Kirchner by Ingeborg and Dr. Wolfgang Henze-Ketterer, Wichtrach/Bern.

Exhibitions Page 19: courtesy of the artist and Jack Shainman Gallery, New York. Publications

Page 27: courtesy of Joel-Peter Witkin and Catherine Edelman Gallery.

Public Programs Page 30: courtesy ofWalsh Gallery.

Contributor and Member Programs Every effort has been made to contact rights holders for all reproductions. Additional rights Sources of Support holders please contact the Smart Museum.

Operating Statement

Smart Museum Staff 4

Board and Committees, 2003-2004 Report of the Chairman and Director

Smart Museum Board of Governors T. Kimball Brooker Marshall J. Padorr Last year was an opportune time to reflect arts. Such programs also provide those outside enterprises took place behind the scenes, as John A. Bross Beatrice G. Perry on the Smart Museum of Art's progress as we the university community with access to the plans for the exhibition Between Past and celebrated its thirtieth anniversary year. The Richard Gray, Chairman Gay-Young Cho Elizabeth Plotnick intellectual resources of the institution while Future: New Photography and Video from China Elizabeth Helsinger, Vice Chair Phyllis Gordon Cohen Margot L. Pritzker season began on November 12,2003, when a new making it possible for students and faculty to entered their final stage. Co-curated by Wu Hung, Marion Wood Covey Laura Campbell Rhind chapter in the museum's growth was ushered in engage with the broader public. Inthis dynamic Harrie A. Vanderstappen Distinguished Service Marilynn B. Alsdorf Michael Cunningham Irmgard Hess Rosenberger, Life Member with a dinner honoring its most devoted friends role the Smart best fulfills its educational mis­ Professor of Art History at the University of Mrs. Edwin A. Bergman Robert G. Donnelley Brenda Shapiro and supporters (see p. 63). sion. Building on these ideals, the museum's Chicago and Consulting Curator at the Smart Joel Bernstein Gail M. Elden Joseph P. Shure That event was part of an ongoing process new strategic plan reinforces its core values: Museum, and Christopher Phillips, Curator at Russell Bowman Dr. Patricia Brett Erens John N. Stern, Life Member of examination and reflection. Careful planning education, ideas, scholarship, quality, intimacy, the International Center of Photography in New Susan O'Connor Davis Mrs. Owen Fairweather, Life Member Dorie Sternberg both guides and inspires dynamic institutional aesthetic vitality, and access. It also addresses York, Between Past and Future is a model for Robert G. Donnelley Joan E. Feitler Isabel C. Stewart growth, and during 2003-04 the Smart completed the Smart's need for expanded facilities and even collaboration at the curatorial and institutional Richard Elden Robert Feitler Dr. Bryan Traubert an ambitious new strategic plan. This initiative more robust endowments that will match itslevel levels. This major exhibition will be featured in Robert Feitler Joan S. Freehling Clarence S. Wilson Jr. built on the success of the previous ten-year plan, of ambition and sustain its success. our 2004-05 Bulletin: it opened at its New York Lorna C. Ferguson Stanley M. Freehling Karen G. Wilson which was created in 1997 with guidance from the At the Smart, we believe that engagement venues in June 2004 and at the Smart Museum Alan M. Fern, Life Member Marshall B. Front James Nowell Wood consulting firm McKinsey & Company. By the with original artworks is central to understand­ and the Museum of Contemporary Art, Chicago, Sharon Flanagan lean Frumkin Jane Wright start of 2003, the Smart had achieved the goals it ing intellectual, social, and artistic ideas. Our in October 2004. Another example of collabo­ Stanley M. Freehling Susanne Ghez Mrs. George B. Young, Life Member had outlined in 1997. Injust six years, under the collections serve as a primary source for study ration was on view at the Smart in fall 2003. lack Halpern Adele B. Gidwitz, Life Member Helen Zell leadership of director Kimerly Rorschach and within courses and as subjects of new research. The paired exhibitions Hiroshi Sugimoto: Sea of loan W. Harris Isaac S. Goldman with the active involvement of its board and Temporary exhibitions and long-term displays Buddha and Visual Mantras: Meditative Traditions Neil Harris, Life Member Jean K. Goldman Education Advisory Committee staff, the museum had doubled its attendance enable us to contextualize the work of individual in Japanese Buddhism expanded each other's Mary Harvey (ex officio) Richard Gray and nearly tripled its budget, secured a major artists and explore broader themes as well. They interpretive possibilities: visitors could consider Reinhold Heller (ex officio) Mary Winton Green Diane Bloom endowment for art acquisitions, completed the also provide stable examples that educators from Sugimoto's contemporary photographs within the Randy L. Holgate Joyce Zeger Greenberg Maria Cecire $2 million Silver Anniversary capital campaign, the primary to the graduate level can rely on as context of formalism and conceptual art, or as William M. Landes Nathan M. Grossman Lydia Diamond renovated its current facilities, expanded its they develop their own curricula. This past year extensions and even manifestations of Japanese Kimerly Rorschach (ex officio) David C. Hilliard Eliza Duenow collections and educational programs, and sig­ 232 objects entered the collection, building on Buddhist thought. Inturn, Sugimoto's work Raymond Smart Doris B. Holleb Steve Gilbert nificantly raised its profile locally, nationally, the museum's many areas of strength. These elucidated the role of perception in traditional Joel Snyder Marshall M. Holleb David Hays and internationally. ranged from a hanging scroll by Chinese master Buddhist art from Japan. Organized by the Smart's John N. Stern loel Honigberg Dr. Marvin Hoffman In 2003-04 the Smart Museum, with the Qi Baishi, given byMarilynn B. Alsdorf in honor Curator Stephanie Smith and by Curatorial Intern Geoffrey Stone Ruth P. Horwich Julia Jack-Scott assistance of consultants Nancy L. Pressly and of Richard A. Born's twenty-fifth year as a curator and Ph.D. candidate Kris Ercums, respectively, Allen M. Turner (ex officio) Dr. James E. Jones Mark Johnson Associates, worked closely with members of the at the Smart, to Romare Bearden's 1975 collage these exhibitions involved University of Chicago Michael Wyatt Alan Koppel Sonya Malunda artistic, civic, local, and university communities Farewell in New Orleans, given by William M. faculty in related programs and coursework, and Dr. Mary S. Lawton Michelle Obama to craft institutional goals for the next five years. and Elisabeth Landes, to the Gedney Collection, were used actively by local elementary schools University of Chicago Visiting Julius Lewis Dan Peterman At one discussion, Neil Harris, board member the rare group of nineteenth-century photo­ in a variety of multi-visit programs. Committee on the Visual Arts Holly W. Madigan Bill Salvato and Professor of History at the University of graphs by Timothy O'Sullivan and William Bell This in-depth approach to programming Eloise W. Martin, Life Member Laura Senteno Chicago, proposed that the Smart seek to featured on pages 34-35- Many of these works extends to the Smart's school outreach programs. Allen M. Turner, Chairman Beatrice Cummings Mayer Carolyn Sullivan encourage "unexpected encounters," suggesting were donated to mark the Smart's thirtieth In 2003-04, the educators, parents, artists, and Thomas McCormick Mary Ellen Ziegler a role for the museum as a place where different anniversary, and we are grateful to those many University of Chicago students and administra­ Anne Abrons Mary M. McDonald, Life Member ideas and people can interact, both intellectually supporters who celebrated this occasion with tors who form the museum's Education Advisory Michael Alper Mrs. Ralph Mills Jr. and socially. As the University of Chicago's art gifts of art. A O highlights each of these works on Committee guided the Smart staff as they devel­ Marilynn B. Alsdorf, Life Member Paula Molner museum, the Smart is especially well positioned pages 18-33. The Smart now holds a collection oped a new sequence of multi-visit programs. Dorothy L. Baumgarten, Life Member Charles H. Mother to perform this role. Using its collection as a of nearly 9300 objects. Together, Art in Focus (3rd-4th grades), smART Robert H. Bergman Martin Hughes Nesbitt resource, its education, exhibition, and publi­ The exhibitions planned and presented in Explorers (5th grade), Art in the Making (6th grade), Joel Bernstein Muriel Kallis Newman cation programs involve faculty and students in 2003-04 illustrate how the museum approaches and Art in Context (7th-i2th grades) enable David L. Blumberg, Life Member Evelyn E. Padorr interdisciplinary activities focused on the visual its educational mission. One of last year's major young students to experience the museum and Report of the Chairman and Director 6

Mission Statement

increase their knowledge of art as they advance Their contributions are listed on pages 64-69. As the art museum of the University of Chicago, the David from year to year. The Smart is nearly unique in We are especially grateful to the Smart Family this sequential, comprehensive approach to Foundation for its generous and sustained and Alfred Smart Museum of Art promotes the understanding education at the primary and secondary level. support of our activities and especially for its in addition to serving as a place to lead support of the exhibition Between Past and of the visual arts and their importance to cultural and intellec­ encounter important ideas, the Smart is also a Future; to Thomas and Janis McCormick and place for people to gather and enjoy art in a social the Kanter Family Foundation for their new tual history through direct experiences with original works of multi-year gift to our exhibition program; to the context. Our members and supporters enjoyed art and through an interdisciplinary approach to its collectiohs, new opportunities to gain access to our collec­ National Endowment for the Arts for its support tion, staff, university faculty, and to the content of exhibition and education programs; and to the exhibitions, publications, and programs. These activities of our exhibitions through new programs such John D. and Catherine T. MacArthur Foundation as intimate curator tours and preview dinners. for strengthening the museum's operational base support life-long learning among a range of audiences including Now in its third year as a university-sponsored with a multi-year grant of $150,000. student organization, the Smart Museum Finally, we are grateful to the museum's the university and the broader community. Activities Committee—a group of undergradu­ staff. This past year we celebrated Richard A. ates that plans art events with and for other Bom's twenty-five years of service to the Smart. University of Chicago students—drew a total We also bid farewell to former Dana Feitler attendance of 1400 to its open houses, study Director Kimerly Rorschach, who guided the breaks, talks by arts professionals, student art Smart through ten years of its most sustained shows, and gallery trips. Young professionals, development, and to Membership and Develop­ including many University of Chicago alumni ment Coordinator Sara Cree, Mellon Projects and students in the professional schools, had a Curator Elizabeth Rodini, Education Coordinator similar chance to learn about art in an informal Sara Skelly, and Registrar Jennifer Widman. We and more social setting as part of SmartSet, a new thank them for their dedication and outstanding membership program launched in the fall. Our legacy to the museum and express our appreci­ family programs also drew new members and ation of all on our current staff. Through their attracted large crowds during the academic year work, they continue to set new standards for as well as to the summer series Art Afternoons. museum practice and to imagine new, exciting The Fifth Joseph R. Shapiro Award Dinner possibilities for university art museums generally. closed this year of achievement and highlighted the Smart's relevance within Chicago and the broader arts community. Thanks to the leader­ Richard Gray ship of our benefit chair Allen M. Turner, over Chairman, Board of Governors 450 guests gathered to honor Susan and Lewis Manilow for their contributions to the arts in Jacqueline Terrassa this city and beyond, and to hear keynote Interim Director speaker Thomas Krens, Director of the Solomon R. Guggenheim Museum, describe strategies for building museum collections. The evening raised $262,000 to support the Smart's educa­ tional activities and operations. We thank the Smart Museum's board, the university's Visiting Committee on the Visual Arts, and the many supporters who helped make 2003-04 a benchmark year for the Smart. Essay

Into Practice: Contemporary Artists and Pllf Research Universities a/ - 'v- . • Laura Letinsky and Stephanie Smith

Advancing the arts at the University will require overcoming what John Dewey described as "the odd notion that the artist does not think and [that] a scientific inquirer does nothing else."

—Study group report, "The Future of the Arts at the University of Chicago," 2001

In 1831, the painter John Trumbull sold a selection of his works to Yale University, secured a commitment from the university to build a museum to house them, and designed the building, which opened a year later as the Yale University Picture Gallery with displays of work by Trumbull and others.1 America's first university art museum thus grew out of a school s commitment to presenting and preserving the work of a living artist, and out of that artist's belief that the university itself would provide an ideal context for it. That foundational moment—with its intertwined commit­ ment of artist, museum, and university—seems worth remembering now, at a time when several major educational institutions, including the University of Chicago, are rethinking the role of the arts on their campuses.

Although much has changed inthe nearly two practice is deeply integrated into campus life. centuries since the Yale museum was founded, At the University of Chicago we see clearly the research universities still have much to offer to benefits of this approach for our students, faculty, contemporary visual artists, and those artists and broader community. Outmoded notions have much to give in return—much more, these about art as an unthinking or purely craft-related days, than a few paintings. We believe that a activity block such efforts, as do more mundane Entrance to the Smart Museum's sculpture courtyard, showing part of a temporary mutually supportive relationship among artist, logistical challenges. Still, from our perspectives installation that artist Robert Peters, professor in the Committee on the Visual Arts, created for the Smart's exhibition Critical Mass (2002). museum, and university can work best when the as a professor in the university's studio art pro­ making of art is deeply integrated into campus gram and a curator of contemporary art at its life and regarded as an intellectual practice university museum, we see great potential to absolutely in line with universities' broader involve contemporary artists more fully in the educational and research goals, and when art life of our institutions. Essay

In recent decades, such opportunities have made art from the processes of collecting, arisen intandem with major changes in the visual interpreting, and presenting data—basic ele­ arts. One crucial shift is the emerging paradigm ments of scholarly research. Many subsequent of the artist as thinker, using his or her work as artists built on such practices, pursuing art as a way to engage with the worlds of political and a form of intellectual inquiry. To note just a social activism, the environment, identity issues, few examples, since the late 1970s artists such museum practices, and so on. This may not seem as Cindy Sherman have both responded to like a new idea, for of course art making has and helped shape postmodern ideas about always required thought, and it has occasionally representation, while during the 1990s artists involved research that more obviously parallels like Renee Green and Mark Dion asserted the other kinds of intellectual inquiry. Renaissance model of artist-as-researcher by appropriating artists such as Leon Battista Alberti and Piero the methodologies and visual languages of della Francesca, for example, explored color, scholarly disciplines such as anthropology Into optics and perspective as they sought to perfect their own work. painting techniques, and shared their findings Such shifts in practice have highlighted the through texts that combined scientific informa­ ways in which artistic production can parallel tion, aesthetic theory, and practical advice. They the sort of intellectual activity that occurs within grounded their studies in their experience as universities. Research-driven work, however, is practicing artists: Alberti began his famous trea­ not the only type that can contribute to an aca­ tise On Painting (1435) by noting that "In writing demic setting. Artists offer many ways of making these very short remarks on painting, to make meaning: through play, for example, or by creating whatI say quite clearI shall first take from math­ opportunities for experiences and encounters ematicians those things that have to do with my that are irreducible to language, or by reminding theme...but inall my talkingI urge strongly that all of us of the ways that knowledge emerges Imay be thought of as writing of these things as a through the creative acts of making of art and painter not a mathematician."2 Artists of Alberti's sharing it with the world. Inthese and many age drew not only on such technical knowledge, other senses, contemporary artists have found but also on their familiarity with a wide variety of new methods of pursuing art as a thoughtful and humanist subjects—literature, history, religion, engaged endeavor, demolishing the silly but still philosophy—all of which provided source mate­ lingering romantic myth of the muse-inspired Exterior of Midway Studios, the historic building that once housed the home and rial for their richly allusive images. artist working alone in a secluded garret. studio of artist Eorado Taft and now is home to the University of Chicago's studio As John Dewey reminds us in his reference In tandem with these changes within the art program, the Committee on the Visual Arts. to the "odd notion that the artist does not think," visual arts, university administrators and faculty the intellectual aspects of art practice have not have begun to pay more attention to the gains of always been obvious.3 Indeed, thought is often incorporating all kinds of artists—from actors seen as subsidiary to or disconnected from to musicians to sculptors—more fully into their craft, not an integral part of the creative process. academic communities. Recently, major univer­ An important corrective to such perceptions sities from Berkeley to Yale have been rethinking emerged in the late t96os, through the interna­ the role of the arts on their campuses, and inthe tional development of avant-garde strategies process have been re-imagining how contem­ that eventually coalesced under the label "con­ porary artists can best work with, and within, ceptual art." At that time, a number of artists came universities.4 Although it will take some time for to locate art not only within tangible objects these initiatives to be fully enacted, and longer like paintings or sculptures but also in idea and still before their impact can be assessed, they process; they also emphasized the artist's role as suggest some exciting possibilities for inventive a presenter of ideas rather than a maker of objects. and productive relationships between universities, Eleanor Antin and Hans Haacke, for instance, their museums, and contemporary visual artists. Essay

In other cases, suggestions have come from the program, the center also works more broadly Our institution's most recent efforts have established its Arts Research Center (ARC), an museum to the Consortium; when the Berkeley across campus to foster interactions between been propelled by the 2001 report "The Future of interdisciplinary entity devoted to "arts research," Art Museum hosted a traveling exhibition of disciplines. However, CAVS is no longer the only the Arts at the University of Chicago." The prod­ with research defined not only as the analysis of work by Fred Wilson, he was able to do an ARC entity supporting artistic research or the inte­ uct of a study group led by then Provost Geoffrey art, but also its production. Growing out of the residency that resulted in a new site-specific gration of artists into MIT's culture; both the Stone, this report acknowledged the strength of Consortium of the Arts, an interdisciplinary work created in collaboration with Berkeley Office of the Arts and the prestigious List Center activities already underway. It also, though, rec­ organization founded in1998 to advance all the students and departments. Inpractical terms, for Visual Arts also offer artists' residencies. While ognized the problem that serves as this essay's arts at Berkeley, the ARC became an "organized the division of labor has followed logical lines, these entities occasionally coordinate their epigraph—a tendency in some quarters of the research unit" (one of the University of California's with the museum handling exhibitions and activities, each has its own needs and areas of university to see the practice of the arts as an standard administrative divisions) and that initial related programming, the studio department focus: CAVS is driven largely by the interests of unthinking pastime—and recommended that "research" designation has remained at the core managing the courses, and the ARC organizing its faculty participants; the List by its commit­ new resources be used to address the problem. of its activities.5 As its mission states, the ARC is non-exhibition-specific public programs. ment to cutting-edge contemporary visual art;9 One key product of this report was a new meant to "create a deeper appreciation within However, the center is still determining how and the Office of the Arts' residency program by umbrella entity, the Arts Planning Council the academic community of art-making as a best to strike a balance among the different the needs of students and departments across (APC), which consists of appointed members vital form of research that both interprets and stakeholders and engage all of them in the the university.10 from arts organizations, central administration re-imagines our world." The center provides a process.7 This is crucial as a means to generate At the University of Chicago, we can learn humanities division, and the faculty. As univer­ forum for interdisciplinary conversations the best ideas, to ensure successful residencies, from these models as well as from other programs sities have grappled with the question of what between faculty and graduate students, which and as a way to avoid any perception that one that are already inplace here on campus. A resi­ role the arts might play on their campuses, one of in turn have led to a series of symposia exploring party is imposing its choices on the others. dency program for visual artists, coordinated in their key considerations has been to coordinate the role of the arts within the university. These The experience of the Massachusetts tandem with the Arts Planning Council, could their existing efforts more effectively. Here at gathered artists, scholars, arts professionals, and Institute of Technology offers other potentially foster greater interaction between the Smart Chicago, these cultural offerings range from students to investigate topics such as "Artists/ useful models. There, an Office of the Arts coor­ Museum, the Department of Art History, and student-initiated workshops to academic courses Intellectuals/Institutions" (2001) and "When is dinates a number of arts-related activities and the Committee on the Visual Arts while reaching to professional performances. This expansive Art Research?" (2004). This approach emphasizes administers a program of foundation and out to other university audiences, much like the scope makes developing a shared vision a chal­ artistic practice within a university as valid departmentally sponsored artists' residencies on centers already in existence (i.e. the Centers for lenge, and renders bodies like the Arts Planning because of the kinds of intellectual work artists do. campus. At MIT, however, work with contempo­ Cinema and Media Studies, Gender Studies, and Council all the more attractive. Founded in In addition to these traditional textual rary artists seems slightly less centralized than the Study of Race, Politics, and Culture). Itmight 2001, the APC works to make the arts visible and modes of scholarly research—research presented at Berkeley, perhaps in part because of the exis­ also build on the success of the University's to advocate for them within the university com­ through papers and discussion in a symposium, tence of a historically important and ongoing Franke Center for the Humanities, which hosts munity and higher education more generally. It colloquium, or course—the ARC supports art program, the Center for Advanced Visual Studies visiting scholars for long-term fellowships; the also seeks to improve collaboration, communi­ making through a series of artists' residencies (CAVS). The late artist Gyorgy Kepes—who had Franke holds special interest because of the cation, and planning among the individual arts that link the Berkeley Art Museum, the university's resources that it makes available to participants programs on our campus, to strengthen links studio art program, and faculty from various pursued an interdisciplinary approach to as well as for the quality of intellectual exchange among the university's academic programs, disciplines. For instance, a poet in the English teaching and making art first at the Bauhaus and that it seeks to foster among each year's fellows. co-curricular programs, and professional arts department recommended visual artist Helen then at the Illinois Institute of Technology prior A long-term residency program could also com­ organizations, and to deepen the cultural con­ Mirra to the Consortium as a potential visiting to his work at MIT—founded the center in 1968 plement the Presidential Fellows in the Arts nections between the university and the city. artist (Mirra is Senior Lecturer in the Committee as a means of bringing artists, scientists, and series, a new program cosponsored by the Arts In addition, the APC provides seed funds for a on the Visual Arts and the Committee on Cinema technologists together for collaborative projects. Planning Council and the office of the University variety of campus arts activities. and Media Studies at the University of Chicago). CAVS is still active at MIT and is currently directed of Chicago's president. This program brings three As groups like the Arts Planning Council The ARC then helped broker a residency that by artist and MIT faculty member Krszytof high-profile artists (of any discipline) to campus continue to develop their roles and programs on included an innovative studio art course, which Wodiczko. The center supports long-term col­ each year for short-term residencies that com­ campuses around the country, we might look to enabled Mirra to pursue what has since become laborative research projects such as Wodiczko's bine a public program with a private seminar or a model that is being tested by our colleagues at an important new direction inher own work.6 Interrogative Design Group—which has recently the University of California, Berkeley. In its recent Her residency also included an exhibition in produced works such as the Dis-Armor series class. This residency promises to emphasize art attempts to articulate the role of the arts within the university museum and several public pro­ of wearable, multimedia sculptures. Recently, as an intellectual activity aligned with the uni­ versity's other research goals: David Levin, an a research university, Berkeley has emphasized grams, thus generating a richly interrelated set CAVS expanded its program with a series of Arts Planning Council member and chair of the art as both a subject of study and as a means of of experiences for Berkeley faculty, students, lectures and short-term residencies for visiting 8 Committee on Theater and Performance Studies, generating new knowledge. In2001 the school the museum's audiences, and the artist herself. artists. While directly linked to MIT's studio art Essay

remarked in a campus news article that initial together in many ways. The museum and studio fellow Anna Deveare Smith, "brings a searing program share visiting artists for critiques, lec­ intelligence to the work that she does," and tures, and other programs. Studio art students noted that she is an "important and innovative benefit greatly from opportunities such as intern­ thinker who can help us as a university com­ ships and docent positions in the museum, and munity enter into a dialogue on the place of each year one of the Smart's curatorial interns— the arts in the academy, and the place of the typically an art history graduate student—works academy in the arts."11 closely with MFA students on the production of Both of the two types of university-wide the MFA exhibition, thus bridging art history, arts initiatives that we have addressed here—an the museum, and the studio program. Studio umbrella organization that articulates an arts classes visit the museum's special exhibitions agenda and fosters communication and collab­ and permanent collection displays to experience oration across campus, and an artists' residency actual objects presented through thoughtful program—offer clear benefits to students, faculty, installations, and to closely examine objects not and the university as whole. But there is yet on display. The Smart's curators and educators another way to help structure such relationships: also participate in critiques and studio visits; by fostering the more focused interactions that faculty and alumni have also been included in develop out of the naturally close connection the Smart's exhibition and its collection. In addi­ that can exist between a studio art program and tion, COVA's activities link to others throughout a university art museum. For example, an espe­ the university on a curricular level, with faculty cially symbiotic connection seems to be devel­ jointly appointed inCinema and Media Studies, oping between UCLA's Hammer Museum and its cross-listing of courses in Gender Studies, and studio arts department. High-level artists and student research that spans a wide range of critics visit campus not only for the Hammer fields that including not only art history and Lectures series but also for the UCLA Department cinema but also mathematics and visiobiology. of Art Lectures, which are organized by faculty We strive to teach and present art as a commu­ member and artist Catherine Opie and hosted nicative activity, a means of engaging inan active by the Hammer. New programs include a mini- dialogue with the world. course that allows art students to get one course On a physical level, changes are underway hour of credit for attending and writing about a that will increase opportunities for meaningful series of public programs (for instance, artists' collaboration between COVA and the Smart lectures and gallery talks), and an "artist appren­ Museum.13 Fundraising has begun for improved ticeship" in which art students work closely with and expanded facilities for both the museum the professional artists who have come to campus and for the new, student-oriented Center for to create new works for the museum's Hammer the Creative and Performing Arts (a laboratory Projects exhibition series.12 More informal inter­ for the visual, musical, and performing arts). actions between museum staff and studio art Planned new museum facilities will comprise faculty and students are taking place at a number additional galleries, an auditorium, study rooms, of institutions around the country. Lack of time and offices for visiting scholars and artists, as to brainstorm or implement new programs, well as public and support spaces. The planned lack of money for implementation, differences new arts complex, will, for the first time, bring Studio art professor Dianna Frid (left, holding notebook) and Interim Director iacqueline Terrassa (center) lead COVA students through the exhibition Between in mission or taste, and political divisions are together music, theater, film, and the visual arts, Past and Future: New Photography and Video from China. all potential roadblocks to greater integration, including student exhibition and performance but some level of collaboration always exists. spaces, studios, darkrooms, classrooms, places As is the case at these other universities, the for practice and rehearsal, studios, and an all- University of Chicago, the Smart Museum and important cafe around which artistic activity the Committee on the Visual Arts (COVA) work can germinate. In addition to providing new Essay

Notes

1. The YaleUniversity Picture Gallery is now the Yale University 7. Michele Rabkin in conversation with Stephanie Smith, opportunities for interdisciplinary work for Laura Letinsky is Associate Professor in the Art Gallery. We thank Kimerly Rorschach, former Dana Feitler August 25,2004. students and faculty, both expansions will Committees on Cinema and Media Studies and Visual Director of the Smart Museum, for reminding us of the Arts and is Director of Graduate Studies in the allow more and better ways for artists to fully Trumbull/Yale connection in "Art History on Display: Why Do 8. Meg Rotzel, CAVS administrator, in conversation with integrate themselves into campus experience. Committee on the Visual Arts, University of Chicago. Universities Have Museums?" (lecture, University of Chicago, Stephanie Smith, March 16,2005. During this time of assessment and new IL, July 8, 2004). 9. LVAC staff choose artists for their residency program. Some initiatives, continuing to raise the question of Stephanie Smith is Curator at the Smart Museum of 2. See excerpts of Alberti's text in a A Documentary History of LVAC residencies have also involved AiR—for instance, artist Art, University of Chicago. how artists can help the University of Chicago do Art, ed. Elizabeth Gilmore Holt, (Princeton University Press, Paul Pfeiffer first had an AiR residency and later an exhibition what it does best remains critical. We understand 1981) Vol. I, 205-218, and of della Franceso's more scientifi­ at LVAC-but according to AiR's Michfele Oshima, no formal that artists', scientists', and humanists' thinking We thank the following colleagues for sharing cally focused Of the Perspective of Painting (c. 148 o-14 9 o), mechanism exists to connect the two programs because LVAC does not wish for there to be any expectation that an are related, interdependent activities and that information for this text: Cassandra Coblentz, ibid, 256-266. AiR residency will automatically lead to an exhibit. LVAC's our university supports interdisciplinary work Head of Academic Initiatives, Hammer Museum, 3. For more on Dewey's thinking about the role of artist in residency program is meant to give artists an opportunity to University of California, Los Angeles; Kimberly on a deep level. Looking at the landscape across society, see his classic book Art as Experience, first published refuel, so it does not necessarily require an exhibition as a the country, it seems clear that undertakings such Davenport, Director, Rice University Art Gallery; 1934. For the quote used within "The Future of the Arts at the product, although it does require substantive interaction as artists' residency programs can help propel Jane Farver, Director, List Visual Arts Center, University of Chicago," see Art as Experience (Perigree Books, with students. Michfele Oshima, Director, Student and Artist in 1980): 15. Residence Programs, Office of the Arts, MIT, inconversation the development of a supportive climate for the Massachusetts Institute of Technology; Pamela with Stephanie Smith, August 24.2004. and Jane Farver, Franks, Curator of Academic Initiatives, Yale arts, but also that they are likely to be most 4. In addition to the examples discussed within the body of Director of List Visual Arts Center, MIT, inconversation with effective when conducted in broad-based col­ University Art Gallery; Jennifer Gross, Seymour H. this text, Yale University and the University of Pennsylvania Stephanie Smith, August 25,2004. laborations that play to participants' strengths Knox, Jr., Curator of Modern and Contemporary are both pursuing new initiatives. As part of a broader campus planning initiative, Yale developed its Arts Area Plan in the 10. The AiR program includes several different types of resi­ and that have active support from the highest Art, Yale University Art Gallery; Claudia Gould, mid-1990s,which led to plans for an extensive renovation of dencies, all tied to different funding sources. One especially levels of the administration. We also want to Director, Institute of Contemporary Art, University its arts facilities, including its museums, art history depart­ useful model is the department-based residency. Departments of Pennsylvania; Anna Hammon, Deputy Director remind our readers that much of what is in place ment, and schools of art, architecture, and drama. In addition, that wish to work with specific artists apply to the Office of today at the University of Chicago began not of Programs, Yale University Art Gallery; Michdle a broad curricular review has encouraged better integration the Arts; a student panel reviews applications and decides through formal programs and physical structures, Oshima, Director of Student and Artist Residency of the practice and study of the arts and the deeper use of all which proposals to support each year. Residencies get half Yale's collections in courses across the university. The Yale their financial support from the Office of the Arts with the but rather through informal dialogues and the Programs, Massachusetts Institute of Technology; University Art Gallery has also initiated a residency program remainder supplied by the department; the Office of the Arts Michelle Rabkin, Associate Director, Consortium conviction of people throughout the campus designed to give contemporary artists access to the university's also helps manage the logistics of each residency and facili­ that art is a valuable enterprise. Given the quality for the Arts and Arts Research Center, University resources. At Penn, a major new fund—The Emily and Jerry tates interactions between visiting artists and students. The of creative activity already at play here at Chicago, of California, Berkeley; and Meg Rotzel, Center for Speigel Fund to Support Contemporary Culture and Visual AiR director builds contacts with departments across the university, and has found that graduate students are often we celebrate the new interest in and efforts Advanced Visual Studies, Massachusetts Institute Arts—sponsors public programs, courses, student receptions, and short-term artists' residencies. Although administered by the most effective contacts and advocates for the residency toward creating a more supportive logistical and of Technology. the provost's office, the fund's activities center on an annual program. Michfele Oshima, op. cit. philosophical platform on which to sustain and symposium held in conjunction with an exhibition at the fertilize the university's cultural life. With this university's cutting-edge gallery, the Institute of Contemporary 11. Jennifer Carnig, "Deavere Smith to serve as first Presidential support and with a broad base of interaction Art (ICA). The symposium is "designed to raise the level of Fellow in the Arts," Chicago Chronicle (February 17,2005): 3- conversation among Penn's students and faculty about art— among students, faculty, museum staff, and particularly art that crosses disciplinary and cultural bound­ 12. Cassandra Coblentz, Head of Academic Initiatives, audiences through both existing and planned aries," according to ICA's promotional material for the first Hammer Museum, University of California, Los Angeles, in structures, we are approaching the sort of critical Spiegel Symposium, "Resistance" (2004). Pamela Franks, conversation with Stephanie Smith, August 26,2004. mass that can sustain a truly lively forum. Curator of Academic Initiatives, Yale University Art Gallery, in conversation with Stephanie Smith, March 24,2005. 13. The need for the Smart's expansion became clear during its recent strategic planning process, completed in spring 5- The Consortium also supports two programs that existed 2004. The Smart Museum is working actively with the uni­ prior to its formation: ArtsBridge, Berkeley's K-12 educational versity administration as well as its neighbors, including the outreach program; and the Colloquium on Art, Technology, art history department and the Court Theater, as it moves and Culture, a monthly interdisciplinary lecture series that forward inthe facilities planning process. The idea of a new brings high-profile artists and scholars to campus for public student-oriented arts facility that would include the lectures. Michele Rabkin, ARC Associate Director, in conver­ Committee on the Visual Arts was first broached in2001 in sation with Stephanie Smith, August 25,2004. the "Future of the Arts at the University of Chicago" report, and is being pursued through a planning committee that 6. Inthis course, titled Drawing Sentences: Equivalents and includes university administrators and faculty from various Analogues-, both Mirra and her students created new works in departments including COVA. Both expansions have the sup­ response to W. G. Sebald's 1998 book The Rings of Saturn. port of the university and have been incorporated into the Mirra's project involved developing her own index for Sebald's current Campus Master Plan. book, which has led into a series of index-based works. Acquisitions 18

The Smart Museum and its adjacent Elden Sculpture Garden house over 9,000 works of art. The collection spans over 5,000 years of artistic creation, from classical Greek vases to 21st century photography, with particular strengths in modern art and design, postwar and contemporary art, Asian art from antiquity to the present, and works on paper from all periods.

Objects listed below entered the permanent collection from July t, 2003 through June 30,2004. Dimensions are in inches followed by centimeters inparentheses; unless otherwise indicated, height precedes width precedes depth. Known catalogue raisonnl references follow dimensions.

O marks works given in honor of the 30th anniversary of the Smart Museum.

European and American Otakar Nejedly Austro-Plungarian/Czech, 1883-1955 Paintings Untitled [jungle village], 1910 Oil on canvas board, 12 3/8 x 15 1/4 (31.4 x 38.7)

Sarah Canright Purchase, Gift of Roy and Mary Cullen, and Inge American, b. 1941 Maser Purchase Fund in honor of Richard A. Born, Untitled, c. 1970 2003.92 Oil on canvas, in artist's original painted frame, 48 1/2x60 1/2(123.2x 153.7) Ed Paschke Gift of Dennis Adrian in honor of the artist, American, 1939-2004 2003.104 Hophead, 1970 Oil on canvas, in artist's original painted frame, O) Jasper Francis Cropsey 45x60(114x 152.4) American, 1823-1900 Gift of Dennis Adrian in honor of Kimerly Rorschach, The Coast of Dorset, n.d. 2003.103 Oil on canvas, 22 1/4 x 37 1/8 (56.5 x 94.3) Gift of Miranda and Bob Donnelley in honor of Augustin Portillo Richard A. Born, 2004.22 Mexican, lives in U.S.A., b. 1960 America—1.13, 2003 Eric Fischl Oil on canvas, 48 x 68 (121.9 x 172.7) American, b. 1948 Purchase, Gift of the GFF Foundation, 2003.80 Titanville, 1986 Oil on canvas, 106 1/2 x 142 (270.5 x 360.7) Arnaldo Roche Rabell Gift of Susan and Lewis Manilow, 2003.146 Puerto Rican, lives in U.S.A, b. 1955 Beware of Who's Sleeping Next to You, 1991 Robert Lostutter Oil on canvas, 77 1/2 x 77 1/2 (196.9 x 196.9) American, b. 1934 Gift of the Joel and Carole Bernstein Family Map to the Morning Dance, 1972 Collection in memory of Allan Frumkin, 2003.55 Oil on canvas, 53 x 36 (134.6 x 91.4) Purchase, Paul and Miriam Kirkley Fund for Josef Zamazal Kerry James Marshall probes the complexities of black American experience in visually sophisticated Acquisitions, 2004.7 Austro-Flungarian/Czech, 1899-1971 works that range in mood from deeply humanistic to exquisitely caustic. In the early 1990s, Marshall Landscape, 1920 Kerry James Marshall Oil on canvas, 18 1/2 x 21 1/8 (47 x 53.7) distilled the influences of artists as diverse as Kathe Kollwitz and BillTraylor into large-scale easel American, b. 1955 Gift of Roy and Mary Cullen in honor of paintings that depict subjects culled from African American culture. Slow Dance combines complex Slow Dance, 1992-93 Richard A. Born, 2003.90 visual devices with a sweet, bluesy subject and shows Marshall at his early best, just as he had syn­ Mixed media and acrylic on unstretched canvas, thesized his distinctive painting style. 75 1/4x47 1/4 (191.1 x120) The Smart Museum purchased Slow Dance shortly after acquiring Marshall s Heirlooms and Purchase, Smart Family Foundation Fund for Accessories (2002), a major photo-based triptych. Together these works encapsulate the range of his Contemporary Art, and Paul and Miriam Kirkley production over the past decade. Slow Dance enhances the museums strong holdings of figurative O Fund for Acquisitions, 2004.23 painting, and as a major work by an internationally recognized artist living inChicago, Slow Dance upholds the Smart's commitment to collecting significant works by locally based artists. < 20 Acquisitions

O George Grosz Sculpture Q Romare Bearden American, 1914-1988 German, lived in U.S.A., 1893-1959 Street Scene (StraBenszene), October 1916 Artist unknown, Italian, Lucca? Farewell in New Orleans, 1975 Miraculous Madonna of Chioggia, 18th century Cut paper, newsprint, and glossy magazine paper Reed pen and ink on wove paper, Oval plaquette, gilt cast bronze, 4 1/4x3 (10.8 x 7.6) collage, sight: 14 1/4 x 18 1/4 (36.2 x 46.4) sheet: 23 1/4 x 18 1/8(59.1 x46) Gift of Collection of Edward A. Maser, 2003.112 Gift of Elisabeth and William Landes in honor of the Gift of Mr. and Mrs. Stanley M. Freehling in honor 30th anniversary of the Smart Museum, 2004.4 of the 30th anniversary of the Smart Museum, Artist unknown, French 2003.102 Diana and the Sleeping Endymion, Hugo Boettinger 1 st quarter of 19th century Austro-Hungarian/Czech, 1880-1934 Henri Matisse Cast bronze plaquette, 2 5/8x5 3/8 (6.7 x 13.7) Milca Mayerova Dancing, April 25, 1926 French, 1869-1954 Gift of Collection of Edward A. Maser, 2003.113 Pencil on wove paper, sheet: 17 1/4x11 3/4 Untitled [Carmen], October 1950 (43.8x29.9) Black chalk on laid paper, sheet: 18 1/2x12 3/8 Emile-Antoine Bourdeile Gift of Eva and Richard Willenbrink in honor (47x31.4) French, 1861-1929 of Richard A. Born, 2004.13 Gift of A. L. Blinder, 2004.28 T6te d'Amourette, 1914 (plaster; bronze cast date unknown, before 1972) Hugo Boettinger Horace Clifford (H. C.) Westermann Cast bronze, ed. size unknown (marked no. 1), Milca Mayerova Dancing, April 25, 1926 1945, 1978 h. 14 3/8(36.5) Pencil on wove paper, sheet: 17 3/8x11 3/4 Pen and ink and watercolor on wove paper, sheet: Gift of A. L. Blinder, 2004.26 (44.1 x 29.9) 13 5/8x 11 (34.6x27.9) Gift of Eva and Richard Willenbrink in honor The H. C. Westermann Study Collection, Gift of Aristide Maillol of Richard A. Born, 2004.14 Dennis Adrian in honor of Richard A. Born, French, 1861-1944 2003.105 Pierre Auguste Renoir, probably 1908 John Dowell Cast bronze, h. 16 (40.6) American, b. 1941 Prints Gift of A. L. Blinder, 2004.27 To See Through, 1973 Watercolor on black wove paper, © The Beginning [Der Anbruch), 1919 Q Horace Clifford (H. C.) Westermann sheet: 27 1/2 x 19 5/8 (69.9 x 49.9) (published November 1920) American, 1922-1981 Gift of the Joel and Carole Bernstein Family Journal, 3 issues (vol. II, no. 3 with 2 prints by Karl © Romare Bearden, Farewell in New Orleans, 2004.4 Art © Romare Bearden Foundation/Licensed by VAGA, New York, NY. Ensor's Mother, 1956 Collection, 2003.121 Schmidt-Rottluff; vol. II, nos. 10-11 with 2 prints by

Pine, hardwood, and 1887 silverpoint and contd- Erich Heckel and 1 each by Gerd Wollheim and Emil In the mid-1960s, Romare Bearden began creating intricate and visually striking collages that crayon drawing on gesso-grounded figwood panel Josef Eberz Maetzel; and vol. II, nos. 6-7 with 4 prints by Emil explore African American cultural traditions and social issues. Farewell in New Orleans exemplifies by James Ensor (Belgian, 1860-1949), German, 1880-1942 Nolde), electrotypes cast from original woodcuts, the artist's enduring interest inAfrican American vernacular traditions as they are embodied in rituals 3 5/8x 12 3/4x9 7/8 (9.2 x 32.4 x 25.1) The Crucifixion IKreuzigung), 1916 sheet: 16x11 (40.6x27.9) and musical forms, and also provides insight into his complex working methods. MCA 8 Pencil on wove paper, sheet: 12 1/8x14 11/16 Gift of Alan and Lois Fern in honor of the 30th An important work by a major twentieth-century African American artist, Bearden's collage The H. C. Westermann Study Collection, Gift of (30.8 x 37.3) anniversary of the Smart Museum, 2003.138, provides a strong centerpiece for the Smart Museum's nascent collection inthis area, which includes Dennis Adrian in honor of the 30th anniversary of Purchase, Inge Maser Purchase Fund, 2003.91 2003.130, and 2003.134, respectively works by Dawoud Bey, Kerry James Marshall, and Adrian Piper. Gift of Elisabeth and William Landes the Smart Museum, 2003.144 in honor of the 30th anniversary of the Smart Museum. Lyonel Feininger O Albrecht Altdorfer Works on Paper American, lived in Germany, 1871-1956 German, c. 1480-1538 Rain Cloud, October 22, 1939 The Last Judgment, c. 1515 Artist unknown. Italian, Roman or North Italian Pen and ink and watercolor on wove paper, Woodcut, block: 2 3/4 x 2 (7 x 5.1) Union of Mary and Joseph, 18th century? sight: 14 3/4 x 21 1/2 (37.5 x 54.6) Bartsch 39 Pen and ink on laid paper, sheet: 12 1/4x7 7/8 Gift of the Family of Leo S. Guthman, 2003.101 Gift of Alan and Lois Fern in honor of the 30th (31.1 x 20) anniversary of the Smart Museum, 2003.122 Gift of Thomas and Janis McCormick, 2003.56 Morris Graves While evoking the familiar Passion iconography of the Virgin American, 1910-2001 Robert Arneson lamenting over the crucified Christ, this rectangular plaquette is Bird, 1956 American, 1930-1992 actually a rare depiction of a miracle that took place in 1508 in Ink wash on wove paper, sheet: 18 3/4x25 1/2 Squint, 1981 Chioggia, an outpost of the Venetian Republic. At that time, Mary (47.6 x 64.8) Color lithograph on black wove paper, appeared to a poor gardener, supporting the limp body of her son, Gift of the Family of Leo S. Guthman, 2003.100 composition/sheet: 40 x 30 (101.6 x 76.2) wounded by the sins of the city's residents. Gift of Bill Hood, 2003.54 Renaissance and Baroque bronzes, so distinct in origin and function, are infrequently available, making this example a valued addition to the Smart's already strong holdings inthe area of small- scale bronze sculptures and decorative arts. Gift of Collection of Edward A. Maser.

Artist unknown, Miraculous Madonna of Chioggia, Italian, Lucca?, 2003.112 Acquisitions

Georg Baselitz Q Honore Daumier Lyonel Feininger German, b. 1938 Le Portier de M. Valtour, c. 1830 Wreck (Wrack), 1918 The Drinker(Trinker), March 17, 1982 Lithograph, 7 7/8x 10 1/4 (20 x 26) Woodcut on oatmeal-tan carbon-copy paper, proof Color woodcut, block: 39 1/2 x 31 1/4 (100.4x79.4) Delteil 2579 impression?, block: 4 1/16x7 1/4 (10.3 x18.4) Granvil and Marcia Specks Collection, 2003.59 Gift of Alan and Lois Fern in honor of the 30th Prasse W101 anniversary of the Smart Museum, 2003.125 Gift of John A. and Andrea L. Weil, 2004,15 Georg Baselitz Eagle (Adler), 1981 Otto Dix Lucian Freud Woodcut, block/sheet: 39 3/8 x 31 1/2 (100 x 80) German, 1891-1969 British, b. in Germany, 1922 Granvil and Marcia Specks Collection, 2003.58 Manitschka, 1923 Naked Man on a Bed, 1990 Lithograph, ed. 27/50, composition/sheet: Hard-ground etching, ed. 40/40, plate: 11 5/8x11 5/8 Jean-Jacques de Boissieu 17 1/4x 14 3/4 (43.8x37.5) (29.5x29.5) French, 1736-1810 Karsch 61 Hartley 40 The Mill on the River, after a picture by Ruisdael Bequest of Louise H. Landau, 2003.67 Gift of the Joel and Carole Bernstein Family (Le Moulin sur la Rivibre, d'aprbs un tableau de Collection, 2003.120 Ruisdael), 1774 Otto Dix Etching, plate: 11 1/2x 14 3/4 (29.2x37.5) The War [Der Krieg): Cover and Colophons, 1924 Giuseppe Galli-Bibiena, designer Regnault-Delalande/Vente Rigal 136; Cover and 4 colophon sheets (Mappen 1-4, Mappe Italian, 1696-1756 Boissieu/Perez 75 Ill/Ill 5 missing), for portfolio ed. 10/70, cover: paper- I. A. Pfelffel, engraver Purchase, Paul and Miriam Kirkley Fund for board covered in fabric with linen binding and with Untitled [designs for funerary monuments], 1740 Acquisitions, 2003.86 embossed black typeset title (in Dix's script), Five plates from Architectural and Perspective closed: 20 3/8 x 15 x 2 (51.8 x 38.1 x 5.1); each Designs...(Architetture e Prospettive...), Giulio (di Antonio) Bonasone colophon sheet: typeset on wove paper, folded: Part I, nos. 1 and 3, part II, no. 2, and part III, Italian, active from 1531, d. after 1576 18 3/4x14 1/4(47.6x36.2) nos. 2 and 3 Last Judgment! after Michelangelo), c. 1546-49 Granvil and Marcia Specks Collection, 2003.89a-e Engravings, plate dimensions vary Engraving, plate: 23 1/16 x 17 5/8 (58.6 x 44.8) Gift of Collection of Edward A. Maser, Bartsch XV 132.80; Massari 1983, p. 71, no. 79 ll/V © Maurice Dumont 2003.114-2003.118 Purchase, Paul and Miriam Kirkley Fund for French, 1869-1899 Acquisitions, 2003.66 Mauria (Sappho), c. 1895 © Giuseppe Galli-Bibiena, designer Glyptograph, one impression printed in blue and Untitled IScourging of Christ?), 1740 © Bartolommeo Coriolano one impression printed in relief on silver foil, both Plate from Architectural and Perspective Designs... Italian, c. 1599-c. 1676 on original mountings with the blind stamp of the (Architetture e Prospettive...), Part III, no. 4 Salome with the Head of John the Baptist German periodical Pan, sheet: 4 3/4x7 1/2 Engraving, plate: 19x12 1/4 (48.3 x 31.1) (after Guido Reni), 1631 (12.1 x 19.1) Gift of Alan and Lois Fern in honor of the 30th Three-color chiaroscuro woodcut, Bonafous-Murat 68 anniversary of the Smart Museum, 2003.135 image: 6 1/2x7 1/2 (16.5 x 19.1) Gift of Alan and Lois Fern in honor of the O George Grosz, Street Scene tStrafienszene), 2003.102 Bartsch XII 79.28 30th anniversary of the Smart Museum, Hendrick Goltzius Gift of Alan and Lois Fern in honor of the 30th 2003.127, 2003.128 Dutch, 1558-1617 anniversary of the Smart Museum, 2003.124 The Emperor Commodus as Hercules, c. 1591 © Henri Fantin-Latour (plate; early 18th-century impression?) Q Honore Daumier Engraving, printed in red, plate: 16 1/2x11 1/16 George Grosz was one of the most astute social critics among twentieth-century French, 1836-1904 French, 1809-1879 Prelude to Lohangrin, 1898 (41.8 x 29.8) artists. Like many artists of his generation, Grosz was deeply affected by a direct Les Nouveau Chalets, 1856 Lithograph, 21 3/4 x 16 3/4 (55.3 x 42.6) Hirschmann 146 ll/ll experience of World War I, which instilled in him a loathing for militarism and Lithograph, 9x 10 1/8 (22.9 x 25.7) Purchase, Paul and Miriam Kirkley Fund for nationalism. Street Scene dates from the time following his first period of discharge Hddiard 146 Delteil 2774 Acquisitions, 2003.65 from the military (June 1915-January 1917), when, in a state of some psychological Gift of Alan and Lois Fern in honor of the 30th Gift of Alan and Lois Fern in honor of the 30th distress, he strove to come to terms with the implications of his involvement in anniversary of the Smart Museum, 2003.129 anniversary of the Smart Museum, 2003.126 the war. Inhis numerous paintings and drawings of this period, the modern city appears as a chaotic emblem of a society spinning out of control. Street Scene deepens the Smart Museum's holdings of Grosz's art from the interwar period. In addition to providing an original example of what the artist called his "razor-sharp style," Street Scene complements other works in the collection that capture a variety of German artistic responses to World War I. Gift of Mr. and Mrs. Stanley M. Freehling inhonor of the 30th anniversary of the Smart Museum. Acquisitions 24

This large print by Giulio Bonasone is notable for Max Pechstein June Leaf Ron Gorchov being one of the first completed reproductions— German, 1881-1955 American, lives in Canada, b. 1929 if not the very first—of Michelangelo's instantly American, b. 1941 Portrait Iwith Scarf) (Bildnis [mit Kopftuchl), 1920 The Head in the Cave, 1980 renowned Last Judgment fresco, finished in Untitled, 1979 Etching and aquatint, plate: 10 1/8x7 7/8 Color lithograph, Landfall Press impression no. L.P. Color lithograph, ed. 80/200, composition/sheet: 1541. Bonasone worked from his own black chalk 3, composition/sheet: 25 1/8 x 36 3/16 (63.8 x 91.9) (25.7 x 20) 30x22 1/2(76.2x57.2) drawing after the fresco, which underscores Kruger R120 Gift of Isaac S. and Jennifer A. Goldman, 2003.82 Achilles-Adrian 36 Michelangelo's unwillingness to collaborate Bequest of Louise H. Landau, 2003.68 Gift of Isaac S. and Jennifer A. Goldman, 2003.83 with printmakers interested in reproducing his Robert Heinecken work. This, the second state of the print, bears a Q Camille Pissarro Q Lucas van Leyden American, b. 1931 reference to a papal privilege, certainly one of French, 1831-1903 German, c. 1489-1533 Periodical #1, 1969 the earliest ever issued inRome regarding a print. The Church at Osny IL'Eglise de Osny), c. 1884 Unique recollated magazine, 15 of 19 works in The Expulsion, 1529 The work is also notable as an early example of Engraving, sheet trimmed to plate: 6 1/2x4 3/4 (plate; this impression 1920 ed.) series'. 10 5/8 x 8 3/16 x 3/16 (27 x 20.8 x .5) the practice, widespread by the sixteenth century, Soft-ground etching and drypoint, ed. 26/50, Purchase, Paul and Miriam Kirkley Fund for (16.5 x 12.1) of dedicating prints, in this case to the patron plate: 4 1/2 x 6 (11.4 x 15.2) Acquisitions, 2004.29 Bartsch 4 Cardinal Alessandro Farnese. Delteil 62 Gift of Alan and Lois Fern in honor of the 30th As an engraved reproduction of high quality anniversary of the Smart Museum, 2003.131 Gift of Alan and Lois Fern in honor of the 30th Robert Heinecken and impressive scale, this work will play an anniversary of the Smart Museum, 2003.136 Periodical #5, 1971 important role in the upcoming Mellon Projects Louis Marcoussis Magazine with offset lithography, 6 of 12 exhibition Paper Museums: The Reproductive Q Camille Pissarro (6 at this scale, 6 larger): 10 3/16x77/8x3/16 French, 1883-1941 Print in Europe, 1500-1800 (winter 2005). Haymakers (Les Faneuses), 1890 (plate; early (27.5 x 20 x .5) Aurdlia, 1930 posthumous impression) Purchase, Paul and Miriam Kirkley Fund for Portfolio of 10 etchings, based on the poem Aurdlia by Gdrard de Nerval, bon d tirer proof impressions, Etching, ed. 95/100, plate: 7 3/4x5 1/4 Acquisitions, 2004.30 each plate: 6 3/4 x 5 1/4 (17.2 x 13.3) (19.7x13.3) Delteil 94 Robert Heinecken Gift of Jack and Flelen Halpern in honor of Gift of Alan and Lois Fern in honor of the 30th Robert Heinecken... Wore Khakis, 1998 Richard A. Born, 2004.19a-j anniversary of the Smart Museum, 2003.137 Die-cut artist's book (Nazraeli Press), ed. 6/20, book: 101/2x81/16x7/16 (26.7 x 20.5 x 1.1): Kerry James Marshall Ferdinando Ruggieri, designer box: 11 11/16x93/16x1 3/8(29.7x23.3x3.5) Heirlooms and Accessories, 2002 Italian, c. 1691-1741 Purchase, Paul and Miriam Kirkley Fund for Ink-jet prints on paper in artist's wooden frames Florentine Funerary Monument, 1738 Acquisitions, 2004.31 with rhinestones, three parts, ed. of 3, Engraving, plate: 20 5/8 x 15 5/8 (52.4 x 39.7) each frame: 51 x 46 (129.5 x 116.8) Giulio (di Antonio) Bonasone, Last Judgment (after Michelangelo) ,2003.6 Gift of Collection of Edward A. Maser, 2003.119 Luis Jimenez Purchase, Smart Family Foundation Fund for American, b. 1940 Contemporary Art, and Paul and Miriam Kirkley Pieter van Sompel Lowrider, 1981 Fund for Acquisitions, 2003.12a-c Flemish, c. 1600-active in Haarlem until at least 1644 Lithograph, sheet: 28 x 39 (71.1 x 99.1) Supper at Emmaus i.after Peter Paul Rubens), 1643 Although plein-air painting is often regarded as the impressionists' Gift of Isaac S. and Jennifer A. Goldman, 2004.15 O Roberto Matta Echaurren, called Matta quintessential medium, certain kinds of printmaking also offered Chilean, lived in U.S.A., 1912-2002 Etching, plate: 14 1/4x12 13/16 (36.2 x 32.5) them the immediacy and spontaneity they craved in their search Ernst Ludwig Kirchner Untitled [personage), 1955 Nagler 26 l/lll; Heller-Andresen 2 l/lll; Schneevogt 420 l/lll; Wurzbach 13; Dutuit 115 l/lll; Hollstein 2 l/IH for an art based on a direct observation of nature. Camille Pissarro German, 1880-1938 Lithograph, 13x10 1/4 (33 x 26) was the most prolific impressionist printmaker, and during his Gerda and Erna IGerda und Erna), 1912 Gift of Alan and Lois Fern in honor of the 30th Purchase, Paul and Miriam Kirkley Fund for most innovative period he supplemented etching and drypoint Lithograph, proof impression of third (final) state, anniversary of the Smart Museum, 2003.132 Acquisitions, 2003.85 (which resemble drawing inthe freedom of "hand" that they offer) block: 16 1/2x12 1/2 (42x31.6) with other techniques such as aquatint and the use of granular Dube 209 Ill/Ill © Jean-Franqois Millet Larry Stark resins. Using an astonishing variety of strokes and textures, he Purchase, Paul and Miriam Kirkley Fund for French, 1814-1875 American, b. 1941 exploited inThe Church at Osny the print's potential to evoke the Acquisitions, 2004.32 Shepherdess, n.d. On the Way to Bud's House in the Winter of 1974, Lithograph printed on chine colld, 1975 subtlest of atmospheres, seen in the play of clouds scudding across the sky. Nature's prominence is asserted by the sinuous Ernst Ludwig Kirchner 13 1/8x15(33.3x38.1) Color lithograph, composition: 21 7/8 x 31 7/8 trees, which render inconspicuous the two figures on the grass Japanese Acrobats (Japanische Akrobaten). 1911 Gift of Alan and Lois Fern in honor of the 30th (55.6 x 86) and dwarf even the church of the title. Woodcut, hand colored in watercolor and printed anniversary of the Smart Museum, 2003.133 Gift of Isaac S. and Jennifer A. Goldman, 2003.81 by the artist, block: 10 3/4x9 3/4 (27.3 x 24.8) The Church at Osny joins the Smart Museum's strong holdings of etching revival works from both France and England. A fine Dube 194 Ill/Ill (dated 1912) Bequest of Louise H. Landau in memory of example of the inventiveness of impressionist printmaking, it can Wallace Landau, 2003.74 be situated in the French landscape tradition between two other recent acquisitions, Jean-Jacques de Boissieu's The Mill on the River and Maurice Dumont's Mauria (Sappho). Gift of Alan and Lois Fern inhonor of the 30th anniversary of the Smart Museum. G Camille Pissarro, The Church at Osny iL'Eglise de Osny), 2003-136 26 Acquisitions

O Carol Summers Henri de Toulouse-Lautrec O William Bell American, b. 1925 Florbal {Springtime), 1895 Group of 18 large-scale albumen prints, several of Corinth Canal, 1977 Lithograph, sheet: 13 3/4 x 10 1/2 (34.9x26.7) which seem meant to be combined into panoramc Color woodcut, ed. 34/50, sheet: 16x12 1/2 Adriani 155 (second state, with the addition of text views, vintage impressions, various dimensions, (40.6x31.8) not designed by Lautrec) 1872-74 Summers 142 Bequest of Louise H. Landau, 2003.73 Purchase, Gift of the Smart Family Foundation Gift of Alan and Lois Fern in honor of the 30th in honor of the 30th anniversary of the Smart anniversary of the Smart Museum, 2003.139 Henri de Toulouse-Lautrec Museum of Art, 2003.147.2-4, 6-21 Footit and Chocolat, 1894 Q Carol Summers Color transfer lithograph, ed. of approx. 2000, Dawoud Bey (with Dan Collison and Vesuvio, 1964 sheet: 13x16 3/4(33x42.6) Elizabeth Meister) Color woodcut, ed. 37/50, sheet: 29 1/4 x 21 Published in Nib, a supplement to La Revue Blanche American, b. 1953 (74.3 x 53.3) Adriani 104 Julia, University of Chicago Laboratory Schools, 2003 Summers 57 Bequest of Louise H. Landau, 2003.72 Chromogenic print and audio CD, print: 50 x 40 Gift of Alan and Lois Fern in honor of the 30th (127x101.6) anniversary of the Smart Museum, 2003.140 Q Henri de Toulouse-Lautrec Commission, Smart Museum of Art, University Your Mouth ITa Bouche), 1893 (plate; this impression of Chicago, Gift of the artist, 2003.51 Willem van Swanenburg probably after 1901) Dutch, c. 1581/82-1612 From the series Ancient Tales (Les Vieilles Histoires) Dawoud Bey (with Dan Collison and Supper at Emmaus (after Peter Paul Rubens), 1611 Lithograph, ed. size unknown, sheet: 15x11 Elizabeth Meister) Engraving, plate: 12 11/16x12 1/2 (32.2 x 31.8) (38.1 x 27.9) Steven, Kenwood Academy High School, 2003 Nagler 27; Le Blance 16; Wurzbach 27; Dutuit 116 Adriani 30 Chromogenic print and audio CD, print: 50 x 40 l/lil; Schneevogt 421 l/lll; Hollstein 6 l/lll Gift of Alan and Lois Fern in honor of the 30th (127 x 101.6) Purchase, Paul and Miriam Kirkley Fund for anniversary of the Smart Museum, 2003.141 Commission, Smart Museum of Art, University Acquisitions, 2003.84 of Chicago, Gift of the artist, 2003.52 O Antonio da Trento Henri de Toulouse-Lautrec Italian, 1510-1550? Dawoud Bey (with Dan Collison and French, 1864-1901 Martyrdom of Two Saints (after Parmigianino), Elizabeth Meister) La Coiffure—Programme du ThhStre Libre, 1893 16th century Theresa, South Shore High School, 2003 Color lithograph, from numbered ed. of 100 Three-color chiaroscuro woodcut, image (trimmed Chromogenic print and audio CD, print: 50 x 40 (no. 157/100), sheet: 19 1/4x 12 3/4 (48.9x32.4) to borders): 11 7/8 x 17 7/8 (28.3 x 45.4) (127x101.6) Adriani 40 (second state, before program lettering) Bartsch XII 79.28; Koloff 20 Commission, Smart Museum of Art, University Bequest of Louise H. Landau, 2003.71 Gift of Alan and Lois Fern in honor of the 30th of Chicago, Gift of the artist, 2003.53 anniversary of the Smart Museum, 2003.123 Henri de Toulouse-Lautrec G Manuel Alvarez Bravo Confetti, 1894 Photographs Mexican, 1902-2002 V k>d-Prter Wilkin, Canova's Venus, 2 Color lithograph, ed. approx. 1000, The Good Reputation Sleeping {La buena fama sheet: 22 5/8x 17 3/4 (55.9 x 45.1) © Artist unknown, American durmiendo), 1939 Adriani 101 Untitled [building, possibly Denver, Colorado], c. 1870 Gelatin silver print, mounted on paper panel, Bequest of Louise H. Landau, 2003.70 Albumen print, vintage impression, photograph image: 7 3/8 x 9 5/8 (18.7 x 24.5) The American photographer Joel-Peter Witkin stages photographs of erotic and/or grotesque image: 7 3/4 x 11 (19.7x27.9) Gift of Joel Snyder in honor of the 30th anniversary subjects, and often bases his pictures on art historical sources. This image is based on an early Henri de Toulouse-Lautrec Purchase, Gift of the Smart Family Foundation of the Smart Museum, 2003.76 19th-century sculpture, Caonova's Paolina Borghese as Venus Victorious. InWitkin's mildly gothic Divan Japonais, 1892-93 in honor of the 30th anniversary of the Smart reinterpretation of Canova's original, Venus is portrayed by a supine, masked man. The work Color lithograph, ed. approx. 1000-3000, Museum, 2003.147 resonates with several themes of the postmodern art theories that rose to prominence in the 1970s sight: 31 3/4 x 23 1/2 (80.7 x 59.7) and 1980s, around the time Witkin made this work, including appropriation, parody, and gender Adriani 8 O William Bell construction. Witkin's practice also fits into a long history of elaborately staged photographic Bequest of Louise H. Landau, 2003.69 American, b. in England, 1830-1910 tableaux, ranging from Julia Margaret Cameron's nineteenth century allegorical scenes through Canyon and Headlands of the Colorado and Paria pictures made by Witkin's postmodern peers up to recent work by Chinese photographers such as Rivers, 1872 Wang Qingsong. Like these other artists, Witkin's work does not transcribe or document the real, and Albumen print, vintage impression, two sheets, he intends to make viewers conscious of this fact not only though his choices about composition overall sight: 6 5/8 x 20 7/8 (16.8 x 53) and subject matter, but also in the material properties of the image. As evident in this photograph, Purchase, Gift of the Smart Family Foundation Witkin often manipulates the look of the final print, imparting antiqued effects through techniques in honor of the 30th anniversary of the Smart like scratching the negative or printing through tissue paper to soften the image. Representative of Museum, 2003.148a-b significant trends inphotography throughout the late 1970s and 80s, Canova's Venus is an excellent addition to the museum's growing collection of recent photography. Gift of Barbara and Russell Bowman in honor of the 30th anniversary of the Smart Museum. Acquisitions

O Timothy O'Sullivan Bernard Leach Asian Group of 15 large-scale and 9 small albumen prints, British, 1897-1979 plus one stereoscopic print, vintage impressions, Bow/, c. 1948 Chinese various dimensions, 1868-74 Glazed stoneware with painted and incised Purchase, Gift of the Smart Family Foundation decoration, h. 2 11/16 (6.8), diam. of mouth 5 7/16 Painting and Calligraphy in honor of the 30th anniversary of the Smart (13.8) Museum, 2003.147.1a-i, 5, 22-36 Gift of James Wells, 2004.1 Qi Baishi Chinese, 1864-1957 Irving Penn Gertrud Natzler Hen, n.d. American, b. 1917 American, b. in Austria, 1908-1971 Flanging scroll, brush and ink and light color on Scarred Dahomey Girl, 1967 (negative; this Otto Natzler paper, painting; 19 7/8x19 5/8 (50.5 x 49.9) impression September/October 1984 edition) American, b. in Austria, 1908 Gift of Marilynn Alsdorf in honor of Richard A. Born, Platinum-palladium print, ed. 18/21, image: 13x13 Vase, n.d. 2004.20 (33 x 33) Glazed earthenware, h. 8 (20.3) Gift of Barbara and Russell Bowman, 2003.142 Gift of John A. Peloza and Linda A. Lucchesi Photography in memory of Irene Blank, 2003.88 Joel-Peter Witkin Rong Rong American, b. 1939 Frank Lloyd Wright, designer Chinese, b. 1968 Canova's Venus, 1982 American, 1867-1959 Rong Rong's East Village, 2003 Manipulated gelatin silver print, Architectural Spandrel, c. 1913 Iron box designed by the artist containing 40 gelatin image: 14 3/8x14 7/16(36.5x36.6) From Midway Gardens, Chicago (1913-29) silver prints, each signed and numbered, plus a Gift of Barbara and Russell Bowman, 2003.143 Cast concrete, 32 3/4 x 27 3/4 x 6 1/2 copy of a limited-edition book of the same title with Bernard Leach, Bowl, 2o o 4.1 (83.2x70.5x 16.5) texts by the artist and Wu Flung, ed. of 38, box: i Decorative Arts Purchase, Paul and Miriam Kirkley Fund for 2 3/8x 191/8x 18 1/4 (6 x 48.6 x 46.4), photographic Acquisitions, 2003.57 sheet dimensions vary American, New York, New York Purchase, Paul and Miriam Kirkley Fund for Often called the father of British studio pottery, Bernard Leach is the best-known and most promi­ Bernard Rice's Sons, Inc., manufacturer Russell Wright, designer Acquisitions, 2004.11a-pp nent of the British studio potters. His return from Japan in1920, where he had trained in traditional I Tea Pot, c. 1928 American, 1904-1976 Japanese raku pottery, and his construction that year of a Japanese-style climbing kiln at St. Ives, I Silver-plated metal with raffia wrapped handle, American, Ohio, East Liverpool, Steubenville Cornwall, signaled the beginning of an influential, fifty-year presence in the field. Leach incorporated h. (with lid) 6 1/2 (16.5) Pottery, manufacturer the traditions of both European and Asian ceramics, never directly copying Chinese, Japanese, or I Gift of Barbara and Russell Bowman, 2003.111 a-b Partial Set of "American Modern " Dinnerware Korean pieces but developing a particular sensitivity to the clays, glazes, and surface treatments Service, 1937 (design in production 1939-c. 1959) used to make them. This bowl reflects his use of diverse sources, including symmetrical Chinese I German, Ludenscheid, Gerhardi & Co., manufacturer Cast glazed earthenware (pitcher, creamer, and forms, sgraffito decoration, and English slip, or liquid clay, glazes. j Fiv e-Piece Tea and Coffee Service, 1902-04 sugar bowl in pinkish tan; gravy boat and saucer The bowl is a very different type of ceramic than another piece by Leach, a covered earthen­ ISilver, tea pot h. 7 13/16 (19.8); coffee pot h. 9 in "Granite Gray"), pitcher h. 10 7/8 (27.6), creamer ware jar with a Japanese black tenmoku glaze, which has long been in the Smart Museum's collection. 1(22.9); creamer h. 4 13/16 (12.2); sugar bowl h. with h. 3 (7.6), sugar bowl h. 3 (7.6), gravy boat length The addition of this work resonates not only with the museum's strong holdings of twentieth-century Ilid 6 11/16(11) 10 3/8 (26.4); saucer length 10 15/16 (27.8) European and American studio pottery but also with its collection of modern East Asian ceramics. IBequest of Louise Ft. Landau, 2003.75a-e Gift of Barbara and Russell Bowman, Gift of James Wells. 2003.106-2003.109a-b

Russell Wright, designer American, New York, Syracuse, Iroquois China Company, manufacturer "Casual China" Tea Pot, 1946 (design in production 1946-c. 1965) Cast glazed earthenware (in tan), h. (with lid) 5 1/2 (14) Gift of Barbara and Russell Bowman, 2003.110a-b 30 Acquisitions

3 1

Hasui Kawase Indian Jiun (Kozuki Onko) Japanese, 1718-1804 Japanese, 1883-1957 Iwai Bridge at Nozu Sakuyama, 1946 Sculpture No Thing INothing11Buji'), n.d. Calligraphy hanging scroll, brush and ink on paper, Color woodblock print (oban), block: 14 1/4x9 3/8 (36.2 x 23.9) Ravinder Reddy calligraphy panel: 12x 16 5/16 (30.5 x 41.5) Gift of Mary S. Lawton, 2003.93 Gift of Brenda F. and Joseph V. Smith, 2003.79 Indian, b. 1956 Girija, 2000 Hasui Kawase Painted and gilded cast polyester resin, 45 x 29 x 58 Attributed to Kano Yasunobu Moon over Nakajima, Sapporo, 1933 (114.3x73, x 147.3) Japanese, 1613-1685 Color woodblock print loban), block: 14 3/16x9 9/16 Gift of Susan and Lewis Manilow, 2003.87 Heron and Willow Branch, n.d. Hanging scroll, brush and ink on paper, painting: (36.1 x 24.3) Japanese 8 3/4 x 14(22.2x35.6) Gift of Brenda F. and Joseph V. Smith, 2003.77 Ichikawa Danjuro DC, Display of Theatrical Props, 2003.953-0 Gift of James Wells, 2004.2 Painting and Calligraphy Hasui Kawase Nagata Sakichi, called Jitsudo Moon at Seichoen Garden, 1938 Display of Theatrical Props, done in the naturalistic Shijo School style, joins the Smart Museum's Color woodblock print loban), block: 14 3/8x9 Ml small but impressive collection of late-nineteenth-century surimono from Osaka and Kyoto. Such Artist unknown, Japanese, Meiji period (1868-1912) Japanese, 1701-1789 (36.5x24.1) deluxe color woodblock prints were privately printed in limited numbers in order to commemorate Calligraphy, late 19th century Enso, 1787-88 a special social gathering or personal occasion. This example was not only commissioned but also, Poem slip Itanzaku), ink on gold-speckled light Hanging scroll, brush and ink on paper, painting: Gift of Brenda F. and Joseph V. Smith, 2003.78 unusually, designed by the leading Kabuki actor Ichikawa Danjuro IX, who was accorded the honor brown paper, 14 1/2x2 1/2 (36.8 x 6.4) 35 3/8x 10 3/4(89.9x27.3) of a command performance before the emperor in 1887. The print marks a singular point in the Gift of Brooks McCormick Jr., 2003.96 Gift of Brooks McCormick Jr. in honor of Ichikawa Danjuro IX Richard A. Born, 2004.16 Japanese, 1839-1903 actor's long and distinguished career: the moment at which he assumed the name of "Danjuro IX,"

Artist unknown, Japanese, Meiji period (1868-1912) Display of Theatrical Props, 1874 a prestigious lineage title that had remained vacant since the suicide of his famous brother, Calligraphy, late 19th century Ohara Fudeko Diptych (horizontal format) color woodblock print Danjuro VIII, twenty years earlier. Ina typical surimono, pictorial imagery is augmented with poems Poem slip Itanzaku), ink on gold-speckled silk, Japanese, active 1st third of 20th century Isurimono) with original envelope (fukuro), each and other literary texts that unite the worlds of the visual and literary arts in a single work. Here, 14 1/2x2 1/2(36.8x6.4) Head of a Beautiful Woman IBijinga), 1920s/30s sheet: 16x21 (40.6x53.3) however, the reference is more oblique: a still-life of costumes and props used by the actor in two Gift of Brooks McCormick Jr., 2003.97 Hanging scroll, ink and opaque color on paper, Gift of Brooks McCormick Jr., 2003.95a-c of his signature roles. painting: 13 7/8 x 10 3/8 (35.2 x 26.4) Display of Theatrical Props is a welcome addition to the Smart Museum's collection of late-

Artist unknown, Japanese, Meiji period (1868-1912) Gift of Mary S. Lawton, 2003.94 Matsumura Gyokuen [Matsuburo Takako?, wife of nineteenth-century Japanese prints, highlighted most recently in the spring 2003 exhibition Calligraphy, late 19th century the painter Unshin] Reflections of Beauty: Late Nineteenth-Century Japanese Prints in the Smart Museum Collection. Gift Poem slip Itanzaku), ink on silver-speckled blue Tanaka Gakun (with 12 scholar-artists) Japanese, active 1830-60 of Brooks McCormick Jr. paper, 14 1/2 x 2 1/2 (36.8 x 6.4) Japanese, dates unknown, late Edo/early Meiji Untitled [commemoration of the Ballad of Takaeru], Gift of Brooks McCormick Jr., 2003.98 period (mid-19th century) 1855-65 Mushrooms of Longevity with Calligraphy, 1877-78 Color woodblock print with metallic inks Isurimono), Artist unknown, Japanese, Meiji period (1868-1912) Hanging scroll, brush and ink on paper, painting: sheet: 153/8x20 11/16(39.1 x 52.5) Calligraphy, late 19th century 531/4x13 1/4(135.3x33.7) Gift of Brooks McCormick Jr., 2003.63 Poem slip Itanzaku), ink on gold-speckled white Gift of Mr. and Mrs. Michael R. Cunningham, In his monumental sculptures Ravinder Reddy fuses the life of paper, 14 1/2x2 1/2 (36.8 x 6.4) 2003.145 Matukawa Hanzan, called Kakyo India s streets with his country's traditional religious imagery. Gift of Brooks McCormick Jr., 2003.99 Japanese, 1818-1882 This work takes as its subject both a contemporary Indian Prints Untitled [nobleman with bow and arrows accompa­ woman and Girija, which means "born of a mountain" and is Hakuin Ekaku nied by two attendants], c. 1860 another name for the goddess Parvati, wife of Shiva and mother Japanese, 1685-1768 Artist unknown, Japanese, late Edo/early Meiji Color woodblock print with metallic inks Isurimono), of Ganesha. Reddy's process reflects his fascination with India's Figure Seated in Meditation, 1765-68 period (mid-19th century) sheet: 15 3/16x20 5/16(38.5x51.6) modernization and his respect for its rich artistic heritage: he Hanging scroll, ink on paper, painting panel: Untitled (two fans), c. 1860 Gift of Brooks McCormick Jr., 2003.60 forms clay models to make plaster molds, which he then uses to 70 1/4 x 15 3/4(178.4x40) Color woodblock print with metallic inks Isurimono), cast unique pieces from polyester-resin fiberglass. The artist com­ Purchase, Paul and Miriam Kirkley Fund for sheet: 153/16x20 1/8(38.5x51.1) Roshu? bined gold leaf and industrial paint to articulate Girija's surface. Acquisitions, 2004.33 Gift of Brooks McCormick Jr., 2003.61 Japanese, dates unknown, late Edo/early Meiji While the Smart Museum's collection includes several fine period (mid-19th century) examples of traditional Indian and Gandharan art, this piece Untitled (tent with flowering fruit tree), 1855-65 provides a point of connection with contemporary India. Reddy's Color woodblock print with metallic inks Isurimono), sculpture also amplifies the museum's holdings of modern and sheet: 17 3/8 x 22 3/8 (44.1 x 56.8) contemporary art, which are strong in sculpture and figurative Gift of Brooks McCormick Jr., 2003.64 traditions. Gift of Susan and Lewis Manilow.

Ravinder Reddy, Girija, 2003.87 32 Acquisitions

Sadanobu Hasegawa II Korean Japanese, 1848-1935 Untitled (kimono and fan bearing flowers], 1860-65 Ceramics Color woodblock print with metallic inks and lacquer (surimono), sheet: 15 1/2 x 20 9/16 (39.4 x 52.2) Korean, Joseon dynasty (1392-1910) Gift of Brooks McCormick Jr., 2003.62 Bottle, 15th—16th centuries Glazed stoneware (buncheong) with underglaze Photographs iron-oxide decoration (jeolhwa) (Gyeryongsan ware), h. 12 (30.5) Hiroshi Sugimoto Purchase, Paul and Miriam Kirkley Fund for Japanese, b. 1948 Acquisitions, 2004.3 Hall of Thirty Three Bays, 1995 Three gelatin silver prints from the series of O Gim Ikyeong (Kim Yikyung) jYoshida Junichiro, called Kenzan, Boxfor Documents (Bunko), 2004.18 the same name, ed. of 25, each sheet: 20 x 24 Korean, b. 1935 (50.8x61) Untitled (water vessel], 2003 Purchase, Paul and Miriam Kirkley Fund for Glazed porcelain with overglaze slip, 8 x 20 x 14 1/2 [Yoshida Junichiro is a recognized master of mid-twentieth-cen- Acquisitions, 2004.8-10 (20.3 x 50.8 x 36.8) Itury Japanese lacquer art. He made this box, richly outfitted with Purchase, Gift of Gay-Young Cho and Christopher elaborately detailed imagery, for holding poem cards, slips and Ceramics Chiu in honor of the 30th anniversary of the Smart lother important documents. Init he employed a variety of tradi­ Museum, 2004.6 tional Japanese low-relief techniques and a diversity of colors Ito Tozan, potter fend finishes. The box's cover features an exuberant, colorful Japanese, 1841-1920 feame bird in flight over a field of autumn-hued grain, while its Keizan Soshu, calligrapher Interior surfaces are adorned with restrained, sinuous hanging Japanese, dates unknown r'nes. This unexpected pairing suggests Yoshida's desire to dis­ Sake Cup, c. 1900 tinguish between the box's two roles: it functions as an object Glazed porcelain with overglaze enamel, silver, and i)f delight when closed and a rarefied container of treasured gilt decoration (Awata ware), h. 1 1/4 (3.2), diam. of objects when opened. The aesthetic choices and artisanal labor mouth 3 3/8 (8.6) ferought to bear on this document box reflect the high esteem © Gim Uiyeong (Kim Yikyung), Untitled [water vessel),2004.6 Gift of Brooks McCormick Jr., 2004.17 f hat calligraphy and poetry enjoy both in Japan and in East Asian f ullurc more generally. Lacquer The Smart Museum's 2003 exhibition of Edo and Meiji lac- Unlike earlier generations of Korean studio potters, who perfected fcuer from the collection of the Harvard University Art Museums close imitations of traditional ceramic pieces, Gim Ikyeong has Yoshida Junichiro, called Kenzan underscored the specific artistic and cultural importance of the studied the colors, materials, and shapes of the famed porcelains Japanese, 1898-1961 Kraft of lacquer in traditional Japanese society. This acquisition is of the Joseon dynasty in order to transform these historic exem­ Box for Documents [Bunko), 1930s-40s fen important addition to the decorative arts section of the Smart plars into sculptural forms of great personal conviction and con­ Lacquer in low relief (hiramaki-e technique) on feJuseum s Japanese collection, which has been less developed temporary vigor. The squared shape of this large vessel, along with wood, 1 3/4 x 10 3/4 x 12 (4.5 x 27.3 x 30.5) Ihan painting and printmaking. Gift of Lolli Thurm in honor of its notched handles and high, raised foot, evoke the distinctive, Gift of Lolli Thurm in honor of Richard A. Born, |( chardI A. Born. ritual white ware of the early Joseon period. However, Gim created 2004.18 this piece on a much larger scale than such historic porcelains, thereby foreclosing its use in traditional ceremonies. The vessel's strong contours and boldly faceted surfaces are representative features of Gim's ceramics. Here, the potter used a rougher-than-usual clay that takes on a pale, dull gray appearance when fired; she also lightened and enlivened the final coloration by brushing and spattering white slip, or liquid clay, onto the pot before firing it. These innovations of style and technique are char­ acteristic of Gim's recent work. The Smart Museum has developed in a relatively short period a select collection of traditional Korean ceramics with particular reference to the great fluorescence of the craft during the Joseon period. The acquisition of this ceramic piece by one of Korea's most important living potters helps us extend the chronological range of the Korean ceramics collection with a significant example by a modern master. Purchase, Gift of Gay-Young Cho and Christopher Chiu inhonor of the 30th anniversary of the Smart Museum. Acquisitions

GEDNEY COLLECTION OF PHOTOGRAPHS BY TIMOTHY O'SULLIVAN AND WILLIAM BELL

1867-1874, was a landmark in O'Sullivan studies Some of the most celebrated images of nine­ and one large-scale print by an as-yet-unidenti- now, nearly twenty-five years later, he believes teenth-century American photography were fted photographer. Also included is a group of produced during government-sponsored nine small photographs and one stereoscopic there is more to be said about this important geological surveys that were organized to study view by O'Sullivan. The Gedney Collection truly photographer. William Bell, on the other hand, i ! and document western landscapes. The images transforms the nature of the Smart's photography still very much a figure to be discovered; part

Cat 36 Loans

Loans listed date from July 1,2003 through June 30,2004. Dimensions are ininches followed by centimeters in parentheses; height precedes width precedes depth.

Short-Term Outgoing Loans to Exhibitions Long-Term Outgoing Loans to Permanent Collections:

Albright-Knox Art Gallery, Buffalo, New York Montgomery Museum of Fine Arts, Alabama University Art Gallery, Frank Lloyd Wright Preservation Trust, Metropolitan Museum of Art, New York, New York Edwin Dickinson: Dreams and Realities Roger Brown, A Different Dimension California State University, Hayward Oak Park, Illinois On loan since September 28, 1982 April 27-July 14, 2002 April 10-June 6, 2004 Jen & Modern Art: Echoes of Buddhism in Western On loan since January 14, 1980 Frank Lloyd Wright, designer Traveled to: Pennsylvania Academy of the Fine Arts, Traveled to: Chicago Cultural Center, Paintings & Prints George Mann Niedecken, designer Sofa, c. 1909 Philadelphia, September 21, 2002-January 12, July 17-September 26, 2004 October 8, 2003-January 31, 2004 American, 1878-1945 Oak and oak veneer with (replacement) 2003: National Academy of Design Museum and Roger Brown Kasumi Bunsho In association with Frank Lloyd Wright upholstery, 23 3/4 x 94 3/8 x 38 1/4 School of Fine Arts, New York, January 31—April 13, American, 1941-1997 Japanese, 1905-1998 Arm Chair Rocker, c. 1909 (60.3x239.7x97.2) 2003; Arkansas Arts Center, Little Rock, May 9-July Mask for the Chairman of the Board of Patience, n.d. Oak with (replacement) upholstered slip University Transfer, 1967.72 20, 2003; Sheldon Memorial Art Gallery and Directors, 1974 Hanging scroll, brush and ink on paper, seat, 38 3/4x31 3/8 x 34 Sculpture Garden, University of Nebraska-Lincoln, Acrylic on wood construction with leather 42x27 1/4(106.7x69.2) (98.4x79.7x86.4) August 30-November 9, 2003 thongs, 37 x 9 X 14 (94 x 22.9 x 35.6) Gift of Brooks McCormick Jr., 2001.89 University Transfer, 1967.56 Edwin Dickinson The George Veronda Collection, 1996.16 American, 1891-1978 Frank Lloyd Wright, designer Self-Portrait, 1941 Palazzo Ducale, Genoa, Italy Dining Table Side Chair, 1907-10 Oil on canvas, 19 1/2 x 22 1/2 (49.5 x 57.2) L'Etd di Rubens, dimore, committenti e Oak with (replacement) leather slip seat, The Mary and Earle Ludgin Collection, collezionisti genovesi 52 1/2 x 18 x 19 1/4 (133.3 x 45.7 x 48.9) 1985.104 March 20-July 11, 2004 University Transfer, 1967.82 Giovanni Antonio de Sacchi (called II Exhibitions International, New York, New York Pordenone) Light Screens: The Leaded Glass of Frank Lloyd Wright Italian, Venetian School, 1483/84-1539 Traveled to: American Craft Museum, New York, Milo of Croton Attacked by Wild Beasts, May 10-September 2, 2001; Grand Rapids Art 1534/36 Museum, October 12, 2001-January 2, 2002; Oil on canvas, 80 1/2 x 93 3/4 (204.5 x 238.1) Allentown Art Museum, February 21—April 28, Purchase, The Cochrane-Woods Collection, 2002; Renwick Gallery of the National Museum of 1975.31 American Art, Smithsonian Institution, Washington, D.C., March 14-July 20, 2003; Wichita Art Smithsonian Institution Traveling Exhibition Museum, November 14, 2004-January 30, 2005 Service, Washington, D.C. Frank Lloyd Wright (designer) In the Spirit of Martin: The Living Legacy of American, 1867-1959 Dr. Martin Luther King, Jr. Window, c. 1909 Traveled to: Charles H. Wright Museum of African Original wood casing with clear and colored American History, Detroit, January 12-August 4, leaded glass and original metal hardware, 2002; Bass Museum of Art, Miami Beach, September 49 1/4x30 5/8(125.6x77.8) 7-November 9, 2002; Frederick R. Weisman Art University Transfer, 1967.86 Museum, Minneapolis, January 4-March 30, 2003; International Gallery, Smithsonian Institution, Frank Lloyd Wright (designer) Washington, D.C., May 14-July 27, 2003; Memphis Window, c. 1909 Brooks Museum of Art, Memphis, August cn Original wood casing with clear leaded 30-November 9, 2003; Montgomery Museum of Fine glass and original metal hardware, Arts, Alabama, December 20, 2003-March 28, 2004 33 3/4 x 35 5/8 (85.7 x 90.5) Robert Gwathmey University Transfer, 1967.87 American, 1903-1988 From Out of the South, c. 1941 McMullen Museum of Art, Boston College, Oil on canvas, 39 1/2 x 60 (100.3 x 152.4) Chestnut Hill, Massachusetts The Mary and Earle Ludgin Collection, CD Matta: Making the Invisible Visible 1985.107 February 1-May 24, 2004 Roberto Matta Echaurren (called Matta) o Chilean, lived in U.S.A., 1912-2002 Jem'arche, 1949 Oil on canvas, 76 1/4 x 55 (193.7 x 139.7) Gift of Lindy and Edwin Bergman, 1991.289 38 Exhibitions

The Smart Museum presents exceptional works of art—from our own collection, on loan, or commissioned from living artists—in innovative and engaging exhibitions, often developing projects in collaboration with University of Chicago faculty.

Smart Museum exhibitions and related programs are generously supported by the Smart Family Foundation; the Andrew W. Mellon Foundation; the John D. and Catherine T. MacArthur Foundation; Thomas and Janis McCormick and the Kanter Family Foundation; the Illinois Arts Council, a state agency; Nuveen Investments, Inc.; the Rhoades Foundation; the EloiseW. Martin Fund; the Office of the Provost and the Visiting Committee on the Visual Arts, University of Chicago; and the Friends of the Smart Museum. Additional support for specific exhibitions is listed below.

The Painted Text: Picturing Narrative in European Art Installation view of The Painted Text: Picturing Narrative in European Art April i-September 14,2003 (2003). Old Master Gallery

The Painted Text examined the complicated relationships between words and images during and following the Renaissance. Drawing on representations of ancient myths and epic poems in the Smart Museum's collection and on loan, this exhibition invited viewers to consider the challenges artists faced as they transformed written stories into alluring visual narratives. The Painted Text: Picturing Narrative in European Art was co-curated by Mellon Projects Curator Elizabeth Rodini and Frederick De Armas, Andrew W. Mellon Professor in the Department of Romance Languages and Literatures, University of Chicago. The exhibition was made possible in part by the Andrew W. Mellon Foundation; the Smart Family Foundation; the Rhoades Foundation; and the Office of the Provost, University of Chicago. Additional funding was provided by the Special Collections Research Center, University of Chicago Library, and the Franke Institute for the Humanities, University of Chicago. Installation view of Material Identity: Material Identity: Prints by Robert Arneson Prints by Robert Arneson (2003). June 21-September 7,2003 Joel and Carole Bernstein Gallery

Robert Arneson (1930-1992) transformed American ceramic practice through his integration of sculpture and painting. Featuring prints from the Smart Museum's collection, this exhibition show­

cased a lesser-known but equally vibrant aspect of Arneson's work. This exhibition was presented in Prints by Robert Arneson conjunction with Big Idea: The Maquettes of Robert Arneson. Material Identity: Prints by Robert Arneson was curated by Senior Curator Richard A. Born.

Big Idea: The Maquettes of Robert Arneson -

A seminal figure in the West Coast ceramic movement of the 1960s, Robert Arneson often functioned Installation view of Big Idea: The Maquettes of Robert Arneson (2003). as a cultural critic, filling his works with provocative humor, self-parody, irony, and satire. Arneson rooted his practice in the traditions of modern craft and the clay statuary and pottery of classical and Asian civilizations. This exhibition focused on Arneson's small-scale, three-dimensional studies for his large, signature ceramic sculptures. As a group, the maquettes, displayed alongside related drawings and large-scale sculptures, documented Arneson's artistic development and the evolution of his work. Big Idea: The Maquettes of Robert Arneson was organized by the Palo Alto Art Center and Curator Signe Mayfield. Senior Curator Richard A. Born coordinated the Smart Museum's presentation The exhibition was made possible through the support of the Palo Alto Art Center Foundation; The Chnstensen Fund, Palo Alto; the Association of Ceramic and Glass Artists, California; the California Arts Council, a state agency; the Arts Council Silicon Valley; an anonymous donor in honor of the Archives of American Art, Smithsonian Institution, Washington, D.C.; John Kottely; the Morgan Flagg Family Foundation; Dominic and Margaret Di Mare; Forrest L. Merrill; and private contributions Exhibitions

Mid-Century American Abstraction: Master Works on Paper Installation view of Mid-Century American Abstraction: Master Works September 13-December 7,2003 on Paper (2003). Joel and Carole Bernstein Gallery

This exhibition of works on paper examined the critical decade of the 1940s, during which various styles of European modernism were transformed, by artists working inthe United States, into a new aesthetic of expressive, nonobjective abstraction. This intimate exhibition featured recent donations from the collection of Janice and Henri Lazarof and included works by Willem De Kooning, Hans Hoffman, Franz Kline, and David Smith. Mid-Century Abstraction: Master Works on Paper was curated by Senior Curator Richard A. Born.

Hiroshi Sugimoto: Sea of Buddha October 2,2003-January 4,2004 Richard and Mary L. Gray Special Exhibition Gallery

Installation view of Hiroshi Sugimoto: In 1995, Hiroshi Sugimoto (b. 1948) made a stunning suite of photographs at Kyoto's famed Sea of Buddha (2003-2004). medieval Buddhist temple, the Hall ofThirty-Three Bays (Sanjusangendo). This group of medita­ tive images, entitled Hall of Thirty-Three Bays, formed the heart of the Smart Museum's exhibition, which also included photographs from Sugimoto's Seascapes series, his print series In Praise of Shadows, rarely exhibited artist's books, and the video Accelerated Buddha. The display was presented in conjunction with Visual Mantras: Meditative Traditions in Japanese Buddhist Art. These exhibitions were two of the many projects presented nationally as part of Awake: Art, Buddhism, and the Dimensions of Consciousness, a 2003-04 program that brought artists, scholars and museum professionals together for a series of meetings to explore interconnections between Buddhist practice and the arts in America. Hiroshi Sugimoto: Sea of Buddha was curated by Curator Stephanie Smith. The exhibition was made possible in part by the Smart Family Foundation: the Blakemore Foundation; and Nuveen Investments, Inc.

Visual Mantras: Meditative Traditions in Japanese Buddhist Art October 2,2003-February 22,2004 Installation view of Visual Mantras: Meditative Traditions in Japanese Old Master Gallery Buddhist Art (2003-2004).

Traditional Japanese Buddhist culture historically features images that evoke contemplative and meditative responses. InVisual Mantras, figurative paintings and Zen calligraphy from the Smart Museum's collection chronicled the changing significance of visual arts in the devotional practices of lapanese Buddhism from the sixteenth to the twentieth century. This exhibition was presented in conjunction with Hiroshi Sugimoto: Sea of Buddha. Visual Mantras: Meditative Traditions in Japanese Buddhist Art was curated by Kris Ercums, Curatorial Intern and Ph.D. candidate inArt History at the University of Chicago.

Mapping the Sacred: Nineteenth-Century Japanese Shinto Prints December 13,2003-March 28,2004 Joel and Carole Bernstein Gallery

Installation view of Mapping the Drawn from materials gathered in the 1890s by University of Chicago professor Edmund Buckley, Sacred: Nineteenth-Century Japanese this exhibition of prints and photographs explored the conjunction of traditional Japanese forms Shinto Prints (2003-2004). with Western-style perspective, developments in printing technology, and a late-nineteenth-century boom in tourism to Japan. Mapping the Sacred: Nineteenth-Century Japanese Shinto Prints was curated by Kris Ercums, Curatorial Intern and Ph.D. candidate inArt History at the University of Chicago. J m /

H'f i

tH Exhibitions

Illuminations: Sculpting with Light Installation view of Illuminations: Sculpting with Light (2004). January 22-April 4,2004 Richard and Mary L. Gray Special Exhibition Gallery

Beginning with one of the first-known sculptures to incorporate electric light, this exhibition explored American artists' fascination with light as a sculptural medium. It also featured one of the earliest artworks to employ fluorescent illumination, Charles Biederman's #9, New York, 1940, in addition to key early works by '60s masters Dan Flavin, Robert Irwin, and James Turrell, and a major commission from emerging artist Stephen Hendee. Illuminations: Sculpting with Light was co-curated by Senior Curator Richard A. Born and Curator Stephanie Smith. The exhibition was made possible in part by the Adelyn Russell Bogert Fund of the Franke Institute for the Humanities, University of Chicago.

The Uses of Art in Renaissance Italy March g-August 22,2004 Old Master Gallery Installation view of The Uses of Art in Renaissance Italy (2004).

Modern museums have cast many artifacts of Renaissance life in the role of art objects. However, these objects' original sites of display reveal a great deal about the reasons, beyond aesthetics, for which they were produced. This exhibition called attention to the forms and functions of early modern material culture and situated diverse works, including altarpieces, an embroidered chasuble, important medals, a reliquary, and works on paper, within a fully developed historical context. The Uses of Art in Renaissance Italy was curated by former Mellon Projects Curator Elizabeth Rodini and installed by current Mellon Projects Curator Anne Leonard. The exhibition was funded in part by the Andrew W. Mellon Foundation, with additional support from the Smart Family Foundation; the Rhoades Foundation; and the Istituto Italiano di Cultura.

Incisive Vision: The Prints of James Abbott McNeill Whistler April 3-June 13,2004 Joel and Carole Bernstein Gallery Installation view of Incisive Vision: The Prints of James Abbott McNeill Whistler Active inEngland and France, the American-born painter James Abbot McNeill Whistler (1834-1903) (2004). was a giant of nineteenth-century printmaking and a leader in the revival of etching as a creative print medium. This exhibition presented 25 prints, donated to the Smart Museum in 2001, that capture several ofWhistler's varied stylistic modes. Incisive Vision: The Prints ofJames Abbott McNeill Whistler was co-curated by Senior Curator Richard A. Born and Simone Tai, Curatorial Intern and Ph.D. candidate in Art History at the University of Chicago.

Taisho Chic: Japanese Modernity, Nostalgia, and Deco April 22-June 20,2004 Richard and Mary L. Gray Special Exhibition Gallery

The reign of Emperor Taisho (1912-26) was an era of transition for Japan, as Jazz Age mores and styles jostled with traditional cultural values. Japanese designers faced a choice between adapting Installation view of Taisho Chic: traditional forms and motifs or embracing new, western techniques and patterns, which had Japanese Modernity, Nostalgia, and Deco become identified with progress. InTaisho Chic, over 60 scroll paintings, folding screens, wood­ (2004). block prints, textiles, and other works of decorative art from the 1920s and 1930s represented the broad spectrum of Taisho culture. Taisho Chic: Japanese Modernity, Nostalgia, and Deco was organized by the Honolulu Academy of Arts and curated by Kendall H. Brown, Professor of Art History, California State University, Long Beach. It was made possible by support from the Hawaii State Foundation on Culture and the Arts. The Smart Museum's presentation was coordinated by Senior Curator Richard A. Born and the exhibition and related programs were made possible through the support of the Smart Family Foundation, Robert W. Christy; the OMRON Foundation; the Center for the Art of East Asia in the Department of Art History, University of Chicago; the Japan Committee and the China Committee of the Center for East Asian Studies, University of Chicago; the Adelyn Russell Bogert Memorial Endowment of the Franke Institute for the Humanities, University of Chicago; and the Film Studies Center of the University of Chicago. 44 Publications

Smart Museum publications document our exhibitions and collections, disseminating new knowledge.

Publications are listed in alphabetical order by title. Unless otherwise noted, they are distributed by the University of Chicago Press and are available in the Smart Museum shop, through the museum's Web site (http://smartmuseum.uchicago.edu), or by calling 773.702.0200.

Acquisitions 1990-2004

Smart Collecting: Acquisitions Two Visionary Brothers: Between Past and Future: New Essays by co-curators Christopher Phillips Dawoud Bey: The Chicago Project 1990-2004, Celebrating the Thirtieth David and Alfred Smart Photography and Video from China and Wu Hung examine the recent history and Dawoud Bey, Dan Collison, Elizabeth Meister, Stephanie Smith, and Jacqueline Terrassa Anniversary of the David and Alfred David Mazie Wu Hung and Christopher Phillips current status of photography and video in 44 pages, 17 color plates, 9 black-and-white 96 pages, 12 color plates, 20 black-and-white Smart Museum of Art 232 pages, 75 color plates, 40 halftone China. Also included are artists' biographies, Kimerly Rorschach, with contributions illustrations illustrations and artist interviews conducted by Melissa Chiu, illustrations from Smart Museum staff Design by Froeter Design Co. Design by Froeter Design Co. Lisa Corrin, and Stephanie Smith. Between Past Design byFroeter Design Co. 224 pages, 128 color plates 2003, ISBN: 0-935573-37-2 2004, ISBN: 0-935573-39-9 and Future is a valuable resource for students of 2003, ISBN: 0-935573-38-0 Design by Joan Sommers Design Paper $12.00 Cloth $40.00 art and cultural history and anyone interested Paper $25.00 2004, ISBN: 0-935573-41-0 Co-published by the Smart Museum, the in contemporary Asian art. The exhibition was CO David and Alfred Smart were the Chicago-based Paper $29.95 International Center of Photography, and organized by the Smart Museum of Art and the Is it possible for a photographic portrait to founders of Esquire, launched in 1933. One of Steidl Publishers International Center of Photography, New York, in reveal anything "real" about its subject? As part The David and Alfred Smart Museum of Art at the first men's fashion magazines, Esquire was Distributed in North America by the University collaboration with the Museum of Contemporary of a twelve-week residency at the University of the University of Chicago celebrates its thirtieth also distinguished by the high quality of its of Chicago Press; by Thames & Hudson inall Art, Chicago, and the Asia Society, New York. Chicago's Smart Museum of Art, acclaimed anniversary with this lively, richly illustrated literary and editorial features: the first issue other territories This catalogue was made possible by the gen­ photographer Dawoud Bey asked this question catalogue of recent acquisitions. Published in included pieces by Ernest Hemingway, Jon erous support of the American Center Foundation of twelve teenagers from nearby schools. This conjunction with the exhibition Smart Collecting, Dos Passos, and Dashiell Hammett. The Smart The massive political, economic, and social and The Elizabeth F. Cheney Foundation. fully illustrated book unpacks the process of the full-color volume is an up-to-date and brothers' other ventures included Coronet changes China has undergone during the past Bey's ambitious residency and its products: essential reference to the collection of one of the Films, the nation's leading producer of Cold decade have dramatically altered its cultural a major exhibition pairing Bey's portraits of nation's most innovative university art museums. War-era educational and training films, many landscape. The exhibition and catalogue each student with audio portraits created by In the publication, an essay by Dana Feitler of which are now cult favorites. This fully illus­ Between Past and Future: New Photography and award-winning radio producers Dan Collison Director Kimerly Rorschach charts the growth trated biography chronicles the Smarts' lives Video from China offer the first comprehensive and Elizabeth Meister (included here on CD), and strengths of the Smart's collection as they and professional innovations. look at the body of photographic art produced as well as an exhibition of portraits curated by relate to the institution's teaching mission. Smart Funding for this publication was graciously during this period. Often ambitious in scale the students themselves. Collecting also provides detailed documentation provided by the REGE Philanthropic Fund. and experimental innature, the works featured Dawoud Bey: The Chicago Project was of all acquisitions made between 1990 and 2004, in this publication encompass a wide range of generously sponsored in part by the MetLife and features over fifty object entries highlighting highly individual responses to these unprece­ Foundation Museum Connections Program; important additions in areas such as print and dented transformations. the National Endowment for the Arts; the Smart Family Foundation; Sara Lee Foundation; Nuveen photographic art, German expressionism, East Investments, Inc.; the Nathan Cummings Asian art, and contemporary art. A fascinating Foundation; Allen and Lynn Turner; the Cultural work in its own right, the catalogue chronicles the Policy Center and the Center for the Study of development of a unique collection and shows Race, Politics and Culture, University of Chicago. how a museum itself is always a work inprogress. This catalogue was made possible by gen­ erous support from Arthur and Jane Mason. 46 Education

As an integral part of its mission, the Smart Museum offers education programs and public events that make its collections and exhibitions accessible to a broad and diverse audience, encourage cross-disciplinary debate, and provide participants with tools to engage in a life-long dialogue with art.

Support for education programs was provided by the Smart Family Foundation, the John D. and Catherine T. MacArthur Foundation, and the Chicago Community Trust. Additional support for specific initiatives is listed in the descriptions below.

University of Chicago Exhibition Projects Students and Faculty During 2003-04, university faculty and students planned and shaped many of the Smart's exhi­ The Smart Museum provides a space where bition and permanent collection displays. University of Chicago students and faculty from Professor Wu Hung continued to work all disciplines can expand and share their own closely with Smart staff on Between Past and knowledge through direct access to original Future: New Photography and Video from China, works of art; through participation ineducational Art 101 students look at prints in the Museum's Education a ground-breaking project co-organized with programs; and through behind-the-scenes work. Study Room (10/05/04). the International Center of Photography in New Collaborations with faculty and students often York, and in collaboration with the Asia Society shape exhibitions, publications, and programs and to see objects from a range of periods, cul­ and the Museum of Contemporary Art, Chicago Student docent Jesse Kohn and curatorial intern Sophie Hackett at the opening of Illuminations: Sculpting with Light (1/22/04). that provide a link between the university and tures and styles. This collaboration between the (opened inNew York in June, 2004, on view in its wider community. Art History Department's faculty and the Smart Chicago, October 2004-January 2005). Museum entered its second year in 2003-04. Mellon Project exhibitions continue to with Curator Stephanie Smith, professor Laura with Senior Curator Richard A. Born; Whitney Curricular Uses of the Smart Museum Another innovative use of the collection serve as important resources to many audiences. Letinsky, and the MFA students to organize and Rugg's reinstallation of part of the Feitler Through curricular collaborations, the Smart was initiated in 2003-2004 by Dr. Joel Schwab, In 2003, the Smart Museum hosted a six-week install the exhibition at Gallery 312, a non-profit Gallery; and the organization of small thematic serves as a key educational resource for University Associate Professor of Pediatrics at the Pritzker National Endowment for the Humanities Summer space in Chicago's West Loop district. The MFA displays of contemporary works on paper by faculty and students. School of Medicine, and Sara Skelly, Education Seminar for College and University Teachers, exhibition and Smart Museum internships are Rugg and Uchenna Itam. One of the most extensive collaborations Coordinator at the Smart. Over the past year, which drew upon the concurrent exhibition The supported in part by the University of Chicago's Smart Museum interns also created new c occurs through the art history course Artioi, medical students visited the museum as part Painted Text: Picturing Narrative in European Art. Visiting Committee on the Visual Arts. education and interpretive resources for which offers an introduction to the visual arts for of their third-year pediatric residencies. At the The seminar, taught by guest curator and Andrew museum visitors. Sophie Hackett developed a undergraduates whose concentration lies outside Smart, they honed observational and inferential W. Mellon Professor in the Humanities Frederick new Visitors' Guide that will be published in of art history. As part of the course, students skills by looking at artworks and by drawing De Armas, focused on Cervantes' encounter with Interns Internships at the Smart Museum offer pro­ 2004-05, and education intern Julia Oldham visit the Smart Museum to explore materials and parallels between art analysis and diagnostic the Italian Renaissance as but one instance of o designed monthly online activities and informa­ fessional training for University of Chicago methods of printmaking, painting, and sculpture, strategies used inmedical practice. the intersections of art and literature, which the tion sheets on artworks for children, and gallery exhibition had considered in a broader context. students, and provide the museum with crucial resources for families. In the business office, Another Mellon projects, Paper Museums: assistance on both its behind-the-scenes work and its public programs. interns tracked expenses and gained valuable Curricular Uses of the Smart The Reproductive Print in Europe, 1500-1800 museum retail skills by helping to manage the (February-May 2005), has involved faculty and By organizing their own exhibitions and collections displays, University of Chicago stu­ Smart's cafe and store. Public relations and Number of Courses or Course Sections that used the Smart as a Resource: 34 students since the earliest planning stages. Guest ~CU dent interns honed curatorial skills and shared marketing interns edited the Smart Museum's curator and Assistant Professor of Art History their knowledge with wider audiences. One of website, lobbied for Smart Museum listings in Some curricular uses of Smart Museum resources: Rebecca Zorach invited four of her advanced the most extensive curatorial intern projects, area newspapers and websites, and worked to Ellen Andrew, Darby English, Naomi Hume, Kimerly Rorschach, Allison Terry, and Yudong Wang, Art 101 graduate students to contribute essays and Visual Mantras: Meditative Traditions in Japanese make Smart Museum mailings and community O Lee Behnke, Ovid's "Metamorphoses" object entries to the exhibition catalogue. Last Buddhist Art, was sparked by the exhibition distributions possible. Interns Susannah Dianna Frid, Visual Language year those students also helped with the selection Hiroshi Sugimoto: Sea of Buddha. Kris Ercums Ribstein and Mary Trent worked in the registrar's William Landes and Kimerly Rorschach, Art Law of works, and they will participate in a scholarly curated Visual Mantras with objects from the office assisting in the ongoing development of Z5 Laura Letinsky, Beginning Photography, Visual Language symposium co-organized by the Art Institute of Smart's collection, and the conjunction of those the digital images archive and database. Diane Miliotes, Gender, Art and Politics Chicago when the exhibition opens in 2005. traditional materials with the contemporary Joel Schwab, Pritzker School of Medicine In another mode of exhibition projects, the work in Hiroshi Sugimoto enriched both shows Barbara Stafford, Media Archaeology final exhibition of the university's Masters of Fine "O Arts Program serves as a curatorial practicum and opened up new possibilities for educational Hans Thomsen, Woodblock Prints of Japan and Visual Culture of Eighteenth-Century Japan programs. Other curatorial intern activities Tiffany Trent, Arts Education for a Smart Museum curatorial intern and for included: Simone Tai co-curating Incisive Vision: Martha Ward, 1900 in the Smart Collection the graduating class of MFA students. Last year, LU Curatorial Intern Uchenna Itam worked closely The Prints of James Abbott McNeill Whistler 48 Education

School Programs School Programs Kenwood Academy High School

The Smart Museum's school programs give School children who visited the Smart: 2,440 Kenwood/Oakland Charter School teachers and students—primarily from Chicago's Total multi-session program attendance^, 170 King High School South Side—in-depth visual art experiences. Co- Total one-time/youth program attendance: 1,270 Murray Language Academy taught by University of Chicago student docents Teachers who took part in museum programs: 44 Nihos Heroes Academy of Learners North and schoolteachers, our multi-session programs Oglesby School integrate visual art skills and knowledge into the 2003-04 partner schools: Orozco School school curriculum. Last year, with assistance Ashburn Community Elementary School Our Lady of the Gardens from the museum's Education Advisory Beasley Academic Center Prescott School Committee, the Smart developed a sequential Bret Harte Elementary Ray School series of art education programs that extends Charles H. Wacker Elementary School Sawyer Elementary School University of Chicago Laboratory Schools from grades three through twelve. Through this Chicago Mennonite Learning Center Wadsworth Elementary School programmatic framework, the Smart offers stu­ Clinton School dents increasingly challenging art experiences as Dyett Academic Center they advance in grade, equips teachers with the Hyde Park Career Academy tools they need to make art central to teaching Julian High School Kelly High School University of Chicago student docent Owen Aronson discusses Alice Neal's painting, Nancy, with fifth grade students from and learning, and strengthens its role as a key Oglesby Elementary School, who were participating in smARTExplorers (2/27/04). educational resource in the local community.

Smart Museum Activities Committee Student Docent Program [Art in Focus] inspired me (S.M.A.C.) All of the Smart Museum's docents are University Student Docent Program Undergraduate students from a wide range of of Chicago students. These undergraduate and Number of 2003-04 docents: 25 to get more creative, put academic areas came together weekly to plan graduate students offer visitors unique per­ Graduate students: 5 serious time into planning, events at the Smart Museum for other University spectives as they lead tours for Chicago public Undergraduate students: 20 of Chicago students, and to connect these stu­ school students, college students, families, and use different resources, and dents to Chicago's visual arts community. Last adult groups. Demand for this program has Docents represented these academic work on teaching students year, student co-chairs Patrick Monahan and steadily risen since its structure was formalized departments and committees: {Catherine Robinson—both second-year under­ in 1999: In fall 2003,40 students applied for 15 Art History how to work together. graduates in art history—led the group as they available docent positions. New docents prepare Biological Sciences TEACHER orchestrated a lively mix of events. These included for teaching in the galleries by participating in Classics large open houses, multi-disciplinary perform­ a seven-week training course that includes: Committee on Social Thought ances, art-themed study breaks, gallery trips, and orientations to the permanent collection; an Committee on the Visual Arts I liked seeing all kinds of talks by Chicago professionals working in the arts. introduction to methods of teaching school East Asian Languages and Civilizations artworks because I like to programs; a roundtable discussion with teachers; English strategies for presenting tours; and practice tours. History of Science look at new things. Ongoing training during the year familiarizes Human Development ART IN FOCUS STUDENT docents with new exhibitions and adds depth to Human Rights their knowledge of the museum's collection. In International Studies addition to gaining teaching experience, docents Law, Letters and Society interact with a diverse audience of schoolchild­ Philosophy ren, form relationships with educators and Political Science families in the local community, gain insight Pritzker School of Medicine into the inner workings of the museum, and discover new ways to view and understand art. Third grade students from Ray School write in their journals during the Art in Focus program (2/27/04). 50 Education I realized that art,...because it is about ideas and communi­ cation, is an ideal vehicle for cross-disciplinary thinking. I learned the importance of letting students lead and be active learners. ART IN CONTEXT TEACHER

I learned that light can be art. ART IN THE MAKING STUDENT

I learned that doing the simplest things can create

Art in Focus SmART Explorers I liked learning how to think a beautiful piece. Last year smART Explorers involved the largest The Smart successfully launched Art in Focus about art in different ways. ART IN THE MAKING STUDENT in January 2004. Structured around core Illinois number of classrooms ever. Early demand for State Goals for art, three interrelated units this remarkably popular and intense program led smART EXPLORERS STUDENT introduced young students to basic processes museum education staff to look for new ways of looking and making art, and helped them in which it could increase its capacity through understand how artworks can reflect a broader sequential programming inadditional grades. I can't wait for next year. As an historic, social or cultural context. For each unit, Co-taught by student docents and classroom educator I find this experience students explored artworks and basic visual art teachers, smART Explorers continues to enable extremely meaningful for myself concepts on the museum's interactive website, fifth grade students to explore the museum and Murray Language Academy students write about Robert Irwin's untitled light sculpture for Art in the Making (3/4/04). smARTkids. A visit to the Smart reinforced these discover a variety of ways to look at, talk about, as well as for my students. concepts and allowed children to respond to and think about art. Through classroom ses­ smART EXPLORERS TEACHER original objects through discussions and writing sions, gallery discussions, drawing and writing activities. Back in school, students expressed activities in the museum, and artmaking inthe their ideas and new knowledge of art by creating classroom, students interpreted artworks, I love the writing aspect of the Art in the Making Art in Context their own art. The program culminated in an honed analytical and communication skills, and Art in the Making builds on skills that students Fine arts, language arts and social studies exhibition of student artwork held at their school. expressed their own ideas about art. The six-week program, how you can look at a teachers gathered for two weeks in July 2003 for program culminated for each classroom with a have developed in earlier years. Offered for the piece of art and it tells so much. the Smart's first seminar for middle-school and final event featuring a student art exhibition and first time in 2003-04, the program helped high school educators. The two-week seminar student presentations of museum artworks for The writing reinforced the students interpret and explore the context of initiated a year-long partnership with Chicago classmates and family members. works in the Smart Museum's collection. Using things we were doing in class. these works as a point of departure, students Public Schools teachers in which participants worked under the guidance of a visual artist or designed and implemented extensive new cur­ Art in Focus SmART Explorers smART EXPLORERS TEACHER a writer to create their own pieces. Light and riculum projects. During the summer seminar, Grades: 3, 4 Grade: 5 space, two core ideas in the winter exhibition teachers learned methods of inquiry-based Students: 297 Students: 448 Illuminations: Sculpting with Light, served as teaching and curriculum integration, became Classrooms: 10 Classrooms: 16 the focus for three classes in the 2003-2004 familiar with the Smart's resources, and built Sessions per classroom: 10 Sessions per classroom: 15 program. Sixth graders explored minimalism, their knowledge of American art. They estab­ installation art, and the use of unconventional lished their own directions for research and

materials during museum and classroom ses­ used these to design multi-session curricular High school and middle school teachers participating in sions. Over the course of subsequent work­ projects. Over the course of the academic year, Art in Context tour the galleries with Senior Curator Richard shops, students at Murray Language Academy they carried out these plans, assessed, and Born (7/14/03). and Wadsworth School created installations documented results. Some of these projects and objects, while Bret Harte School students extended for ten months and demonstrated that produced fantastic stories about light and innovative teaching and curriculum design are space. Spring classrooms used the permanent the best means to address core learning goals. collection to explore popular culture in art.

Art in the Making Art in Context Grade: 6 Grades: 7-12 Students: 174 Teachers: 7 Classrooms: 6 Students: 251 Sessions per classroom: 10 Classrooms: 8 Artists: Paola Cabal, Mark Ernst, Reginald Lawrence

University of Chicago Laboratory School student practices her presentation for the smART Explorers final event (2/27/04). Education 52

Hyde Park Career Academy's Small Learning Collegiate Scholars Program Family Programs Partnership Projects In this new initiative, ninth-graders with dis­ Community for the Performing andVisual In addition to its structured programs, the Smart tinguished records compete for 50 spots in an Arts (PAVA) The Smart's family programs encourage family partnered with several area schools to develop enrichment program offered by the University As a partner in this Chicago Public Schools high members to imagine, inquire, and share ideas complex art projects within the context of the of Chicago for Chicago Public Schools students. school initiative, Smart Museum education about art in the galleries and through hands- school curriculum. As part of this initiative, the Smart offered Art staff are working with a team of teachers to on projects. Visitors, young and not-so-young, and Writing: Approaches to Interpretation, an make the Smart's exhibitions and collections from local and greater Chicago communities, South Side Arts Partnership independent study course. The program intro­ integral curriculum resources and to support come together in the museum's intimate gal­ The release of the cd-rom Gathering Models a range of hands-on art activities at the school. duced students to strategies for looking and leries, sculpture garden, and reception gallery marked the tenth year of this collaboration writing about art, and to ways of using creative In 2003-04 Jacqueline Terrassa joined the PAVA to explore art together. among the Smart Museum, the Hyde Park Art writing as a vehicle for interpretation. Center, Murray Language Academy, and William advisory board. Family Days H. Ray School. This groundbreaking cd-rom was Attendance: 639 developed with the Chicago-based nonprofit Informal and inviting, Family Days draw com­ Street Level Youth Media and documents recent 5t.ek -» 6ic^ ,, (arqurrVitr) munity members from Hyde Park, the broader arts-integrated projects at Murray and Ray. The £xpltu«. ai ifsuk 5 4 AM4JTIW South Side, and the Chicago area. They feature Smart also worked with teachers and students at • VArd. chr.ti- voMiia art activities for children, family tours, and per­ Murray and Ray to plan classroom activities and

Artist Mark Ernst works with eighth graders from the North Kenwood Oakland Charter School on a mural project (3/04). Public Programs 54

Through its public programs, the Smart Museum fosters social and intellectual exchange and offers fresh

insights into its exhibitions and collection.

Smar, Museum public programs are generously provided by .heSmar, Family Foundation; the Andrew W. Mellon Foundation; the John D and Catherine T. MacArthur Foundation; Thomas and Janis McCormick and the Kanter Family Foundation, the mi„o?Ar,s Council, a state agency; Nuveen Investments, inc.; the Rhoades Foundation; the E.oise W. Martin Fund; the Office of the Provost and the Visiting Committee on the Visual Arts, University of Chicago; and the Friends of the Smart Museum. Additional support for specific programs is listed below.

Visitors examine artist's books on display in conjunction Art history professor Joel Snyder leads a gallery tour during Board member Joel Bernstein talks with guests, including with Hiroshi Sugimoto: Sea of Buddha (10/3/03). the opening of Hiroshi Sugimoto: Sea of Buddha (10/3/03). George Adams, KirkArneson, Tenaya Arneson, and Robert Arneson's widow Sandra Shannonhouse, at the opening of Big Idea: The Maquettes of Robert Arneson (7/10/03).

10/25/03 University Flumanities 1/22/04 Opening Reception English, Assistant Professor of Art History at the The Painted Text: Picturing Narrative Mid-Century American Abstraction: Open House Co-curators Richard A. Born and Stephanie University of Chicago, served as respondent. in European Art Master Works on Paper Instructor Hans Thomsen, a specialist in Smith introduced the exhibition and led a Following the talk, a panel of arts scholars and professionals evaluated the legacy of the light- 10/5, 11/2, and 12/7/03 Public Japanese art history and a new faculty member gallery tour. Exhibiting artist Stephen Hendee 9/14/03 Public Exhibition Tour based art of the 1960s. Moderator: Martha Ward, Exhibition Tours at the University of Chicago, led a gallery talk was also present. on Hiroshi Sugimoto and the role that the Hall University of Chicago. Participants: Bill Brown, Material Identity: Prints by Robert University of Chicago; Maureen Pskowski, Hiroshi Sugimoto: Sea of Buddha and of Thirty-Three Bays and its sculptures have 1/25, 2/22, and 3/7/04 Public Arneson and Big Idea: The Maquettes University of Illinois at Chicago; Carrie Lambert, Visual Mantras: Meditative Traditions played in the cultural history of Japan. Exhibition Tours of Robert Arneson Northwestern University; and Stephanie Smith, in Japanese Buddhist Art 11/1/03 Buddhist Meditation 2/1/04 Family Day Smart Museum of Art. Co-organized by Stephanie 7/10/03 Opening Reception and Lecture and Gallery Talk The Hyde Park Art Center and the Oriental Smith and Ken Allen, Ph.D. candidate in Art Jonathan Fineberg, Professor of Art History at 10/3/03 Opening Reception Yvonne Rand, a meditation teacher and lay Institute Museum joined the Smart in welcom­ History, University of Chicago. Co-sponsored by the University of Illinois at Urbana-Champaign, Curator Stephanie Smith and University of priest in the Soto Zen Buddhist tradition, led a ing families to a day of performances, tours, the Department of Art History and the Franke delivered the lecture "Robert Arneson's Irritable Chicago professor Joel Snyder led a gallery talk. meditation session, followed by a discussion of and a range of hands-on art activities that Institute for the Humanities, University of Chicago. Subject." Professor Fineberg is a leading scholar the relevance of traditional and contemporary explored the theme of light from antiquity to on Arneson and the author of the 1994 study Art 10/12, 10/26, 11/9, 11/23, and arts to Buddhist practice. the present day. This event was made possible The Uses of Art in Renaissance Italy Since 1940: Strategies of Being. 12/14/03, 1/14* and 2/15/04* Public Exhibition Tours by the Regents Park/University of Chicago Fine 11/8/03 Collectors Series Arts Partnership. 3/11, 4/18, 5/9, and 6/6/04 Public 7/13/03 Family Day •Tours on these dates were exclusively for the Contributors and Smart Museum members Exhibition Tours Visitors of all ages explored the works of Robert exhibition Visual Mantras: Meditative Traditions joined Curatorial Intern Kris Ercums for a tour 2/14/04 Collector's Series Arneson during family tours and a gallery treas­ in Japanese Buddhist Art. of the exhibitions and a behind-the-scenes Referring to his own investigation into light as a 5/6/04 Lecture ure hunt. Families also had the opportunity to look at selected works from the museum's Asian medium in sculpture, Herbert George, Associate Evelyn Welch, Pro-Vice-Chancellor and Reader make artworks in a variety of media. 10/19/03 Family Day Professor in the Committee on the Visual Arts at in the History of Art at the University of Sussex, Families enjoyed tours of the special exhibition and Western collections, focusing on the cross- cultural impact of Zen Buddhism on twentieth- the University of Chicago, discussed works in delivered the lecture "Power and the Renaissance 7/20, 8/17, and 9/14/03 Public and the permanent collection. They also had the century art. Illuminations and other modern sculpture in the Public Palace." Exhibition Tours opportunity to make their own accordion books Smart Museum's permanent collection. like those by artist Hiroshi Sugimoto, paint Illuminations: Sculpting with Light 5/27/04 Lecture 8/13/03 Lunchtime Exhibition Tour abstract paintings, and build model furniture 3/10/04 Lunchtime Talk Megan Holmes, Assistant Professor in the Led by Museum Education Coordinator inspired by the designs of Frank Lloyd Wright. 1/14/04 Artist Lecture Curator Stephanie Smith led a conversation on Department of Art History at the University of Sara Skelly. Michigan, spoke on the Renaissance contexts of 10/22/03 Educators' Open Flouse Sculptor Stephen Hendee lectured on his work renowned artist James Turrell's early explorations relics and miracle-working images. and on the major, site-specific installation he of light in sculpture, focusing on his work 9/6/03 Collectors Series Local teachers explored the exhibition and created for Illuminations. His talk was held at Afrum Proto (1966), featured in Illuminations. Senior Curator Richard A. Born introduced learned about Smart Museum programs and Midway Studios and co-sponsored by the 6/4/04 Curator Tour museum members to Robert Arneson's maquettes resources for their students. Visiting Artist Program of the University of 4/1 /04 Lecture and Panel Discussion and graphic works and led a behind-the-scenes Chicago's Committee on the Visual Arts. James Meyer, Associate Professor of Art History look at related objects inthe museum's collection. at Emory University, lectured on scale in sculp­ ture from the 1960s to the present. Darby Public Programs

Curator Stephanie Smith leads a gallery Reception for the two-day symposium Looking Modern: Storyteller Anne Shimojima sharing folktales from Japan Art history professor Darby English and Kate Bussard, Visitors in the gallery during the opening of Taisho Chic: Dawoud Bey signs copies of the catalogue for tour as part of the opening of Illuminations: East Asian Visual Culture from the Treaty Ports to World and China with children and their families in the Richard assistant curator at the Art Institute, view Stephen Hendee's Japanese Modernity, Nostalgia, and Deco (5/22/04). Dawoud Bey: The Chicago Project (6/30/04). War II (5/23/04). and Mary L. Gray Gallery (10/19/03). installation during the opening of Illuminations: Sculpting Sculpting with Light (1/22/04). with Light (1/22/04).

Taisho Chic: Japanese Modernity, 5/23/04 Family Workshop Other Public Events 10/19 and 11/16/03 Public 12/10/03 Lunchtime Talk Series 5/21/04 Festival of the Arts Opening Collection Tours Nostalgia, and Deco Printmaker Francine Affourtit demonstrated Education Director Jacqueline Terrassa The University of Chicago's Festival of the Arts is Contemporary Gallery the process of making woodblock prints. After 7/2-8/27/03 Art Afternoons discussed the abstract drawings of Hans a two-week celebration of the student arts com­ Every Wednesday afternoon during the summer, 5/22/04 Opening Reception viewing the demonstration and exhibition, Hoffmann and Franz Kline. munity on campus. Events include art exhibi­ children, parents, and caregivers filled the Smart An introductory lecture was given by Stephen families made their own prints. 10/23/03 S.M.A.C. Study Break tions, theater performances, dance workshops, Museum's reception gallery to make art together. Little, Director and President of the Honolulu All university students were invited to spend an 1/14/04 Lunchtime Talk Series film screenings, musical concerts, and poetry Academy of Arts, the organizing institution of 6/5/04 Curator Tour evening at the museum by S.M.A.C.. Students Mellon Projects Curator Anne Leonard led a readings. The opening was hosted by S.M.A.C.. this traveling exhibition. Dr. Little is a leading Led by Senior Curator Richard A. Born. 8/3 and 9/7/04 Public Collection Tours enjoyed tours of exhibitions, art activities, and conversation in the Modern Art Gallery on authority on Japanese art of this period and the music. This event was supported inpart by a American painter Stanton MacDonald-Wright's 6/9/04 Lunchtime Talk Series former Pritzker Curator of Asian Art at the Art 6/19/04 Collectors Series 9/10/03 Lunchtime Talk Series UCArts Grant through the Arts Planning Council. Still Life with Buddha Head (1945). Research Curator Diane Miliotes led a conver­ Institute of Chicago. Senior Curator Richard A. Born and Hans Rebecca Reynolds, Education Assistant and Ph.D. sation on the work of Diego Rivera and other Thomsen discussed selected objects in Taisho candidate in Art History, University of Chicago, 10/24, 10/25, and 10/26/03 Parents' 2/8/04 Public Tour modern Latin American artists. 5/23 and 5/24/04 Symposium Chic and offered Smart members a behind-the- led a tour of the Vera and A. D. Elden Sculpture Weekend Tours East Asian Gallery Looking Modern: East Asian Visual Culture scenes look at related works in the museum's Garden in the Smart Museum's courtyard. This event was a part of the Tour the Treasures 6/10/04 New York Opening of Between from the Treaty Ports to World War II collection of Asian art. 11/5/03 Artist Talk weekend, sponsored by the City of Chicago. Past and Future: New Photography and This symposium expanded upon the themes of 9/20/03 Orientation Tour Dana Feitler Director Kimerly Rorschach and Video from China the exhibition Taisho Chic, setting them within Smart Set Events New University of Chicago students and their artist Eric Fischl discussed his recent work 3/14/04 Lunchtime Talk Series This exhibition, co-organized by the Smart a broader East Asian context. Leading scholars parents toured the galleries with a student Tumbling Woman (2001-2002), now on view in Education Coordinator Sara Skelly presented Museum and the International Center of and museum experts discussed the transitions 10/18/03 Looking at Art docent and learned about opportunities at the the Smart Museum's sculpture garden. highlights of Renaissance art in the Smart Photography, New York, in collaboration with in East Asian art that arose as foreign commerce Designed for young professionals, this evening of Smart Museum. Museum's collection. the Museum of Contemporary Art, Chicago, and new technologies increased exposure to art, refreshments, and socializing served as the 11/12/03 Lunchtime Talk Series and the Asia Society, New York, opened at the western influences. Looking Modern was organ­ inaugural Smart Set event. Short gallery talks 9/26/03 S.M.A.C. Open House Senior Curator Richard A. Born led a lunchtime 5/10/04 Fifth Annual Joseph R. Shapiro ICP and the Asia Society. ized by the Center for the Art of East Asia, helped to sharpen participants' art-viewing skills. Incoming and returning University of Chicago conversation about the prints of the iconoclastic Award Dinner Department of Art History, University of Chicago. students toured the galleries and learned about American artist H. C. Westermann. Held at the Four Seasons Hotel, the Smart 6/16, 6/23, and 6/30/04 Art Afternoons 2/28/04 Talking About Art the Smart Museum Activities Committee Museum's biennial benefit dinner honored Children joined museum staff for a free hands- 4/25 and 5/2/04 Public Exhibition Tours While touring the galleries, Smart Set partici­ (S.M.A.C.) 12/7/03 Family Open House Chicago art collectors Susan and Lewis on art activity. pants learned useful vocabulary for talking At an event focused around the theme "Winter Manilow. Thomas Krens, Director of the 5/14/04 Film Screening about the different styles and movements of 10/5/03 Lunchtime Talk Series Greetings," families made greeting cards and Solomon R. Guggenheim Museum, gave the 6/30/04 Book Signing Tom Gunning, Professor of Art History and the modern European and American art. Dana Feitler Director Kimerly Rorschach led a enjoyed holiday treats. keynote speech. See special section, pp. 58-61. This reception and book signing celebrated the Committee on Cinema and Media Studies, discussion about contemporary Indian artist publication of Dawoud Bey: The Chicago Project University of Chicago, introduced a screening of 5/22/04 West Loop Gallery Tour Ravinder Reddy's monumental sculpture Girija 5/12/04 Lunchtime Talk Series and featured remarks by artist Dawoud Bey, Kenji Mizoguchi's early film The Water Magician. Participants joined museum staff and gallery (2003.87). Dana Feitler Director Kimerly Rorschach Education Director Jacqueline Terrassa, and Traditionally narrated live by a performer, this owners for guided tours ofWest Loop galleries, presented the work of abstract expressionist Curator Stephanie Smith. rare film was interpreted through music by followed by a reception at the Walsh Gallery. artist Mark Rothko. Chicago improvisers Fred Lonberg-Holm, Frank Rosaly, and Jason Roebke. Public Programs

JOSEPH R. SHAPIRO AWARD DINNER

The biennial Joseph R. Shapiro Award dinner Both Susan and Lewis Manilow are active Chicago. Event chairman Allen Turner, who also honors a distinguished collector of art whose in politics, foreign affairs, and environmental chairs the university's Visiting Committee on vision and connoisseurship have been instru­ and health organizations. Susan is past Chair the Visual Arts; Kimerly Rorschach, Dana Feitler mental in recognizing, preserving, and promoting of Mount Sinai Hospital and Medical Center Director of the Smart Museum; and Don Michael the work of important artists, movements, or and has served the Chicago Board of Health, Randel, President of the University of Chicago, traditions in the visual arts. Established in 1995. the Chicago Health Policy Research Council, all paid tribute to the Manilows, as did the the award honors the memory of Joe Shapiro, the Environmental Defense Fund, and the video What is a Manilow? produced by David the dean of Chicago art collectors, who died in National Park Foundation inkey advisory Manilow, which offered a humorous and heart­ 1996. Previous honorees include collector and roles. Lewis has served as Chairman of the U.S. felt look at his parents' many civic and cultural patron lohn H. Bryan, former Chairman and Advisory Commission on Public Diplomacy accomplishments. Thomas Krens, Director of Chief Executive Officer of Sara Lee Corporation; and the Middle East Committee for the the Solomon R. Guggenheim Museum, present­ Lindy Bergman, one of Chicago's most distin­ National Democratic Institute. A graduate of ed the keynote address. Marilynn B. Alsdorf and guished collectors of surrealist art; and Muriel the University of Chicago, he is also a member Edgar D. Jannotta served as event vice-chairs. Kallis Newman, a preeminent collector of of the Visiting Committee to the University's This festive evening raised over $260,000 for abstract expressionist art. Irving B. Harris School of Public Policy. the museum, providing crucial support for The 2004 award honored Susan and Lewis The museum presented the award to the exhibitions, education programs, and operations. Manilow, pioneering collectors of contemporary Manilows on May 10,2004, at a gala benefit dinner (See pp. 68-69 for a list of contributors to the art, who since the 1970s have built a collection held at the Four Seasons Hotel in downtown Joseph R. Shapiro Award Dinner.) that continues to embrace the most interesting, uncompromising, and intelligent new art they can find. Strongly engaged with the international art scene, the couple travels widely and collects, SHP • in depth, works by major artists including Susan and Lewis Manilow accept the 5 th Joseph R. Shapiro Anselm Kiefer and Kara Walker. The Manilows Award at the Smart Museum's biennial benefit dinner (5/10/04). have donated major works to Chicago museums including the Art Institute, the Museum of Contemporary Art, and the Smart Museum, and have thus played an important role in shaping and strengthening these museums' commitments to contemporary art. A founder of the Museum of Contemporary iJmS Art, Lewis Manilow is a trustee of the Art Institute and serves on art committees at Harvard University, the National Gallery of Art, the Museum of Modern Art, and the Whitney Museum of American Art. In2000, he received the National Medal of Arts in recognition of his long and effective support of the arts.

Thomas Krens, Director of the Solomon R. Guggenheim Museum, gives the evening's keynote speech (5/10/04). Judith Kirshner, Susan Manilow, and Anne Rorimer (5/10/04). Lewis Manilow in conversation with Judy Ledgerwood and Tony Tasset ({^10/04).

schach, Mary L. Gray, Irv Fletcher, Mary Smart, nan Richard Gray, honoree Susan Manilow, Committee on the Visual Arts, honoree Lewis t Feitler (5A0/04). 62 Contributor and Member Programs

Affiliated with the University of Chicago, an internationally renowned private research university, the Smart Museum is a vibrant public institution. Over half of its annual operating funds must be secured from external sources, and this generous support comes from a diverse range of organizations and individuals in Chicago and well beyond. Sources of support are identified on pages 64-69.

In 2003-04, the museum launched several new programs programs and events to recognize its supporters and provide them with opportunities to engage with the museum's collections, exhibitions, and activities.

Spring Quarter Director's Council Preview Dinner Summer Quarter The Smart Set Senior Curator Richard Born led a discussion Collecting Art In 2003-2004 the museum launched the Smart Museum curators led small-group tours of Exclusively for members and annual fund con­ on issues of form and content in Robert Set, a membership program for young profes­ Chicago's West Loop gallery district, with stops at tributors of $1,000 or more, this annual event Arneson's maquettes and graphic works, sionals interested in the visual arts, art collect­ the Julia Friedman Gallery and the Bodybuilder features a special exhibition preview and a dinner focusing on the exhibition Material Identity: ing, and the Chicago art scene. Participants gain & Sportsman Gallery, followed by a private discussion with the museum director on current Prints by Robert Arneson. practical strategies for looking at art, talking reception at the Walsh Gallery hosted by owner museum activities and initiatives. In2003-2004, about art, and navigating the world of collecting, Julie Walsh. guests enjoyed a preview of Taisho Chic: Japanese Fall Quarter while socializing with museum curators, gallery Modernity, Nostalgia, and Deco led by special Kris Ercums, Curatorial Intern and Ph.D. candi­ owners, artists and other art experts and young Summer Quarter guest Stephen Little, Director and President of date in Art History at the University of Chicago professionals. Events take place at the museum Members' Choice the Honolulu Academy of Arts, which organized led a discussion of traditional and contemporary and arts venues throughout the city and provide Participants helped museum curators select a the exhibition. practices of Buddhist art informed by the joint exhibitions Hiroshi Sugimoto: Sea of Buddha and up-close encounters with art, ideas, and people. work for the museum's permanent collection, voting on one of three works chosen specifically Sustaining Fellows Curator's Preview Visual Mantras: Meditative Traditions in Japanese for this event. Carol Jackson's Ashland Lock Co. Buddhist Art. Fall Quarter Board member Richard Elden and University of Chicago Looking at Art (peer), 2002, emerged as the distinct favorite president Don Michael Randel (11/12/03). Exclusively for members and annual fund con­ Museum curators led gallery talks focused on and was acquired by the museum in September tributors of $500 or more, this annual event Winter Quarter building skills at interpreting art from a range 2004, partially funded by member contributions. features a curator-led preview of a collections- Herbert George, University of Chicago Associate of perspectives, focusing on key works from the based or special project exhibition. In2003-2004, Professor in the Committee on the Visual Arts museum's collections and the exhibitions Hiroshi Thirtieth Anniversary a tour of The Uses of Art in Renaissance Italy was led a discussion of works featured in the exhi­ Sugimoto: Sea of Buddha and Visual Mantras: Celebration Dinner led by Elizabeth Rodini, former Mellon Projects bition Illuminations: Sculpting with Light, as Meditative Traditions in Japanese Buddhist Art. Curator at the museum and current Johns Hopkins well as other works of modern sculpture in the On November 12,2003 the Smart Museum ush­ University Lecturer in the History of Art. museum's collections. Winter Quarter ered in its thirtieth anniversary with a dinner honoring the museum's closest friends and Collectors Series Brunches Spring Quarter Talking About Art Hans Thomsen, Instructor of Art History at the Guided gallery tours led by museum curators, benefactors since its founding in1974. Don including discussions of the exhibition Michael Randel, President of the University of Free for members and contributors of $150 or University of Chicago, explored issues raised by Illuminations: Sculpting with Light, helped Chicago, and Richard Gray, chairman of the more, these quarterly events offer a behind-the- the exhibition Taisho Chic: Japanese Modernity, participants expand their knowledge about Smart Museum Board of Governors, hosted the scenes look at the museum's exhibitions and Nostalgia, and Deco including traditional and contemporary art, build their artistic vocabulary, event, welcoming over one hundred and twenty collections. Led bymuseum curators, University contemporary Japanese art practices and the and sharpen their art conversation skills. five guests who gathered together to celebrate of Chicago faculty, or special guests, they feature relationship between Japanese and Western the museum's history and look ahead to its future. a complimentary brunch, gallery tours, and a concepts of modernism. hands-on exploration of art and ideas. 64 Sources of Support

Cash and in-kind contributions received from July l, 2003 through June 30, 2004 are listed below. Council of Fellows and gifts of $1,000 to $2,499 E. M. Bakwin R. Darrell Bock and Renee Menegaz-Bock Russell and Barbara Bowman Dr. Robert W. Christy Lester and Renee Crown Steve and Nancy Crown Susan Crown andWilliam Kunkler Sharon Flanagan David and Mary Winton Green Joyce Zeger Greenberg Allen Turner, chair of the Visiting Committee on the Visual Arts, Tony Jones, president of the School of the Art Institute, and board member Robert G. Donnelley at the 5 th Joseph R. Shapiro Award Dinner (5/10/04). David Heitner Robert and Diane Levy Holly W. and John Madigan Inge Maser CAPITAL, ANNUAL, AND Under $2,000 John D. and Alexandra C. Nichols Allen M. and Lynn Turner Robert and Patricia Fitzgerald PROGRAM SUPPORT Chicago Arts Partnership in Education Ruth Philbrick Judith Zeitlin and Wu Hung Mr. and Mrs. Paul E. Freehling College Programming Office, John and Marilyn Richards Kere Frey University of Chicago Kimerly Rorschach and John F. Hart Corporate, Foundation, Government, Patrons and gifts of $300 to$499 Barry Friedman Department of Art History, University of Chicago Virginia P. Rorschach and University Support Mrs. Jerald C. Brauer Dr. Martin Gecht Film Studies Center, University of Chicago Bruce Sagan and Bette Cerf Hill Kathleen A. Carpenter Shaleane Gee and James Cody Dr. Anneliese Sinn $50,000 and above Liselotte Closs Mrs. Willard Gidwitz Andy Warhol Foundation for the Visual Arts Contributors and Friends of the Ruth Ultmann Dorothy and David Crabb Karla and Walter Goldschmidt Smart Museum Agnes and Arnold Zellner Institute of Museum and Library Services Dr. Erl Dordal Ethel Goldsmith Kanter Family Foundation Philip and Suzanne Gossett Margaret and Robert Grant Gifts of $50,000 and above Sustaining Fellows and gifts of $500 to $999 John D. and Catherine T. MacArthur Foundation Robert Greenspoon Linda Greenberg-Hanessian and Robert and Joan E. Feitler Rolf Achilles and Pamela Morris The Smart Family Foundation Lester and Betty Guttman Brian Hanessian Richard and Mary L. Gray Michael Alper Miriam Hansen and Michael Geyer Janice Halpern Elisabeth andWilliam M. Landes Elizabeth Baum $25,000 to $49,999 Neil Harris and Teri Edelstein Stephen Harvey William and Ellen Oswald John and Gail Bauman Elizabeth F. Cheney Foundation Robert and Margot Haselkorn Lee and Dr. Arthur Herbst Mary Smart Robert and Marie Krane Bergman Lloyd A. Fry Foundation Madeline Haydon Jane and Roger Hildebrand Samuel FL Kress Foundation Bill Brown and Diana Young Thomas and Linda Heagy Dale Hillerman Underwriters and gifts of $10,000 to $49,000 Robert Coale National Endowment for the Arts Barry and Alice Karl Mrs. Harold H. Hines Jr. Marilynn B. Alsdorf Office of the Provost, University of Chicago Carol and Douglas Cohen Robert and Carol Lifton Michael Igoe Jr. Mrs. Edwin A. Bergman Michael R. Conners Polk Bros. Foundation Janina Marks Drs. Rebecca and Joseph Jarabak Joel and Carole Bernstein Dr. and Mrs. L. Warwick Coppleson J. Clifford Moos Mark Johnson and Judith Wright John H. Bryan $10,000 to $24,999 Sidney and Freda Davidson Katherine and Hans Morsbach Catherine Keebler Richard and Gail Elden The Blakemore Foundation E. Bruce and Nancie Dunn Patricia John Northcott and Kenneth Northcott Draga Kellick Lorna C. Ferguson and Terry Nichols Clark Alan and Lois Fern Chicago Community Trust Carolyn Sachs Anne and John Kern Jane S. and Arthur Mason Illinois Arts Council, a state agency Emily Huggins Fine Dr. Alan A. Stone Mrs. Robert D. Kestenbaum Thomas and Janis McCormick Kraft Foods Peter and Virginia Foreman Patricia and Don Swanson Honore Kligerman Muriel Kallis Newman Nuveen Investments, Inc. Richard and Barbara Franke Merrie FayeWitkin Mary Jean Kraybill Helen and Sam Zell The University of Chicago Visiting Committee Nancy Gidwitz John and Jill Levi on the Visual Arts Elizabeth and Howard Helsinger Fellows and gifts of $150 to $299 Graham Lewis and Dr. Elizabeth Powell Benefactors and gifts of $5,000 to $9,999 The Women's Board of the University of Chicago Scott Hodes and Maria Bechily R. Stephen and Carla Berry Dr. Eva Lichtenberg The Donnelley Foundation Ruth P. Horwich Mrs. Edward Blair Jr. Marguerite Lytle James R. Donnelley $2,000 to $9,999 Michael Hyman Hanna and Sidney Block Asher Margolis Marshall Donnelley Adelyn Russell Bogert Fund of the Edgar D. and Deborah Jannotta David L. and Linda Blumberg McKim Marriott Donald and Doris Fisher Franke Institute for the Humanities, Dolores Keating-Shapiro and Donn Shapiro Robert Earl Boyd III and Laura Boyd Linda and Frank Mayer Joan W. Harris University of Chicago Dr. Mary S. Lawton Alan Brodie Brooks McCormick Jr. Judith Neisser Center for East Asian Studies, Lucia Woods Lindley and Daniel A. Lindley Jr. John and Sally Carton Robert McDermott Michael and Audrey Wyatt University of Chicago Mrs. Glen A. Lloyd Mrs. Hammond E. Chaffetz Ramona Meher Cochrane Fund, University of Chicago James and Vanna Lorie Bruce and Joyce Chelberg Walter and Dawn Netsch Director's Council and gifts of $2,500 to $4,999 The Donnelley Foundation Conrad Miczko Mrs. Eric W. Cochrane Ralph and Marta Nicholas GFF Foundation Gay-Young Cho and Dr. Christopher Chiu Mr. and Mrs. William L. Morrison Mrs. John S. Coulson Andrew Patner Illinois Humanities Council Mary and Roy Cullen Thomas Jay and Margot L. Pritzker Caroline Cracraft Irene Patner Istituto Italiano di Cultura Robert Fulk Professor Larry Silver and Elizabeth Silver-Schack Charles and Irene Custer Mrs. Robert F. Picken Jack and Helen Halpern OMRON Foundation Geoffrey and Nancy Spector Stone Kenneth Dam and Marcia Wachs Dam Mr.f and Mrs. Alfred Putnam Regents Park/University of Chicago Randy Holgate and John Peterson Robert and Kathleen Sullivan Leon and Marian Despres Laurie and Alan Reinstein Alan and Dorothy Press Fine Arts Partnership Ed Thayer Rose Dyrud Stuart Rice and Ruth O'Brien Dorie Sternberg Linda Tuggle Harve A. Ferrill Rita's Catering and Event Planning 66 Sources of Support

Sadako Szathmary Elizabeth Rodini and Dr. Charles Rudin Larry Deutsch James and Ann Nagle Steven and Anne Taylor Howard Romanek Dora Dixie, M.D. Sylvia Neil and Daniel Fischel John and Sandra O'Donnell David Teplica Peter Rossi John Easton and Sem Sutter Douglas Tepper and Gianfranco Zani Mrs. Edwin A. Rothschild Mr. and Mrs. Alex Elson Ronald Offen Raymond D. Tindel and Gretel Braidwood Dr. Janet D. Rowley and Dr. Donald A. Rowley Mr. and Mrs. William E. Erickson Larry Olin Trine Tsouderos and Jon Yates Manfred D. Ruddat, Ph.D. Robert W. Eskridge Mark Oreglia Michael Turner Richard Sailer Dr. Richard Evans and Roberta Evans Henry Otto Anthony Volpe Mrs. Calvin Sawyier Beth Fama and John Cochrane Florence Ovadia Rose and Robert Wagner Philip Schiller Sallyann and Eugene Fama Dr. Jane H. Overton and Mr. George W. t Overton Drs. Ernest and Eva Page David Wallace Robert Schrade Joseph Ferrari Richard Gray, chairman of the Board, and Herbert Molner at the opening of Hiroshi Sugimoto:Sea of Buddha (10/2/03). Florence Weisblatt Charles Schwartz Jr. and Susan Schwartz Brian Ferriso and Amy Pellegrin Drs. Stephen and Jessie Panko James Wells Thomas C. Sheffield Jr. David Follmer Cora Passin Carolyn Yates Alexander Sherman Barbara Frei Charles and Melanie Payne Debra Yates Roberta and Howard Siegel Peter Friedell Eleanor Petersen Howard and Kathleen Zar Professor Bernice Simon and Marvin Simon Maurice and Muriel Fulton Gloria Phares David and Suzanne Zesmer Norton Ginsburg Mrs. John Albert Mottier Hugo and Elizabeth Sonnenschein Dr. Thomas Frank Gajewski II George Platzman Dr. Seymour Glagov Sidney Nagel Jonathan S. Stern Louis and Judith Genesen Elizabeth Postell Gifts of under $50 Marvin and Frances Gordon Janice Neme Mrs. Jules N. Stiffel Judith Getzels Sheila W. R. Putzel Jeffrey Abt Miriam Graham Charles Newell Mrs. Bernard M. Susman Howard and Natalie Goldberg Edward Rabin Robert Henry Adams Fine Art Michael Guerrieri William and Wendy Olmsted Dale Taylor Marvin and Phyllis Goldblatt James and Hildegund Ratcliffe Elizabeth M. Adkins Carl E. Gylfe Jonathan Persky Lester and Sylvia Telser Jean K. and Steven Goldman Brigitte and Martin Riesebrodt Dr. Mebea Aklilu and Dr. Denise Levitan Cassandra Hale-Daoud Penny Petropoul KayTorshen Adam Goodman and Rebecca Levin-Goodwin Michael and Susan Riordan John Hardin Michael and Maya Polsky Mr. and Mrs. John Venator Gene and Michele Gragg Mrs. H. P. Rockwell Sylvia Sleigh Alloway Mrs. George Anastaplo Mrs. Thomas K. Harmon Eugene Pomerance John Vinci Robert J. Greenebaum Jr. and Amy Greenebaum Christiane and Earl Ronneberg Joan N. Baer Traci Harris Dr. Smilja Rabinowitz David and Marilyn Vitale Barbara and Charles Gregersen Anne Rorimer Patricia Nichol Barnes Joyce and Dr. Aaron Hilkevitch Agnethe Rattenborg Mrs. Roy I. Warshawsky Eston M. Gross Leona Rosenberg Lawrence Hill Duel Richardson Dr. and Mrs. John Widman Nina Halpern Mrs. Ludwig Rosenberger Ardis Berghoff Sheila Hori Mrs. Juliette Richman Arthur Wood Lydia Hedin Richard Rosengarten and Helen Bidwell Mrs. Harold A. Richman Thomas Hedin Margaret Mary Mitchell Robert D. Biggs Dr. Aimee Horton Patricia Hume Erna M. Rueggeberg Friends and gifts of $50 to $149 Marilyn and Richard Helmholz Albert and Roddie Rosenthal Vanice E. Billups Elizabeth Jacob Jacquelyn Sanders Mrs. Robert G. Anderson David and Betty Hess Elaine and Monroe Roth Catharine Blair Dori Jacobsohn Mrs. Sheldon K. Schiff Theodore and Barbara Asner William Hinchliff Steven Rothman and Barbara Kirkpatrick Sophie Bloom Lawrence Jarchow Pamela Dawn Schilling Dorothy and Alfred Baker George and Patricia Hirsh Daniel Roush Edward C. Blucher Penny Johnson Carl Selby Dr. Eugene Baiter and Judith Phillips Douglas Hoffman Susan and Myron E. Rubnitz Dr. Gisela Mendel Booth Sharone Kaplan Ilene Warshawsky Shaw Douglas Barnard Nancy Horner Martin Runkle Dain Borges Thomas Kapsalis Joseph P. Shure Howard and Marjorie Barron Eugene Hugghis Gail and Jerrold Sadock Deborah Lee Borman Leslie Kay Mary Silverstein Trish Z. Barry Gregory Jackson and Roberta Kovitz Minora and Akiko Saito Brice and Jane Bosnich Mrs. G. Chris Keeley Thomas Soseman Richard N. Baum, M.D. Dr. Christine Jacobs and Henry S. Webber Doris Samuels Mrs. William Brien Dr. Francine Kim Ira Spanierman Mary Bedard Sandra Jacobsohn William Sandstrom Sharon Brinkman Dan Kletnick Janice B. Spofford, Ph.D. Michael and Mary Behnke Evelyn and Richard Jaffe Dr. Lawrence J. Scheff Aimee Brown Maurine Kornfeld Gay Stanek Jonathan Berry R. Stanley and Ursula Johnson Peter Schenck Richard C. Bumstead Shelley Korshak, M.D. Amy Dru Stanley David and Margaret Bevington Clark Joiner Nathan and Alice Schlessinger Robert J. Calvin Laura Kracke Ursula Steiner Leonard Bezark Jr. and Mary Jane Bezark Lindsay and George Kelly Dr. Olaf Schneewind Rachel Cannon Catherine Krause Marjorie Stinespring Ananth and Purnima Bhogaraju Diana Hunt King and Neil King Elizabeth Schwartz Elsa Charlston Nikolai Kushner Lisa Swanson Ann Billingsley and James R. Grossman Evelyn Kitagawa Ian Serr and John Shannon Elena Ciletti Xu Tang Susan Boone and Rabbi Laurence Edwards Frank Klapperich Jr. William Sewell Jay A. Clarke Robin Larson Dorothy Latiak Mrs. Richard J. Thain Wayne and Phyllis Booth Arthur Kohrman, M.D. Arthur Shapiro Miriam Clarke Sara Leonard Professor Julia Thomas and Alan Thomas Jean Broday Gerald Kowarsky Deborah Shefner Sarah Cree Simonne Longerich LorettaThurm Suzette Bross Martin and Susan Kozak Sheila and Melvyn Shochet Susan DeWitt Davie Charles Thurow Chris Brown Linda Kramer Dr. Morton Silverman and Kineret Jaffe Laura de Frise Melynda Lopin Richard Treptow Alice C. Brunner Arthur and Nancy Laskin Junie Sinson Mark De Lancey Elizabeth Luxem Dr. Harry and Marjorie Trosman Ethel Burakoff Amy Lauterjung Brenda F. and Joseph V. Smith Maria Del Favero Erin Maloney Vi and Robert Uretz Richard and Sharon Carlson Sophia Lee and Stefan Kukacka Charlene Smith Eileen Duncan Sylvia Mann Dr. DragaVesselinovitch Victor Cassidy Steven and Judith Lipson Joan Spoerl James Ehrenberg Mary M. McDonald Nathalie Weil John Cella Jr. and Laura Prail Sonya Malunda Charles and Joan Staples Erika Erich Eunice McGuire JaneWenger Katherine and Raymond Ciacci Patrick and Stacey McCusker Nikki Stein Mrs. R. D. Erickson Sarah Meisels Clifton Wilkow Jacob Corre and Lisa Bernstein Zoe Mikva Dr. Donald F. Steiner Irene Farkas-Conn Dr. David Meltzer Johannes Willheim William and Judith Cottle Hortense and Joseph Mintzer Ernest Stern Patricia Foley Olaf Mend Gertrude Witkin Marion Wood Covey Jan Mortensen Lorna and Dr. Francis Straus Mrs. Zollie Frank Eileen Michal Dr. Ira G. Wool and Barbara Mirecki Alyce H. DeCosta t Stanley Murashige and J. Inshil Lee Felix Stungevicius Henry and Priscilla Frisch Jeanne Miller Michael Worley Dr. Robert E. DeMar David Muschler and Ann Becker Marion and Dr. Martin Swerdlow Erika George Katherine Mino 68 Sources of Support

Richard and Gail Elden HvaWorthington Alan and Lois Fern Roche Schulfer Robert and Joan Feitler Linda Zabors Mr. and Mrs. Stanley M. Freehling David and Patricia Schulte Lorna Ferguson and Terry Clark Sonia Zaks GFF Foundation William S. Singer and JoAnne Cicchelli Richard and Barbara Franke T-T Joanne Zimmerman Isaac S. and Jennifer A. Goldman Dorie Sternberg Albert and Suzanne Friedman Daniel Zimring Family of Leo S. Guthman Donna and Howard Stone Jack and Helen Halpern Jennifer and Isaac Goldman Geoffrey and Nancy Stone Gifts in Memory Bill Hood Richard and Mary L. Gray Marjorie and Louis Susman Paul and Miriam Kirkley Fund for Acquisitions Edgar D. and Deborah Jannotta John Vinci David Heitner in memory of Robert R. Heitner Estate of Louise H. Landau Charles H. Mottier Vinci/Hamp Architects Elisabeth andWilliam M. Landes Sylvia Neil and Dan Fischel Ralph and Leah Wanger Ruth Ultmann in memory of John Ultmann Board member loe! Bernstein viewing Eric Fischl's sculpture TumblingWoman (7/10/03). Mary S. Lawton Beth and Harvey Plotnick Natalie and Garry Wills Gifts in Honor Susan and Lewis Manilow Allen and Lynn Turner Collection of Edward A. Maser Helen and Sam Zell Gifts of $500 to $999 Mrs. Edwin A. Bergman in honor of Inge Maser Purchase Fund James L. Alexander Richard A. Bom's 25th Anniversary with Brooks McCormick Jr. Gifts of $3,000 to $4,999 Michael Bauer the Smart Museum Thomas and Janis McCormick Michael Alper Maria Bechily and Scott Hodes Gifts of $300 to $499 Richard and Mary L. Gray Janice Halpern in honor of Helen and John A. Peloza and Linda A. Lucchesi Joel and Carole Bernstein Katharine Bensen and C. Richard Johnson Neal Ball David C. and Celia Hilliard Deborah Bricker John H. Bryan Jack Halpern Smart Family Foundation David and Linda Blumberg Ruth P. Horwich Nina Halpern in honor of Helen and Smart Family Foundation Fund for Sharon Flanagan Laurence and Patricia Booth Mary Louise Gorno Alan Koppel Jack Halpern Contemporary Art Helyn Goldenberg Russell and Barbara Bowman D. Caroll Joynes Dr. Mary S. Lawton Hortense and Joseph Mintzer inhonor of Brenda F. and Joseph V.Smith Benn and Barbara Greenspan Matthew and Carolyn Bucksbaum Mary Jane Keitel Julius Lewis Mr. & Mrs. Rose's 50th Anniversary Joel Snyder Joan and Irving Harris Cleve Carney Robert H. Malott Holly W. and John Madigan Muriel Kallis Newman in honor of Granvil and Marcia Specks Collection Randy Holgate and John H. Peterson Warrick L. Carter Arlene B. Richman Mrs. Robert B. Mayer Kimerly Rorschach LolliThurm Alan and Sherry Koppel Mitchell Cobey and Janet Reali Bettylu and Paul Saltzman Thomas and Janis McCormick Susan and Myron E. Rubnitz in honor of John A. and Andrea L. Weil William and Elisabeth Landes Esther R. Cohen Alan Spigelman Charles H. Mottier Susan Manilow James Wells Thomas and Janis McCormick Curt Conklin and Jennifer Mohr Mary Stowell Elizabeth and Harvey Plotnick Agnes and Arnold Zellner in honor of Eva and Richard Willenbrink Tom and Margot Pritzker Dorothy and David Crabb John Syverson Brenda and Earl W. Shapiro Richard A. Bom's 25th Anniversary with Brenda and Earl Shapiro Kenneth Dam and Marcia Wachs Dam Hazel Tannenbaum Dorie Sternberg the Smart Museum THE FIFTH JOSEPH R. SHAPIRO Paul Zeller and Leslie Jones Dirk Denison Gayle Tilles Karen G. Wilson and E. Timothy Geary AWARD DINNER Alan and Lois Fern Jane Stroud Wright Jane S.Wright Gifts in Kind Gifts of $1,000 to $2,999 Robert and Sylvie Fitzpatrick Mrs. George B. Young Corporate and Foundation Underwriters Jim and Susan Annable Jacqueline and Howard Gilbert Gifts under $300 Helen Zell Alumni Association, University of Chicago John A. Bross Mary and Jeffrey Harvey Mr. and Mrs. James M. Alter Bodybuilder & Sportsman Gallery Gifts of $10,000 and above Gay-Young Cho and Christopher Chiu Joel and Carol Honigberg Esther and John Benjamin Gifts of $1,000 to $1,499 David and Linda Blumberg Christie's Fine Art Auctioneers Smart Family Foundation Jim and Paula Crown Ruth P. Horwich Wayne and Phyllis Booth Department of Art History, University of Chicago Lester and Rened Crown Helmut Jahn Paula Cooper Dr. Patricia Brett Erens Robert and Joan Feitler Film Studies Center, University of Chicago Gifts of $5,000 to $9,999 Steve and Nancy Crown James and Jetta Jones Douglas and Christine Garofalo Marshall B. Front and Laura DeFerrari Front Julia Friedman Gallery Bank One Private Client Services Susan Crown and William Kunkler George and Roberta Mann Mrs. Thomas K. Harmon Adele B. Gidwitz Graduate School of Business, McCormick Tribune Foundation Allison Davis and Susan O'Connor Davis Mrs. Beatrice C. Mayer Steven B. Nasatir Jean and Steven Goldman University of Chicago JoAnn and Marshall Eisenberg John and Judy McCarter Mrs. Henry Shapiro Nathan M. Grossman Kavi Gupta Gallery Gifts of $3,000 to $4,999 Robert Falls Judy and Scott McCue Mrs. Bernard Weissbourd Doris B. and Marshall M. Holleb Rhona Hoffman Gallery The Boeing Company Frayda and Ronald Feldman Herbert R. and Paula Molner Paul and Mary Yovovich Joel and Carol Honigberg Hyde Park Art Center The Chicago Community Trust Harve Ferrill Judith Neisser Paula and Herbert Molner Istituto Italiano di Cultura McKinsey & Company Jean and Steven Goldman Roger and Marjorie Nelson VISITING COMMITTEE ON THE VISUAL Mr. and Mrs. Marshall J. Padorr Thomas McCormick Gallery U.S. Cellular Sandra and Jack Guthman Martin Nesbitt and Anita Blanchard Nesbitt ARTS ANNUAL FUND CONTRIBUTORS Thomas Jay and Margot L. Pritzker Office of the Provost, University of Chicago Jack and Helen Halpern Muriel Kallis Newman Isabel C. Stewart and Donald M. Stewart Oriental Institute Museum Gifts of $1,000 to $2,999 Howard and Elizabeth Helsinger Maya Polsky These gifts benefit the Smart Museum, the Dr. Bryan Traubert and Penny Pritzker Walsh Gallery American Airlines Marshall and Doris Holleb Mr. and Mrs. Edward Rabin Department of Art History, and Midway Studios Donald Young Gallery Ariel Mutual Funds Don Kaul and Barbara Bluhm Kaul John and Marilyn Richards Christie's Fine Art Auctioneers Mr. and Mrs. Howard G. Krane Irmgard Hess Rosenberger Gifts of $5,000 and above Gifts under $1,000 Donors to the Collection Anstiss and Ron Krueck Leif Selkregg Mrs. Harold T. Martin T. Kimball Brooker Patrons Daniel Levin and Fay Hartog Roberta and Howard Siegel Allen M. and Lynn Turner Mrs. Ludwig Rosenberger Joseph P. Shure Dennis Adrian Richard M. Morrow Dr. Anneliese Sinn Marilynn B. Alsdorf Gifts of $10,000 and above Mr. and Mrs. Alan Press Allen R. Smart Gifts of $1,500 to $4,999 The Joel and Carole Bernstein Family Collection Fred Eychaner Carol Prins and John H. Hart John and Dorianne Venator Michael Alper A. L. Blinder Susan and Nicholas Pritzker Andreas Waldburg Robert Bergman and Marie Krane Bergman Russell and Barbara Bowman Gifts of $5,000 to $9,999 JohnW. Rogers, Jr. Julie Walsh Joel and Carole Bernstein Gay-Young Cho and Dr. Christopher Chiu Marilynn B. Alsdorf Michael and Madeline Rosenberg Donald and Shirley Weese Young Phyllis Gordon Cohen and Barton Joel Cohen t Deceased Roy and Mary Cullen Mrs. Edwin A. Bergman Tom Rosenberg and Liz Alkin Mrs. George B. Young Mrs. Marion Wood Covey Mr. and Mrs. Michael R. Cunningham Neil G. Bluhm Patrick G. Ryan and Shirley Ann Ryan Martin and Danielle Zimmerman The Donnelley Foundation Miranda and Robert G. Donnelley Mr. and Mrs. Robert G. Donnelley Karla Scherer Mr. and Mrs. Stanley M. Freehling 70 Operating Statement

Statement of operations Smart Museum Staff (unaudited) from July 1, 2003 through June 30, 2004.

Revenues Kimerly Rorschach, Dana Feitler Director Geoff Domoracki Earned income 141,000 Mehan Jayasuriya Rudy J. Bernal, Chief Preparator John Dresden Christoph Klasen Foundation grants 384,000 Richard A. Born, Senior Curator Jonathan Earling Elsa Korol Government grants 96,000 Paul Bryan, Security Supervisor Nadia Gaya Abigail Lawler Sarah Cree, Membership and Development Coordinator (through 8/03) Corporate grants 43,ooo Daniel Gilbert Lucy Lu Christine DuRocher, Public Relations and Marketing Director Mollie Godfrey Individual contributions 458,000 Tara Maguire Ginger Foster, Membership and Development Coordinator (as of 8/03) WiWiGoh Azande Mangeango Endowment payout 509,000 Julie Freeney, Public Services and Events Manager Sinem Guzelce Andrew Marchesseault 356,000 Shaleane Gee, Director of Development and External Relations University allocation for direct expenses Stephen Haswell-Todd Ketty Pan Brette Greenwood-Wing, Administrative Assistant University allocation for physical plant expense 250,000 Alyson Hrynyk Kristina Preussner David Ingenthron, Preparation Assistant Mehan Jayasuriya 107,000 Brynna Ramin IT 2003 Credits Anne Leonard, Mellon Projects Curator (as of 10/03) Allison Kean Kathryn Resler Total Revenue 2,344,000 Jennifer Moyer, Registrar M. Asif Khan Anna Scholin Joyce Norman, Business Manager Reed Knappe Annie Sheng Elizabeth Rodini, Mellon Projects Curator (through 10/03) Expenses Benjamin Korenstein Mary Trent Amanda Ruch, Education Assistant Julia Kowalski Benjamin Tuber Staff salaries 627,000 Sara Skelly, Education Coordinator Isaac Krabbenhoft Arline Welty 117,000 Stephanie Smith, Curator Benefits Amanda Lai Alyssa Wiegand Jacqueline Terrassa, Education Director Supplies and services 257,000 Yixin Lin Wu Hung, Consulting Curator Marian Livingston Exhibitions 409,000 Student Docents Timothy Luecke Owen Aronson Education Programs 134,000 Courtney Lutterman Naomi Beck Student Interns and Assistants Public relations and development 241,000 Volunteers Alexander Maltezos Maria Cecire Irene Backus, Curatorial Helen Halpern, Curatorial Earned income expenses 104,000 Azande Mangeango Annie Chiu Sarah Best, Public Relations Joseph P Shure, Curatorial Colin McFaul 250,000 Anna Clark Operations and maintenance of physical plant Clara Brand, Administration Agnes Zellner, Curatorial Carla McGarrah Annie Dude Reserve fund for FY 2005 expenses 204,000 Stephen Corrigan, Administration Kristin Naples Juliette Feld Linda Ding, Business Total Expenses 2,344,000 Smart Museum Marian Paglia Leah Fosco Kris Ercums, Curatorial Activities Committee Mark Paulik Tony Gibart Sophie Hackett, Curatorial Usman Ahmed Conner Perkins Jane He Net operating results Uchenna Itam, Curatorial Timothy Allen Francis Ramos Julia Jack-Scott Mehan Jayasuriya, Business Megan Buskey Kathryn Resler Stephen Kim A. Asif Khan, Public Relations Colleen Doyle Susannah Ribstein Jesse Kohn Elsa Korol, Administration Benjamin Patys Gage Ashley Rybowiak Flo Lallement Yinxing Liu, Curatorial Lana Licciardi Nicholas Sasa Abby Lawler Kristin Love, Education Patrick Monahan Anna Scholin Stella Lee Lia Markey, Curatorial Diana Yuriyvna Pilipenko Erin Steiner Kristin Greer Love J. Ken Meier, Public Relations Katherine Robinson Shirley Sung Sarah Moosvi Julia Oldham, Education Shayna Rodman AlexTomasik Antonia Pocock Rebecca Reynolds, Education Emma Ross Cigdem Unal Ashley Rybowiak Susannah Ribstein, Registration Ceyda Savasli Cynthia Van Grinsven Lelia Scheaua Daniela Rosner, Public Relations Anna Scholin Lucas Wiesendanger Annie Sheng Whitney Rugg, Curatorial Sushu Xia Analiese Wilcox Dennis Toy Dawna Schuld, Curatorial Saul Zaritt Aaron Tugendhaft Simone Tai, Curatorial Guards Emily Warner Mary Trent, Registration Evan Arnold Cafe Attendants Peggy Wang, Curatorial Bradley Atwell Clara Brand Sarah Weber, Administration Travis Chapa Linda Ding Alyssa Wiegand, Business Annie Chiu Mollie Godfrey Margaret Zaydman, Public Relations Murat Coskun Jonathan Humphreys