T R A F O M U E S U M T R A M S , 60637 http://smartmuseum.uchicago.edu 60637 Illinois Chicago, Avenue Greenwood South 5550 O G A C I H C F O Y T I S R E V I N U

SMART MUSEUM OF ART UNIVERSITY OF CHICAGO BULLETIN 2004–2006

SMART MUSEUM OF ART UNIVERSITY OF CHICAGO BULLETIN 2004–2006 SMART MUSEUM OF ART UNIVERSITY OF CHICAGO BULLETIN 2004–2006 MISSION STATEMENT / 1

BOARD AND COMMITTEES / 2

REPORT FROM THE CHAIRMAN AND DIRECTORS / 4

ACQUISITIONS / 14

L O A N S / 4 2

EXHIBITIONS / 4 8

PUBLICATIONS / 7 2

EDUCATION PROGRAMS / 8 0

PUBLIC PROGRAMS / 9 4

CONTRIBUTOR AND MEMBER PROGRAMS / 10 6

SOURCES OF SUPPORT / 110

SMART STAFF / 12 6

STATEMENT OF OPERATIONS / 13 0 MISSION STATEMENT

As the art museum of the University of Chicago, the David and Alfred Smart Museum of Art promotes the understanding of the visual arts and their importance to cultural and intellectual history through direct experiences with original works of art and through an interdisciplinary approach to its collections, exhibitions, publications, and programs. These activities support life-long learning among a range of audiences including the university and the broader community. 2 3 SMART MUSEUM UNIVERSITY OF CHICAGO VISITING David C. Hilliard EDUCATION ADVISORY COMMITTEE OF GOVERNORS COMMITTEE ON THE VISUAL ARTS Doris B. Holleb (2004–2005) Marshall M. Holleb Diane Bloom Richard Gray, Chair Allen M. Turner, Chair Joel Honigberg Maria Cecire Elizabeth Helsinger, Vice Chair John-Mark Horton Eliza Duenow Michael N. Alper Ruth P. Horwich, Life Member Steve Gilbert Marilynn B. Alsdorf Mrs. James W. Alsdorf, Life Member James E. Jones David Hays Mrs. Edwin A. Bergman Dorothy L. Baumgarten, Life Member Alan Koppel Marvin Hoffman Joel E. Bernstein Robert H. Bergman Mary S. Lawton Mark Johnson Russell Bowman Joel E. Bernstein Julius Lewis, Life Member Kristin Greer Love Susan O’Connor Davis David L. Blumberg, Life Member Holly Madigan Sonya Malunda

BOARD & COMMITTEES Robert G. Donnelley T. Kimball Brooker Eloise Martin, Life Member Dan Peterman BOARD & COMMITTEES Richard Elden John A. Bross Beatrice Cummings Mayer, Life Member Bill Salvato Robert Feitler John H. Bryan Thomas McCormick Laura Senteno Lorna C. Ferguson Gay-Young Cho Mary M. McDonald, Life Member Carolyn Sullivan Alan M. Fern, Life Member Phyllis Gordon Cohen Paula Molner Mary Ellen Ziegler Sharon Flanagan Curt A. Conklin Charles Mottier Stanley M. Freehling Marion Wood Covey Martin Hughes Nesbitt EDUCATION ADVISORY COMMITTEE Reinhold Heller Michael R. Cunningham Muriel Kallis Newman, Life Member (2005–2006) Jack Halpern James Cuno Elizabeth Plotnick Todd Barnett Neil Harris, Life Member Katharine P. Darrow Margot L. Pritzker Blake Bradford Mary Harvey (ex officio) Robert G. Donnelley Laura Campbell Rhind, Life Member Susan Campbell Anthony Hirschel (ex officio) Gail M. Elden Irmgard Hess Rosenberger, Life Member Maria Cecire Randy L. Holgate Patricia Brett Erens Brenda Shapiro Kristin Greer Love William M. Landes Sally H. Fairweather, Life Member Joseph P. Shure, Life Member Melissa Harris-Lacewell Raymond Smart Joan E. Feitler, Life Member John N. Stern, Life Member David Hays Joel M. Snyder (ex officio) Robert Feitler, Life Member Doris F. Sternberg, Life Member Marvin Hoffman John N. Stern Joan S. Freehling, Life Member Isabel C. Stewart Eva Hood Geoffrey R. Stone Stanley M. Freehling, Life Member Bryan Traubert Diana Joseph Allen M. Turner (ex officio) Marshall B. Front Christopher E. Vroom Miriam Kass Michael A. Wyatt Jean Frumkin Clarence S. Wilson, Jr. Ashley Rybowiak Susanne Ghez Karen G. Wilson Bill Salvato Adele B. Gidwitz, Life Member Jane Stroud Wright Connie Spreen Jean K. Goldman Mrs. George B. Young, Life Member Richard Gray, Life Member Helen Zell Mary Winton Green Joyce Z. Greenberg REPORT FROM THE CHAIRMAN & DIRECTORS 6 Keenly focused on fulfilling its educational mission, the Smart Museum of Art carries out much of its work through collaboration, York (ICP). Organized by the Smart Museum and leveraging resources within the University ICP, and presented in collaboration with the of Chicago, the city of Chicago, and broader Asia Society, New York, and the Museum of artistic and scholarly communities. Over the last Contemporary Art, Chicago (MCA), the exhibition two fiscal years (2004–2005 and 2005–2006), challenged the Smart to expand creatively and we engaged in a range of collaborations that institutionally. The many individuals and orga- enabled the Museum to implement its strategic nizations that made the exhibition possible are plan and make significant progress in pursuing listed on pages 54–55. We thank each of them key objectives: strengthening the Museum’s role for their generous support. within the intellectual life of the University of Chicago; deepening its engagement with core In 2005 and 2006, several highly successful col- audiences; and raising its profile through highly laborative exhibitions followed. Paper Museums: visible exhibition projects and publications. The Reproductive Print in Europe, 1500–1800 examined the important—and in many ways But it was the exhibition Between Past and revolutionary—role that prints played in the Future: New Photography and Video from China culture of Renaissance and Baroque Europe. that raised the Smart to an unprecedented Organized by Rebecca Zorach, Assistant Professor REPORT FROM THE CHAIRMAN AND DIRECTORS new level. Our most complex exhibition to date, of Art History at the University of Chicago, the Between Past and Future traced, through photog- exhibition drew upon extensive student and raphy and video, the sweeping social, economic, faculty research. It traveled to the Grey Art and cultural developments that have transformed Gallery at New York University at the end of China during the last decade. The exhibition cap- 2005. Beyond Green: Toward a Sustainable Art tured international attention in 2004 as it opened featured the work of thirteen contemporary first in New York, then moved to Chicago, and to artists and artist groups that integrate the Seattle, , and Berlin. In 2006, it returns philosophy of sustainable design into their to the U.S. to travel to Santa Barbara and North artistic practice. The exhibition was organized Carolina. The exhibition catalogue has proven a by Stephanie Smith, Smart Museum Curator of touchstone and was reprinted in 2006 in order to Contemporary Art, and benefited from collabora- meet demand. tions with the University of Chicago’s Depart- ment of Visual Arts, student groups, and several Between Past and Future was the result of a col- community organizations. It was shown in New laboration between two distinguished scholars York to wide acclaim—The New Yorker declared who served as co-curators: Wu Hung, the Harrie it “a powerhouse”—and it will continue to travel A. Vanderstappen Distinguished Service Professor throughout the country under the auspices of of Art History at the University of Chicago and Independent Curators International (iCI). One/ Consulting Curator at the Smart Museum of Many: Western American Survey Photographs by Art, and Christopher Phillips, Senior Curator at Bell and O’Sullivan presented over sixty striking the International Center of Photography, New photographs that were taken by William Bell and 8 9 Timothy H. O’Sullivan under harsh conditions al landscapes and went on gallery expeditions the University’s Arts Planning Council, which of the Smart Museum Activities Committee. To during government-sponsored expeditions in to find details in Bell and O’Sullivan’s survey provides funding to a variety of student and honor their contributions, we initiated a new the 1860s and 1870s. The images helped define photographs. faculty arts initiatives across campus. Moreover, annual event, the Student Recognition Reception. the American West. Organized by Joel Snyder, the Museum was a significant sponsor of the The energy and enthusiasm and the record of Professor of Art History at the University of In 2004–2006, over 5,000 children visited the first Hyde Park Cultural Brochure, a project that accomplishments of the Smart’s students provide Chicago, in consultation with Anne Leonard, Museum through the Smart’s education and brought together the University’s cultural institu- a vivid reminder of why we do what we do. Smart Museum Mellon Curator, the exhibition family programs. In 2005, a new member of the tions with those of the surrounding community. also included rarely seen panoramas that were education department was hired specifically to We thank the Smart Family Foundation, the reconstructed from the individual albumen prints focus on community outreach and the expansion Four of the Smart’s exhibitions—Between Past University of Chicago’s Office of the Provost, the for the first time since the nineteenth century. of programs for families in the community. This and Future, Paper Museums, Beyond Green, and John D. and Catherine T. MacArthur Foundation, has led to the introduction of the SmartPass, One/Many—were accompanied by exhibition and the many individuals who contributed to the The Museum also organized three impeccably which encourages children to make multiple vis- catalogues, featuring scholarly essays and Smart’s most successful Annual Fund campaigns presented summer exhibitions: Smart Collect- its to the Museum. In addition, the Smart began artist interviews. A fifth catalogue—Smart to date for their generous, unrestricted support ing: A Thirtieth Anniversary Celebration (2004); a partnership with the Blackstone branch of the Collecting: Acquisitions 1990–2004—was of the Museum’s operations. We also extend our Centers and Edges: Modern Ceramic Design and Chicago Public Library and now presents art and published in conjunction with the Museum’s thanks to the members of the Museum’s Board of Sculpture, 1880–1980 (2005); and The Colors reading programs at the library once a month thirtieth anniversary exhibition and highlighted Governors for advising the staff; to Tom and Ja- of Identity: Polish Art at Home and Abroad, during the school year. the Smart’s growing collection. Indeed, over the nis McCormick and the Kanter Family Foundation, 1890–1939 (2006). last two years the Smart’s exhibitions, including Nuveen Investments, and the Illinois Arts Council On campus, the number of University courses Paper Museums and One/Many, have featured a for their support of our exhibition programs; and Starkly different in context, content, and style, that made use of Museum resources increased variety of important acquisitions. Between Past to the National Endowment for the Arts, the these exhibitions exemplify the unique ways in dramatically, with over ninety class visits to the and Future helped to expand significantly the Lloyd A. Fry Foundation, Kraft Foods, and the REPORT FROM THE CHAIRMAN AND DIRECTORS REPORT FROM THE CHAIRMAN AND DIRECTORS which university art museums can contribute Smart in 2004–2006. Some of the curricular Museum’s collection of experimental Chinese Chicago Community Trust for generously fund- to broader cultural and community life. Through programs were elaborate. For example, in 2004, art. The exhibition showcased several key works ing our education programs in 2004–2005. In public and educational programming, the Smart to support a collaborative course organized by from the collection, and following its presenta- addition, we thank the Institute of Museum and enables an intellectually oriented dialogue with University of Chicago faculty members James tion, the Smart acquired sixteen additional works Library Sciences, the Rhoades Foundation, the audiences well beyond the campus community. Ketelaar (East Asian Studies) and Hans Thomsen by eight of its feature artists, making the Smart’s Eloise W. Martin Fund, the Polk Bros. Foundation, For example, over seventy teachers from local (Art History) in conjunction with the department holdings of experimental art from mainland and Target Stores for their generous support in public schools participated in Between Past and of anthropology at the Field Museum, the Smart China the leading collection in the country (see 2005–2006. We are deeply grateful to them and Future training sessions led collaboratively by presented an exquisite exhibition of rarely seen pages 30–35). all of the Smart Museum’s supporters, listed on education staff at the Smart Museum and the works from the Field Museum’s Boone Collection pages 110–125, for helping sustain the Museum MCA. These sessions helped teachers integrate of Japanese art and artifacts. In 2006, University The enthusiastic response of visitors, significant during these last two remarkable years. the exhibition’s artwork and ideas into the faculty members Glenn Most (Classics) and media coverage, and total attendance figures school curriculum. Programming for Beyond Richard Neer (Art History) collaborated on an confirmed the success of the Smart’s collabora- Richard Gray Green included a two-day Art and Sustainability exhibition devoted to the use of text in ancient tive approach to exhibitions, collections, and Chairman, Board of Governors Laboratory, where community members envi- art, bringing together works from the Smart’s programs. Attendance in 2004–2005 reached sioned new and sustainable uses for Hyde Park’s collection with loans from the Oriental Institute just over 57,000, a record, and swelled further to Jacqueline Terrassa Midway Plaisance. And the Smart’s Family Days Museum and the . Smart over 63,000 in 2005–2006. Interim Director and Director of Education, continued to draw large crowds of children and Museum staff worked with colleagues from 2004–2005 adults. In conjunction with Paper Museums, for across the campus to launch the University’s The high level of activity at the Smart is made Deputy Director for Collections, Programs, and instance, 300 visitors became printmakers with Presidential Fellows in the Arts program, which possible only through the significant involvement Interpretation, 2005–2006 the help of Anchor Graphics, a Chicago-based brings a series of high-profile artists to campus of the over ninety University of Chicago students nonprofit fine art printshop; during the Family Day for short residencies and public presentations. who participate in the daily life of the Museum, Anthony Hirschel for One/Many, children created three-dimension- Members of the Smart staff also served on working as docents, gallery attendants, interns, Dana Feitler Director, 2005–2006 and café attendants and volunteering as members 11 All of the activity in 2004–2005 took place against the backdrop of a year-long national search for the Smart Museum’s new director. Under the able leadership of Museum board University and the Bayly Art Museum at the member Lorna Ferguson, who chaired a search University of Virginia, Tony has brought committee appointed by Provost Richard Saller, significant experience and a commitment to the search concluded successfully in March collaborative work and public accessibility, of 2005 with the announcement of Anthony qualities that will lead the Smart Museum to Hirschel as the new Dana Feitler Director of new levels of excellence. the Smart Museum. A strong, dynamic leader who has served as director of the Indianapolis Richard Gray Museum of Art, the Carlos Museum at Emory Chairman, Board of Governors REPORT FROM THE CHAIRMAN AND DIRECTORS 12 It is with the greatest pleasure that I write at the conclusion of my first year as Dana Feitler Director.

In every arena, ranging from exhibitions, The Smart’s efforts are also fueled by the en- attendance, and public visibility to research, ergy and intellectual curiosity of students at all fundraising, and engaging audiences within the levels, who hold many positions at the Museum, University and beyond, the Museum moved for- working as gallery and café attendants, interns ward with confidence and success in 2004–2005, in our departments, and participants in the de- despite the transition in leadership. This is due in velopment of exhibitions. Faculty members and large part to the wise, consistent guidance and students were essential to virtually every one of generosity of the Board, the assured leader- our achievements; in concert with the strategic ship provided by Jacqueline Terrassa, and the plan, it is the Museum’s ambition to widen and sustained support of the University of Chicago’s deepen its relationships across the University. administration. Much of what followed in The expansion of this key component of our 2005–2006 built directly upon the remarkable activities will serve the University’s needs more foundation established earlier, during the decade fully, but will also allow the Smart to present of Kim Rorschach’s visionary tenure as director a more broadly representative selection of the

REPORT FROM THE CHAIRMAN AND DIRECTORS and Jackie’s year as interim director. work of the University to the public at large.

Collaboration has been a cornerstone of the There is no question that challenges lie ahead. Museum’s successes and will be even more criti- Success, in increasing the level of its activities cal to its future development. Given its relatively and raising its profile on- and off-campus, has small size and staff, the Museum’s potential is strained the Museum’s facility, staff, and resourc- vastly increased through partnerships. These es. The current building is not large enough to include relationships with other institutions, as respond fully to the demand for its programs. New has been the case with the ambitious exhibi- technologies must be acquired and integrated tion Between Past and Future. A variety of other into the Museum’s activities. Money will have to institutional collaborations lie ahead. But there be raised, additional staff hired, new programs are also equally important relationships with developed, collections further enriched. The Smart the public schools; the Smart Museum’s widely Museum is building upon a solid legacy of growth admired programs play a vital role in the schools and progress in the more than thirty years since of Chicago’s mid-South Side. And the Museum’s its founding. It is now poised for even greater exhibitions, programs, and research benefit at achievements. The Museum will count on all those every turn from the vast intellectual resources who have supported it and many new friends as afforded by one of the world’s great research well to bring its ambitious plans to fruition. I am universities. Without the multitude of contribu- grateful to have the opportunity to lead the Smart tions by faculty members to all aspects of the Museum at a time of such potential. Museum’s programs, the Smart would be a much less interesting and exciting place. Anthony Hirschel Dana Feitler Director ACQUISITIONS

Objects listed on the following pages entered the permanent collection between July 1, 2004, and June 30, 2006. Dimensions are in inches followed by centimeters in parentheses; unless otherwise indicated, height precedes width precedes depth. Known catalogue raisonné references follow dimensions. 16 17 WESTERN Lee Godie Alton Pickens H.C. WESTERMANN PAINTING American, 1908–1995 American, 1917–1991 Beautiful Isle of Somewhere Robert Barnes The Card Players, 1944 Five Portraits, n.d. The H.C. Westermann Study Collection, Gift of American, born 1934 Oil on canvas, 47 5/8 x 34 5/8 Brown ink and watercolor on Martha Westermann Renner, 2004.404. Arthur Craven Still Lives, 1968 unstretched primed canvas, (120.9 x 87.8) Oil on canvas, 63 x 206 1/4 52 3/16 x 40 7/16 (134.1 x 102.7) The Mary and Earle Ludgin (160 x 523.9) Gift of Sara Leonard in honor of Collection, 2004.80 Gift of Dennis Adrian in honor of Jane Rae Brown, 2004.52 the artist and Lolli Thurm, 2005.69 Kerig Pope Carol Jackson American, born 1935 Richard Bowman Ancient Flower Eater with

ACQUISITIONS American, born 1962 ACQUISITIONS American, 1918–2001 Ashland Lock Co. (peer), 2002 Gathering Storm, circa 1968 Rock, Sun and Motion-in-Space, Leather, enamel, and metal chain, Oil on canvas, 68 x 84 (172.7 x 1945–46 30 x 50 (76.2 x 127) 213.4) Oil on canvas, 49 3/4 x 35 1/4 Purchase, 2004 Members’ Choice Gift of the artist in honor of Don (126.4 x 89.5) Award, 2004.59 Baum, 2004.56 The Mary and Earle Ludgin Collection, 2004.64 Morris Kantor Gregorio Prestopino *Campus Loan Program American, born in Russia, American, 1907–1984 1896–1974 Railroad Center, n.d. Copeland Burg Imagery in Landscape, n.d. Oil on canvas, 33 1/4 x 44 1/4 American, 1895–1961 Oil on canvas, 35 5/8 x 27 (84.5 x 112.4) The Cactus, n.d. (90.5 x 68.6) The Mary and Earle Ludgin Oil on canvas, 29 1/4 x 19 1/4 The Mary and Earle Ludgin Collection, 2004.71 (74.3 x 49) Collection, 2004.69 The Mary and Earle Ludgin Abraham Rattner H.C. Westermann’s paintings from the 1950s are psychically charged, lyrical, and idealizing concepts Collection, 2004.65 June Leaf American, 1895–1978 just beginning to be researched and studied. Few in of a ruined past. A memorable image that elicits deep American, lives in Canada, born The Crucifixion, 1944 number, they often deal with themes that reappear feeling, this rare work enhances the Smart’s extensive Copeland Burg 1929 Oil on canvas, 31 1/4 x 25 later in the artist’s prints, drawings, and, importantly, study collection devoted to the life and art of this Chicago River, n.d. Self-Portrait, circa 1960 (79.4 x 63.5) his sculptural objects. Beautiful Isle of Somewhere is master of American sculpture. Oil on canvas, 24 x 32 1/4 Oil on wood panel (used as a The Mary and Earle Ludgin one of Westermann’s preliminary reflections on the (61 x 81.9) palette on verso), 23 3/16 x 16 3/4 Collection, 2004.73 The Mary and Earle Ludgin (58.9 x 42.6) *Campus Loan Program Art © Estate of Lester Beall/Licensed by VAGA, New York, N.Y. Collection, 2004.66 Gift of Joyce Turner Hilkevitch *Campus Loan Program in memory of Carl Turner and Abraham Rattner Felix Ruvolo Kurt Seligmann Max Weber Jonathan Turner, 2005.3 Bathing Birds (No. 2), 1945 American, born in Italy, 1912–1992 Simon Magus, 1944 American, born in Russia, Copeland Burg Oil on canvas, 21 1/16 x 18 1/8 The Informer, 1945 Oil on canvas, 28 x 20 1/2 1881–1961 Green Grove, n.d. June Leaf (53.5 x 46) Oil on canvas, 33 3/4 x 48 3/4 (71.1 x 52.1) Flowers, 1945 Oil on canvas, 23 1/4 x 31 3/4 Self-Portrait, circa 1960 The Mary and Earle Ludgin (85.7 x 123.8) The Mary and Earle Ludgin Oil on canvas, 29 1/4 x 23 1/4 (58.8 x 79.1) Oil on canvas paper, sheet: Collection, 2004.72 The Mary and Earle Ludgin Collection, 2004.76 (74.2 x 59.1) The Mary and Earle Ludgin 16 x 12 (40.6 x 30.5) Collection, 2004.74 The Mary and Earle Ludgin Collection, 2004.67 Gift of Joyce Turner Hilkevitch Louis Ribak *Campus Loan Program Everett Spruce Collection, 2004.62 *Campus Loan Program in memory of Carl Turner and American, born in Russia, American, 1908–2002 Jonathan Turner, 2005.4 1902–1979 Kurt Seligmann At the Mailbox, 1945 H. C. [Horace Clifford] Westermann Richard Florsheim The Shadow Boxers, 1939 Swiss, lived in , Oil on canvas, 23 x 29 1/4 American, 1922–1981 American, 1916–1979 Philip Martin Oil on canvas, 29 1/2 x 47 1/4 1900–1962 (58.4 x 74.2) Beautiful Isle of Somewhere, 1953 Study for Machinery, n.d. Irish, born 1927 (74.9 x 120) Mythical Event, 1943 The Mary and Earle Ludgin Gesso and oil on wood panel, Encaustic on board, 11 1/2 x 17 1/2 , 1952 The Mary and Earle Ludgin Oil on canvas, 17 3/4 x 13 3/4 Collection, 2004.77 19 1/2 x 35 1/2 (49.5 x 90.2) (29.2 x 44.5) Oil on paper mounted on canvas, Collection, 2004.61 (19.6 x 34.9) *Campus Loan Program The H. C. Westermann Study The Mary and Earle Ludgin 56 3/4 x 46 1/2 (144.2 x 118.1) The Mary and Earle Ludgin Collection, Gift of Martha Collection, 2004.68 The Mary and Earle Ludgin Collection, 2004.75 Westermann Renner, 2004.404 *Campus Loan Program Collection, 2004.70

Previous pages: Honoré Daumier, two illustrations for Le Charivari relating to the comet of 1857, 2005.31.1–2 18 19

SCULPTURE Dan Peterman Attributed to Luigi Garzi Marino Marini Jacques Villon Artist Unknown (J.G.) American, born 1966 Italian, 1638–1721 Italian, 1901–1980 French, 1875–1963 Dutch?, probably 18th century American, 1922–1997 Excerpts from the Universal Lab Apollo Slaying a Python, n.d. Study for “Largest Horse,” 1950 Seated Nude Woman Sacrificing at a Pagan Absalom, Absalom, 1958 (travel pod #1, #2, #3), 2005 Red chalk over graphite on laid Oil on paper mounted on canvas, (also called Renée in Profile), 1911 Altar (after Gérard de Lairesse, Cast tinted plaster, h: 30 (76.2) Mixed media encased in plexiglas paper, sheet: 8 11/16 x 5 11/16 58 1/2 x 39 3/4 (148.6 x 101) Gouache on wove Japan paper, Dutch, 1641–1711) Gift of Joyce Turner Hilkevitch spheres with wheeled metal (22 x 14.4) The Mary and Earle Ludgin sheet: 18 x 11 (45.7 x 27.9) Etching, plate: 7 1/2 x 5 7/8 (19.1 x 14.9) in memory of Carl Turner and supports, unit dimensions: Gift of Collection of Edward A. Collection, 2004.60 Gift of Isaac S. and Jennifer A. Gift of Collection of Edward A. Jonathan Turner, 2005.2 43 x 31 x 31 (114.3 x 80.6 x 80.6), and Inge Maser, 2004.101 Goldman, 2006.7 and Inge Maser, 2004.105 45 x 31 x 31 (110.5 x 80.6 x 80.6), Kerry James Marshall Paul Granlund and 49 x 31 x 31 (124.5 x 80.6 x 80.6) Augustus John American, born 1955 H. C. [Horace Clifford] Westermann Artist Unknown American, 1925–2003 Purchase, Paul and Miriam British, 1878–1961 American, 1922–1981

ACQUISITIONS Study for Slow Dance, 1992 Italian?, late 17th century ACQUISITIONS Chrysalis, 1978 Kirkley Fund for Acquisitions, Standing Female Nude Study, n.d. Ink on paper, sheet: 24 x 18 (61 x 45.7) 162 items, principally prints and Antiquity of Rome: Personification Cast bronze, ed. 4/10, 2005.83a–c Pencil on wove paper, sheet: Gift of the artist, 2005.71 letter drawings, plus letters and of a River God (Marforio), 1739 h.: 24 1/2 (62.2) 14 1/16 x 8 9/16 (35.7 x 21.8) other pieces of a more archival From: F. M. Misson, A New Gift of John F. Peloza, 2006.16 Richard Rezac Gift of Collection of Edward A. Kerry James Marshall nature Voyage to Italy: Vol. 2, plate 4 American, born 1952 and Inge Maser, 2004.102 Study for Slow Dance, 1992 The H. C. Westermann Study (English trans., 5th ed., London, 1739) Emil Hess Pine, 2003 Ink on paper, sheet: 24 x 18 (61 x 45.7) Collection, Gift of Martha Etching, plate: 6 5/16 x 6 5/8 American, born 1913 Painted wood and aluminum, Wesley Kimler Gift of the artist, 2005.72 Westermann Renner, 2004.196– (13.5 x 16.8) Concerning the Two Dimensional, n.d. 19 x 19 x 27 (48.3 x 48.3 x 68.6) American, born 1953 2004.405a–s Gift of Collection of Edward A. and Plaster on wood base, without Purchase, Paul and Miriam Untitled, n.d. Jim Nutt Inge Maser, 2004.106 base: 18 1/2 x 14 1/2 x 9 3/8 Kirkley Fund for Acquisitions, Charcoal and black paint on white American, born 1938 Fritz Winter (47 x 36.8 x 23.8) 2005.53 wove paper, maximum outer Untitled (Feyfully Yours), 1974 German, 1905–1976 Artist Unknown The Mary and Earle Ludgin dimensions: 95 1/4 x 78 (241.9 x 198.1) Colored pencil on paper with Floating Line (Schwebend Linie), 1954 Italian?, late 17th century Collection, 2004.78 H. C. [Horace Clifford] Westermann Gift of Mr. and Mrs. Allen Turner, hand-painted acrylic ragboard Oil on paper mounted on canvas, Antiquity of Rome: Menelaus *Campus Loan Program American, 1922–1981 2005.73 mat, paper sheet: 9 1/4 x 10 29 1/2 x 39 1/4 (74.9 x 99.7) Holding the Body of Patroclus? Monument to Martha, 1960 *Campus Art Loan Program (23.5 x 25.4); mat: 14 3/4 x 15 3/4 The Mary and Earle Ludgin (Pasquino), 1739 Donald Lipski Wood, mirror, tin, cast-metal (37.5 x 40) Collection, 2004.63 From: F.M. Misson, A New Voyage American, born 1947 soldier, plastic decal, and paper Ward Lockwood Gift of Dorie Sternberg in memory to Italy: Vol. 2, plate 3 (English trans., Water Lilies No. 34, 1990 decoupage, 47 x 19 x 19 American, 1894–1963 of Dr. Paul Sternberg, 2005.16 Joseph Yoakum 5th ed., London, 1739) Brown eggs, glass tubing, metal (119.4 x 48.3 x 48.3) Study of Hands Holding a Stick, American, 1886/88–1976 Etching, plate: 6 5/8 x 5 1/4 clamps, and water, 2 x 120 x 2 The H. C. Westermann Study circa 1937 Laurie Palmer Mt Elarus in Caucasus mtn Range (16.8 x 13.3) (5.1 x 304.8 x 5.1) Collection, Fractional Gift of Study for the mural of the Post American, born 1958 Betwee [sic] Black Sea and Gift of Collection of Edward A. and Gift of Nancy and Robert Mollers, Martha Westermann Renner Office Department Building, Opened Lands, 2002 Caspian Sea in USSR, n.d. Inge Maser, 2004.107 2005.74 Washington, D.C., 1937 Thirty-six digital photographs Blue ballpoint pen and colored WORKS ON PAPER Chalk on pale green wove paper, mounted on plastic board; thirty- pencil on wove paper, sheet: Artist Unknown (C.L.) Montici Artist Unknown sheet: 16 3/16 x 10 7/8 (41.4 x 27.6) seven archival maps: hahnemull 12 x 19 (30.5 x 48.3) French or Italian?, 18th century Italian, , 19th century? French or German?, 18th century? Gift of Collection of Edward A. photo rag #188 paper digitally Gift of Sara Leonard, 2004.53 A Life Drawing Class, 1784 Hand, n.d. Studies of Seated Women, n.d. and Inge Maser, 2004.103 printed (exhibition maps are Engraving, plate: 4 5/16 x 5 5/16 Stone intarsia (pietra dura), Red chalk on tan wove paper, photocopies with digital images Joseph Yoakum (11 x 15.1) 8 x 5 3/8 (20.3 x 13.7) sheet: 12 5/16 x 7 15/16 (31.3 x 20.2) Robert Lucy applied with adhesive, and hand- Cascade mts no en new york Gift of Collection of Edward A. and The Mary and Earle Ludgin Gift of Collection of Edward A. American, born 1965 painted details in watercolor); Glenfalls ny, 24 April 1964 Inge Maser, 2004.108 Collection, 2004.79 and Inge Maser, 2004.100 Sea Fashions, 2002–03 elastic, variable dimensions Blue ink and watercolor on wove *Campus Loan Program Suite of eleven drawings (eight Purchase, Paul and Miriam paper, sheet: Artist Unknown Julia Fish vertical; three horizontal), plus Kirkley Fund for Acquisitions, 12 x 18 (30.5 x 44.7) American Laurie Palmer and Wendy Jacob American, born 1950 illustrated colophon page, 2005.82a–zz Gift of Sara Leonard, 2004.54 Hendricks—Prekop—Davies, 1970 Both American, born 1958 Garden Drawing #29, 1994 colored pencil on colored wove Poster for a three-person exhibition, Land Mass, 2002 Ink with brush and wash on paper, paper, each sheet: 22 x 16 Richard Rezac PRINTS Hyde Part Art Center, Chicago, Fifteen movable units, wood, 19 1/2 x 14 (49.5 x 35.6) (55.9 x 40.6), colophon page, sight: American, born 1952 Artist Unknown January 9–February 19, 1970 rubber, and casters, variable Purchase, Paul and Miriam Kirkley 12 1/2 x 9 1/2 (31.8 x 21.4) Study for “Pine,” 2003 Italian?, 17th–18th century? Offset lithograph, sheet: dimensions Fund for Acquisitions, 2004.81 Gift of Dennis Adrian and Pencil on paper, sheet: 29 x 23 The Last Judgment (after 21 9/16 x 17 7/16 (54.7 x 44.3) Purchase, Paul and Miriam Kenneth and Patricia Northcott, (73.7 x 58.4) Michelangelo Buonarroti, Italian, Gift of Joyce Turner Hilkevitch Kirkley Fund for Acquisitions, 2005.68a–l Purchase, Paul and Miriam Kirkley 1475–1564), n.d. in memory of Carl Turner and 2005.81a–o Fund for Acquisitions, 2005.54 Engraving, sheet (trimmed to Jonathan Turner, 2005.5 plate): 12 1/4 x 9 (31.1 x 22.9) Gift of Collection of Edward A. and Inge Maser, 2004.104 20 21

Artist Unknown Ivan Le Lorraine Albright Abraham Blooteling Christo Javacheff, called Christo Honoré Daumier American American, 1897–1983 Historic Panoramic Abra Cadabra, Dutch, 1640–1690 Bulgaria, lives in United States, French, 1808–1879 David Sander and Arlene Untitled [seated woman: Ida?], n.d. 1976 Christian Huygens, F.R.S., n.d. born 1935 Four illustrations for Le Charivari Seitzinger, 1974 Lithograph, stone: 14 1/4 x 10 1/8 Two shopping bags for a group Mezzotint, sheet (trimmed to Wrapped Champagne Bottle relating to The Comet of 1857 Poster for a two-person exhibition, (33.7 x 25.7) exhibition, Hyde Park Art Center, plate): 13 1/2 x 10 1/8 (34.3 x 25.7) (Project for Happy Anniversary), 1 “Les Parisiens dans l’attente de Hyde Part Art Center, Chicago, Gift of Brenda F. and Joseph V. Chicago, Gift of Brenda F. and 2000 la fameuse comète” [Parisians January 3–February 9, 1974 Smith, 2004.133 February 20–April 3, 1976 Joseph V. Smith, 2004.136 Lithograph with tape, cloth, and awaiting the famous comet], Offset lithograph on yellow wove Screenprint on commercial embroidery thread on paper February 25, 1857 paper, sheet: 22 x 16 15/16 (55.9 x 43) Francesco Bartolozzi shopping bag with string handle, Boetius Bolswert mounted on paperboard, ed. 14/30, 2 “Parisiens incrédules aux Gift of Joyce Turner Hilkevitch English, 1725–1815 each excluding handle: Flemish, 1580–1633 paperboard panel: 21 1/4 x 16 5/8 rassurantes affirmations de Mr Lady with Zither, 1795? 17 5/16 x 16 3/4 (43.9 x 42.6) Landscape with Farmhouse (54 x 42.2) Babinet et persistant à guetter

ACQUISITIONS in memory of Carl Turner and ACQUISITIONS Jonathan Turner, 2005.6 Etching, sheet (trimmed to plate): Gift of Joyce Turner Hilkevitch in (after Abraham Bloemaert, Dutch, Gift of Isaac S. and Jennifer A. la terrible comète” [Parisians 5 7/8 x 3 13/16 (14.9 x 9.7) memory of Carl Turner and Jonathan 1566–1651), 1613/14 Goldman, 2004.34 incredulous at the reassuring Artist Unknown Gift of Collection of Edward A. Turner, 2005.9.1 and 2005.9.2 Etching, plate: 6 1/8 x 9 1/2 assertions of Mr. Babinet and American and Inge Maser, 2004.109 (15.6 x 24.1) Robert Cottingham persisting in looking out for the The Big Pitcher: Twenty Years of Nicolaes Berchem Wurzbach 26; LeBlanc 303; American, born 1935 terrible comet], May 1, 1857 the Abstracted-Figure in Chicago Don Baum Dutch, 1620–1683 Hollstein 343 Barrera Rosa’s, 1986 3 “Monsieur Babinet prévenu Art, 1983 American, born 1922 The Set of Sheep, n.d. Gift of James A. Bergquist in Color lithograph and woodcut?, par sa portière de la visite Poster for a group exhibition, Hyde Park Art Center Suite of eight etchings, dimensions honor of Kimerly Rorschach, LP [Landfall Press] RTP [Right de la comète” [Mr. Babinet Hyde Part Art Center, Chicago, Retrospective: Historic Panoramic vary (most trimmed to plate) 2005.56 to Print] proof impression, warned by his housekeeper March 20–April 20, 1983 Abra Cadabra, 1976 Hollstein 42 v/viii composition: 13 1/4 x 37 1/2 of the arrival of the comet], Offset lithograph, from an original Poster for a group exhibition, Gift of Brenda F. and Joseph V. Roger Brown (33.7 x 95.3) September 22, 1858 “exquisite corpse” drawing made Hyde Park Art Center, Chicago, Smith, 2004.134a–h American, 1941–1997 Gift of Isaac S. and Jennifer A. 4 “Ah!… les comètes… ça by the participating artists for the February 20– April 3, 1976 Pre-View, 1970 Goldman, 2004.35 annonce toujours quelques purpose, sheet: 18 x 24 (45.7 x 61) Offset lithograph commercially Douglas Percy Bliss Poster for a group exhibition, grands malheurs!… je Gift of Joyce Turner Hilkevitch printed, after an original collage British, 1900–1984 Hyde Park Art Center, Chicago, Robert Cottingham n’m’étonne plus que c’te in memory of Carl Turner and made for the purpose, sheet: Steel Furnace, n.d. October 2–31, 1970 C & O, 1989 pauv’ madame Galuchet Jonathan Turner, 2005.7 22 x 17 (55.9 x 43.2) Wood engraving, block: 3 x 5 Two-color offset lithograph Nine-color lithograph, ed. 9/50, est morte subitement hier Gift of Joyce Turner Hilkevitch (7.6 x 12.7) commercially printed, from an composition/sheet: 29 1/2 x 37 7/16 soir!” [Ah, comets always in memory of Carl Turner and Gift of Brenda F. and original drawing made for the (74.9 x 95.1) foretell great sorrows!… I’m Jonathan Turner, 2005.8 Joseph V. Smith, 2004.135 purpose, sheet: 16 15/16 x 21 5/16 Gift of Isaac S. and Jennifer A. no longer amazed that poor (43 x 54.2) Goldman, 2005.32 Mrs. Galuchet died suddenly Adrian–Born 38 yesterday night!], October Gift of Joyce Turner Hilkevitch Emilio Cruz 30, 1858 BOETIUS BOLSWERT in memory of Carl Turner and American, born 1938 Lithographs on the original Jonathan Turner, 2005.10 Homeostasis: Once More the newsprint, sheets vary: Landscape with Farmhouse Scorpion, 1979 9 1/2 to 9 11/16 x 11 15/16 to 12 1/2 Gift of James A. Bergquist in honor of Kimerly Le Comte de Caylus (Anne- Poster for a performance staged (24.1 to 24.6 x 30.3 to 31.8) Rorschach, 2005.56. Claude-Philippe de Tubières) by Emilio Cruz, Moming, Chicago, Hazard/Delteil 3679, 3689, 3756 and Nicolas Le Sueur June 27–29, 1979 and 3761 This appealing landscape etching by Boetius French, 1692–1765 and 1691–1764, Offset lithograph, from an original Purchase, Paul and Miriam Bolswert, a Dutch printmaker and publisher, is respectively drawing made for the purpose, Kirkley Fund for Acquisitions, one of a Farmhouse and Landscape series after Annunciation (after Giovanni sheet: 14 x 20 (35.6 x 50.8) 2005.31.1–4 drawings by Abraham Bloemaert. The series—one Maria Morandi, Italian, Gift of Joyce Turner Hilkevitch title plate and nineteen views—is considered 1622–1717), 1763? in memory of Carl Turner and Henri Fantin-Latour Bolswert’s finest. In the early seventeenth century, Etching and woodcut, etching Jonathan Turner, 2005.11 French, 1836–1904 such rustic images of rural cottages became highly plate: 14 3/8 x 8 3/8 (36.5 x 21.3) To Victor Hugo (À Victor Hugo), n.d. collectible in the urban centers of Holland. The Gift of Collection of Edward A. Charles François Daubigny Lithograph, composition: scenes were so popular that Bolswert’s reproduc- and Inge Maser, 2004.110 French, 1817–1878 18 1/2 x 12 3/16 (47 x 31) tive prints—prints that reproduced Bloemaert’s Full Moon at Valmondois (Clair de Gift of Brenda F. and Joseph V. drawings—were themselves copied by acquisitive Lune à Valmondois), 1877 Smith, 2004.138 publishers seeking to capitalize on the genre’s Etching, plate: 6 5/8 x 9 1/4 (16.8 x 23.5) success. This etching joins the Smart Museum’s Delteil 127 iv/iv already-impressive corpus of reproductive prints. Gift of Brenda F. and Joseph V. Smith, 2004.137 22 23

Conrad Felixmüller Michael Heizer Luis Jimenez German, 1883–1970 American, born 1944 American, born 1940 Self-Portrait with a Drawing Scrap Metal Drypoint #6, 1978 Steve Jordan, 1984 Pen (Selbstbildnisse mit One-color drypoint, ed. of 20, Six-color lithograph, ed. 2/40, Zeichenshrift), 1927 (block, this sheet: 34 5/8 x 83 3/4 (89 x 212.7) composition/sheet: 30 1/8 x 22 3/8 impression possibly printed later, Gift of James Jensen in honor of (76.5 x 56.8) but during artist’s life) Richard Born, 2005.52 Gift of Isaac S. and Jennifer A. Woodcut on handmade Japanese Goldman, 2005.37 paper, ed. 44/100, block: William Hogarth 19 5/8 x 15 3/4 (49.9 x 40) English, 1697–1764 Luis Jimenez A Midnight Modern Conversation, n.d. Dead Coyote, 1989

ACQUISITIONS Söhn 370 ACQUISITIONS Gift of John F. Peloza, 2006.17 Engraving, plate: 13 3/4 x 18 5/8 Color lithograph, ed. 32/50, (34.9 x 47.3) composition/sheet: 28 x 34 Paul Gauguin Gift of Brenda F. and Joseph V. (71.1 x 86.4) French, 1848–1903 Smith, 2004.139 Gift of Isaac S. and Jennifer A. Portrait de Stéphane Mallarmé, Goldman, 2005.36 1891 (plate, these two Wenceslaus Hollar impressions printed 1919, one Bohemian (born in present day Luis Jimenez from the cancelled plate) ), 1607–1677 Steel Worker, 1992–93 Two impressions, etching, Frontispiece to the History of the Four-color lithograph, ed. 34/50, drypoint, and engraving printed Royal Society (after John Evelyn, composition/sheet: 32 1/2 x 26 1/2 in brown ink on laid paper English, 1620–1706), 1667 (82.6 x 67.3) (cancelled impression on wove, Etching, sheet (trimmed to plate): Gift of Isaac S. and Jennifer A. textured paper), plate: 8 3/8 x 6 11/16 (21.3 x 17) Goldman, 2005.35 7 1/8 x 5 3/4 (18.1 x 14.60) Gift of Brenda F. and Joseph V. Ed. of 79 published in the deluxe Smith, 2004.140 Luis Jimenez edition of Charles Morice, Lagartos, 1994–95 GIOVANNI BATTISTA PIRANESI Gauguin (Paris: H. Floury, 1919) Jacob Houbraken Color lithograph, P.P. [Printer’s Frontispiece to the Views of Rome Mongan, Kornfeld, Joachim 12 Dutch, 1698–1780 Proof] proof impression, Gift of Collection of Edward A. and Inge Maser in honor of Kimerly Rorschach, 2004.41. II/B/b and III (of IV) Sir Isaac Newton, F.R.S. (after composition/sheet: 39 1/8 x 55 Purchase, Paul and Miriam Godfrey [Godfridus] Kneller, (99.4 x 139.7) Over a period of thirty years, from 1748 until his of Views of Rome. In the work, Piranesi included Kirkley Fund for Acquisitions, German, 1646–1723), n.d. Gift of Isaac S. and Jennifer A. death, Giovanni Battista Piranesi produced a diverse elements of Roman antiquity—the statue of 2006.10.1 and 2006.10.2 Engraving, plate: 14 1/2 x 9 1/4 Goldman, 2005.34 monumental series of 135 etchings known as the Minerva, the Farnese Hercules (seen from the rear), (36.8 x 23.5) Vedute di Roma, or Views of Rome. There was consid- the foot from the colossal statue of Constantine, Ron Gorchov Gift of Brenda F. and Joseph V. Roberto Juarez erable demand at the time for images of Rome in all among others—and reassembled them in a single American, born 1930 Smith, 2004.141 American, born 1952 its splendor and ruin, and Piranesi interpreted the image. Of particular interest to students and teach- Stretcher, 1979 Apple Oil I, 1998 classical subject matter in a fantastical Baroque ers of art history, history, and the classics, the print Color lithograph, L.P. [Landfall Helen Hyde From Collective Impressions style. This particular print served as the frontispiece is a wonderful resource and welcome addition to the Press] impression, composition/ American, 1868–1919 Suite, 1998 to the second volume of the posthumous edition Smart’s collection. sheet: 30 x 22 1/2 (76.2 x 57.2) Going to the Fair, 1910 Color lithograph, ed. 15/60, Gift of Isaac S. and Jennifer A. Color woodcut, block: 7 3/4 x 19 composition/sheet: 24 1/8 x 18 Goldman, 2006.1 (19.7 x 48.3) (61.3 x 45.7) Mason and Mason 86 Gift of Isaac S. and Jennifer A. Alphonse Legros Gustave Leheutre Lucas Van Leyden Erich Heckel Gift of Brenda F. and Joseph V. Goldman, 2005.38 French, 1837–1911 French, 1861–1932 German, circa 1489–1533 German, 1883–1970 Smith, 2004.142 Untitled [profile head of a man], n.d. The Duet (Le duo), 1896 Virgin and Child, 1523 Head of a Girl (Mädchenkopf), 1919 Armin Landeck Etching, plate: 9 1/8 x 7 3/8 Color drypoint, sixth state, no. 77/ Engraving, sheet (trimmed to plate): Drypoint, second state, plate: Jörg Immendorf American, 1905–1984 (23.2 x 18.7) 109, plate: 10 x 16 5/8 (25.4 x 42.3) 4 5/8 x 3 (11.7 x 7.6) 11 3/8 x 7 3/8 (28.9 x 18.7) German, born 1945 East River Drive, 1941 Gift of Brenda F. and Joseph V. Delteil 41 Gift of Collection of Edward A. Dube 144 II/II Definitive Image of the Enemy Etching, ed. of 100, plate: Smith, 2004.144 Purchase, Paul and Miriam and Inge Maser, 2004.111 Gift of William Schmidt and (Entscheidend Feind Bild), 1983 9 3/4 x 12 13/16 (24.8 x 32.5) Kirkley Fund for Acquisitions, Patrice Peloza Schmidt in Linoleum cut with hand-painting Kraeft 82 Alphonse Legros 2005.22 Robert Lostutter memory of Mary Lou Schmidt, (in acrylic?), unique impression, Gift of Brenda F. and Joseph V. Portrait of Jules Dalou, n.d. American, born 1939 2006.18 sheet: 34 1/4 x 24 1/4 (87 x 61.6) Smith, 2004.143 Etching, plate: 10 x 6 1/2 (25.4 x 16.5) Untitled, 1989 Gift of Dr. and Mrs. Samuel Gift of Brenda F. and Joseph V. Etching, ed. 6/10, plate: Weiss, 2004.193 Smith, 2004.145 2 3/4 x 2 3/8 (7 x 6) Gift of Isaac S. and Jennifer A. Goldman, 2006.2 24 25

Robert Lostutter László Moholy-Nagy A. R. Penck (Ralf Winkler) Henri Rivière George Vertue H. C. [Horace Clifford] Westermann Superb Sunbird, 1991 American, born in Hungary, active German, born 1939 The Village of Perros-Guirec English, 1684–1756 American, 1922–1981 Lithograph, ed. 18/20, stone: in Austria, Germany, England, and Untitled, 1981 (Le Bourg de Perros-Guirec), 1891 The Hon. Robert Boyle, F.R.S. Untitled, June 1968 14 x 19 (35.6 x 48.3) the United States, 1895–1946 From the series: Eight Intimations From the series Breton (after J. Kersseboom), 1739 From the series S.M.S (Shit Must Gift of Isaac S. and Jennifer A. Untitled [planes and circles], 1920–22 of Honor (8 Ehrahnungen) Landscapes (Paysages Bretons) Engraving, plate: 14 3/8 x 9 1/2 Stop), portfolio number 3, element Goldman, 2006.5 Wood engraving, block (irr. max. Woodcut, ed. 34/150, block: Color woodcut from nine blocks (36.5 x 24.1) number 5 of 17, June 1968 dim.): 3 x 4 3/8 (7.6 x 11.1), sheet: 23 3/8 x 19 5/16 (59.4 x 49) on antique laid Japanese paper, Gift of Brenda F. and Joseph V. Multiple consisting of five Robert Lostutter 7 7/8 x 9 3/4 (18.7 x 24.8) Purchase, Paul and Miriam Kirkley ed. of 20, block: 8 3/4 x 13 9/16 Smith, 2004.148 illustrated letters with opened, Hummingbird, 1993 Purchase, Paul and Miriam Kirkley Fund for Acquisitions, 2005.17 (22.2 x 34.5) cancelled envelopes, ed. of 2000, Nine-color lithograph, ed. 59/100, Fund for Acquisitions, 2005.51 Fields XXVI; Le Stum 26 Kara Walker offset color lithographs?, each Giovanni Battista Piranesi Purchase, Paul and Miriam Kirkley American, born 1969 print’s sheet size varies:

ACQUISITIONS stone: 12 x 12 (30.5 x 30.5) ACQUISITIONS Gift of Isaac S. and Jennifer A. Jim Nutt Italian, 1720–1778 Fund for Acquisitions, 2006.13 Untitled [lynching], 1997 10 7/8 x 8 3/8 to 13 3/8 x 10 3/8 Goldman, 2006.3 American, born 1938 Frontispiece to the Views of Rome Etching and aquatint, ed. 12/35, (27.6 x 21.3 to 34 x 26.4) Now! Hairy Who Makes You Smell (Vedute di Roma): Ruins with plate: 11 3/4 x 8 7/8 (29.9 x 22.5) The H. C. Westermann Study Robert Lostutter Good, 1968 Statue of Minerva, American, 1924–1981 Gift of Isaac S. and Jennifer A. Collection, Gift of Nancy and Lepanthes Velifera, 1998 Poster for the third “Hairy Who” circa 1748 (plate, this impression Untitled [figure in a park], circa 1965? Goldman, 2004.37 Robert Mollers, 2005.75a–i Ten-color lithograph, ed. 3/50, exhibition, Hyde Park Art Center, circa 1778–1807) Color woodcut, ed. 97/200, block: stone: 6 x 7 1/2 (15.2 x 19.1) Chicago, April 5–May 11, 1968 Etching, plate: 19 5/8 x 24 7/8 12 5/16 x 9 7/8 (31.3 x 25.1) Kara Walker James Abbott McNeill Whistler Gift of Isaac S. and Jennifer A. Offset lithograph commercially (50 x 63.4) Gift of Joyce Turner Hilkevitch Untitled [soldiers and babies], 1997 American, lived in England and Goldman, 2006.4 printed, from an original drawing Hind 2v/vii; Focillon 786 in memory of Carl Turner and Etching and aquatint, ed. 23/35, France, 1834–1903 made for the purpose, sheet: Gift of Collection of Edward A. and Jonathan Turner, 2005.13 plate: 11 15/16 x 8 7/8 (30.3 x 22.5) Becquet (The Fiddler), 1859 (plate) Louis Marcoussis 21 3/8 x 16 11/16 (54.3 x 42.4) Inge Maser in honor of Kimerly Gift of Isaac S. and Jennifer A. Plate 8 from A Series of Sixteen French, born in Poland, 1883–1941 Adrian–Born 206 Rorschach, 2004.41 Richard Smith Goldman, 2004.38 Etchings of Scenes on the Thames Guillaume Apollinaire, 1921 Gift of Joyce Turner Hilkevitch British, born 1931 (Thames Set) (composition, this impression 1924) in memory of Carl Turner and Henri Rivière Parterre, 1975 Henri de Waroquier Etching and drypoint, plate: Lithograph (printed in red on Jonathan Turner, 2005.12 French, 1864–1951 Color silkscreen, ed. 71/75, three French, 1881–1970 10 1/8 x 7 3/8 (25.7 x 18.7) papier glacé), ed. of circa 1200 Vegetable Garden at Ville-Hue sheets, fanned and united by a Festival of Water and Light, Kennedy 52 iii/iii (published in a special issue of Ed Paschke [Saint-Briac] (Potager à la Ville-Hue string at the top, each sheet: Memory of the Exposition of 1937 Gift of Brenda F. and Joseph V. L’Esprit Nouveau dedicated to American, 1939–2004 [Saint-Briac]), 1890 20 1/4 x 20 1/4 (51.4 x 51.4), (Fête de l’eau et de la lumière, Smith, 2004.149 Apollinaire, 1924), composition: Execo, 1983 From the series Breton overall: 28 1/2 x 28 1/4 (72.4 x 71.8) Souvenir de l’Exposition de 1937), 8 1/4 x 5 1/8 (21 x 13) Four-color lithograph, LP Landscapes (Paysages Bretons) Gift of Diane Dobrin, 2004.195 1937 John G. F. Vonwicht Millet 38 ii/ii [Landfall Press] PP [Printer’s Color woodcut from eight blocks Etching and drypoint, sheet: American, born in Germany, Purchase, Paul and Miriam Kirkley Proof] proof impression, on handmade eighteenth-century Richard Smith 14 3/8 x 20 5/8 (36.5 x 52.4) 1888–1970 Fund for Acquisitions, 2005.50 Stone/image: 30 x 20 (76.2 x 50.8) laid Japanese paper, ed. of 20, Two of a Kind, Three of a Kind, 1978 Catalogue Henri Waroquier White Lines on Black, circa 1941 Adrian–Born 251 block: 9 x 13 3/4 (22.9 x 34.9) Color lithograph, ed. 49/80, three (working no.) 2812; Auberty Lithograph, proof impression, Will Mentor Gift of Isaac S. and Jennifer A. Fields X; Le Stum 10 sheets, folded and united by four (Prouté) 89, i/iii composition: 14 7/8 x 10 5/8 American, born 1958 Goldman, 2004.36 Purchase, Paul and Miriam Kirkley paper clips along top and bottom, Purchase, Paul and Miriam Kirkley (37.8 x 27) Put in Winter Garden, 1998 Fund for Acquisitions, 2006.12 overall: 27 3/4 x 29 (70.5 x 73.7) Fund for Acquisitions, 2004.82 Gift of Douglas Berman and Peter From Collective Impressions Suite, Crispijn de Passe The Younger Gift of Diane Dobrin, 2004.194 Daferner in honor of Richard A. 1998 Dutch, circa 1597–circa 1670 Henri Rivière Anthonie Waterloo Born, 2004.130 Color lithograph, ed. 15/60, The Captain Watching the Lobster Boat at the Mouth of the Giandomenico Tiepolo Dutch, 1610–1690 composition/sheet: 24 x 18 (61 x 45.7) Construction of a Fortress, n.d. Trieux River [Loguivy] (Homardier à Italian, 1727–1804 Landscape with Apollo and Karl Wirsum Gift of Isaac S. and Jennifer A. Engraving, sheet (trimmed to plate): l’Embouchure de Trieux [Loguivy]), Saint Jerome Emiliani, circa 1742 Daphne, n.d. American, born 1939 Goldman, 2005.43 8 x 5 1/8 (20.3 x 13) 1891 Etching, plate: 5 3/8 x 3 1/2 (13.7 x 8.9) Plate 2 from a set of six Worse Sum Show, 1970 Gift of Brenda F. and Joseph V. From the series Breton De Vesme 65; Rizzi 55 landscapes with scenes from Poster for a one-person Jean-François Millet Smith, 2004.147 Landscapes (Paysages Bretons) Gift of John A. and Andrea L. Weil, Ovid’s Metamorphoses exhibition, Saint Xavier College, French, 1814–1875 Color woodcut from nine blocks 2004.113 Etching, first state of three (1st ed.), Chicago, April 20–May 20, 1970 Untitled [laborer with wheel Philip Pearlstein on eighteenth-century laid plate: 11 9/16 x 9 3/4 (29.4 x 24.7) Offset lithograph commercially barrow], n.d. American, born 1924 Japanese paper, ed. of 20, block: Felix Vallotton Bartsch 126 i/iii printed, from an original drawing Etching, printed in brown ink, plate: Nude on Navajo Rug, 1974 8 3/4 x 13 9/16 (22.2 x 34.5) Swiss, 1865–1925 Purchase, Paul and Miriam Kirkley made for the purpose, sheet: 6 1/2 x 6 1/4 (16.5 x 15.9) Color lithograph, ed. 48/50, Fields XXXI; Le Stum p. 40 To Ibsen, 1894 Fund for Acquisitions, 2005.23 22 1/8 x 16 3/4 (56.2 x 42.5) Gift of Brenda F. and Joseph V. composition/sheet: 22 1/2 x 32 1/2 Purchase, Paul and Miriam Kirkley Woodcut, ed. 77/120, block: Adrian–Born 432 Smith, 2004.146 (57.2 x 82.6) Fund for Acquisitions, 2006.11 6 3/16 x 4 13/16 (15.7 x 12.2) Gift of Joyce Turner Hilkevitch Gift of Isaac S. and Jennifer A. Vallotton & Goerg 136 a/d in memory of Carl Turner and Goldman, 2005.44 Purchase, Paul and Miriam Kirkley Jonathan Turner, 2005.14 Fund for Acquisitions, 2005.57 26 27

PHOTOGRAPHS Timothy O’Sullivan Austro-Hungarian/Czech, William Bell American, born in Ireland?, Eichwald (Bohemia), B. Bloch & American, born in England, 1840–1882 Co., manufacturer 1830–1910 Historic Spanish Record of Pair of Vases, 1915–20 Canyon and Headlands of the Conquest, South Side of Glazed slip-cast? earthenware Colorado and Paria Rivers, 1872 Inscription Rock, New Mexico with underglaze enamel Albumen print, image/sheet: Territory, 1873 decoration, h. of each: 9 1/4 (24.1) 8 7/16 x 10 1/4 (21.4 x 26) Albumen print, image/sheet: Purchase, Paul and Miriam Kirkley Purchase, Paul and Miriam 7 3/4 x 10 3/4 (19.7 x 27.3) Fund for Acquisitions, 2004.49.1–2 Kirkley Fund for Acquisitions, Purchase, Paul and Miriam 2005.49.3 Kirkley Fund for Acquisitions,

ACQUISITIONS English, Clifton Junction, ACQUISITIONS 2005.49.1 Pilkington’s Royal Lancashire Dawoud Bey Tile and Pottery Company, American, born 1953 Timothy O’Sullivan manufacturer Mark and Eric, 1994 Top of Anaho Island, Pyramid Lake, Vase, probably 1914 Six Polacolor ER prints, each Western Nevada, 1867 Glazed earthenware with “orange separately framed and mounted Albumen print, image/sheet: peel” glaze in orange, h.: 13 (33); as a single composition, overall: 7 3/4 x 11 (19.7 x 27.9) diam. of mouth: 3 1/8 (7.9) 60 x 66 (152.4 x 167.6) Purchase, Paul and Miriam Gift of Richard A. Born in honor of Partial Gift of the artist and Kirkley Fund for Acquisitions, Kimerly Rorschach, 2004.55 Partial Purchase, Paul and Miriam 2005.49.2 Kirkley Fund for Acquisitions, Gudrun Baudisch, designer 2006.14a–f Aaron Siskind and maker American, 1903–1991 Austrian, 1907–1982 Terry Evans Martha’s Vineyard, 1954 Austrian, , Wiener SERGEI CHEKHONIN (TCHEKHONINE) American, born 1944 Gelatin silver print, vintage Werkstätte, manufacturer Cup and Saucer Untitled (Jim Hawley), 1976 impression, image: 13 1/2 x 16 3/4 Vase, 1927 Gift of Margo Pollins Schab and Rachel Adler, Gelatin silver print, sheet: 14 x 11 (34.3 x 42.6) Glazed earthenware, h.: 14 5/8 (37.2) 2004.114.a–b. (35.6 x 27.9) Gift of David Semel, 2005.86 Purchase, Paul and Miriam Kirkley Gift of Jeffrey Hantover in honor Fund for Acquisitions, 2004.50 This decorated cup and saucer were produced in Russian textiles, while at the same time borrow- of Lixan Hantover’s first year at 1923 by Sergei Chekhonin while he was the artistic ing from the visual vocabulary of the vanguard art DECORATIVE ARTS the University of Chicago, 2004.57 Theodor Bogler, designer director of the Volkhov Factory near Novgorod, groups who supported the Russian Revolution. Fifty-one items: ceramics, glass, German, 1897–1968 Russia. The design combines abstract floral and This assimilation of traditional and modern motifs and metalwork, mostly German Terry Evans German, Berlin, Steingutfabriken fruit motifs with dynamic constructivist geometric suggests Chekhonin’s belief in a prosperous Soviet modernist designs from the 1920s Untitled (kitchen), 1976 Velten-Vordamm, manufacturer elements. Chekhonin’s striking and somewhat sur- future. This is the first example of Russian avant- and 1930s, many with associations Gelatin silver print, sheet: 14 x 11 Punch Bowl, 1925–26 prising combination serves a dual purpose, evoking garde design to enter the Smart’s collection. with Bauhaus individuals (Theodor (35.6 x 27.9) Glazed earthenware, h.: 6 1/16 the folkloric bounty often depicted in traditional Bogler, Marianne Brandt, Otto Gift of Jeffrey Hantover in honor Lindig, Gerhard Marcks, Wilhelm (15.4); diam. of mouth: 11 7/8 (30.2) of Lixan Hantover’s first year at Wagenfeld, and Eva Stricker Zeisel) Gift of Barry Friedman, 2004.373 the University of Chicago, 2004.58 or Bauhaus principles of design and Karl Wirsum paper, the acetate sheet stapled serial industrial production (selected Marianne Brandt, designer American, born 1939 at the top over the paper sheet Laura Letinsky items listed below by designer) German, 1900–1983 We Got Nuthun To Hyde! Unique forming a single composition; American, born 1962 Gift of Barry Friedman, 2004.364– German, Leipzig, Körting & Art Auction at 8/Special Fund from an original drawing made for Untitled # 80, 2003 2004.400.4 Mathieson, manufacturer Razor 1974, 1974 the purpose; sheet (acetate and From the series Hardly More Bedside Lamp (Kandem Lamp), Poster/invitation with accompanying paper): 13 1/2 x 10 (34.3 x 25.4) Than Ever Chromogenic print, American, Ohio, Cincinnati, 1928 (design) envelope and response card and Adrian–Born 440 artist’s proof impression (ed. of Rookwood Pottery, manufacturer Lacquered steel plate with original response envelope for a benefit Gift of Joyce Turner Hilkevitch 15 with 3 artist’s proofs) Pitcher with Trefoil Lip, 1899 cord, h.: 9 3/8 (23.9); l.: 8 1/2 (21.6) auction, Hyde Park Art Center, in memory of Carl Turner and 29 1/2 x 34 3/8 (74.9 x 87.3) Glazed earthenware with Gift of Barry Friedman, 2004.401 Chicago, October 26, 1974 Jonathan Turner, 2005.15.1a–d; Gift of Mr. and Mrs. Allen Turner, underglaze slip-painted decoration Five complete examples and three 2005.15.2a–d; 2005.15.3a–d; 2006.6 over atomized slip ground (called examples without envelopes 2005.15.4a–d; 2005.15.5a–d; Rookwood Standard), h.: 9 1/2 (24.1) or reply cards: silkscreen on 2005.15.6a–b; 2005.15.7a–b; and Gift of Margo Pollins Schab, 2005.20 acetate and offset lithograph 2005.15.8 commercially printed on wove 28 29

Sergei Chekhonin (Tchekhonine), Hilda Jesser, designer and maker Gerhard Marcks, designer ASIAN Tang Yifen Hong Lei designer of decoration and Austrian, 1894–1985 German, 1889–1981 CHINESE PAINTING Chinese, 1778–1853 Chinese, born 1960 probable painter Austrian, Vienna, Wiener German, Jena, Schott & Genossen Artist Unknown Landscape, 1847 I Dreamt of Being Killed by My Russian, 1878–1936 Werkstätte, manufacturer Jenaer Glaswerke, manufacturer Chinese, late Qing dynasty Hanging scroll, ink and color on Father While I Was Flying Over an Russian, near Novgorod, Vase, 1921 “Sintrax” Coffee Percolator, 1925– Bamboo in the manner of Zheng paper, painting panel: Immortal Land, 2000 Volkov Factory, manufacturer Glazed earthenware with slip- 30 (design, in production 1930–39) Xie (1693–1765), probably 41 7/16 x 12 11/16 (105.3 x 29.7) Chromogenic print, image: Cup and Saucer, 1923 painted decoration, h.: 9 1/4 (24.1) Clear heat-resistant glass, rubber late 19th century Anonymous Gift, 2005.59 16 3/4 x 69 3/8 (42.6 x 176.2) Porcelain (pre-Revolution, imperial Purchase, Paul and Miriam Kirkley fitting, ebonized wood, and Hanging scroll, ink on paper, Purchase, Paul and Miriam Kirkley Russian blank) with underglaze Fund for Acquisitions, 2004.51 chromed metal, h.: 20 1/4 (51.4) painting panel: 42 3/4 x 11 7/16 Xuguang Wu Fund for Acquisitions, 2004.118 and overglaze enamel decoration, Gift of Barry Friedman, 2004.394a–d (108.6 x 29.1) Chinese, born 1929 Anonymous Gift, 2005.62 A Hawk in the Morning, Hong Lei

ACQUISITIONS h. of cup: 2 1/8 (5.4); diam. of cup: 3 David Leach ACQUISITIONS (7.6); diam. of saucer: 5 1/2 (14) British, 1911–2005 Wilhelm Wagenfeld, designer Summer 1994 After Liang Kai’s (Song Dynasty) Gift of Margo Pollins Schab and Vase, circa 1950 German, 1900–1990 Artist Unknown Hanging scroll, ink and color on Masterpiece Sakyamuni Coming Rachel Adler, 2004.114a–b Stoneware with sgraffito and iron German, Jena, Schott & Genossen Chinese, early Republican period paper, painting panel: 21 x 26 Out of Retirement, 1998 oxide (brown) slip-painted decoration Jenaer Glaswerke, manufacturer Pair of Ancestor Portraits, circa 1920 (53.3 x 66) Chromogenic print, image: Christopher Dresser, designer under ash glaze, h.: 6 3/4 (17.2) Tea Pot, Creamer, Cup and Saucer, Ink and opaque colors on paper, each Gift of Qinghui Hu, PhD, in honor 33 5/8 x 26 7/8 (85.4 x 68.3) British, 1834–1904 Purchase, Paul and Miriam Kirkley and Plate, 1930–31 (design) sight (as framed): 74 x 35 (188 x 88.9) of Xuguang Wu, 2004.83 Purchase, Paul and Miriam Kirkley English, Birmingham, Hukin & Heath, Fund for Acquisitions, 2005.1 Clear heat-resistant glass; tea Gift of Mr. and Mrs. Allen Turner, Fund for Acquisitions, 2004.119 manufacturer pot h.: 4 1/2 (11.4), l.: 10 1/2 (26.7); 2005.55.1 and 2005.55.2 Zhu Ling Sugar Bowl and Shovel, circa 1880 Otto Lindig, designer creamer h.: 1 3/4 (4.5), diam. of Chinese, active late Jiaqing Liu Zheng Silver-plate with engraved decoration German, 1895–1966 rim: 3 3/4 (9.5); cup h.: 1 3/4 (4.5), Chen Deshi? period (1796–1820) to Daoguang Chinese, born 1969 and ebony handles, l. of bowl: 6 1/2 German, Karlsruhe, Staatliche diam. of rim: 3 7/8 (9.8); diam. of Chinese, dates unknown period (1821–1850) Three Elderly Entertainers, 1995 (16.5); h. of bowl with handle: 4 3/4 Majolika-Manufactur Karlsruhe, saucer: 6 1/2 (16.5); and plate Evening View Over Rolling Landscape, probably Xinjiang Girl Working in a Textile (12.1); l. of shovel: 5 1/2(14) manufacturer diam.: 5 13/16 (14.8) Mountains with Old Trees and mid-19th century Factory, 1996 Purchase, Paul and Miriam Kirkley Coffee Pot, 1929 Gift of Barry Friedman, 2004.395, Circling Crows, 18th century Hanging scroll, ink and color Two Dancers in a Nightclub, 1999 Fund for Acquisitions, 2004.39a–b (design, in production 1929–62) 2004.396, 2005.29a–b, and 2005.30 Hanging scroll, ink on paper, on silk, painting panel: Waxwork in the Nanjing Massacre Glazed slip-cast earthenware, painting panel: 54 7/16 x 29 37 3/16 x 14 13/16 (94.4 x 37.6) Memorial Museum, 2000 Hayno Focken, designer and maker h.: 8 3/4 (22.2) Wilhelm Wagenfeld, designer (138.3 x 73.7) Anonymous Gift, 2005.61 From the series The Chinese German, 1905–1968 Gift of Barry Friedman, 2004.383a-b German, Jena, Schott & Genossen Anonymous Gift, 2005.58 Three gelatin silver prints, each ed. Covered Bowl, circa mid-1930s Jenaer Glaswerke, manufacturer CHINESE PHOTOGRAPHY 3/10, each image: 18 x 18 (45.7 x 45.7) Hammered brass with engraved Otto Lindig, designer Syrup Jug, 1930–31 (design) Chen Wenwu Hai Bo Purchase, Paul and Miriam decoration, h. with lid: 6 (15.2); German, 1895–1966 Clear heat-resistant glass, h.: 3 Chinese, 20th century Chinese, born 1962 Kirkley Fund for Acquisitions, diam. of bowl: 6 (15.2) German, Karlsruhe, Staatliche 3/16 (8.1), l. with handle: 5 3/8 (13.7) Couplet of Calligraphy, 1944 They No. 5, 1999 2004.124, 2004.115, and 2004.116 Purchase, Gift of the Women’s Majolika-Manufactur Karlsruhe, Gift of Barry Friedman, 2005.28 Pair of hanging scrolls, ink on Diptych, gelatin silver prints Board of the University of manufacturer paper, each calligraphy panel: (one vintage, one contemporary), Miao Xiaochun Chicago in honor of Joan Feitler, Coffee Pot, 1929 (design, in Russel Wright, designer 49 11/16 x 7 3/4 (126.3 x 19.7) vintage print: 3 1/8 x 4 1/2 (8 x 11.4); Chinese, born 1964 2004.40a–b production 1929–62) American, 1904−1976 Anonymous Gift, 2005.63a–b contemporary print: 3 1/8 x 4 1/2 Opera, 2000 Glazed slip-cast earthenware, American, Ohio, East Liverpool, (8 x 11.2) Chromogenic print, ed. 1/3, Anna Vaughn Hyatt Huntington h.: 8 3/4 (22.2) Steubenville Pottery, manufacturer Kong Yuqi Purchase, Paul and Miriam Kirkley 97 1/16 x 249 3/8 (246.5 x 633.5) American, 1876–1973 Gift of Barry Friedman, 2004.383a–b Carafe from the “American Modern” Chinese, 1657–1723 Fund for Acquisitions, 2004.409a–b Purchase, Paul and Miriam Kirkley Letter Opener: Crouching Panther, n.d. Dinnerware Service, 1937 (design, Orchids and Bamboo, Fund for Acquisitions, 2004.129a–e Cast bronze, l.: 9 3/8 (23.9) Otto Lindig, designer in production 1939−circa 1959) early 18th century Hai Bo Gift of Douglas Berman and Peter German, Karlsruhe, Staatliche Cast glazed earthenware Hanging scroll, ink on silk, They No. 7 (Three Sisters), 2000 Miao Xiaochun Daferner in memory of Ronald Majolika-Manufactur Karlsruhe, (“Seafoam” dark green), h.: 6 (15.2) painting panel: 40 3/16 x 19 9/16 Diptych, gelatin silver prints Transmission, 2004 Kandies, 2005.84 manufacturer Gift of Margo Pollins Schab, 2004.115 (102.1 x 49.6) (one vintage, one contemporary), Chromogenic print, ed. 3/5, Three Tea Pots, Three Cups and Anonymous Gift, 2005.60 vintage print, sheet: 2 1/4 x 3 1/8 47 5/16 x 195 9/16 (119.4 x 496.7) Saucers, and Three Plates, 1929 (5.9 x 8.1), image: 1 3/4 x 2 3/4 Purchase, Paul and Miriam Kirkley (design, in production 1929–62) Li Jiefei (4.8 x 7); contemporary print: Fund for Acquisitions, 2004.128 Glazed slip-cast earthenware, Chinese, 20th century 2 1/4 x 2 3/4 (5.8 x 8) varied dimensions Couplet of Calligraphy, 1948 Purchase, Paul and Miriam Kirkley Gift of Barry Friedman, Pair of hanging scrolls, ink on Fund for Acquisitions, 2004.410a–b 2004.384a–b–2004.386a–b, paper, each calligraphy panel: 2004.391.1a–b–2004.391.3a–b, 38 15/16 x 10 (98.9 x 25.4) and 2004.390.1–3 Anonymous Gift, 2005.64a–b 30 31 CONTEMPORARY CHINESE PHOTOGRAPHY For the past two decades, China has undergone remarkable economic, social, and cultural transformations, which have in turn shaped the development of Chinese experimental art. In the 1980s and especially in the 1990s, many artists moved ACQUISITIONS to major urban centers, reinventing themselves as independent artists working ACQUISITIONS within a global art network. Using media ranging from painting and sculpture to video and photography, China’s experimental artists have explored the dynam- ics of emerging modernity in a country where tradition still retains enormous significance. As demonstrated by the Smart’s exhibition Between Past and Future: New Photography and Video from China (see pages 54–55), photo-based media have become increasingly important means of individual expression, permeating artistic practice in China just as they have in the rest of the world.

In 2004–2005, following Between Past and Future, the Smart Museum acquired eighteen major works by ten contemporary Chinese artists. These acquisitions represent a wide range of photographic approaches, including performance-based works, computer-manipulated tableaux, documentary images, and conceptual projects. Adding to the Museum’s growing collection of experimental work from China, the acquisitions included key photographic projects and individual

works by artists Hai Bo, Hong Lei, Liu Zheng, Miao Xiaochun, Song Yongping, Wang Qingsong, 2004.410.a–b Wang Wei, Xing Danwen, Zhang Dali, and Zhang Huan.

Since 1999, the Smart Museum has played an instrumental role in introducing contemporary to the West, and it has supported research of these practices through a series They No. 7 (Three Sisters), of groundbreaking exhibitions curated or co-curated by Wu Hung, the Harrie A. Vanderstap- pen Distinguished Service Professor of Art History at the University of Chicago and Consulting Hai Bo, Curator at the Smart Museum. In addition to Between Past and Future, these exhibitions include HAI BO Transience: Chinese Experimental Art at the End of the Twentieth Century; “Canceled”: Exhibiting Experimental Art in China; and The Art of Mu Xin: Landscape Paintings and Prison Notes. During the Hai Bo’s artworks evoke the lived texture of passing time. To create his best- same period—and in part as a result of these exhibitions—the Smart Museum began to collect known work, the They series, Hai Bo began with group portrait photographs contemporary art from mainland China. that were made by studio photographers during the Cultural Revolution

The Museum’s holdings in this area now significantly enhance the Smart’s educational mission (1966–76). He then located the sitters and brought them together to recreate by elucidating the vitality and richness of Chinese art and visual culture from antiquity to the the initial photograph. The resulting diptych of old and new portraits puts a present. The 2004–2005 acquisitions were made possible by the Paul and Miriam Kirkley Fund, an vivid human face on the enormous social changes that have swept China endowment established in 1999 with a five million dollar bequest from the Kirkleys, both graduates during the intervening years. of the University of Chicago. 32 Wang Qingsong, Past, Present, Future, 2004.120.a–c an observer or participant. or observer an as times several appears himself artist the work, the In today. cities Chinese many in seen be still can that sculpture public realist Socialist monumental the mimics ingeniously he models, his posing and costuming carefully By prospects. Future humor. caustic through often society, Chinese contemporary on commentary with them infuses painting—and scroll traditional and sculpture realist Socialist artworks—including Chinese past from inspiration draw that photographs manipulated digitally large-scale, lush, produces Qingsong Wang WANG QINGSONG grew out of Wang’s reflections on China’s recent past and its future future its and past recent China’s on reflections Wang’s of out grew Past, Present, Present, Past, 33 ACQUISITIONS 34 Song Yongping, My Parents (detail), 2004.114.a–d ACQUISITIONS loss and his own. own. his and loss their both to witness empathic an as apparatus, medical same the with and garments, poses, same the in appears often artist the and grief, and disease from crumple parents the series, the of course the Over culture. consumer emerging newly China’s of promise and glitter the to contrast in sits which apartment, cramped parents’ his of view frontal composed, similarly a is image series His China. in produced being currently work the of much of uncharacteristic is that sensibility humane deeply a possesses work His 1990s. the during photography making began but painter a as trained was Yongping Song peers, his of many Like YONGPING SONG My Parents My depicts the artist and his dying parents. Each Each parents. dying his and artist the depicts China’s economic boom in crystalline close-ups of industrial debris. industrial of close-ups crystalline in boom economic China’s of detritus the documenting China, in sites dumping to traveled Danwen Xing recent the For concerns. conceptual and technical ent differ reflect which series, strongest her of two from works key represent Museum Smart the by acquired pictures the and photography, on focused since has She mid-1990s. the in group artists’ Village East famed the of member a as known became and , in Arts Fine of Academy Central the at painting studying was she while 1980s, late the in photographing began Danwen Xing DANWEN XING disCONNEXION disCONNEXION series, series, - 35

Xing Danwen, disCONNEXION (detail), 2004.408.a ACQUISITIONS 36 37

Song Yongping Zhang Huan Tateyama JAPANESE PRINTS Hakusui [possibly Amenomori Hasui Kawase Chinese, born 1961 Chinese, born 1965 Japanese, 20th century Eiho Keitei (Japanese, 1793–1881), Japanese, 1883–1957 My Parents, 1998–2001 Foam, 1998 Two Courtesans Chasing Japanese, dates unknown Kinoshita Hironobu (Japanese, act. The Gion Bridge, 1925 Eight gelatin silver prints, ed. 3/10, Fifteen chromogenic prints, each Butterflies, 1920s Winter Poem Collection of 1864, 1864 1850s–70s), or Hakusui Junzan Color woodblock, block: each sheet: 20 1/16 x 15 15/16 image: 60 x 40 (152.4 x 101.6) Hanging scroll, ink and color on Deluxe color woodblock (haikai (Japanese, act. 1830s–50s)] 11 1/8 x 8 3/16 (23.3 x 20.8) (51 x 40.5) Purchase, Paul and Miriam Kirkley paper, painting panel: 48 5/8 x 19 ichimaizuri surimono), sheet: Japanese, late Edo to Meiji periods Gift of Brenda F. and Purchase, Paul and Miriam Kirkley Fund for Acquisitions, 2004.123a–o 1/4 (123.5 x 48.9) 16 9/16 x 21 7/8 (42.1 x 55.6) Scene of Emperor Go Fukakusa Joseph V. Smith, 2004.152 Fund for Acquisitions, 2004.117a–h Anonymous Gift, 2005.67 Gift of Brooks McCormick Jr., and the Bonsai Chopper from the Zhang Huan 2005.45 Thirteenth-Century “Potted Trees” Hasui Kawase Wang Qingsong My New York, 2002 Watanabe Kazan Tale, n.d. Rain at Shinagawa, 1931 or 1932 Chinese, born 1966 Chromogenic print, ed. 1/8, 30 x 20 Japanese, 1793–1844 Eiichi Kozozuka Deluxe color woodblock print Color woodblock, block: ACQUISITIONS ACQUISITIONS Incarnation, 2002 (76.2 x 50.8) The Badger Transformed, circa 1830 Japanese, 1906–1979 (surimono) with gilding, sheet: 14 3/16 x 9 7/16 (36 x 24) Chromogenic-print triptych, ed. 2/10, Gift of the artist in honor of Hanging scroll, ink on paper, Red Pagoda at Nikko, Toshogo 17 13/16 x 23 3/16 (45.2 x 58.8) Gift of Brenda F. and overall: 75 x 139 1/4 (190.5 x 353.6) Stephanie Smith, 2005.26 painting panel: 10 15/16 x 10 5/8 Shrine, circa 1950 Gift of Brooks McCormick Jr., Joseph V. Smith, 2004.153 Purchase, Paul and Miriam Kirkley (27.8 x 27) Color woodblock, block: 2006.8 Fund for Acquisitions, 2004.121a–c INDIAN PHOTOGRAPHY Anonymous Gift, 2005.65 15 1/2 x 10 5/8 (39.4 x 27) Hide Kawanishi Vivian Sundaram Gift of Brenda F. and Hasegawa Konobu (Hasegawa Japanese, 1894–1965 Wang Qingsong Indian, born 1943 Yamagata Isaburo (go: Soku) Joseph V. Smith, 2004.150 Sadanobu III) The Stone Garden, 1959 Past, Present, Future, 2002 Retake of Amrita (#40), 2001 Japanese, 1857–1927 Japanese, 1881–1963 Color woodblock with blind Chromogenic-print triptych, ed. Photomontage based on Orchids, n.d. Gesso Yoshimoto Celebrating the Accession to the stamping, ed. 138/200, sight: 4/5, overall: 68 7/8 x 315 1/2 photographs by Umrao Singh Hanging scroll, ink on paper, Japanese, 1881–1936 Name Takemoto Gendayu VIII, 14 1/4 x 18 3/4 (36.2 x 47.6) (174.9 x 801.4) Sher-Gil (1870–1954) and painting panel: 42 15/16 x 12 13/16 Irises Before Mount Fuji, circa 1930 March 1937 Gift of Douglas Berman Purchase, Paul and Miriam Kirkley from the Sher-Gil family archive (108.7 x 32.5) Color woodblock, block: Deluxe color woodblock (haikai and Peter Daferner in honor of Fund for Acquisitions, 2004.120a–c Photomontage printed on Gift of C. A. Islinger, 2004.98 14 1/8 x 9 1/16 (35.9 x 23) ichimaizuri surimono) with gilding Richard A. Born, 2004.131 professional digital 11 photographic Gift of Brenda F. and and blind stamping, sheet: Wang Wei color matte paper on a Hybrid Yamaguchi Ranko Joseph V. Smith, 2004.151 17 7/16 x 23 5/16 (44.3 x 59.2) Chinese, born 1972 LED photographic printer, ed. 8/10, Japanese, 1867–1927? Gift of Brooks McCormick Jr., 1/30th of a Second Underwater sight: 15 x 25 3/4 (38.1 x 65.4) The Power of Snow, n.d. 2005.47 (#5–8), 1999 (printed May 2005) Purchase, Paul and Miriam Kirkley Poem slip (tanzaku), brush and Four Durotrans color prints and Fund for Acquisitions, 2005.27 ink on paper card with gilt edges, sound (joining with panels nos. 1–4, sheet: 14 1/4 x 2 3/8 (36.2 x 6) acquired in 2001), ed. 1/5, varied JAPANESE PAINTING Gift of Brooks McCormick Jr., dimensions 2005.78 Hine Taizan YANAGIDA SEIZAN Purchase, Paul and Miriam Kirkley Japanese, 1813–1869 Zen Puppy Fund for Acquisitions, 2004.406a–d Bamboo, n.d. Yamaoka Tesshu Gift of Brooks McCormick Jr. and his companions in Hanging scroll, brush and ink on Japanese, 1836–1888 memory of Lloyd W. Prasuhn, D.V.M., 2004.112. Xing Danwen paper, painting panel: Zen Bat, n.d. Chinese, born 1967 17 1/8 x 21 3/8 (43.5 x 54.3) Hanging scroll, brush and ink on A prominent Buddhist scholar and president of Scroll, 1999–2000 Gift of C. A. Islinger, 2005.70 paper, painting panel: Gelatin silver print, ed. 1/5, sheet: 40 3/16 x 12 7/8 (102.1 x 32.7) Hanazono University in Kyoto, Japan, Yanagida Seizan intended this painting to serve as a kind of 14 1/2 x 173 1/2 (36.8 x 440.7) Kaneko Inkei, called Kinryo Gift of Brooks McCormick Jr., good luck charm. Brushed on the first day of the Year Purchase, Paul and Miriam Kirkley Japanese, died 1817 2006.15 of the Dog (1994), it features an image of the beloved Fund for Acquisitions, 2004.407 Rooster and Hen, early 19th century Zen figure Hotei with his huge treasure bag. He has Hanging scroll, ink and color on Yanagida Seizan just come upon a puppy, which seems to ask the Xing Danwen paper, painting panel: Japanese, born 1922 famous Zen riddle: “Well, how about? Do I have the DisCONNEXION, 2002–03 31 7/8 x 13 3/4 (81 x 34.9) Zen Puppy, 1994 Buddha-nature or not?” Hotei’s response is to offer Chromogenic print triptych, each Anonymous Gift, 2005.66 Hanging scroll, ink and color on image: 29 x 23 1/4 (73.7 x 59.1) paper, painting panel: the dog a treat. Deceptively simple and offhand in subject and execution, this endearing and rare image Purchase, Paul and Miriam Kirkley Sohan Gempo, called Shoun 13 1/4 x 12 7/8 (33.7 x 32.7) is a classic example of irreverent Zen imagery that Fund for Acquisitions, 2004.408a–c Japanese, 1848–1922 Gift of Brooks McCormick Jr. and addresses central tenets of the faith. The work joins Wall-Gazing Daruma, n.d. his companions in memory of Lloyd the Smart’s distinguished collection of Zen Buddhist Hanging scroll, brush and ink on W. Prasuhn, D.V.M., 2004.112 painting and calligraphy. silk, painting panel: 9 3/8 x 9 1/4 (23.9 x 23.5) Gift of Brooks McCormick Jr., 2005.25 38 39

Kaburagi Kiyokata Ohara Shoson (Koson) Soochoo Tokuriki Tomkichiro Tokuriki Tomkichiro Tokuriki Tomkichiro Japanese, 1878–1973 Swallow and Waves, n.d. Japanese, active Meiji period Kamakura, n.d. Park, n.d. Heinan Shrine in the Spring, Celebrating the Accession to Color woodblock, block: Magnolia and Bush Warbler, 1903 Color woodblock: block: Color woodblock: block: circa 1945 the Name Nozawa Kizaemon, 13 1/2 x 7 1/4 (34.3 x 18.4) Deluxe color woodblock 10 7/16 x 15 1/16 (26.5 x 38.2) 10 3/8 x 15 1/16 (26.4 x 38.2) Color woodblock: block: November 1942 Gift of Brenda F. and (surimono), sheet: Gift of Brenda F. and Gift of Brenda F. and 11 7/8 x 14 15/16 (30.2 x 37.9) Deluxe color woodblock (haikai Joseph V. Smith, 2004.159 15 1/4 x 20 1/4 (38.7 x 51.4) Joseph V. Smith, 2004.169 Joseph V. Smith, 2004.175 Gift of Brenda F. and Joseph V. ichimaizuri surimono), ink and Gift of Brooks McCormick Jr., 2006.9 Smith, 2004.182 colors on paper, sheet: Ohara Shoson (Koson) Tokuriki Tomkichiro Tokuriki Tomkichiro 16 13/16 x 22 1/2 (42.7 x 57.2) Wax Wings on Cherry, n.d. Soseki Katata Ukimido Temple, n.d. Shrine in the Rain, n.d. Toshi Joshida With original fukuro (wrapper): Color woodblock, block: Japanese, dates unknown Color woodblock: block: Color woodblock: block: Japanese, 1911–1995 woodblock print with attached 13 5/8 x 7 7/16 (34.6 x 18.9) (Taisho–early Showa periods) 10 3/8 x 15 1/16 (26.4 x 38.2)

ACQUISITIONS 10 3/8 x 15 1/16 (26.4 x 38.2) Raicho, 1930 ACQUISITIONS three-dimensional noshi: Gift of Brenda F. and Moorhens, n.d. Gift of Brenda F. and Gift of Brenda F. and Color woodblock, block: 11 3/4 x 9 3/4 (29.9 x 24.8) Joseph V. Smith, 2004.160 Color woodblock, block: Joseph V. Smith, 2004.170 Joseph V. Smith, 2004.176 9 7/16 x 14 7/8 (24 x 37.8) Gift of Brooks McCormick Jr., 13 15/16 x 7 7/16 (35.4 x 18.9) Gift of Brenda F. and 2005.80a–b Ohara Shoson (Koson) Gift of Brenda F. and Tokuriki Tomkichiro Tokuriki Tomkichiro Joseph V. Smith, 2004.183 Untitled [two rabbits and moon], n.d. Joseph V. Smith, 2004.166 Yabashiri in Early Spring, n.d. The Eight Views of Mount Fuji, n.d. Mokuchi Uruschihara Color woodblock with blind No. 1 from the series The New Portfolio of eight woodblock Toshi Joshida Japanese, 1888–1953 stamping, block: 14 1/4 x 9 3/8 Takahashi Shin’ichi Eight Views of Lake Biwa prints [no. 4 missing] in original Autumn in Hakone Museum, 1954 Cyclamen, circa 1935 (36.2 x 23.9) Japanese, born 1917 Color woodblock: block: mats with original folio cover, Color woodblock, block: Color woodblock, block: Gift of Brenda F. and Among Trees B, 1958 11 1/8 x 9 11/16 (28.3 x 24.6) cover (closed): 14 5/8 x 8 7/8 (37.2 x 22.5) 11 3/4 x 7 7/8 (29.9 x 20) Joseph V. Smith, 2004.161 Color woodblock, ed. 72/200, Gift of Brenda F. and 14 1/8 x 19 1/4 (35.9 x 48.9) Gift of Brenda F. and Gift of Brenda F. and composition: 13 1/4 x 17 9/16 Joseph V. Smith, 2004.171 Gift of Brenda F. and Joseph V. Joseph V. Smith, 2004.184 Joseph V. Smith, 2004.154 Ohara Shoson (Koson) (33.7 x 44.6) Smith, 2004.177a–h Geese in Flight: Snowy Day, Gift of Douglas Berman and Tokuriki Tomkichiro Tsuchiya Koitsu Ohara Shoson (Koson) circa 1945 Peter Daferner, 2005.85 Evening View of Otsu Harbor, n.d. Tokuriki Tomkichiro Japanese, 1879–1949 Japanese, 1877–1945 Color woodblock, block: No. 2 from the series The New The Eight Views of Japan, n.d. Maruyama Park, n.d. Morning Glories, n.d. 14 1/4 x 9 1/2 (36.2 x 24.1) Tenjukan Gyokuen Eight Views of Lake Biwa Portfolio of eight woodblock Color woodblock, block: Color woodblock, block: Gift of Brenda F. and Japanese, active 1830s–60s Color woodblock: block: prints with original folio cover, 15 1/2 x 10 7/16 (39.4 x 26.5) 14 3/8 x 9 1/2 (36.5 x 24.1) Joseph V. Smith, 2004.162 Marking the First Memorial 11 3/16 x 9 7/8 (28.4 x 25.1) cover (closed): 14 1/4 x 19 5/16 Gift of Brenda F. and Gift of Brenda F. and Anniversary of Mimasu Tabito Gift of Brenda F. and (36.2 x 50) Joseph V. Smith, 2004.185 Joseph V. Smith, 2004.155 Okuyama Gihachiro IV, 1865 Joseph V. Smith, 2004.172 Gift of Brenda F. and Joseph V. Japanese, 1907–1981 Deluxe color woodblock (haikai Smith, 2004.178a–i Tsuchiya Koitsu Ohara Shoson (Koson) Japanese Landscape: Autumn, 1949 ichimaizuri surimono) with gilding, Tokuriki Tomkichiro Spring Pagoda, n.d. Egret, n.d. Color woodblock, block: sheet: 16 7/8 x 21 3/4 (42.9 x 55.3) Four Seasons of Tokyo: Tokuriki Tomkichiro Color woodblock, block: Color woodblock, block: 9 1/4 x 14 1/4 (23.5 x 36.2) Gift of Brooks McCormick Jr., landscapes, n.d. Full Moon at Ishiyama Temple, 15 1/2 x 10 1/8 (39.4 x 25.7) 13 11/16 x 7 7/8 (34.7 x 18.1) Gift of Brenda F. and 2005.46 Portfolio of four-color woodblock circa 1930 Gift of Brenda F. and Gift of Brenda F. and Joseph V. Smith, 2004.163 prints in original mats with Color woodblock: sheet (trimmed Joseph V. Smith, 2004.186 Joseph V. Smith, 2004.156 Tokuriki Tomkichiro original folio cover, cover (closed): to block): 11 x 9 1/2 (29.7 x 24.1) Okuyama Gihachiro Japanese, 1902–1999 10 3/16 x 14 1/8 (25.9 x 35.9); Gift of Brenda F. and Joseph V. Tsuchiya Koitsu Ohara Shoson (Koson) Japanese Landscape: Summer, Kagoshima, n.d. block dimensions vary Smith, 2004.179 Lake Kawaguchi at the Foot of Fish and Waves, n.d. circa 1949 Color woodblock: block: Gift of Brenda F. and Joseph V. Mount Fuji, circa 1938 Color woodblock, block: Color woodblock, block: 10 1/4 x 14 15/16 (26 x 37.9) Smith, 2004.173a–e Tokuriki Tomkichiro Color woodblock, block: 13 1/2 x 7 1/4 (34.3 x 18.4) 9 1/4 x 14 1/4 (23.5 x 36.2) Gift of Brenda F. and Kyomizu Temple [Kyoto], circa 1930 9 1/2 x 14 1/4 (24.1 x 36.8) Gift of Brenda F. and Gift of Brenda F. and Joseph V. Smith, 2004.167 Tokuriki Tomkichiro Color woodblock: block: Gift of Brenda F. and Joseph V. Smith, 2004.157 Joseph V. Smith, 2004.164 Mount Fuji from a Meadow, n.d. 10 11/16 x 10 (27.9 x 25.4) Joseph V. Smith, 2004.187 Tokuriki Tomkichiro Color woodblock: block: Gift of Brenda F. and Ohara Shoson (Koson) Okuyama Gihachiro Ise Futami Bay, n.d. 10 3/8 x 15 1/16 (26.4 x 38.2) Joseph V. Smith, 2004.180 Utagawa (Ando) Hiroshige Sparrow and Cicada, n.d. Snow Scene, [circa?] 1950 Color woodblock: block: Gift of Brenda F. and Japanese, 1797–1858 Color woodblock, sheet (block): Color woodblock, block: 10 3/8 x 15 1/16 (26.4 x 38.2) Joseph V. Smith, 2004.174 Tokuriki Tomkichiro Yushima Tenjin Shrine, circa 1840 14 x 7 1/2 (35.6 x 19.1) 9 1/4 x 14 1/4 (23.5 x 36.2) Gift of Brenda F. and The Golden Pavilion in Spring, From the series Twelve Snow Gift of Brenda F. and Gift of Brenda F. and Joseph V. Smith, 2004.168 circa 1945 Scenes of the Eastern Capital Joseph V. Smith, 2004.158 Joseph V. Smith, 2004.165 Color woodblock: block: Color woodblock, block: 11 15/16 x 14 15/16 (30.3 x 37.9) 8 9/16 x 13 3/8 (21.8 x 34) Gift of Brenda F. and Gift of Brenda F. and Joseph V. Smith, 2004.181 Joseph V. Smith, 2004.188 40 41

Utagawa (Ando) Hiroshige JAPANESE CERAMICS Choi Sunho Thai Vietnamese, Le dynasty Benten Shrine, Inokashina Pond, 1856 Hamada Shoji Korean, born 1957 Covered Box, 14th–16th century (1428–1526 and 1533–1789) From the series 100 Famous Views Japanese, 1894–1978 Visual Profundity I—0417, 2004 Glazed stoneware with underglaze- Footed Bowl, late 15th–early of Edo, 1856–59 Lugged Jar, circa 1950 Oil on canvas, 55 15/16 x 23 5/8 brown decoration (Si Satchanalai 16th century Color woodblock (oban), sheet Glazed stoneware with paddle (142 x 60) ware), h. with cover: 5 (12.7) Glazed porcelainous stoneware (trimmed to block): 13 1/2 x 8 11/16 and persimmon red (kaki) and Purchase, Gift of Gay-Young Cho Gift of Cindy Elden in honor of with underglaze-blue decoration, h.: (33.8 x 22.5) green (copper oxide) glaze and Christopher Chiu, 2005.76 Richard A. Born, 2004.45a–b 3 1/4 (8.3); diam. of mouth: 6 (15.2) Gift of Brenda F. and decoration, h.: 8 1/2 (21.6); diam. From the Hoi-an shipwreck, Vietnam Joseph V. Smith, 2004.189 of mouth: 4 5/16 (11) Gim Gyu-Jin (ho: Haegang) Vietnamese, Le dynasty Gift of Brian A. Dursum, 2005.21.1 Gift of Mrs. Cora Passin, 2004.43 Korean, 1868–1933 (1428–1526 and 1533–1789) Utagawa (Ando) Hiroshige

ACQUISITIONS Bamboo in Wind, n.d. Bowl, 15th–16th century Vietnamese, Le dynasty ACQUISITIONS Suwa Bluff, Nippori, 1856 Kawai Kanjiro Hanging scroll, ink on paper, Glazed porcelainous stoneware (1428–1526 and 1533–1789) From the series 100 Famous Japanese, 1890–1966 painting panel: 43 9/16 x 11 1/4 with scalloped edge and Covered Jar, late 15th–early Views of Edo, 1856–59 Square Bowl, circa 1960–65 (110.7 x 28.6) underglaze-blue decoration, h.: 16th century Color woodblock (oban), sheet Glazed Shigaraki-type stoneware Gift of C.A. Islinger, 2004.97 2 1/8 (5.4); diam. of mouth: 3 5/16 (8.4) Glazed porcelainous stoneware (trimmed to block): 13 1/2 x 9 with three-color glaze decoration, Gift of Cindy Elden in honor of with underglaze-blue decoration, (33.8 x 22.9) 1 5/8 x 7 3/4 x 7 7/8 (4.1 x 19.7 x 20) Lim Jae Young Richard A. Born, 2004.46 h.: 4 1/2 (11.4) Gift of Brenda F. and Purchase, Paul and Miriam Korean, born 1947 From the Hoi-an shipwreck, Vietnam Joseph V. Smith, 2004.190 Kirkley Fund for Acquisitions, Untitled, circa 2004 Vietnamese, Le dynasty Gift of Brian A. Dursum, 2005.21.2a–b 2005.24 Brush and black ink and colored (1428–1526 and 1533–1789) Utagawa (Ando) Hiroshige inks on (mulberry?) paper, sheet: Covered Bowl, 15th–16th century Vietnamese, Le dynasty Koume Embankment, 1857 KOREAN PAINTING 26 1/2 x 39 1/4 (67.3 x 99.7) Glazed porcelainous stoneware (1428–1526 and 1533–1789) From the series 100 Famous Artist Unknown Gift of Lolli Thurm, 2005.79 with underglaze-blue, h. with cover: Deep Dish, late 15th–early Views of Edo, 1856–59 Korean, Joseon dynasty (1392–1910) 1 5/8 (4.1); diam. of mouth: 3 5/16 (8.4) 16th century Color woodblock (oban), sheet Portrait of a Scholar Official, Yun Yeong-Gu Gift of Cindy Elden in honor of Glazed porcelainous stoneware (trimmed to block): 13 5/16 x 8 7/8 18th century Korean, 1852–1939 Richard A. Born, 2004.47a–9 with underglaze-blue decoration, h.: (33.8 x 22.5) Scroll (mounted on canvas), Landscape, n.d. 2 1/2 (6.4); diam. of rim: 9 1/2 (24.1) Gift of Brenda F. and brush and ink and opaque color Hanging scroll, ink on silk, Vietnamese, Le dynasty From the Hoi-an shipwreck, Vietnam Joseph V. Smith, 2004.191 on silk, painting: 60 1/4 x 35 7/8 painting panel: 12 7/8 x 10 3/8 (1428–1526 and 1533–1789) Gift of Brian A. Dursum, 2005.21.3 (153 x 91.1) (32.7 x 26.4) Small Jar, 15th–16th century Utagawa (Ando) Hiroshige Gift of Jill and John Levi, from the Purchase, Paul and Miriam Kirkley Glazed porcelainous stoneware Vietnamese, Le dynasty Untitled [plum blossoms], 1858 Kate S. Levi 1991 Trust, 2005.48 Fund for Acquisitions, 2004.99 with underglaze-blue decoration, h.: (1428–1526 and 1533–1789) From the series Famous Places 1 3/8 (3.5); diam. of body: 1 3/4 (4.5) Footed Jar with Cover, in Edo, 1856–59 Artist Unknown KOREAN SCULPTURE Gift of Cindy Elden in honor of late 15th–early 16th century Color woodblock (oban), block: Korean, Joseon dynasty (1392–1910) Korean, Unified Silla period Richard A. Born, 2004.48 Glazed porcelainous stoneware 8 3/8 x 13 1/2 (21.3 x 34.3) Carp and Crab, 19th century (668–918) with underglaze-blue decoration, Gift of Brenda F. and Hanging scroll, brush and ink on Ridge Tile: Ogre/Dragon Vietnamese, Le dynasty h.: 3 3/4 (9.5) Joseph V. Smith, 2004.192 silk, painting panel: 33 5/8 x 10 1/2 (Gwimyeon) Mask, 8th–9th century (1428–1526 and 1533–1789) From the Hoi-an shipwreck, Vietnam (85.4 x 26.7) Molded stoneware with natural Serving Dish, 15th–16th century Gift of Brian A. Dursum, 2005.21.4a–b Utagawa Kunisada (Toyokuni III), Gift of Mr. and Mrs. Michael ash glaze deposits, Glazed porcelainous stoneware Utagawa Kuniyoshi, and Utagawa Cunningham in memory of Hija 8 1/2 x 5 1/2 x 3 3/4 (21.6 14 x 9.5) with underglaze-blue decoration, h.: Vietnamese, Le dynasty Yoshifuji Suh Satyendra, 2004.132 Purchase, Gift of Brooks 1 7/8 (4.8); diam. of rim: 9 1/4 (23.5) (1428–1526 and 1533–1789) Japanese, 1786–1865, 1797–1861, McCormick Jr., 2004.116 Gift of Cindy Elden in honor of Group of Five Miniature Jars, and 1828–1887, respectively Artist Unknown Richard A. Born, 2005.18 late 15th–early 16th century Album of Prints, 1847–51 Korean, Joseon dynasty (1392–1910) SOUTH-EAST ASIAN CERAMICS Glazed porcelainous stoneware Album of thirty-six bound leaves, Plum Blossoms, 19th century Khmer (present-day Cambodia Vietnamese, Le dynasty with underglaze-blue decoration, with severty-four prints altogether Hanging scroll, brush and ink and Thailand) (1428–1526 and 1533–1789) h. each: 7/8 (2.2) by three artists (one each side of on paper, painting panel: Pot, 11th–13th century Serving Dish, 15th–16th century From the Hoi-an shipwreck, Vietnam individual sheets and two as end 49 5/8 x 25 3/8 (126.1 x 64.5) Glazed (brown) stoneware with Glazed porcelainous stoneware Gift of Brian A. Dursum, 2005.21.5– sheets), color woodblock prints, Gift of Mr. and Mrs. Michael R. incised decoration, height: 2 1/2 with underglaze-blue decoration, h.: 2005.21.9 each bound sheet approx.: Cunningham, 2005.87 (6.4), diam. of body: 5 1/4 (13.3) 2 1/2 (6.4); diam. of body: 9 5/8 (24.5) 14 1/4 x 9 1/4 (36.2 x 23.5) Gift of Cindy Elden in honor of Gift of Cindy Elden in honor of Gift of Alice and Barry Karl Richard A. Born, 2004.44 Richard A. Born, 2005.19 in memory of Marguerite Woodward-Clarke, 2005.77 LOANS

Loans listed on the following pages date from July 1, 2004, through June 30, 2006. Dimensions are in inches followed by centimeters in parentheses; height precedes width precedes depth. 45

PALAZZO DUCALE, , Italy FELIX NUSSBAUM-HAUS, Osnabrück, Germany L’Etá di Rubens, dimore, committenti e collezionisti Zeit im Blick: Felix Nussbaum und die Moderne genovesi December 5, 2004–March 28, 2005 March 20–July 11, 2004 Traveled to: Jewish Museum, Frankfurt, Germany, February 1–April 23, 2006 Giovanni Antonio deSacchi (called Il Pordenone) Italian, Venetian School, 1483/84–1539 Felix Nussbaum LOANS Milo of Croton Attacked by Wild Beasts, 1534–36 German, 1904–1944 Oil on canvas, 80 1/2 x 93 3/4 (204.5 x 238.1) Carnival Group (Mummenschanz), 1939 Purchase, The Cochrane-Woods Collection, 1975.31 Oil on canvas, framed: 39 1/8 x 48-15/16 (99.38 x 124.3) Purchase, Gift of Mr. and Mrs. Eugene Davidson, THOMAS MCCORMICK GALLERY/TMG PROJECTS, Mr. and Mrs. Edwin DeCosta, Mr. and Mrs. Gaylord Chicago, Ill. Donnelly, and the Eloise W. Martin Acquisitions Fund, Jan Matulka: The Global Modernist 1982.10 Traveled to: The , Montclair, N.J., September 18, 2004–January 16, 2005; Greenville County Museum of Art, Greenville, S.C., THE CUMMER MUSEUM OF ART AND GARDENS, March 1–May 1, 2005; , University Jacksonville, Fla. of Miami, Coral Gables, Fla., June 18–July 24, 2005; Florida as Paradise: Five Centuries of Art , Athens, Ga., August 27– December 16, 2004–March 6, 2005 November 27, 2005; Avampato Discovery Museum, Charleston, W.V., January 14–March 19, 2006; The Walker Evans Butler Institute of American Art, Youngstown, OH, American, 1903–1975 April 9 – June 11, 2006 Untitled (Resort Photographer at Work, Florida), 1941 (negative, printed 1980) Jan Matulka Gelatin-silver print, 7 x 8 1/2 (17/8 x 21.5) American, born in the Czech Republic (then part of Gift of Arnold H. Crane, 1980.112 the Austro-Hungarian Empire), 1890–1972 Untitled—Czech Folktale, 1919 Walker Evans Pencil and watercolor on wove paper, American, 1903–1975 24 3/4 x 18 3/4 (62.9 x 47.6) Untitled (Uninhabited Seaside Residence near Gift of the Estate of Jan Matulka, courtesy of Sarasota/Ca’d’Zan, The Ringling Thomas McCormick Gallery, 2002.38 Residence), 1941 (negative, printed 1980) Gelatin-silver print, 6 5/16 x 8 1/16 (16 x 20.5) Gift of Arnold H. Crane, 1980.121 WHITECHAPEL ART GALLERY, London, England Faces in the Crowd: Picturing Modern Life from Walker Evans SHORT-TERM OUTGOING LOANS TO EXHIBITIONS: Frank Lloyd Wright, designer Manet to Today American, 1903–1975 American, 1867–1959 December 3, 2004–March 6, 2005 A Cypress Swamp, 1941 (negative, printed 1980) , 1982.10 EXHIBITIONS INTERNATIONAL, New York, N.Y. Window, circa 1909 Traveled to: Castello di Rivoli, Turin, Italy, Gelatin-silver print, 5 1/4 x 4 1/16 (13.4 x 10.3) Light Screens: The Leaded Glass of Frank Lloyd Wright Original wood casing with clear and colored leaded April 6–July 10, 2005 Gift of Arnold H. Crane, 1980.76 Traveled to: Museum of Arts and Design, New York, glass and original metal hardware,

Carnival Group N.Y., May 10–September 2, 2001; Grand Rapids Art 49 1/4 x 30 5/8 (125.6 x 77.8) Adrian Piper Walker Evans Museum, Grand Rapids, Mich., October 12, 2001– University Transfer, 1967.86 American, born 1948 American, 1903–1975 January 6, 2002; Allentown Art Museum, Allentown, I am the Locus No. 1–5, 1975 Municipal Trailer Camp (Sarasota), 1941 Penn., February 21–April 28, 2002; High Museum of Frank Lloyd Wright, designer Oil crayon drawing on black and white photograph, (negative, printed 1980) Felix Nussbaum, Art, Atlanta, Ga., June 8–September 1, 2002; Orange American, 1867–1959 8 x 10 (20.3 x 25.4) Gelatin-silver print, 6 11/16 x 8 3/16 (17 x 20.8) County Museum of Art, Newport Beach, Calif., Window, circa 1909 Purchase, Gift of Carl Rungius, by exchange, Gift of Arnold H. Crane, 1980.113 October 5, 2002–January 5, 2003; Renwick Gallery of Original wood casing with clear leaded glass and 2001.126a–e the National Museum of American Art, Smithsonian original metal hardware, 33 3/4 x 35 5/8 (85.7 x 90.5) Walker Evans Institution, Washington, D.C., March 14–July University Transfer, 1967.87 American, 1903–1975 20, 2003; Wichita Art Museum, Wichita, Kans., Postcard Shop, 1941 (negative, printed 1980) November 14, 2004–January 30, 2005 Gelatin-silver print, 9 1/2 x 7 3/4 (14.1 x 19.7) Gift of Arnold H. Crane, 1980.128

Previous pages: Adrian Piper, I Am the Locus No. 1–5 (detail), 2001.126.a–b 46 47

Suellen Rocca FORUM GALLERY, New York, N.Y. BOSTON UNIVERSITY ART GALLERY, Boston, Mass. LENNON, WEINBERG, INC., New York, N.Y. American, born 1943 Raphael Soyer: Finding America David Aronson: A Retrospective at the Boston H.C. Westermann: Woman, “the sweetest flower” Game, 1966–1967 January 28–March 5, 2005 University Art Gallery May 5–June 11, 2005 Oil on canvas, 72 x 68 (182.9 x 172.7) February 4–April 3, 2005 Gift of Ruth Horwich, 1997.19 Raphael Soyer David Aronson H.C. Westermann American, born in Russia, 1899–1987 American, born in Lithuania, born 1923 American, 1922–1981 Evelyn Statsinger LOANS LOANS In the Studio, 1943 Resurrection, 1944 Good Morning, 1973 American, born 1927 Oil on canvas, 21 3/8 x 11 3/8 (54.3 x 29) Oil on canvas, 86 x 28 5/8 (218.4 x 72.7) Ink and watercolor on paper, 8 x 5 (20.3 x 12.7) Journey of the Half Remembered, c. 1950 The Mary and Earle Ludgin Collection, 1985.109 The Mary and Earle Ludgin Collection, 1985.102 The H.C. Westermann Study Collection, Gift of the Pencil, pen, ink, crayon, and paper collage on brown Estate of Joanna Beall Westermann, 2002.173 wove paper, 32 7/8 x 59 15/16 (83.5 x 152.2) Gift of Lindy Bergman, 2003.6 WILLIAM A KOEHNLINE GALLERY, THE CORCORAN GALLERY OF ART, Washington, D.C. H.C. Westermann Oakton Community College, Des Plaines, Ill. 48th Corcoran Biennial: Closer to Home American, 1922–1981 Karl Wirsum Agustin Portillo: America March 19–June 27, 2005 Happy Valentines Dearest One, 1981 American, born 1939 February 3–March 25, 2005 Ink and watercolor on paper, Bobbee Magnet, 1971 Richard Rezac 9 1/4 x 12 1/4 (23.5 x 31.1) Acrylic on canvas in artist’s original frame, Agustin Portillo American, born 1952 The H.C. Westermann Study Collection, Gift of the 48 x 38 (121.9 x 96.5) Mexican, lives in United States, born 1960 Pine, 2003 Estate of Joanna Beall Westermann, 2002.193 The George Veronda Collection, 1996.36 America-I.13, 2003 Painted wood and aluminum, 19 x 19 x 27 Oil on canvas, 48 x 68 (121.9 x 172.7) (48.3 x 48.3 x 68.6) Gift of the GFF Foundation, 2003.80 Purchase, Paul and Miriam Kirkley Fund for KITCHENER-WATERLOO ART GALLERY, LONG-TERM OUTGOING LOANS TO Acquisitions, 2005.53 Kitchener, Ont. PERMANENT COLLECTIONS: Heavy Weather: Art Green Retrospective Richard Rezac September 11–November 20, 2005 THE FRANK LLOYD WRIGHT PRESERVATION TRUST, American, born 1952 Oak Park, Ill. Study for “Pine,” 2003 Art Green On loan since January 14, 1980 Pencil on paper, sheet: 29 x 23 (73.7 x 58.4) American, lives in Canada, born 1941 Purchase, Paul and Miriam Kirkley Fund for Consider the Options, Examine the Facts, George Mann Niedecken, designer, Acquisitions, 2005.54 Apply the Logic, 1966 in association with Frank Lloyd Wright Oil on canvas, 89 1/4 x 68 (226.7 x 173.7) American, 1878–1945 Purchase, Anonymous Gift, 1996.60 Arm Chair Rocker, circa 1909 Oak with (replacement) upholstered slip seat, 38 3/4 x 31 3/8 x 34 (98.4 x 79.7 x 86.4) SMITH COLLEGE MUSEUM OF ART, Northampton, University Transfer, 1967.56 Mass. The French Portrait: Revolution to Restoration Frank Lloyd Wright, designer September 30–December 11, 2005 American, 1867–1959 Dining Table Side Chair, 1907–1910 Louis Dupré Oak with (replacement) leather slip seat, French, 1789–1837 52 1/2 x 18 x 19 1/4 (133.3 x 45.7 x 48.9) Portrait of M. Fauvel, the French Consul, with View of University Transfer, 1967.82 the Acropolis, 1819 Oil on canvas, 20 1/2 x 25 1/14 (52.1 x 64.1) Gift of Mr. and Mrs. Frank H. Woods, 1980.33 THE METROPOLITAN MUSEUM OF ART, New York, N.Y. On loan since September 28, 1982 PENNSYLVANIA ACADEMY OF FINE ARTS, , Penn. Frank Lloyd Wright, designer Art in Chicago: Resisting Regionalism, American, 1867–1959 Transforming Sofa, circa 1909 February 4–April 2, 2006 Oak and oak veneer with (replacement) upholstery, 23 3/4 x 94-3/8 x 38 1/4 (60.3 x 239.7 x 97.2) , 2003, 2005.53 University Transfer, 1967.72 Pine Richard Rezac, EXHIBITIONS

The exhibitions on the following pages opened at the Smart between July 1, 2004, and June 30, 2006.

Smart Museum exhibitions and related programs are generously supported by the Smart Family Foundation; the Andrew W. Mellon Foundation; Tom and Janis McCormick and the Kanter Family Foundation; Nuveen Investments; the Rhoades Foundation; the Eloise W. Martin Fund; of the Provost and the Visiting Committee on the Visual Arts, University of Chicago; and the Friends of the Smart Museum. Additional support for individual exhibitions is listed below. 51 SMART COLLECTING: A THIRTIETH ANNIVERSARY CELEBRATION

JULY 8–SEPTEMBER 5, 2004 RICHARD AND MARY L. GRAY SPECIAL EXHIBITION GALLERY, ELISABETH AND This exhibition’s catalogue was made possible by generous support from Arthur and Jane Mason. WILLIAM M. LANDES GALLERY, ARTS OF ASIA GALLERY, JOAN AND ROBERT FEITLER GALLERY, AND JOEL AND CAROLE BERNSTEIN GALLERY EXHIBITIONS

For over thirty years, the Smart Museum of Art has been a focal point for the visual arts at the

University of Chicago and in the city. Part of a series of projects that celebrated the Museum’s

anniversary, this exhibition highlighted outstanding additions to the Smart’s collection from 1990 to

2004. During that time the Museum’s collection grew from around 5,500 to nearly 9,300 objects,

with especially rich additions of modern American and European art, works by contemporary

Asian and Chicago-based artists, East Asian art, and prints and photographs from all periods.

Provocative groupings displayed throughout the Museum included, among many others, modern

American and European artworks by Romare Bearden, , Ernst Ludwig Kirchner, and

Josef Sudek; contemporary works by Kerry James Marshall, Sylvia Sleigh, Bob Thompson, and

H.C. Westermann; and Asian art ranging from Korean ceramics and Japanese calligraphy to recent

works by Ravinder Reddy, Toshio Shibata, Hiroshi Sugimoto, and Zhan Wang.

Curator: The Smart Museum of Art’s entire curatorial staff contributed to this exhibition. 52 EXHIBITIONS | 5 0 0 2 , 3 L I R P A – 8 SERIES Y R A U R B ETCHED E F THE AND CALLOT JACQUES | 5 0 0 2 , 4 2 L I R P A CENTURY – 8 1 Y R A U NINETEENTH N A J THE IN LEISURE AND WORK PLOWHANDS: AND SHEPHERDS | 5 0 0 2 , 2 Y R A U N A J – 4 0 0 2 , 7 R E B M E T P E S MEDIEVALISMS AND ART MEDIEVAL Y R E L L A G N I E T S N R E B E L O R A C D N A L E O J Y R E L L A G 0 0 9 1 E R O F E B T R A

Y R E L L A G 0 0 9 1 E R O F E B T R A

integral sets, of which the Smart Museum presented several in their entirety. their in several as Curator: presented Museum understood Smart best the are they which of sets, individually, integral appreciated be seventeenth can early prints the of Callot’s Though printmakers century. important inventive most the endlessly of one produced him made that (1592–1635) Callot etchings more to or Jacques era his subjects, plagued fanciful that and wars picturesque devastating the to hand and eye his turning Whether Curator: Legros, Luce. Alphonse Maximilien Buhot, and Félix Pissarro, Millet, Camille Jean-François Jacque, Charles including artists, Daubigny, French by Charles exhibition leisure and labor rural of collection-based scenes This gathered paper on Revolution. works that mostly of Industrial matter the in subject view rustic from to fading drawn be to were artists themes appeared pastoral to nineteenth-century returning many age, nostalgically earlier or an of life rural of habits true documenting Whether meaning. and use of key Curator: at looked transformation exhibition this thousand-year this in metalwork, and moments Museum’s Smart sculptures, the from paintings, Drawing of tribute. holdings selected historical art to medieval imagery century, religious nineteenth iconic the of from devo revival shifted the to Celtic the Empire and Roman Europe Gothic Eastern the late of and art Egypt tional of culture material Christian Early the From Anne Leonard, Leonard, Anne Leonard, Anne Born, A. Richard Smart Museum Mellon Curator. Mellon Museum Smart Curator. Mellon Museum Smart Smart Museum Senior Curator. Senior Museum Smart

- 53 EXHIBITIONS 55 BETWEEN PAST AND FUTURE: This exhibition and related programs were generously supported in part by the Smart Family Foundation, the National Endowment for the Arts, the Andy Warhol NEW PHOTOGRAPHY AND VIDEO FROM CHINA Foundation for the Visual Arts, the E. Rhodes and Leona B. Carpenter Foundation, the Henry Luce Foundation, the W.L.S. Spencer Foundation, Jeffrey A. and Marjorie G. Rosen, Marilynn Alsdorf, the American Center Foundation, the Elizabeth F. Cheney Foundation, Fred and Stephanie Shuman, Artur Walther, the Blakemore Founda- OCTOBER 2, 2004–JANUARY 16, 2005 tion, Helen and Sam Zell, Salvatore Ferragamo Italia S.p.A., Richard and Mary L. Gray, the Rosenkranz Charitable Foundation, the Illinois Humanities Council, Jane K. RICHARD AND MARY L. GRAY SPECIAL EXHIBITION GALLERY, JOAN AND Lombard, the Shelley & Donald Rubin Foundation, Inc., Dorie Sternberg, Sarina Tang, Mrs. Catherine G. Curran, Joy of Giving Something, Inc., Jennifer McSweeney and Peter Reuss, and Jeanne Greenberg Rohatyn. ROBERT FEITLER GALLERY, AND JOEL AND CAROLE BERNSTEIN GALLERY EXHIBITIONS

This exhibition was the first to comprehensively consider the outpouring of photo-based art that has taken place in China since the mid-1990s. Ambitious in scale and experimental in nature, the photographic works included in this groundbreaking project offered a range of highly individual responses to the unprecedented changes in China’s economic, social, and cultural life during the past decade. Featuring 130 works by sixty Chinese artists, many of whom had never exhibited in the United States, Between Past and Future was divided into four thematic sections: “History and Memory,” “People and Place,” “Performing the Self,” and “Reimagining the Body.” The exhibition fostered a new understanding of contemporary Chinese photography and video and provided unusual insight into the dynamics of Chinese culture in the twenty-first century. This exhibition was co-organized by the Smart Museum of Art, University of Chicago, and the International Center of Photography, New York, in collaboration with the Museum of Contemporary Art, Chicago, and the Asia Society, New York. In Chicago the exhibition was presented at two venues: the Smart Museum of Art and the Museum of Contemporary Art, Chicago.

Curators: Wu Hung, the Harrie A. Vanderstappen Distinguished Service Professor of Art History at the University of Chicago and Consulting Curator at the Smart Museum of Art, and Christopher Phillips, Senior Curator at the International Center of Photography, New York. The Smart Museum presentation was overseen by Stephanie Smith, Smart Museum Curator of Contemporary Art.

Tour Dates: International Center of Photography, New York, and Asia Society, New York, June 11–September 5, 2004; Seattle Art Museum, Seattle, Washington, February 10–May 15, 2005; Victoria and Albert Museum, London, United Kingdom, September 12, 2005–January 15, 2006; Haus der Kulturen der Welt, Berlin, Germany, March 23–May 21, 2006; Santa Barbara Museum of Art, Santa Barbara, , June 24–September 17, 2006; Nasher Museum of Art, Duke University, Durham, North Carolina, October 19, 2006–February 18, 2007. 57 PAPER MUSEUMS: THE REPRODUCTIVE PRINT IN EUROPE, 1500–1800

FEBRUARY 3–MAY 15, 2005 RICHARD AND MARY L. GRAY SPECIAL EXHIBITION GALLERY This exhibition and related programs are generously supported in part by the Andrew W. Mellon Foundation, the Samuel H. Kress Foundation, the Rhoades Foundation, and the Adelyn Russell Bogert Endowment Fund of the Franke Institute for the Humanities, University of Chicago. EXHIBITIONS

As relatively inexpensive, transportable, and storable objects, prints had an important place in the culture of Renaissance and Baroque Europe. Well before the era of photography and digital images, a variety of print techniques revolutionized the ways in which images could be reproduced and circulated. Reproductive prints— prints that reproduce other works of art— allowed a much broader public to become familiar with paintings, sculptures, and other works that had previously been available only to wealthy travelers or collectors. This exhibition looked at the impact of this expanding visual culture in helping printmakers earn reputations for truthfulness, promoting certain artists and collectors, and increasing familiarity with original works of art. Including prints by or after Albrecht Dürer, Claude Lorrain, Raphael, Antoine Watteau, and J.M.W. Turner, among many other artists, the exhibition also highlighted recent acquisitions by the Smart Museum, such as an engraving of Michelangelo’s Last Judgment and two versions of Peter Paul Rubens’ Supper at Emmaus. Far from being “merely” reproductive, these prints are themselves objects of exquisite beauty.

Curators: Rebecca Zorach, Assistant Professor of Art History at the University of Chicago, and Elizabeth Rodini, Lecturer in the History of Art at Johns Hopkins University and former Smart Museum Mellon Projects Curator. The Smart Museum presentation was overseen by Anne Leonard, Smart Museum Mellon Curator.

Tour Dates: Grey Art Gallery, New York University, New York, September 13–December 3, 2005. 58 59 OBJECTS OF HISTORY: Drawing from the extensive Boone Collection at The Field Museum in Chicago, this exhibition THE BOONE COLLECTION OF JAPANESE ART brought cultural artifacts such as scroll paintings, woodblock prints, and decorative objects APRIL 9–JUNE 12, 2005 | JOEL AND CAROLE BERNSTEIN GALLERY from eighteenth to twentieth century Japan into to an art museum context. By viewing these

objects as both “material culture” and “art,” the exhibition examined these terms, and the

objects to which they are applied, as well as museum and collection studies in general. EXHIBITIONS EXHIBITIONS Curators: Hans Thomsen, Instructor of Japanese Art History at the University of Chicago,

and James Ketelaar, Director of the Center for East Asian Studies at the University of Chi-

cago, in consultation with Richard A. Born, Smart Museum Senior Curator.

QUIET REVOLUTIONS: MODERNIZING TRADITIONAL ART IN EAST ASIA Following the intense and far-reaching social and political changes of the late nineteenth MAY 10–NOVEMBER 6, 2005 | ART BEFORE 1900 GALLERY and early twentieth centuries, many artists throughout East Asia struggled to strike a balance

between historical art traditions and newer, foreign techniques. Drawn from the Smart

Museum’s East Asian collection of paintings, prints, and ceramics, this exhibition considered

the quiet revolution that reshaped and formed an East Asian modernity.

Curator: Kris Imants Ercums, Smart Museum curatorial intern and University of Chicago PhD

candidate in art history.

SYNCOPATION: ANDRÉ LHOTE, LOUIS MARCOUSSIS, AND THE CUBIST PRINT Less studied than pre–World War I graphic works, the second florescence of cubist prints JUNE 18–SEPTEMBER 11, 2005 | JOEL AND CAROLE BERNSTEIN GALLERY followed the experimentation of and George Braque to become more elaborate

in design and sophisticated in technique. Selections from the Smart Museum’s collection

included André Lhote’s 1925 series of woodcut compositions featuring the bawdy themes of

sailors at work and rest, and Louis Marcoussis’s 1930 etchings that subtly fuse motifs of cubism

and surrealism.

Curator: Richard A. Born, Smart Museum Senior Curator. 61 CENTERS AND EDGES: MODERN CERAMIC DESIGN AND SCULPTURE, 1880–1980

JUNE 2–SEPTEMBER 18, 2005 RICHARD AND MARY L. GRAY SPECIAL EXHIBITION GALLERY EXHIBITIONS

Humble in origin, clay is one of the oldest and most enduring of all artistic mediums. Starting in the late nineteenth century, American and European artists — inspired by non-Western traditions and framed by the context of social reform — reimagined the potential of this simple material. Over the next 100 years studio potters, industrial designers, and fine-arts sculptors mirrored and advanced vanguard artistic theories and design philosophies in the medium.

Centers and Edges, organized mainly from the Smart Museum’s collection, focused on five key moments of influence, invention, and impact that are marked by shifting geographical centers of creative energy: late-nineteenth-century British and American Arts-and-Crafts pottery; functionalist designs from 1920s and 1930s Germany and Austria; the modernist figuration of

Aristide Maillol, Henry Moore, and other European sculptors; a widespread embrace of studio and folk pottery traditions in America, Europe, and Japan after World War II; and an expres- sive reworking of vessel and sculptural forms from 1950s California to 1970s London, featuring pieces by such leaders in the field as the West Coast master Peter Voulkos and Chicago-based

Ruth Duckworth.

Curator: Richard A. Born, Smart Museum Senior Curator. 62 EXHIBITIONS | 6 0 0 2 , 2 1 H C R A M – 5 0 0 2 , 7 1 ‘70S R E B M AND E C E D 1960S THE IN ART CAUSE: ACTIVIST THE FOR COLLECTING | 6 0 0 2 , 3 2 L I R P A – 5 0 0 2 , 2 2 R E B M E V O N 1600–1900 AMERICAN AND LANDSCAPES, EUROPEAN LAND?: WHOSE | 5 0 0 2 , 1 1 R E B M E C E D – 7 1 R E B M E T P E S SURIMONO SHIJO OF POETRY THE

Y R E L L A G 0 0 9 1 E R O F E B T R A Y R E L L A G N I E T S N R E B E L O R A C D N A L E O J Y R E L L A G N I E T S N R E B E L O R A C D N A L E O J

of Contemporary Art. Contemporary of History, Art in didate sphere. public the in artist the of role Curator: the Rauschenberg, develop to Robert worked Nevelson, Suvero di Louise as Mark in such and Museet artists Moderna individual the how for endeavor Stockholm—revealed protest a philanthropic as a other created the and War prints—one of Vietnam the the to portfolios during two from activism Selections artistic as 1970s. used was early and 1960s printmaking that ways the to pointed exhibition This classifications. geographic conventional of Curator: usefulness the among questioning exchange while and borrowing traditions, of artistic instances diverse Museum’s highlighted Smart the exhibition from this masters collection, American and a European by Featuring landscapes of boundaries. selection geographic careful strict within stayed homeland. never her or have his of styles tastes regional and However, styles aesthetic the or beauty scene, natural the idealized an topography, region, a of distinctive a describe can landscape a of rendering artist’s An Born, A. Richard with consultation Curator: of collection. consisted Museum exhibition Smart the This to designs. additions exciting recent visually and contrasts, color striking patterns, Shijo prints intricate and costly create to publishers called and artists the Japan, commissioned day the of nineteenth-century of elite social culture artistic and literary sophisticated the Celebrating surimono surimono Anne Leonard, Leonard, Anne Thomsen, Hans Dawna Schuld, Schuld, Dawna made in the Kyoto and Osaka regions are distinguished by their imaginative imaginative their by distinguished are regions Osaka and Kyoto the in made . As the examples in this exhibition amply displayed, the relatively unstudied unstudied relatively the displayed, amply exhibition this in examples the As . in consultation with Stephanie Smith, Smith, Stephanie with consultation in Smart Museum Mellon Curator. Mellon Museum Smart Assistant Professor of Art History at the University of Chicago of University the at History Art of Professor Assistant Smart Museum curatorial intern and University of Chicago PhD can PhD Chicago of University and intern curatorial Museum Smart Smart Museum Senior Curator. Senior Museum Smart Smart Museum Curator Curator Museum Smart

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- 63 EXHIBITIONS 65 BEYOND GREEN: TOWARD A SUSTAINABLE ART

OCTOBER 6, 2005–JANUARY 15, 2006 This exhibition and accompanying catalogue were made possible in part by the Smart Family Foundation, the Horace W. Goldsmith Foundation, the Richard H. Driehaus RICHARD AND MARY L. GRAY SPECIAL EXHIBITION GALLERY Foundation, and iCI Exhibition Partners Kenneth S. Kuchin and F. Bruce Anderson, and Gerrit and Sydie Lansing. Additional support was provided by the Arts Planning AND JOAN AND ROBERT FEITLER GALLERY Council, the Environmental Studies Program, and the Green Campus Initiative, University of Chicago. Related programs in Chicago were made possible with additional support from the Chicago Architecture Foundation. EXHIBITIONS

Sustainable design attempts to meet the needs of the present without compromising those of future

generations. environmental, social, economic, and aesthetic concerns, sustainable design

has the potential to transform everyday life. It is being enacted around the world in large and small

ways not only by architects and designers but also by growing numbers of activists, corporations,

policymakers, and citizens. Beyond Green explored how this design philosophy resonates with an

emerging generation of international artists who combine a fresh aesthetic sensibility with a

constructively critical approach to the production, dissemination, and display of art. Contributing artists

and artists’ groups from the United States and Europe included Allora & Calzadilla; Nils Norman;

Dan Peterman; Michael Rakowitz; and Andrea Zittel, among others. The exhibition included existing

works, commissions, and previously presented work that had been “recycled,” spotlighting ways in

which artists are building paths to new forms of practice. This exhibition was co-organized by the

Smart Museum of Art, University of Chicago, and Independent Curators International (iCI), New York,

and circulated by iCI.

Curator: Stephanie Smith, Smart Museum Curator of Contemporary Art.

Tour Dates: Museum of Arts & Design, New York, February 2 – May 7, 2006; University Art Museum, California State

University Long Beach, November 1–December 17, 2006; Smith College Museum of Art, Northampton, Massachusetts,

February 2–April 13, 2007; Contemporary Arts Center, Cincinnati, Ohio, May 5–July 15, 2007; Richard E. Peeler Art Center,

DePauw University, Greencastle, Indiana, September 14–December 2, 2007. 67 ONE/MANY: WESTERN AMERICAN SURVEY PHOTOGRAPHS BY BELL AND O’SULLIVAN

FEBRUARY 2–MAY 7, 2006 The exhibition, catalogue, and related programs were generously supported in part by the Smart Family Foundation, the Andrew W. Mellon Foundation, the Rhoades Foundation, the Elizabeth F. Cheney Foundation, and the Franke Institute for the Humanities, University of Chicago. Lead corporate sponsorship was generously RICHARD AND MARY L. GRAY SPECIAL EXHIBITION GALLERY provided by LaSalle Bank. EXHIBITIONS

William Bell and Timothy H. O’Sullivan, two photographers who joined survey expeditions in the

1860s and 1870s, helped open the eyes of nineteenth-century Americans to the western frontier.

As some of the most celebrated images of early American photography, their dramatic landscape

photographs emerged from government-sponsored geological surveys documenting the western

territories. These “Great Surveys” explored huge swaths of land encompassing Colorado, New

Mexico, Arizona, Utah, Nevada, and California. Yet in this wilderness, Bell and O’Sullivan captured

striking images through complicated techniques. Particularly impressive are their panoramic views,

which have rarely been displayed. The exhibition reconstructed these panoramas from individual

albumen prints for the first time since the nineteenth century. Featuring over sixty vintage prints,

One/Many highlighted the Smart’s acquisition of a substantial body of work by Bell and O’Sullivan,

presenting it in the context of the geographic surveys and the larger cultural and artistic traditions

that helped define the American West.

Curator: Joel Snyder, Professor of Art History at the University of Chicago, in consultation with

Anne Leonard, Smart Museum Mellon Curator. 68 69 In the ancient world, the physical form of words incorporated into works of art often relate

closely to the artistic design of the object. Examining the relationship between text and object,

this exhibition included more than a dozen Greco-Roman objects from the Smart Museum’s

GRAPHIKÉ: WRITING/DRAWING IN THE ANCIENT WORLD collection, ranging across much of the Eastern Mediterranean and over about ten centuries, as

MARCH 18–JUNE 11, 2006 | JOEL AND CAROLE BERNSTEIN GALLERY well as several comparative objects from the University of Chicago’s Oriental Institute Museum

EXHIBITIONS and the Art Institute of Chicago. EXHIBITIONS

Curators: Glenn Most, Professor in the Committee on Social Thought and the Departments

of Classics and Comparative Literature at the University of Chicago, and Richard Neer, Associ-

ate Professor of Art History at the University of Chicago, in consultation with Anne Leonard,

Smart Museum Mellon Curator.

REVISIONS: MODERNIST SCULPTURES BY RODIN, LIPCHITZ, AND MOORE

MAY 9–NOVEMBER 5, 2006 | ART BEFORE 1900 GALLERY Auguste Rodin, Jacques Lipchitz, and Henry Moore each championed sculptural innovations

and challenged notions of representation that had informed Western art since the Renaissance.

Drawing on the Smart Museum’s rich holdings, this exhibition demonstrated each artist’s

varied style, while focusing on the subjects and themes shared by these three leading masters

of early modernism.

Curator: Richard A. Born, Smart Museum Senior Curator.

MARK TURBYFILL: WORKS ON PAPER

JUNE 17–SEPTEMBER 10, 2006 | JOEL AND CAROLE BERNSTEIN GALLERY

Remembered mainly today as an avant-garde poet and dancer, Mark Turbyfill was also an

accomplished visual artist. Focusing on the continuity in all his creative endeavors, this

intimate exhibition featured representative works on paper from the 1950s to the mid-1960s,

drawn from the Smart Museum’s collection.

Curator: Richard A. Born, Smart Museum Senior Curator. 71 THE COLORS OF IDENTITY: POLISH ART AT HOME AND ABROAD, 1890–1939

MAY 25 – SEPTEMBER 17, 2006

The exhibition was organized by the Smart Museum of Art and featured selections from the collection of Tom Podl, Sammamish, Washington. The exhibition and RICHARD AND MARY L. GRAY SPECIAL EXHIBITION GALLERY related programs were supported in part by LOT Polish Airlines and the Center for East European and Russian/Eurasian Studies, University of Chicago. EXHIBITIONS

By 1890, a century of occupation and several failed uprisings had impacted Polish culture profoundly,

engendering a broad search for a national identity in the arts. Driven by the Młoda Polska (Young

Poland) movement, Polish art, literature, architecture, and music flourished even as the country

remained partitioned under the foreign rule of Russia, Germany, and the Austro-Hungarian Empire.

Inspired by encounters with foreign art practices, the work of Polish artists responded to the symbolism

and synthetism of the 1890s, the cubism of the teens, and the neoclassicism of the 1920s. Though

disparate in the styles they practiced, the artists united in their pursuit to create a from

a uniquely Polish perspective. Some Polish painters and sculptors remained in their native land,

including members of Kraków’s influential group, Sztuka (Art). Others—some forced into exile

but most leaving by choice—worked abroad, residing in Paris, , and other artistic centers

across Europe. These developments inspired a lively international exchange and resulted in a Polish

modernist art movement that was remarkably diverse. With more than sixty paintings, sculptures,

and drawings, all on loan from the private collection of Tom Podl, The Colors of Identity traced the

complex expression of national identity and international perspective that define this critical period

of Polish modern art.

Curators: Artur Tanikowski, an art historian at the Academy of Fine Arts in Warsaw, and Anna Król,

Curator at the Manggha Centre of Japanese Art and Technology in Kraków and former vice-director

and former curator at the National Museum in Kraków, in consultation with Richard A. Born,

Smart Museum Senior Curator. PUBLICATIONS

The following catalogues were published between July 1, 2004, and June 30, 2006. Publications are listed in alphabetical order by title. Unless otherwise noted, they are distributed by the University of Chicago Press and are available in the Smart Museum shop, through the Museum’s Web site, or by calling 773.702.0200. 74 75 BETWEEN PAST AND FUTURE: NEW PHOTOGRAPHY AND VIDEO FROM CHINA Wu Hung and Christopher Phillips 232 pages, 75 color plates, 40 halftone illustrations Design by Froeter Design Co. 2004, ISBN: 0-935573-39-9 | Cloth $40.00 Co-published by the Smart Museum of Art, the International Center of Photography, and Steidl Publishers. Distributed in North America by the

University of Chicago Press; by Thames & Hudson in all other territories PUBLICATIONS

The massive political, economic, and social changes China Essays by exhibition co-curators Wu Hung and Christopher has undergone during the past decade have dramatically Phillips examine the recent history and current status of altered its cultural landscape. This catalogue offers photography and video in China. Also included are artist a comprehensive look at the body of photographic art biographies and artist interviews conducted by Melissa produced during this period. Chiu, Lisa Corrin, and Stephanie Smith. This catalogue is a valuable resource for students of art and cultural history and anyone interested in contemporary Asian art. 76 77 BEYOND GREEN: TOWARD A SUSTAINABLE ART ONE/MANY: WESTERN AMERICAN SURVEY PHOTOGRAPHS Stephanie Smith and Victor Margolin, with a Foreword by Anthony Hirschel BY BELL AND O’SULLIVAN and Judith Olch Richards, and artist interviews by Stephanie Smith Joel Snyder, with a contribution by Josh Ellenbogen 160 pages, illustrated in color throughout 120 pages, 70 four-color illustrations Design by JNL Graphic Design, Chicago Design by Joan Sommers Design, Chicago 2005, ISBN: 0-935573-42-9 | Paper $25.00 2006, ISBN: 0-935573-43-7 | Paper $28.00 PUBLICATIONS

Balancing environmental, social, economic, and aesthetic Lavishly illustrated, this catalogue includes texts by and Some of the most celebrated images of nineteenth-century Scholarly essays by exhibition curator Joel Snyder concerns, sustainable design has the potential to transform interviews with individual artists, along with substantial American photography emerged from government-sponsored investigate the role of panoramas both within and outside everyday life. Through essays and interviews, Beyond Green essays by exhibition curator Stephanie Smith and design geological surveys that documented the western territories. of the government surveys, taking into account the introduces an emerging group of international artists who historian Victor Margolin. What results is a bracing volume This catalogue brings together an exquisite group of photo- larger context of nineteenth-century modes of viewing. combine fresh aesthetic sensibilities with constructively that will be of interest to practitioners and aficionados of graphs by William Bell and Timothy H. O’Sullivan, including Published in landscape format, with handsome full-page critical approaches to the production, dissemination, and design and art alike, as well as to environmentalists. never before published panoramas. reproductions of the vintage photographs and gatefold display of their art. panoramas, the catalogue also includes a contribution by Josh Ellenbogen and a section on nineteenth-century photographic techniques. 78 79 PAPER MUSEUMS: SMART COLLECTING: ACQUISITIONS 1990–2004, THE REPRODUCTIVE PRINT IN EUROPE, 1500–1800 CELEBRATING THE THIRTIETH ANNIVERSARY OF THE DAVID Rebecca Zorach and Elizabeth Rodini, with contributions by Sarah Cree, AND ALFRED SMART MUSEUM OF ART Alexandra M. Korey, Lia Markey and Dawna Schuld Kimerly Rorschach, with contributions from Smart Museum staff 168 pages, 9 color plates, 113 halftone illustrations 224 pages, 128 color plates Design by Joan Sommers Design, Chicago Design by Joan Sommers Design, Chicago 2005, ISBN: 0-935573-40-2 | Paper $24.00 2004, ISBN: 0-935573-41-0 | Paper $29.95 PUBLICATIONS

In their initial historical context, reproductive prints Essays by co-curators Rebecca Zorach and Elizabeth One of the country’s most innovative university art mu- the teaching mission of the institution. Smart Collecting — prints that reproduced other works of art — were crucial Rodini, as well as contributions by Sarah Cree, Alexan- seums, the Smart Museum of Art celebrated its thirtieth also provides detailed documentation of all acquisitions to the forging of a common visual culture in early modern dra M. Korey, Lia Markey, and Dawna Schuld, consider anniversary in 2004. This richly illustrated catalogue of made between 1990 and 2004, and features over fifty Europe. Paper Museums offers an important interpretive the diverse range of uses of reproductive prints in early recent acquisitions offers an up-to-date and essential object entries highlighting important additions in areas survey of these remarkable prints. modern Europe. Challenging long-held assumptions about reference to the collection. such as print and photographic art, German expression- reproductive imagery, this fascinating catalog will compel ism, East Asian art, and contemporary art. A fascinating readers and scholars alike to think of reproductive prints The catalogue features an essay by Kimerly Rorschach, work in its own right, the catalogue chronicles the devel- as a legitimate and valued art. former Smart Museum Dana Feitler Director, that charts opment of a unique collection and shows how a museum the growth and strengths of the collection in relation to itself is always a work in progress. EDUCATION PROGRAMS

Smart Museum education programs are made possible by the National Endowment for the Arts, the Polk Bros. Foundation, the Lloyd A. Fry Foundation, the Chicago Community Foundation, and Kraft Foods. Family programs are supported by Target Stores. Support for individual programs is listed below. 82 83 MELLON EXHIBITIONS The Smart Museum of Art’s mission is fundamentally for University of Chicago students, and present a range of public programs. 2004–2005 Paper Museums: The Reproductive educational. Encouraging all participants to learn Print in Europe, 1500–1800 In 2004–2005, the Smart realized one of its about art in the context of multiple voices, perspectives, most ambitious projects with the presentation 2005–2006 One/Many: Western American Survey and disciplines, the Museum’s education programs of Between Past and Future: New Photography Photographs by Bell and O’Sullivan and Video from China (see pages 54–55) co- provide both campus and public audiences with broad curated by Wu Hung, the Harrie A. Vanderstap- GRAPHIKÉ: Writing/Drawing in the pen Distinguished Service Professor of Art Ancient World access to its collections and exhibitions. History and Smart Museum Consulting Curator, and Christopher Phillips, Senior Curator at the Increasingly, the Museum collaborates with departments across the University of Chicago campus

EDUCATION PROGRAMS International Center of Photography, New York. Hans Thomsen and James Ketelaar, Director of EDUCATION PROGRAMS and with cultural institutions throughout Chicago to offer education programs that bring art, ideas, Among the varied programs that the Smart the Center for East Asian Studies, presented the and people together. In addition, the Smart actively seeks to contribute to the museum field by sharing Museum presented in conjunction with the exhi- exhibition Objects of History: The Boone Collection its program activities at national conferences, including the American Association of Museums, the bition were three “gallery teach-ins”—informal, of Japanese Art, which they later utilized as part National Art Education Association, the Arts Education Partnership, College Art Association, and the intimate discussions held within the exhibition’s of a course they co-taught during the spring Association of Art Museum Directors. gallery and led by University of Chicago faculty quarter (see pages 58–59). members. The discussions shed light on the RESOURCES FOR UNIVERSITY OF CHICAGO courses, professors and students help research cultural, social, and political contexts in which Through its exhibitions, the Smart plays an ac- STUDENTS AND FACULTY artworks and at times write gallery texts or the exhibition’s photographs were created. Later tive role in bringing artists to campus, integrat- The Smart Museum provides the campus com- exhibition catalogues, and student interns work in the year, Assistant Professor of Art History ing their practice within the intellectual and munity with direct access to original works of with staff to organize a wide range of public pro- art, educational activities, and opportunities to grams. Mellon Projects also offer opportunities engage in the daily life of the Museum through for collaboration with departments across the

both public and behind-the-scenes work. The University as well as with other organizations in General Studies at the University in conjunction with Hiroshi Sugimoto: Museum’s staff also collaborates regularly the city. In 2004–2005, for example, the Smart of Chicago. In 1998, he entered Sea of Buddha (2004) and Quiet with faculty and students to shape exhibitions, partnered with The Art Institute of Chicago to the Art History program and Revolutions: Modernizing Traditional publications, and programs. present a symposium on reproductive prints, and began to work with the Smart’s Art in East Asia (2005); curated in 2005–2006 the Smart collaborated with the curators and Professor Wu Hung to more than ten thematic rotations COLLABORATIVE EXHIBITIONS University’s Film Studies Center, among other develop a documentation section of Chinese and Japanese paintings Mellon Projects units, to present a film screening related to the for the groundbreaking exhibition from the permanent collection in One of the most extensive, formal collaborations exhibition One/Many. Transience: Chinese Experimental the Arts of Asia Gallery; published with the University occurs under the auspices The Mellon Projects program is made possible by an endow- Art at the End of the Twentieth articles and object entries in several of the Mellon Projects program, which allows ment provided by the Andrew W. Mellon Foundation, with Century. Kris’s knowledge of East Smart publications; assisted with faculty and students to work with the Smart’s additional support provided by the Rhoades Foundation. Asian art, his commitment to the visiting artists, scholars, and Mellon Curator to create thematic exhibitions KRIS IMANTS Smart, and his contagious intellect, collectors; presented public talks based on the Museum’s permanent collection, Other Faculty and Student Exhibition ERCUMS curiosity, and personality, have as part of exhibition programs; and with a focus on pre-1900 artworks. Importantly, Collaborations A doctoral candidate in the made him a key member of the worked closely with the education Mellon Projects generate new research and help In addition to the Mellon Projects program, Department of Art History, Kris curatorial team. He has organized staff to train docents and develop make it available to the public. In the process of the Smart Museum often works with faculty Imants Ercums first became a seven exhibitions at the Smart, educational materials. developing these exhibitions, faculty members and students to mount permanent collection curatorial intern at the Smart in including Visual Mantras: Meditative teach related graduate or undergraduate exhibitions, develop educational opportunities 1997 while completing a masters in Traditions in Japanese Buddhist Art 84 85 creative life of the University. For example, in fall who play an integral role in conceptualizing, 2005, in conjunction with the exhibition Beyond installing, and promoting the exhibition. Green: Toward a Sustainable Art, the Museum partnered with the Department of Visual Arts and 2004–2005 the Environmental Studies Program to organize a Research and Development, organized by residency with exhibiting artist Nils Norman. As curatorial intern Phil Lee, PhD candidate in Art part of his activities at the University, Norman History, and presented at Little Black Pearl Art taught the course Spaces of Utopia: Contempo- and Design Center, a nonprofit arts organiza- rary Art and the Environment. Other University tion that serves the youth of Chicago’s South collaborations related to Beyond Green included a Side community. residency by the Austrian-based artist collabora-

EDUCATION PROGRAMS tive WochenKlausur, and a Collegiate Scholars 2005–2006 EDUCATION PROGRAMS Program course by exhibiting artist Kevin Kaempf. The Space Between, organized by curatorial intern Dawna Schuld, PhD candidate in Art The Smart also offers a rich training ground for History, and presented at the Hyde Park Art advanced graduate students to organize and Center’s former exhibition gallery, 5307 S. present exhibitions of their own design, under Hyde Park Boulevard. the close mentorship of the Museum’s curators. “I had never thought of the correlation between observing and interpreting In 2004–2005, Kris Imants Ercums curated Quiet CURRICULAR CAMPUS PROGRAMS art and medicine. I think this project will help me look at the patient as Revolutions: Modernizing Traditional Art in East The Smart plays a vital role in making the Asia. In 2005–2006 Dawna Schuld organized visual arts an integral part of a student’s less of a diagnosis and more of a whole person with their own social and Collecting for the Cause: Activist Art in the 1960s education at the University of Chicago. As part family history.” Charona Tolbert, student, Pritzker School of Medicine and ’70s. of selected University courses, students at all levels have the opportunity to study original Other Humanities Courses photographic prints first-hand enhances their works of art within the museum setting. Other Humanities courses also make use of the understanding of the medium and of its history. CURRICULAR USES OF THE SMART Smart’s collections, exhibitions, and resources Art 101 2004–2005 2005–2006 within their curriculum. In these and other courses, Professional School Courses Since 2002, the Smart has worked with faculty students often research collection artworks, Faculty from the Law School and the Pritzker Number of courses that used from the Art History department to incorporate consider Smart Museum exhibitions, observe School of Medicine also draw upon the Smart the Smart as a resource 16 19 the Museum’s permanent collection into Art programs, or interview staff as part of course as a campus resource. In 2004–2006, Dr. Joel Number of course sections 29 27 101, a Humanities Common Core course that assignments. Students in courses such as 1900 Schwab, Associate Professor of Pediatrics, Number of visits to the museum 56 36 introduces the visual arts to college students in the Smart Museum, taught by art historian integrated gallery visits into the third-year whose concentrations are outside of art Martha Ward, study works in the Museum’s pediatric residency curriculum. During these history. As part of the course, students visit collection on a weekly basis. In other courses, visits, medical students honed their own ob- the Museum to view and interact with a wide such as Robert Goodin’s Arts Education course, servational and inferential skills by examining MFA Exhibitions range of objects representing diverse periods, faculty invite Smart staff to lead select class- works of art. In Art Law, a course co-taught by Each year, Smart Museum curators collaborate cultures, styles, materials, and mediums. room discussions. The East Asian collection is William Landes, the Clifton R. Musser Professor with the Department of Visual Arts—the Uni- The Museum’s participation in Art 101 is sup- an essential resource to faculty and students of Law, and the Museum’s Dana Feitler Director versity’s studio arts program—to produce the ported by the Humanities Collegiate Division. in Art History and East Asian studies, who Anthony Hirschel, students gained insight, annual Master of Fine Arts (MFA) exhibition. meet periodically at the Smart to study ceramic through case studies and discussions, into the The show serves as a key curatorial practicum wares, scrolls, prints, bronzes, oracle bones, complex legal issues surrounding museums and for MFA students and Smart Museum interns, and other materials. For students interested the art world. in photography, the opportunity to study 86 87 EXTRACURRICULAR CAMPUS PROGRAMS Art History and everything in between. The Museum’s nationally recognized programs for STUDENT INTERNSHIP PROGRAM In addition to curricular programs, the Smart Museum provides interns with both “backstage” local schools. Docent interns learn about the 2004–2005 2005–2006 provides University of Chicago students with a and “front-stage” opportunities to learn about public education system through sustained range of in-depth extracurricular opportunities art, professional museum practices, nonprofit contact with teachers and principals at partici- student docents 29 29 to learn about art and professional museum management, and the relationship between pating schools—the majority of which are curatorial interns 5 5 practices. Each year over ninety students scholarly study and the role of the visual arts located in the neighborhoods surrounding the education interns 4 5 become meaningfully involved in the daily op- in public life. Interns receive intensive training, University on Chicago’s mid-South Side. publication interns 1 1 eration of the Museum by working as interns, and many gain invaluable teaching, public Tours led by docents business office interns 4 3 gallery attendants, docents, and volunteers. speaking, publishing, and leadership experience. (not including multisession school programs and family programs) external relations interns 2 3 They work closely with the collections; build 2004–2005: 164 undergraduates 31 37 graduates 14 9 Student Internship Program relationships with Museum staff, University fac- 2005–2006: 147

EDUCATION PROGRAMS Each year approximately forty students ulty, and members of the public; hone business, EDUCATION PROGRAMS contribute to the Smart’s mission by working marketing, and management skills; and share Education interns create materials for the Curatorial interns assist in preparing special as interns. These students—both undergradu- their knowledge about art with the Museum’s Museum’s school programs, including online exhibitions and collections displays; lead edu- ates and graduates—come from a wide range diverse audience. In addition to the educa- resources; participate in program coordination cational workshops for a variety of audiences; of academic departments, from Economics to tional, cultural, and professional benefits of the and evaluation; lead special gallery tours; help help plan lecture series and symposia; and con- program, all interns are paid for their work. For new initiatives for K–12 students, teachers, tribute to cataloguing and publication projects. many, Smart Museum internships are therefore and families; and help initiate and sustain Experienced interns have the opportunity to SAMPLE CURRICULAR USES OF THE SMART also a critical source of financial support. collaborations with local arts organizations, curate or co-curate special exhibitions and Annika Fisher, Michelle McCormick, Nell Andrew – schools, teachers, and artists. displays of our permanent collections. Art History 101: Introduction to Art Internships are offered in all departments. Dianna Frid, Paula Henderson – Visual Language I The presence of these students throughout the Herbert George – Sculpture I Museum truly transforms its atmosphere and Robert Goodin – Arts Education its working relationships with the University 2002–2006, Kristin served as a fifth graders participating in the and the public. docent, education intern, and a Smart’s smART Explorers program James Ketelaar and Hans Thomsen – Objects of Japanese History: The Boone Collection The Smart Museum’s internship program is supported in member of the Smart’s Education to see what impact the program part by contributions from members of the University of Advisory Committee. “Talking has on student learning. Over Laura Letinsky – Beginning Photography Chicago’s Committee on the Visual Arts. In 2004–2006, with young people about art is the course of ten weeks, Kristin Bill Martin – Media Aesthetics: Image, Sound, Text select internships were supported by the Master of Arts a rewarding experience,” she read the students’ journal essays, Richard Neer – The Ancient World; independent study Program in the Humanities and the University Community says. “After gaining exposure noted trends among classrooms, Nils Norman – Contemporary Art and the Environment Service Center’s SummerLinks program. Docent intern- to visual language, the students and analyzed how journal writing Rachel Remmel – The History of American Art ships were also supported in part by general operating produce rich and thought- helped improve students’ ability to Joel Schwab – third-year residency seminars, and education program grants from the John D. and Cath- provoking reflections on artworks, describe and interpret artworks. Pritzker Medical School erine T. MacArthur Foundation, the Polk Bros. Foundation, and contribute to my own She documented the results in a Joel Snyder – Photography and Film the Chicago Community Foundation, and Kraft Foods. KRISTIN GREER LOVE understanding of art.” In 2004, her comprehensive report that made Hans Thomsen – Japan and its Ceramic Arts; Woodblock A student in the History and Law, experience as a docent teaching substantive recommendations for Prints of Japan; Arts of Japan; Material Culture in Early Docent interns lead gallery tours for adults Letters, and Society program at children who come from vastly improving the smART Explorers Modern Japan and college-level visitors, as well as individu- the University of Chicago, Kristin different school environments led program and its evaluation Martha Ward – 1900 in the Smart Museum Collection; ally tailored visits for local schoolchildren, Greer Love is an avid children’s her to seek a summer education process. Her work at the Smart, Art Museum Display youth groups, and families. Annually, docents and environmental rights advocate internship. In this role, her primary her activism on campus, and her Wu Hung – Art of the East: China also serve as gallery teachers and mentors for and has integrated these interests task was to read and analyze rigorous scholarship earned her a Rebecca Zorach – Early Modern Print Culture more than 3,000 local children involved in the into her work at the Smart. From the writing journals of over 200 Truman Scholarship in spring 2005. 88 89 Registration interns are closely involved Smart Museum Activities Committee (SMAC) RESOURCES FOR LOCAL SCHOOLS smART EXPLORERS in collections management and exhibition Initiated in 2001, SMAC is a registered student Since 1992, the Smart Museum has served local preparation. They have also helped undertake organization at the University of Chicago. schoolchildren and teachers on Chicago’s South Grade: 5 a major reconfiguration of the Museum’s SMAC’s mission is to promote the role of the Side through comprehensive public education Sessions per classroom: 15 collections database and its online interface arts in the lives and work of students, increase programs. The Museum’s current five-year 2004–2005 over the past two years. campus awareness of the Smart Museum, strategic plan, adopted in 2004, reaffirms the students served: 366, classrooms served: 13 and encourage participation in the Museum’s Smart’s commitment to serving the South Side 2005–2006 Business Administration interns programs and activities. To fulfill this mission, community through these efforts. In 2004– students served: 328, classrooms served: 13 participate in the crucial ongoing activities undergraduate students from a wide range of 2006, the Museum began implementing and that sustain the Museum, including financial academic departments come together each evaluating a comprehensive series of programs The cornerstone of the Museum’s school responsibilities and management of the Smart week to plan events and initiatives. Yearly, for students in grades three through twelve. programs since 2000, smART Explorers serves

EDUCATION PROGRAMS Museum Café and Shop. the group orchestrates a lively range of public students in grade five and is co-taught by the EDUCATION PROGRAMS ART IN FOCUS Museum’s student docents in partnership with schoolteachers. The six-unit program involves herself as an indispensable Smart Café—ordering supplies, Grades: 3 and 4 multiple classroom sessions complemented presence. Alyssa accomplished overseeing equipment service Sessions per classroom: 10 by visits to the Museum, enabling students to a broad array of tasks in and repair, handling employee 2004–2005 familiarize themselves with a museum setting support of the Smart’s business scheduling and training—was students served: 418, classrooms served: 15 while exploring a variety of ways to look at, operations, proving her knack impressive. She helped create a 2005–2006 talk about, and think about art. Classroom and for management and her sharp comfortable café environment for students served: 407, classrooms served: 14 gallery discussions, drawing and writing activi- organizational skills. In addition Museum patrons and devised new

to assisting in the maintenance marketing strategies to ensure Launched in 2004, Art in Focus introduces third of department accounts, Alyssa that both the Shop and Café and fourth graders to basic processes of look- ACADEMIC DEPARTMENTS AND COMMITTEES was responsible for many aspects continued to thrive. This past year, ing at and making art. Structured around core REPRESENTED BY INTERNS IN 2004–2006 ALYSSA WIEGAND of the Smart Museum Shop mail Alyssa also ensured the smooth state goals for art education, the program con- Anthropology Human Development Alyssa Wiegand, who graduated order department, including the transition of student payroll from sists of three interrelated units: shape, space, Art History Interdisciplinary Studies in June 2006 after completing invoicing, shipping, and inventory the Museum to the University’s color, and scale in sculptures; materials, repeti- in the Humanities her degree in Art History, joined of gift items, as well as the display business office. tion, pattern, and composition in paintings; and Biological Sciences the Museum staff in the fall of of merchandise in the Reception movement, direction, and emphasis in works Cinema and Media International Studies 2003 and quickly established Gallery. Her ability to manage the of art in all media. For each unit, students Studies Law, Letters, and explore artwork and basic art concepts using Classics Society the Museum’s interactive website for young Committee on Social Master of Arts Program people, smARTkids (see page 93). Visits to the Thought in the Humanities Development and External Relations activities, which include talks, student open Museum’s galleries reinforce key concepts and Committee on the Visual Math interns develop marketing campaigns and houses, an annual student art exhibition, and allow students to respond to original objects Arts MD/PhD materials; help plan membership programs; evenings of music performances by Univer- through discussion and writing activities. Divinity School Philosophy maintain development databases; write and sity students. (For a complete list of SMAC Back in school, students express their ideas East Asian Languages Political Science edit communications materials, and assist programming, see page 105). and new knowledge by creating their own art. and Civilizations Public Policy with public events. In 2004–2006 SMAC was supported by the University The program culminates with an exhibition of Economics Romance Languages Student Government and a grant from the University’s Arts student work at the school. English and Civilizations Planning Council. Art in Focus was generously supported by the Polk Bros. History Social Service Foundation. Administration 90 91 PARTNER SCHOOLS PhD, a faculty member at Florida Atlantic a celebratory event at the school during which notions of beauty in Western culture since 2004-2005 2005-2006 University, to study the teaching strategies students gave presentations on works in the ex- the Renaissance, the ways in which artists used within the program and to examine how hibition and displayed their own print portfolios. have approached the human figure through Beasley ◆ ◆ they relate to methods used by teachers in representational and abstract modes, the role Bret Harte ◆ the same classrooms outside of the context of ART IN CONTEXT of violent imagery in Shakespeare and in art, Chicago Mennonite the program. The evaluation report elucidates and how artists have symbolized or depicted Learning Center ◆ ◆ ways in which teachers are integrating smART Grades: K–12 (2004–2005), historic events. Claremont ◆ Explorers within the broader literacy cur- 9–12 (2005–2006) Art in Context is generously funded by the Lloyd A. Fry Daley ◆ riculum and what the Smart can do to further 2004–2005 Foundation. Dett ◆ support teachers and docents. teachers served: 7, students served: 185, Donoghue ◆ smART Explorers was generously funded by the National classrooms served: 6, schools served: 7 OTHER COMMUNITY AND

EDUCATION PROGRAMS Dumas ◆ ◆ Endowment for the Arts and Kraft Foods. In 2004–2005, 2005–2006 MUSEUM-SCHOOL PARTNERSHIPS EDUCATION PROGRAMS a generous grant for general operations from the John teachers served: 10, students served: 175, In addition to structured school programs, Dyett ◆ D. and Catherine T. MacArthur Foundation also helped classrooms served: 7, schools served: 1 the Smart Museum also partners with local Gage Park ◆ ◆ support the program. schools and community groups to develop Gallistel ◆ This intensive program for teachers and students complex, curriculum-based art projects tailored ◆ ◆ Hyde Park Career Academy ART IN THE MAKING from Chicago Public Schools begins with to individual schools and classrooms. Locke ◆ professional development seminars for educa- Murray ◆ ◆ Grade: 6 tors, which focus on methods of teaching with Collaborations with Individual Classrooms Niños Héroes ◆ ◆ Sessions per classroom: 10 artworks and integrating museum resources into In 2004–2005, Hyde Park Academy fine arts North Kenwood/Oakland ◆ ◆ 2004–2005 the curriculum. These sessions also introduce teacher Susan Dardar planned an installation Oglesby ◆ ◆ students served: 110, classrooms served: 4 teachers to the Smart’s collection and to topics art project using the exhibition Between Past in art history. Each teacher then designs an and Future: New Photography and Video from Pershing ◆ First implemented in 2003–2004, Art in the interdisciplinary curriculum project and receives Ray ◆ ◆ Making helps sixth-grade students build on feedback from his or her peers. During the aca- Sawyer ◆ ◆ their previous knowledge of the visual arts. The demic year, participating teachers implement the Wadsworth ◆ ◆ program allows them to interpret and explore projects with additional coaching and support U of C Laboratory Schools ◆ ◆ at deeper levels the works in the Museum’s from Smart Museum education staff. All educa- collection and exhibitions. Students work under tors reconvene during the year to discuss project the guidance of their teachers, Smart staff, and activities, challenges, and discoveries. ties at the Museum, and art-making activities a practicing artist to create their own related in the classroom allow students to increase artworks. In 2004–2005, the program centered In 2005–2006, the Smart partnered exclusively their skills at interpreting artwork, analyzing around the special exhibition Paper Museums: with nine English, Special Education, History, objects, and communicating their knowledge the Reproductive Print in Europe, 1500–1800, and and Fine Arts teachers from Gage Park High and ideas both about and through art. The included a collaboration with printmakers from School. Gage educators focused on how best program culminates with a final event during Anchor Graphics, a nonprofit fine art printshop to integrate object-based teaching within the which students give presentations about an in Chicago. Activities included classroom discus- curriculum in order to enhance the develop- artwork at the Museum and display their own sions about the cultural contexts of printmaking, ment of core skills and concepts among their work for classmates and family members. extended visits to the Museum, and art-mak- students. Choosing to create projects in some In 2005–2006, with support from the National ing workshops in the classroom and at Anchor way related to the Renaissance, they designed Endowment for the Arts, the Museum commis- Graphics. The program culminated with an innovative curriculum that, among other sioned education researcher Gail Burnaford, topics, asked students to consider changing 92 93 China as a point of departure, allowing high Muntu Dance Theatre and the Chicago Arts Museum worked with Lab teachers to devise school students to visit the exhibition and Partnerships in Education—in a planning Lab @ Smart, a curricular program that drew RESOURCES FOR THE ONLINE COMMUNITY explore how art can generate social change effort to bring cohesion and greater depth to from the Smart’s signature Art in Focus and EDUCATION WEBSITE within their own community. During spring the school’s existing art education programs, SmART Explorers programs. http://smartmuseum.uchicago.edu/education/ 2005, eighth graders from North Kenwood/ envision a strategy for arts education at the Lab @ Smart is partially supported by a grant from the The Smart’s education pages offer a compre- Oakland Charter School worked with Museum University’s new charter schools, and fully University of Chicago’s Laboratory Schools Parents’ hensive overview of the Museum’s programs, Education Assistant and painter Michael integrate the arts into their overall curriculum. Association. including samples of student work. These Pollard to create a school mural. During Assuming a lead role in this ongoing effort, pages contain rich education content, such 2004–2005 and 2005–2006, with support from Smart education staff helped articulate clear FAMILY PROGRAMS as curriculum materials focused on the work the Chicago Arts Partnerships in Education, goals, develop a conceptual framework for of American artist H.C. Westermann and an first and second graders from Murray Language arts instruction, and design an infrastructure Total attendance for Family Programs: interactive site that documents the results of a

EDUCATION PROGRAMS Academy worked with teaching artists and that would sustain planning, coordination, 2004–2005: 1,477 2002–2003 artist residency with photographer EDUCATION PROGRAMS visited the Smart to learn about materials, art, implementation, and evaluation of arts efforts. 2005–2006: 2,107 Dawoud Bey. Teachers and other community During this time, the Museum carried out cur- members can also schedule Museum visits ricular programs at NKO in the third and fifth In 2005 the Smart launched Families at the online, orient themselves to the Museum’s grades (2004–2006), and in third grade at the Smart, a Museum-wide initiative designed to collection and exhibition spaces, and learn new charter school, Donoghue (2005–2006). make the Smart more accessible to families practical information about visiting the Smart. and more visible among family residents of the Over the past two years the Smart has also South Side neighborhoods that surround the smARTkids WEBSITE served as a resource for the Center for Urban University of Chicago campus. The initiative http://smartmuseum.uchicago.edu/smartkids School Improvement’s Urban Teacher Educa- also seeks to connect students who take part Launched in April 2003, smARTkids engages tion Program (UTEP). Each year, second-year in the Smart’s multisession school programs— young people in the visual arts through bold students in this education certification and their families—with the Museum’s pro- graphics, interactive online activities, and program take part in four seminars designed grams and resources, extending their learning guidelines for related offline activities. The site to help them learn how to integrate art and and enjoyment of art beyond the classroom. is also increasingly integrated into the Mu- museum resources within the curriculum, and In addition to continuing its successful Family seum’s “brick and mortar” programs for local to effectively design field trips to cultural Days, Art Afternoons, and Family Workshop schools. In 2005, the Smart began assessing and poetry. These and other projects stemmed institutions. programs, over the past year the Smart the site and the online technology landscape to from teacher initiatives and enabled schools launched the new monthly series in partnership determine how to best revise and expand this in the community to access the Smart as a Collaborations with the Laboratory Schools with the Blackstone branch of the Chicago Pub- valuable resource. Planning conversations for resource on their own terms. lic Library, smARTkids@Blackstone; unveiled version two of smARTkids extended through Grade: 4 a new graphic identity for its family materials; 2005–2006; its launch is scheduled for 2007. Collaborations with the Center for Urban 2005–2006 developed self-guided resources for family School Improvement students served: 113, classrooms served: 5 visitors; distributed a new family newsletter; The Smart has been an active partner of the and began to discuss how the Museum’s own University of Chicago’s first public charter The Smart cemented its partnership with the education, external relations, development, and school, the North Kenwood Oakland Charter University of Chicago’s Laboratory Schools visitor services departments could collaborate School (NKO), since the school’s founding in through two 2005–2006 initiatives. During to further the Smart’s goals in the local com- 1998. In fall 2004, the Smart joined the Uni- the summer, approximately 100 Lab campers munity. To support and sustain these efforts, versity’s Center for Urban School Improvement participated in art activities at the Smart and the museum created the position of Education (which provides support to the University’s at the Lab school during two morning-long Technology and Outreach Coordinator and refo- charter schools), NKO, and two arts partners— sessions. And, within the academic year, the cused its Education Advisory Committee. PUBLIC PROGRAMS

The following public events were sponsored by the Museum between July 1, 2004, and June 30, 2006. Events organized exclusively for members, teachers, classes, and private groups are not included. Please see pages 80–93 for descriptions of ongoing education programs for campus and community groups. Please see pages 106–109 for descriptions of member programs. Unless otherwise noted, all events below were held at the Smart Museum. 96 97 EXHIBITION-RELATED PROGRAMS 12/8/04 Lunchtime Talk 10/9/04 Teacher Workshop: “Investigating 10/23/04 University Humanities SMART COLLECTING: As part of the Smart’s Lunchtime Talk series, Artists’ Responses to the Changing World” Open House A THIRTIETH ANNIVERSARY CELEBRATION Richard A. Born, Smart Museum Senior Curator, Using the works in the exhibition as a point of Stephanie Smith, Smart Museum Curator of 7/7/04 Opening Reception discussed the Celtic revival pieces in the departure, this workshop at the MCA explored Contemporary Art, led a gallery talk focused on Kimerly Rorschach, former Smart Museum Dana exhibition Medieval Art and Medievalisms. how art, especially new photo-based media, the exhibition. Feitler Director, presented a lecture entitled can express artists’ responses to a rapidly “Why Do Universities Have Museums?” which BETWEEN PAST AND FUTURE: NEW changing world, and demonstrated how teachers 10/24, 11/21, 12/12/04, and 1/16/05 examined the history and mission of university PHOTOGRAPHY AND VIDEO FROM CHINA can integrate the study of contemporary China Public Exhibition Tours art museums 9/30/04 Opening Reception into their curriculum. Led by University of Chicago student docents. Exhibition co-curators Wu Hung, the Harrie A. PUBLIC PROGRAMS PUBLIC PROGRAMS 7/11/04 Family Day Vanderstappen Distinguished Service Professor 10/16/04 MCA Tour in English and Mandarin 11/7/04 Gallery Talk in English Families celebrated the Museum’s thirtieth of Art History at the University of Chicago and Mandarin anniversary by making birthday cards and and Consulting Curator at the Smart Museum, 10/17/04 Gallery Talk in English Led by Sarah Moosvi, a University of Chicago animal paintings, playing gallery games, and Christopher Phillips, Senior Curator at and Mandarin undergraduate student studying Chinese art. and, of course, eating birthday cake. Master the International Center of Photography, New Led by Peggy Wang, a University of Chicago storyteller Oba William King also gave a York, introduced this monumental exhibition of graduate student studying Chinese art. 11/11/04 Gallery Teach-in: China Today performance. photo-based work from mainland China. Led by Tang Xiaobing, Associate Professor in 10/21/04 Gallery Teach-in: China Today the Department of East Asian Languages and 7/18 and 8/1/04 Public Exhibition Tours 10/1/04 MCA Members’ Opening Led by Dingxin Zhao, Associate Professor of Civilizations at the University of Chicago. Led by University of Chicago student docents. and First Fridays Sociology at the University of Chicago. The second part of the exhibition opened at its venue 7/25/04 Gallery Talk at the Museum of Contemporary Art, Chicago. Jacqueline Terrassa, Smart Museum Interim Director and Director of Education, led a tour of 10/2/04 and 10/3/04 Symposium: the exhibition. “Intersections: Experimental Chinese Photography, Video, and Film” 7/25/04 Jazz Concert: Tritone Ensemble This two-day symposium explored the thematic Multi-reedist, composer, conductor, and educa- relationships and ongoing cross-fertilization tor Mwata Bowden performed with bassist among experimental Chinese photography, Harrison Bankhead and violinist Zachary Brock. video, and film. Saturday’s panels featured exhi- For over a decade, Bowden has directed the bition co-curators Wu Hung and Christopher University of Chicago’s acclaimed Jazz X-tet Phillips; artists Rong Rong, Lin Tianmiao, and student ensemble. Qiu Zhijie; curators Feng Boyi (Beijing), Melissa Chiu (Asia Society), and Hamza Walker (Renais- USES OF ART IN RENAISSANCE ITALY sance Society); art and film historians Jason 8/15/04 Public Exhibition Tour McGrath (University of Minnesota), Jennifer Led by a University of Chicago student docent. Purtle (University of Chicago), Bérénice Reyn- aud (CalArts), and Jerome Silbergeld (Princ- MEDIEVAL ART AND MEDIEVALISMS eton University); and filmmaker Jia Zhangke. 9/19, 10/31, and 11/14/04 Sunday’s roundtable discussion at the MCA Public Exhibition Tours featured Wu Hung and Christopher Phillips in Led by University of Chicago student docents. discussion with selected exhibiting artists. 98 99

11/16/04 MCA Curator Tour 2/6 and 3/13/05 Public Exhibition Tours Chicago, spoke about how eighteenth-century 7/13/05 Lunchtime Talk 12/5/04 Gallery Talk in English and Led by University of Chicago student docents. English antiquarians’ prints after Greek monu- Jacqueline Terrassa, Smart Museum Director Mandarin ments influenced their architecture at home. of Education, conducted a focused look at Led by Mia Liu, a University of Chicago graduate 2/13/05 Family Day select works in Centers and Edges. student studying Chinese film and art. Young visitors became printmakers for the day. 5/15/05 Public Tour: “Antiquity in the Working side-by-side with artists from Anchor Reproductive Print” 7/17/05 Family Day 1/13/05 Gallery Teach-in: China Today Graphics, a nonprofit fine art printshop and Led by a University of Chicago student docent. This free afternoon of fun included hands-on William L. Parish, Professor and Chair of the gallery in Chicago, they designed prints and art activities, a gallery scavenger hunt, and Department of Sociology at the University of rubbings, signed them with their own stamps, OBJECTS OF HISTORY: THE BOONE special family tours of the exhibition. Chicago, discussed the changing notions of the and explored the galleries during special family COLLECTION OF JAPANESE ART PUBLIC PROGRAMS PUBLIC PROGRAMS body, gender, and sexuality in China. tours of the exhibition. 4/17 and 5/29/05 Public Tours: “Highlights 8/7/05 Public Tour of Japanese Art and Material Culture” Led by a University of Chicago student docent. SHEPHERDS AND PLOWHANDS: WORK AND 3/13/05 Anchor Graphics Demonstration Led by University of Chicago student docents. LEISURE IN THE NINETEENTH CENTURY Printmakers from Anchor Graphics demon- 9/18/05 Curator Tour 1/30 and 3/6/05 Public Exhibition Tours strated some of the traditional printmaking QUIET REVOLUTIONS: MODERNIZING Smart Museum Senior Curator Richard A. Born Led by University of Chicago student docents. processes featured in the exhibition. TRADITIONAL ART IN EAST ASIA led a lively tour of the exhibition, discussing 5/22/05 Public Tour: “Modernity in Early the interface between individual studio pottery 2/10/05 Gallery Teach-in 4/1 and 4/2/05 Symposium, co-sponsored Twentieth-Century East Asian Art” and the functional design of industrial ceramic Elizabeth Helsinger, Chair of the Department of by the Smart Museum and the Art Institute Led by a University of Chicago student docent. production. English Language and Literature at the University of Chicago of Chicago and Vice Chairman of the Smart Museum’s Peter Parshall, Curator of Old Master Prints at 10/22/05 Curator Tour 9/18/05 Lecture: “Gendered Vessels” Board of Governors, discussed representations of the National Gallery of Art, Washington, D.C., Kris Ercums, the exhibition curator and a Uni- Writer, educator, and curator Moira Vincentelli rural life in nineteenth-century Europe. opened this two-day symposium with a keynote versity of Chicago graduate student, led a tour presented a talk on the role of women in the address at the Art Institute, entitled “Reproduc- of the exhibition, touching on the ways in which history of modernist ceramics. Vincentelli is 4/23/05 Curator Tour tion and the Paper Museum: The History of an twentieth-century Chinese, Japanese, and Lecturer in Art History and Curator of Ceramics Led by exhibition curator Anne Leonard, Smart Idea.” At the Smart on Saturday, a series of slide Korean artists tried to reconcile time-honored at the School of Art, the University of Wales. Museum Mellon Curator. talks by top scholars and curators further expanded art traditions with newer, more modern, even She is also the author of Women and Ceramics: upon the issues raised by the exhibition. foreign, concepts and techniques. For more on Gendered Vessels and is responsible for the 4/24/05 Public Tour: “Idealization and Kris, see page 83. development of the ceramic collection and Nostalgia of Nineteenth-Century Repre- 4/3/05 Public Tour: “The Printmaker as archive at Aberystwyth, one of the major sentations of Rural Life” Copyist and Innovator” CENTERS AND EDGES: MODERN CERAMIC holdings of studio ceramics in Britain. Led by a University of Chicago student docent. Led by a University of Chicago student docent. DESIGN AND SCULPTURE, 1880-1980 6/2/05 Opening Reception BEYOND GREEN: PAPER MUSEUMS: THE REPRODUCTIVE 4/21/04 Gallery Teach-in Richard A. Born, Smart Museum Senior Curator, TOWARD A SUSTAINABLE ART PRINT IN EUROPE, 1500-1800 Led by Lia Markey and Dawna Schuld, Univer- and ceramic artist and collector Mary Seyfarth, 10/6/05 Opening Reception 2/3/05 Opening Reception sity of Chicago graduate students studying Chair of the Ceramics Department at Columbia Stephanie Smith, Smart Museum Curator of Rebecca Zorach, Associate Professor of Art art history and essay contributors to the College, introduced the exhibition and led a Contemporary Art, led a gallery talk. Anthony History at the University of Chicago, Elizabeth exhibition’s catalogue. gallery talk. Hirschel, Smart Museum Dana Feitler Director, Rodini, Lecturer in the History of Art at Johns and Judith Olch Richards, Independent Curators Hopkins University, and Anne Leonard, Smart 5/12/05 Lecture: “Grand Tour Antiquarianism: 6/5/05 Public Tour: “Utility and Aesthetics International Executive Director, offered remarks. Museum Mellon Curator, introduced the exhibi- Stuart and Revett in Greece” in Modern Ceramic Traditions” Many of the exhibiting artists were available to tion and discussed the changing assessments Tamara Griggs, Visiting Assistant Professor in Led by a University of Chicago student docent. discuss their work. of the reproductive print in art history. the Department of History at the University of 100 101 10/7–10/8/05 Art and Sustainability brainstorming, architect Kevin Pierce of the COLLECTING FOR THE CAUSE: 4/7/06 Lecture: “From Survey to Style: Laboratory architecture firm Farr Associates led partici- ACTIVIST ART IN THE 1960S AND ‘70S Western American Survey Photographs 10/7/05 Keynote Address: “Agony and pants in a hands-on workshop to envision 1/12/06 Curator Tour: “Prints and Politics and the New Topographics” Ecstasy: Challenges of Designing for new uses for the east end of Hyde Park’s in the Sixties and Seventies” Britt Salvesen, Curator at the Center for Creative Sustainment” Midway Plaisance and adjacent areas. Dawna Schuld, exhibition curator and University Photography at the University of Arizona and a The John Buck Company Lecture Hall, of Chicago PhD candidate in Art History, led a specialist in nineteenth-century photography, Chicago Architectural Foundation 10/9, 12/4/05, and 1/15/06 Public tour and discussed the ways in which the print discussed the relationship between the early Australia-based Tony Fry—a director of Exhibition Tours portfolio was an especially powerful medium for American landscape photography on view in the design firm Team D/E/S, founder of Led by University of Chicago student docents. addressing artists’ political concerns during the One/Many and the New Topographics work that the EcoDesign Foundation, and author of A 1960s and 1970s. emerged a century later. PUBLIC PROGRAMS PUBLIC PROGRAMS New Design Philosophy: An Introduction to 10/16/05 Family Day Defuturing—outlined key concepts, chal- Artists and Museum staff conducted mini ex- ONE/MANY: WESTERN AMERICAN SURVEY 4/20/06 Film Screening: Selections from lenges, and best practices within sustain- plorations of the big ideas behind the sculptures PHOTOGRAPHS BY BELL AND O’SULLIVAN “The Wonders of the Biograph” able design. and installations in Beyond Green. Young visitors 2/2/06 Opening Reception and Talk Film Studies Center, University of Chicago designed their own eco-friendly products, made Joel Synder, exhibition curator and University Tom Gunning, Professor of Art History at the 10/8/05 Community Design Workshop sculptures with reusable materials, and created of Chicago Professor of Art History, introduced University of Chicago, introduced two rare Midway Studios, University of Chicago passports to travel through the exhibition. the exhibition with a talk entitled “Photogra- compilations of silent film shorts dating from This workshop gathered experts who phy and the Opening of the American West.” 1896 to 1903. Unavailable for a century, these worked together with the public to address a 11/6/05 Artist Talk with Brennan McGaffey films exemplify the marvelous large- specific community design challenge. Partici- and Temporary Services 2/5/06 Family Day cinema that first made ’s Biograph pants first developed a common language to As part of the Smart Museum’s Artists Talks During this afternoon of art activities, children Company famous in the 1890s. deal with questions of sustainability. Then, Series, exhibiting artists Brennan McGaffey created three-dimensional scenes and went on after a morning of discussion and group and Temporary Services discussed their col- expeditions to find details in artworks through- 5/7/06 Artist Talk: Mark Klett laborative piece, Audio Relay. out the Smart. Master storyteller Oba William Linking his own work and the photographs King also gave a performance. featured in the exhibition One/Many, Mark 11/15/06 Chicago Green Drinks: Klett—one the most important landscape “Art and Sustainability” 2/12 and 4/7/06 Public Exhibition Tours photographers working today—explored the Extra Virgin Led by University of Chicago student docents. role that historic images play in contemporary The Smart Museum joined with Chicago discourse. Known primarily for his widely ac- Green Drinks—a monthly gathering for those 3/18/06 Discussion: Collecting claimed works focusing on representations of interested in sustainability and environmental Nineteenth-Century Survey Photographs the American West, Klett is currently Regents issues to meet, network, and socialize—to This conversation between exhibition curator Professor at the Herberger College of Fine present an evening featuring a discussion with Joel Snyder, University of Chicago Professor Arts, Arizona State University. exhibiting artist Nils Norman; Tiffany Holmes, of Art History, and Carol Ehlers, Curator of a multimedia installation artist and Assistant the LaSalle Bank Photography Collection (one WHOSE LAND?: EUROPEAN AND AMERICAN Professor of Art and Technology at the School of the oldest and largest corporate photog- LANDSCAPES, 1600–1900 of the Art Institute of Chicago; and Sabrina raphy collections in the world), touched on 3/5/06 Curator Tour Raaf, a Chicago-based sculptor and photogra- the production, conservation, collection, Anne Leonard, Smart Museum Mellon Curator, pher and Professor of Photography at Columbia and display of nineteenth-century American led a tour of the exhibition and discussed College. Chicago Green Drinks is produced by survey photographs. episodes of borrowing and exchange among the Foresight Design Initiative (www.chicago- different national landscape traditions. greendrinks.org). 102 103 GRAPHIKÉ: WRITING/DRAWING IN THE exhibition with a lecture entitled “Opposite University of Chicago, led a conversation on Jacob Lawrence’s work, the painting explorers ANCIENT WORLD Poles: The National and the International in late imperial Chinese painting. racial and social relations in the South. 4/23/06 Curator Tour: “Art and the Polish Art.” Written Word” 11/10/04 WORKSHOPS, TALKS, AND TOURS Visitors examined the relationship between 5/28/06 Polish-language Curator Tour Anne Leonard, Smart Museum Mellon Curator, 2/20/05 Contemporary Gallery Public Tour texts and objects during this special joint tour Artur Tanikowski, an art historian at the Academy discussed late-nineteenth-century design and Led by a University of Chicago student docent. of the Smart and Oriental Institute museums. of Fine Arts in Warsaw, and Anna Król, Curator decorative arts. The afternoon began at the Smart, with at the Manggha Centre of Japanese Art and 5/1/05 Artist Talk with Julia Fish the Greco-Roman objects in the exhibition Technology in Kraków, led a gallery tour in Polish. 1/12/05 Julia Fish discussed her work Garden Drawing #29, GRAPHIKÉ. Richard Neer, Chair of the Art His- Both presenters serve as advisors to the Tom Jacqueline Terrassa, Smart Museum Interim which was recently acquired by the Museum. PUBLIC PROGRAMS PUBLIC PROGRAMS tory Department at the University of Chicago Podl Collection. Director and Director of Education, talked about and co-curator of the exhibition, discussed the two etchings by Kara Walker that were recently 5/15/05 Family Workshop: Exploring ways in which words were incorporated into OTHER PUBLIC PROGRAMS acquired by the Museum. Painting the artistic design of several selected works Led by Chicago-based painter Jason Dunda, from antiquity. The tour continued with the rich ART AFTERNOONS 2/9/05 families explored different painting techniques collection on view in the Oriental Institute’s July through August, 2004–2006 Phil Lee, Smart Museum curatorial intern, led in the Museum’s modern and contemporary Joseph and Mary Grimshaw Egyptian Gallery. Every Wednesday afternoon in the summer, a conversation on Tony Oursler’s multi-media galleries, and then experimented themselves Emily Teeter, gallery curator, revealed the the Smart hosts free hands-on art activities for sculpture Blob. by layering color and manipulating paints to special connection between art and writing children of all ages. create unique canvases. in ancient Egypt, with comparative examples 3/9/05 from other ancient Near Eastern cultures. LUNCHTIME TALK SERIES Irene Backus, Smart Museum curatorial intern, 10/22, 10/23, and 10/24/04; 10/21 and 7/14/04 discussed the relationship between words and 10/23/05 6/4/06 Family Workshop: Pictures Richard A. Born, Smart Museum Senior Curator, images in European prints. University of Chicago Family Weekend Tours and Words in the Ancient World presented highlights of German Expressionism Visitors joined a University of Chicago student The Smart again teamed up with the Oriental in the Smart Museum’s collection 4/13/05 docent for a focused, interactive discussion of Institute Museum to explore works from Richard A. Born, Smart Museum Senior Curator, select artworks and toured the Museum’s col- antiquity during this afternoon of family art 8/11/04 led a discussion on post-impressionist Czech lection of American, European, and Asian art. activities, including a tour of the exhibition Stephanie Smith, Smart Museum Curator of painter Otaker Nejedly and his exotic and color- GRAPHIKÉ and a chance for visitors to create Contemporary Art, talked about two major ful paintings of rural village life made while 10/23/05 Artist Talk with Carol Jackson their own art inspired by ancient myths. Museum acquisitions by acclaimed Chicago living in the jungles of India and Sri Lanka. Visitors joined Chicago-based artist Carol artist Kerry James Marshall. Jackson for a focused look at her work Ashland REVISIONS: MODERNIST SCULPTURES BY 5/11/05 Lock (peer) and explored other works in the RODIN, LIPCHITZ, AND MOORE 9/8/04 Stephen Kim, Smart Museum Education intern, Smart’s collection that relate to her interests 5/18/06 Public Tour Jacqueline Terrassa, Smart Museum Interim gave a lively demonstration of the many ways and practice. Led by a University of Chicago docent. Director and Director of Education, discussed in which artworks are used for teaching audi- Arthur Dove’s painting Harbor in Light and ences of all ages. 10/30/05 Artist Talk with Richard Hull THE COLORS OF IDENTITY: POLISH ART other important American landscapes in the Artist Richard Hull discussed his work All Balance AT HOME AND ABROAD, 1890–1939 Museum’s collection. 6/8/05 in context with other works on view from the 5/25/06 Opening Reception Amanda Ruch, Smart Museum Education Smart’s collection. Jan Cavanaugh, an independent art historian 10/13/04 Coordinator, led a conversation that touched and author of the book Out Looking In: Early Kris Ercums, Smart Museum curatorial intern on American artist Robert Gwathmey and his Modern Polish Art, 1890–1918, introduced the and a PhD candidate in Art History at the painting From Out of the South. Inspired by 104 105 1/14, 2/22, 3/11, 4/8, 5/13, and 6/10/06 5/14/05 Members’ Choice 12/5/04 Family Open House 2/25/05 and 2/17/06 Student Art Shows smARTkids@Blackstone Library Museum members and friends were presented Families made their own greeting cards and The fifth and sixth annual SMAC–curated During these free workshops, held on the sec- with the opportunity to select a work of art enjoyed holiday treats. shows featured a wide variety of student ond Saturday of each month, families visited for acquisition. Selections were chosen and artworks. the Blackstone branch of the Chicago Public presented by curators and the winner was 10/22/05 University of Chicago Humanities Library and joined Smart staff for fun art- and partially funded by member contributions. Open House: Museum Director Tour 3/5/05 West Loop Gallery Walk reading-related activities. Visitors toured the Smart Museum with SMAC hosted a tour of this gallery district 7/14/05 Collecting Art Anthony Hirschel, Dana Feitler Director, and characterized by young and emerging artists. 4/30/06 Artist Talk with Suellen Rocca Smart Museum curators led tours of Douglas joined him in a lively conversation about In this gallery talk for children and adults, Chi- Dawson Gallery and mediated an insider intro- what role they play both within and beyond 4/14/05 Student Forum PUBLIC PROGRAMS PUBLIC PROGRAMS cago-based artist Suellen Rocca discussed her duction to art collecting with gallery owner and the campus. Following a tour of Paper Museums, students work Ring Painting in context with other works international ceramics dealer Douglas Dawson. and exhibition curators discussed the issues on view in the Museum. 9/23/05 Student and Faculty Open House of authenticity and creativity examined in the 10/15/05 West Gallery Loop Tour University of Chicago students and faculty exhibition. 5/4/06 Public Tour: “Picturing America” Smart Museum curators and gallery owners were invited to learn more about the A University of Chicago docent led a tour fea- Julie Walsh, Rhona Hoffman, and Monique resources and opportunities available at 5/20/05 and 5/5/06 Soundscapes turing nineteenth-century survey photographs Meloche led a series of intimate tours and their campus art museum. During SMAC’s annual evening of music, the of the American West and prints from H.C. revealed insider tips for looking at art. Smart galleries and courtyard featured a variety Westermann’s 1968 series See America First. Followed by a private reception at monique- SMART MUSEUM ACTIVITIES COMMITTEE of University of Chicago–based a cappella, meloche gallery. (SMAC) EVENTS acoustic, and rock groups. SMART SET PROGRAM (For more about SMAC, see page 88) 11/13/04 Looking at Art 4/15/06 Russell Bowman Art Advisory OTHER PUBLIC EVENTS Museum curators led gallery talks of Between Private, corporate, and institutional collections 9/24/04 Open House 5/10/05 and 5/17/06 Student Recognition Past and Future: New Photography and Video consultant Russell Bowman shared insider tips SMAC welcomed new and returning students Receptions from China, focusing on building skills to inter- for both beginners and advanced collectors, with tours of the Museum, activities, and The Smart Museum celebrated the great pret art from a range of perspectives. followed by a private reception. snacks. work done by University of Chicago student interns, café attendants, docents, and gallery 3/19/05 Talking About Art 6/17/06 Richard Reed Armstrong Fine Art 11/6/04 Tour of the MCA attendants, and honored select students who This two-part program featured private Gallery Director Bernard Derroitte conducted a SMAC provided exclusive access to the second made particularly outstanding contributions to tours of Richard Gray Gallery and Christie’s. behind-the-scenes introduction to the gallery’s part of the exhibition Between Past and Future the Museum. Participants honed their art conversation skills diverse inventory of late-nineteenth- and early- at its other venue, the MCA. while learning about the world of art collect- twentieth-century French works on paper. ing during discussions with Smart Museum 12/19/04 Talk: “Beyond the White Walls” Board of Governors Chairman and gallery OPEN HOUSES SMAC hosted this talk by Greg Knight, the owner Richard Gray and Steven Zick, head of 9/18/04 University of Chicago Cultural Affairs Deputy Commissioner for Christie’s in Chicago. Orientation Tour Visual Arts. New students discovered the Smart’s collection, learned about current and upcoming exhibitions, 1/22/05 Printmaking Workshop at and found out about programs and opportunities Anchor Graphics in the University of Chicago community. SMAC invited fellow University students on a field trip to Anchor Graphics in conjunction with the exhibition Paper Museums. CONTRIBUTOR & MEMBER PROGRAMS

This following Member events were sponsored by the Museum between July 1, 2004, and June 30, 2006. Unless noted otherwise, all events below were held at the Smart Museum. 108 109

DIRECTOR’S COUNCIL PREVIEW DINNER and Moore and discussed the ways in which changing art scenes and her experiences on Summer 2005 Exclusively for members and annual fund con- these three artists championed sculptural recent travels to and Beijing. Richard A. Born, Smart Museum Senior Cura- tributors of $1,000 or more, this annual event innovation. tor, and Rolf Achilles, Associate Professor features a special exhibition preview and a Winter 2005 at the School of the Art Institute of Chicago, dinner discussion with the Museum director on COLLECTORS SERIES BRUNCH AND TEA Larry Norman, Associate Professor of French discussed the history of design and production current activities and initiatives. Exclusively for members and annual fund con- Literature at the University of Chicago, in German and Austrian ceramics in the 1920s tributors of $150 or more, the Collectors Series discussed seventeenth-century court spectacle and 1930s, focusing on works in the exhibition In 2004–2005, guests enjoyed a preview of offers a behind-the-scenes look at the Museum’s and theatricality in France in relation to several Centers and Edges: Modern Ceramic Design Paper Museums: The Reproductive Print in exhibitions and collections. Featuring Museum prints from the Museum’s permanent collection and Sculpture, 1880–1980 and additional ce- Europe, 1500–1800 led by co-curators Rebecca curators, University of Chicago faculty, and other included in the exhibition Jacques Callot and ramics, metalwork, and textiles from Achilles’s Zorach, Assistant Professor of Art History at special guests, the events include a complimen- the Etched Series. private collection. the University of Chicago, and Anne Leonard, tary brunch or afternoon tea, gallery tours, and Smart Museum Mellon Curator. in-depth explorations of art and ideas.

In 2005–2006, the dinner featured a preview tour of One/Many: Western American Survey Photographs by Bell and O’Sullivan, led by Joel Snyder, exhibition curator and Professor of CONTRIBUTOR AND MEMBER PROGRAMS CONTRIBUTOR AND MEMBER PROGRAMS Art History at the University of Chicago. Dana Feitler Director Anthony Hirschel also offered remarks in review of his first year at the Smart.

SUSTAINING FELLOWS CURATOR’S PREVIEW Exclusively for members and annual fund contributors of $500 or more, this annual event Summer 2004 features a curator-led preview of a collections- Board Member and Collections Committee based or exhibition. Chair Lorna Ferguson joined Interim Director Jacqueline Terrassa, Smart Museum Curator of In 2004–2005, guests from both the Smart Contemporary Art Stephanie Smith, and Smart Museum and the Field Museum enjoyed a lecture Museum Mellon Curator Anne Leonard for a and tour of Objects of History: The Boone tour of Smart Collecting: A Thirtieth Anniversary Collection of Japanese Art led by co-curators Celebration, followed by a discussion about James E. Ketelaar, Director of the Center for the Museum’s collecting decisions, the factors Spring 2005 FIRST ANNUAL MEMBERS East Asian Studies and Professor of Modern that influence those decisions, and the stories Co-curators Rebecca Zorach, Assistant Profes- APPRECIATION NIGHT Japanese History at the University of Chicago, behind several important recent acquisitions. sor of Art History at the University of Chicago, In September of 2005, Members met Anthony and Hans Thomsen, Assistant Professor of Art and Anne Leonard, Smart Museum Mellon Hirschel, the Museum’s new Dana Feitler Di- History at the University of Chicago. Fall 2004 Curator, discussed the process they used to se- rector, during this special after-hours evening Stephanie Smith, Smart Museum Curator of lect the prints included in Paper Museums: The of activities, which featured an intimate tour of In 2005–2006, Richard A. Born, Smart Museum Contemporary Art, discussed works featured in Reproductive Print in Europe, 1500–1800 and the Smart’s permanent collection and an array Senior Curator, led a tour of the exhibition Re- Between Past and Future: New Photography and offered a behind-the-scenes look at additional of private gallery talks with curators. Now an visions: Modernist Sculptures by Rodin, Lipchitz, Video from China in relation to China’s rapidly prints in the Museum’s collection. annual event, Members Appreciation Night celebrates the dedication and generosity of the Museum’s members and supporters. SOURCES OF SUPPORT

We make every effort to acknowledge our supporters appropriately. If corrections should be made, please contact us. 112 113 SOURCES OF SUPPORT The Donnelley Foundation Mr. and Mrs. John N. Stern Holly and John Madigan Mrs. Glen A. Lloyd Lawrence Strickling and Sydney Hans 2004–2005 Under 2,000 Michael and Audrey Wyatt Mrs. Edward A. Maser Janina Marks David and Marilyn Vitale Capital, Annual, Arts Planning Council, Mrs. Robert B. Mayer Kate and William Morrison Bernard Weissbourd and Program Support University of Chicago Benefactors Circle and gifts of Conrad Miczko Charles Mottier Ms. Merrie Faye Witkin Corporate, Foundation, Center for East Asian $2,500 to $4,999 Walter and Ann Nathan Murphy Jahn Architects Wu Hung and Judith Zeitlin Government, and University Giving Studies, University of Chicago Anonymous John D. and Alexandra Nichols Claire and Gordon Prussian $50,000 and above Chicago Arts Partnership in Education Barton Joel Cohen and Alan and Dorothy Press Laura Satersmoen and John Baum Fellows and gifts of $150 to $299 John D. and Catherine T. MacArthur College Programming Office, Phyllis Gordon Cohen Don and Carol Randel Loretta Thurm Rolf Achilles and Pamela Morris Foundation University of Chicago Allison Davis and Susan John and Marilyn Richards John and Dorianne Venator James L. Alexander The Smart Family Foundation Department of Art History, O’Connor Davis Bruce Sagan and Bette Cerf Hill Gayle and Marvin Altur Andy Warhol Foundation for the University of Chicago The Donnelley Foundation Dr. Anneliese Sinn Patrons and gifts of $300 to $499 Marie K. Asbury Visual Arts Film Studies Center, James R. Donnelley Ed Thayer Susan Bowey and Donald Bowey Jr. Esther and John Benjamin University of Chicago Sharon Flanagan and Ross Buchanan Ruth E. Ultmann Joyce and Bruce Chelberg Hanna and Sidney Block

$25,000 to $49,999 Target Stores Friends of the Smart Museum Arnold and Agnes Zellner Dorothy and David Crabb David and Linda Blumberg Elizabeth F. Cheney Foundation Jack and Helen Halpern Susan DeWitt Davie Laura Boyd and Robert Boyd III

SOURCES OF SUPPORT 2004–2005 Kanter Family Foundation Individual Giving Randy Holgate and John Peterson Sustaining Fellows and gifts of Stefan Edlis and Gael Neeson Mrs. Jerald C. Brauer SOURCES OF SUPPORT 2004–2005 Lloyd A. Fry Foundation Gifts of $50,000 and above Helen and Sam Zell $500 to $999 Philip and Suzanne Gossett Alan Brodie National Endowment for the Arts Robert and Joan E. Feitler Marie Krane Bergman and Miriam Hansen and Michael Geyer Mrs. Eric W. Cochrane Nuveen Investments, Inc. William and Ellen Oswald Director’s Council and gifts of Robert Bergman Mr. and Mrs. Robert Haselkorn John Cochrane and Beth Fama Office of the Provost, Uni- Mary Smart $1,000 to $2,499 Mr. and Mrs. Edward M. Blair Jr. Alice Hayes Marion Wood Covey versity of Chicago Marilynn B. Alsdorf Robert P. Coale Thomas and Linda Heagy Charles and Irene Custer Polk Bros. Foundation Inc. Underwriters and gifts of E. M. Bakwin Kenneth and Marcia Dam John T. and Jane S. Horton Maria Del Favero Samuel H. Kress Foundation $10,000 to $49,000 R. Darrell Bock and Renée Sidney and Freda Davidson Deone Griffith Jackman and Dr. Erl Dordal and Dorothy Powers Visiting Committee on the Visual Jean Allard Menegaz-Bock E. Bruce and Nancie Dunn Eugene Goldwasser Erika Erich Arts, University of Chicago Mrs. Edwin A. Bergman Russell and Barbara Bowman Emily Huggins Fine Mark Johnson and Judith Wright Richard and Roberta Evans Marshall Donnelley Gay-Young Cho and Christopher Chiu Peter and Virginia Foreman Judith Lehr Alan and Lois Fern

$10,000 to $24,999 Lorna Ferguson and Dr. Robert W. Christy Richard and Barbara Franke Robert B. and Carol Lifton Harve Ferrill The Chicago Community Foundation Terry Nichols Clark Arie and Ida Crown Memorial Fund Ms. Nancy Gidwitz Mr. and Mrs. John W. McCarter Jr. Mr. and Mrs. Paul E. Freehling Illinois Arts Council, a state agency Richard and Mary L. Gray James Crown Jacqueline Glasser Gilbert J. Clifford Moos Barry Friedman Kraft Foods, Inc. Elisabeth and William Landes Mr. and Mrs. Lester Crown and Howard Gilbert Judith Neisser Shaleane Gee and James Cody The Women’s Board, Thomas and Janis McCormick Steven Crown Lester† and Betty Guttman Kenneth and Patricia Northcott Walter and Karla Goldschmidt University of Chicago Margot and Thomas J. Pritzker Susan Crown Elizabeth and Howard Helsinger Ruth O’Brien and Stuart A. Rice Ethel Goldsmith Mrs. Willard Gidwitz Scott Hodes and Maria Bechily Adam de Sola Pool Miriam Graham

$2,000 to $9,999 Major Benefactors and gifts of Joyce Zeger Greenberg Michael Hyman and Stephanie Young Mrs. Edwin A. Rothschild Margaret and Robert Grant Adelyn Russell Bogert Fund of the $5,000 to $9,999 Doris and Marshall Holleb Helmut and Deborah Jahn Carolyn Sachs Debra Hammond Franke Institute for the Humani- Anonymous Dolores Keating-Shapiro Edgar D. and Deborah Jannotta Karla Scherer Brian Hanessian and Linda Greenberg ties, University of Chicago Richard and Gail Elden and Donn Shapiro Joan and George Johnson Arthur and Susan Schultz Janice Halpern Illinois Humanities Council Stanley M. Freehling Daniel Levin and Fay Hartog Dr. Mary S. Lawton Charles P. Schwartz Jr. and Mary and Jeffrey Harvey McCormick Tribune Foundation Joan W. Harris Robert and Diane Levy Lucia Woods Lindley and Susan H. Schwartz Dr. Arthur L. and Mrs. Lee Herbst Daniel A. Lindley Jr. Geoffrey and Nancy Spector Stone Jane and Roger Hildebrand

† Deceased * Represents total contribution over a multiyear grant period 114 115

Dale Hillerman Katherine and Hans Morsbach Christine and Paul Singer Susan Dardar Patricia Hume Duel Richardson William Hinchliff Dawn and Walter Netsch Mrs. L. Stanton Singer Laura de Frise Christine Jacobs and Henry Webber Martin and Brigitte Riesebrodt Mrs. Harold H. Hines Jr. Robert Newbury Hugo and Elizabeth Sonnenschein Mark De Lancey Evelyn and Richard Jaffe Earl Ronneberg Jr. and Peter and Celia Homans Richard Orlikoff Jonathan Stern Robert Delaney Arthur and Esther Kane Christiane Ronneberg Ruth P. Horwich Henry Otto Lisbeth and Jules Stiffel Dr. Robert DeMar Thomas Kapsalis Anne Rorimer Michael Igoe Jr. Irene Patner Dale Taylor Andrea Dudek Anne and John Kern Leona Rosenberg Gregory Jackson and Roberta Kovitz Mrs. Robert F. Picken Lester and Sylvia Telser John D. Dwyer IV Diana and Neil King Mrs. Ludwig Rosenberger Drs. Rebecca and Joseph Jarabak Maryann Putnam Linda Tuggle John Q. Easton and Sem Sutter Mr. and Mrs. Frank L. Klapperich Jr. Steven Rothman and William and Janet Jentes Laurie and Alan Reinstein Robert Van Etten Miriam and Alex Elson Rev. Robert S. Klonowski and Barbara Kirkpatrick Alice and Barry Karl Rita’s Catering and Event Planning Harrie A. Vanderstappen Ann Englander Dr. Deborah Lee Burnet Daniel Roush Catherine Keebler Elizabeth Rodini John Vinci Mr. and Mrs. William E. Erickson Gerald Kowarsky Manfred D. Ruddat, PhD Mrs. Robert D. Kestnbaum Mr. and Mrs. Howard Romanek Mrs. Roy I. Warshawsky Robert Eskridge and Jean Sousa Martin and Susan Kozak Gail and Jerrold Sadock Arthur and Nancy Laskin Benjamin Rossi Takashi Yamada Sallyann and Eugene Fama Linda Kramer Minoru and Akiko Saito Jill and John Levi Peter Rossi and Laurie Cohen Eugenia Fawcett Sara Leonard Doris Samuels Graham Lewis Susan B. and Dr. Myron E. Rubnitz Friends and gifts of $50 to $149 Joseph and Barbara Ferrari Steven and Judith Lipson William Sandstrom

SOURCES OF SUPPORT 2004–2005 Dr. Eva Lichtenberg Lucy L. Salenger and Marvin Zonis Dr. and Mrs. George Anastaplo Peter Friedell Agnes Lugo-Ortiz Pamela Schilling SOURCES OF SUPPORT 2004–2005 Marguerite Lytle Richard Saller Susan B. Anderson Madelon and Roger Fross Audrey Mann Nathan and Alice Schlessinger George and Roberta Mann Marcy and Daniel Schlessinger Theodore and Barbara Asner Maurice and Muriel Fulton Sylvia Mann Dr. O. Schneewind and McKim Marriott Barbara Schneider Howard R. and Marjorie S. Barron Dr. Thomas F. Gajewski II Edward McCartin Dr. D. Missiakas Arthur and Jane Mason Robert Schrade Jan Baum and Richard N. Baum, MD Louis and Judith Genesen Howard McCue III and Judith McCue Thomas and Barbara Schnitzer Robert McDermott and Sarah Jaicks Roberta and Howard Siegel Mary Bedard Howard and Natalie Goldberg Eunice McGuire Jan Serr and John Shannon Andrew and Karen McGhee Bernece and Marvin† Simon Michael and Mary Behnke Marvin Goldblatt and Dr. Hon. Abner J. Mikva and Zoe Mikva Melissa Shakman June Felicia Bennett and Phyllis Goldblatt Carol and Philip Montag Arthur Shapiro Dr. V. Leo Towle Jean and Steven Goldman Joseph Moore Mrs. Henry Shapiro David and Margaret Bevington Jan Goldstein and William Sewell Stanley Murashige and Joan Lee Deborah Shefner Ananth and Purnima Bhogaraju Adam Goodman and David Muschler and Ann Becker Sheila and Melvyn Shochet Susan Boone and Laurence Edwards Rebecca Levin-Goodman Junko Nagata Junie L. Sinson Jean Broday Eston and Sandra Gross John and Sandra O’Donnell Brenda F. and Joseph V. Smith Alice Brunner Nina Halpern Larry Olin Charlene Smith Robert Calvin Neil Harris and Teri Edelstein Mark Oreglia and Margery Ishmael Kim and Ted Snyder Richard and Sharon Carlson Stephen Harvey Jacques and Florence Ovadia Connie Spreen and Dan Peterman Nora Ribadeneira Carranza Joan and Thomas Hedin Dr. Jane H. Overton Charles and Joan Staples Victor Cassidy David Heitner Ernest and Eva Page Nikki Stein John Cella Jr. David and Betty Hess Charles and Melanie Payne Roberta Stein Elsa Charlston Patricia and George Hirsh James Pelts Dr. Donald F. Steiner Raymond and Katherine Ciacci Robert Hochman and Miriam Kass Thelma and Toussaint Perkins Susan and John Steinkellner Julane and Clifton Clarke Shirlee and Douglas Hoffman Gloria Phares and Richard Dannay Robert Stillman and Janet Surkin Tracy Cooke Nancy Horner Edward Rabin Jane Stone Judith and William Cottle Cathy Hough James and Hildegund Ratcliffe Peggy Sullivan Caroline Cracraft Eugene Hugghis Marcos Raya Marion and Dr. Martin Swerdlow

† Deceased * Represents total contribution over a multiyear grant period 116 117

Steven and Anne Taylor Brice and Jane Bosnich Lawrence Jarchow Elena Hui Qian Jane Wenger Field Museum Raymond D. Tindel and Catherine Brehm Penny Johnson Dr. Smilja Rabinowitz Clifton Wilkow Film Studies Center, Gretel Braidwood Tim Brennan Michael Kenney Agnethe Rattenborg Dr. Ira G. Wool and Barbara Mirecki University of Chicago Michael Turner Mrs. William Brien Evelyn Kitagawa Barbara Regan Michael Worley Little Black Pearl Art and Bonnie and Fidelis Umeh Sharon Brinkman Dan Kletnick Elanor Reiter Eva Maria Worthington Design Center Dr. Robert and Vi Uretz Suzette De Marigny Bross Catherine Klinger Juliette Richman Caitlin Zaino Museum of Contemporary Art, Chicago Anthony and Amy Volpe Don and Carol Browning Ruth and Gwin Kolb Marlene and Harold Richman J. Raymond Zimmer Museum of Contemporary Photography Robert and Rose Wagner Richard Bumstead Maurine Kornfeld George Running Joanne Zimmerman Office of the Provost, David and Anna-Mary Wallace Ethel Burakoff Peter Kosiba James Sampson Daniel J. Zimring University of Chicago Elissa Weaver Chistina Catanzarite Laura Kracke Jacquelyn Sanders Jaclyn Zires Rebecca Janowitz Sarah Weber Erica Charpentier Catherine Krause Ira Sapir Richard Gray Gallery Dr. and Mrs. James Webster Jay Clarke Nikolai Kushner Lelia Scheaua Gifts in Memory Special Collections Research James Wells Miriam Clarke Joyce Lanton Mrs. Sheldon K. Schiff Ruth E. Ultmann, Center, University of Chicago Dr. Xiao Si Yang Dr. Louis Cohen and Emili Cohen Robin Larson Carl Selby in memory of John Ultmann Student Activities Committee, Debra Yates Linda Cohn Dorothy Latiak Matt Shannon Graduate School of Business,

SOURCES OF SUPPORT 2004–2005 William Young John Crenson Jeffry Lewis Ilene Warshawsky Shaw Gifts in Honor University of Chicago SOURCES OF SUPPORT 2004–2005 Howard and Kathleen Zar Sonia Diaz Melynda Lopin Chris Shea Marshall Donnelley, in honor Walsh Gallery David Zesmer Kathleen Dujsik Mary M. McDonald Aaron Shkuda of Robert Donnelley William Zieske Mrs. R. D. Erickson Jeffrey McMahon Joseph P. Shure Janice Halpern, in honor of Donors to the Collection Nancy Zuraw Brian Ferriso and Amy Pellegrin Sarah Meisels Mary Silverstein Jack and Helen Halpern Rachel Adler Raymond Fogelson Olaf Mend Margaret Smith Nina Halpern, in honor of Douglas Berman and Peter Daferner Gifts under $50 Zollie Frank Eileen Michal Ira Spanierman Jack and Helen Halpern Richard A. Born Isaac Abella Barbara Frei Herbert Migdoll Jill Specks David Heitner, in honor of Anna Mr. and Mrs. Michael R. Cunningham Robert Henry Adams Fine Art Lore Friedrich Jeanne Miller Janice Spofford and Lorenz Evan Zaigraeva Diane Dobrin Elizabeth M. Adkins Henry and Priscilla Frisch Soo Ji Min Gay Stanek Kanter Family Foundation, in honor Brian A. Dursum Sylvia Sleigh Alloway Judith Getzels Katherine Mino Marjorie Stinespring of Thomas and Janis McCormick Cindy Elden Frederic J. Artwick Mr. and Mrs. Marvin A. Gordon Jan Mortensen Dr. Francis Straus II and Lorna Straus Walter and Ann Nathan, Barry Friedman Judith Artwick Joyce Greening Mrs. John Albert Mottier Mrs. Richard J. Thain in honor of Richard Gray Isaac S. and Jennifer A. Goldman Dr. Corry Azzi Tom Gunning Sidney Nagel Hans Thomsen Jeffrey Hantover Joan N. Baer Carl Gylfe Charles Newell Charles Thurow Gifts in Kind Joyce Turner Hilkevitch Helen Lewis Bidwell John Hardin Mrs. Charles D. O’Connell Richard Treptow Alumni Association, Qinghui Hu Robert D. Biggs Christina Hardy Angela Olinto Dr. Harry and Marjorie Trosman University of Chicago C. A. Islinger Dr. Vanice E. Billups Mrs. Thomas K. Harmon William and Wendy Olmsted Philip Venticinque Anchor Graphics Paul and Miriam Kirkley Catharine Blair Beth and Duncan Harris Alex Orden Dr. Draga Vesselinovitch Art Institute of Chicago Fund for Acquisitions Sophie Bloom John Hobgood Cora Passin Samir Wadke Chicago Shakespeare Theater Sara Leonard Merry Bolt Sheila Hori Jonathan Persky Robert A. Wagner Christie’s Fine Art Auctioneers Jill and John Levi Dr. Gisela Mendel Booth Dr. Aimee Horton George Platzman Dr. Irving Waxman and Robin Honig Department of Art History, Kate S. Levi 1991 Trust Dain Borges Elizabeth Jacob Michael Polsky Nathalie Weil University of Chicago Alicia McKenna Ludgin Deborah Lee Borman Dori Jacobsohn Eugene Pomerance Florence Weisblatt Farr Associates Donald and Sue Ludgin

† Deceased * Represents total contribution over a multiyear grant period 118 119 Nancy Alden Ludgin VISITING COMMITTEE Richard and Mary L. Gray SOURCES OF SUPPORT National Endowment for Major Benefactors and Quentin Ludgin ON THE VISUAL ARTS Ruth P. Horwich 2005–2006 the Humanities gifts of $5,000 to $9,999 Mrs. Edward A. Maser Annual Fund Contributors Dr. Mary S. Lawton Capital, Annual, Target Stores Richard and Gail Elden Brooks McCormick Jr. These gifts benefit the Smart Museum Thomas and Janis McCormick and Program Support Stanley M. Freehling Mary Barbara McIntyre of Art, the Department of Art History, Charles Mottier Corporate, Foundation, Government, Under $2,000 Miriam Graham Cora Passin and the Department of Visual Arts at Doris F. Sternberg and University Giving The Acorn Foundation Joan W. Harris Kerig Pope the University of Chicago Bryan Traubert and Penny Pritzker $50,000 and above Arts Planning Council, Randy Holgate and John Peterson Martha Westermann Renner Jane Wright Institute of Museum and University of Chicago Elisabeth and William Landes Margo Pollins Schab Gifts of $5,000 and above Helen and Sam Zell Library Services* The Center for Eastern European Michael and Audrey Wyatt Brenda F. and Joseph V. Smith Stanley M. Freehling John D. and Catherine T. and Russian/Eurasian Studies, Doris F. Sternberg Allen M. and Lynn Turner Gifts of $1,000 to $1,499 MacArthur Foundation* University of Chicago Benefactors Circle and John A. and Andrea L. Weil David and Linda Blumberg The Smart Family Foundation Chicago Arts Partnership in Education gifts of $2,500 to $4,999 Dr. and Mrs. Samuel Weiss Gifts of $1,500 to $4,999 Gay-Young Cho and Christopher Chiu Andy Warhol Foundation Chicago Public Library Anonymous Women’s Board of the Michael Alper Robert and Joan E. Feitler for the Visual Arts* Department of Art History, James R. Donnelley University of Chicago Marilynn B. Alsdorf Marshall B. and Laura DeFerrari Front The Women’s Board, University of Chicago Friends of the Smart Museum

SOURCES OF SUPPORT 2004–2005 Zhang Huan Marie Krane Bergman and Jean and Steven Goldman University of Chicago The Laboratory Schools, Jack and Helen Halpern SOURCES OF SUPPORT 2005–2006 Robert Bergman David and Celia Hilliard University of Chicago Conrad Miczko Joel and Carole Bernstein Joel and Carol Honigberg $25,000 to $49,999 Donald and Isabel Stewart John A. Bross Julius Lewis Elizabeth F. Cheney Foundation* Individual Giving Allen M. and Lynn Turner John H. Bryan Mrs. Robert B. Mayer The Chicago Community Trust* Gifts of $50,000 and above Mrs. Willard Gidwitz Paula and Herbert Molner Lloyd A. Fry Foundation* Leon and Marian Despres Director’s Council and gifts of Marshall and Evelyn Padorr Illinois Arts Council, a state agency Robert and Joan E. Feitler $1,000 to $2,499 Mrs. George B. Young National Endowment for the Arts* Stanley Kleinstein Trust Marilynn B. Alsdorf Nuveen Investments, Inc. William and Ellen Oswald E. M. Bakwin Gifts Under $1,000 Office of the Provost, Gerald Ratner David and Linda Blumberg T. Kimball Brooker University of Chicago Mary Smart R. Darrell Bock and Mrs. Owen Fairweather Polk Bros. Foundation Inc.* Renée Menegaz-Bock Mrs. Ludwig Rosenberger Visiting Committee on the Visual Underwriters and gifts of John A. Bross Joseph P. Shure Arts, University of Chicago $10,000 to $49,000 Dr. Robert W. Christy Jean Allard Arie and Ida Crown Memorial Fund

$10,000 to $24,999 Mrs. Edwin A. Bergman James Crown Kraft Foods, Inc. John H. Bryan Mr. and Mrs. Lester Crown LaSalle Bank Roy and Mary Cullen Steven Crown Lorna Ferguson and Susan Crown

$2,000 to $9,999 Terry Nichols Clark Stefan Edlis and Gael Neeson The Chicago Community Foundation Richard and Mary L. Gray Sharon Flanagan and Ross Buchanan The Donnelley Foundation Thomas and Linda Heagy Richard and Barbara Franke The Richard H. Driehaus Foundation Margot and Thomas J. Pritzker Mrs. Willard Gidwitz The Franke Institute for the David and Mary Winton Green Humanities, University of Chicago Joyce Zeger Greenberg

† Deceased * Represents total contribution over a multiyear grant period 120 121

Doris and Marshall Holleb Dudley J. Godfrey Jr. and Deone Griffith Jackman and Eugene Dr. Robert DeMar Michael and Charlotte Newberger Susan B. Anderson Dolores Keating-Shapiro and Constance Godfrey Goldwasser John Q. Easton and Sem Sutter Richard Orlikoff Drs. Andrew and Iris Aronson Donn Shapiro Betty Guttman Drs. Rebecca and Joseph Jarabak Daniel and Ruth Edelman Henry Otto Evelyn D. Aronson and William and Janet Jentes Miriam Hansen and Michael Geyer Alice and Barry Karl Joseph and Barbara Ferrari Ernest and Eva Page Dr. Neil Aronson Dr. Mary S. Lawton Elizabeth and Howard Helsinger Catherine Keebler Robert and Patricia Fitzgerald Andrew Patner and Thomas M. Bachtell Art Horizons International, Inc. Daniel Levin and Fay Hartog Anthony and Amy Hirschel Judith Lehr David C. Follmer and Anita Samen Kenneth and Nancy Petchenik Theodore and Barbara Asner Robert and Diane Levy Scott Hodes and Maria Bechily Janina Marks Mr. and Mrs. Paul E. Freehling Mrs. Robert F. Picken Dr. Alfred L. Baker and Dorothy Baker Julius Lewis Ruth P. Horwich J. Clifford Moos Kere Frey Laurie and Alan Reinstein Dr. Eugene L. Balter and Lucia Woods Lindley and Michael Hyman and Stephanie Young Katherine and Hans Morsbach Barry Friedman Robert J. and Barbara A. Richards Judith R. Phillips Daniel A. Lindley Jr. Edgar D. and Deborah Jannotta Ruth O’Brien and Stuart A. Rice Maurice and Muriel Fulton Rita’s Catering and Event Planning Mr. and Mrs. Robert Baumgarten Mrs. Edward A. Maser Arthur and Nancy Laskin Adam de Sola Pool Dr. Thomas F. Gajewski II Elizabeth Rodini Adina Beth Becker Charles Mottier Robert B. and Carol Lifton Mrs. Edwin A. Rothschild Jean and Steven Goldman Mr. and Mrs. Howard Romanek Mary Bedard Walter and Ann Nathan Mrs. Robert B. Mayer Susan B. and Dr. Myron E. Rubnitz Walter and Karla Goldschmidt Benjamin Rossi Michael and Mary Behnke John D. and Alexandra Nichols Andrew and Karen McGhee Dr. O. Schneewind and Ethel Goldsmith Dr. Janet D. Rowley and June Felicia Bennett and Alan and Dorothy Press Kate and William Morrison Dr. D. Missiakas Margaret and Robert Grant Dr. Donald A. Rowley Dr. V. Leo Towle

SOURCES OF SUPPORT 2005–2006 Claire and Gordon Prussian Richard M. Morrow Dr. Alan A. Stone Burton and Marilyn Greenberg Lucy L. Salenger and Marvin Zonis David and Margaret Bevington SOURCES OF SUPPORT 2005–2006 Don and Carol Randel Kenneth and Patricia Northcott Dale Taylor Janice Halpern Thomas and Barbara Schnitzer Ananth and Purnima Bhogaraju Bruce Sagan and Bette Cerf Hill John and Marilyn Richards John Washburn Debra Hammond Charles P. Schwartz Jr. and Timuel D. Black Jr. and Zenobia Dr. Anneliese Sinn Mrs. Ludwig Rosenberger Ms. Merrie Faye Witkin Brian Hanessian and Linda Greenberg Susan H. Schwartz Johnson-Black Ruth E. Ultmann Laura Satersmoen and John Baum Fellows and gifts of $150 to $299 Neil Harris and Teri Edelstein Thomas C. Sheffield Jr. Walter and Marguerite Bloch Ralph Wanger Jr. and Karla Scherer James L. Alexander Mary and Jeffrey Harvey Joseph P. Shure Clara Murray Brand Ms. Leah J. Zell Arthur and Susan Schultz Joanne and James Alter Dr. Arthur L. and Mrs. Lee Herbst Howard and Roberta Siegel Carol Jean and Bernard O. Brown Mrs. George B. Young Doris F. Sternberg Gayle and Marvin Altur Jane and Roger Hildebrand Bernece and Marvin† Simon Christina Rose Brungardt Arnold and Agnes Zellner Loretta Thurm J. David and Lisa G. Aronson Dale Hillerman Christine and Paul Singer Richard and Sharon Carlson Mrs. Roy I. Warshawsky Marie K. Asbury Nancy Horner Allen R. Smart Victor Cassidy Sustaining Fellows and Takashi Yamada Howard R. and Marjorie S. Barron Gregory Jackson and Roberta Kovitz Hugo and Elizabeth Sonnenschein Elsa Charlston gifts of $500 to $999 Esther and John Benjamin Mark Johnson and Judith Wright Lester and Sylvia Telser Margaret R. Chung Marie Krane Bergman and Patrons and gifts of $300 to $499 Katharine Bensen and C. Richard Mrs. Robert D. Kestnbaum Stanley C. Tuttleman Raymond and Katherine Ciacci Robert Bergman Michael Alper Johnson Mary Jean Kraybill Robert Van Etten Julane and Clifton Clarke Mr. and Mrs. Edward M. Blair Jr. Susan Bowey and Donald Bowey Jr. Carla F. and R. Stephen Berry Graham Lewis John Vinci Ambrose Julian Cohen and Erin Robert P. Coale Kathleen A. Carpenter Hanna and Sidney Block Dr. Eva Lichtenberg David and Marilyn Vitale Elizabeth Roosa Douglas E. Cohen Joyce and Bruce Chelberg Laura Boyd and Robert Boyd III Katrina Lofgren and Eduardo Vidal James Wells Dr. Louis Cohen and Emili Cohen Kenneth and Marcia Dam Dorothy and David Crabb Jean Broday Marguerite Lytle Jacqueline B. Winter Drs. Ronald Cohen and Helen Kim Sidney and Freda Davidson Charles and Irene Custer Alan Brodie Sonya Malunda and Barbara Zenner Michelle Collins E. Bruce and Nancie Dunn Susan DeWitt Davie Mrs. Eric W. Cochrane Dr. Charles Lampley Tracy Cooke Alan and Lois Fern Dr. Erl Dordal and Dorothy Powers John Cochrane and Beth Fama Audrey Mann Friends and gifts of $50 to $149 Judith and William Cottle Peter and Virginia Foreman Mr. and Mrs. Robert Haselkorn Marion Wood Covey McKim Marriott Andrew Abbott and Susan Schlough Sandra K. Crown Ms. Nancy Gidwitz William Hinchliff Caroline Cracraft Arthur and Jane Mason Elizabeth M. Adkins Hon. Barbara Currie and David Currie Jacqueline Glasser Gilbert and Mrs. Harold H. Hines Jr. Susan Dardar Howard McCue III and Judith McCue Sylvia Sleigh Alloway Stephen P. Davis and Lisa A. Barca Howard Gilbert John T. and Jane S. Horton Maria Del Favero George C. McElroy Sara Prince and Dr. George Anastaplo Larry N. Deutsch

† Deceased * Represents total contribution over a multiyear grant period 122 123

Jim Douglas III Rosellen Brown Hoffman Edward Rabin Steven and Anne Taylor Kenneth Scott Bigger and Sara Sheila Hori Laurine and Frederick Dow Shirlee and Douglas Hoffman James and Hildegund Ratcliffe David Teplica Suzanne Fagan Dr. Aimee Horton Scott Drews Christine Jacobs and Henry Webber Ernest Rice Hans Thomsen Robert D. Biggs Patricia Hume Andrea Dudek Evelyn and Richard Jaffe Duel Richardson Charles Thurow Dr. Vanice E. Billups Kai Jackson Kent Smith Dymak and Dr. Theodore R. Stanley and Ursula Johnson Martin and Brigitte Riesebrodt Raymond D. Tindel and Merry Bolt Sharonjoy A. Jackson Nicholas Foss Raja M. Kamal and Rosanne Model Patricia and Allen Rieselbach Gretel Braidwood Dr. Gisela Mendel Booth Dori Jacobsohn Rose B. Dyrud Arthur and Esther Kane Priscilla and H. P. Davis Rockwell Joan Turk Mrs. Charles D. Borst Sandra Jacobsohn Natasha and Zachary Egan Thomas Kapsalis Kimerly Rorschach and John Hart Michael Turner Catherine Brehm Lawrence Jarchow Karl and Sondra Eisenberg Constance and Dennis Keller Michael B. Rosen and Lee Haupt Virginia S. and Frederick G. Uhlmann Mrs. William Brien Penny Johnson Miriam and Alex Elson Draga Kellick Leona Rosenberg Jim Urdan Sharon Brinkman Dan Kletnick Erika Erich Anne and John Kern Richard A. Rosengarten and Dr. Robert and Vi Uretz Alice Brunner Maurine Kornfeld Robert Eskridge and Jean Sousa Diana and Neil King Margaret Mary Mitchell Frances and Peter O. Vandervoort Richard Bumstead Peter Kosiba Sue Stern Ettelson Mr. and Mrs. Frank L. Klapperich Jr. Albert and Roddie Rosenthal Dr. Draga Vesselinovitch Robert Calvin Catherine Krause Roberta and Richard Evans Rev. Robert S. Klonowski and Steven Rothman and Ann Vikstrom and Ray Branson Elena Ciletti Dorothy Latiak Sallyann and Eugene Fama Dr. Deborah Lee Burnet Barbara Kirkpatrick Robert A. Wagner Jay Clarke Melynda Lopin

SOURCES OF SUPPORT 2005–2006 Zollie Frank Gerald Kowarsky Daniel Roush Robert and Rose Wagner Miriam Clarke Dr. John Norman Matthews II SOURCES OF SUPPORT 2005–2006 Henry and Priscilla Frisch Martin and Susan Kozak Sarah Royston David and Anna-Mary Wallace Irene and Joseph Claude Barbara W. Mayers Louis and Judith Genesen Robert Jeffrey Kribs Jr. Carol Sonnenschein Sadow and Florence Weisblatt Maria Lugos Corpuz Mary M. McDonald Judith Getzels Sara Leonard Dr. Leo Sadow Rebekah Wiest David Shane Courson Jeffrey McMahon David and Ann Giroux Nancy Levner and Robert L. Ashenhurst Minoru and Akiko Saito Dr. Nancy Workman and Gaylord John Crenson Arlene Alpert Mehlman Howard and Natalie Goldberg Agnes Lugo-Ortiz Doris Samuels Workman Alan Jay Dagovitz and Julie E. Levin Sarah Meisels Marvin Goldblatt and Bonita C. and Jim Mall Nathan and Alice Schlessinger Debra Yates Mark De Lancey Olaf Mend Dr. Phyllis Goldblatt Katherine Malmquist Elizabeth M. Schwartz Howard and Kathleen Zar Han and Amy Delin Jeanne Miller Jan Goldstein and William Sewell Sylvia Mann Steven D. Schwartz and Karyn David Zesmer Professor Howard C. Eglit Katherine Mino Laurence Gray Rita E. McCarthy Tatham J. Raymond Zimmer Ann Englander Jan Mortensen Joyce Greening Hon. Abner J. Mikva and Zoe Mikva Jan Serr and John Shannon Nancy Zuraw Mrs. R. D. Erickson Mrs. John Albert Mottier Dr. Mark J. Greenwald David Muschler and Ann Becker Arthur Shapiro Raymond Fogelson Sidney Nagel Charles E. and Barbara Lois Gregersen Leslie I. Nair Mrs. Henry Shapiro Gifts under $50 Deborah Gordon Friedrich Charles Newell Eston and Sandra Gross Mark Oreglia and Margery Ishmael Deborah Shefner Cynthia Abdulelah Diana Ginsburg and Frank K. Oehlschlaeger Dr. Nicholas J. Gross Ruth Ousley Mrs. L. Stanton Singer Isaac Abella Prof. Norton S. Ginsburg Angela Olinto Nina Halpern Jacques and Florence Ovadia Junie L. Sinson Robert Henry Adams Fine Art Mr. and Mrs. Marvin A. Gordon Dr. Jane H. Overton Mrs. Chauncy D. Harris Vivian and Irving Paley Charlene Smith Jennifer Adrian Gloria G. Gottlieb James Pelts David Heitner Irene Patner Larry Smith and Bhama Srinivasan Frederic J. Artwick Isabela and Bret Gould George Platzman Richard H. and Marilyn P. Helmholz Jonathan Persky Nikki Stein Dr. Corry Azzi Nancy and Robert Greenebaum Michael Polsky Leonardo Herzenberg and Gloria Phares and Richard Dannay Dr. Donald F. Steiner Joan N. Baer Carl Gylfe Eugene Pomerance Dr. Caroline L. Herzenberg Thomas and Betty Philipsborn Jonathan Stern Irvin and Margery Becker John Hardin Erin Bridget Purcell John Hill and Karen Dunsford Elizabeth M. Postell Dr. Francis Straus II and Lorna Straus Elise Jordan Beyer Christina Hardy Dr. Smilja Rabinowitz Robert Hochman and Miriam Kass Nicole and John Power Adam Quasar Sugihara Dr. David Bichell and Terry Jo Bichell John Hobgood Joy Ellen Reese Marvin Hoffman and Maryann Putnam Marion and Dr. Martin Swerdlow Helen Lewis Bidwell Katharine Cuneen Hoffman Juliette Richman

† Deceased * Represents total contribution over a multiyear grant period 124 125

Marlene and Harold Richman Gifts in Memory Arthur and Susan Schultz in honor of Gifts in Kind Paul and Miriam Kirkley Fund for Richard and Mary L. Gray Amy Beth Rogaliner Evelyn D. Aronson and Dr. Neil Aronson Elizabeth Helsinger Alumni Association, University Acquisitions Joel and Carol Honigberg Jacquelyn Sanders in memory of Herbert Kalk Doris F. Sternberg in honor of of Chicago Kerry James Marshall Ruth P. Horwich Mrs. Sheldon K. Schiff Betty Guttman in memory of Joan E. Feitler’s Birthday Armstrong Fine Art Brooks McCormick Jr. Dr. Mary S. Lawton Ronald J. Schiller Lester Guttman Takashi Yamada in honor of Art Institute of Chicago Nancy and Robert Mollers Holly and John Madigan Carol H. Schneider David Heitner in memory of Joanne Needham Christie’s Fine Art Auctioneers Kenneth and Patricia Northcott Mrs. Robert B. Mayer Robert Schrade Robert R. Heitner Department of Art History, John F. Peloza Thomas and Janis McCormick Alice Schreyer and Anthony Batko John T. and Jane S. Horton in Gifts in Honor of Robert Feitler’s University of Chicago William Schmidt and Charles Mottier Carl Selby memory of Phyllis Fay Horton ‘15 75th Birthday Department of Visual Arts, Patrice Peloza Schmidt Elizabeth and Harvey Plotnick Ilene Warshawsky Shaw Ruth Ousley in memory of Lynne Miller Howard R. and Marjorie S. Barron University of Chicago David Semel Bryan Traubert and Penny Pritzker Eric Andrew Siegmann Mrs. Ludwig Rosenberger in memory Irvin and Margery Becker Douglas Dawson Gallery Loretta Thurm Brenda and Earl W. Shapiro Adele Silver of Harold Hayden Sandra K. Crown Film Studies Center, Allen M. and Lynn Turner Doris F. Sternberg Shirley Singer Dolores Keating-Shapiro and Karl and Sondra Eisenberg University of Chicago Jane Wright Ann Slavick Donn Shapiro in memory of Sue Stern Ettelson moniquemeloche gallery VISITING COMMITTEE ON Margaret Smith Margaret Shapiro Peter and Virginia Foreman Office of the Provost, University THE VISUAL ARTS Gifts of $1,000 to $1,499

SOURCES OF SUPPORT 2005–2006 Ira Spanierman Ann Slavick in memory of Herbert Kalk Maurice and Muriel Fulton of Chicago Annual Fund Contributors Jean and Steven Goldman SOURCES OF SUPPORT 2005–2006 Janice Spofford Ruth E. Ultmann in memory of Dudley J. Godfrey Jr. and Rhona Hoffman Gallery These gifts benefit the Smart Museum David and Celia Hilliard Marjorie Stinespring John Ultmann Constance Godfrey Russell Bowman Art Advisory of Art, the Department of Art History, Julius Lewis Mrs. Richard J. Thain Gloria G. Gottlieb Special Collections Research Center, and the Department of Visual Arts at Paula and Herbert Molner Richard Treptow Gifts in Honor Richard and Mary L. Gray University of Chicago the University of Chicago Karen Wilson Dr. Harry and Marjorie Trosman Art Horizons International, Inc., Burton and Marilyn Greenberg Student Activities Committee, Maureen Wan in honor of Elisabeth and William Nancy and Robert Greenebaum Graduate School of Business, Gifts of $5,000 and above Gifts under $1,000 Dr. Irving Waxman and Robin Honig Landes Neil Harris and Teri Edelstein University of Chicago Katharine and Peter Darrow T. Kimball Brooker Janis and Joseph Weil Laura Satersmoen and John Baum in Nancy Horner Walsh Gallery Robert and Joan E. Feitler Dr. Patricia Brett Erens Nathalie Weil honor of Richard A. Born Arthur and Nancy Laskin Stanley M. Freehling Mrs. Ludwig Rosenberger Jane Wenger David and Linda Blumberg in honor of Audrey Mann Donors to the Collection Allen M. and Lynn Turner Joseph P. Shure Corina Anne Wilder Robert and Joan E. Feitler Thomas and Betty Philipsborn Anonymous Helen and Sam Zell Clifton Wilkow Jean and Steven Goldman in honor of Ernest Rice Dennis Adrian Tarris Williams Anthony Hirschel Patricia and Allen Rieselbach James A. Bergquist Gifts of $1,500 to $4,999 Gertrude Witkin Janice Halpern in honor of Jack and Susan B. and Dr. Myron E. Rubnitz Douglas Berman and Peter Daferner Michael Alper Dr. Ira G. Wool and Barbara Mirecki Helen Halpern Carol Sonnenschein Sadow and Dawoud Bey Marilynn B. Alsdorf Michael Worley Nina Halpern in honor of Jack and Dr. Leo Sadow Gay-Young Cho and Christopher Chiu Marie Krane Bergman and Eva Maria Worthington Helen Halpern Adele Silver Mr. and Mrs. Michael R. Cunningham Robert Bergman Joanne Zimmerman Neil Harris and Teri Edelstein in honor Virginia S. and Frederick G. Uhlmann Isaac S. and Jennifer A. Goldman Joel and Carole Bernstein Daniel J. Zimring of Elisabeth Landes’s Birthday Jim Urdan C. A. Islinger John H. Bryan William and Janet Jentes in honor of Janis and Joseph Weil James Jensen Barton Joel Cohen and Richard Gray Nancy Zuraw Alice and Barry Karl Phyllis Gordon Cohen Susan B. and Dr. Myron E. Rubnitz in Mrs. Willard Gidwitz honor of Robert and Joan E. Feitler

† Deceased * Represents total contribution over a multiyear grant period SMART STAFF 128 129 SMART MUSEUM STAFF David Ingenthron, Preparation Assistant Jessica Hille Analiese Wilcox Stella Lee Anthony Hirschel, Dana Feitler Director Anne Leonard, Mellon Curator Karlynn Holland Christine Wu Kristin Greer Love Lindsay Artwick, Registrar (through December 2005) C.J. Lind, Promotions and Marketing Assistant (as of Jonathan Humphreys Hao Wu Seth Mayer June F. Bennett, Administrative Assistant (as of Jan 2005) September 2005) Brittany Jackson Xinyu Xu Monica Mercado Rudy Bernal, Chief Preparator Katie Malmquist, Manager of Membership and Annual Jamal Jones Qi Zhong Sarah Moosvi Richard A. Born, Senior Curator Giving (as of August 2004) Michael Jordan CAFÉ ATTENDANTS Yana Morgulis Diane Miliotes, Research Curator (through September 2004) Anne Kim April Morton Lauren Boylan, Manager of Education Programs Santee Blakey Angie Morrow, Registrar (as of February 2006) Greg Kulevich Diana Pilipenko (as of June 2006) Myong Yee Chin Joyce Norman, Business Manager James Kulevich Antonia Pocock Paul Bryan, Security Supervisor Annie Chiu Michael Pollard, Assistant Facilities and Security Supervisor Amanda Lai Katie Pomerantz Christine Carrino, Public Relations and Marketing Director Alex Cho Amanda Ruch, Manager of Education Programs (through Tony Letourneau Shannon Qian Natasha Derrickson, Assistant Registrar (as of January 2005) Mattias Daly June 2006) Nora Liddell Ashley Rybowiak Carmen Diab, Administrative Assistant (through Dec. 2004) Rebecca Everhardt Stephanie Smith, Curator of Contemporary Art Marian Livingston Emily Shaw Ginger Foster, Membership and Development Coordinator Justin Evans Jacqueline Terrassa, Interim Director and Director of Education Courtney Lutterman Lara Schweller (through August 2004) Amelia May Yen Foo (2004–2005) and Deputy Director for Collections, Andrew Marchesseault Annie Sheng Julie Freeney, Public Services and Events Manager Jennie Ikuta Programs, and Interpretation (2005–2006) Tasha Matsumoto Asheley Smith Shaleane Gee, Deputy Director for Development and Cordelia Johnson Joan Turk, Finance Manager (as of July 2005) Elspeth Michaels Margeaux Temeltas External Affairs Tara Maguire SMART STAFF, BOARD & COMMITTEES SMART STAFF, BOARD & COMMITTEES Wu Hung, Consulting Curator Kristin Naples Nissa Thompson Melissa Holbert, Outreach and Education Technology Stephen Raskauskas Mark Paulik Dennis Toy Coordinator (as of October 2005) Ashley Seong Dilshanie Perera Aaron Tugendhaft Annie Sheng Lia Markey, Curatorial Rose Briccetti Jennifer Perton Laura Veit STUDENT INTERNS Reid Singer Renee Melton, Curatorial Zachary Cahill Ursula Poole Emily Warner Irene Backus, Curatorial Margaret Terry Gabe Molina, Registration Ian Carlson Shweta Rajwade Laura Brooks, Registration David Wiegand SMART MUSEUM Betsy Carlson, Development Sarah Moosvi, Education Caitlin Casey Edith Ramos ACTIVITIES COMMITTEE STUDENT DOCENTS and External Relations Katie Rahn, Education Samantha Chang Stephen Raskauskas (SMAC) Owen Aronson Susannah Ribstein, Registration Travis Chapa Susannah Ribstein Travis Chapa, Business Usman Ahmed Emma Bee Bernstein Ashley Rybowiak, Education Cara Clifford Alexandra Robertson Eliza Dangler, Business Timothy Allen Natalie Carnes Dawna Schuld, Curatorial Jessica Cobb Alyssa Rosen Linda Ding, Business John Cutler Maria Cecire Andrea Thomalla, Marketing and Mattias Daly Kelly Russell Betsy England, Education Sara Daniels Juan Domenech Clar Public Relations Alexander De Raadt St. James Ashley Rybowiak Kris Ercums, Curatorial Colleen Dilenschneider Annie Chiu Jon Thompson, Marketing and Public Andrew Djunaidi Nicholas Sasa Rachel Furnari, Publications Benjamin Gage Cara Clifford Relations Geoff Domoracki Matthew Schrad Justin Glasson, Development and Cristina Iftimie Laura Dean Alyssa Weigand, Business Bradley Dubois Roksolana Sklyarska External Relations Carrie King Sean Dickson Emily Wolf, Registration Jonathan Earling Jake Smith Sophie Hackett, Curatorial Brittany Luberda Annie Dude Rose Eckhardt Erin Steiner Uchenna Itam, Curatorial Simone Martin-Newberry VOLUNTEERS Leah Fosco Erin Evans Mahfuz Sultan Mehan Jayasuriya, Business Helen Halpern, Curatorial Patrick Monahan Erin Fowler Sarah Fornace Fithawee Tzeggai Cordelia Johnson, Education Joseph P. Shure, Curatorial Luke Rodehorst Jane He Mollie Godfrey Cigdem Unal Stephen Kim, Education Agnes Zellner, Curatorial Ceyda Savasli Sarah Hetherington Elizabeth Goetz Mieka van der Ploeg Phil Lee, Curatorial Catherine Scharon GALLERY ATTENDANTS Hana Kim Echo Gonzalez Cynthia Van Grinsven C.J. Lind, Marketing and Laura Seegmiller Roshan Ahmed Stephen Kim Emale Gray Laura Veit Public Relations Marissa Wong Rocio Alcantar Flo Lallement Charles Guo Cynthia Warner Yinxing (Mia) Liu, Curatorial Sushu Xia Pooja Bhargava Soraya Lambotte Audrey Haberman Seth Winnie Kristin Greer Love, Education Margot Yopes STATEMENT OF OPERATIONS 132 133

STATEMENT OF OPERATIONS STATEMENT OF OPERATIONS (unaudited) from July 1, 2004 through June 30, 2005 (unaudited) from July 1, 2005 through June 30, 2006

Revenues Fiscal Year 2005 Revenues Fiscal Year 2006 Foundation grants 878,914 Foundation grants 467,618 Government grants 71,500 Government grants 140,005 Corporate grants 10,000 Corporate grants 29,354 Individual contributions 537,614 Individual contributions 364,199 Endowment distributions 431,661 Endowment distributions 422,546 Earned income 183,514 Earned income 276,402 University allocation for direct expenses 366,437 University allocation for direct expenses 459,464 STATEMENT OF OPERATIONS STATEMENT OF OPERATIONS University allocation for physical plant expense 425,000 University allocation for physical plant expense 425,000 Carryover from prior year 315,494 Carryover from prior year 318,694

Total operating revenue 3,220,134 Total operating revenue 2,903,282

Expenses Expenses Exhibitions and collections 1,192,576 Exhibitions and collections 728,568 Education 211,696 Education 377,660 Development and public relations 392,775 Development and public relations 369,553 Earned income expense 159,656 Earned income expense 206,514 General operating expenses 210,883 General operating expenses 249,226 Operations and maintenance of physical plant 425,000 Operations and maintenance of physical plant 425,000 Project funds reserved for future project budgets 308,854 Project funds reserved for future project budgets 271,793 Carryover to future years 318,694 Carryover to future years 274,967 Total operating expenses 3,220,134 Total operating expenses 2,903,282

Net operating results 0 Net operating results 0

SMART MUSEUM OF ART UNIVERSITY OF CHICAGO

Bulletin, Volume 16, 2004–2006

Copyright © 2006 by the David and Alfred Smart Museum of Art, The University of Chicago, 5550 South Greenwood Avenue, Chicago, Illinois, 60637. All rights reserved. http://smartmuseum.uchicago.edu ISSN: 1099-2413

Editors: Shaleane Gee and C.J. Lind Publication Assistants: Justin Glasson and Jon Thompson Design: Froeter Design, Chicago Printing: Lowitz & Sons, Chicago

Photography and reproduction credits:

Front cover and pages 14–15, 17, 20, 23, 26, 37, 42–44, 46, and 50–71: photography by Tom van Eynde

Table of contents and pages 5, 110, and 131: photography by Dan Dry

Pages 4, 7, 10, 13, 48–49, 83, 94–95, 97, 100, 106–108, 111, 114, 118, 126–127, and 130: photography by Jim Newberry

Page 17: Art © Estate of Lester Beall/Licensed by VAGA, New York, N.Y.

Page 31: courtesy of the artist and Max Protetch Gallery, N.Y.

Pages 32–33: courtesy of the artist and CourtYard Gallery, Beijing

Page 34: courtesy of the artist and Beijing Projects, Beijing

Page 35: courtesy of the artist and Meredith Palmer Gallery, Ltd., N.Y.

Page 42–43: © 2006 Adrian Piper Research Archive, Collection Smart Museum

Page 44: © 2006 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn

Page 46: courtesy of the artist

Every effort has been made to contact rights holders for all reproductions. Additional rights holders please contact the Smart Museum.