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 of the leading art education institutions in the tures, and drawings by Christina Ramberg, city, and our innovative programs have been Barbara Rossi, Karl Wirsum, Gladys Nilsson, adopted by a number of museums and schools Roger Brown, and Ray Yoshida. Many of these across the nation. This year, the Polk Bros. works were exhibited in important early Hairy Foundation joined Sara Lee as one of our key Who and Imagist group exhibitions. Given by outreach iunders and made possible an expanded artist Roger Brown, this collection provided the version of MusArts, our music and art program critical mass that transformed our slowly grow- for middle-school students, which builds on our ing collection of post-war Chicago art into per­ Sara Lee Docent for a Day program for younger haps the most important institutional assemblage students. The Polk Bros, grant will also fund the of such material. Additional gifts from other organization of a community education advisory donors of significant works by Nilsson, Jim Nutt, committee, to help us devise even more effective Suellen Rocca, June Leaf, and Robert Lostutter programs for our ever-widening audience, have further enriched these holdings. Other beginning in 1997. Education Director Kathleen important gifts of paintings by Philip Pearlstein, Gibbons this year received an International Fairfield Porter, and William Wiley and a sculp­ Partnerships Among Museums grant, funded by ture by Alexander Archipenko from Joel E. and the American Association of Museums and the Carole F. Bernstein, and a significant group of United States Information Agency, in which we

7 >9iWC<

Studies in the Permanent Collection

The Word Transfigured as Image: Andy Warhol's Responses to Art Criticism

Fundamentally, art criticism is a verbal response attacks "modern art" for being like "wallpaper," and to a visual object. Its history has been the subject he decided that wallpaper is a pretty good idea, too.2 of a steady stream of scholarly analysis during the Within the year, Warhol in fact did produce past few decades.1 However, occasions in which wallpaper. Its design consisted of a pink cow on a we encounter the reverse relationship—of art as yellow ground, and it covered the walls at his a response to criticism—have seldom been inves­ 1966 exhibition at Castelli Gallery. He based the tigated, even though there is a rich, centuries-old image on a black-and-white photograph taken tradition of art that functions in this responsive from an agricultural publication about different way. My focus here on Andy Warhol's artistic kinds of cows (fig. 2); by blocking out the back­ responses to published criticism of his work will ground of the photograph with white paint and illustrate how some of his work fits into this tra­ cropping the image, he transformed the docu­ dition, which is a surprising discovery since his mentary Jersey cow image into a "pop" one that art is still today generally believed to be empty of resembled Elsie the Cow. He later used this same meaning. In addition, my analysis will reveal that image, in varying color combinations (mimick­ the now cliche description of Warhol as a "pas­ ing the assortment of colors in which commercial sive" artist is somewhat inaccurate, and that the wallpaper designs come), for subsequent installa­ manner in which he responded to criticism has tions of his work. For instance, a brown and blue fascinating implications for the existing concep­ version of it (fig. 3)—a sample of which has tualization of the artist and critic as figures who recently been acquired by the Smart Museum are, practically by definition, in opposition to one along with another version, in yellow and blue— another. served as the backdrop for a large retrospective of My story begins in 1965, when the critic his work at the Whitney Museum of American Thomas B. Hess's review of Warhol's 1964 exhi­ Art in 1971 (fig. 4).3 By producing actual wallpa­ bition of Flower paintings at the Leo Castelli per, Warhol turned Hess's remark into a reality.4 Gallery in New York was published in ARTnews In creating this wallpaper, Warhol also magazine, of which Hess was then editor-in- responded to the general criticism of modern art chief. For this exhibition, Warhol had virtually as having the appearance of wallpaper that Hess covered the walls of the gallery with dozens of had alluded to in his review. An interesting early variously sized paintings (fig. 1), an installation case of this characterization appeared in a round technique that led Hess to remark that: table discussion published in Life magazine in It is as if Warhol got hung up on the cliche that 1948, in which the novelist Aldous Huxley said

t; . y.r•>•&>*:••• • •'• -^V-• '' ' • '• BY REVA WOLF

9 • '• •: ••:: ..'•'•J-• . • ' • : .. -.j?'' assimilate," "as easy to consume as it is to pro­ this about Jackson Pollock's painting Cathedral ( duce," and "easy to market."" (i947); By way of response, Warhol often used the It raises the question of why it stops when it does. word "easy" when discussing his art with inter­ The artist could go on forever. (Laughter). I don't viewers. As with the Cow wallpaper and know. It seems to me like a panel for a wallpaper which is repeated indefinitely around the wall.' Rorschach ink blots, it was as if he wanted to con­ firm rather than overtly fight this criticism of his Pollock replied to Huxley's comment in writ­ work, a strategy that served to subtly and ironi­ ing—without mentioning him by name—in a cally—if politely—undermine his critic's judg­ New Yorker interview, by stating that he took it as ments. In 1965, he explained to the poet and art a compliment.6 Warhol, likewise, held the posi­ critic John Ashbery (for an article about an exhi­ tion that what Hess had said about his Flower bition of his Flower paintings held in Paris that paintings was favorable, but he did so with year) that while his real interest at the moment images rather than words, creating a concrete was film, perhaps he would not give up painting visual materialization of Hess's commentary. after all, since "Why should I give up something Warhol's deployment of the Cow wallpaper that's so easy?"12 In various interviews conducted as a response to art criticism becomes more evi­ in the following several years, he continued to dent when we recognize that on several other Figure 1. use the term, especially as an explanation of his occasions he produced work that similarly seems Andy Warhol, installation work as a filmmaker.13 Before long, the word to be a literal visual transcription of a sentence in view of Flowers exhibition "easy" became inextricably linked to Warhol, a one or another review of his art. There is a pat­ at Leo Castelli Gallery, 21 NOV.-28 Dec. 1964. phenomenon that alerts us to the importance of tern to this activity, in other words, and one that ©1996 Andy Warhol being sensitive to the textual, personal, and his­ gets played out regardless of whether the review Foundation for the Visual torical contexts of both his interviewing and art- in question is positive or negative, friendly or Arts/ARS, New York. making practices. hostile. Photograph courtesy Some years later, Warhol rather reluctantly For example, it has been noted that Warhol Leo Castelli Gallery. acknowledged, in a dialogue within his book The made his Hammer and Sickle paintings (1977) as a Figure 2. Philosophy of Andy Warhol (1975), that he not only "tongue-in-cheek" response to Marxist interpre­ Source image for Andy read the reviews of his work, but did so in part to tations of his work by Italian critics.' And two Warhol's Cow wallpaper, get ideas about "new ways to present the same years after the publication of The Rise of Andy circa 1965. From an thing to interviewers ... I go through them and Warhol, a rather hostile review by the critic unidentified book on dairy see if anybody says anything to us or about us Robert Hughes, in which he asserted that cows, page 24, "Fig. 16. we can use."14 Evidently, he even applied this "Warhol's silence became a Rorschach blot, onto A Good Jersey Head," with method when writing the Philosophy book. Bob which critics who admired the idea of political pencilled cropmarks and size indication of 27 in. Colacello, who at the time was employed by art . . . could project their own expectations,"8 Figure 3. ,..h >l» —.hx ™ . The background of the Andy Warhol, Cow, 1971, color screenprint (periwinkle, brown) printed on Warhol as the editor of Interview magazine, Warhol painted a series of Rorschach ink blots. w kith of tmiz/k- ep nnra "if nos­ tril, fulbira of pvr. and stt oigHi image has been carefully wallpaper, 45 1/2 x 29 3/4 in. Purchase, Unrestricted Acquisitions Fund, 4 jaw. Thr jcrary he ad featur ed reminisced that when he and Warhol were Undoubtedly, this series was on one level a reply * * F lpif* 16 ~ q uality and painted out to show the "-fiinwat as well at displayto g 1996.49. ©1996 Andy Warhol Foundation for the Visual Arts/ARS, New York. I. !».v '4 %trt H gth AMI* sow working on the first chapter of this book, entitled to Hughes's words, once again through the visu­ 1 • • hjw .J |,*m > hr ad and cow in silhouette. The dw*refu»e shows bror d charac ter. "Existence," al literalization of them (fig. 5).9 Archives of The Andy Warhol Museum, [i]t was Andy's idea to cull phrases from the Factory Warhol also apparently turned passages It should be noted here that there is a verbal Pittsburgh; Founding clippings scrapbook to describe what he saw in his from his interviews with journalists into visual parallel in Warhol's spoken vocabulary to such Collection, Contribution mirror: "the affectless gaze . . . the wasted pallor . . . representations. It is quite likely, for instance, The Andy Warhol visual appropriations of the words of critics and the childlike, gum-chewing naivete . . . the slightly that a self-portrait from 1966—67, in which he Foundation for the Visual journalists. His use of the term "easy" is one sinister aura . . . the long bony arms, so white they covers his mouth with his finger, is a visual trans­ Arts, Inc. ©1996 Andy example. He most likely took this term from a looked bleached. ..." Journalists had had a field day lation of the following segment of an interview Warhol Foundation for the blistering review of pop art by the art historian with Andy over the years and now, typically, he was st m car Visual Arts/ARS, New York. going to use it all himself.15 published in the New York P° 'y 1966: Peter Selz that was published in 1963. Selz criti­ "What do you believe in?" cized the art for what he viewed as its lack of Warhol's creation of images drawn from art Andy Warhol put his fingers in front of his mouth commitment, its coolness, its complacency, and, criticism also has parallels in his tendency to ask in a characteristic gesture. It was as though he want­ finally, the fact that it was "easy," a word he friends and associates to provide him with ideas ed to stuff the words back in as they came out. "I deployed several times: pop art was "easy to for the subject matter of his paintings. One don't know," he said. "Every day is a new day."10

10 11 exhibitions. The critic asked Johns what kind of art the three-dimensional objects in the exhibi­ tion were, and Johns replied that they were sculptures, some of which were made from scratch. But the critic did not believe him and insisted that they were cast rather than hand- sculpted, despite the artist's repeated urgings that Figure 4. they were not.19 Andy Warhol, installation While Johns's visual responses to critics are view at the Whitney Museum blatant, Warhol's are not as evident. Rather, they of American Art, 1 May- 13 June 1971. ©1996 Andy are encoded, requiring details of what reviewers Warhol Foundation for the wrote and of Warhol's artistic practices in order Visual Arts/ARS, New York. to decipher them. However, once decoded, it is evident that Warhol's responses are lighthearted and humorous, whereas Johns's are caustic and of an utterly serious tenor. example is the cow motif that Warhol chose for critic. Warhol eventually owned a work from In other words, Warhol breaks down the his wallpaper, which was reportedly proposed by each of these series: an embossed acetate print of hostility toward critics that Johns's art implies, a the art dealer and early Warhol supporter Ivan The Critic Sees (1967; fig. 6), in which eyeglasses hostility that in recent years has been perpetuat­ Karp.16 However, his routine of asking others for suggest that the critics "sees" through a filter; and ed in works by such distinct artists as David Salle suggestions about what to paint, as well as adapt­ a lead relief sculpture of The Critic Smiles (1969; and Muntadas.20 Warhol refused to participate ing passages from art criticism in his work, Jasper Johns, The Critic fig. 7), in which the gold-coated teeth may allude in the conventional artist-critic "opposition" or should not be taken as a lack of invention on to the profits gained because of what art critics Sees, 1967, silkscreen on acetate set into embossed "competition" (words used by the critic Donald Warhol's part, but rather as an inventiveness in say, while the tin handle that the teeth rest on paper, 3 3/8 x6 5/8 in., B. Kuspit to characterize the artist-critic rela­ selection. The cow subject and the idea of wall­ may imply that these profits have a base of little glued onto a 23 7/8 x 20 in. tionship).21 Instead, when his work is a visual paper as art obviously had a great appeal to him, value or substance.18 sheet, from the album appropriation of criticism he seems to be in full but many other suggestions which came his way By his own account, Johns made the first of Ten from Leo Castelli, agreement with it, if perhaps half-mockingly so. undoubtedly did not, and therefore were never published by Tanglewood the works in this series in 1959 after his conver­ Warhol's playful approach to art criticism taken up. sation with an art critic at the site of one of his Press. ©1996 Jasper Johns/Licensed by VAGA, also reveals that he was not the numb and passive New York, NY. P hotograph person that many writers have made him out to There is a long tradition of visual art operating as »,.j| courtesy of Sotheby's, be, as it shows that he was in fact affected by, and a response to criticism. The early history of this New York. thus responded to, what was said about him. tradition, extending from the Roman period to Hess and Hughes can be counted among the the Renaissance, was analyzed by Ernst Kris and Figure 7. writers—and indeed in the very essays to which Otto Kurz in their prescient study, Legend, Myth Jasper Johns, The Critic Warhol evidently created visual responses—to Smiles, 1969, lead relief, and Magic in the Image of the Artist,17 but much 23 x 17 in., edition 60, have typified Warhol and/or his work in this work remains to be done on this topic, both for No. JJ68-218. ©Gemini non-responsive way. Hess had described the the pre-modern and modern periods. In the Figure 5. G.E.L., Los Angeles, Flower paintings as "numb, banal and modern Andy Warhol, Rorschach, twentieth century, the most obvious examples are California, 1969. ©1996 1984, synthetic polymer ... works for the mantelpiece of a T.V.-commer­ located within the dada art movement of the Jasper Johns/Licensed by paint on canvas, 164 x cial hero,"22 while Hughes had asserted, in the 1910s and its inheritance in later decades. VAGA, New York, NY. 115 in. The Andy Warhol same vein, that "Television was producing an Within this immediate history, the artist Museum, Pittsburgh; affectless culture. Warhol set out to become one most closely connected to Warhol is Jasper Johns, Founding Collection, of its affectless heroes."28 whose work, as is well known, had a great influ­ Contribution The Andy However, just as sociologists such as Michel ence on Warhol's artistic development during the Warhol Foundation for the de Certeau have shown in recent years that the early 1960s. With his sculptures The Critic Smiles Visual Arts, Inc. ©1996 Andy Warhol Foundation audience for television—and for the other prod­ (1959) and The Critic Sees (1961), Johns launched for the Visual Arts/ARS, ucts of consumer culture—is not passive (as had what would become an extensive series of works New York. been, and perhaps still is, generally believed), so that express a general hostility toward the art it is time to reject the one-dimensional vision of

12 13 Warhol as being similarly passive. Certeau has called our interactions with the media "tactical," and pointed out that we utilize wit, trickery, and specific circumstances as tactics that lend our involvements with it personal, social and politi­ cal meaning.24 Warhol's wallpaper and Rorschach series, as replies to particular remarks made by his critics, can likewise be thought of as "tactical" responses to the media (published art criticism being a variety of it just as much as tele­ Figure 10. Apolinere Enameled from vision is). Marcel Duchamp's Box in Indeed, a "tactical" approach to the media is a Valise (Boite-en-valise), prevalent in early twentieth-century dadaist 1935-41 (1963 edition). visual responses to art criticism from which both Warhol's and Johns's works descend. In some instances, dadaist works even incorporate the very material—newsprint—of the medium of Figure 8. art criticism. Thus, in the Berlin dada artist Raoul Hausmann, The Art Raoul Hausmann's collage The Art Critic (1920; Critic (Der Kunstkritiker), 1919-20, lithograph and fig. 8), the figure to the right of the critic is com­ photographic collage on posed of newsprint. Hausmann questions the paper. Tate Gallery, London. critic's ability to make judgments by, among ©1997 Artists Rights Society the same edition as the Boite now in the collec­ other things, caricaturing him and providing (ARS), New York/ADAGP, tion of the Smart Museum (fig. 11).26 him with an oversized Venus brand pencil. Paris. Apollinaire had been an early supporter of The idea was soon taken up by the American Figure 9. Duchamp; however, Duchamp, according to his artist Arthur Dove, as influenced by dada, in his Arthur Dove, The Critic, later reflections, was not always in accord with collage The Critic (1925; fig. 9); here, the critic's 1925, collage, 19 3/4 x what the critic had written about him (or about body is composed of a newspaper review about 13 1/2 x 3 5/8 in. ©1996 art generally).27 The differences of opinion per­ artists more conservative than Dove, their names Whitney Museum of haps explain the words "Apolinere Enameled" in strategically placed at his crotch (thereby estab­ American Art, New York. Duchamp's piece, which are a transformation of lishing a relationship between art criticism and Purchase, with funds from the Historic Art Association the "Sapolin Enamel" logo on the tin advertising sex just as Hausmann had done by arming his of the Whitney Museum of plaque that Duchamp had used as the basis for critic with the large Venus pencil). The critic in American Art, Mr. and Mrs. his composition. Thus, just as Hausmann and Dove's work vacuums up the "dirt" while on Morton L. Janklow, the Dove would do in their art critic works of a few roller skates, but he cannot see what he is doing, Howard and Jean Lipman years later, Duchamp positioned art criticism as the absence of eyes and a monocle dangling Foundation, Inc. and within the context of advertising, and so, like from his neck indicate. The idea that the critic is Hannelore Schulhof. them, treated this medium tactically. unable to see would be picked up by Johns in his Also tactical was the direct link that Warhol The Critic Sees works, and he may well have been established between himself and Jasper Johns as familiar with Dove's collage.25 he carved out his place within the history at The best-known, and possibly earliest, of all hand, in particular through the Rorschach paint­ the dada-type works to respond to art criticism is ings. Warhol recorded in his diaries in 1984 that Marcel Duchamp's Apolinere Enameled (1916—17; Figure 11. Johns was going to come over to his studio, along fig. 10), which refers to Duchamp's friend, the Marcel Duchamp, Box in a Valise (Boite-en-valise), with the curator David Whitney, to select a poet and art critic Guillaume Apollinaire. 1935-41 (1963 edition), mixed media, edition of 30, box (closed) 14 13/16 x 15 15/16 x 3 9/16 in. Gift painting for a benefit that Johns was organizing Warhol knew this work well, as it was included of Mrs. Robert B. Mayer, 1983.30. ©1997 Artists to raise money for artists in need. Warhol then in Duchamp's Box in a Valise (Boite-en-valise), a Rights Society (ARS), New York. commented: suitcase containing miniature replicas of his I don't know who picks who's needy. Probably some work, of which Warhol owned two versions, one idiot like [the art critic] Barbara Rose, right? Or of 1942 and another of 1963, the latter being of

14 15 entitled in\ blots, by Dennis Martelli (1-Hammer Ink, Drawings and Prints (New York: Sotheby's, 1988), lots Robert Hughes. Oh, I bet that's who it is. I just bet. REV A WOLF is an Assistant Professor in theArt Publishers, 1980), that is in the Archives Study Center, 3039 and 2991. I'm going to ask David. So they came and they History Department of the State University of New The Andy Warhol Museum, Pittsburgh, PA. wanted the biggest one. The Ink Spot painting. The Yorh, New Paltz; her booh entitled Andy Warhol, 19. Johns's story of his interaction with this critic is Rorschach Blot. Jasper liked it.-x Poetry, and Gossip in the 1960s will be published 10. Leonard Schecter, "The Warhol Factory," New quoted in Michael Crichton, Jasper Johns (New York: Harry N. Abrams, in association with the Whitney It is easy to understand why Johns would by the University of Chicago Press in the fall of Yor/( Post, 23 February, 1966 (Warhol Clipping File, Theatre Collection, New York Public Library). Museum of American Art, 1977), 48. have been attracted to the ink blot paintings, for 7997. Dr. Wolf completed this essay while a member they echo his own interest in diagrams taken and National Endowment for the Humanities 11. Peter Selz, "Pop Goes the Artist," Partisan Review 20. The self-portrait that accompanies a New Yorher from perceptual psychology, such as the vase that Fellow at the Institute for Advanced Study, 30 (Summer 1963), rpt. as "The Flaccid Art" in Pop profile of David Salle by the journalist Janet Malcolm includes a quote from Marilyn Monroe, written across can also be viewed as a profile of a human face in Princeton. Thanhs are due to Kimerly Rorschach Art: The Critical Dialogue, ed. Carol Anne Mahsun (Ann Arbor and London: UMI Research Press, 1989), the right margin, which reads "I never met a writer I his painting Ventriloquist (1983). However, for and Courtenay Smith for their helpful guidance. would want to be my judge," and is clearly a reply to Warhol the idea of offering Johns an ink blot 81. Malcolm's essay; see "Forty-One False Starts," New painting for the fundraising benefit was a way 12. John Ashbery, "Andy Warhol in Paris," New Yorh Yorher (July 11, 1994): 51. Muntadas's production of a to establish a connection between Johns's visual NOTES Herald Tribune, 17 May 1965, International Edition, sarcastic vision of art critics but a favorable one of responses to art criticism and his own. Warhol's rpt. in Ashbery, Reported Sightings: Art Chronicles 1. See, for example, Francis Frascina, ed., Polloch and artists with whom he sympathizes in his video installa­ speculation in his diaries that Robert Hughes 1957—1987, ed. David Bergman (New York: Alfred A. After: The Critical Debate (New York: Harper Icon, tion Between the Frames (1994) is pointed out in might be the critic to determine which artists Knopf, 1989), 121. 1985); Stephen C. Foster, The Critics of Abstract Eleanor Heartney, "Reframing the Eighties," Art in 13. See, for example, Joseph Gelmis, The Film Director would receive money from Johns's benefit was, in Expressionism (Ann Arbor: UMI Research Press, 1980); America 82 (November 1994): 105-9. effect, his way of acknowledging that he had as Superstar (Garden City, N.Y.: Doubleday, 1970), 67. "Early Pop Art and the Consumptive Critic" in Hand- 21. Donald B. Kuspit, "Civil War: Artist Contra made the ink blot paintings with Hughes's cri­ 14. The Philosophy of Andy Warhol (From A to B and Painted Pop: American Art in Transition, 7955—62, e d. Critic," Artforum 19 (October 1980): 60-64. tique, The Rise of Andy Warhol, in mind. Russell Ferguson (Los Angeles: Museum of Bach Again) (San Diego, New York, and London: 22. Hess, "Reviews and Previews: Andy Warhol," 11. Additional allusions to Hughes's essay can Contemporary Art, 1992), 163—77; an^ Anna C. Harcourt Brace Jovanovich, 1975), 180. 23. Hughes, "The Rise of Andy Warhol," 8. be recognized in an interview with Warhol a few Chave, "Minimalism and the Rhetoric of Power," Arts 15. Colacello, Holy Terror, 207-8. Regarding Warhol's years later. Regarding the Rorschach series, Warhol Magazine 64 (January 1990): 44-63. practice of reading reviews of his exhibitions, and the 24. Michel de Certeau, The Practice of Everyday Life, told the interviewer: 2. T.B.H. [Thomas B. Hess], "Reviews and Previews: possibility that he took the idea of making wallpaper trans. Steven Rendall (Berkeley, Los Angeles and I was trying to do these to actually read into them Andy Warhol," ARTnews 63 (January 1965): 11. from Hess's 1965 review of the Flowers exhibit, see London: University of California Press, 1984), 37-40. Charles F. Stuckey, "Warhol in Context" in The Worh and write about them, but I never really had the 3. These two 1971 versions of the Cow wallpaper are 25. Johns seems to have adapted imagery from other of Andy Warhol (Dia Art Foundation Discussions in time to do that. So I was going to hire sombody [sic] catalogued in Andy Warhol Prints: A Catalogue collage works by Dove from the same period as The to read into them, to pretend that it was me ... all I Contemporary Culture Number 3), ed. Gary Garrels Raisonne, ed. Frayda Feldman and Jorg Schellmann, Critic-, see Roberta Bernstein, Jasper Johns's Paintings would see would be a dog's face or something like a (Seattle: Bay Press, 1989), 17. rev. ed. (New York: Ronald Feldman Fine Arts; and Sculptures 1954-1974: The Changing Focus of the tree or a bird or a flower. Somebody else could see a Munich and Nevy York: Editions Schellmann; New 16. See Patrick S. Smith, interview with Ivan Karp Eye (Ann Arbor: UMI Research Press, 1985), 44 and lot more. But maybe they shouldn't have any read­ (October 12, 1978) in Smith, Andy Warhol's Art and 46. ing into them at all. None at all... what's nice about York: Abbeville Press, 1989), 37 (nos. 11a and 12). Films (Ann Arbor: UMI Research Press, 1986), 357. those paintings is you could do them every five years 4. In making the wallpaper, Warhol generated a set of 26. The two versions of the Boite owned by Warhol are . .. anytime you wanted to .. . because there's noth­ intriguing homosexual associations as well; on these, 17. Ernst Kris and Otto Kurz, Legend, Myth and Magic catalogued in The Andy Warhol Collection, vol. 5, lots 2 ing to read into them. '' see Kenneth E. Silver, "Modes of Disclosure: The in the Image of the Artist (1934), ed. and trans. E. H. 2847 and 2864, respectively. Warhol here reiterated Robert Hughes's Construction of Gay Identity and the Rise of Pop Art" Gombrich (New Haven and London: Yale University 27. For some of Duchamp's thoughts on Apollinaire's assertions that, first, viewers read their own in Hand-Painted Pop, 202. Press, 1979), 104-6. writings about his art, see Pierre Cabanne, Dialogues meanings into Warhol's art, and that second, the 5. Russell W. Davenport, "A Life Round Table on 18. Richard S. Field, Jasper Johns: Prints 1960-1970 with Marcel Duchamp, trans. Ron Padgett (London: images lacked a particular reading. However, by Modern Art," Life (October II, 1948): 62. (New York, Washington and London: Praeger Thames and Hudson, 1971), 29, 30 and 37-8. Publishers, in association with the Philadelphia turning to the abstract forms of the ink blot 6. [B. Rouch], "The Talk of the Town: Unframed 28. The Andy Warhol Diaries, ed. Pat Hackett (New Museum of Art, 1970), cat. nos. 68 and 119, respective­ paintings, Warhol eliminated the possibility of Space," New Yorker 26 (August 5, 1950): 16. The con­ York: Warner Books, 1989), 560 (entry for March 28, ly. Both works are in the catalogue of the auction of easy political interpretations such as those nection between what Pollock said in this interview 1984). Warhol's estate; see The Andy Warhol Collection, vol. 5, referred to by Hughes. Thus, in creating the and Huxley's Life comment was made by Ellen G. 29. Robert Nickas, "Andy Warhol's Rorschach Test" Americana and European and American Paintings, Rorschach paintings, Warhol effectively contra­ Landau, Jackson Pollock (New York: Harry N. [interview], Tr7r Magazine 61 (October 1986): 28. dicted the entire point of Hughes's Rorschach- Abrams, 1989), 172 and 179. test metaphor, while at the same time appearing 7. Bob Colacello, Holy Terror: Andy Warhol Close Up to agree with it by making it a literal aspect of his (New York: Harper Collins, 1990), 340. art. In so doing, he not only revealed to us his 8. Robert Hughes, "The Rise of Andy Warhol," New human side, but also called our attention to the Yorh Review of Boohs (February 18, 1982): 8. fact that relationships between artists and critics 9. The Rorschach paintings, in addition to referring to are infinitely more complex than often is assumed. Hughes's remark, may allude to a homoerotic book

16 17 Studies in the Permanent Collection

I'icture-Perfect: Hugo Brehme's Photographs |:

If we believe visual representation shapes the allowed for an international circulation of his way a nation is envisioned by its own people and work. At the same time, however, he was pro­ by those abroad, then Mexico is a country formed ducing images of Mexico for a Mexican public, in out of fresco, folk arts, and photography. With its a photographic style that rapidly became associ­ capacity for mass reproduction and circulation, ated, through his and others' practice, with the photography revealed a newly rediscovered picturing of Mexico. The Smart Museum's pho­ Mexico to its own inhabitants and allowed tographs represent the range of Brehme's oeuvre, images of Mexico to be exported to viewers in from images of colonial architecture and Mayan Europe and the United States. Mexican photo­ ruins to indigenous types and volcanic land­ graphy in the twentieth century has been influ­ scapes. By examining their audiences (foreign enced by both the impact of foreigners in Mexico and local), exportation and circulation (through and the indigenous sensibilities and cultural view books, tour guides, and postcards), and revival of the Mexican Renaissance. The recent iconography (from the untouched landscape to gift to the Smart Museum of eight photographs the timeless Indian), we may be able to under­ by Hugo Brehme (1882-1954)1 allows the oppor­ stand the different factors that contributed to a tunity to revisit some of the problems posed by visual understanding of Mexico and Brehme's Mexican photography's mixed heritage: the prob­ particular role in the creation of a national image. lems of who is authorized to represent a people, Born in Eisenach, Germany, Brehme began what that representation should look like, and studying photography at the age of sixteen. After how that image works to define a national aes­ whetting his appetite for travel with an expedi­ thetic and identity. tion to Africa, he ventured to Mexico for the first Hugo Brehme embodied contradictions: a time in 1905, returning there for good three years German native, he helped shape the national later. Within a short time, Brehme established image of Mexico at home and abroad decades himself as a commercial photographer in Mexico before becoming a Mexican citizen; though he City, snapping graduations, baptisms, and festi­ ran a high-art practice he titled "Fotograffa vals in the German-Mexican community at the Arti'stica Hugo Brehme," he also sold numerous same time that he was photographing documen­ postcards and introduced the Christmas card to tary scenes of the Mexican Revolution (including Mexico. Brehme operated from a unique position an often-reproduced portrait of the general between Mexican citizen and foreigner, and had Emiliano Zapata). He started photographing for resources- cultural, linguistic, and social—that National Geographic in 1917, beginning a career

B Y ELIZABETH SI E G E L

19 in the wake of the Mexican revolution, and a that would see his scenes of Mexico published in sense of the immediacy of experience, photogra­ numerous local, tourist, and foreign journals. phers flocked to Mexico from Europe and the Brehme's major artistic accomplishment is United States.6 The 1920s saw Edward Weston his Mexico Pintoresco (Picturesque Mexico) of and Tina Modotti photographing and exhibiting 1923. In this book of nearly two hundred images in Mexico City, where they gained acclaim for of volcanoes, churches, archaeological sites, and their highly formal, often abstract photographs. Mexican Indians—published first in Mexico, In the 1930s, Henri Cartier-Bresson, Edward with an expanded edition called Picturesque Steichen, and Paul Strand all visited; Strand's Mexico: The Country, the People, and the work in 1933 resulted in the "Mexican Architecture put out in Germany two years later Portfolio," a series of photogravures that —Brehme established his reputation for revealed a Mexico composed of striking light, fotografta artistica (artistic photography) within fantastic folk art, and native faces (as seen in the and beyond Mexico.2 The book was dedicated to Smart's gravure, fig. 3). Photography at this the people and land he had come to embrace; in moment, its artistic growth and acceptance, the preface to the first edition, Brehme presented could be perceived as a joint endeavor between the volume as a gift: Mexican photographers and their foreign col­ The photographs that illustrate the present work leagues; they often exhibited together, published are patent proof that the Mexican Nation is of old their pictures in the same journals, and learned and glorious ancestry and deserves to figure among from each other's visions. the peoples who march at the front of Humanity. Brehme used either a 5" x 7" or an 11" x 14" cam­ Figure 1. The author is honored to offer this work to the What distinguished Brehme from the other Hugo Brehme, Ruins of Mexican People as an homage of gratitude for their era, transporting the unwieldy tripod and sup­ foreign photographers was that he stayed. Chichen Itza, Yucatan, hospitality, and, at the same time, to express his plies on burros up the face of the volcano circa 1925, gelatin silver Naturalized in 1951, three years before his death, admiration for the superb beauty of the land.3 Popocatepetl or other sites inaccessible to all but print, sheet: 7 7/8 x 9 7/8 in. he came to think of himself as Mexican. In a Printed one to a page, the pictures are meant to the mountaineer. The photograph of the volcano Gift of Isaac S. and Jennifer chapter in Mexico Pintoresco on the Indian, carry their own weight as objects of aesthetic dis­ El lxtaccihuatl (fig. 2), set off by the conventional A. Goldman, 1996.2. Brehme offered his thanks to the Mexican people tinction. Brehme, a meticulous technician in the repoussoir (framing device) of the dark trees, is along with some advice for the foreigner: evidence of such a climb, showing a high vantage darkroom, supervised the printing of these sepia He who looks at this country with open eyes and an point over the sleepy village. This large format, Figure 2. reproductions. open heart, and especially he who knew to put him­ Hugo Brehme, El lxtaccihuatl, ideal for a landscapist, required that Brehme be self in intimate contact with the inhabitants and One of the Smart Museum's eight pho­ circa 1920s, gelatin silver very selective about his shots and take time to plant roots in the Mexican soil, will love Mexico tographs, Brehme's Ruins of Chichen Itza, print, sheet: 9 1/2x73/4 in. with all his soul and will find lasting happiness here. Yucatan (fig. 1) was added to the second edition compose them, and allowed for the sharp overall Gift of Isaac S. and Jennifer God grant that this book contribute something to detail that characterizes his photographs. A. Goldman, 1996.9. in 1925; it also illustrated an article, "Recent demonstrate how much notable beauty Mexico Brehme began photographing landscapes at Excavations at Chichen Itza, in the tourist jour­ offers!2 a time when most commercial photographers in Figure 3. nal Mexican Life, in August of that year.3 Paul Strand, Man with a Hoe, Brehme enjoyed the unusual position of seeing In a fairly straightforward view of the ruins, Mexico were taking portraits. During the nine­ Los Remedios, Mexico, from Mexico with the wonder of an outsider, while teenth century and into the twentieth, Mexicans Brehme allows the light to bring the Mayan the first edition of the employed photography to memorialize family knowing the workings of Mexican life in the way carvings into relief, but unlike many of his Mexican Portfolio, 1933, only an inhabitant can. Indeed, Brehme inti­ photographs of pre-Columbian architecture, and celebrate community. It was not until for­ i Photogravure, sheet: 7 mately understood what other foreigners wanted here there are no people present to give the view­ eigners ventured to the new world armed with 3/16 x 5 11/16 in. Gift of David C. Ruttenberg, to see about the country, while trying, by remain­ er a sense of scale. Instead, the viewer is free to cameras that Mexico appeared in photographs as 1 5 978.128. ©1940 Aperture ing in Mexico, to be a part of that very culture he imagine a pure Mayan past without the presence landscape, monuments, and history. The land­ Foundation Inc., Paul Strand scape—especially mountains and volcanoes, but perceived through the lens. of the twentieth-century mestizo (a Mexican of Archive. Brehme secured some links with the art mixed Spanish and Indian descent). The ruins of sometimes lakes or forests or cacti—became community in Mexico, both foreign and the Yucatan peninsula and central Mexico awed Brehme's trademark, differentiating him from Mexican. Modotti, Weston, and Strand all visited Brehme; along with Spanish colonial structures the multitude of studio photographers in Mexico his studio; although they considered him a little and Mexico's mountainous terrain, they formed City. too commercial for their purist tastes, he stocked a crucial component of Mexico Pintoresco, As a foreign photographer in Mexico, and sold needed photo supplies from Germany. Brehme's personal landscape. Brehme was not that unusual: lured by the bril­ Brehme related practical tips as well, advising In most of his landscape photography, liant light, the exciting contemporary arts scene

21 20 Cartier-Bresson, for example, about sites to visit, business of representing Mexico to their own train schedules, and the like. He was also in con­ audiences, reporting back to Europe or the States tact with Guillermo Kahlo, the father of painter as Mexico began to put on a public cultural face Frida Kahlo and also a German-Mexican, for a curious world. although the two apparently shared professional With the huge influx of foreign visitors and jealousies.8 In 1923, Brehme sold a young settled expatriates, there sprang up a multitude Manuel Alvarez Bravo his first camera; later, this of tourist and other cultural journals in both "grandfather" of Mexican photography would HUGO BREHME Spanish and English (and an assorted few in recall that Brehme's prints were technically Figure 5. French and German). Anthropologist Frances much more accomplished than his own (see fig. Hugo Brehme, :pl)otograplirv Toor's Mexican Folkways, a bilingual journal Advertisement for 4, an example of Alvarez Bravo's surrealist mode ; Room 36, Ave. Cinco de Mayo No. 27 established in 1925, published drawings and pho­ Brehme's studio and from the Smart's collection).9 And in August (Corner Cinco de Mayo and Bolivar Street) tographs by artists such as Diego Rivera, Jean photographs, circa MEXICO CITY, MEXICO 1928, Brehme exhibited his works alongside 1925-28, courtesy of P. O. Box (Apa rtado) 2253 Chariot, Carlos Merida, Modotti, and Weston; Phone: Ericsson 7755 Modotti, Alvarez Bravo, Antonio Garduno, and Grupo Editorial Miguel it featured articles by writers and critics like Unique and Beautiful Views of Mexico. Eva Mendiola in The Mexican Photographers Angel Porrua. Finest Assortment of Artistic Postcards in the Republic. Carleton Beals, Anita Brenner, and Rene Enlargements and Developing Work a specialty. Exhibition (Exposicion de Fotografos Mexicanos), The A Ibums below contain the beat assortment of Mexican d'Harnoncourt along with artists' statements Views ever taken : claiming one of the first six awards. Picturesque Mexico, with 250 views and English titles. (Modotti, for example, published her own mani­ Price 15 pesos, postpaid But Brehme also differed from most of the Mexico Pintoresco, with 200 views and Spanish titles. festo on photography in its pages). Brehme pho­ Price 12 pesos, postpaid. foreign photographers who visited Mexico by Mail Orders fiiven immediate and careful attention. tographed for the journal and advertised his ser­ embracing commercial work; indeed, he adver­ vices for its expatriate readership throughout the tised his studio services and publications heavily. 1920s and '30s. During that time, Brehme also both his postcards and his view books toward a Besides his wide assortment of larger-scale land­ worked for other English-language periodicals, non-Mexican audience. For example, in the June scapes such as those from Mexico Pintoresco, including National Geographic (the ultimate pho­ 1935 issue of Mexican Life, an English-language Brehme also sold postcards "like hot cakes," dis­ tographic guide to exotic places for Westerners), cultural magazine, he placed two ads: "The visi­ tributing them at the American Bookstore, and Mexican Life, which boasted many cover tor in Mexico will find the most extensive and Sanborn's (a much-frequented department store photographs by him.12 In addition, his work also varied collection of Mexican views in the and cafe), and various hotels.10 An ad, in illustrated the pages of numerous tour guides Republic—from postals to wall size pictures—at English, circa 1925-28 (fig. 5), shows Brehme and picture books for both foreigners and Hugo Brehme's" and "Mexico Pintoresco-. a book promoting both his landscapes and "the finest Mexicans, from Manuel Romero de Terreros's containing a collection of beautiful Mexican assortment of artistic postcards in the Republic." Figure 4. Residencias coloniales de la ciudad de Mexico views. The best-lasting souvenir of your Mexican As previously noted, Brehme is credited with Manuel Alvarez Bravo, Optic (Colonial Residences of Mexico City) of 1918 to the sojourn. For sale at Hugo Brehme."11 As his having introduced the Christmas card to Mexico; Parable (Parabola Optica), 1924 Guide and Handbookfor Travellers to Mexico 1931, gelatin silver print, audience became increasingly international, he printed photographs of his favorite volcanoes, City and Vicinity. Like his postcards, these publi­ 9 3/8 x7 3/16 in. Gift of Joel Brehme's photographs were transformed from landscapes, or pictures of Mexican children, cations operated as export mechanisms for Snyder, 1981.83. mementos (of, say, a community event) to sou­ mounted them by hand on cards, and sold them images of Mexico, providing a written context venirs of a foreign land. Indeed, parts of Mexico in Sanborn's. for Brehme's photographs; the images, thus Pintoresco read as a tourist guide rather than an The significance of Brehme's chosen formats framed, offered cultural commentary as well as artistic statement, urging readers to visit famous should not be overlooked: the postcard, the trav­ artistry. sites and pointing out spots of interest to the geo­ eler's book of views, and to a lesser extent the Through the same vehicle of the popular logically or archaeologically inclined. Christmas card all furthered the exportation of press, Brehme also exhibited his photographs to a The 1920s began a period of intense foreign Brehme's images of Mexico to other nations. The Spanish-speaking audience. The Spanish- interest in Mexico, as a new government postcard, by its very nature, is a photograph language cultural monthly, Tricolor, published promised radical change, archaeological excava­ intended to show an exotic place to readers at Brehme's images on lush, large-scale pages in the tions uncovered wondrous buildings and works home; it aims to distill the experience of a place late 1910s;12 in the journal Revista de Revistas, of art, and the murals of the Mexican Renaissance and its people into a small, easily understood rec­ Brehme's pictures illustrated archaeological gained international recognition. Artists, anthro­ tangle. Inherently exportable, the postcard (or topics as well as a 1928 article titled "Typical pologists, archaeologists, political scientists, and, "postal," as Brehme sometimes advertised them) Mexico," showing Mexico to itself. And with the of course, the ubiquitous tourists from the north signified landscape as product, as Mexico became arrival of automobile travel came the monthly all came to witness Mexico's simultaneous con­ through Brehme's lens, a photogenic country automotive travel guide, Mapa: Revista de suitable for tourist consumption. Brehme directed stancy and change. Most of them were in the

22 23 Turismo, sponsored by the Mexican auto associa­ tion, and aimed toward middle-class Mexicans with the time and money—and now, the inclina­ tion—to explore their own country. Brehme's photographs graced numerous covers of Mapa during the 1930s and 1940s, and he often pho­ tographed for articles on local colonial architec­ ture, archaeological excavations, and folk tradi­ tions. One such photograph is the Smart's Tepotzotlan (fig. 6), which was one of fourteen images illustrating the 1934 article "Nuestros Figure 7. Hugo Brehme, Potter Family, Conventos" (Our Convents).14 A much closer (Alfareria, Oaxaca), circa view than his usual approach, this photograph 1920s, toned gelatin silver nonetheless exemplifies Brehme's balanced, geo­ print, sheet: 10 3/8 x 13 3/8 in. metric style. At the center of the coffered ceiling Gift of Isaac S. and Jennifer A. is what appears to be the national symbol of Goldman, 1996.7. Mexico, an eagle with a snake in its mouth perched upon a cactus (from the Aztec legend of the discovery of their city); it is surrounded by concentric circles of winged seraphim and cherubs that seem to hold it aloft. Brehme's fram­ ing suggests not only a concern with the formal harmony of his picture, but also a sense of the co-existence of colonial and pre-Columbian sym­ bols that make up twentieth-century Mexican identity. ground. But where a formalist like Weston reflected in the maguey cactus, prickly pear, and the tree in the foreground of the mountain photo­ We have seen that Brehme was uniquely might have emphasized just a few pots and the graph?20 positioned—through his status as both Mexican play of contrasting light and shadow, Brehme and foreigner, through his ties to the art world as steps back, making sure to show the family unit, Brehme's idea of nationalism is tied to the land, well as the world of commerce—to disseminate the dignity of Indian labor (at least on the part of an ideology central to emerging ideas of Mexican 21 17 national identity in the first half of the century. images of Mexico. If we turn to the kinds of canidad, or "Mexicanness." Drawn from the Figure 6. mother and child), and the broader landscape of images he produced, one of the first pictures traditions of a pre-Columbian past and a folk Hugo Brehme, Tepotzotlan, cacti, trees, and hills. Mexico is, for Brehme, a But where an artist like Rivera extolled the Brehme took that symbolized Mexico to its own present, Mexicanidad represented the political circa 1920s, toned gelatin montage of various elements: the workers cannot Indian and the worker within that landscape, silver print, sheet: 13 7/16 people was his portrait of the revolutionary and artistic revival of the native in the wake of be Mexican without the distinctive landscape painting them literally larger than life, Brehme's x 10 in. Gift of Isaac S. and leader Emiliano Zapata in 1914.16 In it, the som­ the Revolution. In Brehme's photographs, as in behind them. He locates Mexicanness as much in pictorial love remained Mexico's untouched Jennifer A. Goldman, 1996.6. brero-clad Zapata stands alert and fierce, his rifle many of the murals and easel paintings of the the native flora, the black pottery, and the harsh nature. In his preface to Mexico Pintoresco, ready in one hand, sword drawn in the other, time, this ideology can be seen in the pre- sunlight as in the people themselves. Brehme listed the features that had moved him with bands of ammunition crossed at his chest. Columbian motifs, the dignified Indian, local In Brehme's iconography, the features of the so much: Diego Rivera, then in Europe, was inspired dress and customs, and folk crafts. To Brehme, land replace people in the national landscape; The author of this book, who during many years of enough to base his Paisaje Zapatista (Zapatist who felt that Germany had lost much of its as some critics have recently suggested, people constant work has had the opportunity to admire the Mexican Nation with its picturesque landscapes, Landscape), and later some forty Zapatas he indigenous costume and tradition, Mexico function in his photographs as markers, points architectural preciousness, interesting native types, painted into his murals and other works, on this seemed linked with its past and heritage in ways of comparison for scale, balancing elements or archaeological joys and the manifestations of mod­ 16 18 "aesthetic complements" in the composition.19 particular image. This photograph, whether he had never experienced. One example of his ern life, feeling moved by these unforgettable intended or inadvertent, became a widespread fascination with what he might have called "typ­ In response to a perceived oversimplification of impressions, considered it a duty to give the public visual symbol of the people's champion, the spark ical Mexico" can be found in Alfareria, Oaxaca national character, two Mexican scholars have the most notable of his collection of photographs 22 of revolution. (.Potter Family) (fig. 7). Here, Brehme displays an asked: taken directly from nature. Brehme's later images of Mexico veered interest in abstraction (perhaps influenced by [I]s our country an erupting volcano, or an idyllic These features—the countryside, the ancient away from the political and documentary toward Weston and Modotti), focusing on the repetition landscape over which an ancestral carriage goes its architecture, and even the presence of indigenous way?. . . Are our true spirit and essence adequately the more culturally-laden symbolism of Mexi- of circular forms in the ceramic pots in the fore­ types—mapped out the terrain of a symbolic

24 25 many languages, including Spanish; the second edition 13. Tricolor published a spread of some thirty pho­ landscape for Brehme, who, because of his out­ transforming it into a public one, it is because he focused more on the traditional and folkloric than the tographs by Brehme in August 1918. sider's eyes, never took it for granted. could negotiate these different poles. The rather first, with fewer photographs of Mexico City and more mundane vehicles of postcards, tour books, 14. Carlos Sanchez Mejorada, "Nuestros Conventos," In a land of color, black and white, too, of the people, landscapes, and archaeological ruins. Mapa: Revista de Turismo I, no. 3 (June 1934): 7—13- becomes symbolic. Initially due to the high cost Christmas cards, and individual views for sale 3. Brehme, "Prefacio," Mexico Pintoresco, IV. 15. Until just a few years ago, the Zapata portrait was of color film and processing (as well as to certain added up to a greater system that projected—to 4. Mexico: Baukunst, Landschaft, Volfleben, plate 249; thought to have been taken by the documentary pho­ biases about how serious photographs should the outside world as well as to those at home—a C. R. Millholand, "Recent Excavations at Chichen tographer Augustin Victor Casasola, but during particular image of Mexico at a moment when its look), photographers in Mexico employed black Itza," Mexican Life vol. I no. 7 (August 1925): 14. research for the exhibitions of recent years a copyright and white; eventually, the severe contrasts of identity was being forged anew. Critics in Mexico stamp with Brehme's name was found on the negative. 5. Philippe Roussin elaborates on this argument in today view Brehme's photographs with a tinge of light and dark and the distillation of color into "Photographing the Second Discovery of America," 16. This assertion is made by Blanca Garduno, direc­ form became a style itself. As Max Kozloff has nostalgia for a Mexico that was picture-perfect, a Mexico Through Foreign Eyes (Mexico visto por ojos tor of Museo-Estudio Diego Rivera, in publicity for commented, "If there was a politics of seeing Mexico that perhaps never existed: untouched, extranjeros) 1850-1990, ed. Carole Naggar and Fred the exhibition Mexico, una nacion persistente; see Mexico photographically, then surely it must be bucolic, and pure. The enduring appeal of these Ritchin (New York: W.W. Norton & Company, 1993), Patricia Rosales y Zamora, "Expondran 168 Imagenes de Brehme, Aqui y en NY," Excelsior, Thursday 28 in accord with a stripped, almost elemental vision images lies in the very world that Brehme con­ 97- September 1995, 6-B. in black and white—the spectrum of suffering structed; they make us long not for Mexico's past, 6. Edward Weston is a prime example of an artist who came to experience life more elementally through his 17. The issue of Mexicanidad and representation is and pity."2^ This straightforward style, initiated but for Mexico as it appears in our imagination. time in Mexico. At the end of his stay in Mexico, he problematic for some critics today, as Coco Fusco by photographers like Brehme, Weston, and wrote (seemingly unaware of his condescension): writes: "[T]he issue of cultural identity has its own ELIZABETH SIEGEL is an advanced grad­ Modotti, was perfected by Manuel Alvarez Bravo "These several years in Mexico have influenced my complicated history within Mexico and its own dis­ and others and dominated Mexican photography uate student in the University of Chicago's thought and life. Not so much the contact with my cursive history within Mexican photography. While by mid-century. Black-and-white photography Department of Art History and a Curatorial artist friends as the less direct proximity of a primitive the sign of la mexicanidad (Mexicanness) plays a central —often abstract, sometimes surrealistic, always Intern at the Smart Museum. Her dissertation is on race. Before Mexico I had been surrounded by the role in photographic imagemaking, no consensus usual mass of American burgess—sprinkled with a exists as to the referent." Fusco, "Essential Differences: sharp—reveals a Mexico composed of brilliant nineteenth-century American family albums. few sophisticated friends. Of simple peasant people I Photographs of Mexican Women," English is Broken light, the shapes of the maguey cactus, or the knew nothing. And I have been refreshed by their ele­ Here: Notes on Cultural Fusion in the Americas (New 24 shadows across an Indian face. mental expression—I have felt the soil." Weston, York: The New Press, 1995), 104. Although Brehme's photographs have been NOTES August 30, 1926, The Daybooks of Edward Weston, vol. 18. Elena Poniatowska, "Hugo Brehme," Mexico called pictorialist or picturesque, they are for the I wish to thank the Mexican Studies Program, I, ed. Nancy Newhall (New York: Aperture, 1973), Pintoresco, 27. Brehme was particularly fond of most part straight shots, facing the subject from University of Chicago, for a grant to travel to Mexico 190. For more on foreign photographers in Mexico, Tehuantepec, Denis Brehme recalls, because of the see Mexico Through Foreign Eyes. some distance, unmolested by darkroom manip­ City. All translations are by the author unless other­ clothes and the strength of the women. ulation or overdetermined composition. It is wise noted. 7. Brehme, "Los Indios Mexicanos," Mexico Pintoresco, 19. See Jesus Sanchez Uribe and Guillermo Tovar y de Mexico that becomes picturesque in his lens, a XXIII. Teresa, "Hugo Brehme," translated by Jennifer G. 1. These photographs were the gift of Isaac S. and Mexico evenly framed and calmly composed, 8. See Elena Poniatowska, "Hugo Brehme," Mexico Potter, Mexico: una nacion persistente, 27. Jennifer A. Goldman, 1996.2-9. Although Brehme has Pintoresco, 20, and the recollection by Denis Brehme with wide open spaces and a level horizon line. most often been discussed, in the history of photogra­ 20. Sanchez Uribe and Tovar y de Teresa, 27. (Hugo's grandson), "Hugo Brehme: su vida, su obra y This Mexico has only Indian residents, when it is phy in Mexico, as merely a contemporary of 21. Jose Ortiz Monasterio calls this "nacionalismo sus tiempos," in Pueblos y paisajes de Me xico. inhabited at all; it has only the ancient spaces of Guillermo Kahlo (Frida Kahlo's photographer father) romantico" (romantic nationalism), arguing that 9. Raquel Tibol, "Trazos sobre la cultura fotografica pre-Hispanic and colonial times, when it has or as Manuel Alvarez Bravo's early teacher, there has nature was fundamental to a construct of Mexican been a surge of new research and exhibitions of his en Mexico," brochure to the exhibition, Fotografias de nationality at the time. Monasterio, "Hugo Brehme," human structures at all. Brehme's images are work in the last six years. The main texts on Brehme Hugo Brehme, Museo de la Basilica de Guadelupe, 22 Luna Cornea no. 6 (1995): 49. more notable, perhaps, not for what he includes, include Hugo Brehme, Mexico Pintoresco, reprint edi­ August-22 October 1989. 22. Brehme, "Prefacio," Mexico Pintoresco, III. but for what he omits. Here, there is no city, no tion (Mexico City: Grupo Editorial Miguel Angel 10. Poniatowska, "Hugo Brehme," Mexico Pintoresco, 23. Max Kozloff, "Picturing Mexico in Color," Mexico intrusion of technology on the landscape or lives Porrua, 1990); Hugo Brehme, Pueblos y paisajes de 18. Mexico (Mexico City: Grupo Editorial Miguel Angel Through Foreign Eyes, 176. of Mexico; there are no cars or cameras, the tools 11. Mexican L ife XI, no. 6 (June 1935): 67 and 90. Porrua, 1992); and the exhibition catalogue Mexico, 24. Critics like Fusco have decried the "hegemonic of his own profession; there is no progress, only Brehme was even more to the point in an ad in una nacion persistente: Hugo Brehme fotografias, prevalence" of this school of photography as it verges history. Brehme's picturesque Mexico is a coun­ Mexican Life in July 1932, when he exhorted: Instituto Nacional de Bellas Artes, Museo Franz on stereotype: "We know that Mexico—rural, time­ try stranded in time, insistently still, a vision of "Tourists! You will find the largest and most artistic Meyer (Mexico City: Grupo Editorial Miguel Angel less, brimming with natural beauty and supernatural collection of MEXICAN VIEWS at Hugo Brehme's." the past even at the moment the shutter opened. Porrua, 1995). belief, brought to us in glorious black and white. Its Somewhere between postcards and artistic 12. It is unclear whether Brehme worked on assign­ 2. The second edition, titled Mexiko: Baukunst, Land- protagonists are the recent campesino [peasant] and the ment or whether editors selected photographs from photography, somewhere between Germany and schaft, Volfleben, was published and circulated by mysterious indigena [native], fantastic survivors of the his collection of negatives; this makes it slightly more Mexico, somewhere between naive symbolism Ernst Wasmuth worldwide except in Mexico, since past." Fusco, 105. difficult to date his photographs. He did maintain an Mexico Pintoresco had been distributed there; it was and earnest admiration, lies the work of photog­ archive, Denis Brehme relates in Pueblos y paisajes, but part of the "Orbis Terrarum" series, which sought to rapher Hugo Brehme. If Brehme was successful it is not known if this was a personal storage system or make known the different countries of the world. As at exporting his personal image of Mexico and one for commercial display. in the first book, the photographs were captioned in

26 27 HK3I

Activities and Support/ Collections

$c.35

Acquisitions to the Permanent Collection

Objects listed below entered the permanent collection from i July 1995 through 30 June 1996. Dimensions are in inches followed by centimeters in parentheses; unless otherwise indicated, height precedes width precedes depth. Known catalogue references with page numbers follow dimensions.

EUROPEAN ARTHUR DOVE GUILLERMO MC DONALD AND AMERICAN American, 1880-1946 American, born in Peru, 1928 Harbor in Light, 1929 Untitled, n.d. PAINTINGS Oil on canvas, in original copper Oil on canvas, 18 1/4 x 25 1/4 frame, 21 1/2 x 29 5/8 (54.6 x 75.2) (46.4 x 64.1) MARY BORKOWSKI Partial Bequest of John S. The George Veronda Collection, American, born 1916 Anderson and Partial Purchase, by 1996.29 Untitled, after 1965 exchange, 1995.48 Embroidery on velvet, HERMAN MENZEL 21 1/4 x 21 1/4 (54 x 54) BONNIE HARRIS American, 1904—1988 The George Veronda Collection, American, 1870-1962 Ore Boat, Cal-Sag Harbor, 1996.24 Insect Design, 1952 probably 1930 Casein on paperboard, 17 1/2 x 32 Oil on canvas, 22 1/8 x 26 1/8 ROGER BROWN 1/2 (44.5 x 82.6) (56 x 66.4) . American, born 1941 Gift of Marilee H. Asher, 1995. 46 Gift of Mrs. Willa H. Menzel, Viewing the Auroral Drapery, 1971 1996.50 Oil on canvas, in artist's original BONNIE HARRIS £ frame, 48 x 39 7/8 (i2t-9 x 101.3) Persian Castle, circa 1960 PHILIP PEARLSTEIN The George Veronda Collection, Casein and lace on paperboard, 15 American, born 1924 & Model on African Chair, Legs «.»• — 1996.25 3/4 x 19 3/4 (40 x 50.2) Gift of Marilee H. Asher, 1995. 47 Crossed, 1980 ROGER BROWN Oil on canvas, 60 x 48 (152 x 121.9) Winter Wal\, 1976 RICHARD LOVING Bowman 487 Oil on canvas, 72 x 72 American, born in Austria, 1924 Gift of the Joel and Carole (182.9 x 182.9) Untitled, 1979 Bernstein Family Collection, The George Veronda Collection, Acrylic on masonite, 30 1/2 x 24 x 1995.71 1996.26 1 3/4 (77-5 x 61 x 4-5) The George Veronda Collection, LARRY POONS MANIERRE DAWSON 1996.28 American, born 1937 American, 1887—1969 Untitled, 1976 Night in Malta, 1913 Acrylic on canvas, 88 x 40 Oil on canvasboard (?), 18 x 22 (223.5 x I0I-6) (45-7 x 55-9) Gift of the Joel and Carole Gift of Dr. and Mrs. Meyer S. Bernstein Family Collection, Gunther, 1995.96 I995-73

29 EMILE BERNARD FAIRFIELD PORTER French, 1868-1941 American, 1907-1975 Rooftops, n.d. Long Island Farm Land, 1967 Pen and brush, and ink and ink Oil on canvas, 14 1/2 x 22 1/2 wash on wove paper, 12 7/8 x 9 7/8 (36.8 x 57.2) (32.7 x 25) (sheet) Gift of the Joel and Carole Gift of Jack and Helen Halpern in Bernstein Family Collection, honor of Richard Born, 1995.105 '995-74 ROBERT COTTINGHAM CHRISTINA RAMBERG American, born 1935 American, 1946-1995 Kress, 1974 Troubled Sleeve, 1974 Gouache on wove paper, 10 1/2 x Acrylic on masonite, in artist's 10 1/2 (26.7 x 26.7) (sight) original frame, 35 1/2 x 33 Gift of the Joel and Carole (90.2 x 83.8) Bernstein Family Collection, The George Veronda Collection, 1995.72 1996.32 ARTHUR DOVE BARBARA ROSSI American, 1880-1946 American, born 1940 Untitled, n.d. Outck-n-Quack, 1975 Ink and colored pencil on wove Acrylic on Plexiglas, in artist's RICHARD WILLENBRINK ROGER BROWN Arthur Dove, Harbor in paper, 10x13 (25.4 x 33) (sight) original frame, 44 x 30 American, born 1941 1929, 1995.48 Gift of John L. Strauss, Jr., (111.8 x 76.2) American, born 1954 Mas\for the Chairman of the Board 1995.101 The George Veronda Collection, Three Female Nudes on a White and Blue Rug, 1986 of Directors, 1974 1996.34 Oil on canvas, 78 x 102 Acrylic on wood construction with WILLIAM FRE DERICK cm American, born 1958 DAVID SHARPE (198.1 x 259.1 -) leather thongs, 37 x 9 x 14 Gift of Howard and Donna Stone, (94 x 22.9 x 35.6) 011 Tanks, 1990 American, born 1944 The George Veronda Collection, Pastel, pencil, and colored pencil Lovers, 1982 1995.60 1996.16 on laid paper, 17 1/2 x 54 3/4 (44.5 Oil on canvas, 60 x 48 KARL WIRSUM x 139.1) (composition) (152.4 x 121.9) SHEILA HICKS Gift of Goldman Asset Gift of Howard and Donna Stone, American, born 1939 Bobbee Pin Magnet, 1971 American, lives in France, Management Inc., 1995.97 1995.59 Acrylic on canvas, in artist's origi­ born 1934 RICHARD HAMILTON PAULINE SIMON nal frame, 48 x 38 (121.9 x 96.5) Evolving Tapestry—Soleil, 1984 The George Veronda Collection, Wound, tied, and knotted dyed British, born 1922 American, 1894—? Untitled (View of a Garden 1996.36 linen, three units, 14 x 1 6 x 15 Mother and Child, 1972 Philip Pearlstein, Model on African Chair, Legs Crossed, 1980, 1995.71 (35.6 x 40.6 x 38.1) (overall) through a Window), early 1940s Acrylic on canvas, PHILIP WOFFORD Gift of the artist, 1995.45 a, b, c Pen and ink and watercolor on 34 x 26 (86.4 x 66) ALDOBRANDO PIACENZA WORKS ON PAPER wove paper, 13 1/2 x 10 The George Veronda Collection, American, born 1935 Caravanserai, 1989 JESSE HOWARD American, born in Italy, (34.4 x 25.4) (sheet) '996-35 Oil and acrylic on canvas, 73 1/2 x American, ^85-1983 1888-1976 ARTIST UNKNOWN Gift of Sylvia Sleigh, 1995.69 x Bird House Cathedral, circa 1970 Walt Disney Studios WILLIAM T. WILEY t04 (186.7 264-') Walking Stick, circa 1967 Gift of Allan Frumkin, 1995.53 Painted wood, 45 1/2 (115.6) Unpainted wood construction, American JUNE LEAF American, born 1937 The George Veronda Collection, Sleeping Beauty, n.d. American, lives in Canada, born Drifting Net, 1987 33 5/8 (85.4) The George Veronda Collection, Pencil on wove paper, 1929 Acrylic and pencil on canvas, ro2 SCULPTURE r 996.27 10 1/2x8 3/8 (26.7 x 21) (sight) Neighbor in the Landscape, 1971 1/2 x r68 (260.4 x 426.8) 1996.31 ROBERT LAURENT Gift of the Joel and Carole Acrylic on wove paper, 21 3/8 x 31 Gift of the Joel and Carole ALEXANDER EGIDE ROMBAUX Bernstein Family Collection, 5/8 (54.3 x 80.3) (sheet) Bernstein Family Collection, ARCHIPENKO American, born in France, Ukrainian, 1887-1964 1890—1970 Belgian, 1865-2942 1995.76 Gift of Marilyn Schiller, 1995.50 1995.61 Woman Combing Her Hair, 1915 Mother and Child, late 1920s- The Daughters of Satan (Les fdles (model, edition date unknown) early t930s de Satan), 1900 Polished cast bronze, ed. 1/4, Carved wood, h. without base Gilt cast bronze on marble h. 14 1/2 (36.8) 9 3/4 (24.8), h. with base and gilt cast bronze base, Schmoll-Heilmann 30 a r 1 1/2 (29.2) h. without base 20 1/8 (51.1), (undescribed edition of 4) Gift of John N. Stern, 1995.108 h. with base 22 1/8 (56.2) Gift of the Joel and Carole Gift of John N. Stern, 1995.77 Bernstein Family Collection, 1995.70 31 JOSEPH YOAKUM LYONEL FEININGER LOUIS LEGRAND HERMAN MENZEL MEL RAMOS g|hi Moon Valley Mtn in Puget Sounds American, lived in Germany, Chit-Chat (Bavardage), 1901 American, 1904-1988 American, born 1935 1 |ill near Columbia Sounds Washington, 1871-1956 Color etching and aquatint, ed. Hamilton Park Skaters, probably Robin and Joker, 1962 ;| Oil 24 December 1964 Gelmeroda, 1920 (block, this 66/130, 7 3/8 x 5 3/16 1940s Acrylic on acetate, 2 sheets G.|VI 111 Pencil, ball-point pen, and colored impression printed 1958) (26 x 13.2) (plate) Pencil and watercolor on wove mounted together: 8 1/2x5 1/2 coHii ?;"« pencil on wove paper, 12 x 18 Woodcut, ed. of 300, 13 x 9 3/4 From the series Parisian Fauna paper, 14 1/2 x 17 11/16 (21.5 x 13.9) and 81/2x9 1/4 (30.5 x 45.7) (sheet) (33 x 24.8) (block) (Faune parisienne) (36.8 x 44.9) (sheet) (21.5 x 23.5) (both sight) ijftll The George Veronda Collection, Prasse W 237 Gift of Dr. and Mrs. Meyer S. Gift of Mrs. Willa H. Menzel, Gift of the Joel and Carole 1996.23 Gift of Dr. and Mrs. Meyer S. Gunther, 1995.90 Bernstein Family Collection, lltl 1995.52 Gunther, 1995.86 199575 RAY YOSHIDA ALPHONSE LEGROS (?) MINCHELL American, born 1930 JEAN-LOUIS FORAIN English, born in France, American, dates unknown SUELLEN ROCCA Analogies #6, 1973 French,1852-1931 1837-1911 American, born 1943 Dinosaurs, n.d. Marker ink and paper collage on Rue Lafitte, 1902 Untitled (Peasant in a Forest), n.d. Pencil and watercolor on wove Face Picture III, 1982 wove paper, 30 1/2 x 22 1/2 Lithograph, ed. 32/50, 12x9 1/2 Etching, 5 15/16 x 10 13/16 Pencil on wove paper, 15x11 paper, 17 1/2 x 25 7/8 (77-5 x 57-2) (sheet) (30.5 x 24.1) (composition) (15.1 x 17.5) (plate) (38.1 x 27.9) (sheet) (44.5 x 65.7) (sheet) The George Veronda Collection, Guerin 6 Gift of Dr. and Mrs. Meyer S. The George Veronda Collection, Gift of Mrs. Edwin A. Bergman, 1996.19 Gift of Dr. and Mrs. Meyer S. Gunther, 1995.91 1996.53 1996.30 Gunther, 1995.87 PRINTS ROBERT LOSTUTTER GLADYS NILSSON BARBARA ROSSI JEAN-LOUIS FORAIN American, born 1937 American, born 1940 American, born 1940 HANS BELLMER Dancer and Head-Waiter (Danseuse Ross's Turaco Looking Back, '988 Grace's Rigor, 1976 Sitting for Her Portraite [«'e], 1974 French, born in Germany, et maitre d'hotel), 1908 Etching, hand-colored in water- Watercolor on wove paper, Pencil and colored pencil on wove 1902-1975 Etching (soft-ground) and color, ed. 6/20, 6 13/16 x 7 5/8 paper, 23 x 29 (58.4 x 73.7) (sheet) 15 1/4 x 22 (38.7 x 55.9) (sheet) Untitled, circa 1950s aquatint, 12 7/8 x 11 1/4 (17.3 x 19.4) (plate) The George Veronda Collection, The George Veronda Collection, Etching, artist's proof impression, (32.8 x 28.6) (plate) Gift of Goldman Asset 1996.18 1996.17 9 3/8 x 5 1/2 (23.8 x 14) (plate) Guerin 34 Management Inc., 1995.98 Anonymous Gift in honor of Gift of Dr. and Mrs. Meyer S. • AVID PARK DAVID SHARPE Richard Born, 1996.51 Gunther, 1995.88 REN£ MAGRITTE American, born 1944 American, 1911—1961 Belgian, 1898-1967 Untitled (Abstraction), 1970 Untitled (Seated Male Nude), ROGER BROWN OSKAR KOKOSCHKA Untitled (Rose and Pear), n.d. Pencil and watercolor on wove 1955-59 American, born 1941 Austrian, 1886—1980 Color etching, ed. 93/150, Brush and ink on wove paper, paper, 15x18 (38.1 x 45.7) (sheet) Cathedral in Space, 1983 Olda, 1956 61/4x4 1/4 (15.9 x 10.8) (plate) Gift of Leon and Marian Despres, 16 7/8 x 13 13/16 (42.8 x 35.1) Lithograph (printed in sepia Gift of Dr. and Mrs. Meyer S. Roger Brown, Mask for the Color lithograph and screenprint, (sheet) 1995-54 Chairman of the Board of ed. 34/65, 40 x 30 1/16 orange), ed. 39/50, 17 5/16 x Gunther, 1995.92 Gift of the Joel and Carole JOSEPH YOAKUM ut Ran e Directors, 1974, 1996.16 (101.6 x 76.2) (composition) 13 3/16 (44 x 33.5) (sheet) Bernstein Family Collection in DAVID SHARPE Look O S Birmingham Adrian-Born 31 Wingler-Welz 207 GLADYS NILSSON Untitled (Lovers), 1981 Ala., n.d. memory of Bud Holland, 1995.49 Gift of Robert G. Donnelley, Gift of Jack and Helen Halpern, American, born 1940 Pencil on wove paper, 30 5/8 x Ball-point pen and watercolor on 1995.106 Problematical Tripdickery, 1984 wove paper, 8 15/16 x 12 1995.78 MARTIN RAM IREZ 22 3/4 (77.8 x 57.8) (sheet) Color etching and drypoint, three (22.7 x 30.5) (sheet) American, born in Mexico, Gift of the artist, 1995.51 MARIE LAURENCIN individual plates conceived as a The George Veronda Collection, FELIX-HILAIRE BUHOT 1885-1960 French,1847-1898 French,1885-1956 unified horizontal composition Untitled (Horse and Rider), WILLIAM T. WILEY 1996.21 Sheep Pens, Setting Sun (Les Dinah, 1931 and printed on a single sheet, ed. American, born 1937 circa 1955 Bergeries, Soleil couchant), 1881 Color lithograph, ed. 56/125, 21/25, 7 7/'1^ x 18 5/8 (18.9 x 47.3) Pencil on wove paper, 23 r/4 x 18 Untitled (Drifting Net), 1987 JOSEPH YOAKUM Etching, drypoint, aquatint, and 151/2x113/8 (39.4 x 29) (overall dimensions of printed (59.1 x 45.7) (sheet) Pencil, pen and ink on wove Mountain of 40 Days Fast Jericho roulette, 5 1/8 x 10 1/2 (composition) composition) The George Veronda Collection, paper, 2 sheets: 7 1/16 x 10 1/4 Judea, 18 September 1964 (13 x 26.7) (plate) Marchesseau 166 Il/II Adrian-Born 145 (18 x 26) (each sheet) Ball-point pen and watercolor on 1996.33 Bourcard-Goodfriend 151 iv/iv Gift of Jack and Helen Halpern in Gift of the artist in honor of Gift of the Joel and Carole wove paper, 12 x 18 (30.5 x 45.7) Purchase, Gift of the Friends of honor of Kimerly Rorschach, Christina Ramberg, 1995.55 Bernstein Family Collection, (sheet) 1995.107 The George Veronda Collection, the Smart Museum, 1996, 1996.47 1995.62 a-b GLADYS NILSSON 1996.22 LOUIS LEGRAND Plate Dancing in Carbondale, 1984 JOSEPH YOAKUM French, 1863—1951 Etching and drypoint, ed. 23/28, American, 1886/88—1976 His Kid (Son Gosse), n.d. 11 11/16 x 8 13/16 Dune in Indiana, n.d. Etching, ed. 14/50, 8 1/16 x 6 3/8 (29.7 x 22.4) (plate) Ball-point pen and watercolor on (20.5 x r6.2) (plate) Adrian-Born 146 wove paper, 8 15/16 x 12 Gift of Dr. and Mrs. Meyer S. Gift of the artist in honor of (22.7 x 30.5) (sheet) Gunther, 1995.89 Christina Ramberg, 1995.56 The George Veronda Collection, 1996.20 33 32 ARTIST UNKNOWN HUGO BREHME DECORATIVE ARTS GLADYS NILSSON Mexican (?) El Rojario, Santo Domingo, Puebla, The Little Naturalist's Field Untitled (Four Men in a Field, circa 1920s RUTH DUCKWORTH Trip, 1993 Mexico), circa 1900 Toned gelatin silver print, vintage American, born in Germany 1919, Etching, drypoint, and aquatint, Gelatin silver print, vintage impression mounted on original lived in England ed. 63/80, 17 13/16 x 23 15/16 impression mounted on original mat, 13 3/8 x 10 1/2 Large Plate, circa 1968 (45.2 x 60.8) (plate) mat, 65/8x9 1/2 (34 x 26.7) (sheet) Glazed stoneware, diam. of From the portfolio AGB 1 + 10 (16.8 x 24.1) (sheet) Gift of Isaac S. and Jennifer rim 19 (48.3) Gift of the artist in honor of Gift of Isaac S. and Jennifer A. Goldman, 1996.5 Gift of Mr. and Mrs. Phil Shorr, Christina Ramberg, 1995.57 A. Goldman, 1996.14 1995.66 Suzanne Valadon, Catherine HUGO BREHME GLADYS NILSSON Washing Herself (Catherine ARTIST UNKNOWN Tepotzotlan, circa 1920s JEAN LURQAT Untitled, 1993 s'epongeant), 1908, 1995.93 Mexican (?) Toned gelatin silver print, vintage Designer Suite of ten etchings, plate Untitled (Women by a Circular impression mounted on original French,1881-1966 dimensions vary Building, Mexico), circa 1910 mat, 13 7/16 x 10 Plate, 1966 Gift of the artist in memory of Toned gelatin silver print, vintage (34.2 x 25.4) (sheet) Glazed earthenware, diam. of rim Whitney Halstead, 1995.58 a-j impression mounted on original Gift of Isaac S. and Jennifer 9 11/16 (24.6) A. Goldman, 1996.6 Gift of Linda L. Kramer, 1996.52 JIM NUTT mat, 12 7/8 x 7 5/16 (32.7 x 18.6) (sheet) American, born 1938 Gift of Isaac S. and Jennifer HUGO BREHME ASIAN oh! my goodness (NO NO), 1977 Alfareria, Oaxaca, circa 1920s Etching with plate tone (printed in A. Goldman, 1996.11 Toned gelatin silver print, vintage CHINESE: PAINTING brown), ed. 50/50, 9 7/8 x 11 7/8 SYLVESTER BAXTER impression mounted on original (25.1 x 30.2) (plate) mat, 10 3/8 x 13 3/8 CHEN XIANZHANG Adrian-Born 198 IV/IV American, dates unknown (26.4 x 3 4) (sheet) (hao BAISHA) Gift of the American Academy of The Cathedral of Puebla, Puebla, KARL SCHMIDT- ANDY WARHOL Gift of Isaac S. and Jennifer Chinese, 1428-1500 Arts and Letters, New York; Mexico, circa 1920s ROTTLUFF Cow, 1971 Gelatin silver print, vintage A. Goldman, 1996.7 Calligraphy: Poem, second half of Hassam, Speicher, Betts and Color screenprint on wallpaper German, 1884-1976 impression in original mat, 15th century Symons Funds 1996, 1996.15 (periwinkle/brown) 45 1/2 x 29 3/4 House with Poplar Trees 91/2x7 1/2 (24.1 x 19.1) (sight) HUGO BREHME Hanging scroll, brush and ink on (Haus mit Pappeln), 1913 (115.6 x 75.6) (sheet) x JEANETTE PASIN-SLOAN Gift of Isaac S. and Jennifer El Ixtacchuatl, circa 1920s paper, 49 x 20 (124.5 5°-8) (block, edition 1918) Feldman-Schellmann 12 Gelatin silver print, vintage (calligraphy panel) American, born 1946 A. Goldman, 1996.10 Woodcut, 9 1/2—9 '^4 x $ 1/4—to Purchase, Unrestricted impression, 91/2x7 3/4 (24.1 x Gift of Alice and Barry Karl, Emergence, 1990 (23.9-23.5 x 21-25) (irr. block) Acquisitions Fund, 1996.49 Hand-colored etching, ed. 5/10, 23 HUGO BREHME 19.7) (sheet) 1995.65 Published in Die Schaffenden, I. Gift of Isaac S. and Jennifer A. 3/4 x 16 1/2 (60.3 x 41.9) (plate) Mexican, 1882—1954 Jahrg. Mappe I, 1918 PHOTOGRAPHY ARTIST UNIDENTIFIED Gift of Mrs. Richard W. Peltz in Detail of North Wing, Casa de Goldman, 1996.9 Shapire 118 Chinese, Qing dynasty memory of Richard Peltz, B.A/46, las Monjas, 1915-25 Gift of Mrs. Esther English, ARTIST UNKNOWN 6 Gelatin silver print, vintage HUGO BREHME (1644-1912) M.A/49, Ph.D/53, i99 -54 Mexican (?) 1995.68 impression, 8 x 10 Ruins of Chicken Itza, Yucatan, Landscapes, probably 18th century Untitled (Four Men in a River, MAX PECHSTEIN (20.3 x 25.4) (sheet) circa 1925 Three leaves from an album, SUZANNE VALADON Mexico), circa 1900 brush and ink and light color on German, 1881-1955 Gift of Isaac S. and Jennifer Gelatin silver print, vintage French, 1865-1938 Gelatin silver print, vintage Acrobats III (Akrobaten III), 1912 A. Goldman, 1996.3 impression, 7 7/8 x 9 7/8 paper, each 11 x 19 (27.9 x 48.3) Catherine Washing Herself impression mounted on original Gift of Mrs. Geraldine Schmitt- (block, edition 1918) (20 x 25.1) (sheet) (Catherine s'epongeant), 1908 mat, 65/8x8 7/16 (16.8 x 21.4) Poor and Dr. Robert J. Poor, Two-color (black, blue) woodcut, HUGO BREHME Gift of Isaac S. and Jennifer Etching, ed. 31/75, 81/2x8 1/16 (sheet) 8 7/16 x 10 5/8 (21.5 x 27) (block) Taxco Gro, Parroquia, circa 1920s A. Goldman, 1996.2 1995.80, 1995.81, and 1995.82 (21.6 x 20.5) (plate) Gift of Isaac S. and Jennifer A. Published in Die Schaffenden, I. Toned gelatin silver print, vintage Gift of Dr. and Mrs. Meyer S. Goldman, 1996.12 CHINESE: SCULPTURE Jahrg. Mappe I, 1918 impression mounted on original HUGO BREHME Gunther, Kriiger H 137 1995.93 mat, 13 5/8 x 9 7/8 Popocatepetl, circa 1930s ARTIST UNKNOWN Han dynasty (206 B.C.E.—220 C.E.) Gift of Mrs. Esther English, (34.6 x 25.1) (sheet) Toned gelatin silver print, vintage ANDY WARHOL Mexican (?) impression mounted on original Tomb Sculpture (Mingqi): 5 6 Gift of Isaac S. and Jennifer 995- 7 Untitled (Man Walking Towards American, 1928-1987 A. Goldman, 1996.4 mat, 13 5/16 x 10 3/8 Horseshoe-Shaped Model FAITH RING GOLD Cow, 1971 a Village, Mexico), circa 1900 (33.8 x 34) (sheet) of a Stove, n.d. Gelatin silver print, vintage American, born 1930 Color screenprint on wallpaper Gift of Isaac S. and Jennifer Green glazed earthenware with impression mounted on original The Sun Flower Quilting Bee at (blue/yellow) 45 1/2 x 29 3/4 A. Goldman, 1996.8 molded decoration, 4 1/4 x mat, 7 11/16 x 9 1/2 Aries, 1996 (115.6 x 75.6) (sheet) 73/4x7 (10.8 x 19.7 x 17.8) Color lithograph, ed. 59/100, Feldman-Schellmann 12 (19.5 x 24.1) (sheet) Gift of Mrs. Geraldine Schmitt- Gift of Isaac S. and Jennifer 22 x 30 (55.8 x 76.2) (sheet) Purchase, Unrestricted Poor and Dr. Robert J. Poor, Purchase, Unrestricted Acquisitions Fund, 1996.48 A. Goldman, 1996.13 '995-104 Acquisitions Fund, 1996.55

35 34 Northern Song dynasty (960-1127) INDIAN: PAINTING Mali, Dogon people Pair of Tomb Sculptures (Mingqi): Mask,, 20th century Guardian Warriors, n.d. Mughal style Carved wood, cowry shells, beads, Unglazed molded and modeled A Prince on Horseback Entering a and mirrors, 25 1/2 (64.8) earthenware with cold-painted Camp, 20th century (?) The George Veronda Collection, decoration, each 8 1/4 (20.9) Opaque colors and gold on paper, 1996.41 Gift of Mr. and Mrs. Michael 8x47/8 (20.3 x 12.4) (painting) Ivory Coast, Guro people R. Cunningham in honor of Folio from a bound manuscript, Fr. Harrie A. Vanderstappen, with calligraphic text on verso, in Mask,, 2 0th century which the Mughal-style miniature Carved wood with painted S.V.D., 1995.83 and 1996.1 has been inserted into an earlier decoration, 13 3/4 (34.9) The George Veronda Collection, CHINESE: CERAMICS i8th-i9th-century (?) border of Indian design 1996.39 Late Eastern Zhou dynasty Gift of Dr. and Mrs. Meyer S. Ivory Coast, Guro people (770-256 B.C.E.) or Han dynasty Gunther, 1995.94 Mask,, 20th century (206 B.C.E.-220 C.E.) Chen Xianzhang Carved wood with painted Ritual or Funerary Vessel (?): Mughal style (hao Baisha), decoration, 21 (53.3) Globular Vase, n.d. A Scene of Lovers, 20th century (?) Calligraphy: Poem The George Veronda Collection, Stoneware with beaten or Opaque colors on paper, second half of 15tl impressed repeat-pattern decora­ 6 13/16 x 4 1/4 (17.3 x 10.8) 1996.40 century, 1995.65 tion and partial natural ash glaze, (painting) Marka people h. 12 (30.5), diam. of mouth Folio from a bound manuscript with calligraphic text on verso Mask,, 20th century 6 13/16 (17.3) Carved wood, metal, and string, Gift of Mrs. Geraldine Schmitt- Gift of Dr. and Mrs. Meyer S. Poor and Dr. Robert J. Poor, Gunther, 1995.95 '3 (33) The George Veronda Collection, 1995.102 JAPANESE: 1996.37 Han dynasty (206 B.C.E.—220 C.E.) SCULPTURE Funerary Vessel (Mingqi): Hu, n.d. Japanese, Kofun period, Tumulus Figure (Haniwa): Male Figure, 6th-7th Unglazed earthenware (grayware) Kofun period century, 1996.45 with incised and applied molded Tumulus Figure (Haniwa): Male Koryo dynasty (918-1392) Thanka: Lamaist Monk, probably decoration, 15 1/8 (38.4) Figure, 6th-7th century Bowl, I2th-I3th century late-ipth-early 20th century New Guinea, Sepik River Gift of Dr. Harry and Mrs. Lucia Unglazed modeled earthenware with incised and applied Stoneware with celadon glaze Hanging scroll, pigment on cloth, Mask-like Dagger, 20th century Miller, 1995.84 decoration, 14 (35.5) and inlaid black-and-white 22 3/4 x 16 1/2 (57.8 x 41.9) Bone (?) staff with mud decorated JAPANESE: decoration, h. 3 3/8 (8.6), (painting) with cowry shells, colored beads, Han dynasty Purchase, Gift of the Students diam. of rim 8 1/16 (20.5) Gift of Mrs. Geraldine Schmitt- feathers, and boar tusks, 16 (40.6) Hu, n.d. and Friends of Father Harrie A. METALWORK Poor and Dr. Robert J. Poor, The George Veronda Collection, Stoneware with modeled, incised Vanderstappen, S.V.D., Gift of Dr. Harry and Mrs. Lucia and combed, and applied decora­ 1996.45 Edo period (1600-1868) Miller, 1995.85 1995.100 1996.42 tion and partial natural ash glaze, Pair of Keman (Altar Pendants), New Guinea, Sepik River h. 16 (40.6), diam. of mouth JAPANESE: WORKS ON first half of 19th century Mask, 2°th century 6 1/2 (16.5) PAPER Gilt bronze, 14 x 14 (35.5 x 35.5) Carved wood braided rope strips Gift of Mrs. Geraldine Schmitt- and 14 x 13 7/8 (35.5 x 35.2) Thanka: Green Tara, probably and feathers, 19 1/2 (49.5) Poor and Dr. Robert J. Poor, YASUMASA MORIMURA Gift of Mrs. Miriam H. Kirkley in late-i8th-early 19th century Japanese, born 1951 memory of Paul A. Kirkley, Hanging scroll, pigment on cloth, Liberia or Ivory Coast, The George Veronda Collection, I995-I03 Ambiguous Beauty (Aimai-no-bi), i955-63 and 1995-64 33 1/4 x 23 5/16 (84.5 x 59.2) Dan people 1996.43 20t 1995 (painting) Mask, h century Color lithograph, printed KOREAN: CERAMICS Gift of Mrs. Geraldine Schmitt- Carved wood, forged iron, and New Guinea, Sepik River recto and verso and mounted Poor and Dr. Robert J. Poor, cut aluminum (?), 10 3/8 (26.3) Mask, 2°th century The George Veronda Collection, as a folding fan, ed. of 5000, Unified Silla period (668-918) 1995.99 Carved wood with shell, cowry 20 x 20 (50.8 x 50.8) Covered Cinerary Urn, 1996.38 shell, and feather decoration, Gift of the Peter Norton Family, 8th—9th century 19 3/4 (50) 1995.79 Unglazed stoneware with incised The George Veronda Collection, and impressed decoration and 1996.44 natural ash glaze deposits, h. with cover 5 1/4 (13.3), diam. of mouth of bowl 4 7/16 (11.3) Purchase, Gift of the Friends of the Smart Museum, 1996.46a, b 36 37 Activities and Support/ Frank Lloyd Wright Milwaukee Art Museum, Milwaukee, Wisconsin Collections Side Chair, 1909 Prairie School Collaborators: Frank Lloyd Wright and Oak with (replacement) upholstered back and slip George Mann Niedeckpn seat, 51 x 16 3/4 x 19 3/4 (129.5 x 42-6 x 5°-2) 6 October 1995-4 February 1996 (overall) Frank Lloyd Wright, designer Designed for the Frederick C. Robie Residence, American, 1867-1959 Chicago Side Chair, circa 1909 University Transfer, 1967.83 Oak with (replacement) upholstered back and slip Frank Lloyd Wright seat, 51 x 16 3/4 x 19 3/4 (129.5 x 42-6 x 5°-2) Window, circa 1909 University Transfer, 1967.83 Wood and metal with clear and colored leaded George Mann Niedecken, designer in association glass, 49 1/4 x 30 5/8 (125.6 x 77.8) with Frank Lloyd Wright Designed for the Frederick C. Robie Residence, American, 1878-1945 Chicago Arm Chair, circa 1909 University Transfer, 1967.86 Oak, 39 1/2x31 1/2x31 (100.4 x 8° x 78.8) Frank Lloyd Wright University Transfer, 1967.57 Loans from the Permanent Collection Window, circa 1909 Wood and metal with clear leaded glass, Sordoni Art Gallery, Wilkes University, Exhibitions to which works of art from the permanent collection have been lent are listed alphabetically by the 33 374 x 35 5/8 (85.7 x 90.5) Wilkes-Barre, Pennsylvania city of the organizing institution. Dimensions are in inches followed by centimeters; height precedes width Designed for the Frederick C. Robie Residence, Guy Pene du Bois: The Twenties at Home and Abroad precedes depth. Loans listed date from i July 1995 through 30 June 1996. Chicago 21 May-13 August 1995 University Transfer, 1967.87 Traveled to: Westmoreland Museum of Art, Frank Lloyd Wright Spertus Institute of Jewish Studies, Chicago Greensburg, Pennsylvania, Arm Chair, 1900 Frank Lloyd Wright Maryan's Truth: Paintings 1957-1975 10 September—5 November 1995 9 May-28 August 1996 Oak, 37 x 32 1/2 x 28 1/4 (94 x 82 x 71.1) (overall) Window, circa 1909 Designed for the Harley Bradley House, Wood and metal with clear and colored leaded Guy Pine Du Bois Maryan S. Maryan (Pinchas Burstein), called Kankakee, Illinois glass, 47 7/8 x 38 5/8 (124.5 x 76.8) American, 1884-1958 Maryan University Transfer, Gift of Mr. Marvin Designed for the Frederick C. Robie Residence, Four Arts Ball (Bal des quatres arts), 1929 American, born in Poland, lived in Israel and Hammack, Kankakee, 1967.68 Chicago Oil on canvas, 28 3/4 x 36 1/2 (73 x 92.7) France, 1927-1977 University Transfer, 1967.89 Gift of William Benton, 1980.1 Personage, 1962 Frank Lloyd Wright Oil on canvas, 44 7/8 x 45 (113.98 x 114.3) Barrel Arm Chair, 1900 Gift of Robert A. Lewis in memory of Martha A. Oak with (replacement) upholstered seat, Schwarzbach, 1983.37 27 x 27 1/2 x 28 (68.6 x 69.8 x 71.1) (overall) Designed for the Harley Bradley House, State of Illinois Gallery, Chicago Kankakee, Illinois Emil Armin: Escapes and Cityscapes University Transfer, Gift of Mr. Marvin 18 August-13 October 1995 Hammack, Kankakee, 1967.70

Emil Armin Frank Lloyd Wright American, 1883—1971 Dining Table Side Chair, 1907-10 The Dream, 1924 Oak with (replacement) leather slip seat, Oil on canvas, 20 x 25 7/8 (50.8 x 65.7) 52 1/2 x 18 x 19 (133.3 x 45-7 x 48-9) (overall) Gift of Mrs. Helen Jacobson, 1979.19 Designed for the Frederick C. Robie Residence, Chicago Design Museum, London, England University Transfer, 1967.82 Frank Lloyd Wright: The Early Years Frank Lloyd Wright 4 May-3 September 1995 Dining Table Side Chair for a Child, 1907-10 Frank Lloyd Wright, designer Oak with (replacement) leather slip seat, American, 1867—1959 52 1/2 x 18 x 19 1/4 (133.3 x 45-7 x 4^-9) (overall) Arm Chair, 1900 Designed for the Frederick C. Robie Residence, Oak, 34 1/2 x 36 1/2 x 28 ( 87.6 x 92.7 x 71.1) Chicago (overall) University Transfer, 1967.81 Designed for the Harley Bradley House, Kankakee, Illinois University Transfer, Gift of Mr. Marvin Hammack, Kankakee, 1967.66

39 38 Activities and Support/ Exhibitions and Programs

Exhibitions

Permanent collection, loan, and traveling exhibitions from i July 1995 through 30 June 1996.

M.F.A. 1995 The catalogue published in connection with this 13 July—27 August 1995 exhibition contains essays by Elizabeth Lillehoj, Carolyn S. Moore, and D. R. Howland, as well as Seven artists were represented in the 1995 Master illustrated catalogue entries on each work in the of Fine Arts exhibition: Louis Brandt, Anthony exhibition. Elms, Marc Fischer, Erik S. Lieber, Morgan Santander, Duncan Webb, and Karen Louise The Studio Museum in Harlem: Twenty-Five Wilson. Utilizing painting, drawing and photog­ Years of African-American Art raphy, the artists presented a wide range of differ­ 19 October-io December 1995 ing visions, techniques and styles. This exhibition marked the first national tour of A brochure published in connection with this art from the collection of The Studio Museum in annual Master of Fine Arts exhibition features an Harlem, a premiere museum dedicated to the introduction by Tom Mapp, Director of Midway work of Black America and the African Diaspora. Studios, seven black-and-white illustrations, and Included were works by African-American artists personal statements by each of the artists. Romare Bearden, Fred Brown, Ed Clark, Herbert Gentry, Sam Gilliam, Richard Hunt, Norman Woman in the Eyes of Man: Images of Women in Lewis, Kerry James Marshall, Valerie Maynard, Japanese Art Betye Saar, and William T. Williams. Primarily 12 September-3 December 1995 focused on the sense of pluralism that has long been at the core of the African-American art com­ Organized by the Smart Museum, in collaboration munity, the exhibition revealed a broad scope of with DePaul University and The Field Museum, individual artistic and intellectual concerns. Woman in the Eyes of Man focused on artistic depictions of women throughout Japanese history, The catalogue published by The Studio Museum exploring a range of idealized feminine types, in Harlem in conjunction with this exhibition pre­ including the moral paragon, the alluring beauty, sents an introduction by curator Valerie J. Mercer, and the selfless caregiver. Curated by Elizabeth biographical and bibliographical information on Lillehoj, Associate Professor of Art History at each of the artists, a general bibliography on DePaul University, in conjunction with Carolyn African-American art, and color illustrations of Moore, Associate for Japanese Collections at each artist's work. The Field Museum, and Smart Museum Curator Richard Born, the exhibition featured seven­ Installation view of Looking to teenth- through twentieth-century paintings, Learn: Visual Pedagogy at the prints, and illustrated books from The Field University of Chicago Museum's Boone Collection.

41 Activities and Support/ The Sculptural Head as Image Exhibitions and Programs 12 December 1995-10 March 1996

Organized by Herbert George, Associate Professor, Committee on Art and Design at the University of Chicago, this exhibition examined the convention of the portrait head from antiquity to the present through over forty sculptures from the Smart's permanent collection. The Sculptural Head as Image was supported by a grant from the Andrew W. Mellon Foundation, which encour­ ages the use of the Museum's collection in design­ ing and teaching classes.

Mark Rothkp: The Spirit of Myth, Early Paintings from the 1930s and 1940s 18 January—17 March 1996 Peasants and "Primitivism": French Prints from Events Millet to Gauguin Providing an in-depth look at the early years of 18 April 1996-9 June 1996 Lectures, gallery talks, opening receptions, concerts, special events, colloquia, and symposia from 1 July 1995 one of the most important American artists of this through 30 June 1996. century, this exhibition highlighted rarely exhibit­ Organized by the Mount Holyoke College Special events accompanying the M.F.A. 1995 of Art, University of Chicago; Ramon Price, ed paintings from the extensive Mark Rothko col­ Museum and curated by Robert L. Herbert, one exhibition: Chief Curator, DuSable Museum of African lection at the National Gallery of Art. Visitors had of the leading scholars of Impressionism, this a unique opportunity to view important phases of American History; exhibition artists Richard exhibition traced the rise of two related types of Members' Opening Reception: 12 July 1995. Hunt, Kerry James Marshall, and William T. Rothko's development through paintings address­ "primitivism" in nineteenth-century France. ing the alienation of modern urban life to those Gallery talks by participating artists: Erik S. Williams. Co-sponsored by the DuSable The eighty works in the exhibition, by artists such Lieber, Morgan Santander, and Karen Louise Museum, 21 October 1995. inspired by Greco-Roman mythology, as well as as Paul Gauguin, Camille Pissarro, and Jean- Surrealist-influenced biomorphic forms. The Wilson, 30 July 1995. Anthony Elms, Marc Frangois Millet, represent both a celebration of the Video Screenings: "Two Centuries of Black show concluded with the luminously painted Fischer, Duncan Webb, 6 August 1995. pre-industrial conditions of rural life, labor and American Art." Award-winning film survey of atmospheric fields of color for which this Abstract landscape, and an artistic primitivism of deliber­ African-American art by Carlton Moss, weekly Special events accompanying the exhibition Expressionist is celebrated. screenings from 20 October through 8 ately crude print-making techniques and styles. Woman in the Eyes of Man: Images of Women in December 1995. The accompanying catalogue, Mark Rothko, The fully illustrated catalogue. Peasants and Japanese Art: written by Christoph Grunenberg and published Jazz concert: Featured Chicago-based musicians "Primitivism": French Prints from Millet to Gauguin, Members' Opening Reception: 22 September by the National Gallery of Art, Washington, D.C., written by Robert L. Herbert, includes an essay, Jimmy Ellis and Beverly Pickens, co-sponsored '995- provides an overview of the artist's career and extensive catalogue entries on individual prints, by Mostly Music, n November 1995. includes color illustrations of works in the and a glossary of print-making terminology. Lecture: "The Gender of Japanese Art," exhibition. Professor Kaori Chino, Department of Japanese Benefit Dinner: The First Joseph R. Shapiro Looking to Learn: Visual Pedagogy at the Art History, Gakushuin University, Tokyo, Award Dinner honoring Joseph R. Shapiro. This Drawings from the Collection of The Arts Club University of Chicago 22 September 1995. dinner at the Drake Hotel inaugurated the of Chicago Joseph R. Shapiro Award, established by the 7 May—9 June 1996 Conference: "Images of Women in Japanese 19 March-2 June, 1996 Smart Museum Board of Governors in recogni­ Culture," DePaul University, Under the direction of Professors Linda Seidel tion of this distinguished collector whose vision 23 September 1995. Through eleven drawings from the permanent and Katherine Taylor, this exhibition was orga­ and connoisseurship have been instrumental in collection of The Arts Club, including works by nized by graduate and undergraduate students in Japanese Tea Ceremony: "Music and Dance recognizing, promoting, and preserving the Andre Derain, Paul Klee, Henri Matisse, Joan the University of Chicago's Art History of Japan," co-sponsored by Mostly Music, work of important artists and movements in the Miro, Isamu Noguchi, and Pablo Picasso, this Department. Looking to Learn examined the histo­ 1 October 1995. visual arts. 11 October 1995. exhibition documented the collection, exhibition ry of the University by addressing the ways in history, and patronage of The Arts Club of which objects, artifacts, and images have been col­ Special events accompanying the exhibition Special events during the holiday season: Chicago. The drawings, ranging from rapid lected, deployed, and displayed in teaching, The Studio Museum in Harlem: Twenty-Five Tears sketches to highly polished finished works, Newberry's Very Merry Bazaar: participation in research, and other forms of representation. A of African-American Art: offered insight into the working methods of artists a holiday bazaar featuring Chicago's museums, complementary exhibit, Looking to Learn, Too, Members' Opening Reception: 21 October 1995. at the forefront of twentieth-century modernism. cultural centers, and other non-profit organiza­ was held at the Regenstein Library's Department tions at the Newberry Library, Chicago, 17—19 of Special Collections. This project was supported Symposium: "Twenty-Five Years of African- November 1995. by a grant from the Andrew W. Mellon American Art: Multiple Perspectives." Foundation. Participants included: Valerie Mercer, Curator Hyde Park Youth Symphonetta Concert: of Collections, The Studio Museum in Harlem; 2 December 1995. Paul Rogers, Assistant Professor, Department

42 43 Members' New Year's Open House: Collectors' Series Brunch: "Connoisseurship (Left) Student docent Matt Irvin discusses art with 5 January 1996. and Collecting of French Prints and young museum visitors during the Smart's Annual Drawings," at R.S. Johnson Fine Art. Stanley Family Day, co-sponsored by the Oriental Institute and Mostly Music Concert: Chicago Baroque Johnson, art dealer, discussed prints from his Hyde Park Art Center, 23 June 1996. Ensemble presented J.S. Bach's Goldberg collection, 4 May 1996. Variations and other works, 14 January 1996. (Below) University of Chicago students participate in Lecture: "Toiling the National Soil: Physiocrats Performance Art Day, co-sponsored by the Committee Special events accompanying the exhibition and Peasants in Nineteenth-Century France," on General Studies in the Humanities and University Mar\ Rothkp: The Spirit of Myth, Early Paintings Philippe Desan, Professor of French Language Theater, and supported by an Andrew W. Mellon from the 1930s and 1940s: and History of Culture, University of Chicago, Foundation grant to the Museum, 24 May 1996. 16 May 1996. Members' Opening Reception: 17 January 1996.

Lecture: "Reasoning Rothko: An Introductory View," David Anfam, art historian and author of the forthcoming Rothko catalogue raisonne, 3 February 1996.

Mostly Music Symposium and Concert: From Surrealism to Existentialism: Discovering a New Mythology for the Arts, 11 February 1996. Included a lecture by Peter Gena, School of the Art Institute of Chicago, a panel focusing on "Abstract Expressionism: Interconnections Between the Visual Artist, the Poet, and the Composer," and a concert by CUBE Contemporary Chamber Ensemble.

Collectors' Series Brunch: "Mark Rothko: Seeking Universal Meaning in Abstract Form," gallery presentation by Russell Bowman, Director, Milwaukee Art Museum, 17 February 1996. Special events accompanying the exhibition Annual Family Day participants, Lecture: "Rothko: On Painting the Unseeable," Looking to Learn: Visual Pedagogy at the 23 June 1996. Charles Harrison, Visiting Professor in the University of Chicago: Department of Art at the University of Chicago Students' Opening Reception: 7 May 1996. and Professor of The History and Theory of Art, Open University, England, and co-editor Mostly Music Concert: Arianna Quartet, winner of Art in Theory /900-/990, 4 March 1996. of the 1994 Fischoff Grand Prize, performed Mozart, 12 May 1996. Special events accompanying the exhibition Drawings from The Arts Club of Chicago: Annual Friends' Meeting: 23 May 1996. Members' Opening Reception: 18 March 1996. Performance Art Day: The culminating event of Special events accompanying the exhibition University of Chicago lecturer Steven Totland's Peasants and "Primitivism": French Prints from Performance Art course that featured individual Millet to Gauguin: performance art pieces by students. Co-spon­ sored by the Committee on General Studies in Members' Opening Reception: 20 April 1996. the Humanities and University Theater, and Lecture: "The Myths of Primitivism," Robert supported by an Andrew W. Mellon Foundation L. Herbert, exhibition curator and Professor of grant to the Museum, 24 May 1996. Art on the Alumnae Foundation, Mount Holyoke College, 20 April 1996. Annual Family Day: An open house at the Smart Museum, co-sponsored by the Oriental Mostly Music Concert: Lakeside Chamber Institute and Hyde Park Arts Center, that Players performed French masterworks by featured professional artists Molly Cranch and Art dealer Stanley Johnson discusses a print from Claude Debussy, Maurice Ravel, and Gabriel Kerri Sancomb, and kitemaker Julio Flores, his collection during the Collectors' Series Brunch: Faure, 21 April 1996. 23 June 1996. "Connoisseurship and Collecting of French Prints and Drawings," at R. S. Johnson Fine Art, 4 May 1996.

44 45 Activities and Support/ Exhibitions and Programs

Education

Educational programming and outreach, both continuing and new, from i July 1995 through 30 June 1996.

MUSEUM AS EDUCATOR Another workshop, aimed at helping first-

During the 1995—96 academic year, the Smart through fourth-grade teachers from Murray Language Academy and the William Ray School Museum continued its role as a South-Side edu­ Students at Murray Language Academy display their sculptures and paintings inspired by artists Kerry James "read" art, was held at the Museum in January. cation resource by conducting workshops aimed Marshall and Richard Hunt, both of whom were represented in the Studio Museum in Harlem exhibition. at "teaching teachers" how to integrate the arts The session, which took place in the permanent ONGOING PROGRAMS into their curriculum by familiarizing them collection galleries, focused on basic art vocabu­ contemporary composers via audiotapes and lary to illustrate how art can tell a story. with the Museum's collections, special exhibi­ teaching materials provided by the Smart. In the While focusing on South-Side schools and The year's programs were evaluated in June tions, and education staff. second segment, students visit the Museum for a repeat-visit programs, the Smart Museum also at the Smart-sponsored annual Teacher Evalua­ Three one-day workshops, centered around guided tour that focuses on expressive qualities continued to provide a wide range of schools in tion Meeting, where participants in the Museum's the exhibition The Studio Museum in Harlem: in different styles of art. Back in the classroom, the greater Chicago area with quality education­ educational programs offered comments, advice, Twenty-Five Years of African-American Art, were students "compose" works of visual art in al programming. Approximately 75 single-visit and suggestions for the coming year. offered to educators from Bret Harte School, response to music. Finally, participating teachers, tours were conducted, taking over 1,500 students Phillip Murray Language Academy, and the students, and families attend a culminating through the Museum. William H. Ray School during the month of NEW COLLABORATIONS event at the Museum: a live musical concert Docent for a Day Program: Funded by The Sara October. Teachers gained ideas on how to relate where students' works are on display and MusArts (Art and Music Program): In March 1996, Lee Foundation, this program completed its the exhibition to their own classroom projects awards are given by a volunteer jury of profes­ the Polk Bros. Foundation awarded the Smart fourth successful year. Sixteen teachers from after viewing the show and participating in sional artists and musicians. Museum a two-year grant of $15,000 in support twelve schools participated in the five-week gallery discussions with University of Chicago of its MusArts program and toward the creation International Partnerships Among Museums workshop which included slide presentations, student docents. One project that grew out of of a Museum Education Advisory Committee in Program (IPAM): This partnership with the five museum visits, and final student presenta­ this workshop took place at Murray Language 1997. This year, nine local schools participated in Johannesburg Art Gallery (JAG) of South tions. Approximately 520 students (16 classes) Academy where students created sculptures and MusArts and over 300 students were given tours Africa began in April 1995 when Dammon Rice, served as "docents for a day" this year, touring paintings inspired by works seen in The Studio on "Expressionism in Art." Thanks to the Polk JAG's Curator of Education, spent six weeks parents and family members through the muse­ Museum in Harlem exhibition. Bros. Foundation, the program will be expanded working with Kathleen Gibbons, the Smart um on special weekends. Also in October, the annual Teacher in 1997. Museum's Education Director, on a joint project Workshop was conducted for fourteen teachers Museum in a School Program: Also funded by The MusArts program, geared to sixth-, for elementary and high school students. Using representing eleven schools, as part of the The Sara Lee Foundation, this program was seventh-, and eighth-graders, is an integrated the Smart's Docent for a Day program as a Smart's Docent for a Day program. This ongoing again part of Flyde Park Career Academy's cur­ curricular program that exposes students to new model, Ms. Rice implemented a similar program workshop trains teachers to talk and write about riculum. The program brings students to the ideas and traditions in music and art. The first at the Johannesburg Art Gallery upon her art through informal gallery discussions cen­ Museum for a series of interview-visits with segment of this four-part, in-school program return. Primary support for this project was pro­ tered on specific works of art in the Smart's staff members to learn what is involved in plan­ introduces students to works of classical and vided by the United States Information Agency collection. and the American Association of Museums. ning and mounting an exhibition. Classroom

46 47 Activities and Support/ sessions, organized by members of the Museum's tion continue to be offered free to school groups. Sources of Support Education and Preparatorial Departments, Tours include: The Portrait, Art of Our Time, are also conducted as part of the program. Elements of Art, and Narratives in Art. Participants are required to organize an exhibi­ Adult Tours: Regularly scheduled Sunday after­ tion of student art at their school, complete with noon tours of the permanent collection and spe­ labels, catalogue, press release, invitations, and cial exhibitions have been developed to meet the an opening reception. This year, an exhibition interests of adult visitors. Last year docents led of seventeen student works was shown in the 57 adult tours (over 1,400 people) through the Smart Museum for a week. Museum. The South-Side Arts Partnership'. The Smart Senior Citizen Outreach Program: The Smart was Museum continues to be an active member of again involved in this program with the City of this consortium of South-Side arts organizations Chicago's Department of Aging. Begun in 1993, and neighborhood schools founded in 1992 to this monthly program included slide lectures at bring the arts into the daily lives of local stu­ the Cultural Center's "Renaissance Center" dents. It is part of Marshall Field's Chicago Arts Sources of Support followed by specially tailored tours at the Smart. Partnerships in Education. This year Education Tours focused on special exhibitions and includ­ Cash and in-kind contributions received from 1 July 1995 through 30 June 1996. Director Kathleen Gibbons began working with ed themes like: Genre in Art, America in Art, and Treasure Smith, a Chicago artist, to develop an Abstract Art: What Does It Mean? These outreach Grants Council of Fellows and gifts of $ 1000-$2499 arts education curriculum that eventually will be efforts were offered free of charge and were implemented by Murray Language Academy Chicago Arts Partners in Education (CAPE) Joel E. and Carole F. Bernstein conducted by Education Director Kathleen Mr. and Mrs. Stanley M. Freehling and the William Ray School (members in the Hyundai Group Gibbons. Illinois Arts Council Joyce Zeger Greenberg partnership). The curriculum, for students from Institute of Museum Services Jack and Helen Halpern kindergarten through eighth grade, combines The Andrew W. Mellon Foundation Elisabeth and William Landes SPECIAL PROGRAMS sequential art lessons with supplementary tours The John Nuveen Company Inge Maser at the Smart Museum. By working closely with UC2MC: Working in conjunction with the Polk Bros. Foundation Mr. and Mrs. Marshall J. Padorr John N. Stern local schools, the Smart will become the major University of Chicago Alumni Association of Sara Lee Corporation The Sara Lee Foundation art resource for students in the Hyde Park the Metropolitan Chicago area, the Smart hosted The Smart Family Foundation, Inc. Sustaining Fellows and gifts of $500—$>999 community. a one-day seminar entitled Renaissance Art: Visiting Committee on the Visual Arts, University Robert and Marie Bergman Three Italian Cities that featured an informal of Chicago Student Docent Program: Involving both under­ Michael and Carin Cunningham lecture by Kathleen Gibbons on the different graduate and graduate students at the University Mr. and Mrs. Marshall M. Holleb regional styles of Italian art followed by a dis­ of Chicago, this ongoing program provides paid Michael Hyman Contributors and Friends of cussion in the Museum. The Honorable and Mrs. Edward Hirsh Levi positions for students wishing to broaden their the Smart Museum Ruth S. Nath knowledge of art history and refine their teach­ Natsuf(o Ta^ehita Memorial Lecture: For the sec­ Virginia P. Rorschach Gifts of f10,000 or more ing skills. By leading tours through the Museum ond year, the Smart Museum hosted this annual Mr. and Mrs. Hugo F. Sonnenschein for both the Docent for a Day and the Mus Arts lecture, a celebration of the life and work of the Audrey and Michael Wyatt Robert W. Christy programs, these student docents, many of whom noted ceramist and long-time Hyde Park resi­ The Smart Family Foundation, Inc. go on to jobs in Museum Education around the dent. Friends of the artist displayed pieces of her Fellows and gifts of I/50-I499 country, gain the opportunity to give something work from their own collections in our lobby. Gifts of I5000-I9999 Pamela K. Armour back to the Hyde Park community through our The event concluded with a talk on the Smart's Richard and Mary Gray E. M. Bakwin outreach programs. special exhibition, Mar\ Rothpo: The Spirit of Harold T. Martin Charitable Trust Mr. and Mrs. John Bauman Dr. and Mrs. John E. Ultmann Mrs. Guity Nashat Becker Myth, Early Paintings from the 1940s and 1940s, Student Tours: Designed to complement school Mr. and Mrs. David Blumberg given by Kathleen Gibbons. curricula and increase visual awareness, the­ Gifts of $25oo-$4999 Mr. and Mrs. Robert Boyd matic, docent-led tours of the permanent collec­ Mr. and Mrs. Henry Buchbinder Mr. and Mrs. Robert Feitler Douglas and Carol Cohen Lorna C. Ferguson Dorothy and David Crabb Richard A. Florsheim Art Fund James R. Donnelley Mrs. Frederick T. Lauerman Robert G. Donnelley Deborah and David Epstein Mr. and Mrs. Alan Fern

48 49 Mrs.Willard Gidwitz Donald and Janet Rowley Dr. and Mrs. Richard Evans Georgianna M. Maynard Helen and Michael Goodkin Charles P. and Lavinia S. Schwartz Foundation Sally H. Fairweather Mary M. McDonald Philip and Suzanne Gossett Dr. and Mrs. Francis H. Straus II Dr. and Mrs. Philip Falk George and Jane McElroy Mr. and Mrs. Robert Grant Patricia K. Swanson Joe and Barbara Ferrari Eunice McGuire Leo Guthtnan Mrs. Manley Thompson Deborah Friedrich Mrs. John H. Meyer Professor Neil Harris Fidelis and Bonnie Umeh Lore Friedrich Mr. and Mrs. David B. Midgley Ruth Horwich Maurice Fulton Charles H. Mottier Michael Igoe, Jr. Gifts under $75 J. Getzels Joy Nieda Patricia John and Kenneth Northcott Arnold M. Gilbert Mr. and Mrs. Franklin Orwin Rolf Achilles and Pam Morris Burton and Naomi Kanter Sylvia Glagov Gary M. Ossewaarde Nancy Agarwal Robert H. and Barbara S. Kirschner Cara Glatt Henry Otto Deborah Aliber Esther G. Klatz Natalie and Howard Goldberg Dr. Jane H. Overton Mrs. Robert Anderson Richard G. Kron Helyn D. Goldenberg Mrs. Cora Passin Dr. Andrew and Dr. Iris Aronson Dr. Suzanne E. Larsh Mr. and Mrs. Julian R. Goldsmith Mr. and Mrs. Marshall Patner Ted and Barbara Asner Mary S. Lawton Eugene Goldwasser and Deone Jackman Ward and Dorothy Perrin Sylvia Astro Dr. Eva F. Lichtenberg Marvin A. Gordon Eleanor P. Petersen Dr. and Mrs. Alfred Baker Robert N. Linrothe Mr. and Mrs. Robert R. Gowland Mildred Othmer Peterson Dr. Eugene Baiter and Judith Phillips Asher and Vera Margolis Marcus D. Grayck Gloria C. Phares Richard and Patricia Barnes Ira G. and Janina Marks Mr. and Mrs. Robert J. Greenebaum Robert and Rita Picken Don Baum McKim Marriott Mr. and Mrs. Charles Gregersen Dr. William H. Plotkin Elizabeth Baum Robert McDermott Georgina G. Gronner Dr. Louise L. Polak Robert N. Beck and Ariadne P. Beck J. Clifford Moos Mr. and Mrs. Lester Guttman Gene and Ginnie Pomerance Murray and Dorothea Berg Mr. and Mrs. Richard B. Philbrick Helen Ann Hagedorn Max and Sheila Putzel Mr. and Mrs. David Bevington Otto L. and Hazel T. Rhodes Fund Mr. and Mrs. Chauncy D. Harris Thaddeus Pyrce Robert Biggs John and Marilyn Richards Vivian S. Hawes Ruth G. Ramsey, M.D. Larayne and John T. Black Howard J. Romanek David H. Heitner Mr. and Mrs. James M. Ratcliffe Sidney and Hanna Block Kimerly Rorschach Henrietta Herbolsheimer Leona Z. Rosenberg Sophie Bloom Irmgard Rosenberger Dr. Knox C. Hill Mr. and Mrs. Albert J. Rosenthal R. D. Bock and Renee Menegaz-Bock Susan and Charles P. Schwartz, Jr. Mr. and Mrs. George D. Hirsh Earl E. Rosenthal Gretel Braidwood and Raymond Tindel Philip Shorr Sheila H. Hori Dr. Maurice J. Rosenthal Mrs. William Brien Joseph P. Shure Nancy Horner Mr. and Mrs. Samuel R. Rosenthal Alan R. Brodie Mr. and Mrs. Granvil Specks Aimee I. Horton James Rubens Dr. Catharine S. Brosman Jean-Paul Spire, M.D. Clyde and Jane Hutchison Lee Sagers Richard C. Bumstead Dr. and Mrs. Paul Sternberg Philip W. Jackson Margaret Sagers Eleanor and Leonard Byman Loretta Thurm Evelyn Jaffe Eva Sandberg Sol and Lillian Century Marilyn and David Vitale Lillian Johnson Jose and Michele Scheinkman Richard and Marcia Chessick Mr. and Mrs. Arnold Zellner Penny Johnson Dr. and Mrs. Nathan Schlessinger Jane Christon Adele E. Kamp Frank and Karen Schneider Miriam K. Clarke Friends and gifts of $75—$'49 Mr. and Mrs. John C. Kern Robert E. Schrade Robert Coale Alicia W. Kimball Raye R. Schweiger Mrs. S. Chandrasekhar Mrs. Eric W. Cochrane Mr. and Mrs. Dan Kletnick Mrs. Robert L. Scranton Lydia G. Cochrane Charlotte Collier Dr. Charles Kligerman Carl Selby Marion and Margaret Cunningham Eugene and Sylvia Cotton Claire and Arthur Kohrman Jan Serr Mrs. Edwin J. De Costa Jane and John Coulson Gwin and Ruth Kolb Ilene and Michael Shaw Mr. and Mrs. Paul Freehling Judy and George Daskal Maurine Kornfeld Alan and Daila Shefner Mr. and Mrs. R. H. Helmholz Professor and Mrs. Sidney Davidson Peter J. Kosiba Mr. and Mrs. D. F. Shortino Barbara Herst Laura S. de Frise Catherine Krause Ethel Shufro Roger and Jane Hildebrand Dr. and Mrs. Leslie J. De Groot Seymour La Rock Joseph P. Shure Esther Jacobson-Tepher Mrs. Joseph R. DePencier Jeff Laird Frank L. Sibr, Jr. Donald and Mary Ella Jenkins Mr. and Mrs. Leon M. Despres Louise H. Landau Mr. and Mrs. Marvin Simon Sandy Kita Victor and Ailsa Deutsch Robin Larson Rebecca Sive and Steve Tomashefsky Kathlyn M. Liscomb Virginia and George Dick Willard and Elizabeth Lassers Sara Skerker Fred H. Martinson Ruth Curd Dickinson Lois Lewellyn Alfred Smart Amy McNair Mr. and Mrs. Joel S. Dryer Robert B. Lifton Glenel M. Smith Charles D. and Margaret N. O'Connell Eileen Hastings Duncan Gretel Lowinsky Max and Helen Sonderby Alfred L. and Maryann G. Putnam Mr. and Mrs. E. Bruce Dunn Jane and Arthur Mason Janice Spofford Marylin M. Rhie Mr. and Mrs. Jarl E. Dyrud Naomi and Evan Maurer Oliver Statler Morris and Rochelle Rossin Mrs. Robert Donald Erickson

50 Mr. John Hallmark Neff Mrs. James D. Staver Julius Lewis Margie and Louis N. Cohen Mrs. Robert C. Renecker Ernest Stern Harold T. Martin Charitable Trust Mr. and Mrs. Sidney Davidson Mrs. Ludwig Rosenberger Marjorie Stinespring Mrs. Bernard Nath Mr. and Mrs. Richard Elden Mr. Arthur G. Strauss Helmut Strauss Mr. and Mrs. Marshall J. Padorr Lorna C. Ferguson Mrs. Jerome F. Strauss, Jr. Beatrice W. Swartchild Mrs. Elizabeth Plotnick Mr. and Mrs. Peter Foreman Arthur M. Wood Dr. and Mrs. Martin A. Swerdlow Laura Campbell Rhind Dr. and Mrs. Robert Freeark Mrs. Gustavus F. Swift Joseph P. Shure Jack and Helen Halpern Under $150 Mr. and Mrs. Steven A. Taylor Mrs. George B. Young Mr. and Mrs. David C. Hilliard Sue Taylor Marshall and Doris Holleb Mr. and Mrs. John Benjamin Mrs. Richard Thain Anne and John Kern Mr. and Mrs. Leonard Bezark, Jr. Mr. and Mrs. J. Clifford Moos Dr. Paul N. Titman Gifts in Kind Mrs. Sandra K. Crown Bernice and Kenneth Newberger Wilbur and Linda Tuggle Larry N. Deutsch Cathleen Treacy The Arts Club of Chicago Mr. amd Mrs. James T. Rhind Mr. and Mrs. Karl Eisenberg Harry and Marjorie Trosman Hyde Park Bank Mr. and Mrs. Herschel Seder Mrs. Leon Fieldman R. B. and Vi Uretz Husch Winery, Mendocino County, California Patricia K. Swanson Trina A. Frankel, M.D. Dr. D. Vesselinovitch R. S. Johnson Fine Art Leo S. Guthman Lillian Wachtel Malone Jaicomo Caterers $550 or more Sally Ruth May and James Sloan Robert and Rose Wagner K. A. Pridjian & Co. Mrs. James W. Alsdorf Robert N. Mayer Andrew Walters Sheffield Press Ruth Horwich Mrs. Sue McGowan Mr. and Mrs. Roy I.Warshawsky Mrs. Glen A. Lloyd George W. Overton Nathalie Weil Mrs. Robert B. Mayer Mrs. Richard B. Philbrick Dr. and Mrs. Bryce Weir Joseph Ft. Shapiro Award Dinner Mr. and Mrs. Lawrence Samuels Kimerly Rorschach and John Hart Florence G. Weisblatt Contributors Mr. and Mrs. Bernard M. Susman Mr. and Mrs. Donald I. Roth Olga Weiss Dr. and Mrs. Myron Rubnitz This event was generously underwritten in the James M. Wells $250 or more Alene Valkanas Dr. and Mrs. Jesse K. Wheeler amount of $25,000 by The Sara Lee Corporation. Donald Youngs American National Bank Sonia Zaks, Zaks Gallery $5,000 or more Thomas Blackman Associates Donors to the Collection Joanne Zimmerman Mr. and Mrs. Edward Blair, Jr. Mr. and Mrs. Robert Feitler Sara R. Zimmerman Mr. and Mrs. David Crabb Anonymous (1) Joseph R. Shapiro Mr. and Mrs. Daniel Zimring Dr. and Mrs. Philip Falk American Academy of Arts and Letters, Marvin Zonis and Lucy L. Salenger Mr. and Mrs. Charles K. Feldstein New York $5,500 or more Mr. and Mrs. Allen A. Zuraw Ms. Helyn Goldenberg Estate of John S. Anderson Aon Corporation Hope and Alfred Goldstein (in honor of Marilee H. Asher William H. Plummer, President, Frontier Risk Mrs. Edwin A. Bergman) Mrs. Edwin A. Bergman Mr. amd Mrs. Howard Helsinger Corporate and Foundation Management The Joel and Carole Bernstein Family Collection Dr. and Mrs. Aaron A. Hilkevitch Matching Gifts Mr. and Mrs. John N. Stern Roger Brown Mr. D. Carroll Joynes Linda L. Cramer Ameritech $2,500 or more Mr. and Mrs. Malcolm Kamin Mr. and Mrs. Michael R. Cunningham Amoco Corporation Ms. Blanche M. Koffler Leon and Marian Despres Mrs. Edwin A. Bergman John D. and Catherine T. MacArthur Foundation Ms. Pam McDonough Robert G. Donnelley Joel E. and Carole F. Bernstein The John Nuveen Company Ms. Pat Rosenzweig Mrs. Esther English Dr. and Mrs. William P. Gibbons Mr. and Mrs. David C. Ruttenberg Friends of the Smart Museum Mr. and Mrs. Richard Gray Mr. and Mrs. Phil Shorr Allan Frumkin Randy Lowe Holgate and John H. Peterson Mr. and Mrs. J. S. Wright Isaac S. and Jennifer A. Goldman Visiting Committee Gifts Elisabeth and William Landes Mr. and Mrs. Arnold Zellner Goldman Asset Management Inc. Dr. Paul and Mrs. Dorie Sternberg These gifts benefit the Smart Museum, the Dr. and Mrs. Meyer S. Gunther Department of Art History, and Midway Studios $750 or more Jack and Helen Halpern $1,000 or more Sheila Hicks Robert and Marie Bergman Karen Johnson Boyd Harris Bankcorp Inc. Alice and Barry Karl Bross Family Foundation Mr. Robert P. Coale Lewis and Susan Manilow Mrs. Miriam H. Kirkley Mr. Alan H. Fern Sally H. Fairweather Mrs. Willa H. Menzel Mr. and Mrs. Robert Feitler Mrs. Jacob Greenberg $500 or more Dr. Harry and Mrs. Lucia Miller Mr. and Mrs. Stanley M. Freehling Roger S. Griffin Mr. and Mrs. Nathan M. Grossman (in honor Gladys Nilsson Michael J. Goodkin Mr. E. M. Bakwin Mrs. Richard W. Peltz Richard Gray Mr. and Mrs. Robert Bergman of John and Faye Stern) Marilyn Schiller Leo S. Guthman Mr. and Mrs. David Blumberg Professor Neil Harris Mrs. Frederick T. Lauerman Mr. and Mrs. John Cartland Mr. Robert McDermott

53 52 Mrs. Geraldine Schmitt-Poor and Janet Cudahy, M.D. Operating Statement Dr. Robert J. Poor Georgette D'Angelo David Sharpe Gail M. Elden Mr. and Mrs. Phil Shorr Sally H. Fairweather Sylvia Sleigh Joan E. Feitler John N. Stern Robert Feitler Howard and Donna Stone Joan S. Freehling John L. Strauss, Jr. Stanley M. Freehling Marshall B. Front Allan Frumkin Lenders to the Collection Mrs. Henry K. Gardner Adele B. Gidwitz Anonymous (i) Helen Fairbank Goodkin Rolf Achilles Michael J. Goodkin The Arts Cluh of Chicago Richard Gray Mr. and Mrs. Robert Barnes Joyce Z. Greenberg Mr. Lloyd Bowers Leo S. Guthman Henry Cohen Alice Q. Hargrave Statement of operations (unaudited) from i July 1995 through 30 June 1996. G.U.C. Collection David Craig Hilliard Robert W. Christy Ruth Horwich Revenues Mr. and Mrs. Lester Guttman Patricia Doede Klowden Government grants and contracts $ 53>000 Julius and Harriet Hyman Mrs. Frederick T. Lauerman Private and state gifts, grants, and contracts 213,000 Ronald B. Inden Julius Lewis Patricia John David S. Logan Investment income (includes reserve from 1994-95) 165)000 Estate of Kelvyn G. Lilley Mrs. Harold T. Martin University allocation for direct expenses 242,000 The Mary and Earle Ludgin Collection Mrs. Robert B. Mayer University allocation for physical plant expenses 125,000 Willa H. Menzel Mary M. McDonald University allocation for capital improvements 40,000 Oriental Institute Museum Helen Harvey Mills Bookstore sales, gallery rental, and other income 100,000 Mr. and Mrs. French Peterson Ruth S. Nath Judith and James Rhinestein Evelyn E. Padorr TOTAL REVENUES 938,000 David Sharpe Marshall J. Padorr Marcia and Granvil Specks Elizabeth Plotnick John N. and Fay S. Stern Margot L. Pritzker Expenses John L. Strauss, Jr. Thomas J. Pritzker Staff salaries 352,000 Laura Campbell Rhind Benefits 63'°00 Joseph J. Rishel The University of Chicago Joseph R. Shapiro TOTAL COMPENSATION 415,000 Visiting Committee on the Visual Arts Joseph P. Shure Larry A. Silver Robert H. Bergman, Chair John N. Stern Operations and maintenance of physical plant 125,000 Anne Abrons Mrs. Paul Sternberg Amortized capital improvement expense 40,000 Mrs. James W. Alsdorf Allen M. Turner Supplies and services 287,000 Pamela K. Armour James Nowell Wood 10,000 InsuranceT Dodie Baumgarten Mrs. George B. Young David L. Blumberg Louise S. Bross TOTAL EXPENSES 877,000

Operating surplus (deficit)

Transferred to reserves for 1996-97 programs

Net operating results

Prepared by the University Office of Financial Planning and Budget, edited by the Smart Museum of Art. Certain donors have requested anonymity; however, please accept our apologies if the name of any other donor has been omitted. 55 54 Smart Museum Staff 1995-96

Kimerly Rorschach, Director Nancy Lee, Operations Manager Andy Nu Assistant Nathaniel Radley Rudy I. Bernal, Chief Preparator Xiao Zhang, Public Relations and Madeline Ravich Richard A. Born, Curator Marketing Assistant Julia Sanchez Stephanie D'Alessandro, Associate Paul Senet Curator (through October 1995) Student Guards Aryeh Sternberg Kathleen A. Gibbons, Education Nahum Aragon Nathan Stuckey Director Vassilis Athitsos Griselda Tapia Brett Lambo, Membership Melissa Chambers Fidel Toney Coordinator Jean Chen Stephen Wellman Bruce Linn, Registrar (through Nok Chun Amber Wilkin August 1995) Alma Cisneros Loren Wilson Martha Coomes Sharma, Registrar Luke Dittrich Xiao Zhang (as of September 1995) Jamison Duffield Courtenay Smith, Assistant Curator Michelle Alicia Gauthier Volunteers (as of January 1996) Ann Goldman Rebecca Bernstein, Curatorial Priscilla Stratten, Operations Rose Grayson Crispin Goulet, Curatorial Manager Nadia Guerrero Helen Halpern, Curatorial Stefanie Rothman White, Public Adrienne Hosek Joseph P. Shure, Curatorial Relations and Marketing Manager Matthew Irvin Agnes Zellner, Curatorial William Jimenez Interns Karlin Kavanaugh Docents Mark Clarson, Preparatorial Molly Kim Bruce Baldwin Katherine Harris, Registrarial Cory Korkow Janelle Daniels Kathy Hornbrook, Curatorial Eliza Kuberska Clive de Freitas Todd Maternowski, Preparatorial Man Yee J. Lam Ingrid Elliott Amy Neihengen, Education Joseph Leduc Eloise Erasmus Liz Siegel, Curatorial Raphael Leib Meredith Fluke Jessica Stewart, Registrarial Miao Ling Li Lael Hanerfield Corinne Wise, Education Frank Lin Craig Hanson Gladys Lomeli Karen Hudson Office Assistants Quyen Luong Matt Irvin Melissa Chambers, Cafe and Nathaniel Males Stephanie Macholtz Receptions Assistant Todd Maternowski Julee Pearson Crispin Goulet, Registrarial Jeremy Mayes Veronica Pesantes Assistant Jason McNutt Alexis Vogt Liv Nilssen Brad Nohe

56