CONTENTS Report of the Chair and Director 5 Volume 7, 1995—1996. Photography Credits: Pages 8-17, fig. 1, Studies in the Permanent Collection Copyright ©1997 by The David and Alfred Leo Castelli Gallery, ©1996 Andy Warhol Smart Museum of Art, The University of Foundation for the Visual Arts/ARS, New The Word Transfigured as Image: Andy Warhol's Responses to Art Criticism Chicago, 5550 South Greenwood Avenue, York; fig. 2, Matt Wrbican, courtesy The REVA WOLF Chicago, Illinois, 60637. All rights reserved. Archives of the Andy Warhol Museum, ©1996 Andy Warhol Foundation for the Visual Arts/ARS, New York; fig. 3, Tom van Eynde, Picture Perfect: Hugo Brehme's Photographs of Mexico 19 ISSN: 1041-6005 ©1996 Andy Warhol Foundation for the Visual ELIZABETH SIEGEL Arts/ARS, New York; fig. 4, Geoffrey Clements, Editor: Courtenay Smith courtesy Whitney Museum of American Art, Design: Joan Sommers Design ©1996 Andy Warhol Foundation for the Visual Printing: Congress Printing Company Arts/ARS, New York; fig. 5, Richard Stoner, Activities and Support courtesy The Andy Warhol Museum, ©1996 Andy Warhol Foundation for the Visual Collections Arts/ARS, New York; fig. 6, courtesy of Acquisitions 29 Sotheby's, ©1996 Jasper Johns/Licensed by VAGA, New York, NY; fig. 7, ©Gemini Loans from the Collection 38 G.E.L., Los Angeles, California, 1969, ©1996 Jasper Johns/Licensed by VAGA, New York, Exhibitions and Programs NY; fig. 8, Tate Gallery, London, ©1997 Artists Exhibitions 41 Rights Society (ARS), New York/ADAGP, Paris; fig. 9, Geoffrey Clements ©1996 Whitney Events 43 Museum of American Art; figs. 10—11, Tom van Education 46 Eynde, ©1997 Artists Rights Society (ARS), New York. Pages 18—26, fig. 1, Tom van Eynde, Sources of Support © the work, the artist, his heirs, and assigns; fig. 2, Tom van Eynde, © the work, the artist, his Grants 49 heirs, and assigns; fig. 3, ©1940 Aperture Contributors and Friends of the Smart Museum 49 Foundation, Inc., Paul Strand Archive; fig. 4, Donors to the Collection 53 Tom van Eynde, reprinted, by permission, from Lenders to the Collection 54 Colette Alvarez-Urbajtel; fig. 5, Liz Siegel, The University of Chicago Visiting Committee on the Visual Arts 54 reprinted, by permission, from Grupo Editorial Miguel Angel Porrua; figs. 6—7, Tom van Eynde, © the work, the artist, his heirs, and Operating Statement 55 assigns; Pages 28—37, Tom van Eynde; Pages 40—42, Tom van Eynde; Pages 43—45, Lloyd Smart Museum Staff 56 DeGrane; Page 47, Kathleen Gibbons. Smart Museum Board of Governors 1995-96 Richard Gray, Chair Report of the Chair and Director Elizabeth Helsinger, Vice Chair Mrs. Edwin A. Bergman 1995—96 was a year of growth and change for the Dinner, which will honor another exceptional Robert H. Bergman (ex officio) David and Alfred Smart Museum of Art. Many connoisseur-collector in the fall of 1997. Dr. Joel E. Bernstein of our exhibitions and educational programs Other development efforts also bore fruit for Robert Feitler were products of collaborations with other insti­ the Museum. The Smart Family Foundation, Lorna C. Ferguson tutions, including the Field Museum, DePaul for many years the Museum's most generous Alan H. Fern University, the DuSable Museum of African contributor, once again provided a substantial Stanley M. Freehling American History, The Arts Club of Chicago, grant to our operating endowment. In these days Jack Halpern the Oriental Institute, and the Hyde Park Art of shrinking public funds and more modest Joan Flarris Center, not to mention our own University of University support, the Museum depends heavily Neil Harris Chicago Department of Art History and Midway on such private contributions to keep our doors Randy Holgate Studios. Our annual attendance of 30,400 was the open and to fund our exhibitions and educational William M. Landes highest ever, and our educational outreach, pro­ programs. Significant grants and contributions Raymond Smart grams for children benefited a record 2,000 South- were also provided by the Sara Lee Foundation, Joel M. Snyder (ex officio) Side primary and secondary public school students. the Andrew W. Mellon Foundation, the Hyundai John N. Stern On October 11, 1995, the Smart Museum Group, the Polk Bros. Foundation, and the John Patricia K. Swanson (ex officio) inaugurated the Joseph R. Shapiro Award with a Nuveen Company, as well as many other gener­ gala dinner honoring Joe Shapiro, the dean of ous individuals and foundations listed elsewhere Kimerly Rorschach, Director Chicago art collectors, for his many achievements in this publication. Despite general cutbacks in in advancing understanding and encouraging federal and state funding, the Smart was fortu­ appreciation of the visual arts. Attended by over nate to receive continuing operating and pro­ 300 distinguished members of the cultural com­ gram support from both the federal Institute of munity, the dinner raised some $60,000 for the Museum Services and the Illinois Arts Council. Museum and greatly helped us to increase our Our ability to attract these grants in the current visibility among art patrons and philanthropists climate is testimony to the excellence and in the city. Much credit for the benefit's success effectiveness of our exhibition and educational goes to the Smart Museum Board of Governors, activities. which includes both University of Chicago pro­ Once again, we presented a full and varied fessors and community members, who generous­ season of exhibitions and related programs, on ly and enthusiastically supported the event. such topics as contemporary African-American Sadly, Joe Shapiro died on June 16, 1996, but his art, 19th-century Japanese representations of lasting impact on the arts will again be celebrat­ women in prints and paintings, the early work of ed at the Second Joseph R. Shapiro Award Mark Rothko, and views of "primitive" cultures 4 5 and techniques as reflected in 19th-century Chinese and Korean paintings and ceramics were paired with the Municipal Art Gallery in unique features of these programs is that they are French prints by Pissarro, Gauguin, and their from several donors, round out the year's Johannesburg, South Africa. Gibbons spent a staffed by docents who are students at the contemporaries. Related programming focused acquisitions. month in South Africa, learning about University of Chicago. These bright and enthusi­ on such topics as the notion of a particular This year, two projects funded by our Johannesburg's educational outreach initiatives astic young people are one of our greatest assets in African-American tradition in contemporary Andrew W. Mellon Foundation grant to pro­ and advising their staff based on her experiences, developing and delivering effective educational American art, in relation to conceptions of main­ mote faculty and student use of our collection and Johannesburg's curator of education later programs; they make our success possible. stream traditions that often marginalize works and encourage innovative teaching approaches spent a month at the Smart observing our educa­ produced by African-Americans; the relation­ using the Museum came to maturity. Midway tional programs. We continue to be extremely Richard Gray ship of Rothko s paintings to contemporary Studios sculptor Herbert George's exhibition The proud of our programs and the enthusiastic Chair, Board of Governors music; 19th-century Japanese male depictions of Sculptural Head as Image explored the ways dif­ responses they have received from South-Side Kimerly Rorschach women, as seen in Japanese prints and paintings; ferent kinds of sculpture from the Smart's collec­ and greater Chicago audiences. One of the Director and the historical construction of the peasant in tion are experienced as portraits across a wide 19th-century France. In our exhibition program range of historical styles, media, and techniques. we continued to present less well-known, often Another Mellon exhibition, Looking to Learn: difficult topics and artistic movements that Visual Pedagogy at the University of Chicago, was cannot often be seen elsewhere in Chicago. organized by art history professors Linda Seidel I was a so a 995~9^ ' n exceptional year for the and Katherine Taylor with their seminar stu­ Smart Museum in terms of acquisitions. dents. Drawn from the Museum's collection and Although we do not yet have any endowed various University archives, this exhibition con­ acquisition funds, and thus cannot pursue our sidered the very different ways in which visual program of collection development as proactive- materials have been incorporated into teaching ly as many other institutions, we nevertheless and learning throughout the history of the were able to make several major acquisitions via University of Chicago and raised fascinating gifts and purchase donations. For example, questions about the role of the university muse­ Arthur Dove's Harbor in Light entered the col­ um in post-secondary educational experience. lection as a partial bequest of John S. Anderson. Finally, the Smart Museum's educational Painted in 1929 and exhibited at Alfred outreach activities continued to extend their Steiglitz's New York gallery, An American reach, both locally and globally. Five years ago, Place, this painting was inherited by its last the Smart had virtually no educational outreach owner from his father, the writer Sherwood programs; today, thanks to a generous multi-year Anderson. The Smart also acquired the George grant from the Sara Lee Foundation, we are one Veronda Collection, containing paintings, sculp­