THE J. PAUL GETTY TRUST 2008 REPORT 2 Message from the Chair 6 The J. Paul Getty Museum 54 Publications Acquisitions 56 Staff 4 Foreword Exhibitions 60 Board of Trustees, Officers and Directors Scholars 61 Financial Information Councils Docents and Volunteers

20 The Getty Research Institute Acquisitions Exhibitions Scholars

32 The Getty Conservation Institute Conservation Projects Scholars

42 The Getty Foundation Grants Awarded The J. Paul Getty Trust is an international cultural and philanthropic institution that focuses on the visual arts in all their dimensions, recognizing their capacity to inspire and strengthen humanistic values. The Getty serves both the general public and a wide range of professional communities in Los Angeles and throughout the world. Through the work of the four Getty programs–the Museum, Research Institute, Conservation Institute, and Foundation–the Getty aims to further knowledge and nurture critical seeing through the growth and presentation of its collections and by advancing the understanding and preservation of the world’s artistic heritage. The Getty pursues this mission with the conviction that cultural awareness, creativity, and aesthetic enjoyment are essential to a vital and civil society. Message from the Chair

Two years ago, the Board’s highest priorities were bringing in a new CEO to lead the J. Paul Getty Trust and the development of a new strategic plan to strengthen the Trust’s capacity to fulfill its mission of advancing the understanding and appreciation of the visual arts around the world. Jim Wood joined the Getty as its new CEO in early 2007. After a year of intense and productive engagement among the Board, Jim, and the senior management team, we approved a new Strategic Plan in May 2008. The most significant priorities set out in the Plan are:

> T o exercise consistently the essential discipline to focus solely on what the Getty can do best, and to achieve results that optimize the power of the Trust’s substantial endowment; > To strengthen the Getty’s unique capacity to enhance its mission through close collaboration across its four program areas: The J. Paul Getty Museum, the Getty Conservation and Research Institutes, and the Getty Foundation; > To maximize the Getty’s flexibility to undertake new initiatives and respond to emerging needs in the visual arts; > To assure that the Getty continues to build the core collections of the Museum and Research Institute; and > To further the Getty’s leadership in visual arts initiatives both locally and internationally.

Implementation of the plan began shortly after its approval as part of the fiscal year budget, effective July 1 of last year. That budget reflected savings and efficiencies identified during an extensive review of operations to realign spending with new initiatives. Staff was reduced and existing programs modified. The savings realized from operational efficiencies were redeployed to the programs, and to a new Major Acquisitions and Strategic Initiatives Fund. The fund will enhance the Getty’s capacity to strengthen its collections and to undertake timely new initiatives. The new fund’s significance to the Getty is already apparent. In November 2008, it enabled the purchase of Landscape with the Temptation of Saint Anthony by 17th-century Flemish landscape and still-life painter Roelandt Savery (1576–1639). This is one of Savery’s most important works to become available in several decades. The fund’s resources also made possible Board approval of a significant new initiative by the Conservation Institute to support the preservation of King Tut’s tomb in the Valley of the Kings, which will further advance the Getty’s long tradition of building conservation capacity in Egypt.

2 The J. Paul Getty Trust The Getty’s work has always benefited from drawing on the diverse experience and insights of its four programs, but as the management team and Board worked through the planning process, it became clear that the full potential of the Getty could be further strengthened with significantly enhanced internal cooperation. Powerful evidence of this was seen last year in the joint effort between the Research Institute and the Getty Museum to co-organize the pioneering exhibition, California Video, which was selected by the International Association of Art Critics as the Best Exhibition for 2008. The Research Institute’s extraordinary collection of video art, a gift of the Long Beach Museum of Art Video Archive in 2006, is now one of the largest institutional collections in the world. The Board and management have prioritized and are also strongly committed to increased partnerships with art institutions here in Southern California. Pacific Standard Time: Art in L.A. 1945–1980, a joint project of the Getty Foundation and the Research Institute will take collaboration with other visual arts organizations to a new level. This region-wide effort based on the work of Los Angeles artists after World War II will result in over 20 exhibitions, including one at the Getty Museum, which will open beginning in the fall of 2011. The Foundation has provided over $5.5 million in grants to local arts institutions to support this groundbreaking effort, and has served as a catalyst in bringing together the arts community in Los Angeles for this joint initiative. The Getty is also continuing to expand its rightly acclaimed and cooperative role with visual arts institutions throughout the world. A good example is the 20-year collaboration between the Conservation Institute and the Dunhuang Academy, the stewards of the Mogao Grottos, a World Heritage Site in western China. I had an opportunity to view this project during a trip to China last year. Not only has this partnership advanced the conservation of the site’s extraordinary third- to fifth-century Buddhist cave paintings, but it has served as a laboratory for development of site management strategies through the Conservation Institute’s China Principles project. The resulting guidelines now serve as a model for the preservation of heritage sites across China. As I write this letter, the Getty’s investment portfolio is down approximately 25 percent from the start of the fiscal year last July, less than the market drop generally, but clearly a significant decline. The Getty’s management team is examining now what further cost reductions must be taken to ensure the Getty’s financial health going forward. It is a difficult process, but we’re confident that by focusing on the priorities and financial discipline established during the strategic planning process, the Getty will continue to remain a financially strong institution, capable of carrying forward its important mission, locally and around the world. My deep appreciation to my fellow board members for their sound judgment, strategic insight and enthusiastic commitment to the Getty. The Board also joins me in expressing our great respect and gratitude to Jim Wood, his senior team and all the Getty’s capable and dedicated employees without whom none of this valuable work would be possible.

Sincerely,

Louise H. Bryson, Chair J. Paul Getty Trust Board of Trustees February 15, 2009

The J. Paul Getty Trust 3 Foreword

James N. Wood

The past year was devoted to defining our course for the future and the realization of substantial accomplishments in the present. As outlined in Louise Bryson’s message, the crafting of a strategic plan and the realignment of our operating budget to reflect its priorities has made this a period of reflection on our past and of questioning both ourselves and our many constituencies to determine how we can best meet the challenges of a changing world. While the popular face of the Getty is undoubtedly its signature architecture, spectacular settings, collections, and public programming, it is people who determine our identity and are responsible for our success. With the arrival of Stephen Clark as General Counsel to the J. Paul Getty Trust, our senior management team was completed. Following a distinguished 18-year career at the Museum of Modern Art in New York, he brings a range of experience and familiarity with the legal challenges of the not-for-profit world that have already made him a valued colleague. In the spring of this year the final report of the Attorney General’s monitor was made, commending both the Getty’s governance procedures and their application. The depth and breadth of work in the visual arts undertaken by the Getty is both significant and often little known beyond the communities we serve. It benefits not only those who come to the Getty Museum to view our permanent collections and special exhibitions, but also the scholars and researchers who use the resources available through the Getty Research Institute, conservators and scientists who participate in projects supported by the Getty Conservation Institute, and the local, national and international organizations who rely on the philanthropic work of the Getty Foundation. The Museum’s permanent collections benefited from major acquisitions during the year including masterpieces both on canvas and paper from Gauguin’s Tahitian period, a glorious, richly illustrated English Medieval manuscript known as a bestiary for its compelling subject matter, and a rare, and fully documented, Roman sarcophagus of the grape harvest that signaled our determination to continue to add to our collections of classical antiquities. The Conservation Institute continued to build on its longstanding involvement with the Egyptian government to both determine the means of preservation and the techniques for site management so essential to making accessible to a general public some of the world’s most important cultural treasures. This new commitment is for a five-year project to conserve the wall paintings within the tomb of Tutankhamen. The Research Institute began a Latin American initiative and laid the groundwork for a new Getty Research Journal that will debut this coming year, showcasing the work of GRI scholars

4 The J. Paul Getty Trust and staff as well as those from other Getty programs. The Research Institute’s research collections were greatly enhanced by the acquisition of the Jacobson Collection of Orientalist photography, numbering over 4,000 items and providing an essential complement to already strong holdings on the visual arts traditions of the Middle East. The Foundation, building on a more than 20-year commitment, provided additional grants to support the training of museum professionals in sub-Saharan Africa. It also launched Pacific Standard Time: Art in L.A. 1945–1980, the final phase of a joint initiative with the Getty Research Institute, which will result in exhibitions at more than 20 museums throughout Southern California, including the Getty, in 2011 and 2012. The activities of the four Getty programs are outlined in greater detail in the following report. Let me just note several important areas which helped define both the Getty’s leadership role and our impact. The Foundation was one of the first to respond when Katrina inundated New Orleans. Through a special Fund for New Orleans, over the past three years the Foundation has awarded grants to strengthen the city’s arts organizations and conserve its collections and historic buildings. Recently, the Foundation supported Prospect 1, the largest biennial of contemporary art ever organized in the United States. Installed throughout New Orleans, Prospect 1 is being praised as an essential component of the city’s ongoing recovery. In another part of the world where archaeological sites are threatened, the Conservation Institute has partnered with the World Monuments Fund and the Jordanian and Iraqi heritage authorities to create the Middle Eastern Geodatabase for Antiquities. This bilingual Arabic/ English web-based geographic information system will aid in protecting and managing a wide range of archaeological sites in the Middle East. Such initiatives coupled with the constant flow of international art historians, archaeologists and conservators as visiting Getty scholars has helped assure that our Getty community is among the most cosmopolitan in our field and stands as a tested precedent for the Obama/Biden campaign’s stated priority for the arts—to promote cultural diplomacy and attract foreign talent. Similarly, the Getty has been a leader in the area of conservation beyond the more specific areas of the preservation of works of art. In fact, this year the Getty Center was awarded the Silver LEED (Leadership in Energy and Environmental Design) certification from the U.S. Green Building Council. Our conservators and scientists in both the Conservation Institute and the Museum have taken a leadership role in promoting the concept of sustainable conservation to help determine the most effective way of preserving our artistic heritage in situations where resources have been severely diminished. We are both a proud citizen of Los Angeles and an institution with global responsibilities. It is important to note that of our entire operating budget, well over 90 percent is spent here in our city or on the acquisition of works of art and special collections that will permanently enhance our Museum and Library. And out of last year’s 1.6 million visitors approximately one half came from Southern California while, of the balance, over 320,000 came from outside the United States. As I compile this FY2008 annual report from the vantage point of FY2009, it is clear that we are now in a radically different economic world that will both tax our ingenuity and diminish our financial resources. However, our strategic planning process has given us the tools to focus our priorities and remain true to our core mission, never losing sight of the fact that it is in times of distress that the inspirational message of the visual arts is most in need of being preserved and shared. February 15, 2008

The J. Paul Getty Trust 5 Hilja Keading. Backdrop, 2002. Nine-channel video installation, color, sound. Photo: Courtesy of the artist. The J. Paul Getty Museum

The J. Paul Getty Museum seeks to further knowledge of the visual arts and to nurture critical seeing by collecting, preserving, exhibiting, and interpreting works of art of the highest quality. To fulfill its mission, the Museum continues to develop its collection through purchase and gifts, complementing its impact through special exhibitions, publications, educational programs developed for a wide range of audiences, and a related performing arts program. The Museum strives to provide its visitors with access to the most innovative research in the visual arts while they enjoy a unique experience in viewing works of art at our Getty Center and Getty Villa sites. While benefiting from the broader context of the Getty Trust, the Museum also extends the reach of its mission via the internet and through the regular exchange of works of art, staff, and expertise. The J. Paul Getty Museum

Michael Brand, Director

Above: Paul Gauguin. Arii Matamoe (The Royal End), In December 2007, the J. Paul Getty Museum, along with the other three programs of the 1892. Oil on coarse fabric. (JPGM) Getty Trust, celebrated the 10-year anniversary of the opening of the Getty Center. This moment Above right: Paul Gauguin. Eve (The Nightmare), about 1899–1900. Black printer’s ink, ochre ink, liquid solvent in our history gave us reason to pause and reflect on the highlights of the past 10 years, including (turpentine?) on wove paper. (JPGM) both extraordinary acquisitions and groundbreaking exhibitions. This fiscal year was also marked by the resolution of claims made by Italy against certain objects in our antiquities collection. In September 2007, after much scholarly research and detailed discussion, an agreement was signed with the Italian Ministry of Culture to return 39 objects to Italy. By December of that year, 38 objects had been returned. The final object—the Cult Statue of a Goddess—will be returned in 2010. The resolution of these claims was difficult but this process has led to a new era of collaboration with our Italian colleagues that will bring many wonderful and rare objects to the Getty to complement our collection and enhance the visitor experience at the Getty Villa. One of the significant presentations for the year wasCalifornia Video. Co-organized by the J. Paul Getty Museum and the Getty Research Institute, this exhibition was the first

8 The J. Paul Getty Museum comprehensive survey of video art from both Northern and Southern California from the late 1960s until the present day. Along with the accompanying catalogue, this highly ambitious show received many positive reviews that acknowledged the Getty’s major contribution to the field. A number of important vacant positions at the Museum were filled during the year. Completing the Museum’s senior staff team are John Giurini, assistant director for public affairs, and Toby Tannenbaum, assistant director for education. Karol Wight was named senior curator of antiquities and Gregory Britton joined the Museum as publisher.

The Collection The Getty Museum’s collection grew with a wide range of acquisitions in all six of our collecting areas. In September 2007, we added a unique double-sided drawing by Paul Gauguin entitled Eve (The Nightmare)and, six months later, the Museum acquired its first painting by Gauguin. Dating from 1892, the startling Arii Matamoe (The Royal End) represents a departure from many of Gauguin’s other works from this time. We are delighted to have this powerful composition join our collection of post-Impressionist masterpieces. Another first for the collection this year was the addition of a painting by Claude Lorrain. Painted around 1645, Coast View with the Abduction of Europa also complements the Museum’s substantial holdings of drawings by Claude. The Museum’s photographs collection grew significantly this year with the addition of 834 photographs by Felice Beato and 252 photographs that comprise Irving Penn’s The Small Trades series. This latter acquisition not only expands our holdings of portrait photography, but fulfills Mr. Penn’s hopes of keeping this magnificent group of photographs intact. In February 2008, a Vita Christi containing over 100 illuminations from the 12th and 15th centuries, and one of the finest examples of English Romanesque illumination remaining in private hands, was added to the Museum’s manuscripts collection. More recently, the department added a Gospel book from Ethiopia that is painted in the Gunda Gundé style and can be dated to the early 1500s. The Vexed Man, an alabaster sculpture by Franz Xaver Messerschmidt, joined our collection in February 2008. This work was part of a group of 69 heads—collectively known as theCharacter Heads—which Messerschmidt produced during the last 13 years of his life and which are acknowledged as among the Enlightenment’s most intriguing artistic achievements. At the end of the fiscal year, the Museum added a remarkable Roman marble sarcophagus that dates to the third-century A.D. to its antiquities collection. Documented in Italy in the early 19th century, but never before publicly displayed, this Sarcophagus representing a Dionysiac Vintage Festival joins the Museum’s impressive collection of ancient funerary monuments at the Getty Villa and is now the centerpiece for a new gallery devoted to wine and wine-making in antiquity.

Exhibitions Top: Franz Xaver Messerschmidt. The Vexed Man, after 1770. Alabaster. (JPGM) The Museum opened 24 exhibitions this fiscal year. Three of these exhibitions celebrated our Above: Claude Lorrain. Coast View with the Abduction of 10th anniversary by highlighting the past decade of acquisitions in the areas of drawings, Europa, around 1645. Oil on canvas. (JPGM) manuscripts, and photographs. In the Center for Photographs, a new series of single-gallery exhibitions intended to reflect the breadth of the collection was inaugurated with In Focus: The Nude, which also complemented a major exhibition of works by Edward Weston. This new thematic series is scheduled on a different cycle than the larger gallery shows to ensure that visitors will always find photographs on view when they visit the Getty Center.

The J. Paul Getty Museum 9 Right: Unknown. Sarcophagus representing a Dionysiac Vintage Festival, Roman, 290–300 A.D. Marble. (JPGM)

Below: Unknown. Saint John, Ethiopian, about 1504–1505. Tempera on parchment. (JPGM)

The Goat’s Dance: Photographs by Graciela Iturbide featured this contemporary Mexico City-based artist’s work with indigenous communities in southern Mexico, but also included photographs taken in East Los Angeles and at the border between the United States and Mexico as well as some recent landscapes done in the American South. With over 190,000 visitors to the exhibition, the attendance numbers clearly illustrate the success of the new Center for Photographs. Twenty drawings by Federico Zuccaro acquired by the Museum in 1999 formed the centerpiece of an exhibition that traced the hardships of the artist’s brother—Taddeo—in becoming an artist in Rome during the 16th century. Taddeo and Federico Zuccaro: Artist-Brothers in Renaissance Rome brought together over 60 of their greatest drawings from institutions across the United States and Western Europe. The theme of ‘the artist’s life’ continued over the summer months when the Drawings department, in partnership with the Museum Het Rembrandthuis in the Netherlands, looked at the career of Maria Sibylla Merian, known for her drawings of flowers and insects. This exhibition of her work also proved to be particularly popular among children, with engaging drawing activities taking place in the galleries and in the Central Garden and two family festivals presented over the course of the exhibition. More than 30 paintings, drawings, and works on paper created by Jean-Honoré Fragonard in the latter part of his career and dedicated to the theme of love comprised the exhibition Consuming Passion: Fragonard’s Allegories of Love, presented at the Museum in the winter of 2008. In addition to loans from several prominent institutions in Europe and the United States, this show featured a selection of works from public and private collections in Los Angeles. At the Getty Villa, the Museum continued its partnership with the Dresden State Art Collections with an exhibition and long-term loan of two life-size Roman marble statues—the so-called Large and Small Herculaneum Women which were excavated in Herculaneum in 1711. The influence of antiquity on modern glass-making was the focus of Reflecting Antiquity: Modern Glass Inspired by Ancient Rome, a collaboration with the Corning Museum of Glass. Thanks to the generous support of the Villa Council, glassmakers from the Corning Museum of Glass were present for two weeks during the exhibition to demonstrate ancient and modern glass-making techniques.

10 The J. Paul Getty Museum Education The Museum’s Education department presented programs at both Getty sites for a wide range of audiences, including children and families as well as students and teachers. Scholarly audiences were reached through lectures, seminars, and workshops. Over 220,000 adults took advantage of daily gallery talks and architectural and garden tours, and nearly 122,000 students visited the Getty Center and Getty Villa. Bus transportation subsidies to bring students from under-served schools in Los Angeles to the Getty’s two sites were increased significantly over the prior fiscal year. At the same time, more than 8,190 family members (the majority of whom have children studying in Title One schools) and 30 community groups were provided free bus transportation to the Getty through our Getty Getaway Days program and Community Programs, respectively. At the Getty Center, our staff collaborated with faculty from three community colleges on the design of courses in conjunction with the California Video exhibition and, in conjunction with the Iturbide exhibition, with the nonprofit center 826LA on the programCommunity Photoworks. At the Villa, the collaborative Theater Education Program was inaugurated with the Virginia Avenue Project, a free after-school program for youth, to provide education groups with access to the Villa’s presentations of ancient theater, both the annual production in the Outdoor Classical Theater and the more experimental Theater Lab series in the Villa Auditorium. In addition, the program provides opportunities for educational institutions to interact with the Villa collection and the space to create their own dramatic productions.

Top: The exhibition Maria Sibylla Merian & Daughters: Women of Art and Science was organized by the J. Paul Public Programs Getty Museum and the Museum Het Rembrandthuis. This year’s outdoor classical theater production of Plautus’ Roman comedy,Tug of War, at the Above: A young visitor exploring works of art on an Art Odyssey Family Tour at the Getty Villa. Getty Villa was nominated for an Ovation Award by L.A. Stage Alliance. The Villa Theater Lab Series season was a sell-out, with presentations involving several award-winning performers and playwrights, including Ellen McLaughlin’s one-woman play Penelope; playwright Luis Alfaro’s Oedipus El Rey; Olivier Award-winning British actor Henry Goodman in Philoktetes; and Icarus, an innovative new work by Chicago’s Lookingglass Theatre Company. At the Getty Center, Summer Sessions, our annual international concert series, drew over 13,000 attendees over three consecutive Saturday evenings of music with roots in the contemporary sounds of South America, Mexico, Africa, and the Caribbean, amongst other cultures.

Cast members of Tug of War, this year’s outdoor classical theater production at the Getty Villa.

The J. Paul Getty Museum 11 J. Paul Getty Museum Acquisitions

The J. Paul Getty Museum’s collection includes Greek, Etruscan, and Roman antiquities; European paintings, drawings, sculpture, and decorative arts from the Middle Ages to the end of the 19th century; medieval and Renaissance illuminated manuscripts; and photographs from the 19th century to the present. Acquisitions made between July 1, 2007, and June 30, 2008

Antiquities Unknown (Ethiopian) Lewis Baltz (American, b. 1934) Gospel Book, ca. 1504–05 Thirty-two photographs,1980 Unknown (Roman) Tempera on parchment; 34.5 x 26 cm (13 9/16 x 10 Gelatin silver Sarcophagus representing a Dionysiac Vintage 1/4 in.) Gift of Michael R. Kaplan, MD Festival, 290–300 A.D. 2008.15 2007.54 Marble; 53.1 x 190 cm (20 7/8 x 74 13/16 in.) 2008.14 Felice Beato (British, b. Italy 1825–1904) Eight hundred and thirty-four photographs, Paintings 1857–85 Albumen and salt Drawings Jean-Victor Bertin (French, 1767–1842) Partial gift from the Wilson Centre for Photography View in the Ile-de-France, ca. 1810–13 2007.26 Hendrick Avercamp (Dutch, 1585–1633) Oil on canvas; 35.5 x 47.5 cm (14 x 18 11/16 in.) Bernd and Hilla Becher (German, partnership A Winter Scene with Two Gentlemen Playing Kolf, 2008.2 1959–2007) ca. 1615–20 Lime Kilns, Brielle, Holland, 1968 Pencil, pen and ink, and gouache; 9.4 x 15.6 cm Paul Gauguin (French, 1848–1903) Gelatin silver, 50.8 x 40.6 cm (20 x 16 in.) (3 11/16 x 6 1/8 in.) Arii Matamoe (The Royal End),1892 Gift of Mary and Dan Solomon 2008.13 Oil on coarse fabric; 47.9 x 74.9 cm (18 7/8 x 29 1/2 in.) 2007.57 Paul Gauguin (French, 1848–1903) 2008.5 Esther Bubley (American, 1921–1998) Eve (‘The Nightmare’),ca. 1899–1900 Thirty-four photographs,1943–60 Black printer’s ink, ochre ink, liquid solvent Claude Lorrain (French, 1600–1682) Gelatin silver (turpentine?) on wove paper (recto); Graphite and Coast View with the Abduction of Europa, 164(5)? Gift of Leo Pircher and Nina Pircher blue crayon pencil with traces of a diluted oil medium Oil on canvas; 93.2 x 118.5 cm (38 x 48 1/4 in.) 2007.63 (verso); 64.2 x 48.9 cm (25 1/4 x 19 1/4 in.) 2007.32 2007.33 William Carter (American, b. 1934) Twelve photographs, 1983–93 Claude Jean-Baptiste Hoin (French, 1750–1817) Photographs Gelatin silver, platinum Portrait of François-Jean Hoin (1748–1808), the Gift of the artist artist’s brother, 1780s Attributed to Carleton Watkins (American, 1829–1916) 2007.39 Black and white chalk with stumping on blue prepared and printed by G.R. Fardon (British, 1807–1886) paper; 51 x 37.5 cm (20 1/16 x 14 3/4 in.) Six-part Panorama of San Francisco from San William Carter (American, b. 1934) 2007.34 Francisco Album: Photographs of the Most Beautiful Ninety-seven photographs, 1962–2005 Views and Public Buildings in San Francisco, Gelatin silver Master H.B. (German, active early 16th century) 1855–56 Gift of the artist Saint Andrew, ca. 1530 Salted paper 2007.48 Pen and brown ink and grey wash; 21.1 x 15.5 cm 2007.53 (8 5/16 x 6 1/8 in.) Martha Casanave (American, b. 1946) 2007.22 Attributed to Carleton Watkins (American, 1829–1916) Three photographs,1977–83 Two daguerreotypes, ca. 1850s Gelatin silver Nicolaas Struyck (Dutch, 1686–1769) Daguerreotype Anonymous gift Four Beetles and a Moth, 1715 2008.10 2007.47 Pen and black ink, watercolor, gouache, gold paint with white gouache heightening, and pen and brown iron- Attributed to Carleton Watkins (American, 1829–1916) Eileen Cowin (American, b. 1947) gall ink; 43.7 x 28.6 cm (17 3/16 x 11 1/4 in.) Untitled [Home of George and Kate Clement Plume, Five photographs, 1980–83 2007.28 Marysville, California], ca. 1851 Chromogenic Daguerreotype; 15.9 x 21 cm (6 1/4 x 8 1/4 in.) Purchased with funds provided by the Photographs 2008.7 Council of the J. Paul Getty Museum Manuscripts Attributed to Carleton Watkins (American, 1829–1916) 2008.35 Attributed to Franco dei Russi (Italian, active ca. Untitled [The Plaza in Lima, Peru],ca. 1852 Judy Dater (American, b. 1941) 1453–1482) Daguerreotype; 12.7 x 15.2 cm (5 x 6 in.) Two photographs, 1970–74 Leaf from the Antiphonal of Cardinal Bessarion, 2008.6 Gelatin silver ca. 1455–60/63 Attributed to Carleton Watkins (American, 1829–1916) Gift of Jack von Euw Tempera colors, gold leaf, and ink on parchment; Untitled [Portrait of Joseph Ware], ca. 1855 2007.43 71.1 x 51.4 cm (28 x 20 1/4 in.) Daguerreotype; 21.5 x 16.5 cm (8 7/16 x 6 1/2 in.) Judy Dater (American, b. 1941) 2007.30 Partial gift of Mary and Dan Solomon Ten photographs, 1980–83 Unknown (British) 2008.9 Gelatin silver Illustrated Vita Christi, with devotional supplements, Purchased with funds provided by the Photographs ca. 1190–1200 and ca. 1480–90 Council of the J. Paul Getty Museum Tempera colors and gold leaf on parchment; 17.6 x 12.8 2008.17 x 4.3 cm (6 15/16 x 5 1/16 x 1 11/16 in.) 2008.3

12 The J. Paul Getty Museum Jay DeFeo (American, 1929–1979) Graciela Iturbide (Mexican, b. 1942) Shigeichi Nagano (Japanese, b. 1925) Three photographs,1973 Eight photographs, 1990–2007 Twenty photographs, 1985–2000 Gelatin silver Gelatin silver, platinum and chromogenic Gelatin silver 2007.29 Gift of the artist and RoseGallery Purchased with funds provided by the Photographs 2007.24 Council of the J. Paul Getty Museum William Eggleston (American, b. 1949) 2008.11 Forty-eight photographs, ca. 1970s Graciela Iturbide (Mexican, b. 1942) Polaroid, Type C, Kodak paper Forty photographs and two portfolios, 1974–2005 Bill Owens (American, b. 1938) Gift of Susan Steinhauser and Daniel Greenberg Gelatin silver, photogravure and platinum-palladium Fifteen photographs, 1973–77 2007.64 Gift of Susan Steinhauser and Daniel Greenberg Gelatin silver 2007.65 Gift of Robert Harshorn Shimshak Alfred Eisenstaedt (American, b. Germany 1898–1995) and Marion Brenner Fifteen photographs, 1930s–60s Graciela Iturbide (Mexican, b. 1942) 2007.56 Vintage gelatin silver Two photographs, 1986–2006 Gift of Leo Pircher and Nina Pircher Gelatin silver Martin Parr (British, b. 1952) 2007.62 2007.38 Twenty-four photographs, 1995 Chromogenic Peter Henry Emerson (British, b. Cuba 1856–1936) André Kertész (American, b. Hungary 1894–1985) 2007.27 Tidal Creek and old warehouses south of Southwold, Abony, July 23, 1921 Suffolk, ca. 1886 Gelatin silver; 5.7 x 3.8 cm (2 1/4 x 1 1/2 in.) Irving Penn (American, b. 1917) Albumen silver; 62.8 x 52.5 x 3 cm (24 3/4 x 20 11/16 2008.12 Two hundred fifty-two photographs,1951–2003 x 1 3/16 in.) Gelatin silver and platinum Chris Killip (British, b. 1946) 2007.31 Partial gift of Irving Penn Sea Coalers (boy and woman on beach), 1983 2008.1 James Fee (American, 1949–2006) Gelatin silver print Twenty photographs, 1992–95 2007.70 Gail Pine and Jacqueline Woods (American, Toned gelatin silver active 1999) Mark Klett and Byron Wolfe (American, b. 1952 and Gift of Robert Brinkmann Eighteen typologies, Printed 1930–72; American, b. 1967) 2007.23 Designed 2006 Eight photographs, 2001–03 Color, polaroid, gelatin silver, and kodacolor Jona Frank (American, b. 1966) Inkjet Gift of Michael and Sharon Blasgen and Wilson Centre Boy Scout, 2006 2007.37 for Photography Chromogenic; 20.3 x 25.4 cm (8 x 10 in.) Loretta Lux (German, b. 1969) 2007.51 2007.45 Sasha and Ruby, 2005 Sheron Rupp (American, b. 1943) Heinz Hajek-Halke (German, 1898–1983) Ilfochrome, 30 x 40 cm (11 13/16 x 15 3/4 in.) Three photographs,1983–2003 Twelve photographs, 1948–1959 2007.36 Chromogenic dye coupler Vintage gelatin silver Sally Mann (American, b. 1951) Gift of Nancy and Bruce Berman 2007.25 Jessie #6, 2004 2007.40 Mikiko Hara (Japanese, b. 1967) Gelatin silver; 127 x 101.6 cm (50 x 40 in.) Graham Smith (British, b. 1947) Seventeen photographs, 1996–2007 Gift of the American Academy of Arts and Letters; South Bank Outside Market Street Toilets, 1985 Chromogenic (Type-C) Hassam, Speicher, Betts and Symons Funds, 2007 Gelatin silver Purchased with funds provided by the Photographs 2007.60 2007.71 Council of the J. Paul Getty Museum Robert Mapplethorpe (American, 1946–1989) 2008.8 Mike Smith (German, b. 1951) Eight photographs, ca. 1974 Five photographs, 1996–2002 Tim Hawkinson (American, b. 1960) Polaroid Chromogenic dye coupler Octopus, 2006 2007.67 Gift of Nancy and Bruce Berman Collage of inkjet digital mounted to wood with Mary Ellen Mark (American, b. 1940) 2007.41 polyurethane foam; 240 x 355.6 x 6.4 cm (94 1/2 x Two photographs, 2001–02 140 x 2 1/2 in.) Joel Sternfeld (American, b. 1944) Polaroid 2007.35 The Northwest Corner of Florence and Normandie Purchased with funds provided by the Photographs Avenues, Los Angeles, California, October 1993, Soon Tae (Tai) Hong (Korean, b. 1934) Council of the J. Paul Getty Museum Negative October 1993; Printed 2005 Twenty photographs, Negative 1968–78; Printed 2007.50 Chromogenic dye coupler; 76.2 x 127 cm 1970–80s Ralph Eugene Meatyard (American, 1925–1972) (30 x 50 in.) Gelatin silver Thirty-six photographs,1957–69 Gift of Nancy and Bruce Berman 2007.52 Gelatin silver 2007.42 Soon Tae (Tai) Hong (Korean, b. 1934) Gift of Christopher Meatyard and Jonathan Greene Ten photographs, 1969–1976 2007.49 Gelatin silver Daido Moriyama (Japanese, b. 1938) Gift of Soon Tai Hong Night, Tokyo, 2003 2007.58 Gelatin silver; 35.6 x 43.2 cm (14 x 17 in.) Gift of Daido Moriyama 2007.59

The J. Paul Getty Museum 13 Robert Neal Stivers (American, b. 1953) Unknown Sculpture & Decorative Arts Five photographs, 2000–03 Portrait of Sam Wagstaff,ca. 1980 Gelatin silver Gelatin silver; 40.6 x 50.8 cm (16 x 20 in.) Ellsworth Kelly (American, b. 1923) Gift of Jean Cohen Friedman and Dr. Jerry Friedman 2007.69 Totem, May 1988 2007.55 Graphite; 30.6 x 22.2 cm (12 1/16 x 8 3/4 in.) Samuel Wagstaff, Jr. (American, 1921–1987) 2007.44 Various Manufacturers Forty-one photographs, 1973–77 Five cameras, ca. 1750–1949 Kodak Franz-Xaver Messerschmidt (German, 1736–1783) Wood, brass, leather, glass 2007.68 The Vexed Man, after 1770 Gift of Gloria and Stanley Fishfader Alabaster, 42 cm (16 9/16 in.) Carleton Watkins (American, 1829–1916) 2007.46 2008.4 Agassiz Column, near Union Point, 1866–72 Unknown Albumen silver; 71 x 55.9 cm (27 15/16 x 22 in.) Portrait of Sam Wagstaff, ca. 1977 Gift in memory of Margaret Meanor Crawford Gelatin silver; 20.3 x 25.4 cm (8 x 10 in.) 2007.61 2007.66

J. Paul Getty Museum Exhibitions

Opening at the Getty Center between July 1, 2007, and June 30, 2008

Edward Weston: Enduring Vision Please Be Seated: A Video Installation Medieval Treasures from the July 31–November 25, 2007 by Nicole Cohen Cleveland Museum of Art A seminal figure in the history of photography, Edward September 18, 2007–January 11, 2009 October 30, 2007–January 20, 2008 Weston (American, 1886–1958) began his long career Internationally recognized video artist Nicole Cohen The Cleveland Museum of Art houses one of the finest in Southern California. The Getty Museum’s collection (American, b. 1970) explored the intersection and most comprehensive collections of early Christian, of Weston prints is among the most significant of of historical interiors, the social behaviors they Byzantine, and European medieval art. This was the first any art museum, spanning four decades of the artist’s conditioned, contemporary popular culture, and traveling exhibition to showcase a significant number work. This exhibition traced the breadth of Weston’s fantasy. Her project for the Getty Museum focused on of the museum’s treasures in the field, some of the accomplishments in California, Mexico, and across the the Museum’s collection of French seating furniture most lavish and prized examples of artistic production United States, employing a selection of prints drawn and its original and museological contexts. Viewers to survive. The exhibition included more than 120 from the Museum’s holdings alongside a smaller number were invited to engage in a participatory experience, works of art executed in a variety of media. Paintings, of complementary loans. One gallery of the exhibition forming personal, imaginative narratives through video sculpture, metalwork, decorative arts, textiles, and was devoted to the work of Weston’s colleagues and projections that rendered the chairs physically and illuminated manuscripts offered a rich survey of the students. psychologically accessible. arts and culture of medieval Europe. Organized by the Cleveland Museum of Art, the exhibition was installed Recent History: Photographs by Luc Delahaye Taddeo and Federico Zuccaro: Artist-Brothers in at the Bavarian National Museum in Munich prior to July 31–November 25, 2007 Renaissance Rome coming to the Getty. The Getty Museum presented the first West Coast October 2, 2007–January 6, 2008 exhibition featuring the work of Luc Delahaye (French, One of the first illustrated “starving artist” tales, a The Decorated Letter b. 1962), including 10 photographs depicting recent series of 20 drawings by the late-Renaissance painter November 13, 2007–January 27, 2008 world events. Inspired by a documentary approach and theorist Federico Zuccaro (Italian, c.1541–1609) The pages of medieval manuscripts feature richly to photography, Delahaye’s large-scale color works showed the early life of his famous brother Taddeo illuminated letters. Vines and luxuriant leaves twist urge reflection about the relationships among art, Zuccaro (Italian, 1529–1566). This major exhibition together to create initials; humans, animals, and information, and history. The direct nature of the comprised around 85 objects—principally drawings— mythological beasts create words; and entire stories photographs, the detachment, and the rich details that and included loans from a number of European and unfold within the forms of individual letters. This emerge from them contradict but also enhance their United States collections. It celebrated the Early Life exhibition explored the categories of illuminated dramatic intensity and narrative power. of Taddeo series and also illuminated Taddeo’s later letters found in manuscripts dating from the 800s to career through some of his greatest drawings as well the 1500s, shedding light on the trends that shaped Music for the Masses: Illuminated Choir Books as studying his working relationship with his younger medieval artistic production. August 14–October 28, 2007 brother. A fully illustrated catalogue accompanied the This exhibition of over 40 manuscripts and leaves exhibition. from the Getty Museum’s collection explored a variety of themes including: the types of medieval books In Focus: The Nude that contained music; the evolving forms of musical October 9, 2007–February 24, 2008 notation; the individuals who used these books in The unclothed human figure became a camera their worship; the famous artists who painted the subject shortly after the discovery of photography was illuminations; and especially, the scenes from the Old announced in 1839. From that point forward, artists Testament and from the lives of Christ and the saints have been challenged to use a variety of photographic that decorate the hymns. Accompanying the exhibition materials and processes to find new ways of picturing were recorded versions of selected chants from the the nude. This exhibition, which was drawn exclusively manuscripts on display. from the Getty Museum’s collection of photographs, brought together the work of over 25 innovative photographers who have left their mark on the history of the genre.

14 The J. Paul Getty Museum The Goat’s Dance: Photographs Rare Finds: Ten Years of Collecting Manuscripts Imagining Christ by Graciela Iturbide February 12–April 20, 2008 May 6–July 27, 2008 December 18, 2007–April 13, 2008 In celebration of the 10th anniversary of the Getty Over a period of almost 2,000 years, the image of Christ The work of Mexico City photographer Graciela Center, this exhibition featured acquisitions of the past has changed and evolved, often in response to political Iturbide (b. 1942) was featured in an exhibition of 10 years. The display included some of the manuscripts forces or social changes. This exhibition of manuscripts about 140 prints drawn from a combination of sources, collection’s illuminated treasures, including the 12th- from the Getty Museum’s collection covered the years including the Getty Museum’s holdings, the collection century Stammheim Missal, a masterpiece of German from around 1000 to 1500, and explored how medieval of Daniel Greenberg and Susan Steinhauser, and the medieval art; the Avranches psalter, one of the earliest Christians pictured Christ as both divine judge and artist’s own archives. Not strictly a retrospective of examples of Gothic book painting in France; three human son of God, and even used Christ’s image to the photographer’s career, this exhibition highlighted miniature paintings from a famous 14th-century express such complex religious concepts as the Trinity. Iturbide’s work with surviving indigenous communities Florentine hymnal; the unique copy of a racy epistolary The exhibition examined the role Christ played in the in southern Mexico, outsider immigrant groups in novel written by the future Pope Pius II; and the imaginative life of medieval and renaissance viewers, East Los Angeles, and those struggling at La Frontera, portrait of King Louis XII of France from his book of demonstrating how in focusing on certain aspects of the United States/Mexico border. Concentrating on hours. The selection included a strong representation Christ—most notably his suffering—viewers gained this international artist’s North American pictures, of manuscripts and miniatures ranging from the 13th access to their own piety. it examined her more recent landscape studies from to the 16th centuries from Italy along with examples of August Sander: People of the Twentieth Century the American South as well as Mexico, and presented illumination from France, Germany, Spain, Belgium, May 6–September 14, 2008 images from Iturbide’s native city created almost 40 the Czech Republic, Greece, and Ethiopia. This exhibition presented August Sander’s collective years ago. Consuming Passion: Fragonard’s Allegories of Love portrait of the German people during the first half André Kertész: Seven Decades February 12–May 4, 2008 of the 20th century. Beginning with farmers, skilled December 18, 2007–April 13, 2008 This small, focused loan exhibition assembled a group of tradesmen and professionals, women and artists, and Celebrating the quality and diversity of Kertész’s long paintings, drawings, and prints—for the first time—to ending with the disabled and disenfranchised, Sander career in photography, this exhibition comprised examine the late allegories of love by Jean-Honoré arranged his portraits in groupings that examined his approximately 55 prints drawn from the Getty’s Fragonard (1732–1806). This project came out of sitters according to their classes and professions as well collection that the artist made in Hungary, France, research based on the Getty Museum’s painting, as their association with the country or the city. Neither and the United States, where he lived for 40 years. The Fountain of Love, which was acquired in 1999. snapshots nor conventional studio portraits, Sander’s This exhibition was organized chronologically and The exhibition concentrated on the extraordinary, and images have an appeal that is timeless and universal. geographically, beginning in Hungary, where Kertész still little-known, later works of Fragonard, in which Bernd and Hilla Becher: Basic Forms was born in 1894 and made his first photograph in he embarked on a series of dramatic reflections on the May 6–September 14, 2008 1912, then moving to rare small prints made in Paris, subject of romantic love, adopting a newly-restrained Bernd and Hilla Becher began investigating basic forms where he emigrated in 1925. The final section presented palette and allegorical vocabulary, while retaining his of industrial architecture in Western Europe and the photographs made in New York, where he lived and famously fluid and effortless handling. United States in 1959. Their collaboration has resulted worked from 1936 until his death in 1985. California Video in a body of work that is immediately recognizable Ten Years of Drawings: What, How, and Why March 15–June 8, 2008 for its spare and systematic style, an approach that is January 29–May 4, 2008 The first comprehensive survey of California video directly indebted to August Sander’s categorization of This exhibition celebrated the 10th anniversary of the art from 1968 to the present, this exhibition included basic social types by profession and class. Many of the Getty Center and the growth of the drawings collection important examples of single-channel video, video Bechers’ early images were taken in the Siegen district, during the decade. With an emphasis on showing sculpture, and video installation. Featuring the work of where Sander’s subjects had lived or worked half a how and why works are selected for acquisition, the 58 artists, duos, and collectives, California Video located century before. exhibition provided a glimpse into the process by a distinctively West Coast aesthetic within the broader Maria Sibylla Merian & Daughters: Women of which works enter the collection as well as a compelling history of video art while highlighting the Getty’s major Art and Science survey of some of the drawings acquired. Highlights commitment to the preservation and exhibition of a June 10–August 31, 2008 included an important transfer-drawing by Gauguin; young but vital artistic medium. This exhibition was Maria Sibylla Merian (German, 1647–1717) was a 18th-century drawings by Guardi, Canaletto, Rosalba co-organized by the Getty Research Institute and the pioneering woman of art, science, and business. She was Carriera, and the Tiepolos; and rare examples from the J. Paul Getty Museum. California Video received the an accomplished painter of flowers and insects and an early German school, including works by an Upper 2008 Best Exhibition of Digital Media award from the entomologist from an early age. In her 50s, she traveled Rhenish Master and a follower of the Housebook International Association of Art Critics. to Suriname, then a Dutch colony in South America, to Master. Ten Years in Focus: The Artist and the Camera study extraordinary insects first hand. Working with her March 25–August 10, 2008 two daughters, Merian made and produced one of the This exhibition of notable acquisitions that have entered greatest illustrated natural history books of all time, the collection of the J. Paul Getty Museum in the past The Insects of Suriname.This exhibition introduced 10 years brought together two complementary aspects Maria Sibylla Merian to American audiences and of the medium of photography: a “painterly” approach focused on natural history illustration. It was co- used by many artists to set their work apart from that organized by the J. Paul Getty Museum and the of practitioners of a more documentary style, and the Museum Het Rembrandthuis. apparatus integral to the resulting pictures. Whether the connection to painting is in the form of traditional subject matter (portraits, landscapes), one-of-a-kind prints, or the translation of a painterly vocabulary into a photograph, artists are always drawn to new materials. The pictures and the equipment presented here provided insight into photography as a unique marriage of art and technology.

The J. Paul Getty Museum 15 Opening at the Getty Villa between July 1, 2007 and June 30, 2008

The Herculaneum Women and the Origins of them in their own work. This exhibition included some The Color of Life: Polychromy in Sculpture from Archaeology of the original Roman objects that inspired modern Antiquity to the Present July 12–November 5, 2007 glassmakers as well as their reproductions of these March 6–June 23, 2008 Discovered around 1710, two life-size Roman marble ancient pieces. Reflecting Antiquity was co-organized by Focusing on representations of the human figure, statues of draped women—the so-called Large and the J. Paul Getty Museum and The Corning Museum this exhibition explored the role of color in sculpture Small Herculaneum Women—became famous as the of Glass. and its place in Western taste. Ancient, medieval, and first finds from the site of Herculaneum, the ancient early Renaissance statues were regularly painted, but The Magnificent Piranesi city that was buried under the ashes of Mount Vesuvius Neoclassical collecting interests and aesthetic concerns December 6, 2007–March 10, 2008 in A.D. 79. This exhibition explored the circumstances have privileged monochrome marble and bronze. Giovanni Battista Piranesi (Italian, 1720-1778) was of their discovery, their original display in the Roman Following recent research on ancient pigments, this a student of antiquity, a polemicist and theorist, a theater of Herculaneum, and their prominent role in exhibition included a variety of masterpieces that cartographer, an architect, a designer of books and the development of archaeology. Traveling abroad for revealed the lifelike qualities of polychrome statues decorative arts, a printmaker, and publisher. While the first time from the Dresden State Museums, the fashioned over the course of four millennia. his prolific prints and books provide exhaustive statues were complemented by more than a dozen items documentation on ancient and modern Rome, they The Hope Hygieia: Restoring a Statue’s History from the Getty Research Institute collections, including also reveal the original and visionary sides of Piranesi April 10–September 8, 2008 sketchbooks, prints, and rare books. The exhibition who readily exaggerated features of Rome’s buildings A Roman marble statue of Hygieia, ancient goddess of was co-organized by the J. Paul Getty Museum, the and created views of fantastic architecture, ruins, and health, was found at Ostia in 1797 and restored shortly Getty Research Institute, and the Skulpturensammlung, antique compositions. Drawing on the Getty Research thereafter. The sculpture was first acquired by the British Staatliche Kunstsammlungen Dresden. Institute’s strong collection of Piranesi’s prints and interior designer Thomas Hope and was later owned by Reflecting Antiquity: Modern Glass Inspired by books, the exhibition presented a synthetic portrait American newspaper tycoon William Randolph Hearst. Ancient Rome of the extraordinary range of his activities—from the The figure’s 19th-century restorations were removed in October 18, 2007–January 14, 2008 polemics on ancient and modern art to the stylish the 1970s, but these historical additions were recently In the late 18th and early 19th centuries, archaeological “advertising” of his wares. reintegrated at the Getty Villa. On loan from the Los excavations at sites such as Pompeii and Herculaneum Angeles County Museum of Art, the Hope Hygieia resulted in the rediscovery of Roman glass. The designs exemplifies evolving attitudes toward the restoration and and production techniques of ancient glass vessels were display of classical sculpture on the part of collectors, a revelation to modern artisans, who sought to emulate curators, and conservators.

J. Paul Getty Museum Guest Scholars

The J. Paul Getty Museum Guest Scholar Program is a residential, three-month fellowship for scholars whose research is best pursued in the context of the Museum’s collections and in contact with the its staff and the resources of the Getty Research Institute. The program is by invitation. Projects listed represent scholars’ primary research while in residence.

2007–2008 Museum Guest Scholars Henning, Andrea. Staatliche Kunstsammlungen Perugini, Flavia. Museum of Fine Arts, Boston. Dresden, Gemäldegalerie Alte Meister, Dresden, Producing an English translation of the Italian book Cohen, Adam S. University of Toronto, Canada. Study Germany. Conducting research for the collections “Trattato sopra la vernice detta communemente cinese” of the double-page spread in medieval and Renaissance catalogue of Bolognese Paintings in the Gemäldegalerie (A Treaty on the Varnish Commonly Called Chinese) manuscript illumination, a consideration of when, how, Alte Meister, Dresden, one of the most outstanding written by the Jesuit Father Filippo Buonanni in 1720. and why certain artists created pictorial compositions collections of its kind. In addition to the direct translation, Ms. Perugini’s that utilized both sides of a book’s openings for images. manuscript will include a scholarly introduction, Metzger, Catherine A. National Gallery of Art, Such instances were relatively rare and tended to exploit introducing Buonanni, presenting his book, reporting Washington, D.C. Complete research for preparing the full openings to communicate not only the expanse on other 18th century texts relevant to the subject, a volume of the series Corpus of Fifteenth-Century of time or space, but also hierarchical or symbolic and discussing the knowledge and propagation of Painting in the Southern Netherlands and the disjunctures marked by the gutter of the book. information on lacquer during the 17th and 18th Principality of Liegé on the paintings in the Los centuries in Europe. Haworth-Booth, Mark. University of the Arts, Angeles Area. The basic philosophy of the Corpus is London, England. Mr. Haworth-Booth came to the a “series conceived as an ‘edition of works’,” with the Viatte, Françoise. Musée du Louvre, Paris, France. Getty with a database of images for the proposed primary aim of providing documentation on paintings Preparing her critical catalogue of the Louvre Museum’s retrospective exhibition and catalogue on the works of created by fifteenth-century Flemish artists for future drawings by Baccio Bandinelli (1493-1560), a painter, Camille Silvy. His research on photographs by Silvy researchers. sculptor and prolific draftsman whose singular drawing and contemporaries in the Getty’s collection would style inspired many imitators. help him structure the exhibition and catalogue for the Pataki, Andrea. State Academy of Art and Design, Jeu de Paume, Paris, while also adding insight into the Stuttgart, Germany. Continuation of research into Getty’s holdings. the surface appearance and degree of penetration of aerosol-driven consolidation materials in the treatment Heikamp, Detlef. Kunsthistoriches Institut, Florence, of friable media on paper and parchment. Italy. Study of Philipp Hainhofer as an art merchant and agent in early modern Europe, with particular emphasis on the Museum’s Augsburg display cabinet.

16 The J. Paul Getty Museum J. Paul Getty Museum Councils

Paintings Conservation Council Photographs Council Villa Council

John I. Bloomberg Doug and Dale Anderson David Alexander David G. Booth Bruce Berman Patricia R. Anawalt Suzanne Deal Booth Denise Bethel John H. Biggs T. Robert Burke Michael and Sharon Blasgen John F. Cooke Robert F. Erburu William Carter Lloyd E. Cotsen Deborah P. Gage Anne Cohen Hanita E. Dechter Audrey Greenberg Jan and Trish de Bont Sandra A. Ell Mary Tavener Holmes Nancy Dubois Robert F. Erburu Cynthia Harrell Horn David Fahey Harriett F. Gold Thomas S. Kaplan Peter Fetterman Barbara Poe Levee Joanne C. Kozberg Harriett Gold Lawrence R. McNamee Richard Kelton Dan Greenberg Tania N. Norris Herbert L. Lucas Manfred Heiting Sol Rabin Michael E.S. McCarthy Joshua Holdeman Mark S. Siegel Tania N. Norris Michael I. Jacobs Jorge Silvetti Peter Norton David Knaus Luanne Wells Lynda Resnick Herbert L. Lucas Malcolm H. Wiener Stewart A. Resnick Jean McCusker Harold M. Williams Gayle Garner Roski Alex Novak Anne F. Rothenberg Marjorie Ornston Melvin R. Seiden Leo and Nina Pircher Mark S. Siegel Stephen Purvis and Devon Susholtz Louis Stern Richard and Strawn Rosenthal John A. Sturgeon Paul Sack George D. Swygert Dan and Mary Solomon Peter J. Taylor Susan Steinhauser George Wachter Alessandro Uzielli Malcolm H. Wiener Leonard Vernon Larry Warsh Robert Weingarten Stephen White Michael Wilson Bruce and Susan Worster

Sponsors Patrons

Banamex ADP Taxware Nordstrom Consulate General of the Netherlands, Los Angeles Bernardo Footwear LLC Northern Trust Friends of Heritage Preservation BP Oracle Wells Fargo Coldwell Banker Premier Inc. Discovery Health QBN (Vantageous LLC) Disney Security San Francisco Chamber of Commerce The EG Conference Skidmore, Owings & Merrill LLP Insurance Industry Charitable Foundation Tesco Inter-Pacific Bar Association Univision Klee, Tuchin, Bogdanoff & Stern LLP Young Presidents’ Organization Lexus, a Division of Toyota Canada, Inc. San Gabriel Valley Chapter Meredith Corporation Young Presidents’ Organization Montblanc Santa Monica & Golden West Chapters

The J. Paul Getty Museum 17 J. Paul Getty Museum Docents and Volunteers

For July 1, 2007, through June 30, 2008

Docents Marianne Escaron David Leach Ginny Shields Affiong Ate Mindy Chen Pierre Escaron Fermin Xavier Leal Cheryl Simon Kevin Awakuni Rose Cheng Meghan Adamovic Sharleen May Eusebio Gloria Lee Sandra Singer Amy Ayers Yu-Feng Chou Jacque Adams Tanya Evtuhov Mary Leiter Sharon Skinner Lynne Babbitt Gloria Chow Nancy Adams Sue Fado Lorrie Levin Joanne Sliteris Ruth Bader Gordon Clark Jim Agee Shiao-Ying Fang Dolores LeVine Margaret Smith Elizabeth Baiardi Charles Cleland Elena Alcalay Debra Farra Murray Levy Mieke Solari Isabel Baldwin Sue Clinesmith Ruthanne Allton Beryl Feller George Lewicki Sharon Solimine Kenneth Baldwin John Clute Dawn Amenta-Roth Sally Fick Kathryn Lewicki Sylvia Sosnow Laurilyn Barbanell Dorothy Cohen Jan Ames Mary Finnin Ginny Lieberman Johanna Spira Jayne Barbera Sumako Cohrs Patti Amstutz Karin Fintzy Nancy Litter Sigrid Stiegelmair Pat Bare Veronique Colas Estelle Anshen Elaine Fisher Maria Loveless Timothy Sullivan Starr Barnbaum Lorraine Colich Ashley Armstrong Howard Fox Elizabeth MacDonald Debra Tash Dee Dee Barry Aleena Conway Claire Atcheson Sean Fox Shirley Macy Hrach Tavetian Lucia Bay Stanley Cooke-Matthews Dina Azarkman Carmen French Edward Makasjian Karen Taylor Donna Beatty Gerie Coombs Eva Barcia Antonio Galvan Celeste Malott Charles Tellalian Donna Beirne Susan Cornner Carlos Bas Gail Geppert Allegra Mancuso George Terrell Paula Benard Salette Corpuz Cynthia Baskin Glen Gessford Barbara Mannis Mary Thanos Honey Bencomo Cathy Crail Andrew Bassi Ronald Getty Barbara Marcus Anke Thiel Louise Bennett Patricia Crigger Bonnie Bates John Godwin Barbara Marino Sandra Thomas Sam Bensussen Sue Crose Betsy Becker Sylvia Godwin Beryl Markiles Michael Timmons Katherine Berber Paul Cudney Jim Behm Patricia Goldberg Mary Marlow Lee Tirce Leonard Berg Carol Currier Barbara Bernstein Carol Goldstein Marian Martin Robin Trento Phyllis Berger Halina Czyzewski Valerie Bernstein Darlene Grant Joanne Martinez Nicky Truong Anne Berkovitz Clarence Dabbay Ranjit Bhatia Diana Greene Kaz Matamura Leny Tward Kathy Berkson Denise Danne Beverly Bierer Ana Greenberg Jane McConnell Arlene Vaillancourt Rose Bernard Susan Dashe Ana Bonilla Marilyn Greenberg Celia McDonald Carolina Valencia Larry Bernhardt Barbara Daugherty Catherine Brackey Jeriann Griffith Lila McElroy Clare Ann Van Vorst Kit Bessenbacher Bonnie Davidoff Connie Bright Cynthia Gross Christa McNeill Christine VanScoy Suleena Bibra Olivia Davidson Joan Brown Leonie Gross Claudia Medl-Rilling Leila Visram Marvin Biers Kaye Davis Ronna Brown Mimi Hagani Rubina Megji Meredeth Vogler Reva Biers Owen Davis Gail Browning Terry Haljun Zarine Metre Ursula Von Der Ohe Dona Bigelow Judith Day Charlotte Bryant Beverly Hall Marian Miller Mary Vourgourakis Leah Bird Julianne Dayer Kathleen Bunker Les Hanson Norma Morales Vicki Wagner Lena Black Olga de la Vega Ann Burckle Daniel Harkins Ray Morse Patricia Warren Charles Blakelock Albert Degendorfer Marni Burns Charles Harris Elizabeth Mullan Gail Weintraub Margaret Blakelock Rosel Degendorfer Melissa Cagle Ellen Hart Kerry Myerson Paula Weiser Charlene Bleakley Fernando Del Rio Bill Campbell Stephanie Hart Robert Nagayama Linda Weiss Danielle Boisson-Schmit Larissa Delgadillo Marguerite Campbell Clara Hartman Ellen Nakamura Marilyn Weitz Ana Bonilla Susan Devlin Catherine Caron Phyllis Hartman Arthur Naselow Fritzie Wernig Marne Bonwitt Rebecca Diaz Paula Carroll Peggy Hayek Steven Negri Linda Westerschulte Dan Boone Lois Dickinson Carla Casilli Jo Hearn Burritt Newton Anita Wexler Bonnie Borenstein Joanne Dietch Beatrice Casini Bonnie Hecht Terri Niwayama Wendy Wharton John Borris Monique Djamdjian Diana Chang Jessica Hendra Kate Oakland Berenice Wilkinson Marianella Botto Rebeckah Doanne Linda Chaussee Diana Hiatt-Michael Nanci Obar Judith Willis Nancy Boudry Natalie Dobkowski Ann Chen Janet Holmes Dianne Opp Joan Wilms John Bowman Cynthia Drake Fran Christiansen Lucie Hostalek Betty Orr Barbara Wing Suzette Boyd Victoria Duistermars Helen Christman Carol Howard Steven Ort Cheryl Winthrop Ilene Brick Jackie Dyer Janie Cochran Rachel Howard Cynthia O’Shea Monica Wolfe Karl Brix Joyce Edelman Victoria Cody Marilyn Howlett Judith Palm Ann Wooldridge Karen Brower George Edgington Bonnie Coleman Janet Hunt Rhonda Pardridge Gerrard Wunder Christine Brown Judy Edwards Judy Collins Karen Hurwitz Sylvia Perea Ruth Wyle Elsie Brown Heidi Ehrke Colleen Conway Betty Hyatt Lucille Petersen Grace Yeh Robert Brown Barbara Eichorn Sandy Cooper Myra Iosty Sylvia Pinter Elizabeth Young Marilyn Brunsdon Michael Eisenberg Elena Cortinas Paul Iyer Sandra Reiner Phyllis Zatzick Rochelle Buley Chris Ericson Diana Cotter Jamie Jackson Kathie Renger Toby Burke Patricia Espindola Joan Craig Mary Ann Jackson Betty Richardson Volunteers Victoria Burner Lupe Espinoza Meda Croizat Jodi Jacobson Wedret Carolyn Richardson Darlene Burton Edgar Estrada Joseph Cserepes Sanford Jacquard Vicki Richardson Sandra Abramowitz Gail Burton Marc Etterman Amy Cubicciotti Cleon Janos Carmen Rivera-Mann Larry Ackard Patricia Busch Yu-Chu Evans Diane Curran Georgianna Johnson Mandy Robinson Denice Adams Onica Busuidceanu Olivia Eveslage Arice DaCosta Yoon Kahm Robert Robinson Mary Alford Laurel Bybee John Ezmirlian Jeanne Dahm Gerrie Kahn Ilene Roper Ansley Allen Peggy Calamaro Jill Ezzell Judith Day William Kahn Victor Rosario Barbara Allen Gabriel Calfas Patricia Falcioni Deborah DeBono Patricia Keaney Ellie Rosen Dale Allen Aleve Camcigil Diane Fantl Casey DeFranco Catherine Kelly Louis Rosen Roberta Allen Gina Campbell Mike Farkas Candace DeGraff Alden Kirkman Linda Rosenbaum Ruthanne Allton Joyce Canning Cheri Kelson Faulk Luiza Demirian Diane Knechtli Carol Rosenberg Thelma Alper Phyllis Carbone Elidia Faulkner Denyse Dubois Mark Kreher Marilyn Ruman Gary Andrew Chris Cardet Ilene Feinstein Mary Dubrow Josee Kubiak Armida Ruth Sima Ansari Barbara Carlson Jules Feir Monica Edgerton Rose Kujawa 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18 The J. Paul Getty Museum Michael Freeman Diane Howard Mira Lieberman Patricia Neithart Sara Russo Ada Taylor Inge Friedman Li-Fang Hsu Don Lipschutz Sharron Nelson Winifred Rutter Lumsden Richard Teresi Adrienne Fritz Linda Huff Catheryne Lobl Roberta Nethercutt Anne Sacks Dorothy Thomas Raymond Fuernkaes Jo Hunt Leigh-Anne Locke Barbara Nichols Lilit Sadoyan Carol Thompson Michael Fujita Diana Hurst Carolyn London Tara Nichols Gwendolyn Safier Nancy Thompson Cherry Fuller-Aylott Jinsook Hwang Niki Lopez Sybil Nisenholz Ramona Salgado Robert Thompson Candace Fullmer Claire Hyman Len Lorber Karen Norris Stanley Salmore Stephen Thorne Mary Furia Elizabeth Hyman Rhea Lorber Jonathan Nowak Anabella Sanchez Terilyn Tilton Dorothy Gach Amy Jackson Laurence Lordan Constance Nyhan Steven Santiago Makiko Tohmatsu Gayle Galvez Isaac Jakubowicz Angela Lozano Carol O’Connor Lisa Sarkin Karen Tokubo Elizabeth Gamsin Mary Janos Eva Lunday Cynthia Olson Judith Saunders Valerie Tomashevsky Jennifer Gandin Fran Janovitz Irene Lutz Barbara Oltmann Mary Sawin Letty Totemwongse Arlene Gardner Raymond Jassak Gary Mac Lean Brenda Ortega Elsie Scarano Jade Towery Joan Geller Louvenia Jenkins Sue Mac Lean Elizabeth O’Sullivan Elsbeth Schaar Don Tremblay Thisbe Gensier Carrie Jones Jerry Machado Judith Pack Mary Lou Schackman Ruth Trostle Tina Geransar Virginia Jubert Renny Maddox Chuck Panama Karen Schaefer Harriet Trunk Lorna Gerry Elizabeth Juncosa M. Ann Sheen MaGee Amal Papa Berwin Schindel Lilly Tsukahira Charles Gherardi Laurie Kahan Phyllis Mahler Barbara Papkoff Norma Schlesinger Marilyn Tusher John Gill Joyce Kamin L. Anne Mainieri Linda Park Newland Christine Schmidt Angeline Twarynski Jung-Mi Gilson Lucy Kara Joe Maiorana Maryrose Passarelli Ed Schoch James Tyler Jr. Harry Gipson Gretchen Karl Steve Maline Rachael Patt Wim Scholten Candace Tysdal Amal Girgis Annette Katz Richard Mallek Nancy Pau Allmut Schramm Gina Uible Jan Gleason Nancy Kelly-Marquez Agnes Maniskas Ed Pauley Karin Schratter Laura Updegraff Anilka Glover John Kennedy Jim Maniskas Alice Pego Toby Schreiber George Valenzuela Luz Godina Lori Kerman Natalie Mann Patricia Peregrine Katherine Schulz Helene Van Wormer Jackie Goldberg Leah Kerr Maxine Marcher Jill Perri Gene Schwartz Nadia Vanek Jay Goldberg Rima Kevorkian Joanne Mardesich Laura Petersen Lucy Schwartz Fotiny Varvas Nancy Goldberg Samantha Khalili Barbara Martin Marsha Piorkowski Herbert Schwarz Mike Vaystub Arlene Goldman Kristen Kido Michael Martin Terry Piper Reina Scuderi Carol Virani Barbara Gollin Rosmarie Kienzle Cristina Martinez Holly Poer Ann Sears Darryl von Geusau Jeannine Gomez Hyebum Kim Miguel Martir Helena Poletti Dave Sears Rae Walker Silvia Gonzalez Young Kim Katherine Matthews Margarita Pond Marina Segall Suzanne Warren Megan Gorman Marie Kincannon Kathy Matthews Jennifer Ponhold Lois Seufert Manny Warson Sonia Gottlieb Linda King Art Mattox Ludmila Posedel Aline Seydoux Taneka Washington Jerome Gottschalk Ron Kinney Joan Maturko Lorraine Potts Joanna Sguerio Da Silva Leon Waxman Myrna Gracon Mia Kjerulf Pamela Mazoue Barbara Pritzkat Masumi Shanahan Gail Weiland Shirley Green Linda Kleiger Mary Ann McClelland Betty Putnam Erich Shanon Diane Weinstein Sam Griffith Renee Klein Mary Jane McClintock Gayle Rabinovitz Janet Shapiro Madelyn Weisman Sylvia Griffiths Wally Klein Jane McConnell Yvonne Raffaele Sue Shapses Leone White Leonie Gross Elizabeth Klimas Laurette McCook Cloris Ramos Jean Sharp Lorna White Lestary Gunawan Malcolm Klugman Bonnie McCord Shelly Rands Sharon Sharpe John Whoriskey Sharyn Gunter Ronald Knechtli Anne McElravey Linda Rasmussen Shelley Shen Jessica Wick Christian Guzman Gloria Koenig Mary Ann McGaughey Barbara Ratner Ginny Shields Despina Wieseneck Judy Gyulai Suzanne Koller Mary Margaret McGuire Eve Reagan Carol Lee Shin Anna Margaret Wilczek Mehdi Hakimi Sydney Korobkin Judith McHenry Virginia Redel Jacqueline Shubitowski June Wilding Risa Hamburger Andrea Korpita Ashley McIntosh Eva Reid Renee Shulman Linn Wile Pamela Hamilton Vassilia Kosma Lina Medvetsky Larry Reilley Terry Shurack Patricia Williams Rosemarie Hamilton Natasha Kostan Catherine Meehan Rebecca Reimer Sandra Shwartz Marie Wilson Lynn Hamm Wayne Kostman Karen Meler Alice Reisian Catherine Siegel Sidney Wineberg Ted Hanf Bruce Kragen Roberta Mendelsohn Jan Sender Reitman Damaritz Sierra Red Winter Georgia Harris Olivia Kragen Anna Mercaldi Shilpa Rele Rosemary Sierra Mika Winterer Susan Harris Victoria Kramer Antonio Merino Nicole Renaud Barbara Silver Pamela Wise Elizabeth Hartog Jodi Kriens Jana Messih Randi Renaud Joan Silver Toby Wolfberg Arlene Hartung Jane Kubrin Alexander Mihalyovich Tammy Renault Barbara Simkin Lillian Wong Sayumi Hasegawa Trudy Kuijpers Rolanda Milan Sue Rezai Lorraine Simonton Tammi Wong John Hawley Tatsuo Kumagai Gilda Miller Thomas Rhodes Jr. Carleigh Simpson Vivian Wood Sara Hawley Valerie Kunz Paul Millman Amanda Ribas Raymond Singer Jennifer Woodward Fleurette Haynes Barbara LaFlamme Nancy Minkow Peggy Richman Rhona Singer Lily Yan Jo Hearn Angela Lage Virgil Mirano Marsha Rimbach Sandee Singer Shin Yang Gordon Hearne Barbara Lake Pouran Mirtaheri Carmen Rivera-Mann Paula Sleeth Sharon Yee Kay Heinemann Stacey Lan Susann Monroe Marilyn Roberts Marie Sloan Mei Ling Yeh Norval Heisey John Landau Giovanni Monterroso William Roberts James Smith Gulcin Yilmazer John Helm Susan Laskin Barbara Montgomery Cynthia Robinson Eva Sokolow Etsuko Yoshida Jeanne Heneghan Gloria Lasky Jim Morgan Emma Robinson Carla Staight Gary Yoshida Paris Heric Nelly Lay Kyle Morgan Olga Robinson Laura Stanislawski Eunice Yu Jim Heubach Becky Learner Kazuko Morita Robert Robinson Bonnie Stark Giovava Zamboni Haettie Heydon Anne Lee Mary Morlas Claire Robles Daniel Stark Rachael Zanka Maria Hiatt Donna Lee Heather Moro Ed Roche Thelma Starr Cecilia Zarate Marianne Hickey Lillian Lee Anita Morris Hugo Roche Patricia Stoffel Norm Zareski Katina Hicks Wesley Lee Jim Morrow Robin Rock Sandy Stoller Yvonne Zellmer Jeanie High Leah Lehmbeck Phil Moser Ryan Rogers Debra Stramaglia George Zermeno Renate Hild Susan Leigh Betty Mueller Sandra Rojas Rosalie Strauss Salpy Zetlian Carol Hillman Ena-Maria Lemke Mariam Munjee Renae Rollo Lynn Suffin Ewa Zielinska Karen Hirschhorn Thomas Lenehen Liz Murphy Gina Romo Ann Sullivan-Pearre Jerry Ziesmer Richard Hirschhorn Joan Lenoff Mary Murphy Donald Rosenberg Rika Suzuki Suzanne Ziesmer Donald Hodes Carol Levitt June Nagano Marcela Rosenberger Susanne Swift Louise Ziff John Holland Carolyn Levy Robert Nagayama Mary Louise Rowsell Seidi Syrjanpaa Lucy Zuyovich Michael Holz Steven Levy Diane Nakamura Nancy Rubens Claude Monique Tait Carroll Hood Sherrie Lewandowski Nuchi Nakornski Betty Rubly Konni Tanaka Ann Harper Horn Linda Lewin Gudrun Naschak Phil Ruggeiro Anne Tarkanian Margaret Horst Janina Ley Doreen Naylor Paula Ruiz Judy Tarre Elma Hovanessian William Lickley Betty Nealis Manfred Runkel Rima Tarshis The J. Paul Getty Museum 19 Charles Brittin (1928– ) (photographer), Wallace Berman in abandoned building on the Speedway in Venice, CA, ca. 1955–57. Charles Brittin photographic and printed material documenting the Los Angeles art scene, 1950–1980, bulk 1960–1980. (GRI) The Getty Research Institute

The Getty Research Institute is dedicated to furthering knowledge and advancing understanding of the visual arts. Its Research Library with special collections of rare materials and digital resources serves an international community of scholars and the interested public. The Research Institute creates and disseminates new knowledge through its expertise, its active collecting program, public programs, institutional collaborations, exhibitions, publications, digital services, and residential scholars program. The activities and scholarly resources of the Institute guide and sustain each other and, together, provide a unique environment for research, critical inquiry, and debate. The Getty Research Institute

Thomas Gaehtgens, Director

Left: Installation shots of Lessons from Bernard Rudofsky, In the autumn of 2007, Jim Wood, president of the J. Paul Getty Trust, led discussions about Getty Research Institute Exhibition Gallery. the Getty’s strategic goals for the future. In addition to its Getty-wide implications, this process Right: Cover of first issue of Getty Research Journal. helped to further define the mission statements and strategic priorities in each of the individual programs. Working within this framework, the Getty Research Institute (GRI) set out to outline new perspectives for future development. The GRI is a prominent research facility that has achieved the highest international reputation through its scholar program, library, special collections, research databases, exhibitions, scholarly and public events, and publications. Building on these important achievements, the GRI seeks to intensify its focus on individual and team- based research. To that end, the following programs were initiated and undertaken during the reporting period: Building on the excellent work of the Getty Foundation, the GRI embarked on a Latin American Initiative to promote the study of art history in a global context. Partnering with various institutions in the region, our aim is to improve access to scholarship, understand

22 The Getty Research Institute new research methods, and encourage innovative theoretical and critical approaches to our discipline. The GRI created the Getty Research Journal, a refereed publication that showcases work by scholars and staff associated with the GRI and the other programs of the Getty Trust. Contributions to the first issue came from all corners of the Getty, including the GRI scholars. The Journal was launched in February 2009. A 10-member Advisory Board was appointed to serve as a sounding board in developing and evaluating research at the GRI. Distinguished art historical colleagues—hailing from universities and research institutes in Mexico, France, Britain, Germany, Switzerland, Italy, and the United States—came together for the first time in May 2008, resulting in increased collaborative possibilities for GRI’s influential research databaseThe Bibliography of the History of Art,as well as the genesis of a new research project on Surrealism in Latin America.

Scholar Year During the 2007/2008 scholar year, 37 scholars and fellows engaged in research related to the theme Change. Weekly scholar presentations were opened to all Getty staff; presentation topics included 19th-century views on ancient ornament, the shaping of Mondrian’s stature after his death, and Zhang Daqian’s collaboration with Tibetan painters in devising a style that was both Chinese and modern. Two artists-in-residence, photographer David Maisel and Frida Kahlo of the feminist art collective the Guerilla Girls, set up exhibitions of their work at the GRI and hosted open studios, during which staff and scholars could view work in progress. At the Villa, Professor Erich Gruen led discussions on the Villa’s annual theme, Cultural Identity and Peoples of the Ancient Mediterranean. Scholars focused on what architectural remains tell us about identity in Roman Syria, the interactions of the peoples of the Adriatic, whether foreigners were depicted as beautiful or ugly, and the problem of Jewishness in Roman North Africa. In June, the program culminated in an international conference, discussing the visual and textual ways in which ancient peoples expressed their identities. A GRI publication based upon the year and the conference is also underway.

Special Collections Three significant exhibitions presented works drawn from Special Collections. China on Paper: European and Chinese Works from the late 16th to the early 19th Century documented cultural exchanges between Chinese and Europeans in the early modern era. The exhibition was accompanied by a scholarly symposium and publication edited by Marcia Reed and Paola Demattè, with essays on key objects in the exhibition, such as Ferdinand Verbiest’s astronomical texts and world map, and Chinese concepts of landscape, gardens, and architecture as seen in the Yuanmingyuan, or the Garden of Perfect Clarity. Lessons from Bernard Rudofsky highlighted the pioneering work of the well-known architect, artist, critic, exhibition designer, and fashion designer, Bernard Rudofsky (1905–1988). It included a diverse array of watercolors, drawings, photographs, prints, models, a sculpture,

Top: Group photo of “Change” theme year scholars. books, sandals, and video displays illustrating Rudofsky’s innovative concepts about architecture, fashion, and the body. Rudofsky devoted his life to exposing the West to foreign architectural Above: China on Paper, edited by Marcia Reed and Paola Demattè. paradigms, unfamiliar customs, and evolving attitudes about the body and fashion. Jointly organized by the Getty Research Institute and the J. Paul Getty Museum, California Video was the first comprehensive survey of West Coast video art, featuring the work of 58 artists active in Northern and Southern California between 1968 and 2008. The exhibition featured more than 50 single-channel video works and 15 video installations, including work by some

The Getty Research Institute 23 Below left: Documents of an Encounter: Edward Curtis and the Kwakwaka’wakw First Nations held at the Getty Center, June 2008. Foreground: members of the UCLA Philharmonia. Backdrop: film still of In the Land of the Head Hunter (1914 original; 2008 restoration). (GRI) Right: Installation of Library of Dust in Scholar Common Room. (GRI) Bottom left: Émile Béchard (n.d.) (photographer), Group of Islamic scholars, Egypt, [187–?]. Orientalist Below right: Giovanni Battista Piranesi (1720–1778), Photography Collection, 1843–1960, bulk 1843–1920. The Grand Piazza, State I of VI, from Invenzioni capric (GRI) di carceri all’acqua forte, ca. 1749–1750, etching. (GRI)

of the most prominent artists working today. Approximately half of the works in the exhibition were drawn from the GRI’s incomparable Long Beach Museum of Art archive. California Video was listed as one of the top 10 exhibitions of the year in Artforum’s 2008 year-end issue and the catalog (edited by the GRI’s Glenn Phillips) has already become an indispensable resource for students and the interested public on the history of video art. Two notable additions to GRI Special Collections occurred at the GRI in the past year: Curator Louis Marchesano discovered and acquired a very rare and complete first edition, first issue set of Piranesi’s Invenzioni capric di carceri all acqua forte… (Capricious inventions of prisons in etching), ca. 1749–1750. Known as The Prisons,the 14 etchings in original condition have never been folded or bound, unlike almost all other suites of the early states. A monument in the history of Western printmaking, the spare images are very different from the complex inky late states of The Prisonsfor which Piranesi is well known. They provide extensive insight into the artist’s experiments with subject matter, perspective, and graphic process during the early years of his career.

24 The Getty Research Institute With the help of the Getty Trust, the GRI acquired the Orientalist Photography Collection, which consists of almost 4,500 images, spanning the period from the earliest daguerreotypes of the Middle East made by Girault de Prangey in 1843 to 1844 to amateur travel snapshots of Uzbekistan taken in 1960. Photographs of the Middle East and North Africa predominate, particularly Egypt, the Maghreb, and the Levant, from Morocco in the west to Arabia and Syria in the east. The majority are dated between 1850 and 1920, capturing a moment when the Orient held a special allure for western viewers and was increasingly open to travelers, commerce, and ideas. Created by 164 different photographers and studios, the collection presents a range of photographic typologies and provides extraordinary material for innovative exhibitions, publications, programs, and original cross-disciplinary research further facilitated by complementary collections of rare books and prints.

Research Among many other scholarly and public programs, two long-term research projects culminated during the past year: the GRI published Allan Kaprow—Art as Life, a volume documenting the renowned postwar artist’s life and work through an extensive chronology and interpretive essays. This publication was inspired by the first international traveling retrospective of Allan Kaprow’s work, which drew heavily on the archive of the artist’s papers held by the GRI and for which the GRI’s assistant director for contemporary programs and research, Andrew Perchuk, served as consulting curator. In collaboration with the Getty Foundation and The Museum of Contemporary Art, the GRI instigated a citywide initiative inviting Los Angeles-area art schools, academic institutions, arts organizations, museums, and artist-run spaces to reinvent a diverse selection of Kaprow’s Happenings. The LA Art Girls, a Los Angeles-based art group, were commissioned by the GRI to produce Overflow, a project conceived as both a historical homage to Kaprow and a contemporary investigation of issues such as environmentalism and transformation. In June, the GRI organized a two-day scholarly symposium examining themes related to the work of photographer Edward Curtis and his collaboration with the Kwakwaka’wakw First Nations of British Columbia. At the core of the symposium was Curtis’ 1914 silent film In the Land of the Head Hunters. An international group of speakers discussed various representations of encounters with First Nations peoples as they exist in archives, museums, film, photography, and the collective imagination. In conjunction with the symposium, the Getty presented a premiere screening of the newly restored version of Curtis’ silent film, accompanied by a live orchestral performance of John J. Braham’s original score, which exists in manuscript only in GRI Special Collections. The film screening was followed by a performance by the Gwa’wina Dancers of the Kwakwaka’wakw First Nations of British Columbia.

Looking Ahead In the upcoming year, the GRI will continue to strengthen its focus on research, particularly Top: Installation view of California Video, March 15–June 8, 2008, Special Exhibition Pavilion at the J. Paul Getty through projects that make the most of Special Collections holdings. The next scholar years— Museum. Pictured from left are: Paul Kos. Chartres Bleu, both 2009/2010 and 2010/2011—will concern the broad and resonant theme of the Display 1983–86. di Rosa Preserve, Napa, California. © Paul Kos.; Jeff Cain. Radar Balloon, 2005. Courtesy of the artist, of Art, and our multiyear research and exhibition project Pacific Standard Time will expand the Los Angeles. © Jeff Cain.; Mike Kelley. Candy Cane Throne (partially visible), 2004–05. Rachel and Jean-Pierre Lehmann, GRI’s intellectual efforts on postwar art in Southern California. New York, New York.; Hilja Keading. Backdrop (partially visible), 2002. Courtesy of the artist, Los Angeles. © Hilja Keading. Photo by Rebecca Vera-Martinez.

Middle: A reinvention of Allan Kaprow’s Fluids by LA Art Girls, 2008.

Bottom: Allan Kaprow—Art as Life, edited by Eva Meyer- Hermann, Andrew Perchuk, and Stephanie Rosenthal. (GRI) The Getty Research Institute 25 Getty Research Institute Research Library Acquisitions

The Research Library at the Getty Research Institute builds its special collections according to four broad thematic categories: Historiography of Art, Architecture, and Archaeology; the Modern Period; History of Collecting and Display; and Visual Sources. Selected Special Collections Acquisitions Made between July 1, 2007, and June 30, 2008

Archives Philip Johnson (American, 1906–2005) Prints and Drawings Sculpture, silkscreens, and videotape related to Philip Ray Kappe (American, b. 1927) Johnson’s Habitable Sculpture, 2000 Adriaen Collaert (Flemish, ca. 1560–1618) and Architectural archive, 1953–ca. 2000 Two models, one videotape, and 10 silkscreen prints Théodore Galle (Flemish, 1571–1633), after Jan van der Drawings, project files, and photographs document of drawings document designs for the last building Straet (Flemish, 1523–1605) Kappe’s contribution to architecture through the in which architect Johnson was actively involved. His Encomium Musices (The Eulogy of Music), ca. 1589 development of prefabricated, modular, and sustainable idea was to create a high-rise that looked like a gigantic A suite of 17 engravings illustrates significant biblical residential housing. He is the founder of the Southern sculpture, each side appearing different from the others. and liturgical events related to music, and underlines California Institute of Architecture (SCI-Arc) in Los Gift of Antonio “Nino” Vendome and family the importance of music and visual arts in the Catholic Angeles. 2008.M.59 Southern Netherlands. Gift of Ray Kappe 2008.PR.2 2008.M.36 Guerrilla Girls records, 1985–2000 The archive chronicles this feminist protest group Giovanni Battista Piranesi (Italian, 1720–1778) R. M. Light & Company correspondence, 1957–83 formed to fight discrimination against women artists Invenzioni capric di carceri all acqua forte…, Illuminating the burgeoning market for old master and artists of color. Files illuminate the development of ca. 1749–50 and modern prints, this archive contains extensive the Guerrilla Girls’ polemics and tactics, documenting This complete first edition, first issue suite is a correspondence between the dealer Robert M. Light public and private responses to their protest actions. monument of Western printmaking. The 14 etchings, and a wide range of European and American collectors 2008.M.14 in original condition, have never been folded or bound. and museums. The suite provides extensive insight into Piranesi’s Gift of Robert M. Light experiments with printmaking processes, composition, 2008.M.4 Manuscripts and perspective during the early years of his career, and sheds light on the development of his view of antiquity, Alfred Schmela Galerie Henri Edmond Cross (French, 1856–1910) monumentality, and the representation of architecture. Galerie Schmela records, 1957–2002, Henri Edmond Cross letters to Maximilien Luce 2007.PR.103 Founded in Düsseldorf in 1957 by Alfred Schmela, (French, 1858–1941), 1896 the Schmela gallery was a highly important space for Giovanni Domenico Tiepolo (Italian, 1727–1804) A group of seven letters, one with a pen-and-ink contemporary art in postwar Germany. Through a The Stoning of Saint Stephen,ca. 1754 landscape drawing from a founding member of prescient program of exhibitions, Schmela promoted An etching, created after a lost painting by Tiepolo, Neo-Impressionism to another crucial member of innovative European and American artists and fostered depicts the death of the first early Christian martyr. the movement commenting on other artists such as collaborations among emerging artists from France, Tiepolo’s graphic vocabulary, characterized by extremely Daumier and Cézanne. Italy, and Germany. fine parallel lines, evokes the rich tonal variations and 2008.M.2 2007.M.17 sense of atmosphere fundamental to Venetian painting. Paul Signac (French, 1863–1935) Gift of Dr. Richard A. Simms Kirk Varnedoe (American, 1946–2003) Paul Signac letter to Maximilien Luce (French, 2008.PR.16 Papers, 1946–2003 1858–1941), 1908 The papers of this prominent scholar, teacher, and Jean Claude Richard de Saint-Non (French, This four-page letter, illustrated with an ink drawing of curator provide insight into the central role Varnedoe 1727–1791) a landscape, documents a turning point in the history played in advancing knowledge of modern art among Four aquatints of Roman scenes after Hubert Robert of the Salon des Indépendants, one of the flagship both art historians and the general public. (French, 1733–1808), 1765–70 institutions in the history of modern art. Signac, one of Gift of Elyn Zimmerman These rare prints are important examples of early the salon’s principals, voices doubts as he was about to 2008.M.60 reproductive aquatints by one of the medium’s first become its president. practitioners. Yona Friedman (French, b. 1923) 2008.M.3 2007.PR.93, 2007.PR.94, 2007.PR.95, 2007.PR.96 Papers, ca. 1960–2007 Jean Cocteau (French, 1889–1963) Focusing on mobile architecture, superstructures, and Bernardo Bellotto (Italian, 1721–1780) Papers relating to Giorgio de Chirico (Italian, self-reliance, the architectural theoretician Friedman Vuë de l’église de Nôtre Dame (View of the church of 1888–1978), 1928 sought to give modern architecture new life by Nôtre Dame), 1757 Seven leaves of manuscript drafts concerning the enhancing the power of the client in the design process. Produced in Germany where Bellotto worked at the writer, painter, and scenographer de Chirico appear in 2008.M.51 court of Frederick-Augustus II from 1747 to 1758, another version in the second part of Cocteau’s Essai de the etching depicts a street-level view of the Lutheran Jan Baum (American, b. 1930) critique indirecte, “Des beaux arts considerés comme un Frauenkirche in Dresden, reproducing the painting Gallery records, 1977–2007 assassinat.” of 1749–53, which is held today in the Staatliche Cofounded by Baum in 1977, her gallery is a Los 2007.M.23 Kunstsammlungen, Dresden. The copperplate was Angeles institution that exhibits artists of national destroyed in Dresden during the Seven Years’ War and international repute, including Betye, Alison, and with Prussia. Lezley Saar, and Chris Burden. Gift of Tom and Lore Firman Gift of Jan Baum Gallery 2007.PR.105 2008.M.61

26 The Getty Research Institute Anonymous (Indigenous Peruvian or Bolivian, after Girolamo Cardano (Italian, 1501–1576) Gerard Blancken (Dutch, b. 1669) 1825) De Rerum Varietate Libri XVII, Basel, 1557 Catalogus Antiquarium et Novarum Rerum…, Portraits of Inca kings and an Inca queen, not before Bound with: Leiden, 1695 1825 Giambattista della Porta (Italian, 1545–1615) Listing the enumerated exhibits of the anatomical These unpublished portraits are among the last in a Phytognomica, Naples, 1588 theater at Leiden in the late-17th-century, this catalog tradition of fanciful Inca genealogies beginning in Cardano’s illustrated scientific encyclopedia examines includes specimens of animal and human body parts, the late 16th century, and kept alive in illuminated architecture, perspective, color theory, metallurgy, together with items both ethnographic and fantastical. manuscripts, printed books, loose prints, drawings, and geology, and alchemy. It is joined in a contemporary It offers testimony to the way such large-scale exhibits paintings through the first half of the 19th century. binding with della Porta’s illustrated treatise on the invited spectators to construct individual meaning out Typologies of the portraits trace their origins to Martín taxonomy of plants, organized to express his views of the collective experience, and to contemplate their de Murúa’s manuscript chronicles (ca. 1600) of the concerning the relationship between the external form own mortality. Incas held in the Getty Museum. of a plant and its internal nature, and thus its curative 2792-121 2007.M.21 powers. Jacques Philippe Laugier de Tassy (French?) 2774-400 and 2774-688 Album de La revue blanche, Paris, 1895 Histoire du royaume d’Alger, Amsterdam, 1725 A rare portfolio of 12 post-Impressionist prints issued Johannes Sambucus [János Zsámboki] (Hungarian, Accompanied by an engraved city view and map, by L’estampe originale for the literary and art journal 1531–1584) this comprehensive account of Algeria was written by La revue blanche in Paris in 1895 contains works by Icones Veterum Aliquot, ac Recentium Medicorum, a French naval officer who served at the French Bonnard, Cottet, Denis, Ibels, Ranson, Redon, Rippl- Philosophorumque Elegiolis Suis Editae, Antwerp, consulate in Algiers. Ronaï, Roussel, Sérusier, Toulouse-Lautrec, Vallotton, 1574 2784-620 and Vuillard. This emblem book suggests a humanist interest in Julien Claude Galland (French) 2008.PR.13 portraits as historical documents as well as exemplars, Recueil des rits et cérémonies du pelerinage de la and contains portraits of physicians and philosophers Ker-Xavier Roussel (French, 1867–1944) Mecque…, Amsterdam and Paris, 1754 compiled from the sources housed in Sambucus’ notable Album de paysage, ca. 1898 This anthology of the Turkish rites and ceremonies library. Printed by August Clot and issued in an edition of 100, of the pilgrimage to Mecca includes details on the 2769-378 this rare suite of six color lithographs was originally customs, religious beliefs and practices, mores, and commissioned by Ambroise Vollard for an album of Nicolas de Nicolay (French, 1517–1583) science of the Turkish people. It provides descriptions of landscapes prints that was never published. Le navigationi et viaggi, fatti nella Turchia, Venice, important architectural and archaeological sites within 2008.PR.12 1580 Mecca, as well as the history and physical appearance Compiled by Nicolay, geographer to the French of the Ka‘abah, the Black Stone, a Muslim object of Julius Meier-Graefe (German, 1867–1935) embassy in Istanbul in 1551, this is the most complete reverence, and Mount Agri (Ararat), the biblical summit Erste Ganymed-Mappe, Munich, 1921 edition of one of the earliest, accurately illustrated on which Noah’s Ark rested after the great flood. Published as a supplement to Ganymed Jahrbuch der works on the customs and dress of the inhabitants of 2783-806 Kunst, this portfolio contains original graphics by the Ottoman Empire. notable early-20th-century German artists, including Belsazar Hacquet (German, 1739–1815) Acquired with the support of the Research Library Max Beckmann, Alfred Kubin, Richard Seewald, Lovis L’Illyrie et la Dalmatie, ou Moeurs, usages et costumes Council Corinth, and Max Slevogt. de leurs habitans et de ceux des contrées voisines, 2789-858 2008.PR.4 Paris, 1815 Edward Pococke (British, 1604–1691) This French translation by Jean Baptiste Joseph Breton Specimen Historiae Arabum, sive Gregorii Abul from the original German includes 32 hand-colored Rare Books Farajii Malatiensis, de Origine & Moribus Arabum lithographs to illustrate Hacquet’s ethnographic Succinta Narratio…, Oxford, 1650 observations of Balkan Peninsula inhabitants. Caius Suetonius Tranquillus (Roman, ca. a.d. 69– This volume laid the groundwork for all subsequent 2783-803 ca. a.d. 122) studies of Arabic and Islam in the West. Godefroy Engelmann (French, 1788–1839) De vita Caesarum, Venice, 1507 2783-804 In this first illustrated edition of The Lives of the Twelve Manuel du dessinateur lithographe, Paris, 1822 Caesars by Roman scholar and official Suetonius, the Jacob Spon (French, 1647–1685) and George Wheler Among a group of several artists’ manuals on section on Julius Caesar opens with a large woodcut (British, 1651–1724) lithography, this extremely rare French treatise is an depicting his birth by caesarean section, the first known Voyage d’Italie, de Dalmatie, de Grece, et du Levant, important example of the technological literature illustration of this medical procedure. Lyon, 1678 that helped fuel the rapid expansion of lithography in 2774-252 This foundational work for the historiography of France and throughout Europe. This work includes classical archaeology describes the classical sites of a discussion of Engelmann’s discovery of aquatint Heinrich Vogtherr (German, 1490–1556) Greece and Asia Minor. lithography, a process that reproduced the appearance Libellus Artificiosus Omnibus Pictoribus, Statuarijs, Acquired with the support of the Research Library of a wash drawing. Aurifabris, Lapidicidis, Arcularijs, Laminarijs & Council 2784-613 Culturijs Fabris…, Strasbourg, 1539 2796-196 This early model book for artists to use in many different media features 625 woodcuts of hands, feet, facial expressions, headdresses, armor, helmets, knives, spears, candelabra, and columns. 2772-709

The Getty Research Institute 27 Francesco Zanotto (Italian, d. 1863) Joaquín Torres-García (Uruguayan, 1874–1949) Manuel Mancilla (Peruvian, act. into 1950s), Dizionario pittoresco di ogni mitologia d’antichita La tradición del hombre abstracto (doctrina G. Ramognino (Peruvian, act. 1902), Helsby and Co. d’iconologia e delle favole del medio evo, Venice, constructiva), Montevideo, 1938 (act. Chile, 1850s–60s), and three unidentified 1840–62 Torres-García’s major treatise is accompanied by an photographers Twelve volumes present a comprehensive study of original ink drawing by the artist that embodies the 108 Photographs of Peru, Bolivia, and Chile, myths, fables, and religious sagas around the world, theoretical principles presented. 1860s–1920s from antiquity through the early modern period with 2789-451 These photographs vividly record rare urban and remote 218 hand-colored plates that reproduce paintings, vases, rural scenes focusing on architecture, inhabitants, and Kikuji Kawada (Japanese, b. 1933) statues, and coins. topography. Chizu, (The Map) Tokyo, 1965 2769-424 Acquired with the support of the Research Library Published on the 20th anniversary of the bombing of Council Freiherr von Karl Maria Aretin (German, 1796–1868) Hiroshima, the book’s intricate combination of close-up 2008.R.7, 2008.R.8, 2008.R.9, 2008.R.10 Alterthümer und Kunst-Denkmale des bayerischen details, photomontage, and gatefold format provoke the Herrscher-Hauses . . . , Munich, 1854–71 viewer to consider the meaning of this historic event. Milton Miller (act. China 1860s), William Pryor Floyd This work on the chief art treasures of the ruling Acquired with the support of the Research Library (act. Macao 1866; Hong Kong 1867–1874), and house of Bavaria illustrates in nine volumes the Council anonymous photographers diverse collections of objets d’art, weapons, paintings, 2787-016 Chinese people and places, ca. 1865–ca. 1890 sculptures, carved reliefs, coins, jewelry, stained glass Representing notable Chinese people, important EikŌ Hosoe (Japanese, b. 1933) windows, and illuminated manuscripts that became part monuments, and the memorial service of a deceased Ōno Kazuo, Tokyo, 1997 of the Bavarian National Museum’s collection. Chinese woman, these seven photographs taken in This photobook resulted from the meeting of 2774-257 China between 1865 and 1890 are indicative of the three Japanese legends: the esteemed photographer typical images captured in this country by the new Louis Gonse (French, 1846–1921) EikŌ Hosoe; the renowned Kazuo Ōno, cofounder medium of photography for a Western audience. L’art Japonais, Paris, 1883 of Butoh dance; and Tadanoori Yokoo, the admired 2007.R.14 One of the first major European reference books on designer and artist. Japanese art is equally important to promulgating 2793-834 Esther Born (American, 1902–1987) the art history of Japan as it is to understanding the Esther Born photographs of northern California Michael S. Cherney (American, b. 1969) phenomenon of Japonisme and its development in houses designed by Frank Lloyd Wright, photographed Twilight Cranes, Beijing, 2007 19th century European art. 1938–ca. 1940; printed 1938 and 2003 A photographic hand scroll produced by contemporary 2792-904 Twenty-four vintage and 27 nonvintage photographs photographer and book artist Cherney combines printed from the original negatives of two houses Guillaume Apollinaire (French, 1880–1918) traditional Asian format and content with a contemporary by Frank Lloyd Wright: the Hanna House in Album-catalogue de l’exposition André Derain medium. A variation on the 20th century Western genre Stanford, California (1936), and the Bazett House in ouverte du 15 au 21 octobre 1916 à la Galerie Paul of artists’ books, this new version publishes its readings Hillsborough, California (1939). Guillaume, Paris, 1916 of landscape and natural forms with digital photography 2007.R.16 A catalog of Derain’s first personal exhibition, which and pixilated printing. took place during the peak of World War I, traces Acquired with the support of the Research Library Gianfranco Gorgoni (Italian American, b. 1941) the trajectory of the French avant-garde and its Council Photographs of earthworks, 1970s transformation during the war. 2789-113 Produced by photographer Gorgoni, the 11 vintage 2791-856 prints demonstrate the dynamic creativity of early earthwork artists Michael Heizer, Robert Smithson, and Hans Leip (German, 1893–1983) Rare Photographs Walter de Maria. Gorgoni’s prints are a unique blend Der Almanach der Götzenpauke, Hamburg, 1921 of photo-documentation and artistry, capturing and With strong Expressionist graphics, this publication Orientalist photography collection, 1843–1960 creatively framing the relationship of artist to his large- marked the Hamburg Artists’ Festival, celebrated In the late 19th century, when the Orient held a special scale works as they develop in the landscape. annually from 1914 through 1926. allure for Western viewers, the region was increasingly 2008.R.6 Acquired with the support of the Research Library open to travelers and traders. This collection includes Council more than 4,500 early photographic images of the Stephen Verona (American, b. 1940) 2789-467 Middle East and North Africa created by 164 different Andy Warhol—The Signing,2007 Reproducing Warhol three times in this oversize ink jet Shūichirō Kinoshita (Japanese, 1896–1991) and David photographers and studios. Documentary, artistic, print, Verona captures the all-encompassing presence of Burliuk (Russian, 1882–1967) journalistic, and amateur views of Egypt, the Maghreb, the artist as he signs Campbell’s soup cans at one of his Miraiha to wa? Kotaeru [Was ist der Futurismus? and the Levant present the diverse cultures of Islam and staged events in Venice, California, 1977. Antwort] (What is Futurism? Answer), Tokyo, 1923 the Holy Land, from Morocco in the west to Arabia and Gift of Stephen Verona This little-known chapter in the history of the Syria in the east. 2008.R.1 international avant-garde developed as a collaboration 2008.R.3 between Kinoshita, a prominent artist in the Japanese Futurist movement, and Burliuk, a gifted Russian Futurist poet and painter who worked in Japan until 1922, when he left for the United States. Acquired with the support of the Research Library Council 2787-031

28 The Getty Research Institute Audio and Audiovisual Recordings Mako Idemitsu (Japanese, b. 1940) Morihiro Wada (Japanese, 1947–2006) Onna no sakuhin (What a Woman Made), 1973 Ninchi Kozo (Recognition Construction), 1975–85 Collection of 15 video works by Japanese artists from This representative work by Japanese female artist This rare collection of 10 original tapes from the Video Gallery Scan archive, 1972–88 Idemitsu, with simple imagery and masculine voiceover, Recognition Construction series by Japanese conceptual The best selection of early video works from the Video was one of the first pieces of video art in Japan to artist Wada explores structures and systems in the filmic Gallery Scan, founded in 1980 in Tokyo by artist take a strongly feminist position. The artist made this image, inspired by Ludwig Wittgenstein’s theory of Fujiko Nakaya. The gallery became a center of video art, black-and-white video shortly after returning to Japan bild/picture. hosting biannual video competitions and introducing from Los Angeles, where she had been involved with the Gift of Morihiro Wada works by American artists, including Bill Viola and burgeoning feminist art movement and had lived during 2008.M.6 Gary Hill. her marriage to Sam Francis. 2008.M.17–2008.M.31 2007.M.24

Exhibitions

Opening at the Getty Center between July 1, 2007, and June 30, 2008

Evidence of Movement 16th to the early 19th century. Highlights included a thought process was illustrated through the diverse July 10–October 7, 2007 rare series of prints of the European Pavilions of the presentation of sketches, architectural models, travel In the collecting and display of art, performance Yuanmingyuan, called the Garden of Perfect Clarity, notebooks, photographs, sculptures, fabrics, and poses strong challenges to established notions of both designed in the mid-18th century by the Milanese footwear. The exhibition drew heavily from the the art collection and the archive. Unlike painting architect Giuseppe Castiglione for the Qianlong Rudofsky Archive at the Getty Research Institute or sculpture, performance-based art exists without emperor. Related works explored Anglo-Chinese and included loans from American and European an original, tangible, and self-contained object. gardens, the interaction of Chinese philosophy and institutions, as well as the Rudofsky estate. Because of this, archival material such as documentary Christianity, and the cartography and astronomy of the California Video photography, film and video, and artists’ notes and Belgian Jesuit Ferdinand Verbiest, who redesigned the March 18–June 8, 2008 sketches are often studied, collected, and exhibited astronomical instruments at the imperial observatory This exhibition broadly surveyed the history of as works of art. Nearly every medium imaginable has in Beijing. video art in California by presenting major works been used by artists to document performance work, Lessons from Bernard Rudofsky of single-channel video, video sculpture, and video including photographs, videos, audio recordings, notes, March 11–June 8, 2008 installation from the late 1960s to the present. The works drawings, paintings, scores, posters, prints, books, Traveled to: Architekturzentrum, Vienna, March 8– in the exhibition were drawn primarily from the objects, and sculptural remnants. Drawn primarily May 28, 2007; Canadian Centre for Architecture, Long Beach Museum of Art Video Collection, one of from the collections of the Research Library at the Montreal, July 3–September 30, 2007 the most important and comprehensive single-channel Getty Research Institute, this exhibition surveyed the Bernard Rudofsky was an architect, curator, critic, video collections in the country, which is now held by great variety of creative means by which artists have exhibition designer, and fashion designer whose the Getty Research Institute. Arranged both used durable and traditional media to document and entire oeuvre was influenced by his lifelong interest in chronologically and thematically, the exhibition represent performance-based art. These attempts to peoples’ concepts about the body. He is as well known featured a number of rare and unique pieces: an transpose the dynamic and experiential qualities of for his controversial exhibitions and accompanying installation by Bruce and Norman Yonemoto; the performance into documentary and archival media catalogs, including Are Clothes Modern? (The Museum reconstruction of an important installation by Ant have influenced the field of art as a whole and opened of Modern Art, 1947), Architecture without Architects Farm; a special program devoted to the video archive of vital avenues of exploration. (The Museum of Modern Art, 1964), and Now I Lay The Woman’s Building, a Los Angeles–based feminist China on Paper: European and Chinese Works from Me Down to Eat (Cooper-Hewitt Museum, 1980), as art organization; and important works by artists such as the Late Sixteenth to the Early Nineteenth Century he is for the design of the popular Bernardo sandals John Baldessari, Eleanor Antin, Paul Kos, and Terry Fox. November 6, 2007–February 10, 2008 in the 1950s and 1960s. Co-organized by the Getty Illustrated books, prints, and maps from the special Research Institute and the Architekturzentrum collections of the Research Library tell the fascinating Wien, Lessons from Bernard Rudofsky analyzed his story of mutual interest and collaborative works contributions to architecture, anthropology, design, produced by Chinese and Europeans from the late exhibitions, and fashion. In addition, Rudofsky’s

The Getty Research Institute 29 Exhibitions

Opening at the Getty Villa between July 1, 2007, and June 30, 2008

The Herculaneum Women and the Origins of The Magnificent Piranesi The Color of Life Archaeology December 6, 2007–March 10, 2008 March 6–June 23, 2008 July 12–November 5, 2007 As an antiquarian, architect, and printmaker, Giovanni This exhibition opened a window on the complex Discovered around 1710, two life-size Roman marble Battista Piranesi produced more than a thousand and fascinating tradition of polychrome in sculpture statues of draped women—the so-called Large and prints of the extant buildings and urban landscape from ancient times to the present. While Western Small Herculaneum Women—became famous as the of the ancient city of Rome. Along with his detailed sculpture has maintained a strong and steady tradition first finds from the site of Herculaneum, the ancient observations published in books, etchings, and maps, of polychromy from its beginnings in antiquity, the city buried under the ashes of Mount Vesuvius in the prints reveal the innovative and visionary aspects collecting interests of the Renaissance and Neoclassical a.d. 79. This exhibition explored the circumstances of Piranesi who readily exaggerated architectural periods favored the monochromatic qualities of marble of their discovery, their original display in the Roman elements and created fantastic views, ruins, restorations, and bronze. The exhibition provided stellar examples theater of Herculaneum, and their prominent role in and antique compositions. Drawing on the Research of polychrome sculpture juxtaposed with its better- the development of archaeology. Traveling abroad for Library’s extensive collections of Piranesi’s complete known, monochromatic version. This display technique the first time from the Staatliche Kunstsammlungen oeuvre of prints and illustrated books, the exhibition introduced the public to unfamiliar masterpieces and Dresden, the statues were complemented by more presented a synthetic portrait of the extraordinary presented an alternative history of sculpture. than a dozen items from the Getty Research Institute range of his productions—from heated polemics on collections, including sketchbooks, prints, and rare the ancients and moderns to the stylish marketing books. of his wares.

Opening at the Los Angeles Public Library between July 1, 2007, and June 30, 2008

Julius Shulman’s Los Angeles Grauman’s Chinese Theatre; the growth of Wilshire October 6, 2007–January 27, 2008 Boulevard; the industrial engines at the Port of Los Julius Shulman is renowned for creating Southern Angeles and Los Angeles International Airport that California’s iconic images in architectural history. At powered the city’s rapid growth; the city’s diverse the age of 96, he is one of the few individuals to have residential fabric from Echo Park to South Los Angeles; witnessed and documented the growth of Los Angeles and Shulman’s critical role in capturing and promoting during the past century. More than mere works of innovative, sleek Case Study Houses, as well as cookie- art or images for commercial promotion, Shulman’s cutter tract housing developments. captivating photographs are critical visual records of this metropolis’ dramatic evolution. This exhibition featured 150 rarely seen photographs arranged in seven narratives: the competing urban developments of Bunker Hill and Century City; the exotic architectural expressions of Los Angeles, such as Watts Towers and

Getty Research Institute Guest Scholars

Every year the Getty provides support for scholars from around the world to conduct research while in residence at the Getty Center. In addition, the Getty Foundation provides nonresidential grants to scholars worldwide. Projects listed represent scholars’ primary research while in residence.

Getty Center Professor Cummins, Thomas. Harvard University, Massachusetts. Müller-Sievers, Helmut. Northwestern University, A Study of Three Colonial Peruvian Manuscripts. Illinois. The Cylinder: Kinematics of the 19th Century. Fletcher, Angus. City University of New York, New York. Motion, Galilean Relativity, and Stylistic Changes Folgarait, Leonard. Vanderbilt University, Tennessee. Papapetros, Spyros. Princeton University, New in Late Renaissance Poetry. Picasso, Horta, 1909: The Shift to Cubism. Jersey. Animated Change: Patterns of Transition in Art, Architecture, and Their Histories. Fraser, Sarah E. Northwestern University, Illinois. What Is Chinese about Chinese Art? Archaeology, Politics, Pericolo, Lorenzo. University of Montreal, Canada. Getty Scholars and Identity in Republican China (1928–1947). Change Reaction: Caravaggio’s Followers About, Beyond, and Despite Caravaggio’s Newness. Buck-Morss, Susan. Cornell University, New York. Lang, Karen. University of Southern California. Who Owns Time? Max Beckmann’s Inconceivable Modernism. Smith, Paul. University of Warwick, United Kingdom. The “Nature” of Style Change.

30 The Getty Research Institute Visiting Scholars Maisel, David. Photographer and visual artist. Luce, Kristina. University of Michigan. The Library of Dust. Revolutions in Parallel: The Rise and Fall of Drawing Balfour, Ian. York University, Canada. Adapting: within Architectural Design. Filming Literature in and beyond the Culture Industry. Ossio, Juan. Pontificia Universidad Católica del Perú. Andean and European Traces in the Construction of the Small, Irene. Yale University, Connecticut. Debroise, Olivier. Universidad Nacional Autónoma Manuscripts of Fray Martín de Murúa. Hélio Oiticica and the Morphology of Things. de México. Machines, Spacecrafts, Footsteps, Bombs, and Artistic Change in Latin American Art of the 1960s. Taylor, Brandon. University of Southampton, United Sutton, Gloria. University of California, Los Angeles. Kingdom. Relief Space and the Transition to Abstraction The Experience Machine: Stan VanDerBeek and Immersive Dunlop, Anne. Yale University, Connecticut. A Break 1910–30. Subjectivity in Expanded Cinema Practices of the 1960s. to Make the Modern: Ambrogio Lorenzetti and Artistic Change in the Early Renaissance. Troy, Nancy J. University of Southern California. The Afterlife of Piet Mondrian. Fleckner, Uwe. University of Hamburg, Germany. Postdoctoral Fellows “Take Dada seriously! It’s worth it!” Kurt Schwitters, the Marchi, Riccardo. University of South Florida. Dada Wall, and Degenerate Art in the Third Reich. Predoctoral Fellows Learning to Look at Pure Painting: Boccioni, Kandinsky, Hutter, Michael. Witten/Herdecke University, and Delaunay in Berlin, 1912–1913. Foxwell, Chelsea. Columbia University, New York. Germany. The Co-Evolution of Art and Economy: Cases Kano Hōgai (1828–1888) and the Making of Modern Tackett, Nicolas. University of Tennessee. from European History. Japanese Painting: “Japanese-Style” Exhibition Painting The Tang-Song Transition and the Revolution in Funerary Kahlo, Frida. Founding member of anonymous and the Creation of Nihonga. Art and Architecture in Medieval China. feminist art activist group. Guerrilla Girls Do Hollywood: A Behind the Scenes Look at Girls in the “Wood.”

Getty Villa Scholars for 2007–2008: Cultural Identity and the Peoples of the Ancient Mediterranean

Villa Professor Visiting Scholars Postdoctoral Fellow

Gruen, Erich. University of California, Berkeley. Butcher, Kevin. American University in Beirut, Swetnam-Burland, Maria. Portland State University, Cultural Identity and the Peoples of the Ancient Lebanon. Religious Architecture and Identities in Oregon. Egypt in the Roman Imagination: Cult, Culture, Mediterranean. Roman Syria. and the Invention of the Foreign. D’Ercole, Cecilia. Université Paris I, Sorbonne, France. Cultures between Unity and Differences: The Case of the Getty Scholar Adriatic Sea Peoples (VIIIth–IVth Century b.c.). Cohen, Ada. Dartmouth College, New Hampshire. Quinn, Josephine. Oxford University, United Ideals of Beauty in Ancient Greece. Kingdom. Hellenistic Africa: Connectivity, Culture, and Identity between the Mediterranean and the Sahara. Stern, Karen. University of Southern California. Emulation Is the Sincerest Form of Romanitas: Interpreting Jewish Culture in the Southern Mediterranean (1st–6th Centuries, c.e.).

Research Library Council

For July 1, 2007, through June 30, 2008

G. Scott Clemons Richard Keating Lloyd E. Cotsen Richard Kelton Denise Mularoni Decker Craig Krull Robert F. Erburu Herbert L. Lucas Tom Firman Tania Norris Manfred Heiting Marcella Ruble Gloria Katz Huyck Richard A. Simms Stephen A. Kanter Dennis J. Tartakow Kenneth Karmiole

The Getty Research Institute 31 Twyfelfontein, Damaraland, Namibia. Detail of rock art, main site, rhino from top left-hand side of the panel. 1997. © David Coulson. The Getty Conservation Institute

The Getty Conservation Institute works internationally to advance conservation practice in the visual arts—broadly interpreted to include objects, collections, architecture, and sites. The Institute serves the conservation community through scientific research, education and training, model field projects, and the dissemination of the results of both its own work and the work of others in the field. In all its endeavors, the GCI focuses on the creation and delivery of knowledge that will benefit the professionals and organizations responsible for the conservation of the world’s cultural heritage. The Getty Conservation Institute

Timothy P. Whalen, Director

Above left: Textile conservator Elena Phipps from the Advancing preservation of the world’s artistic heritage is one of the objectives expressed Metropolitan Museum of Art in New York (left) and GCI Senior Scientist Karen Trentelman examining and in the J. Paul Getty Trust’s mission statement. The Getty Conservation Institute (GCI) seeks discussing the Galvin Murúa illustrated manuscript. to fulfill this commitment to preservation through programs designed to improve the way Above right: Participants in a site management workshop coorganized by the GCI conduct a condition assessment conservation is practiced. of fallen statues at the World Heritage site of Vat Phou in Lao PDR. Photo: Jeff Cody. Over the last two decades, the GCI has engaged in projects and initiatives that serve to advance conservation practice. In spring 2008, this institutional goal was given renewed prominence in the GCI’s new mission statement. The GCI is privileged in its ability to examine the range of critical issues in conservation and to take on challenges to the field that need to be addressed. GCI efforts focus on the visual arts, broadly defined as not only objects and collections but also built heritage, such as architecture and archaeological sites. The geographic scope of the Institute’s activities ranges from the local to the international. The scope of the work is equally extensive, encompassing scientific research, model field projects, education initiatives, and the dissemination of information through a variety of means. Most Institute projects are characterized by interdisciplinary collaboration—

34 The Getty Conservation Institute and many involve partnerships with organizations and institutions around the world. During fiscal year 2008, the GCI sought to advance conservation practice through a number of activities in research and convening, building capacity, and sharing expertise.

Research and Convening The GCI’s position as part of the Getty Trust provides it with the flexibility and the responsibility to tackle broad theoretical and practical issues of significance to conservation. Convening forums of those in the field to identify needs and priorities in conservation practice—and conducting

Top: Panelists at “The Object in Transition,” a Getty comprehensive research in those areas—constitutes a considerable portion of the Institute’s work. Center conference on the preservation and study of modern and contemporary art, organized by the GCI and A major GCI project has been extensive scientific research on modern paint materials the GRI. Background image, © Estate of Roy Lichtenstein. (initiated with Tate in London and the National Gallery of Art in Washington DC) undertaken Bottom: The Great Mosque of Djenné in Mali, during to assist conservators in studying techniques used in modern paintings, selecting appropriate its annual re-plastering. Mali was the site of the 10th International Conference on the Study and Conservation display and storage conditions for these works, and developing safe and effective cleaning of Earthen Architecture, co-hosted by the GCI. Photo: Jeanne Marie Teutonico. methods and other conservation treatments. An outgrowth of this project was a January 2008 conference—“The Object in Transition: A Cross-Disciplinary Conference on the Preservation and Study of Modern and Contemporary Art”—organized by the GCI and the Getty Research Institute (GRI). This conference at the Getty brought together conservators, curators, art historians, artists, and conservation scientists to discuss interdisciplinary case studies on the conservation of the varied materials used by artists over the last seventy years. Captured on video, conference presentations are available online at getty.edu, providing ongoing and wide access to the information offered at this important gathering. The GCI’s study of modern paints is leading to new and related Institute research. To guide that effort, the GCI organized a June 2008 experts meeting to discuss the significant issues faced by professionals in the conservation of modern and contemporary art. The meeting, hosted at the Museum of Modern Art in New York and supported by Agnes Gund and Daniel Shapiro, was attended by 26 participants from Europe and the Americas, and included conservators at key institutions (as well as in private practice), scientists, collection managers, and those involved in conservation training programs and professional networks for contemporary art. The meeting’s conclusions will guide the development of Institute research. Another area of ongoing GCI work is earthen architecture. Over the past 20 years, the GCI has researched seismic issues related to earthen structures, surface protection for adobe walls, treatments and shelters for earthen sites, and treatment techniques for polychrome earthen bas-reliefs. In February 2008, the Institute, in partnership with Mali’s Ministry of Culture, organized “Terra 2008” in Bamako, Mali, a conference on the study and conservation of earthen architectural heritage. Four hundred and seventy participants from 65 countries exchanged information about conservation of earthen archaeological sites, living sites, conservation and development, training and education, seismic and other natural forces, and guidelines for earthen architecture (GCI publication of the conference proceedings is planned for early 2010). Another important collaboration in convening—and an outgrowth of the Institute’s commitment to historic urban conservation—has been the GCI’s work with the Organization of World Heritage Cities (OWHC) in developing their world symposia. The 9th World Congress of the OWHC was held in late June 2007 in Kazan (Tatarstan), Russian Federation. The congress, organized by the City of Kazan in collaboration with the OWHC, included a scientific program and a pre-congress workshop for mayors developed by the GCI; the scientific program included four keynote presentations on heritage and economics, a plenary panel of mayors, a poster session, and a Kazan students’ session.

The Getty Conservation Institute 35 Some GCI research and convening work occurs on a more intimate scale. For example, scientists in the GCI’s Museum Research Laboratory—which conducts scientific research and analytical support focused on the collections of the Getty Museum and the GRI—worked with Museum and GRI colleagues, along with colleagues from the Metropolitan Museum of Art and GRI scholars in residence, on a multiyear project to investigate two illustrated and hand-colored manuscripts by Martín de Murúa, a 16th-century Spanish friar who lived in Peru. The manuscripts, Historia del origen y genealogía real de los reyes Incas del Piru (1590, private collection of Seán Galvin) and Historia general del Piru (1616, J. Paul Getty Museum), contain elaborate color illustrations depicting Inca royalty, history, and traditions. The research contributed to a 2008 GRI exhibition that explored the ways Peru and its peoples were depicted by artists after the conquest.

Building Capacity To advance conservation practice, the GCI engages in projects that seek to improve the ability of conservation professionals and organizations to deal with conservation problems. These efforts range from the development of tools that enhance conservation to a variety of education and training initiatives. This last year saw significant progress in a project to develop a bilingual Arabic-English, Web-based national geographic information system (GIS) for Jordan’s Department of Antiquities (DoA). Once completed, the Middle Eastern Geodatabase for Antiquities, Jordan (MEGA-Jordan) will serve as the DoA’s primary tool to inventory, monitor, and manage Jordan’s vast number of archaeological sites, and will ultimately play an important role in preserving the country’s archaeological treasures. In February 2008, the GCI and the World Monuments Fund (WMF), the Institute’s partner in this effort, installed a new data collection and processing system at several DoA offices, and trained staff to complete and correct existing data from the DoA’s previous GIS so that they can be incorporated into MEGA–Jordan. Work on a version of MEGA for Iraq will begin after the Jordanian system is fully deployed in fall 2009. In December 2007, as part of the Institute’s Iraq Cultural Heritage Conservation Initiative, the GCI and WMF held a workshop in Jordan for 24 high-ranking staff from the Iraq State Board of Antiquities and Heritage (SBAH) that focused on working conditions in Iraq and SBAH’s current priorities, as well as on initiating the process of gathering requirements for MEGA-Iraq. In education, the GCI held several activities designed to improve conservation capacity. In Tunisia, the Institute continued working with the Institut National du Patrimoine (INP), organizing site management workshops for INP staff. An October 2007 workshop in El Jem—a city with significant archaeological remains—concentrated on conserving and managing archaeological sites in an urban context. A May 2008 workshop at the site of Dougga (one of Tunisia’s eight World Heritage sites) gave Dougga site managers training in documentation, Top: Unknown. Sinchi Roca from Historia general del preventive conservation, and site maintenance. Piru completed in 1616. The J. Paul Getty Museum, Ms. Ludwig XIII 16, fol. 24v. The GCI conducted scientific Another GCI initiative is the Southern African Rock Art Project (a collaboration with several analysis of the manuscript. organizations in the region), which seeks to develop a model for sustainable conservation and Middle: Archaeologists and other professionals from Jordan’s Department of Antiquities learning to community participation at rock art sites in southern Africa. In November and December 2007, electronically capture the boundaries of archaeological sites as part of the GCI’s project with Jordan to develop a the GCI coorganized a three-week workshop on rock art interpretation and presentation, held geodatabase for these sites. Photo: Alison Dalgity. in Johannesburg, Pretoria, and Mapungubwe National Park for sixteen participants from South Bottom: A technician working on a Roman mosaic Africa, Tanzania, and Zimbabwe, most of whom were personnel at national and regional parks. at Dougga, a World Heritage site in Tunisia. GCI has partnered with Tunisia’s Institut National du Patrimoine In March 2008—at the World Heritage site of Vat Phou, in Champasak, Lao People’s to provide training in the care of in situ archaeological mosaics. Photo: Aurora Ortega de Torre. Democratic Republic—the GCI coordinated a two-week training workshop on risk assessment

36 The Getty Conservation Institute and conservation for archaeological sites in the Mekong region. The workshop included 25 participants from Lao PDR, Thailand, Vietnam, Cambodia, and Myanmar and was co-organized with the Lao PDR Ministry of Information and Culture, the Southeast Asian Ministers of Education Organization–Regional Center for Archaeology and Fine Arts in Thailand, and the Lerici Foundation, Italy. A new project that seeks to build capacity is the Panel Paintings Initiative, a GCI collaboration with the Getty Museum and Getty Foundation. Conservators and collectors have long been challenged by the unique structure of panel paintings and the historic variations and complex aging behaviors of their wood and paint. The initiative, begun in fiscal year 2008, is designed to increase specialized training in the structural conservation of panel paintings and to advance treatment of these works around the world.

Sharing Expertise A critical component of advancing conservation practice is sharing of information and expertise. The GCI has worked on several fronts to facilitate exchange within the field. In fall 2007, the GCI and ICCROM conducted in Rome their jointly organized course on architectural conservation, heritage documentation, and information management (ARIS 07). Sixteen mid-career conservation professionals and educators from Azerbaijan, Barbados, Brazil, Croatia, the Czech Republic, Egypt, Germany, Greece, Ireland, Japan, Lithuania, Nigeria, Pakistan, Serbia, Tanzania, and the United States participated. Also beginning in fall 2007 was the GCI’s second Teamwork for Integrated Emergency Management course, this one for museum professionals from nine southeastern European countries. The course—which combines classroom learning with mentored practical work carried out by participants in their own institutions—is designed to assist museums in developing emergency preparedness and response measures. It was organized by the Institute, ICCROM, ICOM, and UNESCO (BRESCE), with additional support from ICOM Southeast Europe and the National Archive of the Netherlands. The GCI, the Netherlands Institute for Cultural Heritage, and the Amsterdam-based house museum Ons’ Lieve Heer op Solder (Our Lord in the Attic) are collaborating on a Web-based case study to be used in teaching preventive conservation. The case study explores visitor impact on the museum’s historic building and collections and examines the visitor’s experience. In spring 2008, the Institute developed a Web-based online case study of the museum, which it field tested in June 2008 on 37 students in conservation and conservation-related programs from the University of Amsterdam and Reinwardt Academy; the case study will be available on the Web in 2009. GCI publications are a significant part of the Institute’s program for disseminating information. Notable GCI books during the period of this report included two that grew out of conferences co-organized by the GCI. These wereModern Paints Uncovered: Proceedings From Top: Advisory group and project team members of the Getty’s Panel Paintings Initiative at the Opificio the Modern Paints Uncovered Symposium and Lessons Learned: Reflecting on the Theory and Practice delle Pietre Dure e Laboratori di Restauro in Florence discussing conservation issues of the panel painting of Mosaic Conservation: Proceedings of the 9th ICCM Conference. Madonna col Bambino. Photo: Foekje Boersma. As the activities described here illustrate, the GCI seeks to preserve the world’s artistic heritage Middle: A condition assessment team conducting a survey of the Our Lord in the Attic Museum in by advancing the practice of conservation. In conducting research, convening members of Amsterdam. The GCI worked with the museum to develop a preventive conservation case study. Photo: the field, building capacity, and sharing expertise, the Institute works to provide conservation Paul Ryan. professionals with the tools that they need to fulfill the task of preserving our heritage. Bottom: Participants in the GCI–ICCROM ARIS07 international course recording conditions of the 18th- century wall paintings in the church of Santa Cecilia in Rome. Photo: Rand Eppich.

The Getty Conservation Institute 37 Getty Conservation Institute Project List

The Getty Conservation Institute’s projects are grouped below under the GCI department leading the initiative. Many of these projects entail interdepartmental collaboration, and most involve close collaboration with a variety of local, national, and international partners. Projects between July 1, 2007 and June 30, 2008.

Education Preventive Conservation Case Study Conservation of Mosaics: Mosaic Technician A didactic case study is under development that will Training in Tunisia Built Heritage in Southeast Asia: Conservation illustrate the inter-related issues affecting the practice of The primary goal of this project is to improve the Education and Training Initiative preventive conservation and the creation of a sustainable practice of in-situ mosaics conservation in Tunisia This project addresses key areas in conservation conservation strategy. In spring 2008, the Institute by undertaking training courses for technician-level education and training within Southeast Asia. In developed and field-tested a Web-based online case personnel stationed at different mosaic sites. The courses March 2008, a two-week workshop was held at the study of a museum. Partners: The Netherlands Institute consist of twenty-two weeks of on-site practical and World Heritage site of Vat Phou in southern Lao for Cultural Heritage; Museum Ons Lieve Heer op theoretical instruction over two years and focus on PDR focusing on the conservation and management Solder, The Netherlands. the stabilization of mosaics using lime-based mortars, of archaeological sites. Partners: Lao PDR Ministry of and documentation and monitoring of the mosaics’ Information and Culture, Department of Museums and condition. Partner: Institut National du Patrimoine, Archaeology; Lerici Foundation, Italy; Southeast Asian Field Projects Tunisia. Ministers of Education Organization–Regional Center for Archaeology and Fine Arts (SEAMEO–SPAFA), Architectural Records, Inventories and Information Earthen Architecture Initiative Thailand. Systems for Conservation (ARIS) This project seeks to further the conservation of earthen This course, held in Rome in September 2007, aimed architecture. It includes research into the adaptation Conservation of Photographs and Photographic to improve architectural conservation practice. The of GCI-developed seismic retrofit techniques and Collections: Education Initiative curriculum included approaching architectural records the identification of structural grouts for the repair This project focuses on the development of the field and information management from the point of view of of earthen structures in Peru. Partners: Pontificia of photographic conservation in central, eastern, planning, practice, access, and dissemination; reviewing Universidad Catolica del Peru; Universidad Peruana and southern Europe through a series of courses that the theory of documentation and recording and its de Ciencias Aplicadas; Instituto Nacional de Cultura, combine annual summer schools with distance learning relation to specific situations; addressing recording Peru. As part of this initiative, the GCI, in partnership and mentoring. Partners: The Academy of Fine Arts and practice based on specific case studies; and enabling with the Ministry of Culture of Mali, organized the Design, Bratislava; the Slovak National Library, Martin. participants to transmit documentation knowledge, “10th International Conference on the Study and Directors’ Retreats for the Advancement of aptitudes, and skills. Partner: ICCROM. Conservation of Earthen Architectural Heritage” Conservation Education (TERRA 2008), held in Bamako, Mali, in February China Principles The primary goal of this series of meetings is the 2008. The conference had 452 participants from 69 The goal of the project is to develop, apply, and promote enhancement of conservation education by providing countries. Conference partners: Direction Nationale national guidelines for conservation and management senior-level educators with opportunities for reflection, du Patrimoine Culturel and Musée National du Mali; of cultural heritage sites in China. Recent work on discussion, and renewal. The fourth Directors’ CRATerre-ENSAG; World Heritage Centre; ICCROM; applying the guidelines to the Mogao Grottoes included Retreat, held in June 2008, focused on built heritage ICOMOS/ISCEAH; ICOMOS South Africa. completion of cave assessments and compilation of conservation and education in Asia and the Pacific. environmental data, and facilitating the development Grouts Partners: Regional Office for Asia and the Pacific; of a visitor simulation flow model, as part of the visitor This project is a collaborative study between UNESCO; Southeast Asian Ministers of Education carrying capacity study. At the Imperial Summer conservators and scientists to evaluate injection grouts Organization–Regional Center for Archaeology and Resort of Chengde, a conservation plan for Shuxiang used in the conservation of wall paintings, plasters, Fine Arts (SEAMEO–SPAFA), Thailand. Temple was completed, as was a report on the testing of and mosaics in situ. The goal is to prepare guidelines Museums Emergency Program Education Initiative protective coatings. Partners: State Administration for for evaluating grouts in the laboratory, and to combine This collaborative training initiative is part of an Cultural Heritage, China; Australian Department of the laboratory testing and field study to inform conservators international program designed to assist museums Environment and Heritage. on grouts being used in the field. A suite of laboratory in developing emergency preparedness and response tests for injection grouts was developed to evaluate Conservation of América Tropical measures. The second MEP-sponsored course, working and performance properties, and a series of This project addresses the protection and public Teamwork for Integrated Emergency Management, commercial and custom mix grouts were studied using accessibility of the mural América Tropical by took place in 2007–2008 in southeastern Europe. these tests. David Alfaro Siqueiros, located at El Pueblo de Los The first phase was a workshop in Ohrid, Former Angeles Historical Monument. It involves the GCI’s Historic Cities Feasibility Study Yugoslav Republic of Macedonia (November–December participation in committee review and in determining Recognizing that the issues facing historic urban 2007), followed by a period of distance mentoring the designs of the mural’s shelter, viewing platform, and settlements are some of the most challenging and (January–September 2008). Partners: ICCROM, Rome; interpretive center. Partner: El Pueblo de Los Angeles urgent in conservation practice today, this study seeks International Council of Museums, Paris. Historical Monument, City of Los Angeles. to identify the key issues surrounding these settlements, Panel Paintings Initiative which will be used to focus future GCI efforts in this This multi-year project—a collaboration of the GCI, area. Partners: Organization of World Heritage Cities; the Getty Foundation, and the Getty Museum—was UNESCO; the World Heritage Centre. developed to address the need for educational resources and training opportunities in the structural treatment of panel paintings. Planning proceeded for a May 2009 symposium at the Getty Center, a survey of training needs and opportunities, and a number of workshops and conservation training fellowships.

38 The Getty Conservation Institute Iraq Cultural Heritage Conservation Initiative RecorDIM Initiative Wall Paintings at Mogao Grottoes This initiative aims to identify and address priorities for The initiative explored ways to strengthen the This project has applied the China Principles model the conservation and management of archaeological and documentation of built heritage conservation through methodology to the conservation of wall paintings at architectural sites in Iraq, as well as to develop long- the development of tools, training, and improved the Mogao Grottoes, using Cave 85 as an example. term tools and professional capacities to support the role communication. This five-year effort, completed in this The project aims to identify, through investigation and of the Iraq State Board of Antiquities and Heritage in reporting period, culminated in the publication of a research, the causes and mechanisms of deterioration the stewardship of Iraq’s archaeological and architectural two-volume work on guiding principles and illustrated of the wall paintings in order to design and implement sites. Partners: Iraq State Board of Antiquities and examples of good documentation practice. Partners: conservation actions that can be utilized at other Silk Heritage; Iraq Ministry of Culture; World Monuments International Council on Monuments and Sites; CIPA Road sites with similar problems. The results of the Fund, New York. Heritage Documentation; English Heritage; Public project have been inculcated by the development of Works and Government Services Canada; World a master’s degree course in wall paintings in China Los Angeles Historic Resources Survey Project Monuments Fund; Raymond Lemaire International by the GCI, the Courtauld Institute of Art, the The goals of this project are to research the objectives, Centre for Conservation; ICOMOS Macedonia; The Dunhuang Academy, and Lanzhou University, which methods, funding, and incentives required for a Indian National Trust for Art and Cultural Heritage; has now produced its first group of graduates. Partners: comprehensive citywide survey in Los Angeles and Malta Restoration Center; ICOMOS International Dunhuang Academy; Lanzhou University (Landa); State to work with city decision makers and stakeholders Committee for Underwater Cultural Heritage; Administration of Cultural Heritage, China; Courtauld to implement a survey program. Partner: City of Los Université du Québec à Montréal, Canada. Institute of Art; Chinese Academy of Cultural Heritage. Angeles. Southern African Rock Art Project Middle Eastern Geodatabase for Antiquities, Jordan The objective of this GCI-led initiative is to develop (MEGA-J) Science an interpretation and management plan for education The project aims to develop a bilingual Arabic-English, and tourism at an appropriate site in South Africa that Web-based national geographic information system Alternative Climate Controls for Historic Buildings will serve as a model for sustainable conservation and (GIS) for the Jordanian Department of Antiquities to The goal of this project is to demonstrate the community participation. Partners: South African inventory, protect, and manage Jordan’s archaeological application of controlled ventilation and heating or National Parks; the Western Cape Department of sites; the system will also make information about dehumidification as viable climate control strategies for Nature Conservation, South Africa; the Clanwilliam Jordan’s archaeological sites available to scholars improving collection environments in historic buildings Living Landscape Project at the University of Cape internationally. MEGA is being developed in a manner in hot and humid regions. Partners: Emílio Goeldi Town, South Africa; the Rock Art Research Institute that provides for its ready adaptation by other Arabic- Museum, Brazil; Instituto del Patrimonio Histórico at the University of the Witwatersrand, Johannesburg; speaking countries (after its implementation in Jordan, Español, Spain; Organismo Autónomo de Museos y the Tanzanian Department of Antiquities; the South MEGA will be adapted for Iraq). Partners: Department Centros del Excmo. Cabildo Insular de Tenerife, Spain; African Heritage Resources Agency. of Antiquities of Jordan; World Monuments Fund, New Jekyll Island Authority, Georgia; Vitae Foundation, York. Valley of the Queens, Egypt Brazil; Fundação Casa de Rui Barbosa, Brazil. This project seeks to develop and implement a Mosaics Research and Testing Antibodies Research conservation and management plan for the Valley of the The primary goals of this project are to better This project uses the analytical technique of enzyme- Queens on the west bank of the Nile, where the GCI understand the causes of deterioration of in situ linked immunosorbent assay (ELISA) to identify undertook the conservation of the tomb of Nefertari mosaics and to develop methods and approaches proteins such as animal glue, egg, and milk in binding in the 1990s. This work also involves plans to present to facilitate their maintenance and conservation. media, as well as to identify polysaccharides in plant and interpret the site and its tombs for visitors. The The project also aims at improving the skills gums. 2008 winter campaign completed site assessments and of professionals and technicians in the areas of included field work and meetings with consultants Asian Organic Colorants management planning and conservation of mosaics. related to a new map and GIS of the Valley, flood This scientific research project is designed to develop a Research and field work focuses on mosaics in Israel, control, tomb structural stability, and site presentation. strategy for the analysis of traditional Chinese organic England, and Cyprus. Partners: Israel Antiquities Partner: Supreme Council of Antiquities, Egypt. colorants used as textile dyes and the organic pigments Authority; English Heritage. found in Chinese wall paintings, as well as, more Values Case Study Organization of World Heritage Cities World broadly, for the analysis of organic colorants used as This project continues work on values-based Symposia textile dyes and organic pigments in Asia. Partners: management for heritage sites and has two components. This project, aimed at improving conservation and Dunhuang Academy, China; Royal Institute for First is the development of a teaching resource based on management of historic cities, involves collaboration Cultural Heritage, Belgium. a case study of the archaeological site of Jarash, Jordan, with the Organization of World Heritage Cities in the with the goal of improving site managers’ understanding organizing of their world symposia, held in June 2007 of the values of sites, stakeholders’ interests, and in Kazan, Tatarstan. Partners: Organization of World the ways to integrate these into the management Heritage Cites; City of Kazan, Republic of Tatarstan, process. The second component focuses on research Russia. and dissemination of consensus building and conflict resolution methods that can be applied to heritage management. Partner: Department of Antiquities of Jordan.

The Getty Conservation Institute 39 Desalination treatment. The project is now expanded to include Communications and Information This project addresses the gap in knowledge concerning a network of research institutions in Europe, the Resources the poulticing of salts from carved stone and wall Americas, and Oceania, and has begun an evaluation paintings, and works to establish guidelines for of paints encountered on outdoor painted sculpture AATA Online (aata.getty.edu) conservators on the use of desalination systems for and modern murals. In addition, the GCI has joined AATA Online is a comprehensive database of abstracts building materials. The GCI’s partner role in the a consortium of twelve European partners for the of literature related to the preservation and conservation project is primarily to perform environmental scanning POPART project, which is studying the conservation of material cultural heritage. Over 4,400 records were electron microscopy/energy dispersive spectroscopy of plastics. added to the database during this recording period. and ion chromatography on salt samples from case Partners: International Institute for Conservation Museum Lighting Research studies and laboratory experiments. Partners: European of Historic and Artistic Works (IIC); ICCROM This project seeks to reduce the damage to works on Community; The Netherlands Organization for (International Centre for the Study of the Preservation paper caused by museum lighting through the re- Applied Scientific Research: Building and Construction and Restoration of Cultural Property). evaluation of current illumination guidelines and the Research; Eindhoven University of Technology, Applied testing and design of new lighting. Partners: Canadian GCI Information Center Physics Department; Historical Monuments Research Conservation Institute; Carnegie Mellon University, The Information Center supported the mission of Laboratory of France; Cologne University of Applied Pittsburgh; J. Paul Getty Museum; Los Angeles County the Institute by providing expertise and assisting the Sciences, Cologne Institute for Conservation Science. Museum of Art; The National Gallery of Art, London; work of conservation staff throughout the Getty and GCI Museum Research Laboratory (MRL) Tate, London; University of Auckland, New Zealand; conservation professionals worldwide. The center The MRL engages in scientific research and analytical University of Texas at El Paso; Yan Liu Research responded to over 2,500 inquiries from staff, scholars, support focused on the collections of the Getty Museum Laboratories, Los Angeles. interns, and members of the interested public; acquired and the Getty Research Institute. Recent projects nearly 2,500 new titles for the Conservation Collection Organic Materials in Wall Paintings included: the scientific analysis of the manuscripts by in the Research Library at the GRI; and contributed The objective of the project is to improve the practice Martín de Murúa; a chapter on the scientific work over 1,000 records to the Bibliographic Database of the of wall paintings conservation by developing a conducted on the Stark collection in The Conservation Conservation Information Network (BCIN). methodology for identification of organic materials used of the Stark Collection; the discovery of a link between as binders, which are particularly vulnerable during Public Programs silver mining and pigment production through a study intervention. Partners: Opificio delle Pietre Dure, Italy; As part of the Conservation Matters series, lectures were of red shroud mummies; presentation of the research Courtauld Institute of Art, London; Vatican Museum presented on the looting of cultural materials in Mali, into the working techniques of Jean-Baptiste Oudry; Laboratory; Instituto Centrale del Restauro, Italy; protecting family heirlooms, Caravaggio, the work of and development of a method using strontium several institutes of the Italian National Council of the GCI, and the future of the built heritage in U.S. concentrations to determine the geologic source of Research; and a number of Italian universities. National Parks. In addition, the GCI collaborated on calcium-based painting grounds. In addition, the MRL’s two panel discussions, “The Object in Transition” (with post-doctorate fellow conducted a comparative study Reference Collection the GRI), and “Spanning History: The Bridges of the of the manuscript and panel painting techniques of The GCI Reference Collection is a repository of Los Angeles River” (with the Los Angeles Conservancy fourteenth–century Florentine artist Pacino di Bonaguida. reference materials for use in the analysis of art objects. and Friends of the Los Angeles River). In partnership The collection consists of pigments, binding media, Lime Mortars and Plasters with the California Science Center, GCI produced the dyes, stones, and other material used as standards The aim of this project is to enhance knowledge of the exhibition Fade: The Dark Side of Light, exploring for developing analytical methodologies and testing fundamental properties and performance of high- the destructive effects of light exposure and the GCI analytical procedures. A recent major addition to the calcium lime mortars and plasters in order to provide research undertaken with the University of Texas at collection holdings was the acquisition of plant and a wider basis for the appropriate choice of materials El Paso to develop filters for use in museum displays. other natural materials used to make textile dyes and and methods in the conservation of this widely used In addition, new panels on the work of the GCI were pigments, donated from the GCI’s Asian Organic building material. The project conducted testing developed for display in the entrance hall of the East Colorants project. on the working and performance properties of lime Building. mortars, in order to design compatible repair mortars. Research on the Conservation of Photographs Publications Partners: Raymond Lemaire International Centre This project seeks to advance techniques for identifying During this recording period, the GCI published three for Conservation, Leuven, Belgium; Department of variations in photographic processes, thereby books, including two major proceedings volumes, which Mineralogy and Petrography, Universidad de Granada, providing insight into post-processing chemistry and grew out of conferences co-organized by the Institute. Spain. chemical treatment of photographs. Collaboration Three issues of Conservation, The GCI Newsletter,were with the National Museum of Media resulted in new Magnesian Limestone also published. Published online in PDF format were discoveries related to the identification of rare and This project aims to further understand and address five reports related to GCI projects, and two previously unusual photographs, while work with the Atelier de the deterioration of magnesian limestone structures in published and now out-of-print GCI books. Restauration et de Conservation des Photographies northern England. The project has already identified de la Ville de Paris and the Henri Cartier-Bresson Web Dissemination (getty.edu/conservation) the important properties of different types of magnesian Foundation focused on the first large-scale test of the Updates included descriptions of GCI projects, recent limestone, enabling architects to better select suitable new scientifically-based methodology—developed editions of Conservation, The GCI Newsletter, and replacement stone. During this reporting period, the at the GCI—for provenancing and authentication video documentation of “The Object in Transition” project experimentally confirmed the mechanism of of photographs. Partners: Centre de recherches sur conference, as well as a video depicting the GCI’s rapid stone decay, found this problem to be more la conservation des documents graphiques, Paris; scientific research on modern paints. Also added to common than previously thought, and tested new Department of Chemistry, California State University, the online resources was a new interactive reference desalination treatments to help alleviate the problem. Northridge; Image Permanence Institute, Rochester, tool called Altarpieces: Illustrated Basic Terminology, Partners: English Heritage and Princeton University. New York; J. Paul Getty Museum; University of Texas at created as part of the GCI’s completed project on the Modern and Contemporary Art Research Austin; National Museum of Media, Bradford, United conservation of retablos. This research deals with the numerous and often Kingdom; Atelier de Restauration et de Conservation highly complex issues surrounding the conservation des Photographies de la Ville de Paris; and the Henri of modern and contemporary art, with primary focus Cartier-Bresson Foundation, Paris. on the scientific study of modern materials. The GCI, in collaboration with Tate (London) and the National Gallery of Art (Washington DC), has conducted a project to characterize the different classes of modern paints, and to assess their stability and response to

40 The Getty Conservation Institute Getty Conservation Institute Guest Scholars

The Getty Conservation Institute’s Conservation Guest Scholar Program awards residential grants to researchers, scientists, and professionals in conservation and allied fields to pursue independent research. Designed to encourage innovative ideas and perspectives on heritage conservation, the program encourages pro- posals that address the theoretical underpinnings of conservation and explore critical issues and applications related to conservation of the visual arts. Residen- cies are awarded on a competitive basis and range from three to nine months in duration. Projects listed represent scholars’ primary research while in residence.

2007–2008 Conservation Guest Scholars

Nancy Odegaard. University of Arizona. Research on “Conservation and Conservation Science: Guidelines for Collaborative Study.” Marcelle Scott. University of Melbourne, Australia. Work on “Conservation Interdisciplinarity and Pedagogical Implications.” Franziska Frey. Rochester Institute of Technology, New York. Research on “Connections between Imaging Practices and Digital Preservation.” Véronique Vergès-Belmin. Laboratoire de Recherche des Monuments Historiques, Paris, France. Work on “Toward Guidelines for Reducing the Risks of Pushing Salts into the Substrate (Stone or Brick) in the Case of Poultice Desalination.” Zhang Yanhua. The National Research Center for Historic Cities, Shanghai, People’s Republic of China. Research on “Creating Partnerships between the Public and Private Sector for Urban Conservation Implementation and Management in China.”

The Getty Conservation Institute 41 Reinactment of Fluids (Allan Kaprow, 1967) at LACMA (2008). Archival materials guided the 2008 reenactment of a series of Happenings created by performance artist Allan Kaprow in the 1960s. Funded by the Getty Foundation, the events took place at twenty-nine sites in Los Angeles. Photo: © 2008 Museum Associates/LACMA. The Getty Foundation

The Getty Foundation fulfills the philanthropic mission of the Getty Trust by supporting individuals and institutions committed to advancing the understanding and preservation of the visual arts locally and throughout the world. Through strategic grants and programs, the Foundation strengthens art history as a global discipline, promotes the interdisciplinary practice of conservation, increases access to museum and archival collections, and develops current and future leaders in the visual arts. The Foundation carries out its work in collaboration with the Getty Museum, Research Institute, and Conservation Institute to ensure that the Getty programs achieve maximum impact. The Getty Foundation

Deborah Marrow, Director

Above left: Faith Wilding, Crocheted Environment in With the approach of its 25th anniversary next year, the Getty Foundation has taken Womanhouse (detail). 1972, related to the Getty’s Pacific Standard Timeinitiative . Photo: California Institute 2008 as an opportunity to assess our past grantmaking as well as to forge new directions and of the Arts Institutional Archives. fresh strategies for the future. Over the years, the Foundation has often had the greatest impact Above right: Richard Diebenkorn, Ocean Park #36, 1970, oil on canvas, related to the Getty’s Pacific through short-term initiatives targeted at specific regions or issues—such as those for Central Standard Time initiative. Photo: Orange County Museum of Art. and Eastern Europe, Campus Heritage, the Fund for New Orleans, and our programs in Los Angeles. As a result, going forward we are eliminating many of our regular grant competitions and emphasizing a more proactive, initiative-based approach to grantmaking. Within our overall commitment to increasing the understanding and preservation of the visual arts, the Foundation has identified four core areas for future grantmaking: strengthening art history as an international discipline; advancing conservation practice; increasing access to museum and archival collections; and developing current and future leaders in the visual arts. To carry out our objectives in these core areas, we have announced several special initiatives, all in collaboration with the Getty Museum, Research Institute, or Conservation Institute. We also are placing more emphasis on the dissemination of the results

44 The Getty Foundation of previous grants—for example, through the production of reports such as LA Art Online: The Electronic Cataloguing Initiative (available on our website). In the meantime, a number of local, national and international grants awarded in 2008 reflect our new direction.

On the Record/Pacific Standard Time For the past six years, the Foundation has been engaged in On the Record, a collaborative initiative with the Getty Research Institute (GRI) designed to tell the story of art in Los Angeles in the post-World War II decades. During this period, the Foundation awarded 18 grants to local libraries, archives, museums, and universities to allow them to make accessible their significant holdings related to this era. The basic identification, preservation, and cataloguing of these documentary materials is the crucial basis for any further research or public programming, and it is support of this fundamental behind-the-scenes work for which the Foundation is best known. In addition, the GRI has been active in acquiring collections from the era, creating oral histories, and presenting public programs. As the crucial archival activities draw to a close, the Foundation is launching a new phase of the initiative, including support for a series of concurrent exhibitions at nearly 20 museums across Southern California in 2011–2012. The first grants have been awarded to the Museum of Contemporary Art (MOCA), the Los Angeles County Museum of Art (LACMA), and the UCLA/Hammer Museum, and additional grants for exhibitions from Santa Barbara to San Diego were announced in the fall of 2008. Because this is truly an unprecedented collaboration among arts organizations in Southern California (also including joint programming), this exciting phase merits a new name: Pacific Standard Time: Art in L.A. 1945–1980. Pacific Standard Time projects include, among others: MOCA’s California Culture, 1969–1980: Pluralism in the Postmodern Era (including 120 artists whose diverse work generated new artistic movements, making Los Angeles an international leader during the 1970s); LACMA’s California Design, 1930–1965: Living in a Modern Way (the first major examination of California’s contribution to mid-century modern design); the Hammer’s first comprehensive survey of postwar work by African-American artists in Los Angeles; and a series of three exhibitions organized by UCLA’s Chicano Studies Research Center, which will focus on the evolution of Mexican art and culture in Los Angeles from 1945 to 1965. The Getty Museum will participate with a major exhibition surveying painting and sculpture in Southern California from the late 1940s to the early 1970s, organized in partnership with the GRI.

Fund for New Orleans Just prior to the third anniversary of Hurricane Katrina, the final round of grants were awarded through the Fund for New Orleans. At the Cathedral of Saint Louis, new evidence dating back to New Orleans’ founding in 1718 unearthed during a grant-funded project is informing a long- term conservation plan for the Cathedral’s historic gardens. Another grant, for the 2008 biennial Prospect.1, is helping to reinvigorate the audience for the arts in the region by showcasing international artists and local arts venues as well as highlighting the key role the arts continue to play in the city’s recovery. Other grants have been used by area institutions to develop emergency Top: Mark Bradford, Mithra, sculptural installation, from the 2008 exhibition Prospect.1 New Orleans. plans that will more effectively safeguard the city’s collections and historic structures in the event Photo: John d’Addario. of any future disasters. In addition to the grants, staff members from all four Getty programs Bottom: Detail from guide to artists and venues for Prospect.1 New Orleans. Photo: Atelier Fleufhaus: Ritchie worked together to share with colleagues from New Orleans their expertise in the areas of Katko, Joel Ross and Jacob Rosenzweig. conservation and leadership development.

The Getty Foundation 45 Strengthening African Museums Internationally, two new grants will build on more than 20 years of Foundation support for museums in sub-Saharan Africa. The Foundation has been committed to the training of African museum professionals since 1986, when a Getty grant helped launch a year-long course in preventive conservation organized by the International Centre for Preservation and Restoration of Cultural Property (ICCROM) in Rome. After several years of supporting the course in Rome, further grants helped launch shorter courses throughout Africa, ultimately leading to the creation of the first permanent African conservation organizations, the Ecole du Patrimoine Africain in Benin, and the Centre for Heritage Development in Africa in Kenya. As a result of these grants, more than 400 museum professionals from 40 African nations have completed training. In the past year, a grant to the West African Museums Program (WAMP) in Senegal will help preserve some of the region’s most threatened photographic collections by funding much- needed training in the conservation of historical photographs. Another grant will strengthen the International Council of African Museums (AFRICOM) in Kenya, a growing professional organization dedicated to serving museums across the region. Both grants will address the increasingly difficult tasks African museums face in preserving their collections, which often include a wide variety of objects, from ritual objects such as tribal masks, musical instruments, and statues, to clothing and photographs, many of them increasingly fragile and in need of conservation care.

Looking Ahead Top: Celestine Korsaga, head of the photo archives at the National Archives Center in Ouagadougou, Burkina Faso, With the focus on a specific region (New Orleans), or type of institution (African museums), with a photo of the first head of state of Upper Volta. Photo: West African Museums Program (WAMP). or issue (art in LA 1945-1980), and working in greater partnership with the other Getty

Above: George Bisacca, Conservator of Paintings programs, the grants described above foreshadow the type of work the Getty Foundation will at The Metropolitan Museum of Art, treats the panel painting Eve by Albrecht Dürer in the Museo del Prado, be undertaking much more frequently in the future. In keeping with this new direction, the Madrid. Photo: George Bisacca, MMA. Foundation has launched five new initiatives. In addition to Pacific Standard Time, described above, two conservation programs were inaugurated. A grant to ICCROM for a planning meeting of international experts in Rome launched Mosaikon, a mosaics conservation initiative for the Mediterranean region. Future grants and Getty Conservation Institute (GCI) programs will expand specialized training in mosaics conservation, develop model projects, and share findings. The Panel Paintings Initiative, developed in partnership with the GCI and the Museum, was also launched in 2008 with the goal of training the next generation of conservators skilled to address the complex structural conservation issues inherent to panel paintings on wood. Plans also were completed for the launch of the Foundation’s Online Scholarly Cataloguing Initiative in late 2008. Following many years of grant support for print catalogues of museum collections, the Foundation is working with a small group of museums, including the Getty, to rethink scholarly collection catalogues in an online environment, with the aim of creating replicable models for other museums. Finally, as an outgrowth of the Getty’s longstanding commitment to making art history more international, the Foundation is developing the Connecting Art Histories initiative to increase scholarly collaboration and exchange across geographic regions. The Foundation is currently considering other ways to deepen the Getty’s contributions to international art history, conservation practice, collections access, and arts leadership, particularly in the changed economic environment that exists as this report goes to press. As in years past, these efforts would not be possible without the dedicated leadership of the many grantees and advisors who continue to make these projects possible, and to whom the Foundation extends its gratitude and admiration.

46 The Getty Foundation Grants Awarded

Grants awarded between July 1, 2007, and June 30, 2008

COLLABORATIVE INITIATIVES U.S. Biennial, Inc., New York. For marketing and Schiller, Noel Grace. University of South Florida, outreach activities related to the United States biennial Tampa. “Engaging Laughter: Representing Perception, Pacific Standard Time formerly( On the Prospect.1 New Orleans. $150,000 Sensation, and the Passions in 17th-Century Dutch Record: Art in L.A., 1945–1980) Mosaikon (Mediterranean Mosaics Art.” $40,000 Armand Hammer Museum of Art and Cultural Conservation) Sears, Tamara Ilana. New York University. “Worldly Center, Inc., Los Angeles, California. For the research Gurus and Spiritual Kings: The Architecture of and planning of the exhibition Now Dig This: Art and International Centre for the Study of the Asceticism in Early Medieval India.” $40,000 Black Los Angeles, 1960-1980. $200,000 Preservation and Restoration of Cultural Property, Rome, Italy. For a planning meeting with participants Thompson, Krista Angelique. Northwestern California International Arts Foundation, Los from 12 countries designed to identify key challenges University, Evanston, Illinois. “The Visual Economy of Angeles. For a survey of local archives related to African in mosaics conservation. €56,000 Light in African Diasporic Practice.” $40,000 American art. $48,000 Williams, Gregory Hamilton. Boston University, Museum Associates (LACMA), Los Angeles, Massachusetts. “Laughter and Cultural Pessimism: Art California. For research in preparation for the RESEARCH in West Germany, 1974–1989.” $40,000 exhibition California Design, 1930–1965: Living in a Postdoctoral Fellowships Modern Way. $230,000 Curatorial Fellowships Museum of Contemporary Art, Los Angeles, Bleichmar, Daniela. University of Southern California, California. For research in preparation for the Los Angeles. “Visible Empire: Colonial Botany and Del Gais, Deborah. Museum of Art, Rhode Island exhibition California Culture, 1969–1980: Pluralism in Visual Culture in the 18th-Century Spanish World.” School of Design, Providence. For research on the the Postmodern Era. $238,900 $40,000 Abby Aldrich Rockefeller Collection of Japanese Bird- kachoga Dombrowski, Andre. Smith College, Northampton, and-Flower Prints in the Rhode Island School Regents of the University of California, Oakland. of Design Museum. $15,500 For research and planning of Los Angeles: The Mexican Massachusetts. “Early Cézanne: Extremism and the Presence in L.A., 1945–80, three related exhibitions Rise of Impressionism.” $40,000 Freiman, Lisa D. Indianapolis Museum of Fine Art, Claes Oldenburg and the organized by the UCLA Chicano Studies Research Elet, Yvonne Harvey. Vassar College, Poughkeepsie, Indiana. For the publication Return of Surrealism. Center. $225,000 New York. “Papal Pastoral in Early Modern Rome: $6,000 Regents of the University of California, Oakland. For Word and Image at Villa Madama.” $40,000 Guicharnaud, Hélène. Centre de reserche et de the arrangement and description of archival collections Evans, Jean Marie. Metropolitan Museum of Art, New restauration des musée de France, Paris. For research Un artiste à (re)découvrir: in the Architecture and Design Collection of the York. “Mesopotamian Lives: Statues, Visual Culture, on the catalogue raisonné Louis de Boullogne (1654–1733), Premier Peintre du Roi. University of California, Santa Barbara. $250,000 and Dedication in the Early Dynastic Temple.” $40,000 $13,500 Kästner, Volker Heinz Friedrich. The Fund for New Orleans Guidetti, Mattia. Harvard University, Cambridge, Staatliche Der Massachusetts. “Churches and Mosques in Medieval Museen zu Berlin, Germany. For the publication Cathedral of Saint Louis King of France, New Pergamonaltar: Der Grosse Fries. Syria.” $40,000 $13,800 Orleans, Louisiana. For the development of a Lernout, Françoise. Musée de Picardie, Amiens, conservation plan for Saint Anthony’s Garden. Gutschow, Kai Konstanty. Carnegie Mellon France. For research on 18th-century boiseries. $130,000 University, Pittsburgh, Pennsylvania. “Inventing Expressionism: Art, Criticism, and the Rise of Modern $13,000 Contemporary Arts Center, New Orleans, Louisiana. Architecture.” $40,000 McGrew, Rebecca Grace. Pomona College Museum of For collaborative audience development and outreach Art, Claremont, California. For research and planning initiatives for seven New Orleans arts organizations. Kott, Christina. Institut d’histoire du temps of the exhibition The Shock of the New at Pomona $170,000 présent, Paris, France. “Kriegseinsätze deutscher College, 1969–1973. Kunsthistoriker, Denkmalpfleger und Archäologen im $15,500 Contemporary Arts Center, New Orleans, Louisiana. Zweiten Weltkrieg.” $40,000 Reichle, Natasha. Asian Art Museum, San Francisco, For the implementation of the Contemporary Arts California. For the exhibition Bali: Art, Ritual, Center’s transition plan. $125,000 Lee, Sonya Sum-yin. University of Southern Performance. California, Los Angeles. “Surviving Nirvana: Death $4,450 Longue Vue House and Gardens Corporation, New and Transfiguration of the Buddha in Chinese Art.” Sokolova, Irina Alexeevna. State Hermitage Museum, Orleans, Louisiana. For the implementation of Longue $40,000 St. Petersburg, Russia. For a catalogue raisonné of 17th- Vue’s transition plan. $175,000 Marina, Areli. University of Illinois at Urbana- and 18th-century Dutch paintings in the Hermitage. Louisiana Endowment for the Humanities, New Champaign. “Sanctified in Water, Sealed in Stone: The $14,600 Orleans. For Roadmap to Recovery, a series of post- Italian Baptistery from 1000 to 1500.” $40,000 Ubeda de Los Cobos, Andrés. Museo del Prado, Hurricane Katrina programs and services for Louisiana Madrid, Spain. For a catalogue raisonné of the museums. $80,000 Nair, Stella Elise. University of California, Riverside. “Retreats without Surrender: The Architecture of paintings by Luca Giordano in the Museo del Prado. New Orleans Jazz and Heritage Foundation, Inc., Sanctuary at Chinchero, from Thupa ‘Inka to the $7,650 Louisiana. For a conservation survey of the archives. Spanish Occupation.” $40,000 $25,000 Oryshkevich, Irina Taissa. Independent Scholar, New Southern University at New Orleans, Louisiana. For York. “Necropolis to Metropolis: The Genesis of ‘Roma conservation treatment of the collection in the Center Sotterranea.’” $40,000 for African and African American Studies. $100,000

The Getty Foundation 47 Collaborative Research Grants The British School at Rome,Italy. For the arrangement Suna and Inan Kiraç Foundation, Istanbul, Turkey. and description of the J. B. Ward-Perkins photographic For the preparation of a catalogue of the manuscripts Most Collaborative Research Grants are listed by the collection. $218,000 collection in the Millet Manuscript Library. $175,000 names of each member of the research team, although the official grantee may be either a university or the Comité des travaux historiques et scientifiques, Swedish National Museum of Fine Arts, Stockholm. individual scholars. Paris, France. For the French-Spanish translation of For the preparation of a catalogue of 15th through Reconnaître et conserver les photographies anciennes. 18th-century Netherlandish, Flemish, and Dutch May Ahmad al-Ibrashy, Cairo, Egypt; Chirine €14,000 drawings. $200,000 El Ansary, Valenciennes, France; Edhem Eldem, Boğaziçi University, Istanbul, Turkey; Tamer el-Leithy Florida International University Foundation, Inc., Trustees of Columbia University in the City of New and Khaled Fahmy, New York University; Aliaa El Miami. For the arrangement and description of the York. For the arrangement and description of the Meyer Sandouby, Helwan University, Cairo, Egypt; Nairy John and Drew Eberson Architectural Archive. $50,000 Schapiro Papers. $145,000 Heraz Karkour Hampikian, Cairo, Egypt; Dina Fondation Maison des Sciences de l’Homme, Paris, Trustees of Princeton University, New Jersey. For Shehayeb, Giza, Egypt; Irene Bierman-McKinney, France. For the publication series Passages/Passagen. the preparation of a catalogue of the University Art University of California, Los Angeles. “Conflicting €110,000 Museum’s Italian drawings collection. $90,000 Claims to Multifunctional Historic Zones: The Historic Cemetery of al-Suyuti in Cairo, Egypt.” $230,000 Institut National d’Histoire de l’Art, Paris, France. For University of California Press Foundation, Berkeley. the arrangement and description of the photographic For the publication of an expanded edition of Seeing Is Néstor Barrio, Universidad Nacional de General San archives. €187,000 Forgetting the Name of the Thing One Sees: Over Thirty Martín, Buenos Aires, Argentina; Roberto Pablo Years of Conversations with Robert Irwin by Lawrence Koç University, Istanbul, Turkey. For library Amigo, Universidad Nacional General Sarmiento, Weschler. $20,000 Buenos Aires, Argentina; Laura Malosetti, Universidad acquisitions at the Research Center for Anatolian de Buenos Aires, Argentina; Luis Eduardo Wuffarden, Civilizations. $150,000 University of Chicago, Illinois. For a publication series on the intersection of visual arts and science. $125,000 Lima, Peru; Natalia Brahim Majluf, Asociación Museo Manchester City Council, England. For the de Arte de Lima, Peru. “José Gil de Castro: Cultura arrangement and description of the 19th-century University of Chicago, Illinois. For the Persepolis visual y representación, del antiguo régimen a las photographic portraits in the Gallery of Costume. Fortification Archive Project at the Oriental Institute, repúblicas sudamericanas.” $181,600 $75,000 designed to provide online access to images and analysis related to key archaeological materials from the Annemarie Jordan Gschwend, Jona, Switzerland; Massachusetts Institute of Technology, Cambridge. Achaemenid Persian Empire. $200,000 Almudena Pérez de Tudela, Patrimonio Nacional, For Visualizing Cultures, an online resource designed Madrid, Spain, Alicia Esteban Estríngana and to provide access to rare visual arts materials related Yale University, New Haven, Connecticut. For the Bernardo José García García, Real Diputación to modern Asian culture and history, developed in publication series Yale Studies in Renaissance Art and San Andrés de los Flamencos, Fundación Carlos de collaboration with the Peabody Essex Museum in Architecture in Western Europe. $150,000 Amberes, Madrid, Spain. “Statesman, Art Agent and Salem. $200,000 Connoisseur: Hans Khevenhüller, Imperial Ambassador at the Court of Philip II of Spain.” €110,400 Museum Associates, Los Angeles, California. For the CONSERVATION preparation of a catalogue of the 17th-century Dutch Barley Norton, Roehampton University, London, and Flemish paintings at the Los Angeles County Museum Conservation England; Nora Annesley Taylor, Art Institute of Museum of Art. $150,000 Chicago, Illinois. “Contemporary Experimental Bayerisches Nationalmuseum, Munich, Germany. For Performance Culture in Vietnam.” $112,000 National Gallery of Art, Washington, D.C. For the treatment and research related to the conservation of reference database, The History of the Accademia di San furniture decorated in the Boulle technique. $250,000 Luca, 1589-1635: Documents from the Archivio di Stato, Cincinnati Museum Association, Ohio. For treatment Research Resources and Publications Rome, at the Center for Advanced Study in the Visual and research related to the conservation of Mural for the Arts. $200,000 American Folk Art Museum, New York. For the Terrace Plaza Hotel by Joan Miró in the Cincinnati Art arrangement and description of the Henry Darger President and Fellows of Harvard College, Museum. $82,000 Archive. $85,000 Cambridge, Massachusetts. For the arrangement and Jacques Marchais Center of Tibetan Art, Staten description of archival collections at the Harvard Armand Hammer Museum of Art and Cultural Island, New York. For a conservation survey of the University Art Museums related to the development of Center, Inc., Los Angeles, California. For a publication collection of Tibetan and Himalayan thangkas. $41,800 American art history and art museums. $95,000 series on recent art and architecture. $100,000 National Museums and Galleries on Merseyside, Reaktion Books Limited, London, England. For a Asociación Amigos del Museo Blanes, Montevideo, Liverpool, England. For treatment and research publication series on Asian art, architecture, and visual Uruguay. For the publication series Memoirs of the related to the conservation of Chinese ceramics in the culture. $110,000 Regional Meeting on Art. $80,000 collection of the Lady Lever Art Gallery, Port Sunlight Renaissance Society at the University of Chicago, Village. £73,000 Bayerische Akademie der Wissenschaften, Munich, Illinois. For a five-volume publication series Germany. For the publication Johann Baptist Fickler: Old Mission San Luis Rey, Oceanside, California. For documenting contemporary exhibitions and site-specific Das Inventar der Münchner herzoglichen Kunstkammer, treatment and research related to the conservation of works displayed at the society. $75,000 Kommentar und Aufsätze. $47,000 the 18th-century colonial painting The Last Judgment. Smithsonian Institution, Washington, D.C. For $107,000 Bibliothèque nationale de France, Paris. For the the Smithsonian Photography Initiative, designed to preparation of the fourth volume of the catalogue of Ville de Bry-Sur-Marne, France. For treatment and provide online access to over 13 million photographs Southern Netherlandish illuminated manuscripts in the research related to the conservation of the Diorama by from 700 collections throughout the Smithsonian. Bibliothèque de l’Arsenal. €129,000 Louis Daguerre. $200,000 $300,000 The Board of Trustees of the Leland Stanford Junior Ville de Paris (Musée Carnavalet), France. For Sterling and Francine Clark Art Institute, University, California. For the publication of the conservation research and treatment of the Chinoiserie Williamstown, Massachusetts. For a research exchange reference volume Asian American Art: Starting from boiseries, rare surviving works from the former with African scholars on contemporary African art. Here. $51,000 residence of the Duc de Richelieu. €170,500 $100,000 The British Museum,London, England. For the Stiftung Stadtmuseum Berlin, Germany. For the publication series Artistic Traditions in World Cultures. preparation of a catalogue of the medieval collection in £30,000 the Märkisches Museum. €65,000

48 The Getty Foundation Whitney Museum of American Art, New York. For LEADERSHIP AND PROFESSIONAL International Council of Museums, Paris, France. For treatment and research related to the conservation DEVELOPMENT participants from developing countries and Central and of Calder’s Circus (1926–31) by Alexander Calder. Eastern Europe to attend the 15th Triennial Meeting $150,000 Art Institute of Chicago, Illinois. For the summer of the Conservation Committee in New Delhi, India. 2008 seminar “Teaching Institute in Museum €75,000 Education (TIME).” $20,000 Architectural Conservation International Council on Monuments and Sites The Association for Preservation Technology (ICOMOS), Paris, France. For current and future Antarctic Heritage Trust, Christchurch, New Zealand. International, Inc., Springfield, Illinois. For conservation leaders from developing countries and For the implementation of a conservation plan for participants from Latin America to attend the 2008 Central and Eastern Europe to attend the 16th General Captain Robert Falcon Scott’s hut, Cape Evans, Ross conference in Montreal, Canada. $75,000 Assembly and Scientific Symposium of ICOMOS in Island, Antarctica. NZ$200,000 Association Internationale des Critiques d’Art, Paris, Quebec, Canada. $75,000 California Missions Foundation, Riverside. For the France. For delegates from Central and South America The International Institute for Conservation of preparation of a conservation plan for Mission San to attend the 2007 Congress in São Paulo, Brazil. Historic and Artistic Works, London, England. For Miguel Arcángel. $75,000 €8,000 participants from developing countries to attend the Cornerstones Community Partnerships, Santa Fe, The Brooklyn Historical Society,New York. For new 22nd International Congress in London, England. New Mexico. For the preparation of a conservation plan interpretive programs related to the fine arts collection. £29,000 for San Miguel Chapel. $54,700 $196,000 Istanbul Bilgi University, Turkey. To train staff and Corporación Cultural Identidad Patrimonial, California College of the Arts, Oakland. For the plan new interpretive programs for the permanent Santiago, Chile. For the preparation of a conservation Curatorial Practice program. $200,000 collection of the Contemporary Art Centre at plan for the Iglesia de Nuestra Señora de la Candelaria Santralistanbul, in collaboration with the Museum of California Community Foundation, Los Angeles. For de Carelmapu. $75,000 Modern Art, New York; the Tate Modern, London; the exhibition and catalogue Twenty Years Ago Today: and the Zentrum für Medientechnologie, Karlsruhe, Dean and Chapter of St. Paul’s Cathedral, London, Supporting Individual Artists in L.A. $150,000 Germany. $98,000 England. For the preparation of a conservation plan for Centre International de la Construction en Terre, the Wren Library at St. Paul’s Cathedral. £37,600 Library of Congress, Washington, D.C. For the Villefontaine, France. For participants from developing professional convening “Preservation—Future Dean and Chapter of Westminster, London, England. countries to attend the 10th International Conference Directions in Document Preservation: Preservation For the implementation of a conservation plan for the on the Study and Conservation of Earthen Architectural Education in the 21st Century.” $60,000 Cosmati pavement in Westminster Abbey. £128,400 Heritage in Bamako, Mali. €57,100 Los Angeles County Arts Commission, California. For Mehrangarh Museum Trust, Jodhpur, India. For The Foundation of the American Institute for the educational components of the summer 2008 Los training, treatment, and research related to the Conservation of Historic and Artistic Works, Angeles County Arts Internship Program. $77,000 conservation of the wall paintings in Sheesh Mahal, Washington, D.C. For participants from Latin America Ahhichatragarh-Nagaur Fort. $200,000 and the Caribbean to attend the 2008 annual meeting Museum of Contemporary Art San Diego, La Jolla, in Denver, Colorado. $64,500 California. For new interpretive programs for the National Research Laboratory for Conservation of permanent collection. $220,000 Cultural Property, Lucknow, India. For the preparation Fundação de Apoio à Universidade de São Paulo, of a conservation plan for the Lhalung Temple Brazil. For a conservation survey and related workshop National Trust for Historic Preservation, Washington, Complex, Lhalung village, India. $75,000 on the history and treatment of works created with iron D.C. For the PreservationNation Web site, designed gall ink. $50,000 to provide online access to existing and new resouces Pearl S. Buck International, Inc., Perkasie, related to historic preservation. $300,000 Pennsylvania. For the preparation of a conservation plan Fundación Televisa, A. C., Mexico City. For a one- for the Pearl S. Buck House. $64,000 year midcareer conservation residency at the Atelier Pew Charitable Trusts, Philadelphia, Pennsylvania. For de Restauration et de Conservation des Photographies the California Cultural Data Project. $225,000 Preservation Society of Newport County, Rhode de la Ville de Paris and the Centre de Recherche sur la Island. For the preparation of a conservation plan for Regents of the University of California, Oakland. Conservation des Collections, Paris, France. $36,000 the breakfast room lacquer panels of The Elms. $30,100 For laboratory set-up, teaching and research activities, The Henry Francis du Pont Winterthur Museum, salary and benefits, and visiting committee expenses for Roosevelt University, Chicago, Illinois. For the Delaware. For a one-year midcareer training residency the UCLA/Getty Masters Program on Conservation preparation of a conservation plan for Ganz Hall in the for a conservator from Iraq. $20,000 of Ethnographic and Archaeological Materials in Auditorium Building. $75,000 collaboration with the Getty Conservation Institute. Inner-City Arts, Los Angeles, California. For visual arts St. Martin-in-the-Fields Parochial Church Council, $850,862 programs. $10,400 London, England. For the implementation of a Skidmore College, Saratoga Springs, New York. For conservation plan for St. Martin-in-the-Fields. £75,000 International Centre for the Study of the new interpretive programs at the Frances Young Tang Preservation and Restoration of Cultural Property, Shelburne Farms, Vermont. For the implementation Teaching Museum and Art Gallery. $200,000 Rome, Italy. For the Leaders in Conservation Education of a conservation plan for the Breeding Barn Complex. project for Southeast Asian museum and heritage Southern California Grantmakers, Los Angeles. $250,000 professionals. $250,000 For the Los Angeles Arts Funders Survey Phase Five. The Strawberry Hill Trust,Twickenham, England. $10,000 International Council of African Museums, Nairobi, For the implementation of a conservation plan for Kenya. For transition planning. $175,000 Staatliche Kunstsammlungen Dresden, Germany. For Strawberry Hill. £131,500 “Art Transfer: A Forum for the Research of German- International Council of Museums, Paris, France. Russian Cultural Relations since the 17th Century.” Campus Heritage For participants from developing countries and Central €52,000 and Eastern Europe to attend the 2008 INTERCOM Tate Gallery, Society for College and University Planning, Conference in Rotorua, New Zealand. €25,000 London, England. For a one-year conservation residency in time-based media. £32,900 Ann Arbor, Michigan. For a planning project on the International Council of Museums, Paris, France. For dissemination of the results of the Getty Foundation’s a project designed to increase access to resources and Trustees of Columbia University in the City of New Campus Heritage Initiative. $37,500 international networking for conservation professionals. York. For a curriculum review project for the Historic €40,000 Preservation Program. $40,000

The Getty Foundation 49 United States National Committee of the Lewis, Allison Grace. University of California, Los Association for the Advancement of Filipino International Council on Monuments and Sites, Angeles/Getty Conservation Program. For a graduate American Arts and Culture, Los Angeles, California. Washington, D.C. For a training program to strengthen internship in the antiquities conservation department of For one internship. $4,000 conservation of historic towns in Eastern Europe. the J. Paul Getty Museum. $26,000 Autry National Center of the American West, Los $30,000 Lobis, Victoria Sancho. Columbia University, New Angeles, California. For four internships. $16,000 University of Cyprus, Nicosia. For participants from York. For a graduate internship in the drawings California Institute of the Arts, Valencia. For three 15 countries to attend the 10th Conference of the department of the J. Paul Getty Museum. $17,400 internships in the Community Arts Partnership International Committee for the Conservation of Manuwald, Henrike. Universität zu Köln, Germany. program. $12,000 Mosaics in Palermo, Italy. €57,300 For a graduate internship in the manuscripts California Science Center Foundation, Los Angeles. University of Southern California. Los Angeles. department of the J. Paul Getty Museum. $15,467 For one internship. $4,000 For the USC Annenberg/Getty Program for Arts Neily, Claire Elizabeth. Queen’s University, Kingston, Journalism. $126,000 California State Parks, Sacramento. For one internship Ontario, Canada. For a graduate internship in the at Will Rogers State Historic Park, Pacific Palisades. Wellesley College, Massachusetts. For the development decorative arts conservation department of the J. Paul $4,000 of new interpretive materials for Phase II of the Getty Museum. $26,000 reinstallation of the Davis Museum and Cultural California State University Long Beach Foundation. Nijkamp, Lieneke. Universiteit van Amsterdam, Center’s permanent collection. $200,000 For two internships at the University Art Museum. Netherlands. For a graduate internship in the paintings $8,000 West African Museums Programme, Dakar, Senegal. department of the J. Paul Getty Museum. $17,400 For a training program on photographic archives Catalina Island Museum Society, Inc., Avalon, Querio, Cynthia Marie. Courtauld Institute of Art, preservation for museum professionals in West Africa. California. For one internship. $4,000 London, England. For a graduate internship in the $200,000 education department of the J. Paul Getty Museum. Center for the Study of Political Graphics, Los $17,400 Angeles, California. For two internships. $8,000 Internships Rogers, Lauren Ashleigh. University of Melbourne, City of Arcadia, California. For one internship at the Australia. For a graduate internship in the antiquities Ruth and Charles Gilb Arcadia Historical Museum. Graduate Internships department of the J. Paul Getty Museum. $17,400 $4,000 Balboni, Enrica. Università degli Studi di Ferrara, Italy. Sartorius, Andrea. Hochschule für Bildende Künste City of Culver City, California. For one internship. For a graduate internship in the science department of Dresden, Germany. For a graduate internship in the $4,000 the Getty Conservation Institute. $26,000 paintings conservation department of the J. Paul Getty City of Los Angeles, California. For one internship in Museum. $24,000 Cesmeli, Hande. Istanbul University, Turkey. For a the Art Program of the Community Redevelopment graduate internship in the field projects department of Trnkova, Petra. Masaryk University, Brno, Czech Agency. $4,000 the Getty Conservation Institute. $26,000 Republic. For a graduate internship in the photographs City of Los Angeles, California. For one internship in department of the J. Paul Getty Museum. $17,400 Chen, Shi. University of Florida, Gainesville, Florida. the Department of Cultural Affairs. $4,000 For a graduate internship in the collections development Turner, Kelly Susan. University of California, Santa City of Los Angeles, California. For one internship in department of the Getty Research Institute. $17,400 Barbara. For a graduate internship in the sculpture the Department of City Planning, Office of Historic and decorative arts department of the J. Paul Getty Cheong, Caroline Sidney. University of Pennsylvania, Resources. $4,000 Philadelphia. For a graduate internship in the field Museum. $17,400 City of Pasadena, California. For one internship in the projects department of the Getty Conservation Vafadari, Azadeh. University College London, Cultural Affairs Division. $4,000 Institute. $26,000 England. For a graduate internship in the field projects City of Torrance, Copple, Errin Elizabeth. Vanderbilt University, department of the Getty Conservation Institute. California. For one internship at the Nashville, Tennessee. For a graduate internship in the $26,000 Torrance Art Museum. $4,000 registrar’s office of the J. Paul Getty Museum. $17,400 Claremont Museum of Art, California. For one Multicultural Undergraduate Internships Davis, Catherine Elizabeth. University of Arizona, internship. $4,000 Tucson. For a graduate internship in the exhibitions A+D Architecture and Design Museum Los Angeles, Eagle Rock Community Cultural Association, Los and public programs department of the J. Paul Getty California. For one internship. $4,000 Angeles, California. For one internship at the Center for Museum. $17,400 the Arts. $4,000 American Museum of Ceramic Art, Pomona, Fushiya, Tomomi. University College London, California. For one internship. $4,000 18th Street Arts Complex, Santa Monica, California. England. For a graduate internship in the field projects For three internships. $12,000 department of the Getty Conservation Institute. Angels Gate Cultural Center, Inc., San Pedro, El Pueblo Park Association, $26,000 California. For one internship. $4,000 Los Angeles, California. For one internship. $4,000 Gavric, Aleksandra. University of Belgrade, Serbia. Armand Hammer Museum of Art and Cultural Friends of Banning Park Corporation, For a graduate internship in the exhibition design Center, Inc., Los Angeles, California. For two Wilmington, department of the J. Paul Getty Museum. $17,400 internships. $8,000 California. For one internship. $4,000 Friends of Robinson Gardens, Inc., Houtrouw, Alicia Maria. University of California, Los Armory Center for the Arts, Pasadena, California. For Beverly Hills, Angeles. For a graduate internship in the publications three internships. $12,000 California. For one internship. $4,000 department of the Getty Research Institute. $17,400 Art Center College of Design, Pasadena, California. Friends of the Chinese American Museum, Los Kelly, Katherine Eileen. University of Colorado, For two internships. $8,000 Angeles, California. For two internships. $8,000 Boulder. For a graduate internship in the education Arts and Services for Disabled, Inc., Long Beach, Friends of the Los Angeles River, California. For one department of the J. Paul Getty Museum. $17,400 California. For one internship. $4,000 internship. $4,000 HeArt Project, Los Angeles, California. For one internship. $4,000

50 The Getty Foundation Henry E. Huntington Library and Art Gallery, San Museum of Latin American Art, Long Beach, Watts Labor Community Action Committee, Los Marino, California. For three internships. $12,000 California. For two internships. $8,000 Angeles, California. For one internship. $4,000 Highways, Santa Monica, California. For one Otis Art Institute, Los Angeles, California. For two The Wende Museum of the Cold War, Inc.,Culver internship. $4,000 internships. $8,000 City, California. For one internship. $4,000 Historic Italian Hall Foundation, Los Angeles, P.S. ARTS, Los Angeles, California. For one internship. In addition, sixteen grants of $3,500 each were awarded California. For one internship. $4,000 $4,000 for multicultural undergraduate internships at the Getty Center and the Getty Villa. Historical Society of Long Beach, California. For one Pacific Asia Museum,Pasadena, California. For two internship. $4,000 internships. $8,000 HUC—Skirball Cultural Center, Los Angeles, Palos Verdes Art Center, Rancho Palos Verdes, SCHOLARS AND FELLOWS AT THE California. For two internships. $8,000 California. For one internship. $4,000 GETTY CENTER AND VILLA Immaculate Heart Community, Los Angeles, Pasadena Museum of California Art. For two Getty Research Institute California. For one internship at the Corita Art Center. internships. $8,000 $4,000 Getty Scholars Petersen Automotive Museum Foundation, Los Inner-City Arts, Los Angeles, California. For two Angeles, California. For one internship. $4,000 Behdad, Ali. University of California, Los Angeles. internships. $8,000 Pharmaka, Los Angeles, California. For one internship. “Contact Visions: On Photography and Modernity in Japanese American Cultural and Community Center, $4,000 the Middle East.” $21,270 Los Angeles, California. For one internship. $4,000 Cokes, Anthony Gerard. Plaza de Cultura y Arte Foundation, Los Angeles, Brown University, Japanese American National Museum, Los Angeles, California. For one internship. $4,000 Providence, Rhode Island. “Networks: Electronica in California. For three internships. $12,000 Global, Virtual Context.” $50,000 Plaza de la Raza, Inc., Los Angeles, California. For one de Duve, Thierry. L.A. Freewaves, Los Angeles, California. For two internship. $4,000 Université Charles-de-Gaulle—Lille internships. $8,000 3, Villeneuve d´Ascq, France. “On Art and Its Pomona College, Claremont, California. For one Boundaries.” $75,000 LAXART, Los Angeles, California. For one internship. internship at the Pomona College Museum of Art. Linrothe, Robert Nelson. $4,000 $4,000 Skidmore College, Saratoga Springs, New York. “Cultural Flows Across Asia: Library Foundation of Los Angeles, California. For Rancho Los Cerritos Foundation, Long Beach, Esoteric Buddhist Representation and Transformation.” two internships. $8,000 California. For two internships. $8,000 $75,000 Long Beach Museum of Art Foundation, California. Rancho Santa Ana Botanic Garden, Claremont, Oulebsir, Nabila. Université de Poitiers, France. For two internships. $8,000 California. For two internships. $8,000 “Réseaux scientifiques et frontières disciplinaires: Los Angeles Arboretum Foundation, Inc., Arcadia, Ryman Carroll Foundation, Los Angeles, California. L’histoire de l’art de Winckelmann à Alazard.” $32,900 California. For one internship. $4,000 For two internships. $8,000 Roberts, Mary Louise. University of Sydney, Australia. Los Angeles Art Association, California. For one St. Elmo Village, Inc., Los Angeles, California. For one “Artistic Exchanges in 19th-Century Istanbul.” $75,000 internship at Gallery 825. $4,000 internship. $4,000 Schulz, Andrew Phillip. University of Oregon, Eugene. Los Angeles Conservancy, California. For two Santa Monica Museum of Art, California. For two “Al-Andalus in the Age of Enlightenment: Islamic Art internships. $8,000 internships. $8,000 and Culture in the Spanish Imagination, 1750–1820.” $27,667 Los Angeles Contemporary Exhibitions, Inc., Scripps College, Claremont, California. For three California. For two internships. $8,000 internships at the Ruth Chandler Williamson Gallery. Guest Scholars $12,000 Los Angeles County Metropolitan Transportation Authority, California. For one internship. $4,000 Simon Wiesenthal Center, Los Angeles, California. For Dorgerloh, Hartmut. Stiftung Preussische Schlösser one internship at the Museum of Tolerance. $4,000 und Garten Berlin-Brandenburg, Potsdam, Germany. Los Angeles County Museum of Natural History “Concept for Friedrich 300: How to Celebrate the Foundation, California. For one internship at the Society for the Preservation of Drum Barracks, 300th Birthday of Frederick the Great (1712–1786) in William S. Hart Museum, Newhall. $4,000 Wilmington, California. For one internship at the the 21st-Century in Sanssouci Palace.” $3,274 Drum Barracks Civil War Museum. $4,000 Los Angeles Municipal Art Gallery Associates, Gallo, Daniela. Université Pierre-Mendès-France, California. For one internship. $4,000 Southern California Asian American Studies Grenoble, France. “Jacques-Louis David Twenty Years Central, Los Angeles. For two internships at Visual Machine Project, Los Angeles, California. For one After.” $8,633 Communications. $8,000 internship. $4,000 Lichtenstein, Jacqueline. Université Paris IV-Sorbonne, Southern California Library for Social Studies and MAK Center for Art and Architecture, West France. “How to Talk about Art: Differences and Research, Los Angeles. For one internship. $4,000 Hollywood, California. For one internship. $4,000 Limits of Art Theory, Art Criticism, Art History, and Tierra del Sol Center for the Handicapped Aesthetics.” $6,423 Millard Sheets Gallery, Pomona, California. For one Foundation, Sunland, California. For one internship at internship. $4,000 Michel, Christian. Université de Lausanne, the First Street Gallery Art Center, Claremont. $4,000 Switzerland. “The Academy of Painting and the Artistic Museum Associates, Los Angeles, California. For three Velaslavasay Panorama, Los Angeles, California. For Production of France (1648–1793).”$19,604 internships at the Los Angeles County Museum of Art. one internship. $4,000 $12,000 Sénéchal, Philippe. Université de Picardie Jules Verne, Venice Arts: In Neighborhoods, California. For one Amiens, France. “Luxury Cases: The Making and Use of Museum of Contemporary Art, Los Angeles, internship. $4,000 Foiled Leather in Renaissance Italy.” $8,633 California. For three internships. $12,000 Vincent Price Art Gallery Foundation, Monterey Museum of Jurassic Technology, Culver City, Park, California. For one internship. $4,000 California. For two internships. $8,000

The Getty Foundation 51 Getty Visiting Scholars Staehli, Adrian. Universität Zürich, Switzerland. Bialonowska, Magdalena. John Paul II Catholic “Images as Media: Images and Social Communication University of Lublin, Poland. “Andrzej Stanislaw Babaie, Sussan. University of Michigan, Ann Arbor. in Archaic and Classical Athens.” $8,633 Ciechanowiecki: Collector, Marchand, and Patron “Metropolitan Meanings: Social Identity, International of the Arts.” $2,500 Commerce, and the Houses of Isfahan in the 17th Villanueva Puig, Marie-Christine. Centre national de Century.” $23,115 la recherche scientifique—Centre Louis Gernet, Paris, Blumenfeld, Carole. Institut National d’Histoire de France. “Power and Function of Images in the City of l’Art, Paris, France. “Fragonard and the First Half of Cohen, Jean-Louis. Institute of Fine Arts, New Athens in the Archaic and Classical Periods (6th–5th the 20th Century.” $2,500 York University, New York. “France and Germany: Centuries B.C.).” $8,633 Architectural Interaction at the Boundary and Beyond.” Buquet, Benoît Philippe. Centre de recherche en $8,633 histoire de l’art et histoire des représentations, Nanterre, Postdoctoral Fellowships France. “Interaction Between Art and Graphic Design Enwezor, Okwui. San Francisco Art Institute, after the Second World War: The Reverse of the California. “Archaeology of the Present: The Akcan, Esra. University of Illinois at Chicago. International Style; Another History.” $2,699 Postcolonial Archive, Photography, and African “Modernity in Translation: Geopolitical Interactions in Modernity.” $8,633 Residential Culture.” $22,000 Eszenyi, Edina. Independent Scholar, Budapest, Hungary. “Naming and Depicting Angels in Medieval Fleckner, Uwe Winfried. Universität Hamburg, Feldman, Hannah Judith. Northwestern University, Central Europe: The Case of Saint Michael.” $2,692 Germany. $8,633 Evanston, Illinois. “The Art of Decolonization: Representation and the Public in Paris during the Evans, Emily Joyce. University of Illinois at Urbana- Fox, Claire Frances. University of Iowa, Iowa City. Algerian War.” $22,000 Champaign. “El Lissitzky’s German Collaborations.” “Creating the Hemispheric Citizen: The OAS, Cultural $1,000 Policy, and the Visual Arts (1945–1968).” $9,935 Grigor, Talinn. Brandeis University, Waltham, Massachusetts. “Of Mimetic Authenticity: The ‘Orient Fletcher, Pamela Marie. Bowdoin College, Brunswick, Frohne, Ursula Anna Hedwig. Universität zu Köln, or Rome’ Debate beyond (post)Colonial Ambivalence.” Maine. “The Rise of the Commercial Art Gallery in Germany. “Trajectories of Communication Aesthetics $22,000 19th-Century London.” $1,000 and Network Structures between the 1960s to the Present.” $11,038 Helmreich, Anne Linden. Case Western Reserve Villa Postdoctoral Fellowships University, Cleveland, Ohio. “Networks of Exchange: Gonzales-Day, Kenneth Robert. Scripps College, Sales of Paintings through Goupil & Co. and Boussod Claremont, California. “Reading Photographs, Making Tronchin, Francesca Claire. Ohio State University, & Valadon in London, ca. 1857–1919.” $1,000 Photographs: Responding to the Getty Collection.” Columbus. “Eclecticism in Roman Domestic Hornbeck, Elizabeth Jean. $11,038 Ensembles.” $22,000 University of Missouri, Columbia. “Marketing the Modern: The Selling of Loumpet, Germain. Université de Yaoundé 1, Modern Architecture at the 1925 Exposition of Modern Cameroon. “Frontiers of African Art: Objects, Predoctoral Fellowships Decorative Arts, Paris.” $1,000 Identities, and Networks in Cameroon in the 19th and 20th Centuries.” $20,183 Berhrmann, Carolin. Humboldt-Universität zu Berlin, Hovet, Theodore R.Western Kentucky University, Germany. “Tyrant and Martyr: On the Normativity Bowling Green. “Framing Motion: Containing the Purtle, Jennifer Gillian. University of Toronto, of the Image in the Context of Cultural Expansion Image in Early Cinema and Beyond.” $1,000 Canada. “Forms of Cosmopolitanism in the Sino- (1540–1644).” $18,000 Mongol City.” $8,633 Jewell, Keala Jane. Dartmouth College, Hanover, New Frassani, Alessia. The Graduate Center, City University Hampshire. “Active Imaginations: Magical Realism in Shalem, Avinoam. Kunsthistorisches Institut in of New York. “At the Crossroads of Empire. Mixtecs Fascist Italy.” $1,000 Florenz, Italy; Institut für kunstgeschichte der and Spanish Art in Colonial Yanhuitlan, Oaxaca.” Universität München, Germany. “Islamic Art Objects Johnson, Danielle Marie. New York University, New $18,000 and the Birth of a Hybrid Aesthetik.” $9,935 York. “Salvador Dalí and René Magritte, 1928–1936.” Hars-Tschachotin, Boris. Liquid Blues $1,000 Production, Berlin, Germany. “Die Zeichnung des Villa Scholars MacGilp, Alexandra Helen. The University of Reading Produktionsdesigners als filmisches Vor-Bild.” $4,355 (with Tate Britain), London, England. “The Art Market École des Hautes Études en Sciences Sociales, Paris, Martin, Courtney Jasmine. Yale University, New and the Formation of a National Collection at Tate, France. For support of the 2008–2009 Getty Villa Haven, Connecticut. “Cyclones in the Metropole: 1920–1950.” $2,387 Professor François Lissarrague. $21,000 British Artists, 1976–1989.” $18,000 Narath, Albert. Columbia University, New York. Lissarrague, François Maurice. École de Hautes “Rediscovering the Baroque.” $2,500 Études en Sciences Sociales, Paris, France. “The Power Research Fellow Ort, Thomas William. and Function of Ancient Images.” $52,500 North Carolina State University, Penot-Lejeune, Agnés. Université Paris I Panthéon- Raleigh. “Cubism’s Sex: Why Czech Cubist Art Was Sorbonne, Paris, France. For a Getty Research Institute Male.” $1,000 Villa Visiting Scholars research fellowship. $30,000 Park, Julie J. McMaster University, Hamilton, Canada. D’Ambra, Eve. Vassar College, Poughkeepsie, New “Interior Designs: Containing the Imagination in 18th- York. “Beauty and the Roman Portrait: The Private Library Research Grants Century England.” $1,000 Portrait in the High Empire.” $9,405 Parker, Shalon D. Gonzaga University, Spokane, Residency periods for the following grants vary based Faraone, Christopher Athanasius. University of Washington. “Origins: The Prehistoric Body in the Art on research needs. Chicago, Illinois. “The Function and History of Ancient of Fernand Cormon.” $750 Greek Amulets.” $9,935 Allen, Gwen Lynn. San Francisco State University, Peiffer, Prudence Marie.Harvard University, California. “Artists’ Magazines, 1965–1979.” $500 Huet, Valérie. Université Paris Diderot-Paris 7, France. Cambridge, Massachusetts. “Routine Extremisim: “Images of ‘Greek’ Rituals in Rome.” $9,935 Barnaby, Alice. Exeter University, England. Ad Reinhardt and Modern Art.” $1,000 “The Cultural Practices of Illumination: London, Slater, Niall Ward. Emory University, Atlanta, Georgia. Peña, Nicasio Gradaille. Universidade de Vigo, 1780–1840.” $2,264 “Envisioning Apuleius.” $11,038 Ourense, Spain. “The Piano Music of John Cage.” $2,711

52 The Getty Foundation Quiles, Daniel Ricardo. The Graduate Center, City Schultz, Sarah. Walker Art Center, Minneapolis, University of New York. “Toward a Counterpublic Minnesota. For research on the creation of an expanded Sphere: Argentine Conceptual Art, 1966–1976.” $1,000 paradigm for experience/interpretation as a holistic practice and function across the art museum. $9,597 Ruhl, Carsten. Ruhr-Universität Bochum, Germany. “Spatial Imaginations: Aldo Rossi’s Architectural von Dewitz, Bodo Balthasar. Museum Ludwig, Theory.” $2,707 Cologne, Germany. For research on the construction of the image of the artist in photographic portraiture from Sharp, Sarah Grace. State University of New York, the 19th century forward. $8,588 Purchase College. “Paint the Bows like Butterflies: Feminism, Subjectivity, and the Romantic Gesture in the Art of Ree Morton.” $1,000 Training Fellowships

Sheridan, Victoria Ann. University of Toronto, Abd-El Ghany, Mohsen Abd-El Hamid. Giza, Egypt. Canada. “Ornaments of Honor: The Diplomatic Gift in For a training fellowship at the J. Paul Getty Museum. Early Modern Venice.” $1,000 $6,111 Steiner, Hadas Anna. University at Buffalo, State Daoud, Nagwan Edwar. Coptic Museum, Cairo, University of New York. “Banham in Buffalo.” $1,000 Egypt. For a training fellowship at the J. Paul Getty Stewart, Alison Gail. University of Nebraska-Lincoln. Museum. $6,111 “Pieter Bruegel’s Wedding Dance in Detroit and Its Esmail Abdelwahed, Heba Adly. Cairo University, Restoration by William Suhr.” $1,000 Egypt. For a training fellowship at the J. Paul Getty Toteva, Maia Todorova. University of Texas at Austin. Museum. $6,533. “Voices Behind the Curtain: Language and Totalitarian Ibrahim, Somaya Abdel Khalek. National Museum Systems in the Works of Russian and Czech Conceptual of Egyptian Civilization, Cairo, Egypt. For a training Artists (1960s–1970s).” $1,000 fellowship at the J. Paul Getty Museum. $6,533. Van Wagenberg-Ter Hoeven, Anke Ariane. University of Maryland Eastern Shore, Princess Anne, Maryland. “Catalogue Raisonné of Jan Baptist Weenix and Jan The Getty Conservation Institute Weenix.” $1,000 Guest Scholars Warak, Melissa Christine. University of Texas at Cissé, Lassana. Austin. “Sound Exchange: Interactions of Music and Mission Culturelle de Bandiagara, Art, 1955–1969.” $1,000 Mali. “The Conservation and Management of African Living Cultural Sites: The Case of the Bandiagara Cliff Whiteley, Nigel Steven. Lancaster University, England. Dwellings, Mali.” $10,842 “The Art Criticism of Lawrence Alloway.” $2,469 Mackay, Richard Gordon. Godden Mackay Logan Heritage Consultants, Sydney, Australia. “Critical J. Paul Getty Museum Success Factors in Cultural Heritage Management.” $21,534 Guest Scholars Ost, Christian G. Institut Catholique des Hautes Bodnár, Szilvia. Museum of Fine Arts, Budapest, Études Commerciales, Brussels, Belgium. “A Guide for Hungary. For research for a catalogue of the 15th- and Town Planning in Historic Cities Using Economics of 16th-century German drawings in the Museum of Fine Conservation Methodology.” $31,267 Arts, Budapest. $8,588 Zancheti, Silvio Mendes. Universidad Federal de Holcomb, Melanie. The Metropolitan Museum of Art, Pernambuco, Recife, Brazil. “Indicators of Authenticity New York. For research and completion of the catalogue and Integrity for Urban Heritage Areas.” $13,435 for a major international loan exhibition on medieval drawing entitled Pen and Parchment: The Art of Drawing in the Middle Ages. $6,891 OTHER GRANTS AND PROGRAMS Kumar Das, Asok. Independent Scholar, West Bengal, Matching Gifts and Sponsorships India. For research on a book and exhibition project on the Mughal natural history painter Ustad Mansur. 488 matching grants and sponsorships totaling $8,588 $1,173,470 were awarded. Longstaffe-Gowan, Todd. Landscape Architect and Historian, London, England. For research on a The Getty Leadership Institute forthcoming book on the evolution of the London Square. $9,597 The Foundation also operates the Getty Leadership Institute, the premier source of continuing professional Penichon, Sylvie. Amon Carter Museum of Art, Fort development for current and future museum leaders. Worth, Texas. For the preparation of a manuscript for Further information about Getty Leadership Institute a publication on the care and identification of 20th- programs can be found at www.getty.edu/leadership. century color photographic prints. $9,333

The Getty Foundation 53 Publications

Books Published by the Getty between July 1, 2007, and June 30, 2008

J. Paul Getty Museum French Furniture and Gilt Bronzes Patio and Pavilion Baroque and Régence The Place of Sculpture in Modern Architecture Advances in the Protection of Museum Collections Catalogue of the J. Paul Getty Museum Collection Penelope Curtis from Earthquake Damage Gillian Wilson, Charissa Bremer-David, Jeffrey Weaver, Curtis examines the relationship between modern Papers from a Symposium Held at the J. Paul Getty Brian Considine, and Arlen Heginbotham sculpture and architecture in the mid-20th century, an Museum at the Villa on May 3–4, 2006 Forty-four objects from the Baroque and Régence interplay that laid the groundwork for semisculptural Edited by Jerry Podany periods are presented here with a description of each or semiarchitectural works by contemporary architects Contributors to this volume—ranging from item and an analysis of its style, use, provenance, and artists. museum conservators, mount makers, and historical and published history, as well as its construction and Pots and Plays archaeologists to seismologists and structural alterations, materials, and conservation. engineers—offer both simple and complex methods of Interactions Between Tragedy and Greek Vase- earthquake-mitigation for collections. Graciela Iturbide Painting of the Fourth Century B.C. Juchitán Oliver Taplin Astrology, Magic, and Alchemy in Art Judith Keller This interdisciplinary study opens up a fascinating Matilde Battistini In this provocative series of photographs, Iturbide interaction between art and theater, showing how the New in the Guide to Imagery series, this fully illustrated captures the public and private lives of the women of mythological Greek vase-paintings of fourth-century- guide analyzes occult iconography in many of the great Juchitán, Mexico—an ancient, matriarchal, and fiercely B.C. are informed by the myths enacted in tragedies. masterpieces of Western art, calling out key features in independent society. the illustrations for interpretation. Taddeo and Federico Zuccaro Great Moments in Greek Archaeology Artist-Brothers in Renaissance Rome Carmontelle’s Landscape Transparencies Vasileios Petrakos et al. Julian Brooks Cinema of the Enlightenment This beautifully illustrated book offers an overview of This lovely volume presents a series of twenty drawings Laurence Chatel de Brancion the greatest archaeological sites and exciting discoveries by Federico Zuccaro of his older brother Taddeo’s life as Louis de Carmontelle painted a series of panoramas from ancient Greece, with entries written by a veritable a struggling artist in 16th-century Rome and examines on translucent paper that were passed in front of a who’s who of the most venerable names in Greek the role of copying masterworks in the training of light source to provide entertainment at royal court archaeology. young Renaissance artists. gatherings; now they show the evolution of fashion and customs during the eighteenth century. The Herculaneum Women History, Context, Identities European Art of the Eighteenth Century Jens Daehner, Kordelia Knoll, Christiane Vorster, and J. Paul Getty Museum/ Daniela Tarabra Moritz Woelk Getty Research Institute With hundreds of illustrations, this guide presents Presented here for the first time is the comprehensive California Video: Artists and Histories the most important artists and artistic concepts of the story of the famous Herculaneum Women—three life- Edited by Glenn Phillips eighteenth century, from the Rococo to Neoclassicism. size statues uncovered around 1710—including their Focusing on fifty-eight artists and collaboratives, this discovery, history, and interpretation. Food and Feasting in Art illustrated volume is the first survey of the history Silvia Malaguzzi Insects and Flowers of video art in California, chronicling the distinctly Deliciously illustrated with masterpieces of Western The Art of Maria Sibylla Merian West Coast aesthetic within the broader history of the art, this latest volume in the Guide to Imagery series David Brafman and Stephanie Schrader medium. explores the rituals, customs, and symbolism of food Beautiful details from Merian’s book Metamorphosis of and dining. The Color of Life the Insects of Suriname are reproduced in this charming Polychromy in Sculpture from Antiquity to the Fragonard’s Allegories of Love gift book. Present Andrei Molotiu The J. Paul Getty Museum Handbook Edited by Roberta Panzanelli with Eike Schmidt This lavishly illustrated book is the first to examine of the Collections and Kenneth Lapatin Fragonard’s erotic series of paintings as a group, Many recent acquisitions to the J. Paul Getty Museum With individual discussions of over forty works from analyzing the composition, iconography, and source collection have been added to this revised edition of Old Kingdom Egypt to the present day, this lavish for each allegory in the context of ancien régime the Handbook, which also includes the more familiar catalogue explores the history of sculptors’ use of color Preromanticism. masterpieces visitors have become acquainted with over and includes reconstructions of polychromy on pieces The Fran and Ray Stark Collection of 20th-Century the years. that have now faded. Sculpture at the J. Paul Getty Museum The Language of the Muses Dilettanti Edited by Antonia Boström The Dialogue between Roman and Greek Sculpture The Antic and the Antique in Eighteenth-Century This beautifully illustrated catalogue takes the reader on Miranda Marvin England a visual tour of the twenty-eight-piece Stark Collection, Contrary to the long-held thesis that Roman sculptures Bruce Redford which includes works by Alexander Calder, Alberto depicting ideal figures were copies of Greek originals, With elegance and wit, Bruce Redford dissects the Giacometti, René Magritte, and Henry Moore, and this book argues that Roman sculpture had its own activities and achievements of the Society of Dilettanti discusses curatorial decisions behind their placement unique style and ideals. as they studied Graeco-Roman antiquity. across the Getty campus. Maria Sibylla Merian and Daughters Women of Art and Science Ella Reitsma This gorgeous volume celebrates the life and work of Maria Sibylla Merian, the intrepid artist and scientist who rendered exotic plants and the life cycles of insects in exquisite detail.

54 The J. Paul Getty Trust Getty Research Institute Historia General del Piru Toward an Architecture Facsimile of J. Paul Getty Museum Le Corbusier Allan Kaprow—Art as Life Ms. Ludwig XIII 16 Introduction by Jean-Louis Cohen Edited by Eva Meyer-Hermann, Andrew Perchuk, Martín de Murúa Translation by John Goodman and Stephanie Rosenthal This new edition of Le Corbusier’s manifesto—the most The Getty Murúa This richly illustrated volume documents five decades important architectural text written in the twentieth Essays on the Making of Martín de Murúa’s “Historia of Kaprow’s life and work, including his shifts from century—reflects the original French work more General del Piru,” J. Paul Getty Museum painter to environmental artist to the inventor of the accurately than previous translations and includes an Ms. Ludwig XIII 16 Happening and the Activity. insightful introduction and helpful annotations. Edited by Thomas B. F. Cummings and Barbara China on Paper Anderson European and Chinese Works from the Late The second of Martín de Murúa’s illustrated Sixteenth to the Early Nineteenth Century manuscripts on the history of the Inca empire and Getty Conservation Institute Edited by Marcia Reed and Paola Dematté early viceregal Peru is here published in facsimile, Modern Paints Uncovered Features striking, illustrated books, maps, and prints accompanied by a groundbreaking volume on the that reveal a compelling history of mutual curiosity and Proceedings from the Modern Paints Uncovered creation of this important Andean work. (Essay volume Symposium, May 16–19, 2006, Tate Modern, fruitful collaboration between China and the West at a also sold separately.) time when few people traveled far from home. London The Life and the Work Edited by Thomas J. S. Learner, Patricia Smithen, Jay Ephemeral Bodies Art and Biography W. Krueger, and Michael R. Schilling Wax Sculpture and the Human Figure Edited by Charles G. Salas Paints intended for houses, boats, cars, and other Edited by Roberta Panzanelli A collection of provocative essays that explore how an industrial applications have been turning up in With a translation of Julius von Schlosser’s “History of artist’s life and art are intertwined, including specific modern art collections since 1930; this volume looks Portraiture in Wax”, this volume breaks new ground as discussions of Andy Warhol, Bob Dylan, Vincent van at the challenges these new materials present to art it explores wax reproductions of the body and assesses Gogh, Paul Cézanne, and Leonardo da Vinci. conservators and reveals the latest cutting-edge research. their conceptual ambiguity, material impermanence, and implications for the history of Western art. Titian Remade Lessons Learned: Reflecting on the Theory Repetition and the Transformation of Early Modern and Practice of Mosaic Conservation Italian Art Proceedings of the 9th Conference of the Maria H. Loh International Committee for the Conservation The author argues the case for repetition as a positive of Mosaics, Hammamet, Tunisia, November act of artistic self-definition by examining the disparate 29–December 3, 2005 fates of the Venetian master Titian and his artistic heir, Edited by Aïcha Ben Abed, Martha Demas, the now unremarked Padovanino. and Thomas Roby With fifty-three papers presented in either English or French, this comprehensive record of the ninth triennial meeting of the ICCM assesses past practices of mosaic conservation, both in situ and in museum settings.

The J. Paul Getty Trust 55 J. Paul Getty Trust Staff

The following list includes all full-time and part-time employees during the period from July 1, 2007, through June 30, 2008.

Brett S. Abbott Julia I. Armstrong-Totten Lindsay A. Blumenfeld Lesly Campos Stephen Clark Adrienne A. Davis Robert Abeles Jr. Michael C. Aronowitz Renee V. Bobbitt-Galella Alfredo Campusano Jeanette M. Clough Ami Davis Claudia K. Ablaza Stephanie Arriaza Alice Boccia Claudia N. Cancino Joan B. Cobb Brian Davis Melissa Abraham Katherine Arroyo Foekje Boersma Anita F. Canfield Erin S. Coburn Catherine L. Davis Rita Abrahamyan Lindsay Ash Jeremy N. Boersma Robert J. Cangemi Jeffrey Cody Larry Davis Esmeralda Acosta Rodolfo Asistente Daniel Boland Naldo S. Cantalupo Kathryn L. Cody Latrice Davis Jennifer L. Adam Emile Askey David Bomford Debra I. Canter Laura Cogburn Dexter A. De Los Santos Andre T. Adams Thomas K. Asmann Peter L. Bonfitto Orlando Canton David A. Cohen Jade DeCosta Arturo Adams Paul H. Asplund Marcel Bonner Nicolette Cantu Jeffrey Cohen Arlene DeFinis Marcus E. Adams Miguel A. Athill Michelle A. Bonnice Juan Carbajal Jacob I. Cohn Michael D. DeHart Ronald F. Addleman Christina Aube Jan Boomgaarden Robert Carey Susan Colangelo Stephanie DeLancey Neville Agnew John R. Avveduto Mark C. Bordelon Michael E. Carlile Ryan M. Cole Susan C. DeLand Jennifer Agorrilla Carolyne F. Aycaguer Richard J. Bordelon Paula M. Carlson Ted Cole Robert D. DeMoss Aaron Aguilar Victor K. Ayitiah Gilbert B. Borruel Mary E. Carosello Kristopher Coleman James DeYoung Alfonso Aguilar Gabrielle Azucena Leslie R. Borsay Cathryn J. Carpenter Pamela Coleman Jason Dean Alfredo Aguilar Murtha Baca Antonia M. Bostrom Charles S. Carrico Kristen M. Collins Britt Decker Brenda Aguilar Tuyet Bach Michel Bouchard Diana Carroll Alexandra Collins-Shotwell Kristen Decker Victor Aguilera Kenneth W. Bagley Karim B. Boughida Leslie Carroll Joel A. Colon Martha Demas Wilson A. Aguilera Gillian Bailey Zarina Bouinatcheva David M. Carson Margaret A. Combs Clare Denk Salvador Alamo Stephanie Baker Rick B. Bourn Josephine Carter Robert Combs Susan Denness Armando Albovias Susan M. Baldocchi Andrew Bowlus Monica J. Case Catherine A. Comeau Ellen A. Dennig Jennifer Alcoset Everett H. Ball Ura D. Bradley Prima Casetta Christopher Coniglio Laura A. Dennis Khachik Aleksanyan Thomas V. Baltazar David A. Brafman Carol L. Casey Brian Considine Joey J. Derosier Christopher Alexander Craig Balzer Luis R. Brambila Jr. Maura F. Casey John N. Conte Lora Chin Derrien Joan M. Alexander Gregory J. Bannan Michael A. Brand Clarissa Castaneda Nolberto Contreras Francoise M. Descamps Linda A. Alexander Iman Barba Erin Kelly Branham Adolfo Castillo Trinidad Contreras Kiyoko L. Devine Peter Alexon Mark T. Barbarino Pamela J. Braunstein Elvia Marina Castillo Donna Conwell James Devlin Martha L. Alfaro Jean Barbaro Charissa Bremer-David Estela Castillo Christine A. Cook James E. Dew Steven T. Algert Raziul Bari Beth M. Brett Heldrych E. Castillo Emily Cooke Margot Dewar Salima A. Ali Jan E. Barnett Kelvin Bridge Naomi Castillo Kathlyn Cooney Rajinder Singh Dhaliwal Rheim B. Alkadhi Reem Baroody Arkisha Bridgeman Guillermo Castorena Jack R. Cooper Nina Diamond Scott Allan Jeffrey J. Barrett Richenda L. Brim Catarina A. Castruccio-Prince Rick Cooper Juan Diaz Howard M. Allegan Kuldip S. Basra Kenneth Briscoe Martin G. Cecenas Tom Cordero Daniel Dickerson Joyce K. Allen Jane L. Bassett Renato Brito Jose Ceja Genevieve Cordova Judith Dillin Susan M. Allen Sergey V. Batayev Gregory M. Britton Marlon Centeno Katy Corella Theresa Dillon Sophia J. Allison Deborah S. Bauer Marcella C. Brodsky David A. Cerda Carmen Corona Stepheny Dirden Chen Almacen Jesus Bautista Michael J. Brooks Rogelio Pacheco Chacon Jose L. Correa Shayton Dixon Erik M. Almeida Andrea Baxter Kenneth Brown Jr. Panyapon Chaiveera Shelly M. Corrigan Eric Doehne Luz M. Alonzo Michelle Bean Azania J.M. Brown Zarui Chakmakehyan John D. Cortes Monica S. Doettger Martin Alpuerto Amy M. Beauchamp Michael Christopher Brown Tsovinar Chamilian Alexandra Cortez Tiarna M. Doherty Bobby Alvarado Michael M. Beck Eric M. Bruehl Calvin W. Chan Mario D. Cortez Archie L. Domineck Emmanuel Alvarado Donna A. Beckage Michelle R. Brunnick Lisa S. Chan Lourdes Corzo Andres Dominguez Nicole A. Alvarado Jennifer S. Bedford Marcia Bryan Irene S. Chang Lem Darren Cowan Robert Donaldson Freddy M. Alvarez Antonio Beecroft Ina Bryant Curtis Chang Tahnee Cracchiola Sofia Dondoe Karla Alvarez Jonathan S. Bell Olivia Bueno Breanne Chappell George V. Credle III Dean Donnell Mari-Tere Alvarez Stephen Bell Renee J. Buenting Sean Charette Carol Cressler John P. Donohoe Salvador R. Alvarez Vincent L. Beltran James L. Bullock Charles Chatelain Susan Cribbs Angela C. Donougher Veronica Alvarez Hector A. Benavides Joel W. Burden Chanique Chatham Sally Ann Crosby Carol A. Donovan Alvaro Alvarez-Zavala Janice E. Bender Bruce Burgess Cornelio Chavez Thomas E. Crow Kris Donovan Argelia Ambriz Douglas A. Benjamin Jacklyn Burns Eugenio Chavez Melissa J. Crowley Zarir H. Dordi Miguel A. Ambriz James M. Benjamin Victorio Burton Jr. Kirk Cheatham David C. Cruz Annette J. Doss Marcia Americas Stephen D. Bennett Jessica Buskirk Robert S. Checchi Joana R. Cruz Loisann Dowd White Fakhteh Amirifard Veronica L. Bennett Kevin Bustamante Cherie C. Chen Ruth Cuadra Eugene Downing Madjdaldin Amirsoleymani Christina M. Bentcheva Ruben Bustamante Jennifer Chen Robert E. Cuellar Wendell Downing Susan P. Amorde Kristin Bergeron Onica I. Busuioceanu Ming Chen Arturo I. Cuevas Judy Dragon Victoria Amundsen Dinah Berland Everett J. Butterworth James S. Cheney Sheila Cummins Matthew C. Drake Joe C. Ancajas Elise Anabel Berman Stacey J. Byers Natalie Cheng Laurance E. Cushman Steven Drew Barbara Anderson Gail Denise Bernhart Steven Byrne James Chernikov Amit Dadhwal Jim G. Drobka Carolyn Anderson Marge Bernstein Jacqueline M. Cabrera Hyeon Cheun Jens Daehner Jennifer Drolet Sarah Anderson Julius A. Best Jose J. Cabrera Bonar Chhay Ashley L. Daley James R. Druzik Victor G. Andrade Andrea Bestow Mario Cabrera Giacomo Chiari Alison J. Dalgity Tracy E. DuVernet Elizabeth E. Andres Daniel Bhoi Nenette A. Caceres Jeffrey A. Chipman Luana L. Dalmeida Donald Dubbels Sara Andrews Somsak Bhombuth Ruperto A. Cadena Claudia Chittim Adrienne dal’Ombra Dionna Denise Dudley Rhonda Anjelly Beril Bicer-Simsir Andrea Cajucom Doris H. Chon Thomas Daly Jennifer Dunlop Fletcher Ana Aparicio Patricia L. Biegel Aimee Calfin Jeffrey H. Chon Theodore Dancescu Kathy J. Dunlop Shannon Arakaki Ralf Bischofberger Elissa S. Calfin Bruce Chorney Elizabeth Daniels Ruben Duran Sargis Arakelyan Mitchell Bishop Molly C. Callender Eunice Chou Jeannette V. Danielson Ronald Lawrence Dzerigian Pedro Aranda Charlene H. Black Cesar O. Calvillo Susan Chow Douglas M. Danlag Hayk Dzhandzhapanyan Ralph Arcuri John M. Blaney Esteban Calvillo Nehemiah O. Chua Kathleen Dardes Michael E. Easley Reymundo Arellano Anne L. Blecksmith-Granata Jesse Calvillo Sue Ann Chui Irene Dare Robert Easterbrook Roxanne Arellano Melissa M. Blomquist Carole P. Campbell Caroline Chung Andra M. Darlington Krizia Ebalo Josh Argyle Sarah Bloom Eddie Campbell Leon A. Chung Michael Daus Simeon A. Ebanks David Armendariz Julia Bloomfield Karen F. Campbell Michele L. Ciaccio Monika Davies Karla Echeverria Gizelle C. Armstrong Cynthia Bluhm Larry E. Campbell David M. Clardy Herman H. Davis IV Lauren E. Edson

56 The J. Paul Getty Trust Judith P. Edwards Sarah Kathleen Freeman Agustin Z. Gonzalez Ernest J. Harris Jose A. Ibanez Casie N. Kesterson Rebecca M. Edwards Ronald S. Frias Enid Claudia Gonzalez John Harris Ayelet Ifrah Rosalie G. Keszek Rock Edwards Anatoliy Fridman Griselda Gonzalez Keala M. Harris Anabel Iniguez Anita D. Keys Susan E. Edwards Barbara M. Friedenberg Roberto Gonzalez Ann B. Harrison Harry Irik Jr. Kashmira Khadem Elnor Eggart Raymond E. Friedl Roberto J. Gonzalez Autumn Harrison Flora F. Ito Anais Khalatbari Katherine Eggert Eric Duvone Friend Steve Castro Gonzalez Mary L. Hart John A. Ivanoff Herant Khanjian Nathan G. Elliott Norman Harvey Frisch Genevieve Gonzalez-Turner Shanna Lynn Hart Alice Jackel Kathleen Kibler Todd E. Ellis Matias Fuentes Oscar Leonel Gordillo Timothy M. Hart Jason B. Jackson John Kiffe Matthew J. Elm Carrie A. Fuhrer Carl Gordon Angine Hartuian LaDoris G. Jackson Andrew Kim Taryn Ely Jane Fujimoto Hillary P. Gordon Myron A. Hartwig Percival Jackson Angie Kim Nancy E. Enneking Lesli Fujimoto-Lou Walter M. Gorecki Lois Harty Ricardo Jacobo Jee Yeon Kim Sheridan Noelani Enomoto Diane L. Fulton Joseph Gorelik Jennifer Harvey Christopher S. Jacobs Millie Kim Randy R. Eppich Yanira F. Funes Viktor Grabarchuk Mahsa Hatam Liska Jacobs Moon Kim Peter C. Erichsen Barbara L. Furbush Colleen Graham Paul Hatfield John M. Jacoby Sarah J. Kim Ann Y. Erwin Andrew Michael Furman Rebecca L. Grajeda Kurt Hauser Hector Earl Jacutin Linda M. Kincheloe Elizabeth Escamilla Jonathan C. Furmanski Erica Grall Lynette T. Haynes Mirnamik Jafarov Lakishi Lashon Kindred Florencio Escardo Randy M. Furnier Karissa L. Grasty Terry L. Haywood Tito Jamerson Sharon King Angela M. Escobar Sarah Gabagat William Graves Pamela L. Heath Culvert James William W. King Carly E. Eskin Rogene Gad Anthony Gray Virginia A. Heckert Martin Jaquez Salazar Kelly King-Schlegel Fermin L. Esquivel Wolfgang Thomas Gaehtgens Kelly F. Gray Kate Elizabeth Heckmann Joseph Jaquias Bettijo Kinseth Omar Estrada Kathleen M. Gaines Oren L. Gray Deborah E. Hede Julie L. Jaskol Jack L. Kish Kathleen Evanoff John L. Gale Kimra A. Grayson Stephen Heer Mary Jeffries Joli Kishi Orin L. Evans Michael E. Galindo Philip F. Graziadei Jeffrey L. Heger Denise Jenkins Laurel Kishi Peter Evans Julian Gallardo Jr. Valerie Greathouse Arlen S. Heginbotham Won Seok Jeong Ava N. Klein Stephanie C. Evans Ruben Gallardo Jean Green Karen Hellman Barbara A. Jesuele Lisa A. Klikoff Harriet L. Faber Jose M. Galvez Marvin M. Green Mark A. Henderson Richard L. Jewett John Eldon Knox Bryan T. Fair Jay M. Gam Mark D. Greenberg Marjorie L. Hendrix Keri L. Jhaveri John D. Koch Jessica R. Fairley Maria Gamboa Shane H. Greene Megan Henry Myriam L. Jimenez Danielle L. Koenig Beverly Faison Michael Gantman Gretchen M. Greenwood Randall Henry Patricia Jimenez David Koff Francisco Fajardo Steve B. Garbade Tisha L. Greenwood Jared Herbert Anthony R. Johnson Aynne Kokas Wai Lap Edmond Fang Ben G. Garcia Cynthia Griffin Florentino Hernandez Donovan U. Johnson Steven Konstantine Ruzanna Faramazova Benjamin Garcia Devin C. Griffin Juan Hernandez Kari E. Johnson Daniel Koppich David P. Farneth Dario Garcia Michael R. Griffin Mauricio Hernandez Kathleen M. Johnson Pamela G. Korst John Farrar Erin Garcia Scott L. Griffith Samuel Herod Renee Johnson Gus G. Kowalewski Sheila A. Farrar Estuardo Garcia Sergio A. Grijalva Johana Herrera Robin E. Johnson Thomas Kren Ann D. Fath Gregg J. Garcia Leigh Grissom Omar Herrera Sandra H. Johnson Mark J. Krier Larry G. Faulkner Jessica E. Garcia Valerie V. Gross Catherine Hess Waymond Johnson Hripsime Krikorian Francisco Manalon Favis Jesus Garcia Janet B. Grossman Ronald Hew Alexus Annie Johnson-Hall Jennifer Renee Kubel Rodney R. Fayton Julio Garcia Justin C. Ground Sally Hibbard Cynthia Jones Christopher Kudyk Leonie F. Fedel Junias B. Garcia Michael F. Grout Rio H. Hibler-Kerr Marion Jones Zita V. Kuliesis Carey Elizabeth Fee Oscar A. Garcia Cristian A. Grunca James Hickey Natasha Jones-Adams Raj Kumar Gail Feigenbaum Piedad Garcia Cecily M. Grzywacz Matthew Christopher Hickey Mark Anthony Junius Adella C. Kunny Rebecca A. Fenning Ross A. Garcia Jesse Guerrero Philip G. Hicks David Jurado Yasimin Kunz Melanie S. Ferguson Sandy Garcia Roberto Guerrero Chihiro Higaki Tobias Jussen Jay I. Kurtz Lilia E. Fernandez Judy Gardner Frances Guillen Carolyn E. Higgins Nboya Kabaka Roger A. Kussro Daniela Ferrari-Edwards Gwynne Garfinkle Albrecht W. Gumlich Hope Hill Michael Kacey Tyrone Daniel La Bon Valerie Ferraro Charles Gaston Weerasiri Gunawardena Jason Hill Scott C. Kaestner Barbara LaMori Eddie D. Ferrer Andrew Gavenda William D. Gunn Charles F. Hillen Sachi Kagaya Jeanette LaVere Amila Ferron Albert M. Geana-Bastare Alison Gunson Judith R. Hillier Elizabeth C. Kahn David A. Lacey Henry T. Field Catherine Geard Shailendra Gupta Rika I. Hiro Elliott Kai-Kee Anne C. Lacoste Brian F. Fields Brian Gee Michelle L. Gurman Leslie Hirst Loren Kajitani Madhav N. Lalla Micah L. Fields-Cosey Gertrude G. Geeraerts Benjamin Gutierrez Ramos Eric J. Hithe Kassandra E. Kalidonis Baco Y. Lam Scott Fife Graham Gelberg Lorenzo Gutierrez Emily Ho Ajith Kalutarage Lucette Landry Ariel Figueroa Shira M. Geller Raul A. Gutierrez Emily E. Hoag Lynne R. Kaneshiro Barbara A. Lane Christine M. Figueroa Steven C. Gemmel Michelle A. Guy Tahnee M. Hodgson Michael T. Kaneshiro Ruth E. Lane Susan J. Flanagan Melena Gergen Beth Guynn Stephen Hojda Sue S. Kang William Y. Lane Leota J. Flaten Zhenya Gershman Aureliano Guzman Sally Holloway Arthur Kaplan Gerald Langston James L. Flauta Mahnaz Ghaznavi Susan V. Guzzardi James L. Hollowell Tobi L. Kaplan Karin Lanzoni Michael D. Fleming Natalie Gibas Elizabeth K. Guzzetta Mary Holtman Marilyn R. Kari Kenneth D.S. Lapatin Julia R. Flinker Jocelyn Gibbs Ngok L. Ha Jennifer J. Homer Stephanie Karos Tyrone Latimore Jesse Flores Jr. Douglas F. Gil Billie G. Hackney Margaret M. Honda David Karraker Nora M. Lavie Robert Flores Sr. Maria L. Gilbert Christopher J. Hagel Nicholas K. Honeysett Paul H. Karratti Michelle D. Lawrence Mary Flores Tracy R. Gilbert Carol Hahn MiJin Hong Carlos Kase Dane Andrew Lay Ralph Flores Victor Gilchrist Carl P. Hall Ray T. Hoofard Everett Katigbak Diane Lazar Dalton Flowers Marilyn L. Gillette James Matthew Hall Thomas D. Hook Rajinder P. Kaushal Ronald G. Lazo Robert Flynn Mark Raymond Gillette Kenneth Hamma Eric J. Hormell Jessica J. Kedward Francois LeBlanc Peggy Fogelman ShaVaughn R. Gilliom Michael Hammer Emily Elizabeth Horton Bryan Keene Aaron Lea Paul M. Foley Benedicte Gilman Michael C. Hammers Amy Jill Hortz Lionel Keene Tom Learner Kecia L. Fong Patricia Gilson Kathie V. Han Katherine Quincy Houghton Susan A. Keithley Dale A. Ledbetter Stephanie L. Ford Giancarlo A. Giurini Ian Hanlon Christopher Patrick Howard Amber Keller Blum Annette Leddy Terence Ford Christine S. Giviskos Gwen J. Hanna Oriant Howard Judith Keller Christopher Lee Cheryl A. Foster Jeremy V. Glatstein Shauna Hannibal Scarlett Hu Michelle C. Keller Jennifer Lee Lori E. Fox Alison Glazier Claire Anne Hanson Ashlie A. Hubbard Kevin P. Kelly Leanne J. Lee David E. Frank Bridget Sue Gleaves Michael Hargraves Sally A. Hubbard Kristin A. Kelly Yu P. Lee Brandon Kyle Franklin David L. Glickman Julia Harkleroad Thomas Huddleston Polly Kelly Heather Leisy Sergio Frausto Jennifer Glover Rudolph Harlow Christian Huemer Stefan Kendrix Michael A. Lemos Patrick O. Fredrickson Cynthia A. Godlewski Marc Harnly Sarah Huffman Christopher D. Kent Deborah L. Lenert Rosanne Rudin Freed Kelli A. Golding Patricia Harpring Gary J. Hughes Surinder Kumar Kent Robert Leon Cheryl S. Freeman Rita Gomez Thomas M. Harrell Shelley J. Hull Peter Bjorn Kerber Mark Leonard Hassan Freeman Yirley Y. Gomez Elizabeth Harrington Tina Hunter Melissa Kerl Deborah A. Lepp La Teia K. Freeman Lenny V. Gonzales Carolyn Harris Diane Huseby Maurice Kerr Laura Lesko

The J. Paul Getty Trust 57 Shayne Letford Carlos A. Mansilla Gary G. Miller Veronica Nunez Eric C. Phillips Jessica K. Robinson Aradenia Letona Maria C. Mapes Meagan E. Miller Michael O’Byrne Glenn R. Phillips Thomas C. Roby Nancy Leu Rafael Maravilla Sabina G. Miller Jewell O’Connor Janine Kathryn Pibal Salvador M. Rodarte Veronica Leute Rigoberto Maravilla Carmen Mireles Jr Katherine O’Connor Jeffrey Pifher Marie I. Rodas Robert Levey Louis Marchesano Israel Mireles Kelli O’Leary Mary W. Pilla Avis C. Rodriguez Jeffrey L. Levin Robert Margherita Eduardo Mireles-Raya Tammie O’Leary Joe Pinato Carlos Rodriguez Michael B. Levin Theresa A. Marino Harold Mitchell Akbadeth Obphrachanh Darcy L.E. Pinelo German Rodriguez Laura Lewis Diane Mark-Walker Michael L. Mitchell Kathleen Ochmanski Melissa Piper J. Pablo Rodriguez Rael A. Lewis Angel R. Marquez Mark Mitton Gary Ochoa Michelle M. Piper Leon Rodriguez Caridad Lezcano Warren L. Marr Joshua Mix Saul Ocon Alma Pirtle Maria E. Rodriguez Jennifer Li Deborah Marrow Stacy L. Miyagawa Christine R. Odionu Wendell Pitpit Reina Rodriguez Kristen Li Ann E. Marshall Virginia P. Mokslaveskas Nancy Ogata Emily Podany Ruben Rodriguez Donna L. Liermann Kevin L. Marshall Catherine Mole Ivy Okamura Jerry Podany Sandra J. Rodriguez Stephanie Lile Anne P. Martens Joe Molina Rachelle Okawa Brenda Podemski Everett S. Rogers Jasmine Lin Cynthia Martin Nelle Molitor Wayne Okubo Isotta Poggi Michael G. Rogers Joanna Lin Rebecca R. Martin Amita S. Molloy Franklin S. Olayemi Michael Poll Robin A. Rogers Lucy Lin Paul Martineau Chenani Moncayo Aaron Olivas Yana Polshina Irma Rojas Aimee C. Lind Williams Martinez Ramirez Carola Monje Lawrence Olliffe Kam Poon Ann Roll Diana Lindberg Angel Martinez Frank E. Montecino Christina Olsen Anne C. Popadic Leslie Rollins Mark Lindelien Anthony E. Martinez Oscar Montes Naimatullah Omerzai Isak Popok Francisco J. Romero Karl F. Link Anthony Jamie Martinez Idalia E. Montez David Omote Christopher D. Porter Gabriel Romero Amy Linker Hilary Martinez Natalie Montoya Natalie Orlov Vicki G. Porter Juan Romero Benjamin H. Liou Oscar R. Martinez Kieron Moore Rogelio Oropeza Katrina E. Posner Gerardo Romo Raymond S. Lipscomb Martik Martirossian Federico Mora Aura Orozco Janice L. Poss Michelle Eve Romo Michael D. Lira David A. Massey Oscar Morales Aurora Ortega de Torre Ray Prado Tony F. Romo Julian Llamas Brenda E. Mata Sonia M. Morales Michael J. Orth Jacqueline Prescod Rebecca Ronsaville Kristina M. Lockaby Taras W. Matla Arnold M. Moran Lou Ortillano Daniel Prescott Lisa Rosas Charles T. Locke Antonio Matos Jessica A. Moreno Julio R. Ortiz Leah Prescott Divya H. Rosenberg Johnathon Loden Ani L. Matosian Tony Moreno Yasuhiro Osako Andrew Pribuss Ellen M. Rosenbery Dominique Loder Gary M. Mattison Ayanna J. Morgan Nestor M. Oscares Merritt Price Jack Ross Judith P. Logan Maegan Mattock Kyle Morgan Gail A. Ostergren Sheila Prospero Joshua N. Ross Kathleen Lohmann Leif Henson Matundan Stanley K. Moribe Diana L. Oxford Juan Pulido Robert L. Ross Grace Lokuszta Akemi May Emily A. Morishita George Pace Oscar Pulido Charles A. Rossow Christina Lopez Joseph E. May Thomas Moritz Rufo N. Pajo Allison Pultz Jeannie Rozzi Elisa Lopez Jainine D. Mays Elizabeth D. Morrison Lisa A. Paladini Jesus L. Quezada William F. Rubio Francisco Lopez Joy B. Mazurek David S. Morritt Anushik Paldzyan Yury Quinteros Michael T. Ruhr Guadalupe Lopez Sarah McCarthy Drew Morton Monica Palma Christina Rachal Tasha Tamika Rush Robert V. Lopez Tanya McCollum Mary G. Morton Kristina Lawrence Palmer Leslie Rainer Marianne C. Rusk Rogelio Lopez David H. McCormick Stanley K. Moses Adrienne M. Pamp Mwenda N. Raingoni Barry J. Russakis Sharon Lynn Lopez Iain C. McCormick Gary J. Moss Roberta G. Panzanelli Kathlin Ralston Knutsen Asmik Saakyan Catherine Lorenz David Lamar McDaniel Jr. John M. Mossbacher Alexandra Paperny Yanna Synovia Ramaekers Mary Reinsch Sackett Laura A. Losee Alexander McDermott Dante Moultrie Joanne C. Paradise Adan Ramos Kimberly Sadler Alfredo Loteria Jr. Rikki McDowell Matthew R. Mundon Patrick E. Pardo Christian T. Ramos Lilit Sadoyan Irene A. Lotspeich-Phillips Sofia McDowell Gregorio Munoz Marta E. Paredes Crisaldi Ramos Ronald Saenz Kathleen Louw Susan M. McGinty Grace Murakami Aaron Park Daniel G. Ramos Sheila Safaei-Far James A. Lovell Charlotte McGlohon Kevin F. Murphy Deborah Park Dalmej Randhawa Jomar Sahagon Victor Lovett Maureen B. McGlynn Marlyn R. Musicant Jeremy L. Parks Edwin M. Raneses Jr. Tulika Sahoo Justin C. Lowman Timothy A. McGrew Catherine Myers Brett Parrott Ramon Rangel Jr. Suriya B. Sakngam McKenzie D. Lowry John R. McHugh-Dennis David K. Myers Michael Justin Parsons Elizabeth M. Rangel Adrian Salas Joey Yong Lu Sally McKay Judith Gray Myrth Lawnya Ann Pascascio Roberto Rangel Charles G. Salas Lawrence Gary Lucero Gary McKean Weston Naef Rey P. Pascua Patrick J. Ratchford Alberto Salay Traci Lucero Stewart M. McKinlay Mara Naiditch Katharine C. Pastides Victor M. Raya Aurelio Salazar Ann M. Lucke Chester W. McLaughlin Steve Nakama Darrell K. Pate Nancy D. Real Christina G. Salazar John A. Ludden Nicholas McNally Russell Nakamura Bhupendra S. Patel Andrew Joseph Reams Eliseo Medelin Salazar Joyce P. Ludmer Tiffany Meadows Judy Nakano Praneet Patel Glynnis J. Reed Richard W. Salazar Arturo Luna David J. Mechanic Nasrollah Namdari Jason M. Patt Marcia Reed Eduardo G. Salcedo Gabriel Luna Lazaro C. Medellin Carole Namowicz Brett J. Patti Marnier Delord Reed Julio A. Salcido Jose Luna Lorenzo Medellin Lisa N. Nanakorn Doris Payreder Edward Reel Nestor Salcido Juan Carlos Luna-Alvarez Jacqueline Ann Marie Medina Matthew Nanni Humberto Paz Sandra K. Regan Elizabeth A. Salisbury Leonardo Luna-Lopez Martha Medrano Rojas Emmabeth Nanol Jose L. Paz Cristencio Regero Ranida C. Sallee Anne M. Lyden Kristina Meinking Elke Nash Rebecca Peabody Jemima Rellie Kathleen E. Salomon Augustine Gail Lyons Veronica Mejia Carmen Nasr Phoebe Kathleen Peckos Vincent Requena Arnold Sampson Claire L. Lyons Paul E. Melendez Rebecca Marie Nath Annette Pedrosian Veronica Reyes Noel L. Samson Susan Macdonald Umer Memon Erik J. Nemeth Steve Pepdjonovic Thomas W. Rhoads Amalia Romero Sanchez Kathryn E. Macek Debra A. Mena Cesar A. Nevarez Angioletta A. Perassolo Michael L. Rice Eduardo Sanchez Che A. Machado Christian Mendez Eliana Nevarez Andrew J. Perchuk Pamela A. Rice John Sanchez Pedro Macias Carreon Marco A. Mendez Martha Nevarez Jose Efrain Perez Alvarez James M. Richards Jose H. Sanchez Ernie Mack Sandra D. Mendoza-Avila Jennifer Ng Amilcar Perez Jaime Rico Juan Sanchez Rainer T. Mack Marcos Manuel Menjivar Thanh Nguy Armando A. Perez Sharon L. Rico Milo J. Sanchez Jennifer S. Macro Albert Mercado Christine T. Nguyen Joshua Perez Deborah Ringgold Rodrigo Sanchez Barbara Ann Madden Vinnie Merrill Khanh-Lien Huu Nguyen Cathy L. Pericone Luis Rios Jr. Anthony M. Sanders Javier G. Madrigal Teresa Mesquit Minhlinh Nguyen Stacy L. Perkins-Smith Cipriano Rios Dirk H. Sanders Shin Maekawa Roy Messineo Chris P. Nichols Nancy L. Perloff Walfredo Ripalda Ranjit Singh Sandhu Ajit S. Mahal Bruce A. Metro Jane L. Niles Boneshia R. Perri Erik G. Risser Ilda Sandoval Jeffrey P. Maish Karen J. Meyer-Roux Luther Nixon Kimberly Perry Carlos Rivas David Sanford Susan Lansing Maish Amy E. Meyers Myat Noe Christel Pesme Rachel Rivenc Kelly Grace Sanger Kate E. Malsbury Michael Meyners Ana Nolan Louella J. Peters-Conway Laura Rivers Joseph J. Sanitate Alina Malycheva Ron Meza Cassandra M. Norman Sena M. Peterson DaNetta Rizzo Bonnie Santangelo Jose M. Mancia Nancy E. Micklewright Christopher J. Norman Chris H. Petrakis William Kent Roberson Ariel Santomauro Jane H. Mandel David Milano Christopher Norris Hoa Phan Jeanne M. Roberts Antonio C. Santos Luann Manning Travis Miles Philip M. Nowlen Alan Phenix Michael V. Roberts Judy Santos

58 The J. Paul Getty Trust Anna Sapenuk Elizabeth M. Smith Vanessa S. Taylor Angela Vasquez Jefferson Nathaniel Williams Vincent Sarish Jovita T. Smith Sahar Tchaitchian Norma E. Velasquez Katherine S. Williams Arega R. Sarkisyan Michael J. Smith Jill E. Tenney Maria J. Velez Petrus T. Williams Kanoko Sasao Michael John Smith Igor Tepman Julie Ventimiglia Heather-Rose Williamson Laura Elizabeth Satterfield Stanley R. Smith Frances Terpak Rebecca M. Vera-Martinez Antoine M. Wilmering Tara Scamardo Stuart C. Smith Arthur Clark Terrill III Leandro Felipe Vieira Laurie Wilson Kirsten Schaefer Tyrone V. Smith Alfredo Tesoro Julie C. Viereck Lillian Elaine Wilson Scott J. Schaefer Carol A. Snell Jeanne Marie Teutonico Patrick M. Villalobos Matthew G. Wilson David J. Schilling Teresa Soleau Shasekala Thadchanamoorthy Ricardo Villaneda Michael R. Winder Michael Schilling Ben N. Soltane Bing Thi Javier R. Villanueva Alice Wingate Mara Schiro Linda W. Somerville David A. Thomas Ramon A. Villanueva Scott M. Winterrowd Sabine B. Schlosser Anna C. Sones Scott M. Thomas Jennifer Villavicencio Peter M. Wirchanske Erica Schmidbauer Christina Song Jennifer P. Thompson Michael Vivens Annabelle S. Wiseman Eike D. Schmidt Jung Won Song Keith Thompson Reagan V. Vo Tracy G. Witt Karen Schmidt Anthony Sorasithi Kevin Thranow Tram Vo Tobias Wofford Amra Elizabeth Schmitz Francisco Sosa Natalya A. Tibelius Tuan H. Vo Gabriel Wolde Ann K. Schneider Theresa Sotto Ricky Tillman Jennifer Voss Gordon Andrew Wolf Willem Scholten Ellen South Katherine A. Timme David L. Wainwright Julie P. Wolfe David Schow T’Dell Sparks III Robin Timmons Ted R. Walbye Davina May Wolter Stephanie Schrader Ashley Sparks Charles Tinney Justin Michael Walder Lorinda Wong Laura C. Schroffel Svetlana Spektor Galina Tirnanic Niranjan Walia Kathaliya Wongsatittham Tracey L. Schuster Travis Edward Spencer Lynne A. Tjomsland Tessa Walker Anna Woo John B. Schwerin Wilbur Spencer Anna Tkatch Wesley W. Walker James N. Wood Christine Marie Sciacca Christine Spier Lee I. Toffe William Lamar Walker Dean Wood-Salleh Don Scott III Andomeria L. Squire-Bailey Peter I. Tokofsky Chris Wallace James Woodard Stefanie W. Scott Stephen St. Laurent Virginia M. Toledo David S. Wallace Jermaine Woodard Mark K. Sealey Jason A. Stabile Yevgeniy Tomilko Hilary L. Walter Jimmy L. Woodland David Benjamin Sears Jeremy Stabile Alan Tomlinson Marc S. Walton David Woodruff Julia Sears Amanda Stacho Susan M. Tompkins Robert J. Walton Tia Marie Woodruff Ruben L. Sebastian Martha L. Steele Julian Topper Linlin Wang Christopher Woods Bruce Segler Vladimira W. Stefura William R. Tormey Darnell Ward DeVaughn Woods Christina C. Segler Cary L. Stehle Rene Torres Jesse G. Ward Erik Woods Michael Kenji Seko Jannon Sonia Stein Rosio J. Torres Jonathan R. Ward Jessica Lynn Woodson Evelyn Sen Ann I. Steinsapir Tom L. Toth Jr. Cristina Warner Patricia Woodworth Eidelriz Senga Annelisa C. Stephan Juan D. Tovalin Gary Warning Anne T. Woollett Tatiana V. Senkevitch James E. Stephenson Carrie E. Tovar Kristen Warren Dana V. Woronec Eriberto T. Serna Lance T. Stewart Liem Tran Medicus N. Washington Marcus C. Wright James T. Serrano Jacob Stewart-Halevy Julia Tranner Wanda J. Washington Annie Wu Nelson Serrano Natalie Stoddard Brenda Trejo Lena Watanabe Edith Wu Tracy Serur Karen Stokes Karen Trentelman Lavelle Waters Jr. Philman M. Wu Pamela Servatius Mark C. Stone Robin L. Trento Leslie Waters Jonlin Wung Joshua B. Sesar Stacey Rain Strickler David C. Trinidad Anne S. Watson Elise Yakuboff Deborah H. Setele Ron Stroud Cameron E. Trowbridge Stephen L. Watson David S. Yamazaki Betsy Severance Dusan C. Stulik Nicole L. Trudeau Suzanne Watson Musheg Yazdzhyan Carlos F. Sevillano Deborah Stussman David J. Trujeque Neil Wax Edmund O. Yeboah Karen Sexton-Josephs Romita Stutts Mark L. Trujillo Clark Wayne Beng Lin Lin Yeo Nazanin Shabanzadeh Minna H. Suh Annette Truong Patrick L. Weakland Nancy Yocco Stephen C. Shaffer Sapna Suh Ann M. Tucker Anwar Weaver Saeyeon Yoon Purvi H. Shah Erin Sullivan Patrice Ann Tucker Jeffrey Weaver Antwone D. Young Swati D. Shah Wendy Sumida Paul A. Tucker Christina Anita Webb Kevin M. Young Ohannes G. Shahinian Joselito E. Sumilang Iyesha Turner Erick Weber Sylvie Young Janak Jay Shamji Susan M. Sundquist Michael L. Turner Jack V. Weber Lynn D. Yudell Peter Shapiro Supatra Sutham Nancy Turner Warren Weber Genevieve Yue Keeli A. Shaw Marie Svoboda Timothy Turner George Weinberg Claudia E. Yuskoff Micaela Shea Lynce B. Swain Adalberto M. Turriaga Joan Weinstein Anna M. Zagorski Matthew P. Sheridan Sara Swallow Paul R. Tyan Marisa N. Weintraub Jacqueline Zak Sarah Sherman Todd Swanson Nancy Tyner Beverly Weisblatt Sandra Zalman Karen Shields William N. Swarts Sarah Stadler Tyson Stephan P. Welch William Robert Zaluski Hasmik J. Shiroyan Luke J. Swetland Elizabeth Udwin Amber Wells Gabrielle Zamora Michael A. Shirvanian Steven S. Swimmer Ron Uejo Eric Wells Michelle Zamora Razmik Shirvanian Khursheed Syed Katherine Underwood Brittainy Meade Welt Rebecca Zamora Michael J. Shoemaker Yvonne Szafran Rosa Maria Urrutia Nicholas West Jacqueline Zarate Thomas E. Shreves Naomi Taback Rose Urrutia Kimberley D. Westad Jose L. Zarate Joseph M. Shubitowski Simon Tadros Jaime L. Ursic Matthew W. Weston Arsineh Zargarian Tricia Sichko Catherine L. Taft Reuben Uy Maureen T. Whalen Yves Zeboulon Koteswar Silla Kelly L. Tagami Victor F. Uy Timothy P. Whalen Jay A. Zeiden David Silva John Tain Jeroen Vahrmeijer Richard L. Wheat Katherine Zelljadt Carolyn D. Simmons Annette I. Talbot Jackie Valdez Guy Wheatley Desiree Zenowich Chloe Simon Lisa Christine Talbot Deborah A. Valenta William Hawxhurst Wheelock Polina Zhitomirsky Julio C. Sims Medardo D. Talledo Joanna Valentine Diane M. Whisnant Tricia Zigmund Anjuli Singh Jia Tan Noelle Valentino Theodore R. White III Erin R. Zolkosky Nindapal Singh Aurora Tang Rodolfo Valentino Philip White Marc Zorn Pancham Singh Wazir Taniwal George Valladares Richard White Elizabeth Zozom Rani Singh Toby Tannenbaum Lucena Lau Valle Sheryl White-Turre Isabella A. Zuralski David Singleman German J. Tapia Raul C. Vallejo Rasheedah Whittaker-Bey Jesse Zwack Jerry Slack Christy Paige Tatum Christopher H. Van Fleet J. David Wholihan Wim de Wit Vladimir A. Slavin Erin Taylor James L. Vanderpool Jeff R. Wiebe Christina Smiraglia Katherine Taylor Erna Vanesyan Karol Wight Hassane Smiri Randy L. Taylor Rodolfo C. Vargas Donovan R. Williams Brenda A. Smith Rebecca Taylor Valentin Vargas Dwayne N. Williams Donald Smith Samoura Taylor Agripina Vasquez James M. Williams

The J. Paul Getty Trust 59 Board of Trustees, Officers and Directors

(as of June 30, 2008)

Board of Trustees Trustee Emeriti Officers & Directors Louise H. Bryson Lewis W. Bernard James N. Wood Chair President and John H. Biggs Chief Executive Officer Frances D. Fergusson John F. Cooke Patricia A. Woodworth Joanne C. Kozberg Vice President, Chief Financial Officer Ramon C. Cortines and Chief Operating Officer Paul LeClerc Lloyd E. Cotsen Stephen W. Clark Luis G. Nogales Vice President, General Counsel, Robert F. Erburu and Secretary Stewart A. Resnick Chairman Emeritus James M. Williams Neil L. Rudenstine John T. Fey Vice President, Chief Investment Officer, and Treasurer William E.B. Siart David I. Fisher Vice Chair Ron Hartwig David P. Gardner Vice President, Communications Mark S. Siegel Chairman Emeritus Thomas Gaehtgens Peter J. Taylor Gordon P. Getty Director, Research Institute Jay S. Wintrob Vartan Gregorian Michael Brand Vice Chair Director, Museum Agnes Gund James N.Wood Deborah Marrow Helene L. Kaplan Director, Foundation Jon B. Lovelace Timothy P. Whalen Chairman Emeritus Director, Conservation Institute

Herbert L. Lucas, Jr. Stuart T. Peeler Rocco C. Siciliano Jennifer Jones Simon J. Patrick Whaley John C. Whitehead Harold M. Williams President Emeritus

Blenda J. Wilson

60 The J. Paul Getty Trust J. Paul Getty Trust Financial Information

$6.4 $6.0 $5.6 $5.6 $5.2 $5.1 $4.9 $4.8 $4.4 $4.3

1999 2000 2001 2002 2003 2004 2005 2006 2007 2008

Endowment Value Amounts in billions

Footnote: Endowment Value is from Financial Statements and includes investments net of payables and receivables, investments loaned under a securities lending agreement, and it excludes investments whose use is limited. Statements of Financial Position

June 30, 2008 and 2007

(Amounts in thousands) 2008 2007

Assets Cash $ 288 307 Receivables: Investments 44,189 37,993 Interest and dividends 5,947 5,536 Other 2,130 4,013 Investments 5,738,151 6,100,045 Investments loaned under securities lending agreement 240,738 316,701 Investments whose use is limited 1,783 1,024 Collateral held under securities lending agreement 249,690 337,457 Property and equipment, net 1,355,651 1,401,475 Collections and other assets 1,886,685 1,804,760 $ 9,525,252 10,009,311

Liabilities and Net Assets Liabilities: Accounts payable $ 27,910 20,398 Payables on investment purchases 59,641 25,074 Accrued and other liabilities 130,946 134,534 Payable under securities lending agreement 249,690 337,457 Bonds payable, net of bond issue discount of $0 and $1,222 at June 30, 2008 and 2007 630,555 612,638 1,098,742 1,130,101

Net assets: Unrestricted 8,425,044 8,878,208 Temporarily restricted 916 677 Permanently restricted 550 325 8,426,510 8,879,210 $ 9,525,252 10,009,311

62 The J. Paul Getty Trust Statements of Activities

Years ended June 30, 2008 and 2007

(Amounts in thousands) 2008 2007

Change in unrestricted net assets: Revenues and other support: Sales and other income $ 15,635 16,819 Contributions 3,849 2,197 Investment income (loss): Interest and dividend income, net 74,334 77,180 Net realized and unrealized gain (loss) on investments (213,872) 1,062,456 Net investment income (loss) (139,538) 1,139,636 Net realized and unrealized loss on interest rate swap agreements (30,359) (2,906) Net assets released from restriction 393 693 Total revenues, support, and investment income (loss) (150,020) 1,156,439 Expenses: Program services: Museum 134,713 126,740 Research and library 69,158 63,702 Conservation 50,555 46,618 Education 8,900 9,246 Grants 36,557 27,776 Total program services 299,883 274,082 Supporting services: General and administrative 39,111 33,621 Total expenses 338,994 307,703 Pension and other post retirement plans adjustments 53,168 — Loss on debt extinguishment (17,318) — Change in unrestricted net assets (453,164) 848,736 Change in temporarily restricted net assets: Contributions 632 209 Net assets released from restriction (393) (693) Change in temporarily restricted net assets 239 (484) Change in permanently restricted net assets: Contributions 225 5 Change in net assets (452,700) 848,257 Net assets, beginning of year 8,879,210 8,030,953 Net assets, end of year $ 8,426,510 8,879,210

The J. Paul Getty Trust 63 Statements of Cash Flows

Years ended June 30, 2008 and 2007

(Amounts in thousands) 2008 2007

Cash flows from operating activities: Change in net assets Adjustments to reconcile change in net assets to net cash used in operating activities: $ (452,700) 848,257 Depreciation and amortization 48,230 47,780 Amoritization of bond discount 1,222 47 Net realized and unrealized (gain) loss on investments 213,872 (1,062,456) Net realized and unrealized loss on interest rate swap agreements 30,359 2,906 Noncash contributions of art (2,903) (965) Loss on disposition of property and equipment 5,998 1,668 Gain on disposition of collection items (66) (2,533) Pension related changes (22,907) — Contributions restricted for long-term investment (225) (5) Changes in operating assets and liabilities: Interest and dividends receivable (411) 306 Other receivables 1,883 (1,701) Other assets 1,453 (2,530) Accounts payable 7,512 (5,417) Accrued and other liabilities (6,869) 15,662 Net cash used in operating activities (175,552) (158,981) Cash flows from investing activities: Proceeds from sales of investments 4,835,136 4,293,603 Purchases of investments (4,583,539) (4,089,739) Purchases of collection items (81,351) (27,266) Proceeds from the sale of collection items 66 3,388 Purchases of property and equipment (8,454) (17,425) Proceeds from sale of property and equipment 35 103 Net cash provided by investing activities 161,893 162,664 Cash flows from financing activities: Proceeds from bonds payable 540,950 — Payments on bonds payable (524,255) (3,645) Payments on termination of swap agreement (3,280) — Contributions restricted for long-term investment 225 5 Net cash provided by financing activities 13,640 (3,640) Net (decrease) increase in cash (19) 43 Cash, beginning of year 307 264 Cash, end of year $ 288 307 Supplemental disclosure of cash flow information: Cash paid during the year for interest $ 21,887 29,598

64 The J. Paul Getty Trust The J.J. PaulPaul Getty Getty Trust Trust

1200 Getty Center Drive, Suite 403 Los Angeles, CA 90049-1691 www.getty.edu

Visit www.getty.edu to order additional Published by the J. Paul Getty Trust Addresses copies of this report and to find out more about the Getty. Maureen McGlynn Visit the Getty online at www.getty.edu Assistant Director, Communications Maria Velez The J. Paul Getty Trust Creative Services Manager 1200 Getty Center Drive, Suite 403 Los Angeles, CA 90049-1691 Jessica Robinson Tel: 310-440-7360 Project Management Coordinator Fax: 310-440-7722 Kim Sadler [email protected] Project Management Coordinator Anita Keys The J. Paul Getty Museum Senior Production Coordinator, Getty Publications 1200 Getty Center Drive, Suite 1000 Los Angeles, CA 90049-1687 With acknowledgements to: Tel: 310-440-7330 Fax: 310-440-7751 James N. Wood President and CEO The Getty Research Institute Stacey Byers 1200 Getty Center Drive, Suite 1100 Executive Assistant, Office of the President Los Angeles, CA 90049-1688 Tel: 310-440-7335 Kristen Warren Fax: 310-440-7778 Manager, Executive Projects and Board Specialist, Office of the President The Getty Conservation Institute Ron Hartwig 1200 Getty Center Drive, Suite 700 Vice President, Communications Los Angeles, CA 90049-1684 Mary Flores Tel: 310-440-7325 Manager, Communications Fax: 310-440-7702 Michael Brand Director, The J. Paul Getty Museum The Getty Foundation 1200 Getty Center Drive, Suite 800 John Guirini Los Angeles, CA 90049-1685 Assistant Director, The J. Paul Getty Museum Tel: 310-440-7320 Amra Schmitz Fax: 310-440-7703 Project Specialist, The J. Paul Getty Museum For information on grant policies and Thomas Gaehtgens procedures, visit www.getty.edu/grants Director, The Getty Research Institute or write to the Getty Foundation. Katja Zelljadt Principal Research Specialist, The Getty Research Institute All works of art and archival materials illustrated are in the collections of the Liz McDermott J. Paul Getty Museum (JPGM) or the Administrative Assistant, The Getty Research Institute Getty Research Institute (GRI) unless Timothy P. Whalen otherwise indicated. Director, The Getty Conservation Institute Jemima Rellie Assistant Director, The Getty Conservation Institute Design: Guerard Design Office Typefaces: Adobe Garamond Pro and LTSyntax Jeffrey Levin © 2009 J. Paul Getty Trust Editor, The Getty Conservation Institute Deborah Marrow Director, The Getty Foundation Kathleen Johnson Principal Project Specialist, The Getty Foundation

Thanks to colleagues in the Communications department, and the rest of the Getty staff who assisted with this publication.

Cover: From Top: Jeff Cain. Stills from Radar Balloon, 2005. Single-channel video, color, sound, 7:11. Courtesy of the artist. © Jeff Cain

Nancy Buchanan. Still from Tech Knowledge (detail), 1984. Single channel video, color, sound, 16:00. Long Beach Museum of Art Video Archive, Research Library, the Getty Research Institute. Transferred by the Long Beach Museum of Art Foundation and the City of Long Beach, 2005. © Nancy Buchanan

The J. Paul Getty Trust 65 The J. Paul Getty Trust

1200 Getty Center Drive, Suite 403 Los Angeles, CA 90049-1691 www.getty.edu