MARCH THROUGH SEPTEMBER a Letter from the Director

MARCH THROUGH SEPTEMBER A letter from the director

In 2014, the Hirshhorn will celebrate its fortieth anniversary. Many of these elements are already an intrinsic part of the As we approach this signifi cant milestone, I am pleased to Hirshhorn’s work. Our ongoing commitment to research launch a series of letters informing you about a range of excit- and substantive exhibitions is evidenced by the opening of ing initiatives now underway to mark this event. The core of Yves Klein, the fi rst US retrospective in nearly thirty years this effort is a recently adopted plan outlining seven priorities of the career of one of the most infl uential artists of the for the Museum in the coming years that together will make twentieth century. And the depth, breadth, and strength of the Hirshhorn not only a renowned museum of modern and our collection is central to current exhibitions on renowned contemporary art, but a truly international resource for the art abstract artist and educator Josef Albers—the Hirshhorn’s and ideas of our time. holdings are among the largest and most comprehensive in the world—as well as an exploration of artists’ diverse Briefl y, the seven priorities are: approaches to color and abstraction in ColorForms and the latest Directions project featuring cutting-edge new media a fundamental commitment to research and work by Irish artist John Gerrard. greatly heightened focus on education for all audiences and generations that enhances our role in the Other aspects represent new areas of emphasis, crucial to Smithsonian’s knowledge-based mission; a twenty-fi rst-century museum. In our approaches to our physical, digital, and educational presence, the Hirshhorn an emphasis on thematic content in exhibitions will be developing ways of more broadly connecting to and and programming dealing with key issues in art engaging with its local, national, and international communi- and society; ty to explore of the art, ideas, and issues of today. We look forward to having you with us in the exciting times ahead. a forward-thinking approach to collecting and conserving works of art;

a revitalization of the Museum’s public spaces as gathering places and educational centers; Richard Koshalek a deployment of state-of-the-art technologies Director connecting our audiences on-site and online;

the continual, direct engagement of artists in the life of the Museum and its programs;

exciting new collaborations with other cultural and educational institutions, nationwide and internationally.

General Information The Hirshhorn is located on the Administrative Ofﬁ ces: Admission is free. To subscribe to the National Mall on Independence Avenue 202-633-4674 eNews, e-mail [email protected]. at Seventh Street, SW, Washington, DC. For up-to-date information about tours The nearest Metro stops are L’Enfant Communications: and program listings, please call 202- Plaza (Maryland Avenue/Smithsonian 202-633-1618 633-1000 or visit our website: hirsh- Museum exit) and Smithsonian. horn.si.edu. Development/Membership: Contact 202-633-2836 Hours and Location Information: Open daily except December 25 202-633-1000 This publication is a beneﬁ t of Museum: 10 am to 5:30 pm membership in the Hirshhorn Annual Plaza: 7:30 am to 5:30 pm Programs/Tour Information: Circle. Join today by visiting Sculpture Garden: 7:30 am to dusk 202-633-EDUC (202-633-3382) hirshhorn.si.edu or call 202-633-2836. Photo credit A Photo credit B Photo credit B

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“Commodolore ea faccum dolutat autat voluptat. Em verat nibh et nit exero odolore ex et, Gait ipsum dit, qui te doloreetue min henismolorer sequis ad ming ero conulla consequat aliquatin henibh eugiat doloborerat.” — from the Wash- ington Post JOSEF ALBERS: INNOVATION AND INSPIRATION February 11– April 11, 2010

In a career that spanned more than as well as the primary colors red, yel- By the time Albers became chair- fi fty years, Josef Albers (American, b. low, and blue, which he hoped would be man of the art department at Yale Uni- Bottrop, Germany, 1888 1976) not only commercially manufactured in laminated versity in 1950, he was well known as established his own artistic prominence glass for use as windows in buildings. an abstract painter and color theorist. through his exploration of abstract form When the Bauhaus closed after the Believing that colors have no inherent and color, but also infl uenced genera- rise of the Nazi regime in 1933, Albers emotional associations, he emphasized tions of European and American artists and his wife, renowned fi ber artist the subjectivity of visual perception. and designers through his innovative Anni Albers, fl ed to the United States. Restricting himself to a standardized teaching methods. There, he was recruited to head Black format of only a few superimposed Albers began his career in the early Mountain College, an experimental squares, Albers generated innumerable 1920s at the revolutionary Bauhaus new school in North Carolina, where he studies of the interactions of multiple school in Weimar, Germany, which cham- taught a modifi ed Bauhaus curriculum colors until his death in 1976. pioned vanguard aesthetics and promot- for fi fteen years. An enthusiastic moti- Josef Albers: Innovation and Inspi- ed ways to improve modern life through vator, Albers shared his experience with ration presents sixty works from the pragmatic art and design. He created materials and design before gradually Museum’s extensive, world-renowned bold compositions in black and white, focusing on color. collection; many of these works have

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never been on view before. The exhibition is enhanced by key loans from the Josef and Anni Albers Foundation. Documentary photographs, a video, and examples of his teaching aids offer insights into Albers’ artistic endeavors, process, and concepts. The exhibition concludes with a display of works by artists who studied under, worked with, or directly inspired Albers, notably Anni Albers, Richard Anuskiewicz, Ilya Bolotowsky, Burgoyne Diller, Eva Hesse, Jacob Lawrence, Robert Rauschenberg, and Donald Judd.

KLEIN September 12,2010 May 20– FULL POWERS WITH THEVOID, YVES KLEIN:

Yves Klein making Fire Paintings at the Centre d’Essais du Gaz de France, Paris, 1961, Yves Klein Archives

“ What he was trying to Yves Klein (French, b. Nice, 1928– Self-identifi ed as “the painter of establish through the trace 1962) created what he considered his space,” Klein sought to achieve im- fi rst artwork when he signed the sky material spirituality through pure color of fi re…was the ‘presence above Nice in 1947. This simple yet (primarily an ultramarine blue of his own of absence,’ the mark of bold statement encapsulates the es- invention—International Klein Blue), sence of the artist’s goal—to capture inaugurating his defi ning series of mono- life that is diffused energy.” and convey the immaterial. During chromes in 1957. He even went so far – Pierre Restany an intense, prolifi c career that lasted in his renowned 1958 exhibition of “the only from 1954 to 1962, when he Void” to present white galleries emptied suffered a heart attack at the age of of all artworks. Among Klein’s best- 34, Klein took the art scene by storm known works are the Anthropometries, with his experiments in painting, begun in 1958. Under his direction, sculpture, performance, photography, nude female models were smeared with music, theater, fi lm, architecture, his ultramarine blue and used as “living and theoretical writing. brushes” to make body prints on pre-

hirshhorn.si.edu 7

Yves Klein, TITLE Date Yves Klein Archives

Yves Klein, Do-Do-Do, 1960, Yves Klein Archives

pared canvas. The resulting images are sential to all of his art. not only likenesses of the models but The artist’s diverse body of work also represent their temporary physical represents a pivotal transition from presence. modern art’s concern with the mate- In the late 1950s, but most notably rial object to contemporary notions beginning in 1961, Klein began literally of the conceptual nature of art and is to use fi re, which he considered “the informed by Klein’s study of the mysti- universal principle of expression,” as cal sect Rosicrucianism, philosophical part of his creative process. His fi re and poetic investigations of space and paintings, in which fi re either replaced science, and the practice of Judo, which or was combined with paint, embody he described as “the discovery of the the ideas of process, transformation, human body in a spiritual space.” creation, destruction, dissolution, and The fi rst major retrospective of the elemental cosmology that were so es- artist’s work in the US in nearly thirty Yves Klein, TITLE While working on my paintings in my studio I sometimes used Date Yves Klein Archives sponges. Evidently, they very quickly turned blue! One day I perceived the beauty of the blue in the sponges; this working tool all of a sudden became a primary medium for me. The sponge has that extraordinary capacity to absorb and become impregnated with any fl uid, which was naturally very seductive to me.

years, Yves Klein: With the Void, Full Minneapolis, MN. Major exhibition fund- Powers features examples from all of ing is provided by The Andy Warhol Foun- Klein’s major series as well as selec- dation for the Visual Arts, with generous tions of his lesser-known gold and pink assistance from Martha and Bruce monochromes, sponge reliefs, “air Atwater, Judy Dayton, and Constance architecture,” and immaterial works, but R. Caplan, and additional catalogue also foregrounds the artist’s process support from Sotheby’s and L&M Arts and conceptual projects through a range representing the Estate of Yves Klein, of ephemera, including sketches, photo- United States. graphs, letters, and writings. Yves Klein is co-organized by the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Wash- ington, DC, and the Walker Art Center, hirshhorn.si.edu 9 Wolfgang Laib, COLORFORMS Pollen from Hazelnut, 1998–2000 James Turrell, March 8, 2010– Milk Run, 1996 Olafur Eliasson, January 2011 Round Rainbow, 2005 Anish Kapoor, At the Hub of Things, 1987

All works from the Hirshhorn’s collection.

A fi eld of yellow hazelnut pollen that Gallery’s renowned Mark Rothko hold- appears to fl oat just above the ground. ings, date from the post-war era to the A gallery with its darkness penetrated present and demonstrate color’s inimita- only by red, blue, and green fl uorescent ble capacity to evoke spatial structures light that at once defi nes and challenges as well as more elusive effects. perception. Projected expanses of ever- Throughout the history of Western art, changing color and blackness that yield from the lyrical tones of the fourteenth- a “fl icker” effect. Although dramatically century Sienese painter Duccio to the different in aesthetics and composition, bold, unnaturalistic hues of the Fauves, these works by Wolfgang Laib, James German Expressionists, and beyond, Turrell, and Paul Sharits, respectively, color has long been artists’ primary share a mesmerizing blend of color and means of emotional and symbolic ex- abstract form. These pieces, along with pression. ColorForms presents some of a linear yarn sculpture by Fred Sand- the diverse ways that contemporary art- back, a prismatic light installation by ists, freed from the limits of representa- Olafur Eliasson, a spherical sculpture by tion and empowered by an array of new Anish Kapoor, and luminous paintings by media, deploy abstract form to explore Mark Rothko, come together in Color- color’s evocative possibilities, from the Forms to explore the ways in which color purely optical to the metaphysical. remains an essential tool for artists, regardless of medium. This selection of artworks from the Hirshhorn’s collection, along with several paintings on loan from the National BLACK BOX: CHRIS CHONG CHAN FUI: BLOCK B April 19– August 1, 2010

A motionless camera watches night and special effects or manipulated lighting, the artist’s imagination, raising ques- day as dramas unfold on the various as if it is a documentary. Voice-overs, tions about surveillance, voyeurism, fl oors of a massive apartment complex, which seem to correlate with the diverse and authenticity. Chong has also cre- home to Indian expatriates working in scenarios playing out on the building’s ated feature-length fi lms, and his most Malaysia, in BLOCK B, 2008, by Chris many terraces, act as the aural equiva- recent project, HEAVENHELL, 2009, Chong Chan Fui (Malaysian, b. Borneo, lent of a zoom shot, focusing viewers’ an audio-visual installation based on 1982; lives and works in Kuala Lum- attention on realistic details. Ultimately, Akira Kurosawa’s fi lm High and Low, pur). The fi lm, which has won awards at however, it remains unclear whether the 1963, premiered last fall at the Inter- several international fi lm festivals, re- narration is an authentic aspect of the national Festival of Arts and Media in cords this scene uninterrupted, without fabric of daily life or derived solely from Yokohama, Japan. hirshhorn.si.edu 11 PROGRAMS

Friday Gallery Talks Meet the Artist: artistic career with Hirshhorn director Fridays at 12:30 pm Phoebe Greenberg Richard Koshalek. Chermayeff studied Meet at the Hirshhorn Information Desk Thursday, February 25 under Albers, who was chairman 7 pm, Ring Auditorium of the Department of Design, at Yale Drop by the Hirshhorn during your lunch University. Refreshments following break for half-hour gallery talks focused Part nightmare, part morality tale, Next In Conversation provided by SOVA on special exhibitions and led by Hirsh- Floor, 2008, by Phoebe Greenberg pro- Espresso & Wine. horn curators, educators, DC-based vides a metaphor for society’s excessive artists, and scholars from a variety of consumption. The artist conceived and fi elds. Visit hirshhorn.si.edu for current produced this piece, which was awarded Meet the Artist: listings of upcoming talks. Best Short Film, International Critic’s John Gerrard Week at the 2008 Cannes Film Festival, Thursday, March 18, 7 pm with director Denis Villeneuve and a Ring Auditorium Lecture: feature fi lm–scale crew. Greenberg will Nicolas Fox Weber discuss her process and work, about on Josef Albers and which she has observed, “in this absurd John Gerrard’s works hover between fact Joseph Hirshhorn and grotesque universe, an unexpected and fi ction. They present actual scenes Thursday, February 11, 7 pm sequence of events undermines the from desolate corners of America— Lerner Room endless symphony of abundance.” including an oil derrick, a pig processing plant, and a vintage storm photo superimposed on a real farmscape—and un- On the opening night of Josef Albers: In Conversation: fold in real time, yet what looks as if it Innovation and Inspiration, Nicolas Fox Richard Koshalek and is streaming live is, in fact, a fabricated Weber, Executive Director of the Josef Ivan Chermayeff on image. The artist will discuss the com- and Anni Albers Foundation, discusses Josef Albers plex process behind his stark, realistic the artist’s life and work, as well as Thursday, March 11, 7 pm works, which re-imagine landscape art Albers’ close relationship with Joseph Lerner Room and offer meditations on the impact of Hirshhorn. Thanks to Hirshhorn’s inter- our habits of consumption. This event is est in the artist’s work, the Museum presented in conjunction with the 2010 possesses one of the world’s largest Ivan Chermayeff, a noted designer, Environmental Film Festival. and most comprehensive collections, illustrator, and artist, and founding encompassing his entire career. partner of the graphic design fi rm Chermayeff & Geismar, discusses Artist at Work with Youth: Josef Albers’ infl uence on his own Zoe Charlton Installation view of Directions: John Gerrard. Photo by Lee Stalsworth Saturdays, March 13, April 10, and May 15 10 am to noon (ages 6–9) and 1 to 3 pm (ages 10–13) Registration is required: hirshhorn.si.edu

This spring, aspiring young artists and their families and friends are invited to the Hirshhorn for a series of hands-on art-making workshops. After visiting works in the galleries, artist-in-residence Zoe Charlton will lead participants in creative projects inspired by two new shows of works from the permanent collections: Josef Albers: Innovation and Inspiration and ColorForms. Charlton is a Baltimore-based artist and assistant Zoe Charlton, image courtesy of the speaker

No previous art experience is necessary To purchase tickets: hirshhorn.si.edu/ and all materials are provided by the afterhours or call 202-633-4629 Museum. Washington’s premiere contemporary art event is back! Stay up late and enjoy extended Museum hours, a curator-led Lecture: gallery tour of current special exhibi- Valerie Fletcher on tions, music on the plaza, and live Maximum Effect from performances. Minimum Means: Joseph Albers professor of art at American University whose drawings, videos, and installa- Tuesday, April 6, 7 pm tions address issues of identity. Partici- Lerner Room pation in all three workshops is encour- aged but not required. When Josef Albers came to the United States from Germany in 1933, he Support for educational programs is pro- brought art and ideas grounded in vided by the Vivian I. Pollock Fund, the utopian idealism and pure abstraction Lenora and Robert Burnstein Memorial that he explored and shared through Fund, and contributions to the Hirshhorn his career, including his tenure at Black Education Fund. Mountain College in North Carolina in the 1930s and 1940s and at Yale Uni- versity in the 1950s. Senior Curator Val- ArtLab for Teens: erie Fletcher will examine how this artist Creative Color tirelessly pursued the elusive subtleties of materials, form, and, most notably, Sundays, March 28 and color, and inspired countless students April 4, 11, and 18 with his expertise, insight, and enthusi- 2 to 5 pm (ages 13–17) asm. Refreshments following the lecture Registration required: artlab.si.edu provided by SOVA Espresso & Wine. Sign up early; limited to twelve students Simon Schama, image courtesy of the speaker

ArtLab for Teens is back with an excit- After Hours James T. Demetrion ing four-day workshop exploring the Friday, April 9, 8 pm to midnight Lecture: Simon Schama dynamic, diverse uses of color in art, $18; tickets go on sale March 9 on The Beast from painting and sculpture to ﬁ lm and in Contemporary Art installation. Drawing inspiration from Advance tickets only, no tickets will be works on view throughout the Museum, sold at the door Thursday, May 6, 7 pm particularly those in Josef Albers: Ring Auditorium Innovation and Inspiration and Color- Become a member and get free admis- Forms, participants will create their own sion to the event as well as access to Simon Schama, professor of art history artworks in a variety of media. the VIP lounge and history at Columbia University, has written extensively on topics as diverse as seventeenth-century Dutch art, environmental history, twenty-ﬁ rst-century land and earth art, and the 2008 presi- dential election. He has also produced several documentary series for the BBC and PBS, including A History of Britain, Power of Art, and The American Future: A History.

hirshhorn.si.edu 13 FILM PROGRAM Winter/Spring 2010

Featuring a variety of exceptional, unusual, and recently released works, the Hirshhorn provides the opportunity to view some of the best in contemporary ﬁ lmmaking from around the world.

Still from Beetle Queen Conquers Still from Everything you always wanted to know Sharon Lockhart, ﬁ lm still from Lunch Break, 2008, Tokyo, 2008 about the making of a video installation, 2009 © Sharon Lockhart, Courtesy Gladstone Gallery, New York, Blum & Poe, Los Angeles, and Neuger- riemschneider, Berlin

FILM IST. a girl & a gun, 2009 The director will discuss the fi lm, which gious inklings, and aesthetic ideas.” Set Thursday, March 4, 8 pm is presented in collaboration with the in a New York loft space, the fi lm subtly American Film Institute, the Japanese shifts between drama and the sheer du- For this episode of their series Film Ist, Information and Cultural Center, and the ration of documentation, pure simplicity Gustav Deutsch and Hanna Schimek Environmental Film Festival of the Na- and utter complexity. Rarely screened, spent four years mining over 2,500 tion’s Capital. Wavelength, a fi lm about experiencing shorts, features, and reels of archival moving-image work, is a must-see for footage from the 1890s to the 1940s Everything you always wanted any serious cinephile. to compile an experimental montage to know about the making based on Jean-Luc Godard’s notorious of a video installation, 2009 claim about what it takes to make a Thursday, April 8, 8 pm Lunch Break, 2008 movie. This strange and fascinating as- Thursday, May 13, 8 pm semblage also offers insight into artistic Performance art wonder woman and scientifi c fi lm portrayals of sex and Marina Abramovic, who is currently the Several years in the making, Sharon death during the beginning decades of subject of a major retrospective at the Lockhart’s 80-minute fi lm has been cinema history. Museum of Modern Art in New York, called a masterpiece by experimental commissioned this behind-the-scenes fi lm giant Michael Snow. Set in the mile- Beetle Queen Conquers documentation of a performance long corridor of Bath Iron Works, a ship Tokyo, 2008 project she created in Luang Prabang, building fi rm in Maine, the fi lm depicts Thursday, March 25, 8 pm Laos. This elegant, insightful docu- previously unexamined dimensions of la- mentary captures the artist’s creative bor and leisure. The ponderous gaze of Director Jessica Oreck explores a centu- process but also serves as a portrait the camera follows forty-two blue-collar ries-old Japanese subculture: individuals of this living legend. workers, documenting their off-the-clock who revere, collect, and market some of moments. Set to a soundtrack devel- the most preposterous, bizarre-looking oped by Becky Allen, Lunch Break offers creatures on earth—insects. Using Ja- Wavelength, 1967 an unforgettable narrative experience pan’s love affair with bugs as a frame, Thursday, April 22, 8 pm that evokes performance art. the fi lm uncovers perspectives that can transform our ideas about nature, Michael Snow’s landmark avant-garde For the most current information on our fi lm beauty, and daily life. fi lm, recently acquired by the Hirshhorn, program, please visit hirshhorn.si.edu. All screenings are in Ring Auditorium. Admission is free, but has been described by the artist as “a seating is limited and available on a fi rst-come summation of my nervous system, reli- basis. Films may contain adult content. SUMMER CAMP

APESpLOITATION!!!

Simian cinema writ large is the theme of Summer Camp, featuring introductions by ﬁ lm scholar Dave Wilt.

Gorilla at Large, 1954 Thursday, June 10, 8 pm Konga, 1961 He’s stalked by Johnny Feng (Danny Harmon Jones’ cult classic is part mur- Thursday, June 17, 8 pm Lee), who wants to capture him to ex- der mystery, part romance, part monkey ploit him as a sideshow feature. During tale. Did Goliath, the great ape star of Known for his low-budget, high-concept their wild encounters, Samantha (Evelyn the Garden of Eden Carnival, kill a man? gems, Herman (I Was a Teenage Were- Kraft), a lady Tarzan raised by Utam, Or was it Laverne Miller (Anne Bancroft), wolf) Cohen weaves his plot around a comes between the two. The showdown the aerialist who drives men bananas, mad scientist, growth serum, mind-melt- puts the Kong in Hong Kong, and it’s or, perhaps, her jealous husband (Ray- ing jungle drugs, and Konga, the colos- not pretty. mond Burr)? Detective Sergeant Gar- sal chimp who makes mince meat of rison (Lee J. Cobb) will get to the bottom central London. Big Ben will never seem In Mandarin with English subtitles. of this who-dunnit. so big again….

The Mighty Peking Man (Hsing Hsing Wang), 1976 Thursday, June 24, 8 pm

In Ho Meng Hua’s action-packed adven- ture, a Quentin Tarantino fave, Utam, For the most current information on Summer Camp, please visit hirshhorn.si.edu. All screenings a gigantic, ape-like creature, emerges are in Ring Auditorium. Admission is free, from an earthquake in the Himalayas but seating is limited and available on a ﬁ rst-come and stomps through the Indian jungles. basis. Films may contain adult content. hirshhorn.si.edu 15 Board of Trustees – Current and Former Trustees

2009–2010 Board of Trustees J. Tomilson Hill, Chairman Since Joseph Hirshhorn’s initial gift to the nation to create John Wieland, Vice Chairman the museum that would bear his name, the Hirshhorn Museum Robert B. Goergen, Secretary Steven A. Tananbaum, Treasurer and Sculpture Garden has had a strong tradition of attracting Constance R. Caplan dedicated individuals committed to its mission of collecting, Glenn R. Fuhrman Ann Hamilton preserving, and presenting to the public the art of our time. Robert Lehrman Jacqueline Leland Barbara Levine As we express our gratitude to those who have made the Richard S. Levitt Hirshhorn’s exhibitions, programs, and acquisitions possible Linda Macklowe John Pappajohn during this past year, we also want to take a moment to honor Thomas H. Stoner Ginny Williams the impressive roster of men and women who have demonstrated their extraordinary support and enthusiasm for Ex-Offi cio The Honorable John G. Roberts, Jr., the institution by serving as members of our Board of Trustees Chief Justice of the United States over the last thirty-fi ve years since the fi rst Board was appointed G. Wayne Clough, Secretary of the Smithsonian Institution by the President of the United States in 1971. This outstanding Honorary Trustees group of art collectors, public servants, scholars, and Jerome Greene* civic-minded entrepreneurs encapsulates and helps foster the Olga Hirshhorn Sydney Lewis* strengths of the Museum: devotion to art, scholarship, and Emeritus Trustees public service. Melva Bucksbaum Joseph H. Hirshhorn*

Former Trustees The ability to build on these strengths is only possible thanks H. Harvard Arnason* to the generosity of our donors—past, present, and future. Charles Blitzer* Leigh B.Block* This year, we have been fortunate to have received support Edward R. Broida* from numerous individuals, foundations, and corporations that Robert T. Buck* Theodore E. Cummings has made a substantial contribution to the success of our Peggy C. Davis Anne d’Harnoncourt* major exhibitions and public programs that reach the more than Thomas M. Evans 680,000 people who visit us on the Mall as well as the million Jerome L. Greene* Richard Greenfi eld plus virtual visitors who explore our collection, installations, Agnes Gund and events online. We are also grateful to have welcomed many George H. Hamilton* Elisabeth Houghton* gifts of art that have signifi cantly enhanced the collection. Audrey Irmas Michael L. Klein Sydney Lewis* As we look toward our fortieth anniversary and embark on a Dorothy C. Miller* range of exciting initiatives to make the Hirshhorn an essential Daniel Patrick Moynihan* Steven Mnuchin hub for art and ideas in the twenty-fi rst century, we hope that we Marvin Mordes, MD will be able to count on the continued support of so many—and Steven H. Oliver Camille Oliver-Hoffmann welcome others—who share the Museum’s vision and are Marsha Reines Perelman Ponchitta Pierce essential members of the Hirshhorn community. Anthony Podesta Mitchell Rales Craig Robins J. Tomilson Hill Robert Rosenblum* Chairman of the Board Taft B. Schreiber* A. James Speyer* Jerry I. Speyer Hal B. Wallis* SUSTAINED SUPPORT Thank you for your support

The Hirshhorn is pleased to acknowledge the following donors who made generous contributions to the Museum between October 1, 2008 and September 30, 2009. Annual gifts support the Hirshhorn’s ambitious exhibition program, ground-breaking conservation efforts, and innovative public programs, ensuring the Hirshhorn’s status as a leader among museums of modern and contemporary art. We deeply appreciate this vital support, which is crucial in helping us realize our mission and vision for the future.

Joseph H. Hirshhorn Society* National Benefactors ($10,000–$24,999) CONTEMPORARY ACQUISITIONS $5,000,000+ Carl and Nancy Gewirz COUNCIL The Glenstone Foundation/Mitchell P. Rales Henry H. and Carol B. Goldberg Jacqueline and Marc Leland Foundation Brian Aitken and Andrea Evers $1,000,000–$4,999,999 Penn Lupovich Joanne Gold Robert and Aimee Lehrman Robert Mnuchin Philippa P. B. Hughes Mr. and Mrs. J. Tomilson Hill Mark and AnaPaula Watson Katherine M. Nicholson Richard James Price *Cumulative giving Studio Circle ($5,000–$9,999) Kelly Vrana Charles Block Virginia Fulton LEGACY SOCIETY ANNUAL LEADERSHIP GIFTS Olga Hirshhorn, Mrs. Joseph H. Betty Bass $100,000–$249,000 Curator’s Circle ($2,500–$4,999) Robert G. Bragg Glenn R. Fuhrman Laura de Jaager Lowell and Joan Creitz Mr. and Mrs. J. Tomilson Hill Rody Douzoglou Christie G. Harris Tom and Kitty Stoner Cary J. Freize Joseph H.** and Olga Hirshhorn Marilyn Glickﬁ eld Penn Lupovich $50,000–$75,000 Harry Grubert R. Andrew Beyer and Susan Vallon Josephine Haden and Charles Ludolph Constance R. Caplan Jean Efron and Anthony P. Picadio **Deceased Robert and Pamela Goergen James A. and Marsha Perry Mateyka Robert and Aimee Lehrman Frederick P. Ognibene, M.D. Aaron and Barbara Levine Shari Rothstein Richard and Jeanne Levitt Robert J. Shapiro John and Mary Pappajohn Virginia Shore Steven and Lisa Tananbaum Sid Stolz and David Hatﬁ eld Sue and John Wieland Friends Circle ($1,000–$2,499) Director’s Circle ($25,000–$49,999) Philip Barlow and Lisa Gilotty Robert and Arlene Kogod R. Andrew Beyer and Susan Vallon Annie Gawlak Ann Hamilton Margaret Heiner Mrs. and Mr. Robert C. Liotta Laura Roulet Steven M. Sumberg John and Eunice Thomas Betty Ustun

hirshhorn.si.edu 17 MEMBERS Robert Eckhardt Sean Juman Daniel Ein Gregg J. Justice III Gifts between $100–$999 Lars Etzkorn Negar Katirai Anonymous David Fabian Rebecca Katz Anonymous Sharon Faulkner Jennifer King Omar Abou-Samra Samantha Ferguson Laurence Koehrsen Mansour Abu-Rahmeh Guy Filippelli Joseph Krakoski J. S. Adams Pattie Firestone Lindsay Krasnoff Hamed Alaghebanchan Amy Fitterer Joanna Ku Moody Altamimi Dr. and Mrs. Howard Friedenberg Jeanette Kurucz Amy Altman William Gallagher Kaylyn Kvochak Henock Andargle Colleen Garibaldi Andrew Lacy David Anderson Jacqueline Gauline Ms. Anica Landreneau Sue Andreadis Jacqueline Geis Philippe Lanier Nadim Bacho Stefanie Gilbert Francis Larcin Carol Baker Traci L. Gimbel Larry Kirkland Elaine Baker Dana L. Gleason Vivienne Lassman Jessica Banks Jeanne Gobat Michael S. Ledford Erin Barnes and Randall Brater Susannah Goodman Julia Lee Adya Beasley Elizabeth F. Gore Kevin Leehey Miranda Beebe James Gorski Margot Lehman Justin Belcher Richard Gould and Lena Skanby Jane Leibrock Jacob Bell Russell Green Kerry Lenahan T. David Bell Nicole Guerra Michael Lestingi Joseph Berger Carlos M. Guiterrez, Jr. Dorothy Levy Juliet D. Berger Joshua Haave Choong Sup Lim Ellen R. Berlow Todd Hahn Ghotbee Lim Megan Berry Joseph Hale Arlene Limas Betsy Stuart Ben and Lois Halpern Ms. Amy Lin David A. Bilodeau, Jr. Barbara Hankins Rebecca E. Lindrew Diane Blackwell James Hanna Dalya Luttwak Nancy Bratton Susan Harrison Eileen Lyons-Murphy Michelle Brown Larry Hawk Ric Macchiaroli Ciarra Brox-Gonzalez Sarah Heidema Tal Machnes Claire Casey Scott Henry Alexander Maltas Morris J. Chalick Linda Hesh J. Andrew Martin Jackie Chalkley and Dr. Wayne Calloway Steven C. Hill James A. Martin Tony Chan Paul C. Hines Aline Martinez Sumanth K. Chepuri Nancy Hirshbein Jennifer May Irene Clouthier Alex Hodges Harris Mehos Robert S. Cohen Ilyse G. Hogue Matt Merrick Andrea Collins John Holland Dorothy A. Miller Mr. and Mrs. Daniel F. Collins Michael Holland Kevin Mistry Justin Comins William Hopkins Patrik R. Mittal Paula Cooper Mary-Jo Horner Erik Moe R. Clarke Cooper Mary Howland Patrick Monahan Annie Cronin Daniel Hudson Claire Ann Monderer Lowry Crook Peep Hughes Richard D. Moore Tim J. Curran Maria Hutcheson Michael Moriarty James Damato Dr. Martin J. Irvine Mark Morrel Victor D’Ambrosia Veronica Jackson Mary Moshos Kate Damon Dan Jacobs Carrie A. Mumah Joan Danziger Dr. Mindy Jacobs Scott Nguyen John Delmore Evan S. Jacobson Cheryl Numark Jason A. Denby Irwin J. Jaeger Foundation Oraegbunam Nwabueze Denyette Depierro Reem Jafari Jeanan Oxley Jennifer Deskins Joette James Donald Paine Katie Desmond Judy Jashinksy Tobi Palmer Alex Diaz-Asper Rajesh Jha Marguerite Pappaioanou Ali Dimatteo J. C. Johnson III Christina Parascandola Charles Divine James A. Johnson Mark Parascandola Edward Dombroski James Jones Beatrize Paz Bohdan Dubas Sarah Jones Jason Perkins Julie Dyall David Jordan Elenora Petersen Elizabeth Pﬂ um Angela Westwater CORPORATE, FOUNDATION, Mr. Christopher Phillips Lynn White AND INSTITUTIONAL SUPPORT and Mr. Dan Phillips Ryan H. White Matthew Pickett Amy Winchester Agnes Gund Foundation Michael Pollack Jonathan D. Wing Altria Group, Inc. Andrea Pollan Suzanne Wnek AXA Art Insurance Corporation Mary Porter Olivia Wong Capital Pride Alliance Inc. Bethany Powell Sharon Wu Colección Patricia Phelps de Cisneros Deborah Rabinowitz Michelle Yankey Du Pont Fabros Technology, LP Angela Ramsey Karen Yankowsky Fundación/Colección Jumex – Eugenio Lopez Brandon Reed Leon Zilber The Easton Foundation, Inc. Ricardo A. Reinoso Annette Zimin Ellsworth Kelly Foundation Brigitte Reyes Aaron Zollman Envision EMI, LLC Erin Richards Diane Helyne Zyats Embassy of Israel Brendan Roddy Ray Evans Foundation Michael Rodgers Frederick R. Weisman Philanthropic Deedie Rose INDIVIDUAL PROGRAM AND Bruce T. Halle Family Foundation Mike Rosen EXHIBITION SUPPORT The Henry Luce Foundation Loretta K. Rosenthal L & M Fine Art Sharon Ross Philip and Shelley Fox Aarons Maryland Institute College of Art Ethan Rowe Tiqui Atencio and Ago Demirdjian Media Matters of America Amy Rude Martha and Bruce Atwater The Pink Line Project Kimberly Sackin Charles E. and Carol Balbach The Judith Rothschild Foundation Soledad Salame Mr. and Mrs. Charles W. Banta Sotheby’s Inc. Julie M. Santi Moisés and Diana Berezdivin Trellis Fund Lili-Charlotte Sarnoff Esty and Dan Brodsky The Andy Warhol Foundation Catherine Satterlee Constance R. Caplan for the Visual Arts Michael Savage Judy Cotton and Yale Kneeland Carolyn Sewell Celia F. Crawford Paul M. and Deane Shatz Judy Dayton IN-KIND SUPPORT Beth Sheehy Jim and Barbara Demitrion Stephanie Shosh Jean Efron and Anthony Picadio Buck’s Fishing and Camping Stephanie Showell Mrs. Robert Eichholz Diageo Melissa Shufﬁ eld Ella Fontanals-Cisneros Emperor Vodka Fanchon Silberstein Glenn R. Fuhrman Fandango Productions Ellen W. Sinel The Glenstone Foundation/Mitchell P. Rales Henry H. and Carol B. Goldberg Leo Slater and Eden Savino Nora Kohen and Alfredo Ghirardo Daniel and Mirella Levinas Dean and Andree Smith Henry H. and Carol B. Goldberg Aaron and Barbara Levine Jennifer A. Smith Tim Gunn Orange Barrel Media, Inc. Frances Sniffen Christie G. Harris Sony Electronics Inc. Paul So Lorie Peters Lauthier SOVA Expresso & Wine Janet Solinger Dr. and Mrs. Robert Magoon Henry L. Thaggert III Melinda Sossamon Mr. and Mrs. Steven Mishaan Barbara Spangenberg Frederick M. Nichols Joseph Springer Dr. and Mrs. Mark Oren GIFTS OF ART Kathryn Stach Vivian I. Pollock Kevin Steele George R. Roberts Anonymous Rebecca Stein Charles Salisbury Walead Beshty James B. Stidham Roger and Vicki Sant James and Katherine Goodman Nicole L. Stout Lynn and Rodney Sharp Lucy Hogg Theresa Sullivan Lewis Shrensky Holenia Purchase Fund, Daniel Swartz Humberto and Rosalía Ugobono in memory of Joseph H. Hirshhorn Donald Syriani Betty Ustun Marvin and Elayne Mordes Duncan and Katherine Tebow Ginny Williams Mark Rosman and Jacqueline Corcoran Roland Tharp Mary Sabbatino Earl Ravenal Richard Spear and Athena Tacha in honor of Dick Sullivan Robert Venturi and Denise Scott Brown Erin E. Till Beth Tuttle Ricardo Valverde Stan Wall John Walsh Lori Washington Benjamin Werner hirshhorn.si.edu 19 COMING SOON

Smithsonian Hirshhorn Museum and Sculpture Garden