September December 2017 IMPRESSIONS BOARD OF TRUSTEES Tom Frost Chairman Toby Calvert President Barbie O'Connor Vice President Lucille Oppenheimer Travis Secretary Kirk Safell Treasurer

John W. Feik Don Frost From the Director Walton Vandiver Gregory Sarah E. Harte Harmon W. Kelley, MD John C. Kerr Shon J. Manasco J. David Oppenheimer This fall, the McNay celebrates the power of the visual arts to enlighten and transform communities Brad Parman in San Antonio and across the globe. Chuck Ramirez: All This and Heaven Too captures the Alamo Carolyn Jeffers Paterson City’s rich history and heritage through portraits of everyday objects: produce, purses, and piñatas. Harriett Romo, PhD George F. Schroeder His poignant photographs speak to local beauty, identity, even mortality. In San Antonio, Chuck Amy Stieren Smiley helped friends and fans make sense of our city and find their very special place within it.

Chuck was not alone. Art’s ability to engender empathy—the power to see, feel, and better understand the world around us through an artist’s creative expression—is also the focus of two global exhibitions at the McNay: Across Borders: Crosscurrents in American Art and Transnational: Migration, Memory, Home. Thanks to a remarkable roster of international modern and contemporary

Opposite page: masters, we experience Elizabeth Catlett’s Mexico City; José Clemente Orozco’s Harlem; and Antonio Martorell’s New York City and Ponce, Puerto Rico. And thanks to the exhibition Behind the Screen: Chuck Ramirez, Courtesy Artpace, San Antonio, Texas Tim Burton’s The Nightmare Before Christmas, we are immersed in Burton’s brilliant imagination. Honoré Daumier, Rue These visionaries defined artistic excellence in their communities—many continue to define it there Transnonain (detail), 1834. today—but artists have been effecting change for centuries, as seen in our graphic arts presentation Lithograph. Collection of the McNay Art Museum, Gift of the Art & Activism: Political Prints by Goya, Orozco, and Shahn. Friends of the McNay. This season, the McNay also welcomes three new members to the Museum’s leadership team: Gunther Gerzso, Na Bolom (detail), 1993. Aquatint. Dianna Hopkins, Head of Development; Terry McDevitt, Head of Communications and Marketing; Collection of the McNay Art and Heather Ryniker, Head of Museum, Gift Harriett and Ricardo Romo. Finance. Together with our Tim Burton, Lock, Shock, entire dedicated staff and and Barrel in the Armory (or devoted Trustees, we will Clubhouse) from The Nightmare Before Christmas, 1993. Painted continue making sense of this wood, metal, plastic, paper, and modern, hyperkinetic, global styrofoam, with fabric and found society through the lens of the objects. Collection of the McNay Art Museum. Gift of Robert L. B. world’s great masters. Tobin. © Disney © Tim Burton Georges Wakhévitch, Scene design for El Amor Brujo (Bewitched Love), ca. 1954. Watecolor, ink, and graphite on board. Collection of the McNay Art Museum. Gift of The Tobin Endowment. Richard Aste Director Richard Aste, Director, and Toby Calvert, President of the Board of Trustees

McNay Art Museum 6000 North New Braunfels San Antonio, Texas 78209 210.824.5368 phone mcnayart.org The McNay Art Museum engages a diverse community in the discovery and enjoyment of the visual arts. EMERITUS TRUSTEES Curt Anastasio Laura Bertetti Baucum Chuck Ramirez Steve Blank J. Bruce Bugg Jr. All This and Heaven Too...... 4 Jonathan C. Calvert Francisco G. Cigarroa, MD Barbara Seale Condos E. H. Corrigan Raye B. Foster Betty Murray Halff Marie M. Halff Joan Buzzini Hurd Jane Stieren Lacy Peggy Pitman Mays Art & Activism Bill McCartney Political Prints by Goya, Orozco, and Shahn...... 6 Charline McCombs Connie McCombs McNab Allan G. Paterson Jr. Ethel Thomson Runion Thomas R. Semmes Alice C. Simkins Joe Westheimer

HONORARY TRUSTEE Across Borders Mrs. Nancy B. Negley Crosscurrents in American Art...... 6

HOURS Su Noon–5 pm M Closed Tu 10 am–4 pm W 10 am–4 pm Behind the Screen Th 10 am–9 pm ...... 7 F 10 am–4 pm Tim Burton's The Nightmare Before Christmas Sa 10 am–5 pm Closed New Year’s Day, July 4, Thanksgiving Day, and Christmas Day. During Daylight Saving Time, grounds are open 7 am–7 pm. During Standard Time, grounds Stage Frights are open 7 am–6 pm. Madness, Monsters, Mayhem...... 7 ADMISSION During Chuck Ramirez: All This and Heaven Too, September 14, Rashaad Newsome: KNOT 8 2017–January 14, 2018: McNay Members FREE Transnational: Migration, Memory, Home 8 Children 12 and under FREE Collection Focus: Pablo Picasso’s Woman with a Plumed Hat 9 Teens FREE Adults $20 All-in for Education 10 Students with I.D. $15 Seniors (65+) $15 A Safe, Bully-free Zone! 12 Active Military $15 Transforming the Community with Your Support 13 Admission price includes entrance to Main Collection Gifts 14 Galleries and Chuck Ramirez. On H-E-B Thursday Nights (4−9 pm) and First Sundays of the Month, entrance to Main Picasso Goes A Bully-free Your Support Collection Galleries is FREE. FREE FIRST SUNDAYS is made to Spain Zone! Transforms Lives possible by generous support from Dickson-Allen Foundation. FREE admission for teens 19 and under provided by the John L. Santikos Charitable Foundation of the San Antonio page 9 page 12 page 13 Area Foundation. 3 September 14, 2017 | January 14, 2018

At the time of his death in 2010 in a bicycling accident, the art of nine decorated Christmas trees created for his friend and fellow San Antonio’s Chuck Ramirez was making an international impact. artist Linda Pace. Of particular significance is the re-creation of After years of working in commercial design for the brands of Ramirez’s 2002 Artpace residency exhibition, Bean & Cheese—a the H-E-B supermarket company, Ramirez established an artistic precise replication of the size of Artpace’s gallery, with the works practice that allowed him to focus on and develop many series installed just as they appeared there 15 years ago. It reimagines a of photographs on various themes. Most of these photographs milestone in the artist’s development, and offers new generations present familiar, everyday objects—hospital flower arrangements, of viewers insight into Ramirez’s more youthful efforts. open women’s purses, jam-packed trash bags—clearly captured in great detail against a white void. Some of these objects are This exhibition is organized by the McNay Art Museum. Lead funding for Chuck Ramirez: stand-ins that serve as portraits of those in Ramirez’s wide circle All This and Heaven Too is most generously given by the Elizabeth Huth Coates Charitable Foundation of 1992; The Brown Foundation, Inc.; John L. Santikos Charitable Foundation of social and professional friends and acquaintances; others are Fund of the San Antonio Area Foundation; National Endowment for the Arts; Rick Liberto; symbols for consumption, transience, and mortality. Regardless Linda Pace Foundation; Diane and Bruce Halle Foundation; Capital Group Companies Charitable Foundation; and Carolyn and Allan Paterson. of subject, Ramirez’s images are devoid of human inhabitants, yet Additional support is provided by Chris Cheever; Mitcham Partners, LLP; Smothers filled with a deep and palpable humanity. Foundation; Patricia and Charles Marcus; Patricia and Juan Ruiz-Healy; Katy and Ted Flato; Christopher C. Hill; Penelope Speier and Sonny Collins; the Director’s Circle; and This exhibition is the first to present a comprehensive view of Exhibition Sponsors. Chuck Ramirez’s art. The McNay’s survey includes not only the Above: Chuck Ramirez, Dia de los Muertos, 2003. Seven Days series. Digital print. Courtesy crisp photographs of single objects on white backgrounds for Ruiz-Healy Art, San Antonio, Texas © Estate of Chuck Ramirez. which Ramirez is particularly well known, but also his early, more Adjacent: Chuck Ramirez, Louis (Linda) (detail), 2005. Purse Portraits series. Digital print. Courtesy Ruiz-Healy Art, San Antonio, Texas © Estate of Chuck Ramirez. personal imagery; examples of video and installation work; and

FOTOSEPTIEMBREUSA

EXHIBITION CATALOGUE AVAILABLE IN THE MUSEUM STORE

The accompanying publication Chuck Ramirez: All This and Heaven Too places Ramirez’s art within the broader context of contemporary photography through two essays. Curator and San Antonio native Edward Hayes surveys Ramirez’s art as filtered through his biography and personal narrative. Writer and curator Elizabeth Ferrer discusses Ramirez in the context of Latino art. McNay Head of Curatorial Affairs, René Paul Barilleaux enhances the publication with additional insights. McNay Members $22.50 | nonmembers $25

4 5 September 14, 2017 | January 14, 2018 October 26 | December 24, 2017

Art & Activism Across Borders Political Prints by Goya, Crosscurrents in American Art Orozco, and Shahn

A phrase often heard throughout Latin America is Somos todos Americanos: “We are all Americans.” It points This exhibition highlighting the work of some of to the fact that whether we are citizens of the United the most significant activist printmakers features the States, Mexico, or Brazil, we all live on the American epitome of socially aware printmaking: a selection continents. This fact gained great importance in the art from Francisco Goya’s series Los desastres de la Guerra world of Mexico in the first few decades after the Mexican (Disasters of War) (1810–1820). Goya had witnessed Revolution, which ended in 1920. Artists came from far Napoleon’s campaign to conquer the Iberian Peninsula; and wide to see the miracle that was Mexico’s muralist although he begins by honoring the heroism of the movement, and some artists visiting from the U.S. stayed. Spanish, by the end he condemns everyone, Spanish The work of African-American artist Elizabeth Catlett and French, for the ravages they inflicted on the people. (1915–2012) epitomizes the era of these expatriate artists. Born in the Washington, D.C., area, Catlett traveled to Disasters of War had a profound impact on 19th-century Mexico in the 1940s and discovered a world in which the French protest prints such as Honoré Daumier’s color of her skin mattered less than it did back home. She Rue Transnonain, le 15 Avril 1834 (1834), a grisly eventually married a Mexican artist, Francisco Mora, had image depicting an innocent family slaughtered by three sons, and became a naturalized Mexican citizen. government forces attempting to quell a revolt. The Catlett and her art belong to both Mexico and the U.S., image caused such a public outcry that the stone used and make a great case for cultural transparency and to print it was confiscated, and all prints that could be openness across borders. found were destroyed. This exhibition highlights common trends in the arts of The exhibition also includes images of the aftermath of the Mexico and the U.S., from the social realism of Marion Mexican Revolution by José Clemente Orozco. Like Goya’s, Greenwood and José Clemente Orozco, through the Orozco’s lithographed images of war depict not heroism international modernism of Alice Mason and Gunther but sadness and condemnation, and are among the most Gerszo, to the multifaceted world of contemporary art, beautifully drawn of all Mexican modernist prints. in which successful artists such as photographer Graciela In the 20th century, few printmakers were as socially and Iturbide are able to work and exhibit all over the world. politically aware as Ben Shahn. His This Is Nazi Brutality This is the public’s first opportunity to discover art that (1942) helped to call the world’s attention to the Nazis’ is new to the McNay, including Catlett’s iconic linocut massacre of a small Czech village—an atrocity so depicting an African-American sharecropper, and shocking that it galvanized the Allies against Germany. It Gerszo’s monumental aquatint Na-Bolom (1993). is a great example of the power of printmaking.

This exhibition is organized by the McNay Art Museum. Lead funding is most This exhibition is organized by the McNay Art Museum. generously given by the Elizabeth Huth Coates Exhibition Endowment and The Elizabeth Huth Coates Exhibition Endowment and the Arthur and Jane the Arthur and Jane Stieren Fund for Exhibitions. Stieren Fund for Exhibitions are generously funding this exhibition. José Clemente Orozco, Vaudeville in Harlem (detail),1928. Lithograph. José Clemente Orozco, Women (detail),1935. Lithograph. Collection of the Collection of the McNay Art Museum, Museum purchase with funds from McNay Art Museum, Gift of Robert L. B. Tobin. © José Clemente Orozco / Mr. and Mrs. Frederic J. Oppenheimer. © José Clemente Orozco / Artists Artists Rights Society (ARS), 2017. New York / SOMAAP, Mexico. Rights Society (ARS), 2017. New York / SOMAAP, Mexico.

6 September 28 | December 31, 2017 September 28 | December 31, 2017

Behind the Screen Stage Frights Tim Burton’s Madness, Monsters, Mayhem The Nightmare Before Christmas

As days grow shorter, Stage Frights explores what happens when the house goes dark. From its origins “Everybody scream!” Jack Skellington, Pumpkin King of in sacred ritual, theatre has always expressed the Halloween Town, and other character puppets and set supernatural. Gods have withdrawn from the stage, pieces from The Nightmare Before Christmas, return to but magic and madness, ghosts and ghouls remain. We the McNay galleries in an immersive new installation continue to look to performance to explore the demons of works from the Tobin Collection of Theatre Arts. The and dreams that torment and inspire us, as individuals product of Tim Burton’s B-movie–steeped imagination, and societies. this 1993 tour de force of stop-motion animation has been a cult favorite for three generations. Stage Frights features scene and costume designs for plays, operas, and ballets by writers and composers— Like Burton, who originally sketched the film when from Shakespeare to Lorca to Anne Rice’s adaptations; he was an alienated teenager living in the shadow of from Wagner to Stravinsky to Scott Joplin. Drawing on Disney Studios, many Museum visitors will identify diverse folklore traditions and popular-culture forms, with the lanky antihero. Echoing Burton’s own scene and costume designs entice both adults and creative impulse, Jack attempts to make his gloomy, children to explore the dark side of their imaginations gothic-towered world brighter; the result is a mash-up and the world. of holidays, complete with tombstones and tinsel.

The exhibition provides a rare opportunity to discover This exhibition is organized by the McNay Art Museum and is a program of how camera crews shot 24 stills for each second of the Tobin Theatre Arts Fund. film. Full of human warmth, verbal and visual wit, and Georges Wakhévitch, Scene design for El Amor Brujo (Bewitched Love), ca. 1954. Watecolor, ink, and graphite on board. Collection of the McNay Art technical virtuosity, Behind the Screen should win new Museum. Gift of The Tobin Endowment. fans for Tim Burton’s The Nightmare Before Christmas and for the McNay’s theatre arts collection.

This exhibition is organized by the McNay Art Museum and is a program of the Tobin Theatre Arts Fund. Tim Burton, Jack Skellington and his dog, Zero, in Jack's Tower from The Nightmare Before Christmas, 1993. Painted wood, metal, plastic, paper, and styrofoam, with fabric and found objects. Collection of the McNay Art Museum. Gift of Robert L. B. Tobin. © Disney © Tim Burton.

7 August 8 | December 31, 2017

August 29 | December 31, 2017 Rashaad Newsome KNOT Transnational Migration, Memory, Home Combining baroque grandeur, hip-hop swagger, and black and LGBTQ subcultures, Rashaad Newsome creates evocative works of art that highlight fantasy, capitalist obsessions, and systemic oppressions. The opulence Works from the McNay’s collection and on loan that of fashion magazines and society culture is subverted explore themes of immigration, memory, and the through the vocabulary of voguing, the New York meaning of home complement La Playa Negra I (Tar City ballroom scene, and New Orleans bounce music. Beach I), a woodcut print by Antonio Martorell. Martorell Newsome applies a keen awareness of art-historical uses imagery that relates to his childhood memories and alternative cultural sources to offer pointed of living in Puerto Rico and hearing stories about or commentaries on contemporary culture and identity reading correspondence between his family there, and politics. On the McNay’s AT&T Lobby wall, the artist those who had immigrated to New York. The exhibition presents KNOT, which comprises his hypnotic video of this print throughout the fall marks a partnership KNOT (2014) floating over his striking Jungle Gardenia– between the McNay and the Puerto Rican Heritage print wallpaper. Society of San Antonio.

The Elizabeth Huth Coates Exhibition Endowment and the Arthur and Jane The Elizabeth Huth Coates Exhibition Endowment and the Arthur and Jane Stieren Fund for Exhibitions are generously funding this exhibition. Stieren Fund for Exhibitions are generously funding this exhibition. Rashaad Newsome, still from KNOT, 2012. Single-channel video with Antonio Martorell, La Playa Negra I (Tar Beach I) (detail), 2010. Woodcut. sound. Courtesy of the artist and De Buck Gallery, New York, New York. Collection of The University of Texas at San Antonio Art Collection. © Rashaad Newsome. © Antonio Martorell.

8 Collection Focus Pablo Picasso’s Woman with a Plumed Hat Travels to Spain

One of Marion Koogler McNay’s original bequests, Pablo Picasso’s Francisco Calvo Serraller and Paloma Alarcó argue that, through Woman with a Plumed Hat (1901) is traveling to Madrid, Spain, Lautrec’s work, Picasso discovered the multifaceted nature of where it will be part of the exhibition Picasso/Lautrec, on view modern society, which influenced his own understanding of art from October 17, 2017 through January 21, 2018. The exhibition and led to a new creative vision. Picasso’s Woman with a Plumed represents the first comparative study of the work of Henri de Hat will be back on view at the McNay in the spring of 2018. Toulouse-Lautrec (1864–1901) and Pablo Picasso (1881–1973). Although the two painters never met, exhibition curators Pablo Picasso, Woman with a Plumed Hat (detail), 1901. Oil on canvas. Collection of the McNay Art Museum, Bequest of Marion Koogler McNay. © Estate of Pablo Picasso/ Artists Rights Society (ARS) 2017, New York.

9 All-in for Education

As is too often the case with educators, those intrepid and " [the Museum] is as much in resourceful folks whose work is immeasurably important for our society and our institutions, we probably don’t spend enough the business of education time singing the praises of the McNay’s Education Department. So let’s take a moment to sing.

as of the visual arts." The Education Department has long been a cornerstone of the Museum’s success, and of its value to the San Antonio —RICH ASTE, DIRECTOR community at large. But ever since Richard Aste took the reins as Director nearly a year ago, the department has become the true center of the execution of the McNay’s mission and vision. Aste, who believes that the Museum “is as much in the business of education as of the visual arts,” also feels that the Education

10 Department “must have a voice in all top-level discussions and decisions at the Museum.”

From play-centric art activities for toddlers to school tours for all grade levels, from workshops for area educators to lectures and presentations by visiting experts and artists, from casual tours of the permanent collection to in-depth explorations of temporary exhibits, and so much more: our outstanding education team continually finds ways to get more—and more diverse— groups into the Museum and, once they’re here, to engage and enrapture them.

old-fashioned personal invitation. While out in the community, as they often are—at schools, galleries, lectures, etc.—education team members are now encouraged to hand out as many free Museum passes as they see fit. “That invitation is powerful,” says Carey—it shows that we really want that person, that family, in our space. It goes a long way toward proving that the McNay really is for everyone—no exceptions.

With that, the education team plays an integral part in reinvigorating the Museum’s quest to connect art to real people’s real lives, and to make all Museum exhibitions and events increasingly relevant to the community the McNay is so fortunate to serve.

So far in the 2016–2017 season, Education Department events have hosted a staggering 95,941 visitors (including some 16,000 students on school tours), many of whom are not (yet!) Members. A few months ago, the department’s Teen Night, spearheaded this year by staffer and artist Jenelle Esparza, drew 900 high school students—nearly twice as many as attended last year’s event.

All in all, the McNay is in a season of joyful growth. While there is still hard work to be done to create the McNay Art Museum of the future envisioned by Richard Aste, we can rest assured that Head of Education Kate Carey, whose department includes five the Education Department will continue to play an important role full-time staff members, 91 active docents, and 75 emeritus in fostering a safe space in which all of San Antonio can engage docents, and 30 Teen Art Guides, says that Aste’s focus on the with world-class, locally relevant art and find respite, inspiration, importance of the Education Department has included a priority even transformation. of “getting out into the community more.” She reports that this inclusiveness has already begun to pay off: “We always have Major support of the McNay’s educational programs is provided by the Semmes good attendance [at educational events],” she says, but now Foundation, Inc., the Valero Energy Foundation, the Mays Family Foundation, and the F.B. Doane Foundation. Additional funding is provided by the Valero Benefit for Children, that attendance is beginning to more truly “represent the whole Rackspace, the Jack H. and William M. Light Charitable Trust, the Faye L. and William L. demographic of San Antonio.” Cowden Charitable Foundation, and the Director’s Circle.

One of the seemingly simple yet hugely effective strategies that the education team has begun to employ much more often is the

11 A Safe, Bully-free Zone!

This fall, McNay staff and docents proudly wear their new honor of 16-year-old David Molak, of San Antonio, Texas, who “no bullying” enamel pins, to show our commitment to tragically took his own life in January 2016 after extensive community impact. Visitors 19 and under receive as their cyber-assisted bullying. admission ticket a “no bullying” sticker, to remind all that the McNay is a safe place for the discovery and enjoyment of the The David’s Legacy Foundation is dedicated visual arts. to ending cyber-assisted bullying by educating communities about the harmful The enamel pins are sold in the Museum store for $9 for McNay effects of cyber abuse, providing support for bullying victims, Members and $10 for nonmembers. With 10% of the proceeds supporting legislation that prohibits the cyberbullying of minors, from these sales we proudly support the David’s Legacy and promoting kindness, character, and empathy among today’s Foundation, a 501(c)(3) nonprofit organization established in youth through interactive programs.

12 Transforming the Community with Your Support

Each day, lives are transformed through experiences at the McNay tax-deductible gift, secure in the knowledge that it will affect Art Museum. Even a single opportunity at the McNay can boost the lives of many in our community. Simply mail a check payable the academic achievement and transform the life of a young to the McNay Art Museum, make a secure online donation at person in our community. Our efforts to provide a safe place for mcnayart.org/support, or call 210.805.1772. the discovery and enjoyment of the visual arts are exemplified when all ages and demographics come together to experience the breadth of human expression. Visitors learn how to express MAKE YOUR DONATION GO TWICE AS FAR! themselves, take pride in their heritage, and are motivated to Many companies match donations made by their achieve academic success. All this happens because of supporters employees to the McNay Art Museum. To make your like you, and your belief in the work we do at the McNay. donation even more transformative, ask your company As we look forward to the future, we need your support about its matching-gift policy. to continue transforming lives. Please consider making a

13 Gifts

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Cover: Chuck Ramirez, Orange Broom (Escoba Anaranjada Vieja), 2007. Brooms series. Digital print. Courtesy Ruiz-Healy Art, San Antonio, Texas © Estate of Chuck Ramirez.

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