ANNUAL REPORT DOUBLE ISSUE 2018–2019 2019–2020

Paneled room with light-filled stained-glass background; sculpted figure with a world globe as a head wears a mul- ticolored dress and stands on one leg, a stack of books balanced on the other C O N T E N T S

5 Foreword Paul Schnell

6 Introduction Nichole Bridges

8 Letter from the Director David E. Little

PART 1: 2018–19

10 Education 22 Exhibitions On the cover: 40 Engagement Matthew Day Jackson (American, born 1974). Sacajawea (American Martyr Series) (detail), 2005. Anonymous Gift Learn about the artwork » ACQUISITIONS 54 2018–19 This page: Rotherwas Project 89 2019–20 No. 4: Yinka Shonibare CBE, 92 Trinkett Clark Memorial The American Library Student Acquisition Project Collection (Activists).

PART 2: 2019–20

100 Education 114 Exhibitions 134 Engagement

146 Staff News and Notes 152 Financial Report 155 Advisory Board 156 Friends of the Mead F O R E W O R D Today, the Museum crackles with vitality—an energy one can sense Paul Schnell, ’76 P’11 whether visiting in person or Chair of the Mead Advisory Board connecting online. The Mead has become integral to the curriculum and to building community at the College. It is recognized as one of I have felt a strong connection to the Mead Art Museum the leading, most innovative college since my first year at Amherst, when I lived a few “ steps away in Stearns Hall. Back then, I thought of the art museums in the country." Museum as a quiet, underutilized and underappreciated place. As a student security guard there, I would never “click in” more than a handful of visitors over the course of an afternoon.

Today, the Museum crackles with vitality—an energy one can sense whether visiting in person or connecting online. The Mead has become integral to the curriculum and to building community at the College. It is recognized as one of the leading, most innovative college art museums in the country. The great part of this is due to the extraordinary vision and leadership of our Director, David Little, and contributions of the entire staff.

During the last year, the Mead has prevailed over the pandemic. David and the staff have reimagined the Museum, developing a powerful virtual presence and creative new programming. If anything, the Mead has expanded its outreach to the College and broader communities over the last year.

I hope you will use the Mead’s new online accessibility, as I have, to experience the joy, during these difficult days, in seeing and learning about a great work of art or exhibition in the Museum.

My thanks to the Museum team, the members of the Advisory Board, the many friends of the Mead, and the College for their continued hard work, support and engagement.

I look forward to a time when we can once again stand together in person in a Mead gallery enjoying a work of art.

Mead Art Museum Annual Report 2018–20 5 INTRODUCTION Nichole Bridges ’97

...new efforts toward increasing The Mead was my next-door neighbor. and materials. These direct diversity and accessibility across I lived in James my first year at experiences with art through close all areas of the Mead’s work make Amherst. From the east window of looking and careful handling formed the corner room that I shared with a critical foundation to my work this an exciting time to be a part my roommate, I saw the Mead Art after graduation, first as a museum of the Mead and support David E. Museum and Stearns Steeple. For most educator, then as a doctoral student in “Little’s leadership as director and residents of James and Stearns Halls, art history, and now, for over a decade, the Mead is a background to life as a as a museum curator specializing in chief curator.” first-year student. For me, however, historical art from Africa. the Mead emerged in the forefront of my first year and beyond. These many years later it is an honor Nichole Bridges ’97 completed a double major to serve the Mead in return as a in Fine Arts and French at Amherst. She is I interacted with the Mead’s collection member of the Mead Advisory Board. associate curator in charge, Arts of Africa, early that first fall term. William- I am excited by recent innovations Oceania, and the Americas at the Saint Louis Adolphe Bouguereau’s Le travail in programming that expand the Art Museum. interrompu (Work Interrupted) was Mead’s reach across Amherst’s the subject of my first formal analysis community and curriculum. The paper in Professor Natasha Staller’s Trinkett Clark Memorial Student introduction to western art history. Acquisitions program, the classroom I quickly appreciated the value of built in 2017 that offers specific examining the painting in person selections for close study by classes rather than its postcard version, and with a bonus panoramic view of art I returned to study it in the gallery storage, dynamic engagement with several times for the assignment. contemporary art and artists, and new Left: Unknown artist (Congolese, efforts toward increasing diversity Luba people). Kakishi (Friction Oracle), Senior year, I received a fellowship to and accessibility across all areas of the late 19th–early 20th century. Wood assist the Mead’s registrar, Linda Best, Mead’s work make this an exciting time with glass beads. The Barry D. Maurer with an inventory of mid-nineteenth- to be a part of the Mead and support (Class of 1959) Collection of African to early-twentieth-century African art David E. Little’s leadership as director art purchased with Amherst College collected by Barry D. Maurer ’59, which and chief curator. Discretionary Fund and funds from H. was later gifted to the Mead through Axel Schupf (Class of 1957). The Mead’s the generous support of H. Axel I hope you enjoy reading this annual current collection of African art owes Schupf (Class of 1957). The project report, which looks back over two much to the expertise and generosity was the serendipitous culmination of years of accomplishments at the Mead. of brothers Barry D. Maurer ’59 and a growing interest I had developed Along with my fellow Advisory Board Evan Maurer ’66, and the munificent through coursework in African art members, I look forward to supporting support of H. Axel Schupf ’57, a life with Professor Rowland Abiodun and the Mead team as they continue to trustee of Amherst College. the late Professor John Pemberton implement creative strategies for III. I relished handling and measuring bringing the Mead to the forefront every object, noting each one’s specific of even more students’ Amherst cultural origins in southern Congo, experience. northern Angola, or southwestern Nigeria, and documenting dimensions

6 Mead Art Museum Annual Report 2018–20 Mead Art Museum Annual Report 2018–20 7 L E T T E R F R O M T H E D I R E C T O R

This digital issue is also a sign of how life and culture changed dramatically in 2020, as we all maintained a healthy distance and for the most part viewed art and visited museums via a “computer screen."

There are many successes to celebrate over the last two years, including the Mead’s major traveling exhibition, Dimensionism: Modern Art in the Age of Einstein and a transformative gift from an anonymous donor of over 180 contemporary artworks. We’ve also made strides in experimentation with digital presentations and technology, and welcomed staff members in three key positions: Emily Potter- Ndiaye as the Dwight and Kirsten Poler & Andrew W. Mellon Head of Education and Curator of Academic Programs; Lisa A. Crossman, Curator of American Art and Arts of the Americas; and Olivia A. Feal, Museum Educator.

This digital issue is also a sign of how life and culture changed dramatically in 2020, as we all maintained a healthy distance and for the most part viewed art and This double issue of the Mead’s annual report, visited museums via a computer screen. The World Health Organization (WHO) declared the novel coronavirus (COVID-19) a global pandemic on March 11, 2020, spanning two academic years, is our first ever and by March 13, the Mead had closed its doors to the public (and remains closed all-digital presentation. In the new format, you at this time). Just over two months later, the killing of George Floyd in Minneapolis reminded us of the urgent need to combat systemic racism and, as a museum, to will immediately see the benefits of going digital: increase our efforts to reach and welcome audiences in meaningful ways. we’ve included more great images highlighting the Amid everything, the last year underscored the incredible talent, resilience, and collection, especially recent acquisitions; you can resourcefulness of the Mead staff. As you look through these pages, you will see view and share the report with ease; and we’ve the product of their work to offer the best education through art to Amherst offered links to interactive tours. In the future, students even under the most extraordinary circumstances.

we hope to expand the platform to enrich the possibilities even more. David E. Little John Wieland 1958 Director and Chief Curator he/him/his

8 Mead Art Museum Annual Report 2018–20 Mead Art Museum Annual Report 2018–20 9 EDUCATION

In the Chemistry Department, Professor Christopher Durr has coordinated a “lab” between the Mead and Beneski. He describes: “The idea is that students would go to a teaching space in the Mead where they would first look at minerals that have been used throughout art history as pigments. These minerals are made out of various elements across the periodic table which they can identify and discuss based on their semester of chemistry. Then we would turn to the art around the room which is actually made with the minerals they just studied. We will have art and artifacts spanning thousands of years that students can observe.” 1,285 45 COLLEGE STUDENTS IN CLASS SESSIONS AMHERST COLLEGE COURSES 16 AMHERST COLLEGE DEPARTMENTS 11 FIRST-YEAR SEMINARS 13 OTHER COLLEGE AND UNIVERSITY COURSES 781 ART OBJECTS VIEWED BY CLASSES IN STUDY ROOMS 12 Mead Art Museum Annual Report 2018–19 AMHERST COLLEGE CLASSES MAKING A VISIT TO THE MEAD 2018–19

American Studies (AMST) 111 Global Valley 215 “The Embodied Self” in American Culture and Society 224 The Neo-Western 468 Research Methods in American Culture

Anthropology (ANTH) 220 Collecting the Past

Architecture (ARCH) 101 Language of Architecture (ARHA-101)

Art and the History of Art (ARHA) 135 Art and Architecture of Europe, 1400s–1800 (ARCH-135, EUST-135) 145 The Modern World (EUST-145, SWAG-145) 213 Printmaking I: The Hand-Printed Image 218 Photography I 258 Art, Things, Spaces, and Places (ARCH-258, EUST-258) 319 Working in Series: The Interdisciplinary Connection between Drawing and the Hand-Printed Image 327 Printmaking II: Further Investigations of the Hand-Pulled Print 350 Practice and Theory of Art History 384 The Replicated Image in Japanese Art: Woodblock Prints, Postcards, and Photographs (ASLC-384) 385 Witches, Vampires, and Other Monsters

Asian Languages and Civilizations (ASLC) 144 Religion in Ancient India (RELI-143) 152 Introduction to Buddhist Traditions (RELI-152)

Black Studies (BLST) 377 Bad Black Women AMHERST COLLEGE CLASSES MAKING A VISIT OTHER COLLEGE AND UNIVERSITY CLASSES TO THE MEAD 2018–19 (CONTINUED) MAKING A VISIT TO THE MEAD 2018–19

Chemistry (CHEM) BARD COLLEGE CLEMENTE COURSE IN THE HUMANITIES 151 Introductory Chemistry Art History 101 371 Inorganic Chemistry HAMPSHIRE COLLEGE Environmental Studies Experiential Drawing 225 Environmental Philosophy (PHIL-225) Global Contemporary Art Global Renaissance First-Year Seminars (FYSE) Intermediate Drawing 103 Drugs in History Literature and Community 110 Encounters with Nature 111 Literature of Love UNIVERSITY OF MASSACHUSETTS AMHERST 115 Goya and His World African Literature 119 Coexistence: Christians, Muslims, and Jews in Spain Ancient Civilizations 124 Faulty Vision Environmental History of Latin America 125 Geology of the American West Math 126 Manifestos Photo I: Image Capturing 128 Growing Up in America Urban Cultures of Tokyo-Shanghai 131 Thinking through Improvisation Visual Storytelling 132 Food and Culture K–12 GROUP VISIT French (FREN) Hartsbrook High 342 Women of Ill Repute: Prostitutes in Nineteenth-Century French Literature

History (HIST) 360 Revolutionary America 419 On Nationalism

Philosophy (PHIL) 111 Philosophical Question

Political Science (POSC) 160 Sexualities in International Relations (SWAG-160)

Psychology (PSYC) 206 The Psychology of Play

Sexuality, Women’s and Gender Studies (SWAG) 344 Gender and Technology

Spanish (SPAN) 211 Literature and Culture of the Hispanic World 222 Short Stories from the Hispanic World 237 Art as Protest in Spain and Latin America 317 Women in Early Modern Spain

Theater and Dance (THDA) 235 Critical Moves: Performance, Politics, and Activist Bodies

16 Mead Art Museum Annual Report 2018–19 Mead Art Museum Annual Report 2018–19 17 2019 WISE AWARD FOR STUDIO ART

Jonathan Jackson ’19

Presented annually in the spring to a student in the college for distinction in the completion of an original work or works of art and the purchase thereof.

The 2019 Wise Award was awarded to Jonathan Jackson for his portfolio of photographs titled The House Servant’s Directory. In his artist’s statement Jackson wrote that “during my senior year at Amherst College, I developed this body of work that focuses on my fifth Great Grandfather Robert Roberts.” In 1827 Roberts published The House Servant’s Directory based on his years of employment in the home of Christopher Gore, a former governor of Massachusetts. Jackson said, “I was interested in addressing the broad conceptual questions surrounding Roberts’s life.” The photographs “summarize a movement from the internally driven self-portrait work of my undergraduate years to images that embody Robert Roberts and further engage with the history of New England life.”

The images were made in the Gore family house, now a National Historic Landmark and museum called Gore Place, in Waltham Massachusetts. Jackson said he used Gore Place “as a site to activate the history of Robert Roberts. I aimed to build images that circulate around multiple tiers of thought,” including “images that visualize Robert Roberts and the history of domestic service in the United States . . . [and] photographs that call attention to the efforts of peoples within the African diaspora to either retain or dismiss a cultural identity.”

Jonathan Jackson (American, born 1996). Egg Wash (above) and Calling, Listening (left) from The House Servant’s Directory, 2019. Archival inkjet prints. Purchase with Richard Templeton (Class of 1931) Photography Fund

Mead Art Museum Annual Report 2018–19 19 LEADING THE EDUCATION DEPARTMENT

In August 2018 the Mead welcomed Emily Potter-Ndiaye from the Brooklyn Historical Society, where she had been the Director of Education. At the Mead, where she is the Dwight and Kirsten Poler & Andrew W. Mellon Head of Education and Curator of Academic Programs, Emily partners with faculty members to make the Mead and its collections a central part of Amherst College’s liberal arts education.

Emily is only the second person to head the Emily has added yet another dimension to the Education Department at the Mead. In 2009 academic program by working closely with Amherst created the position of Andrew W. faculty on research projects that add content Mellon Curator of Academic Programs to about art objects to the Mead database. She promote integration of the Mead’s collections also co-taught Eat! An Exhibition Seminar in into the Amherst College curriculum. Pamela the fall of 2019, with Amy Cox Hall, visiting Russell was hired to fill the role. From 2009 assistant professor in the Anthropology until 2017, Pam laid the groundwork for Department. The seminar resulted in the the current strong collaborations between exhibition Embodied Taste, co-organized by the Mead and faculty across disciplines. students in the class. Working one-on-one with professors to help shape class content, the Head of Education encourages faculty to include art objects in their courses and helps students make connections and discoveries in the collection. Prior to Pam’s arrival, only thirty classes visited the Mead on average per year. She increased class visits by over 400 percent, » Read more about Embodied Taste on page 109. before retiring in 2017 to pursue her own research.

20 Mead Art Museum Annual Report 2018–19 Mead Art Museum Annual Report 2018–19 21 EXHIBITIONS Timing Is Everything Organized by Vanja Malloy and Mila Hruba September 13, 2018–March 3, 2019

Drawn entirely from the Mead’s collection, this exhibition presented artworks and historical timepieces from different cultures that visualize concepts of time: linear and cyclical, absolute and relative. It questioned the role of time in memory and the many factors that have influenced human perception of the past, present, and future, including seasons, geography, and technology. Ideas of time told through historical and visual narratives have overlapping meanings and far-reaching significance for the sciences and humanities. Timing Is Everything juxtaposed some of the Mead’s masterworks, such as Thomas Cole’s The Past and The Present, with artworks by contemporary artists Lorna Simpson, Shuli Sadé, and Motoda Hisaharu. The works in the show presented a small fraction of the ways humans imagine and make tangible notions of temporality. Space within the exhibition was created for members of the community to share personal and cultural reflections regarding time.

Klea McKenna (American, born 1980). Web Study #11 and Web Study #18, 2015. Gelatin silver photograms. Museum Purchases with gift of funds from Scott H. Nagle (Class of 1985)

24 Mead Art Museum Annual Report 2018–19 Mead Art Museum Annual Report 2018–19 25 Fragmented Identities: The Gendered Roles of Women in Art through the Ages Organized by Mila Hruba and Vanja Malloy August 4, 2018–February 17, 2019 (Second Installation)

This exhibition brought together a variety of artistic styles and materials to examine the ways in which women have been depicted, or have represented themselves, across media, centuries, and the globe. Images from the Mead’s holdings revealed prevalent themes of representation, in which womanhood appears fragmented into slivers of socially constructed roles: women as mothers, as objects of beauty and desire, as manual workers, and even as allegorical symbols. The artworks on view represented not just different time periods and cultures, but also an array of motives. These include portraits commissioned to impress and elevate the social position of a woman’s family, and self-reflective images that speak to the sitter’s private sense of identity. The exhibition drew critical attention to the way social and cultural constructs have shaped the depiction and self-representation of women through the ages, inspiring further conversation about how gendered social roles and expectations continue to evolve.

26 Mead Art Museum Annual Report 2018–19 Abstraction: Recent Acquisitions Organized by Vanja Malloy and Mila Hruba September 13, 2018–February 17, 2019

This exhibition celebrated the recent growth of the Mead’s collection of abstract art through generous donations of paintings, sculptures, and works on paper to the museum’s collection. Richard and Brooke Kamin Rapaport ’84, P’16 donated works by Caio Fonseca and Leon Polk Smith; the Leon Polk Smith Foundation donated four additional works by Smith on view. And Amherst College students selected Analia Saban’s print as part of the Trinkett Clark Memorial Student Acquisition Program. We are proud to welcome all of the artworks in this exhibition to the Mead so they may be studied and enjoyed for many years to come.

Left: Leon Polk Smith (American, 1906–1996). Untitled, 1959. Paint on paper. Gift of the Leon Polk Smith Foundation

Mead Art Museum Annual Report 2018–19 29 Shonibare (shown in his studio, far left) was born in London in 1962 and moved to Lagos, Nigeria, at the age of three. He returned to the UK to study Fine Art at Byam Shaw School of Art, London and Goldsmiths College, London, where he received his Master’s in Fine Art. He has become well known for his exploration of colonialism and postcolonialism within the contemporary context of globalization.

Photo of Yinka Shonibare by James Mollinson

Rotherwas Room Project 4: Yinka Shonibare CBE, The American Library Collection (Activists) Organized by David E. Little October 30, 2018–January 6, 2019

This exhibition featured the Mead’s new acquisition The American Library Collection (Activists), a large-scale installation by the British-Nigerian artist Yinka Shonibare CBE. The first artwork by Shonibare to enter the Mead’s collection, The American Library Collection (Activists) was on view as the fourth iteration of the Rotherwas Project, which situates contemporary art in the museum’s seventeenth-century oak-paneled room. Bound in his signature brightly colored Dutch wax printed fabric, Shonibare’s selection of 233 books tells a specific story of how knowledge is organized and disseminated. The spines of the books are emblazoned in gold foil with the names of activists, including artists, musicians, academics, and writers. Many of them are immigrants or the children of immigrants, while others have spoken against immigration, diversity, and equality. Shelved together, they draw attention to the debates that emerge across time and cultures. In addition to the wrapped books, the collection comes with a bookshelf designed by the artist and a card catalog of names from the books. The work is an extension of the artist’s 2017 series The American Library Collection, which included other groupings, such as (Politicians), (Filmmakers), and (Scientists).

30 Mead Art Museum Annual Report 2018–19 Views from the Eastern Front: Russian Modernism and the Great War On view at the Amherst Center for Russian Culture Organized by Galina Mardilovich November 12, 2018–February 17, 2019

Rockwell Kent (American, 1882–1971). Clover Fields, 1939–40. OIl on canvas. Gift of Mrs. Robert A. Arms in memory of Robert A. Arms (Class of 1927)

Views from the Eastern Front: Fleeting Nature: Russian Modernism and the Great War Selections from the Collection On view at the Amherst Center for Russian Culture Organized by Galina Mardilovich, Vanja Malloy, and Emily Potter-Ndiaye Organized by Galina Mardilovich March 5–September 10, 2019 November 12, 2018–February 17, 2019 Today people across the world collectively grapple with the impact of human activity on the Views from the Eastern Front: Russian Modernism and the Great War considered the role of World Earth. As we struggle to imagine landscapes of the future, it is instructive to examine the War I in Russia through the arts one hundred years later. Presenting works by Russian avant-garde past. This exhibition presented the ways in which artists across time and geography have artists and symbolist poets, it explored the ways in which Russian modernists engaged with the turned to the genre of landscape to understand the relationship among people and societies themes of war, violence, and destruction during this fateful period. and their environments. Rendered in different media, the views and scenes encompass the American South, Norwegian mountains, the French countryside, and beyond. The works offered viewers a chance to consider how nature continues to enthrall, challenge, and awe, despite the increasing threat from human action—or inaction. Fleeting Nature: Selections from the Collection featured works by Thomas Cole, Claude Monet, James McNeill Whistler, Winslow Homer, Nikolai Roerich, André Derain, and Barbara Bosworth, among others.

32 Mead Art Museum Annual Report 2018–19 Mead Art Museum Annual Report 2018–19 33 Dimensionism: Modern Art in the Age of Einstein Organized by Vanja Malloy Berkeley Art Museum, Berkeley, California, November 7, 2018–March 3, 2019 Mead Art Museum, March 28–July 28, 2019 Zimmerli Art Museum, Rutgers, New Brunswick, New Jersey, September 3, 2019–January 5, 2020

34 Mead Art Museum Annual Report 2018–19 Mead Art Museum Annual Report 2018–19 35 DIMENSIONISM: MODERN ART IN THE AGE OF EINSTEIN

By Mary Elizabeth Strunk

Most people have heard of Einstein’s general theory of relativity. Far fewer are aware of the theory’s impact on twentieth-century art.

Dimensionism: Modern Art in the Age of Einstein traced the interactions of European and To represent the artists’ responses to an array American artists who signed the 1936 “Dimensionist Manifesto” in Paris. Amid wartime of early twentieth-century scientific revolutions, dislocation, Alexander Calder, Joseph Cornell, Marcel Duchamp, Naum Gabo, Helen Lundeberg, Curator of American Art Vanja Malloy (pictured Joan Miró, and others who signed the Manifesto were brought together by their shared interest above) organized the exhibition into four groups: in scientific revolutions. Together, they became an engine for avant-garde innovation. “Einstein’s Theory of Relativity (the new fourth dimension),” “Macrocosm (the suddenly endless Radical breakthroughs in physics and astronomy galvanized Calder and his international peers cosmos),” “Microcosm (the surprise of tiny to become “pioneers of creative art,” who (in the words of the Manifesto) vowed to shun “older worlds),” and “Quantum Theory (the certainty of forms and exhausted essences as prey for less demanding artists!” Two-dimensional painters uncertainty).” sought to add a third dimension, and three-dimensional sculptors sought to add a fourth dimension, the better to explore Einstein’s concept of relativity, in which space and time are no Dimensionism traveled to the UC Berkeley Art longer separate categories. “All the old borders and barriers of the arts suddenly disappear,” Museum and Pacific Film Archive and the Zimmerli wrote the authors of the Manifesto, because “this new ideology has elicited a veritable Art Museum at Rutgers University. It was on view at earthquake, a landslide, in the old artistic system.” the Mead from March 28 through July 28, 2019— ideally timed with the opening of Amherst College’s Curator of American Art Vanja Malloy developed Dimensionism from her ten years of research new Science Center—and was supported by on Calder and her in-depth knowledge of both the Manifesto and art-science relations. The generous grants from the Henry Luce Foundation exhibition, which included seventy works drawn from collections around the US and Europe, and and the Terra Foundation for American Art. from the Mead, offered fresh interpretations of individual master artworks, while challenging conventional perceptions of a schism between modern art and modern science. The catalogue was published by MIT Press.

36 Mead Art Museum Annual Report 2018–19 Mead Art Museum Annual Report 2018–19 37 Paste, Stick, Glue: Constructing Collage in Russia Constructing Collage Part 2 Organized by Galina Mardilovich Organized by Galina Mardilovich On view at the Amherst Center for Russian Culture June 11–October 6, 2019 March 4–June 3, 2019

38 Mead Art Museum Annual Report 2018–19 Mead Art Museum Annual Report 2018–19 39 ENGAGEMENT

Mead Art Museum Annual Report 2018–19 41 PUBLIC PROGRAMS 2018

SEPTEMBER

1 LEAP (Learn, Explore, Activate, and Participate) Orientation Breakfast 3 Involvement Fair 4 Meet & Greet at the Mead 5 Time Management: Part 1, Workshop 13 New Exhibitions Opening Reception 20 Gallery Talk with Vanja Malloy 25 Keeping Time: Improvisation with Stephen Nachmanovitch 26 Time Management: Part 2 28 Timing Is Everything with Emily Potter-Ndiaye

OCTOBER

2 Keeping Time: Sleep at the Mead 11 Keeping Time: Queering Time 16 New Faculty Luncheon at the Mead 19 Gallery Talk with Mila Hruba 26 Artist Lunch with Megan Smith 26 Workshop with Megan Smith 26 Artist Talk with Megan Smith 30 Rotherwas Project 4: Yinka Shonibare Conversation /Cross-Disciplinary “Debate” 30 Rotherwas Project 4: Opening Reception

NOVEMBER

1 Thinking Through Improvisation: Dean Moss Performance 3 Keeping Time: Community Fall Back! Community Day 7 John Abodeely at the Mead 12 Views from the Eastern Front: Russian Modernism 14 Keeping Time: AC Choral Society Concert

DECEMBER

11 Gallery Talk with David E. Little 12 Massages at the Mead 12–20 Study at the Mead 13 4x4 String Quartet Performances 42 Mead Art Museum Annual Report 2018–19 PUBLIC PROGRAMS 2019 JANUARY

18 Collecting 101 Presentations and Public Vote

FEBRUARY

8 Faculty Teaching Workshop 20 Stephen Vitiello Artist Talk 22 Appreciating and Understanding African Art with Nichole Bridges ’97 and Rowland Abiodun 24 Black Arts Matter Festival 28 Symmetry in Art and Science

MARCH

1 Lost Art of Concentration 2 Close Looks Public Tour 3 Timing Is Everything Closing Concert 4 Constructing Collage in Russia Opening Reception 7 Linefork Screening and Q&A 8 Art of Concentration Meditation 22 Art of Concentration Guided Looking 28 Dimensionism Talk 28 Dimensionism Reception

APRIL

3 Dimensionism Gallery Talk with Vanja Malloy 3 Innovation and Invention: Recital by Ellen Mutter 10 Seeing the Moon in Islamic Traditions 12 Red-Eye, Black-Tie Spring Formal 15 Admissions Open House Tour 23 South Asian Student Association Chai Time 23 Cross-Cultural Exchange Workshop 24 Team Mead: Yoga Club 25 Clothing Swap 25 Dimensions Fashion Show (pictured) 29 Dimensionism Scholars’ Day 30 Advancement Department Tour with David E. Little

44 Mead Art Museum Annual Report 2018–19 Mead Art Museum Annual Report 2018–19 45 How do you think your liberal arts education benefits your work in the finance industry?

I believe it gives me a unique perspective. Political science taught me how to evaluate, read, and write critically. As simple as that sounds, it is sometimes taken for granted. It taught me how to synthesize large amounts of dense information and distill it down to a clear and concise message. This is applicable to any field of work and is especially useful in the finance A Conversation with field where you are required to look at large sets of data, make decisions, and explain results Charmel Maynard ’07 to various groups of people.

As the chair of the Mead Advisory Board’s Budget Committee—and associate vice Who is your favorite artist currently? president, chief investment officer, and university treasurer at the University of Miami— Charmel Maynard ’07 knows a bit about finance. His work and expertise on the Budget Kehinde Wiley continues to be my favorite artist. His mixture of contemporary figures mixed Committee helps the Mead’s staff and Advisory Board understand the Mead’s budgets with historic settings and bright colors makes his work very appealing to me. and financial situation more clearly. A political science major during his time at Amherst, Charmel didn’t visit the Mead very much, but he “was always into art in some form or fashion.” What are you excited about the Mead doing in the future?

The Mead’s financial and administrative assistant, Eileen Smith, asked him some questions Besides continuing to collect exceptional pieces of art, I am excited for the Mead to continue about art, finance, and the importance of pursuing a liberal arts education. using the museum as a site for learning for students at Amherst College.

Why do you think students should get involved in the arts, even if they are pursuing other degrees? What benefits do you think it brings?

I believe having a healthy balance between the “left side” and “right side” of the brain is key to a student’s pursuit of a liberal arts education. I think art helps students take abstract thoughts and feelings and convert them into words, a skill that I believe is PaJaMa (American, 1937– important in life. ca.1950) (Paul Cadmus, American, 1904–1999; Jared French, American, What would you say to a student to convince them to visit an art museum? 1905–1988; and Margaret French, American, 1906– I would tell them not to be intimidated by the word “art” or “museum.” I would tell them 1998). Jared French, NYC, that the Mead does a great job of making the space as welcoming as possible for new art ca. 1946. Gelatin silver lovers or experienced art aficionados. print. Purchase with Acquisition Fund

What drew you to working in a university?

Higher education is a place where eager and hungry students, of all levels, come to fulfill their dreams, to begin or continue crafting their own story. Being a part of something What artist would you like to see have an exhibition at the Mead? much bigger than each of us is inspiring and motivating. I fundamentally believe that if I can just do my part—through stability of our balance sheet and growth in our I think it would be cool to see an alum such as Jared French (Class of 1925) or Terry Rodgers endowment—I make a difference. It’s the reason we are all here. (Class of 1969) have an exhibition at the Mead.

46 Mead Art Museum Annual Report 2018–19 Mead Art Museum Annual Report 2018–19 47 STUDENT MUSEUM EDUCATORS & INTERNS 2018–2019

Jane Bragdon ’20 Julia Molin ’21 Emilie Flamme ’20 (Syeda) Zahra Shah ’22 Troy Gelobter ’21 Julia Shea ’21 Julia Gill ’20 Yosen Wang ’22 DeLyna Hadgu ’21 Maggie Wu ’22

Left: Mead Art Museum Summer Interns, 2019. L to R: Julia Shea ’21, Julia Molin ’21, Yosen Wang ’22, Arielle Kirven ’21, Maggie Wu ’22. Above: Amherst College Museum Interns End of Summer Presentations ft. interns from the Mead Art Museum, Beneski Museum of Natural History, and the Emily Dickinson Museum. Summer 2019.

Mead Art Museum Annual Report 2018–19 49

GROWING AN ART COLLECTION

Over the last five years the Mead has focused on collecting art made from the 1980s to today, a strategy designed to emphasize the relevance of contemporary art to current Amherst students. The art we acquire is diverse and many of the artists are still actively making art. Amherst writer Katharine Whittemore wrote about the relevance of contemporary art to present-day students in her article The Mead Generation.

Growth and evolution are critical to a museum collection, especially a college museum like the Mead that educates a new cohort of talented students every year. We want to make sure that when you come to Amherst College, you can study art across ages and cultures— whether ancient art with Professor Frederick T. Griffiths or South Asian art with Professor Yael Rice—as well as art and culture of In 2018–20 the Mead added many important your own time. For students, it’s exciting to go to the museum and artworks to the collection, dating from the see artwork that was made in 2020, and to meet and learn from a living artist—all as part of your college education. It reinforces a vital sixteenth century to 2020. message: your generation is creating important art.

As you can see in the following list of recent acquisitions, in 2018–20 Seventy percent of our recent purchases are the Mead added many important artworks to the collection, dating by artists of color. from the sixteenth century to 2020. In 2019 we benefited from a gift of over 180 contemporary artworks from an anonymous donor.

50 Mead Art Museum Annual Report 2018–19 Mead Art Museum Annual Report 2018–19 51 ACQUISITIONS

GIFTS AND ACQUISITIONS

As always, each new work came to the Mead as a gift or as an acquisition purchased with endowed funds. Thomas Cole’s oil paintings Past and Present (1838), for example, were museum purchases in 1950. Examples of purchases made by the Mead in 2018–20 are the suite of photographs by Heather Agyepong titled Too Many Blackamoors, and Helen Lundeberg’s painting Biological Fantasy.

Generous gifts of art are frequently made by Amherst alums. Foundational gifts in the past were made by brothers Herbert L. Pratt, Class of 1895, and George D. Pratt, Class of 1893, who donated many American works; Thomas P. Whitney, Class of 1937, who gave generously from his Russian collection; and Edward C. Crossett, Class of 1905, and Frank Austen, Class of 1950, whose gifts are vital to the Mead’s print collection. The tradition of generous gifts of art from Amherst graduates continues: in the list below, look for names followed by Amherst class years.

You might be surprised to hear that some of the Mead’s most treasured artworks came to us thanks to non-Amherst graduates, such as our magnificent Claude Monet painting, Morning on the Seine, Giverny (1897), gifted by Miss Susan Dwight Bliss. In 2019 we benefited from a gift of over 18O contemporary artworks from an anonymous donor.

ACQUISITIONS 2018 - 2019

Heather Agyepong (British, born 1990). Too Many Blackamoors, #1. Commissioned by Autograph ABP as part of “The Missing Chapter Collective,” 2015, printed in 2019. Archival giclée pigment print. Purchase with Richard Templeton (Class of 1931) Photography Fund, 2019.45.1

Heather Agyepong (British, born 1990). Too Many Blackamoors, #2. Commissioned by Autograph ABP as part of “The Missing Chapter Collective,” 2015, printed in 2019. Archival giclée pigment print. Purchase with Richard Templeton (Class of 1931) Photography Fund, 2019.45.2

Heather Agyepong (British, born 1990). Too Many Blackamoors, #3. Commissioned by Autograph ABP as part of “The Missing Chapter Collective,” 2015, printed in 2019. Archival giclée pigment print. Purchase with Richard Templeton (Class of 1931) Photography Fund, 2019.45.3

Heather Agyepong (British, born 1990). Too Many Blackamoors, #4. Commissioned by Autograph ABP as part of “The Missing Chapter Collective,” 2015, printed in 2019. Archival giclée pigment print. Purchase with Richard Templeton (Class of 1931) Photography Fund, 2019.45.4

Heather Agyepong (British, born 1990). Too Many Blackamoors, #5. Commissioned by Autograph ABP as part of “The Missing Chapter Collective,” 2015, printed in 2019. Archival giclée pigment print. Purchase with Richard Templeton (Class of 1931) Photography Fund, 2019.45.5

Heather Agyepong (British, born 1990). Too Many Blackamoors, #6. Commissioned by Autograph ABP as part of “The Missing Chapter Collective,” 2015, printed in 2019. Archival giclée pigment print. Purchase with Richard Templeton (Class of 1931) Photography Fund, 2019.45.6

Heather Agyepong (British, born 1990). Too Many Blackamoors, #7. Commissioned by Autograph ABP as part of “The Missing Chapter Collective,” 2015, printed in 2019. Archival giclée pigment print. Purchase with Richard Templeton (Class of 1931) Photography Fund, HEATHER AGYEPONG 2019.45.7

Heather Agyepong (British, born 1990). Too Many Blackamoors, #8. Commissioned by Agyepong re-created poses inspired by nineteenth-century Autograph ABP as part of “The Missing Chapter Collective,” 2015, printed in 2019. Archival cartes-de-visite of Lady Sarah Forbes Bonetta, the adopted giclée pigment print. Purchase with Richard Templeton (Class of 1931) Photography Fund, West African goddaughter of Queen Victoria. The title is 2019.45.8 drawn from Queen Elizabeth I’s racist edict from 1596: “Her Majesty understanding that several blackamoors have Heather Agyepong (British, born 1990). Too Many Blackamoors, #9. Commissioned by lately been brought into this realm, of which kind of people Autograph ABP as part of “The Missing Chapter Collective,” 2015, printed in 2019. Archival there are already too many here . . . her Majesty’s pleasure giclée pigment print. Purchase with Richard Templeton (Class of 1931) Photography Fund, therefore is that those kind of people should be expelled 2019.45.9 from the land.”

54 Mead Art Museum Acquisitions 2018–2019 Mead Art Museum Acquisitions 2018–2019 55 Chritiane Baumgartner (German, born 1967). Pfad, 2003. Woodcut on Japanese Misumi paper. Gift of Perrin and Ted Stein (Class of 1984), 2018.10

Alfred Birdsey (Bermudan, born in Great Britain, 1912–1996). Sailing in a Bermuda Harbor, n.d. Watercolor. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.24

Richard Bosman (American, born in India, 1944). Drowning Man, 1981. Woodcut. Anonymous Gift, 2018.35

Richard Bosman (American, born in India, 1944). Life Raft, 1983–84. Color etching. Anonymous Gift, 2018.36

Andrea Bowers (American, born 1965). Crowd Drawing: LA Club Kid, Girl Waving, 1998/2004. Colored pencil on paper. Anonymous Gift, 2018.37

Mark Bradford (American, born 1961). Untitled, 2012. Etching, photogravure, and chine collé. Anonymous Gift, 2018.38.1–6

Joe Bradley (American, born 1975). Fat Cross for Bill West, 2007. Vinyl on wood. Anonymous Gift, 2018.41.a–c

Slater Bradley (American, born 1975). Explosions in the Sea II, 2004–5. Chromogenic Cris Brodahl (Belgian, born 1963). Sin Sick, 2007. Oil on linen. Anonymous Gift, 2018.48 print. Anonymous Gift, 2018.39 Roger Broders (French, 1883–1953). Menton: Paris – Lyon – Méditerranée, ca. 1923. Slater Bradley (American, born 1975). Lithograph. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.40 Roosevelt Island, 2005. Chromogenic print. Anonymous Gift, 2018.40 Roger Broders (French, 1883–1953). Monaco, Monte-Carlo aux pays du soleil: Paris – Lyon – Méditerranée, ca. 1920. Lithograph. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), Sarah Braman (American, born 1970). Good 2019.41 with Houseplants, 2003. Colored plexiglass, acrylic paint, and sticker paper. Anonymous Pablo Bronstein (Argentine, active in London, born 1977). Monument to the Classical Gift, 2018.42 Vernacular, 2005. Ink and gouache on paper. Anonymous Gift, 2018.50 Candice Breitz (South African, born 1972). Cecily Brown (British, born 1969). Untitled no. 59, 2000. Watercolor. Anonymous Gift, Becoming Julia, 2003. Dual-channel video 2018.54 installation. Anonymous Gift, 2018.43 Cecily Brown (British, born 1969). Untitled no. 60, 2000. Watercolor. Anonymous Gift, Birgit Brenner (German, born 1964). Er tat mir 2018.55 leid und ich tat es, 2007. Mixed media on paper. Anonymous Gift, 2018.44 Delia Brown (American, born 1969). Some of My Clothes, 2002. Inkjet prints on Fujicolor Crystal Archive paper. Anonymous Gift, 2018.51 Birgit Brenner (German, born 1964). Ich verdanke alles meinen Brüsten, 2007. Mixed Delia Brown (American, born 1969). Untitled (Smoking), 2001. Watercolor. Anonymous Gift, media on paper. Anonymous Gift, 2018.45 2018.52

Birgit Brenner (German, born 1964). Ich weiss mir etwas Liebes, 2005. Printout, paper, ink on Delia Brown (American, born 1969). Untitled (Sunbathing), 2001. Oil on canvas. Anonymous paper. Anonymous Gift, 2018.46 Gift, 2018.53

Cris Brodahl (Belgian, born 1963). Manipulator, 2003. Oil on canvas. Anonymous Gift, 2018.47 Edgar Bryan (American, born 1970). Nobody, 2004. Acrylic, oil, and watercolor. Anonymous Gift, 2018.56

56 Mead Art Museum Acquisitions 2018–2019 Mead Art Museum Acquisitions 2018–2019 57 Matt Bryans (British, born 1977). Untitled (Mother & Baby), 2005. Rubbed-out newspaper. Anonymous Gift, 2018.33

Matt Bryans (British, born 1977). Untitled (Thistles), 2005. Erased newspaper cuttings. Anonymous Gift, 2018.34

Bernard Buffet (French, 1928–1999). Paris – French Railways, 1967. Offset print. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.38

Charles Ephraim Burchfield (American, 1893–1967). House and Trees in the Snow, ca. 1940. Watercolor on Dietzgen “Excello” paper. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.09

Matthew Byloos (American, born 1974). Hancock Park no. 5, 2004. Acrylic, enamel, and prismacolor on mahogany panel. Anonymous Gift, 2018.57

Ingrid Calame (American, born 1965). CgONG! (made from “#70 3/4 Working Drawing”), 2002. Enamel paint on aluminum. Anonymous Gift, 2018.59

Alexander Calder (American, 1898–1976). McGovern for McGovernment, 1974. Lithograph. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.10

Brian Calvin (American, born 1969). Sundown, 2002. Acrylic on canvas. Anonymous Gift, 2018.60

Brian Calvin (American, born 1969). Unseen Sea, 2003. Acrylic on canvas. Anonymous Gift, 2018.61

Carter (John Carter) (American, born 1970). Untitled, 2006. Paper and ink on handmade marbleized paper. Anonymous Gift, 2018.62

Carolyn Castaño (American, born 1971). Venus, 2004. Mixed media on paper. Anonymous Gift, 2018.63

John White Cerasulo (American, born 1974). Untitled, Eindhoven, 2006. Oil on linen. Anonymous Gift, 2018.64

Enrique Chagoya (American, born in Mexico, 1953). Illegal Alien’s Guide to Somewhere over the Rainbow, 2010. Color lithograph with chine collé on handmade paper. Purchase, Trinkett Clark Memorial Student Acquisition Fund, 2019.01

Jonathan Lyndon Chase (American, born 1989). Forehead Kiss, 2018. Stone and plate lithograph on Somerset satin white paper, digital print on brown paper bag, and CDR with seven soundtracks. SONYA CLARK Purchase, Trinkett Clark Memorial Student Acquisition Fund, 2019.07.a, b

Asa Cheffetz (American, 1897–1965). In the Hill Country (Vermont), ca. 1943. Wood engraving. Gift For her performance piece Unraveling, Sonya Clark invited of Norton and Irene Starr, 2018.264 viewers to gently unravel a Confederate flag thread by thread with her and talk about the experience while doing Asa Cheffetz (American, 1897–1965). In Deep Vermont, ca. 1947. Wood engraving. Gift of Norton it. Above, Amherst College President Biddy Martin and Clark and Irene Starr, 2018.265 were documented unraveling on the Mead’s Instagram. Professor Clark teaches in the Art and History of Art Sonya Clark (American, born 1967). Unraveling, 2015 to present. Cotton Confederate battle Department and is a graduate of the College. A major survey flag. Purchase with Charles H. Morgan Fine Arts Fund, 2018.11 of her twenty-five year career opens at the National Museum of Women in the Arts in Washington, DC, on March 3, 2021.

58 Mead Art Museum Acquisitions 2018–2019 Mead Art Museum Acquisitions 2018–2019 59 Francesco Clemente (Italian, born 1952). Five Grottesche, 1999. Pastel on paper. Anonymous Zoe Crosher (American, born 1975). Almost the Same (Allon Willis), 2011. Digital chromogenic Gift, 2018.65.1–5 prints. Anonymous Gift, 2018.58

Francesco Clemente (Italian, born 1952). Two Women, 1999. Pastel on paper. Anonymous Gift, Rosson Crow (American, born 1982). Haunted House with Stella, 2006. Oil on linen. Anonymous 2018.66 Gift, 2018.104

Caleb Considine (American, born 1982). Telepathic Affair, 2008. Oil on canvas. Anonymous Gift, Andrew Dadson (Canadian, born 1980). Tic Tac, 2014. Oil on linen. Anonymous Gift, 2018.72 2018.67 Arthur Bowen Davies (American, 1862–1928). Inspiration, n.d. Pastel. Bequest of Dr. Sanford B. Liz Craft (American, born 1970). Birdman, 2003. Bronze. Anonymous Gift, 2018.68 Sternlieb (Class of 1946), 2019.11

José de Creeft (American, born in Spain, 1884–1982). Embracing Figures, n.d. Marble. Bequest Jay Davis (American, born 1975). The Royal Family, 2002. Acrylic and vinyl on canvas. of Dr. Sanford B. Sternlieb (Class of 1946), 2019.28 Anonymous Gift, 2018.73

José de Creeft (American, born in Spain, 1884–1982). Reclining Nude, n.d. Marble. Bequest of Joseph Decker (American, born in Germany, 1853–1924). Cherries, n.d. Oil on canvas. Bequest Dr. Sanford B. Sternlieb (Class of 1946), 2019.29 of Dr. Sanford B. Sternlieb (Class of 1946), 2019.14

José de Creeft (American, born in Spain, 1884–1982). Nude, n.d. Wood. Bequest of Dr. Sanford Adolf Dehn (American, 1895–1968). Sunflowers, n.d. Watercolor. Bequest of Dr. Sanford B. B. Sternlieb (Class of 1946), 2019.30 Sternlieb (Class of 1946), 2019.12

Gregory Crewdson (American, born 1962). Untitled (bud man), 1999. Laser direct chromogenic Adolf Dehn (American, 1895–1968). Central Park, n.d. Watercolor. Bequest of Dr. Sanford B. print. Anonymous Gift, 2018.69 Sternlieb (Class of 1946), 2019.13

Gregory Crewdson (American, born 1962). Untitled (flower mound), 1999. Laser direct Henri Deschamps (French, 1898–1990); after Pablo Picasso (Spanish, active in Spain and France, chromogenic print. Anonymous Gift, 2018.70 1881–1973). Côte d’Azur, 1962. Lithograph. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.44 Gregory Crewdson (American, born 1962). Untitled (girl in window), 1999. Laser direct chromogenic print. Anonymous Gift, 2018.71 Harry Dodge (American, born 1966). Mano Cornuto, 2011. Concrete, galvanized pipe, wood wrapped in wool and cotton, beeswax, urethane resin, flexible slip, and paint. Anonymous Gift, 2018.75

Harry Dodge (American, born 1966). Night Goat, 2012. Silicone flexible foam, concrete, epoxy, glue, fir dowels, and urethane alkyd gloss paint. Anonymous Gift, 2018.76

Do-Ho Suh (South Korean, born 1962). Karma, 2002. Colored pencil on paper. Anonymous Gift, 2018.186.1–5

Peter Doig (British, active in Trinidad, born 1959). Untitled (Gideon Boots Khaki Suit) from White Columns Print Portfolio (edition 41 of 100), 2007. Letterpress print. Anonymous Gift, 2018.204.4

Daniel Dove (American, born 1971). Geometree, 2004. Oil on canvas. Anonymous Gift, 2018.77

Stef Driesen (Belgian, born 1966). Belief, 2004. Oil on linen. Anonymous Gift, 2018.78

Stef Driesen (Belgian, born 1966). Untitled, 2006. Oil on canvas. Anonymous Gift, 2018.79

Moira Dryer (Canadian, 1957–1992). The Pleasure Principle, 1991. Acrylic on wood. Anonymous Gift, 2018.80

Angela Dufresne (American, born 1969). Rio Das Marte Hanna Two Times, 2005. Oil on canvas. Anonymous Gift, 2018.81

Carroll Dunham (American, born 1949). Mesokingdom Three (Empty Hills), 2001. Mixed media on linen. Anonymous Gift, 2018.82

Mead Art Museum Acquisitions 2018–2019 61 Martin Eder (German, born 1968). Der gläserne Tag, 2004. Oil on canvas. Anonymous Gift, 2018.84

Martin Eder (German, born 1968). Die Nervenwaage – nachts, 2004. Oil on canvas. Anonymous Gift, 2018.85

Tim Eitel (German, born 1971). Untitled (Cops), 2008. Oil on canvas. Anonymous Gift, 2018.86

Jeff Elrod (American, born 1966). Mythic Proportions, 2000. Acrylic on canvas. Anonymous Gift, 2018.87

Jeff Elrod (American, born 1966). R.S.V.P., 1997. Acrylic on canvas. Anonymous Gift, 2018.88

Dario Escobar (Guatemalan, born 1971). Turbulence II, 2008. Wood and polyurethane paint. Anonymous Gift, 2018.89.1–30

Dario Escobar (Guatemalan, born 1971). Untitled, 2008. Cotton paper and motor oil. Anonymous Gift, 2018.90.1–9

Dario Escobar (Guatemalan, born 1971). Untitled, 2006. Oil and watercolor on paper. Anonymous Gift, 2018.91

Roe Ethridge (American, born 1969). Untitled (Saratoga Springs), 2001. Chromogenic print. Gift of Sam Orlofsky (Class of 1998), 2018.262

Angus Fairhurst (British, 1966–2008). 6th Lower Expectations, 1997. Enamel paint on alumi- num panel. Anonymous Gift, 2018.92

Pierre Falize (French, 1876–1953). Prunier: Livre – Vite – Bien, ca. 1935. Lithograph. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.42

Angelo Filomeno (Italian, active in the United States, born 1963). Guilty, 2005. Embroidery on silk shantung stretched over linen. Anonymous Gift, 2018.93

Chris Finley (American, born 1971). Buddhacreature, 1971. Acrylic sign, enamel on canvas over wood. Anonymous Gift, 2018.94

Kim Fisher (American, born 1973). Carbon 17 (Bort Diamond), 2004. Oil on linen. Anonymous Gift, 2018.95

Rachel Foullon (American, born 1978). Lava Flow IV (Bombax ellipticum), 2004. Paper, chip- board, cast paper pulp, wire, and brads over cardboard armature. Anonymous Gift, 2018.96

Mark Fox (American, born 1963). Untitled (Cry, Idea, Work, Look), 2006. Ink, watercolor, crayon acrylic, marker, colored pencil, pen and ink, and gouache on paper and linen; tape and wire. Anonymous Gift, 2018.97

Carroll Dunham (American, born 1949). Particular Aspects (three), 2003. Mixed media on Phil Frost (American, born 1973). Soe Slaughter Surrender, 1999. Mixed media on wood and canvas. Anonymous Gift, 2018.83 canvas. Anonymous Gift, 2018.98

Steven Gontarski (American, born 1972). Blood III, 2000. Fiberglass and acrylic paint and plinth. Anonymous Gift, 2018.99

62 Mead Art Museum Acquisitions 2018–2019 Mead Art Museum Acquisitions 2018–2019 63

MONA HATOUM Ken Heyman (American, 1930–2019). On a Sidewalk in Harlem, New York, 1959, 1959. Gelatin silver print. Gift of John Chatzky and Deborah Mullin, 2018.12 Hatoum cast intestinal coils in silicone rubber to create this domestic mat. Ken Heyman (American, 1930–2019). Muddy Shoes, Newark, New Jersey, 1969, 1969. Take a close look as the coil pattern Gelatin silver print. Gift of John Chatzky and Deborah Mullin, 2018.13 beneath the clear rubber surface may be a rhythmic design or a grotesque Joseph Hirsch (American, 1910–1981). “Couple and One” from the deluxe portfolio internal organ. Couples, 1970. Lithograph. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.15 Joseph Hirsch (American, 1910–1981). Duo, 1964. Lithograph. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.16

David Hockney (British, born 1937). Dog Etching no. 4, 1998. Etching. Anonymous Gift, 2018.110

Henriette Grahnert (German, born 1977). It’s So Hard to Cover an Ugly Hip, 2006. Oil on canvas. Anonymous Gift, 2018.100

Matt Greene (American, born 1972). It’s Enough to Pretend We’re Alive, 2005. Acrylic and mixed media on canvas. Anonymous Gift, 2018.101

Fariba Hajamadi (American, born in Iran, 1957). Stretched Out Underground, Saying Nothing, Never Kissing, Given Silence for Silence, 1989. Lacquer and emulsion on birch and canvas. Anonymous Gift, 2018.102

Peter Halley (American, born 1953). Silver Prison, 2000. Acrylic and Roll-A-Tex on canvas. Anonymous Gift, 2018.103

Josephine Halvorson (American, born 1971). Hearth, 2009. Oil on linen. Anonymous Gift, 2018.105

Al Hansen (American, 1927–1995). Budweiser House Goddess, 1985. Cigarettes in wood box. Anonymous Gift, 2018.106

Hilary Harkness (American, born 1971). Iowa Class, 2002. Graphite on paper. Anonymous Gift, 2018.107

Mona Hatoum (British-Palestinian, born in Lebanon, 1952). Rubber Mat, 1996. Silicone rubber, Anonymous Gift, 2018.108

Todd Hebert (American, born 1972). Dew, 2004. Acrylic on canvas over wood. Anonymous Gift, 2018.109

Sophie von Hellerman (German, born 1975). Black Magic, 2005. Acrylic on canvas. Anonymous Gift, 2018.193

64 Mead Art Museum Acquisitions 2018–2019 Mead Art Museum Acquisitions 2018–2019 65 Henry Horenstein (American, born 1948). Wanda behind the Bar, Tootsie’s Orchid Lounge, Nashville, TN, 1974, negative 1974; printed later. Gelatin silver print. Gift of John Chatzky and Deborah Mullin, 2018.29

Henry Horenstein (American, born 1948). Connie Smith, Ryman Auditorium, Nashville, TN, 1972, negative 1972; printed later. Gelatin silver print. Gift of John Chatzky and Deborah Mullin, 2018.30

Henry Horenstein (American, born 1948). DeFord Bailey, Grand Ole Opry House, Nashville, TN, 1972, negative 1972; printed later. Gelatin silver print. Gift of John Chatzky and Deborah Mullin, 2018.31

Matthew Day Jackson (American, born 1974). Sacajawea (American Martyr Series), 2005. Scorched wood, wood-burned drawing, Sculpey, mother-of-pearl, abalone, epoxy, tooled leather, skull bead. Anonymous Gift, 2018.74

Xylor Jane (American, born 1963). Sick Heart, 2008. Oil on panel. Anonymous Gift, 2018.111

John Jurayj (American, born 1968). Untitled (Beirut on Fire, 1982, no. 1), 2005. Oil on linen. Anonymous Gift, 2018.112

Wassily Kandinsky (Russian, active in France, 1866–1944); printed by Mourlot Frères (French, ca. 1930); published by Tériade (French, established 1937). The Stars (Les étoiles), 1938. Color lithograph on Velin paper. Purchase with Wise Fund for Fine Arts, 2019.46

Wassily Kandinsky (Russian, active in France, 1866–1944); printed by Mourlot Frères (French, ca. 1930); published by Tériade (French, established 1937). Comets (Comètes), 1938. Color lithograph on Velin paper. Purchase with Wise Fund for Fine Arts, 2019.47

Gertrude Käsebier (American, 1852–1934). Mother and Children, 1904. Platinum print. Purchase with Wise Fund for Fine Arts, 2018.261

Toba Khedoori (Australian, active in the United States, born 1964). Untitled (Walkway), 2001. Graphite on tracing paper. Anonymous Gift, 2018.113

Karen Kilimnik (American, born 1955). Onyx Troika and Diamond Keeshond from the Enchanted Whistle, 2000. Water-soluble oil color, china marker, glitter, and archival glue on canvas. Anonymous Gift, 2018.114

Justin Kimball (American, born 1961). Liberty Street, 2017. Inkjet print. Gift of Ralph and Nancy Segall, 2018.268

Justin Kimball (American, born 1961). Oak Street, 2017. Inkjet print. Gift of Ralph and Nancy Segall, 2018.269

Justin Kimball (American, born 1961). Elk Street, 2017. Inkjet print. Gift of Ralph and Nancy Segall, 2018.270

Justin Kimball (American, born 1961). Broadway, 2017. Inkjet print. Gift of Ralph and Nancy Segall, 2018.271

66 Mead Art Museum Acquisitions 2018–2019 Justin Kimball (American, born 1961). Wyoming Avenue, 2017. Inkjet print. Gift of Ralph and Nancy Segall, 2018.272

Justin Kimball (American, born 1961). Niagara Street, 2017. Inkjet print. Gift of Ralph and Nancy Segall, 2018.273

Justin Kimball (American, born 1961). State Road, 2017. Inkjet print. Gift of Ralph and Nancy Segall, 2018.274

Justin Kimball (American, born 1961). Highway 5, 2017. Inkjet print. Gift of Ralph and Nancy Segall, 2018.275

Justin Kimball (American, born 1961). Mohawk, 2017. Inkjet print. Gift of Ralph and Nancy Segall, 2018.276

Justin Kimball (American, born 1961). State Line Highway 5, 2017. Inkjet print. Gift of Ralph and Nancy Segall, 2018.277

Kapwani Kiwanga (Canadian, active in France, born 1978). Greenbook, Mississippi (1940), 2018. Digital prints on Elementa paper. Purchase with William K. Allison (Class of 1920) Memorial Fund, 2019.05

Martin Kobe (German, born 1973). Untitled, 2006. Acrylic on canvas. Anonymous Gift, 2018.115

David Kramer (American, born 1963). Untitled, 2003. Mixed media. Anonymous Gift, 2018.116

David Kramer (American, 1963). Untitled (If you can make it here . . .), 2005. Oil on canvas. Anonymous Gift, 2018.117 JUSTIN KIMBALL

Udomsak Krisanamis (Thai, born 1966). Super Horny, 1997. Acrylic and collage on canvas. Professor Kimball's photographs from his award-winning book Elegy (2017) capture Anonymous Gift, 2018.118 economic decline and inequalities in streets, residences, and landscapes of small towns in Massachusetts, New York, Pennsylvania, and Ohio. “In Elegy,” he said, Walt Kuhn (American, 1877–1949). Pears, 1931. Oil on canvas. Bequest of Dr. Sanford B. “my photographs of people, their homes, neighborhoods, and streets document Sternlieb (Class of 1946), 2019.17 moments where we can see the weight of our time on our bodies and surroundings, while also marveling at the resilience and hope we can maintain under that weight. Walt Kuhn (American, 1877–1949). Red and Yellow Roses, 1937. Oil on canvas. Bequest of Dr. These pictures are about struggle, loss, hope, and what it is to be human; they point Sanford B. Sternlieb (Class of 1946), 2019.18 to a ubiquitous, yet invisible part of the American landscape.”

Ulrich Lamsfuß (German, born 1971). Untitled (Andy 1), 2002. Oil on canvas. Anonymous Gift, 2018.119

Paul Laster (American, born 1951). Orrespondance, 1991. Transparent tape and print media on paper. Anonymous Gift, 2018.120 Maurice Lefebvre-Lourdet (French, 1860–1934). Tous les soirs: Marigny théâtre, ca. 1900. Lithograph. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.39 Charles Ledray (American, born 1960). Untitled (3 garments), 1994. Fabric, thread, and tatting. Anonymous Gift, 2018.121 Tobias Lehner (German, born 1974). Untitled, 2004. Acrylic on canvas. Anonymous Gift, 2018.123

Charles Ledray (American, born 1960). Untitled (woman’s foundations tatting), 1994. Fabric, Annette Lemieux (American, born 1957). Father Knows Best, 1987. Wood and fabric. Anonymous thread, and tatting. Anonymous Gift, 2018.122 Gift, 2018.124

68 Mead Art Museum Acquisitions 2018–2019 Mead Art Museum Acquisitions 2018–2019 69 Kurt Lightner (American, born 1971). Untitled, 2005. Acrylic on Mylar collage. Anonymous Gift, 2018.125

Jörg Lozek (German, born 1971). Der Wettkämpfer, 2005. Oil on canvas. Anonymous Gift, 2018.126

Sarah Lucas (British, born 1962). Laugh?, 1998. Type-R print. Anonymous Gift, 2018.127

Danny Lyon (American, born 1942). Cotton Pickers, negative 1968/69; print 2011. Gelatin silver print. Gift of John Chatzky and Deborah Mullin, 2018.14

Danny Lyon (American, born 1942). Hoe Sharpener and the Line, negative 1968/69; print 2011. Gelatin silver print. Gift of John Chatzky and Deborah Mullin, 2018.15

Danny Lyon (American, born 1942). Guns Are Passed to the Picket Tower, the Line Returns from Work, negative 1968/69; print 2011. Gelatin silver print. Gift of John Chatzky and Deborah Mullin, 2018.16

Danny Lyon (American, born 1942). Meal Line, negative 1968/69; print 2011. Gelatin silver print. Gift of John Chatzky and Deborah Mullin, 2018.17

Danny Lyon (American, born 1942). Cell Block Table, negative 1968/69; print 2011. Gelatin silver print. Gift of John Chatzky and Deborah Mullin, 2018.18

Danny Lyon (American, born 1942). Aaron Evert Jones, Life, Habitual Criminal, negative 1968/69; print 2011. Gelatin silver print. Gift of John Chatzky and Deborah Mullin, 2018.19

Danny Lyon (American, born 1942). Heat Exhaustion (Man in Back of Truck), negative 1968/69; print 2011. Gelatin silver print. Gift of John Chatzky and Deborah Mullin, 2018.20 CONVERSATIONS WITH THE DEAD Danny Lyon (American, born 1942). Shakedown before Returning to the Building, negative 1968/69; print 2011. Gelatin silver print. Gift of John Chatzky and Deborah Mullin, 2018.21 “I’ve tried with whatever power I had to make this Danny Lyon (American, born 1942). Young Convict about to Discharge a Ten-Year Sentence. picture of imprisonment as distressing as it is in Apparatus to Open Cells, negative 1968/69; print 2011. Gelatin silver print. Gift of John reality. The few times I doubted the wisdom of my Chatzky and Deborah Mullin, 2018.22 attitude, I had only to visit someone in his cell to Danny Lyon (American, born 1942). Clearing Land, negative 1968/69; print 2011. Gelatin straighten out my mind. . . . silver print. Gift of John Chatzky and Deborah Mullin, 2018.23

Danny Lyon (American, born 1942). Return from the Fields, Shakedown at the Rear Gate. Twice “If back in 1968 I thought I could bring down the Every Work Day, negative 1968/69; print 2011. Gelatin silver print. Gift of John Chatzky and mighty walls of the Texas prison system by publishing Deborah Mullin, 2018.24 Conversations of the Dead and the works of [prisoner] Danny Lyon (American, born 1942). Day Room, negative 1968/69; print 2011. Gelatin silver Billy McCune then those years of work are among the print. Gift of John Chatzky and Deborah Mullin, 2018.25 greatest failures of my life. In Texas I photographed Danny Lyon (American, born 1942). Cell Block (Face behind Bars, Other Prisoners behind Him), a world of over 12,500 men and women. Within a negative 1968/69; print 2011. Gelatin silver print. Gift of John Chatzky and Deborah Mullin, 2018.26 generation that number exploded to over 200,000.” —Danny Lyon

70 Mead Art Museum Acquisitions 2018–2019 Danny Lyon (American, born 1942). Building Shakedown, negative 1968/69; print 2011. Gelatin Nick Mauss (American, born 1980). Before, 2005. Oil on canvas. Anonymous Gift, 2018.132 silver print. Gift of John Chatzky and Deborah Mullin, 2018.27 Dan McCarthy (American, born 1962). Huntington Beach, 2005. Oil on canvas. Anonymous Gift, Danny Lyon (American, born 1942). Convict Shouting during a Shakedown, negative: 1968/69; 2018.133 print 2011. Gelatin silver print. Gift of John Chatzky and Deborah Mullin, 2018.28 Paul McCarthy (American, born 1945). Santa Octopussy (red balls, 6 tentacles, 3 heads), 2004. Marcin Maciejowski (Polish, born 1974). Still-Life with Pitcher, 2003. Oil on linen. Anonymous Urethane, brass, and epoxy on wood crate. Anonymous Gift, 2018.134 Gift, 2018.128 Ryan McGinness (American, born 1972). Untitled, 2005. Acrylic on paper. Anonymous Gift, Christian Marclay (American and Swiss, born 1955). Blind Television (Hitachi), 2000. Modified 2018.135 television set and surveillance mirror. Anonymous Gift, 2018.130 Keegan McHargue (American, born 1982). Ease of Extraction I, II, III (Resources, Quarries, Christian Marclay (American and Swiss, born 1955). Vishh!, 2006. Pigment on Arches paper. Refinement), 2006. Acrylic on panel. Anonymous Gift, 2018.136.1–5 Anonymous Gift, 2018.131 Harland Miller (British, born 1964). I’m So Fucking Hard, 2002. Oil on canvas. Anonymous Gift, Reginald Marsh (American, 1898–1954). On the Boardwalk; verso: Showers, 1948. Watercolor. 2018.137 Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.19 Jonathan Monk (British, born 1969). Keep Still (Baldessari), 2001. Found photograph with Herbert Matter (American, born in Switzerland, 1907–1984). Untitled (Alexander Calder Letraset type. Anonymous Gift, 2018.138 hanging mobile in motion), 1936. Gelatin silver print. Purchase with Richard Templeton (Class of 1931) Photography Fund, 2018.09 Jonathan Monk (British, born 1969). Keep Still (Ed ’66), 2002. Found photograph with Letraset type. Anonymous Gift, 2018.139

Julie Moos (Canadian, born 1965). Domestic: Mae and Margaret, 2001. Chromogenic print. Anonymous Gift, 2018.140

Sarah Morris (American, born in England, 1967). Please, 1997. Gloss household paint on canvas. Anonymous Gift, 2018.141

Dave Muller (American, born 1964). Untitled from White Columns Print Portfolio, 2007. Letterpress print with plastic. Anonymous Gift, 2018.204.2

Takashi Murakami (Japanese, born 1962). Champagne Supernova Drawing, 2000. Computer printout, pen, and marker. Anonymous Gift, 2018.142

Christopher Myers (American, born 1974). Dead Giraffe, 2018. Appliqué fabric. Purchase with Wise Fund for Fine Arts, 2019.06

Jerome Myers (American, 1867–1940). Children in Playground, ca. 1925. Oil on canvas. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.20

Thomas Willoughby Nason (American, 1889–1971). The Grey Barn, 1931. Wood engraving. Gift of Norton and Irene Starr, 2018.263

Iván Navarro (Chilean, active in the United States, born 1972). Glow in the Dark, 2006. Neon. Anonymous Gift, 2018.143

Erin O’Keefe (American, born 1962). Built Work #38, 2018. Archival pigment print. Purchase with funds from Younghee Kim-Wait (Class of 1982), 2019.08

Alex Olson (American, born 1978). She Sells Seashells, 2010. Oil on canvas. Anonymous Gift, 2018.144

72 Mead Art Museum Acquisitions 2018–2019 Mead Art Museum Acquisitions 2018–2019 73 Christopher Myers (American, born 1974). Dead Giraffe, 2018. Appliqué fabric. Purchase with Aleksandr Orlsowski (Russian, born in Poland, 1777–1832). Une femme du roi, à cheval conduite Wise Fund for Fine Arts, 2019.06 par un eunuque (A King’s Wife on Horseback Led by a Eunuch), 1819. Chalk lithograph on laid paper. Purchase with Amherst Whitney Collection of Russian Art Fund, 2019.04

Ruby Osorio (American, born 1974). Off the Vine, 2003. Gouache, thread, and ink on paper. Anonymous Gift, 2018.145

Laura Owens (American, born 1970). Untitled, 2001. Watercolor, pencil, and collage on paper. Anonymous Gift, 2018.146

Jorgen Pardo (American, born in Cuba, 1963). Untitled, 1999. Ink on Mylar. Anonymous Gift, 2018.147

Eddie Peake (British, born 1981). Handschmeichler 11 (Non-Diagonal Twins), 2014. Painted aluminum, timber, foam, leather, bronze, and plaster. Anonymous Gift, 2018.148.a–g

Adam Pendleton (American, born 1984). City of Night, 2004. Silkscreen on canvas. Anonymous Gift, 2018.149

ADAM PENDELTON

By reproducing a text from John Rechy’s landmark gay novel, City of Night (1963), Adam Pendleton used painting to shape images and express ideas.

74 Mead Art Museum Acquisitions 2018–2019 Mead Art Museum Acquisitions 2018–2019 75 Adam Pendleton (American, born 1984). Untitled (bulletin 41) from White Columns Print Port- Matthew Ritchie (British, active in the United States, born 1964). The Dead Schiekorn, 2004. folio, 2007. Letterpress print. Anonymous Gift, 2018.204.1 Ink on Denril. Anonymous Gift, 2018.163

Elizabeth Peyton (American, born 1965). Leonardo di Caprio as the Sun King, 1998. Colored Hugo Robus (American, 1885–1964). Girl Doing Her Hair, 1956. Bronze. Bequest of Dr. Sanford pencil on paper. Anonymous Gift, 2018.150 B. Sternlieb (Class of 1946), 2019.31

Andrea Pezman (Slovak, born 1975). 3d>html< (Infinite Book), 2010. Etching on paper. Purchase Alexis Rockman (American, born 1962). The Hammock, 2000. Oil on wood. Anonymous Gift, with William W. Collins (Class of 1953) Print Fund, 2019.03.1–3 2018.164

Paul Pfeiffer (American, born 1966). Live Evil (Copenhagen), 2003. 30-second digital video loop, Norman Rockwell (American, 1894–1978). Ward Patton as Huck Finn, 1953. Gouache on ges- LCD monitor, DVD player, and cast plastic armature. Anonymous Gift, 2018.151 soed Masonite board. Gift of Ward H. Patton III (Class of 1969) in honor of his father, Ward H. Patton Jr. (Class of 1942), 2018.267 Magnus Plessen (German, born 1967). Allergie (Allergy), 2004. Oil on canvas. Anonymous Gift, 2018.152 Halsey Rodman (American, born 1973). To See a Landscape as It Is When I’m Not There (The Navigator’s Chair), 2007. Chair, aluminum foil, acrylic paint, aluminum tubing, epoxy putty. Monique Prieto (American, born 1962). Pic-n-Choose, 2000. Acrylic on canvas. Anonymous Gift, Anonymous Gift, 2018.165 2018.153 Kay Rosen (American, born 1943). Do Not Disturb from White Columns Print Portfolio, 2007. Monique Prieto (American, born 1962). Wistful III, 1998. Color aquatint etching on rag paper. Letterpress print. Anonymous Gift, 2018.204.3 Anonymous Gift, 2018.154 Christian Rosa (Brazilian, active in Austria and the United States, born 1982). At Home Rob Pruitt (American, born 1964). Spider Webs, 2002. Glitter and enamel paint on canvas. Alone, 2015. Oil, charcoal, pencil, and resin gel on canvas. Anonymous Gift, 2018.166 Anonymous Gift, 2018.155.1–4

Marc Quinn (British, born 1964). Italian Landscape (1), 2000. Permanent pigment on canvas. Anonymous Gift, 2018.129

David Ratcliff (American, born 1970). Forest, 2007. Acrylic on canvas. Anonymous Gift, 2018.156

Tyson Reeder (American, born 1974). Untitled, 2015. Dispersed pigment, rabbit-skin glue, and graphite on canvas. Anonymous Gift, 2018.157

Mary Reid Kelley (American, born 1979). Deep in Our Shell Hole Our Smelli Smellhole Deep in Shell Hole Just You and Me, 2008. Pencil on paper. Anonymous Gift, 2018.158

Mary Reid Kelley (American, born 1979). Mergy, Bergy, Fergy, 2008. Pencil on paper. Anony- mous Gift, 2018.159

Mary Reid Kelley (American, born 1979). Pizi, Wizi, Dizi, 2008. Pencil on paper. Anonymous Gift, 2018.160

Mary Reid Kelley (American, born 1979). The American Soldier Is Physically Strong and Virile, Aggressive and Virile Loyal and Virile, Virile and Virile, Hurried and Virile, and Seemingly Insur- mountable Virile, 2008. Pencil on paper. Anonymous Gift, 2018.161

Pierre Auguste Renoir (French, 1841–1919). Maternité, ca. 1912. Lithograph. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.25

Robin Rhode (South African, active in Germany, born 1976). Stacked Drawing (in 10 Parts), 2004. Gelatin silver prints face-laid on Plexiglas and mounted on aluminum. Anonymous Gift, 2018.162.1–10

76 Mead Art Museum Acquisitions 2018–2019 Mead Art Museum Acquisitions 2018–2019 77 Sterling Ruby (American, born in Germany, 1972). Sex, 2007. Lambda print laminated to Plexiglas. Anonymous Gift, 2018.169

Christoph Ruckhäberle (German, born 1972). Untitled, 2006. Oil on canvas. Anonymous Gift, 2018.170

Thomas Ruff (German, born 1958). Nudes pus08, 2000. Laserchrome and Diasec mounted. Anonymous Gift, 2018.171

Thomas Ruff (German, born 1958). Portrait (Elke Dende), 1988. Chromogenic print. Anonymous Gift, 2018.172

Analia Saban (American, born in Argentina, 1980). Decant (White) no. 2, 2011. Encaustic paint on canvas. Anonymous Gift, 2018.173

Analia Saban (American, born in Argentina, 1980). One-Armed, Three-Legged Chair (with Coil Spring Rubbings), 2014. Anonymous Gift, 2018.174

Saindré (French, 20th century). “Le Cévenol” visitez les Cévennes avec l’autorail, 1955. Lithograph. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.43

Dean Sameshima (American, born 1971). Safe Mingle, 2008. Silkscreen on canvas. Anonymous Gift, 2018.175

Yehudit Sasportas (Israeli, born 1969). A Surprise Reversal, 2008. Ink on paper. Anonymous Gift, 2018.176

Florian Schmidt (Austrian, born 1980). Untitled (Position) 4, 2010. Lacquer, acrylic gel, graphite, paper, cardboard, plastic, canvas, and wood. Anonymous Gift, 2018.177

Peri Schwartz (American, born 1951). Untitled (Self-Portrait), 1986. Oil on linen. Gift of the artist, 2019.48

Peri Schwartz (American, born 1951). Studio Self-Portrait, n.d. Willow charcoal on paper. Gift of the artist, 2019.49

Sekino Juni’chirō (Japanese, 1914–1988). Totsuka – Dondo Fire, n.d. Woodblock print. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.32

Sekino Juni’chirō (Japanese, 1914–1988). Cat on Rooftop, 1957. Woodblock print. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.33

Sekino Juni’chirō (Japanese, 1914–1988). Puppet Master / Bungoro on Stage, ca. 1953. Woodblock print. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.34

Sekino Juni’chirō (Japanese, 1914–1988). Daruma Doll Fair, ca. 1960s. Woodblock print. Alexander Ross (American, born 1960). Untitled, 1998. Oil on canvas. Anonymous Gift, Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.35 2018.167 Sekino Juni’chirō (Japanese, 1914–1988). Snow Scene, ca. 1970s. Woodblock print. Bequest of Brie Ruais (American, born 1982). Tailings Pond, 2001. Paper pulp and pigment. Anonymous Dr. Sanford B. Sternlieb (Class of 1946), 2019.36 Gift, 2018.168

78 Mead Art Museum Acquisitions 2018–2019 Mead Art Museum Acquisitions 2018–2019 79 Yinka Shonibare (British-Nigerian, born in England, 1962). The American Library Collection (Activists), 2018. 225 hardback books, bookcase, Dutch wax printed cotton textile, gold-foil names, and card catalog box. Purchase with William K. Allison (Class of 1920) Memorial Fund, 2018.08

Laurie Simmons (American, born 1949). The Instant Decorator (Black and White Living Room), 2002. Flex print. Anonymous Gift, 2018.180

Laurie Simmons (American, born 1949). Walking Hourglass, 1989. Vibachrome print. Anonymous Gift, 2018.181

Taryn Simon (American, 1975). Charles Irvin Fain, Scene of the Crime, Snake River, Melba, Idaho, 2002. Chromogenic print. Anonymous Gift, 2018.182

John Sloan (American, 1871–1951). Dolly Reading, ca. 1914. Oil on canvas. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.22

Zak Smith (American, born 1976). Most Accurate Self-Portrait to Date, 2004. Acrylic and ink on plastic coated paper. Anonymous Gift, 2018.183

Raphael Soyer (American, 1899–1987). Leah, n.d. Oil on canvas. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.23

Kamila Stanclova (Slovak, born 1945). Changing or Undressing the Skin, 1990. Etching on paper. Purchase with William W. Collins (Class of 1953) Print Fund, 2019.02

Frances Stark (American, born 1967). Repurposed Prayer Rug, 2004. Carbon, ink, collage, and paper with linen tape. Anonymous Gift, 2018.184

Despina Stokou (Greek, born 1978). The Accidental Woman (by J Coe), 2012. Mixed media on canvas. Anonymous Gift, 2018.185

Robert Storr (American, born 1949). A. Part 1–4, 2015. Oil on canvas stretched on panel. Gift of the American Academy of Arts and Letters, 2018.32.1–4

Louis Clyde Stoumen (American, 1917–1991). Deadly Disease, Times Square, New York, 1980. Vintage gelatin silver print. Gift of John Chatzky and Deborah Mullin, 2018.266

Philip Taaffe (American, born 1955). Still-Life with Ferns, 2000. Mixed media on canvas. Anonymous Gift, 2018.187

Andres Serrano (American, born 1950). Ringmaster Jonathan Lee Iverson, Ringling Bros. Francisco Tamagno (Italian, active in France, 1851–1933); published by Camis & Cie (French, late and Barnum & Bailey Circus, 2003. Cibachrome. Anonymous Gift, 2018.178 18th–early 19th century). Terminus absinthe bienfaisante, ca. 1900. Lithograph. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.37 Ben Shahn (American, born in Lithuania, 1898–1969). Wheat Field, ca. 1958. Offset litho- graph and hand coloring. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.27 Sam Taylor-Johnson (British, 1967). Wrecked, 1996. Chromogenic print. Anonymous Gift, 2018.188 Cindy Sherman (American, born 1954). Untitled, 1985–99. Chromogenic print. Anonymous Gift, 2018.179 Luc Tuymans (Belgian, born 1958). Untitled, 1990. Ink on square notepaper. Anonymous Gift, 2018.189 Everett Shinn (American, 1876–1953). Startled Nude, 1911. Red and white chalk on paper. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.21 Luc Tuymans (Belgian, born 1958). Untitled, 1996. Gouache on paper. Anonymous Gift, 2018.190

80 Mead Art Museum Acquisitions 2018–2019 Mead Art Museum Acquisitions 2018–2019 81 Unknown (German/Swiss). Armorial Panel, 1595. Glass. Gift of the Metropolitan Museum of Art, Unknown (German?). Armorial Panel, 16th–17th century. Glass. Gift of the Metropolitan New York, 2018, 2018.205 Museum of Art, New York, 2018, 2018.222

Unknown (Dutch). Warship, 1669. Glass. Gift of the Metropolitan Museum of Art, New York, Unknown (German?). Armorial Panel (Circular), 17th century(?). Glass. Gift of the Metropolitan 2018, 2018.206 Museum of Art, New York, 2018, 2018.223

Unknown (Dutch). Warship, 1665. Glass. Gift of the Metropolitan Museum of Art, New York, Unknown (Flemish/German). Saint James(?), 16th century. Glass. Gift of the Metropolitan 2018, 2018.207 Museum of Art, New York, 2018, 2018.224

Unknown (German?). Armorial Panel, 16th–17th century. Glass. Gift of the Metropolitan Unknown (German?). Armorial Panel, 17th century(?). Glass. Gift of the Metropolitan Museum Museum of Art, New York, 2018, 2018.208 of Art, New York, 2018, 2018.225

Unknown (German). Armorial Panel, 16th–17th century. Glass. Gift of the Metropolitan Museum Unknown (German?). Armorial Panel, 1554. Glass. Gift of the Metropolitan Museum of Art, of Art, New York, 2018, 2018.209 New York, 2018, 2018.226

Unknown (German?). Armorial Panel, 16th–17th century. Glass. Gift of the Metropolitan Unknown (German/Dutch). Armorial Panel, 1762. Glass. Gift of the Metropolitan Museum of Museum of Art, New York, 2018, 2018.210 Art, New York, 2018, 2018.227

Unknown (German?). Armorial Panel, 16th–17th century. Glass. Gift of the Metropolitan Unknown (German?). Armorial Panel (Circular), 16th–17th century. Glass. Gift of the Museum of Art, New York, 2018, 2018.211 Metropolitan Museum of Art, New York, 2018, 2018.228

Unknown (Dutch). Armorial Panel, 18th century(?). Glass. Gift of the Metropolitan Museum of Unknown (German?). Armorial Panel, 1572. Glass. Gift of the Metropolitan Museum of Art, Art, New York, 2018, 2018.212 New York, 2018, 2018.229

Unknown (German?). Madonna and Child and Saint Peter, 16th–17th century. Glass. Gift of the Unknown (German?). Armorial Panel, 1648. Glass. Gift of the Metropolitan Museum of Art, Metropolitan Museum of Art, New York, 2018, 2018.213 New York, 2018, 2018.230

Unknown (Dutch). Warship, 1667. Glass. Gift of the Metropolitan Museum of Art, New York, Unknown (German?). Armorial Panel, 16th–17th century. Glass. Gift of the Metropolitan 2018, 2018.214 Museum of Art, New York, 2018, 2018.231

Unknown (Dutch). Warship, 1670. Glass. Gift of the Metropolitan Museum of Art, New York, Unknown (Netherlandish/German). Armorial Panel with Female Saint Holding an Arrow, 16th 2018, 2018.215 century(?). Glass. Gift of the Metropolitan Museum of Art, New York, 2018, 2018.232

Unknown (Dutch). Warship, 17th century. Glass. Gift of the Metropolitan Museum of Art, New Unknown (German/Netherlandish). Story of Lazarus, 16th-century style. Glass. Gift of the York, 2018, 2018.216 Metropolitan Museum of Art, New York, 2018, 2018.233

Unknown (German?). Armorial Panel, 16th–17th century. Glass. Gift of the Metropolitan Unknown (European). The Crucifixion, 16th-century style. Glass. Gift of the Metropolitan Museum of Art, New York, 2018, 2018.217 Museum of Art, New York, 2018, 2018.234

Unknown (German?). Armorial Panel, 16th–17th century. Glass. Gift of the Metropolitan Unknown. School of Pietro Testa (Italian, 1612–1650). Dream of Saint Joseph; verso: Nude Museum of Art, New York, 2018, 2018.218 Male, n.d. Ink on laid paper. Gift of Loretta Howard (Class of 1983), 2018.235

Unknown (German?). Armorial Panel, 16th–17th century. Glass. Gift of the Metropolitan Koen van den Broek (Belgian, born 1973). Yellow Border no. 2, 2001. Oil on canvas. Museum of Art, New York, 2018, 2018.219 Anonymous Gift, 2018.49

Unknown (German?). Armorial Panel, 16th–17th century. Glass. Gift of the Metropolitan Ned Vena (American, born 1982). Alumni, 2007. Acid-etched glass on panel. Anonymous Gift, Museum of Art, New York, 2018, 2018.220 2018.191

Unknown (German?). Armorial Panel, 16th–17th century. Glass. Gift of the Metropolitan Claude Venard (French, 1913–1999). Le pot blanc, n.d. Oil on canvas. Bequest of Dr. Sanford B. Museum of Art, New York, 2018, 2018.221 Sternlieb (Class of 1946), 2019.26

82 Mead Art Museum Acquisitions 2018–2019 Mead Art Museum Acquisitions 2018–2019 83

GIFT OF STAINED GLASS FROM THE MET

WHAT: Twenty-nine panels of stained glass gifted to the Mead in 2018 by the Metropolitan Museum of Art in New York. They are decorated with warships, heraldic imagery (think coats of arms, rampant lions, fleurs-de-lys), biblical scenes, and saints.

WHO MADE THEM: Attributed to unknown Dutch and German artists, most of whom lived in the sixteenth or seventeenth century

DÉJÀ VU: If you’ve been to the Mead, chances are good you’re already familiar with these “new” acquisitions: the stained glass panels have graced the windows of the Mead’s historic English Rotherwas Room for decades.

BACKSTORY: The glass panels were once owned by Amherst College graduate George Dupont Pratt (Class of 1893), a philanthropist and art collector. On his death, in 1935, his stained glass collection was bequeathed to the Metropolitan Museum of Art. The entire group, over seventy panels in total, then came to Amherst College on indefinite loan from the Met in 1941. It is unclear why. There is no record of what the College did with the glass upon its arrival. The Mead building was not constructed until 1949.

Younger brother Herbert Lee Pratt (Class of 1895) died in 1944, leaving the Rotherwas Room, among other works of art, to Amherst College. The Rotherwas Room was installed in the museum, and some of the panels of stained glass were permanently installed with it. They had never been together before (brothers George and Herbert lived in separate mansions in Glen Cove, New York).

In 1980, everything that wasn’t cemented into the walls of Rotherwas was returned to the Met. The twenty-nine pieces of glass remained. Every year, the Met extended the loan for an additional year. Finally, in 2018 the Met decided to permanently deaccession the panels in Rotherwas and gift them to the Mead.

84 Mead Art Museum Acquisitions 2018–2019 Mead Art Museum Acquisitions 2018–2019 85 Banks Violette (American, born 1973). Twin-Screen (american murder anthem), 2003. Steel, hardware, plywood, tinted epoxy, sandbags, and graphite on paper. Anonymous Gift, 2018.192

Cornelius Völker (German, born 1965). Bücher (Books), 2008. Oil on canvas. Anonymous Gift, 2018.194

Brett Weston (American, 1911–1993). Reeds, Oregon, 1975. Vintage gelatin silver print. Gift from the Christian Keesee Collection, 2018.236

Brett Weston (American, 1911–1993). Cactus, Baja, ca. 1940. Vintage gelatin silver print. Gift from the Christian Keesee Collection, 2018.237

Brett Weston (American, 1911–1993). Mud Crack, Arizona, 1962. Vintage gelatin silver print. Gift from the Christian Keesee Collection, 2018.238

Brett Weston (American, 1911–1993). Grass, Water, 1975. Vintage gelatin silver print. Gift from the Christian Keesee Collection, 2018.239

Brett Weston (American, 1911–1993). Swan, Europe, 1971. Vintage gelatin silver print. Gift from the Christian Keesee Collection, 2018.240

Brett Weston (American, 1911–1993). Building Wall, Windows, Fence, Europe, 1971. Vintage gelatin silver print. Gift from the Christian Keesee Collection, 2018.241

Brett Weston (American, 1911–1993). Mountain and Trees, Landscape, Spain, ca. 1960. Vintage gelatin silver print. Gift from the Christian Keesee Collection, 2018.242

Brett Weston (American, 1911–1993). Interior, Museum, Santa Barbara, 1953. Vintage gelatin Brett Weston (American, 1911–1993). Leaf, Hawaii, 1979. Vintage gelatin silver print. Gift silver print. Gift from the Christian Keesee Collection, 2018.243 from the Christian Keesee Collection, 2018.252

Brett Weston (American, 1911–1993). Convent, Portugal, 1960. Vintage gelatin silver print. Gift Brett Weston (American, 1911–1993). Wood and Tree Bark, ca. 1980. Vintage gelatin silver from the Christian Keesee Collection, 2018.244 print. Gift from the Christian Keesee Collection, 2018.253

Brett Weston (American, 1911–1993). Shoreline, 1968. Vintage gelatin silver print. Gift from the Brett Weston (American, 1911–1993). Plants, Hawaii, ca. 1985. Vintage gelatin silver print. Christian Keesee Collection, 2018.245 Gift from the Christian Keesee Collection, 2018.254

Brett Weston (American, 1911–1993). Broken Window, 1969. Vintage gelatin silver print. Gift Brett Weston (American, 1911–1993). Century Plant, Hawaii, ca. 1985. Vintage gelatin silver from the Christian Keesee Collection, 2018.246 print. Gift from the Christian Keesee Collection, 2018.255

Brett Weston (American, 1911–1993). Cactus and Tree, ca. 1965. Vintage gelatin silver print. Gift Brett Weston (American, 1911–1993). Plants, Hawaii, ca. 1985.Vintage gelatin silver print. from the Christian Keesee Collection, 2018.247 Gift from the Christian Keesee Collection, 2018.256

Brett Weston (American, 1911–1993). Cactus, ca. 1960. Vintage gelatin silver print. Gift from the Brett Weston (American, 1911–1993). Banyan Roots, 1982. Vintage gelatin silver print. Gift Christian Keesee Collection, 2018.248 from the Christian Keesee Collection, 2018.257

Brett Weston (American, 1911–1993). Village with Graveyard, Spain, ca. 1960. Vintage gelatin Brett Weston (American, 1911–1993). Plants, ca. 1972. Vintage gelatin silver print. Gift from silver print. Gift from the Christian Keesee Collection, 2018.249 the Christian Keesee Collection, 2018.258

Brett Weston (American, 1911–1993). Kelp, Water, Foam, ca. 1951. Vintage gelatin silver print. Brett Weston (American, 1911–1993). Wall, Buildings, Landscape, ca. 1960. Vintage gelatin Gift from the Christian Keesee Collection, 2018.250 silver print. Gift from the Christian Keesee Collection, 2018.259

Brett Weston (American, 1911–1993). Tree Bark, ca. 1970. Vintage gelatin silver print. Gift from Brett Weston (American, 1911–1993). Terraced Fields, Guatemala, 1967. Vintage gelatin silver the Christian Keesee Collection, 2018.251 print. Gift from the Christian Keesee Collection, 2018.260

86 Mead Art Museum Acquisitions 2018–2019 Mead Art Museum Acquisitions 2018–2019 87

Pae White (American, born 1963). Black in Brussels, 2005. Mixed media. Anonymous Gift, ACQUISITIONS 2019 - 2020 2018.195

Pae White (American, born 1963). Web Sampler no. 51, 2001. Spider web on Perfect paper. Anonymous Gift, 2018.196

Christopher Williams (American, active in Germany, born 1956). AGFA Color (oversaturated), 2000. Chromogenic print. Anonymous Gift, 2018.197

Aaron Young (American, born 1972). Focus on the Four Dots in the Middle of the Painting for Thirty Seconds Close Your Eyes and Tilt Your Head Back (Yellin’ Melon), 2006. Silkscreen on Fred Becker (American, 1913–2004). Woman of the Quarry (study), ca. 1959. Pen and ink on canvas. Anonymous Gift, 2018.198 paper. Gift of Carla M. Becker, 2019.64

Aaron Young (American, born 1972). Freedom Fries, 2005. DVD. Anonymous Gift, 2018.199 Fred Becker (American, 1913–2004). Woman of the Quarry, 1959. Woodcut with collagraph on wove paper. Gift of Carla M. Becker, 2019.65 Aaron Young (American, born 1972). Platonic Heaven (Black and Gray), 2005. Acrylic and silkscreen on canvas. Anonymous Gift, 2018.200 Fred Becker (American, 1913–2004). Nets, 1981. Collagraph on magnesium plate. Gift of Carla M. Becker, 2019.66 Aaron Young (American, born 1972). The Young and the Restless (1), 2006. Rubber and spray glue on safety glass. Anonymous Gift, 2018.201 Andrea Carlson (Anishinaabe/Ojibwe, born 1979); published by Highpoint Center for Printmaking (American, founded 2001). Exit, 2018. Screenprint. Purchase, Trinkett Clark Brenna Youngblood (American, born 1979). NYT, 2013. Mixed media on panel. Anonymous Memorial Student Acquisition Fund, 2020.04 Gift, 2018.202 Edgardo Giménez (Argentine, born 1942). Edgardo Giménez en la galería Rioboo, 1964. Kevin Zucker (American, born 1976). Each Day a New Beginning, 2001. Acrylic, carbon Lithograph on paper. Gift of the Institute for Studies on Latin American Art (ISLAA), 2019.54 transfers, and enamel on canvas. Anonymous Gift, 2018.203 Edgardo Giménez (Argentine, born 1942). Edgardo Giménez, Edgardo Giménez, Edgardo Giménez, 1967, 1967. Lithograph on paper. Gift of the Institute for Studies on Latin American Art (ISLAA), 2019.55

Edgardo Giménez (Argentine, born 1942). Serie “Por siempre Ameba” de Luciana Daelli, 1968. Silkscreen on paper. Gift of the Institute for Studies on Latin American Art (ISLAA), 2019.56

Edgardo Giménez (Argentine, born 1942). Untitled (Fuera de Cafa proof), 1970. Offset lithograph on paper. Gift of the Institute for Studies on Latin American Art (ISLAA), 2019.57

Edgardo Giménez (Argentine, born 1942). Love (Butterfly), 1970. Silkscreen on paper. Gift of the Institute for Studies on Latin American Art (ISLAA), 2019.58

Edgardo Giménez (Argentine, born 1942). Fuera de Caja box design (Saturn), 1970. Offset lithograph on paper. Gift of the Institute for Studies on Latin American Art (ISLAA), 2019.59

Edgardo Giménez (Argentine, born 1942). Untitled wallpaper design (black cat positioned left), 1968. Silkscreen on paper. Gift of the Institute for Studies on Latin American Art (ISLAA), 2019.60

Edgardo Giménez (Argentine, born 1942). Untitled wallpaper design (black cat positioned right), 1968. Silkscreen on paper. Gift of the Institute for Studies on Latin American Art (ISLAA), 2019.61

Edgardo Giménez (Argentine, born 1942). Love (Hearts), n.d. Silkscreen on paper. Gift of the Institute for Studies on Latin American Art (ISLAA), 2019.62

88 Mead Art Museum Acquisitions 2018–2019 Mead Art Museum Acquisitions 2019–2020 89 Jenny Holzer (American, born 1950). Truisms Portfolio, ca. 1979–82. Matted offset lithographs on colored paper in cloth-bound portfolio box. Gift of Ronald F. Daitz (Class of 1961) and Linda F. Daitz, 2019.53.1–8

Jonathan Jackson (American, born 1996). The House Servant’s Directory, 2019. Archival inkjet print. Purchase with Richard Templeton (Class of 1931) Photography Fund, 2019.50.1–20

Shivangi Ladha (Indian, born 1991). Self-Portrait, 2017. Unique print, screen print, fabric, and Japanese paper. Purchase with William W. Collins (Class of 1953) Print Fund, 2019.67

Shivangi Ladha (Indian, born 1991). Self-Portrait, 2017. Unique print, screen print, and Japanese paper. Purchase with William W. Collins (Class of 1953) Print Fund, 2019.68

Sherrie Levine (American, born 1947). Parchment Knot: 4, 1985/2003. Acrylic on plywood. Gift of Sam Orlofsky (Class of 1998) in honor of David E. Little, Director of Mead Art Museum, 2019.63

Helen Lundeberg (American, 1908–1999). Biological Fantasy, 1946. Oil on board. Purchase with Wise Fund for Fine Arts, 2019.52

Jonathan Monk (British, active in Rome and Berlin, born 1969). Restaurant Drawing (Aeb a brilliant idea), 2019. Pencil and watercolor on thermal paper. Purchase with Wise Fund for Fine Arts, 2019.51

Dennis Oppenheim (American, 1938–2011). Reading Position for Second Degree Burn, 1970; printed ca. 2000. Chromogenic print on Fuji photographic paper. Gift of Dennis Oppenheim Estate and Studio/Archive, 2019.69

Shinique Smith (American, born 1971); printed by Valpuri Remling (Finnish, active in 21st century); published by Tamarind Institute (American, founded 1970). Wishing Words, 6/15/2017. Two-color lithograph with yarn and Kozo paper on tan Rives BFK paper. Purchase with William K. HELEN LUNDEBERG Allison (Class of 1920) Memorial Fund, 2020.03 Mixing art and science, Helen Lundeberg created abstract forms based on life forms Unknown (Burkina Faso); Mossi peoples. Doll (paog’ biga), mid-20th century. Wood. Gift from the observed under a microscope. About Lundeberg’s painting Biological Fantasy, Mead Ernie and Diane Wolfe Collection, 2020.01 intern Hannah Goldberg ’22 wrote, “As a biology major, I think that sometimes I get too bogged down by details of my coursework or experiments to recognize why I Unknown (Burkina Faso); Mossi peoples. Doll (paog’ biga), mid-20th century. Wood. Gift from the really love science: to discover something that is unknown and mysterious, like the Ernie and Diane Wolfe Collection, 2020.02 subject of this work. It makes me question what the subjects are, and, if they are not based on the more realistically depicted trees in the artist’s early works, what could Dyani White Hawk (Lakota/Sičaᶇğu Oyáte, born 1976); Highpoint Center for Printmaking these figures be and represent?” (American, founded 2001). Nakíčižiᶇ | Protect, 2019. Screenprint with metal foil. Purchase, Trinkett Clark Memorial Student Acquisition, 2020.06

Dyani White Hawk (Lakota/Sičaᶇğu Oyáte, born 1976); Highpoint Center for Printmaking (American, founded 2001). Wačháᶇtognaka | Nurture, 2019. Screenprint with metal foil. Purchase, Trinkett Clark Memorial Student Acquisition, 2020.05

90 Mead Art Museum Acquisitions 2019–2020 FIVE DAYS IN JANUARY: THE TRINKETT CLARK MEMORIAL STUDENT ACQUISITION PROJECT 2018–20

It’s been called “a crash course in art-world terminology and the vagaries of the art market.” For students, it’s an opportunity to purchase artwork that will become permanently part of the Mead’s collection.

Over five days in January, during Amherst’s interterm period, the Mead offers a class in how museums acquire artwork. Students study collection criteria, acquisitions policies, and the path of an artwork from the artist’s studio to the loading dock to gallery wall. After a quick overview of museum practices, with a focus on contemporary American prints, they venture into the art world, meet professionals in the field, and select one or more prints to purchase for the Mead.

ALSO KNOWN AS: Collecting 101: Acquiring Art for the Mead

DO THE MATH: The class has been in existence for just over a decade, a milestone the Mead celebrated in 2019–20 with the exhibition Ten Years of Trinkett Clark Memorial Student Acquisitions. So far over ninety students have participated and thirty-nine works have been added to the Mead’s collection.

WHAT’S THE IDEA? The class starts with two days of workshops at the Mead. On day three, they set out to visit galleries and studios, almost always ending up in New York City, especially the gallery district in Chelsea from 14th Street to Hudson Yards. Students meet with artists, gallery directors, and art dealers, while examining particular prints they think will fulfill the Mead’s collecting criteria, from content to care and preservation. They also are on the lookout for prints that will inspire research and engagement among students and professors for years to come.

REQUIRED READING: It varies, but the 2019 reading list included Randy Kennedy, “Black Artists and the March into the Museum” (New York Times, Nov. 28, 2015) and “Critical Curators: Interview with Kellie Jones” in EyeMinded: Living and Writing Contemporary Art (Duke University Press, 2011). SO IT’S A REAL CLASS? While students don’t receive academic credit for the class, they do gain valuable insights into museums, fine arts careers, and the creation, buying, and selling of art.

IF IT’S TUESDAY, THIS MUST BE—WARHOL? In 2019 the class visited C.G. Boerner Gallery in Chelsea and the studio of Rico Gatson in Brooklyn (left), and explored two exhibitions: Soul of a Nation: Art in the Age of Black Power at the Brooklyn Museum and Andy Warhol: From A to B and Back Again at the Whitney Museum of American Art. In 2020 the first stop was the Zea Mays Printmaking Studio in Florence, Mass., followed by trips to Powerhouse Arts Printshop in Brooklyn, and Lehmann Maupin Gallery and the International Print Center (IPCNY) in Chelsea.

The Trinkett Clark Memorial Student Acquisition Fund was established by H. Nichols “Nick” Clark, the husband of Trin- kett Clark, who was the Mead’s curator of American art from 2001 to 2006. Co-instructors of the class in 2018–20 were Mila Hruba, Emily Potter-Ndiaye, Jocelyn Edens, and Zoe Sasson. Guest speakers included Susan Daniels (associate for public speaking, Amherst College Writing Center), David E. Little, and Galina Mardilovich.

94 Mead Art Museum Annual Report 2018–20 Mead Art Museum Annual Report 2018–20 95 FINAL SELECTIONS: The class ends with a dramatic flourish as teams of students make competing presentations for the acquisitions they prefer and attendees vote for the winner. Through the project, the Mead acquired two prints in 2019 and three in 2020:

2019 2020

(Above) Enrique Chagoya (American, born (Above) Andrea Carlson (Anishinaabe/ in Mexico, 1953). Illegal Alien’s Guide to Ojibwe, born 1979); published by Somewhere over the Rainbow, 2010. Color Highpoint Center for Printmaking lithograph with chine collé on hand-made (American, founded 2001). Exit, 2018. paper; edition 19/30. Purchase, Trinkett Screenprint. Purchase, Trinkett Clark Clark Memorial Student Acquisition Fund Memorial Student Acquisition Fund

(Left) Jonathan Lyndon Chase (American, (Left) Dyani White Hawk (Lakota/ born 1989). Forehead Kiss, 2018. Stone Sičaᶇğu Oyáte, born 1976); published and plate lithograph on Somerset satin by Highpoint Center for Printmaking white paper, digital print on brown paper (American, founded 2001). Nakíčižiᶇ | bag, and CDR with seven soundtracks. Protect (far left) and Wačháᶇtognaka Purchase, Trinkett Clark Memorial | Nurture, 2019. Screenprint with Student Acquisition Fund metal foil. Purchases, Trinkett Clark Memorial Student Acquisition Fund

96 Mead Art Museum Annual Report 2018–20

PART II 2019–2020

In late August 2019, a group of first-year students took part in LEAP (Learn, Explore, Activate, and Participate) orientation at the Mead, and soon classes were meeting in the Mead’s classrooms and galleries at a hectic pace. Students gathered shoulder to shoulder in the lobby, before moving as a group to one of the classrooms in the building. In the galleries they clustered around works of art for close looking and conversation with a curator, professor, or their classmates.

Mead openings and events routinely draw large numbers of students, faculty, staff, and local audiences from the Five College region. Families and friends come for Homecoming tours in the fall, and alumni return to the Mead throughout the year, especially during the spring reunions. The Mead exists for the whole Amherst community to use: to learn from and engage with art and one another in real time.

All that changed in the middle of March 2020 when COVID-19 made social distancing a necessity. For the safety of all, Amherst College closed the campus, and with rare exceptions the Amherst community began working and attending classes remotely. The question became: How could Mead staff continue to carry out our mission of making the collection and other resources available for the education and enjoyment of the community? #Adaptability

The Mead’s collection, of which over 95% is digitized, became an essential resource for student research and classes. And the Mead’s talented staff began the process of developing additional digital resources, from programs via Zoom to virtual exhibitions, which connected the community with the Mead.

In 2020 the world confronted illness, death, economic struggle, racial injustice, disinformation, and misunderstanding. At the Mead, we look forward to a future when we are all closer and can welcome students, staff, faculty, alumni, and the community back to the museum. EDUCATION

In 2020 the question became: How could Mead staff continue to carry out our mission of making the collection and other resources available for the education and enjoyment of the community? 992 39 COLLEGE STUDENTS IN CLASS SESSIONS AMHERST COLLEGE COURSES 18 AMHERST COLLEGE DEPARTMENTS 6 FIRST-YEAR SEMINARS 695 ART OBJECTS VIEWED BY CLASSES IN STUDY ROOMS 6 OTHER COLLEGE AND UNIVERSITY COURSES

Mead Art Museum Annual Report 2019–20 103 WISE AWARD FOR STUDIO ART 2020

The Wise Award is presented every spring to a student in the College for distinction in the completion of an original Jiajia Zhang, ’22 work or works of art. Jiajia Zhang ’22 received the award after submitting three mixed media works. One work in the series will join the Mead’s permanent collection. The final selection was postponed because of constraints related to the COVID-19 pandemic.

Zhang said that her series was inspired by “the recent anti-Asian and Sinophobic hate crimes against Chinese British individuals.” Responding to her desire to “tell Chinese British and Chinese diaspora history, as well as revolt against government and societal negligence of Chinese immigrant issues,” the works zero in on a story of Sinophobic violence.

“This piece was inspired by installation artist Cai Guo-Qiang, who recalled in an interview of his that gunpowder was originally invented in China by an alchemist in search of a medicine for immortality: gunpowder in Chinese, I realized, is in fact not called “gun powder” but “fire medicine.” This piece places us in one of the first times gunpowder was used against the Chinese people on a large scale: The First Opium War. Each individual is depicted, in silhouette form, being shot and killed but rather than simply dying, the explosion seems to rise above him and evolve into an animal. These are the five animals, also called ‘five symbols,’ or ‘five forms’ in Chinese mythology: each represents a different stage in one’s life, different parts of one’s body, and different emotions in one’s mind. Therefore, these pieces reflect the duality of gunpowder in Eastern/Western narratives: as a force of destruction, or an elixir for immortality?”

Jiajia Zhang, Fire Medicine. Black gouache, marker, pen

Mead Art Museum Annual Report 2019–20 105 AMHERST COLLEGE CLASSES MAKING A VISIT TO THE MEAD 2019–20

American Studies (AMST) 111 Global Valley 224 The Neo-Western

Anthropology (ANTH) 304 The Photograph

Art and the History of Art (ARHA) 154 Art and Architecture of South Asia (ARCH-154, ASLC-154) 159 Modernity and the Avant-Garde 187 Native American Art (LLAS-187) 213 Printmaking I: The Hand-Printed Image 319 Working in Series: The Interdisciplinary Connection between Drawing and the Hand-Printed Image French (FREN) Asian Languages and Civilizations (ASLC) 101 Elementary French 123 Arts of Japan (ARHA-123) 103 Intermediate French 152 Introduction to Buddhist Traditions (RELI-152) 220 Reinventing Tokyo: The Art, Literature, and Politics of Japan’s Modern Capital German (GERM) 316 German Cultural History from 1800 to the Present Black Studies (BLST) 294 Black Europe History (HIST) 122 Readings in the European Tradition II Chemistry (CHEM) 126 Medieval Europe in a Mediterranean Context (500–1500) 371 Inorganic Chemistry Latinx and Latin American Studies (LLAS) English 186 Pre-Columbian Art and Architecture (ARHA-186) 226 Fiction Writing I 301 Literature and Culture of the Hispanic World (SPAN-301) 343 British Romantic Poetry: Nature and the Imagination 448 Body in Peril: An Exploration of Tragedy through Poetic Form Music (MUSI) 227 Jazz History after 1945 European Studies (EUST) 127 Early Modern Europe in a Global Context ( HIST-127) Philosophy (PHIL) 260 Introduction to Feminist Philosophy: Subjectivity, Embodiment, and Situatedness Film and Media Studies (FAMS) 221 Foundations in Video Production (ARHA-221) Russian (RUSS) 332 Russian Lives First-Year Seminars (FYSE) 102 What Is Mainstream Music? Sexuality, Women’s, and Gender Studies (SWAG) 112 Beginnings 100 The Cross-Cultural Construction of Gender 115 Space and Place 105 Women, Gender, and Popular Culture 118 Food and Culture 120 Manifestos Spanish (SPAN) 123 Keywords in American Culture 101 Fundamentals of Spanish Language and Culture OTHER COLLEGE AND UNIVERSITY CLASSES MAKING EMBODIED TASTE: MAKING A VISIT TO THE MEAD 2019–20 FOOD STORIES IN THE ART MUSEUM

HAMPSHIRE COLLEGE Absurdism in Art, Literature, and Linguistics

MOUNT HOLYOKE COLLEGE The Haitian Literary Tradition: Revolution, Diaspora and Writing in French Now

UNIVERSITY OF MASSACHUSETTS AMHERST By Emily Potter-Ndiaye Advanced Drawing History of Photography Mediterranean Mosaic Painting

In fall of 2019 I teamed up with Visiting Assistant Professor of Anthropology Amy Cox Hall to lead Eat! An Exhibition Seminar, a 300-level anthropology course. The class of sixteen met at the Mead, and the course culminated in the CLASS MEETING ENTIRELY AT THE MEAD Anthropology 303: Eat! Exhibition Seminar exhibition Embodied Taste, organized by the students.

CHALLENGE: full sort to about a hundred objects, which the Use museum and food studies methods to students would view, do secondary research unpack important topics around food, eating, on, and finally boil down to an exhibition culture, and power from an anthropological checklist of thirty-five objects. perspective, while also investigating food as a recurring theme and subject of art across FIELDWORK: cultures and times. As a break from course readings, discussion, and research, we traveled to New York City to CONSTRAINTS: encounter food narratives in public contexts. We had a modest budget for design and We went on a food-truck tour of Midtown installation in the two-room Collins Gallery. Manhattan led by Turnstile Tours to see how Everything in the exhibition had to come from a tourism company creates narratives around the Mead’s collection or, given their proximity food, culture, and local history. Students and accommodating spirit, from the College’s studied the exhibition design of Chow: Making Archives and Special Collections. the Chinese American Restaurant at the Museum of Food and Drink in Williamsburg, SELECTION OF WORKS: Brooklyn. We stopped for shaved ice in the Before the semester, I created a long list of park and chatted with the purveyor, before Mead artworks relating to food and sorted it wrapping up the trip with an after-dark stroll into possible thematic threads to establish through the Met. proof of concept. Amy and I whittled down the

108 Mead Art Museum Annual Report 2018–19 Mead Art Museum Annual Report 2019–20 109 HUNGRY YET? To support the mood of the project, the students chose to paint the gallery walls in Sherwin-Williams colors White Flour and Cherries Jubilee.

STUCK IN THE MIDDLE: The hardest part of the project was the middle. Drawing from practical museum texts by Elaine Gurian (Civilizing the Museum) and Beverly Serrell (Exhibit Labels), Amy and I led collective brainstorming to home in on a “big idea” and title for the exhibition, as well as a general gallery layout and exhibition script. For most students, all of these steps revealed just how subjective a museum exhibition can be.

Take a virtual tour of the exhibition on » the Mead’s website.

Mead Art Museum Annual Report 2019–20 111 The course provided a lens into what we as curators, or viewers, can and should do with art, focusing on the modalities of our exhibition, as much as on the content." “ -Emily Potter-Ndiaye

PRIDE OF PLACE: The student curators were clear that although they did plan to include the Mead’s impressively large seventeenth-century painting Larder with a Servant, by Flemish artist Frans Snyders, they didn’t want that canvas to occupy the key “hook” position. Such prominent placement, they felt, would not express the main A student pauses to take notes near Frans Snyders (Flemish, 1579–1657). Larder with a Servant, ideas of the exhibition, which about 1635–40. Oil on panel. Museum purchase involved shifting from expected, traditional, and Eurocentric canons. Instead, they selected a more contemporary, relatable REPRESENTATION: painting by Serge Hollerbach that Another group, concerned that women of color, including those outside of the US, were depicts two young women in a underrepresented in the show, created a montage of videos from pop culture and YouTube that café or diner, sharing drinks and presented women as agents in their cooking. Finally, a group represented the labor of harvest and company. cultivation that is often invisible to consumers but foundational to the lives of those laborers and their families. They aimed their language not at the unaware consumer but at the person who may SPEAK, MEMORY: have some experience harvesting food. To encourage visitors to bring their memories and a sensory FEEDBACK: approach to looking at the Students described the Eat! class as challenging and stressful, but said it offered unique exhibition, some students chose opportunities to work in modalities they were unfamiliar with but eager for, and in collaboration. to incorporate audio of people Some said it was the best class they had taken. eating together and alone, as well as poetry. Another group took on AFTERLIFE: the class’s widespread interest While the pandemic has slowed down in-person projects for the short term, this one lives on in interactive components, and Serge Hollerbach (American, born Russia, 1923). Two through a virtual tour, and has seeded a partnership with Amherst Regional Public Schools for their made a recipe/memory station. Girls with Soft Drinks, 1977. Acrylic on paper. Gift of fourth-grade curriculum connecting family recipes, seeds, oral history, and portraiture. It is fitting Thomas P. Whitney (Class of 1937) that an exhibition about art and food that nourishes and defines us would continue to bear fruit.

Embodied Taste was on view at the Mead from December 11, 2019 through January 3, 2021.

112 Mead Art Museum Annual Report 2019–20 Mead Art Museum Annual Report 2019–20 113 EXHIBITIONS Take a virtual tour of the exhibition on » the Mead’s website.

Starting Something New, Again: Recent Contemporary Art Acquisitions and Gifts (Part 2)

Organized by David E. Little September 10, 2019–July 18, 2021

Drawn from museum purchases and an extraordinary recent gift of 184 contemporary artworks from an anonymous donor, this exhibition builds on the Mead’s first and most comprehensive contemporary art exhibition, presented in fall 2019. Spanning four decades, from the 1980s to 2019, the exhibition highlights how artists experiment with media and use historical events, ideas, and images to address politics and the nature of art. Featured artists include Heather Agyepong, Moira Dryer, Mark Fox, Al Hansen, Sarah Morris, Thomas Ruff, Analia Saban, and Paul Mpagi Sepuya.

116 Mead Art Museum Annual Report 2019–20 Ten Years of Trinkett Clark Memorial Student Acquisitions (Part 1)

Organized by Galina Mardilovich September 10, 2019–July 26, 2020

This exhibition celebrated ten years of the Trinkett Clark Memorial Fund. Established in honor of Trinkett Clark (1951–2006), curator of American art at the Mead from 2001 until her untimely death, her family’s gift helped create an innovative annual program in which curators and educators work with Amherst College students to help select a contemporary print for the museum to purchase. Thanks to the Trinkett Clark Memorial Student Acquisition Fund, students have helped choose nearly forty works for the Mead thus far, and this exhibition showcased some of those diverse acquisitions.

118 Mead Art Museum Annual Report 2019–20 Rotherwas Room Project 5: Christopher Myers, The Red Plague Rid You for Learning Me Your Language

Organized by David E. Little September 10, 2019–May 31, 2020

The year 1611 gave birth to the Mead’s wood-paneled Rotherwas Room and William Shakespeare’s The Tempest. Inspired by this historical convergence, Myers presented an installation of contemporary sculptures, textiles, and boats that question why the figure of the “wildman” appears again and again in literature and arts from the twelfth century to the present day.

Bottom far left: Christopher Myers visited the Mead in February 2020 for an artist talk and workshops.

120 Mead Art Museum Annual Report 2019–20 Mead Art Museum Annual Report 2019–20 121 Rico Gatson (American, born 1966). St. James #3, 2015. Color pencil and photograph on paper. Purchase with Richard Templeton (Class of 1931) Photography Fund

Constructing Collage On view at the Amherst Center for Russian Culture Organized by Galina Mardilovich March 5, 2019–January 5, 2020 “Pursuing a Ghost”: Illustrating the Russian Classics On view at the Amherst Center for Russian Culture Plumbing the Mead’s collection, this three-part exhibition presented some of the ways in which artists have employed collage, and the related forms of photomontage and film montage, Organized by Galina Mardilovich throughout the twentieth and twenty-first centuries. As a technique, collage involves the physical September 30, 2019–January 3, 2020 layering of disparate elements often borrowed from other contexts. This capacity for fragmenting and combining has rendered collage both an inexhaustible medium and emblematic of the ever- changing modern world. This exhibition took as its starting point Oleg Vassiliev’s portfolio of lithographs The House with a Mezzanine (1991), which centers around the artist’s conversation across time with Anton Drawn from the museum’s collection as well as loans from Mount Holyoke College Art Museum, Chekhov’s short story. The show examined the complex relationship in Russian culture between the exhibition featured works by Joseph Cornell, Romare Bearden, Olga Rozanova, and Robert art and literature, the dynamic between image and text, and illustration and artistic freedom. Rauschenberg, among others.

122 Mead Art Museum Annual Report 2019–20 Mead Art Museum Annual Report 2019–20 123 Embodied Taste

Organized by Emily Potter-Ndiaye, Amy Cox Hall, and students in Eat! An Exhibition Seminar at the Mead: Abner Aldarondo, Violet Bain, Charissa Doerr, Anaid Garcia, Michael Gibson, Mollie Hartenstein, Charity Hilliman, Sabrina Lin, Sara Near, Sydney Nelson, Jiwoo Park, Parker Richardson, Ingrid Shu, Estevan Velez, Kalley Wasson, DJ Williams December 11, 2019–January 3, 2021

Embodied Taste offered visitors an immersive exploration of food and how it moves—through our bodies and our world. From seed to harvest, food is vibrant matter that incorporates labor, memory, and community. This exhibition asked audiences to explore the collaborations, connections, and stories that are consumed every time you take a bite. Works on view included paintings, photographs, drawings, posters, food-related ephemera, porcelain dinnerware, and sounds that challenge our ideas and feelings about food.

124 Mead Art Museum Annual Report 2019–20 Mead Art Museum Annual Report 2019–20 125 Ten Years of Trinkett Clark Memorial Student Acquisitions (Part 2)

Organized by Galina Mardilovich February 11–July 26, 2020

This exhibition celebrated ten years of the Trinkett Clark Memorial Fund. Established in honor of Trinkett Clark (1951–2006), curator of American art at the Mead from 2001 until her untimely death, her family’s gift helped create an innovative annual program in which curators and educators work with Amherst College students to help select a contemporary print for the museum to purchase. Thanks to the Trinkett Clark Memorial Student Acquisition Fund, students have helped choose nearly forty works for the Mead thus far, and this exhibition showcased some of those diverse acquisitions.

Shivangi Ladha (Indian, born 1991). Self-Portrait, 2017. Monoprint, screenprint, drawing, masking tape, and ink on Japanese paper. Purchase, Trinkett Clark Memorial Student Acquisition Fund

126 Mead Art Museum Annual Report 2019–20 Mead Art Museum Annual Report 2019–20 127 The Best Impressions: Inside the Edward C. Crossett Collection of Prints Organized by Galina Mardilovich February 11–July 26, 2020

This exhibition centered on one of the formative collections of the Mead Art Museum: the gift of more than 2,000 prints to the museum by Edward C. Crossett (Class of 1905) in 1951. Spanning a wide chronology and a range of printmaking techniques, Crossett’s vast collection included works by Albrecht Dürer, Rembrandt van Rijn, and Francisco Goya, as well as Édouard Manet, Edgar Degas, Henri Matisse, Pablo Picasso, and numerous others. The Best Impressions highlighted the breadth of the collection and the ways in which it can be used to explore topics such as the history of art, the development of printmaking, and the rise of a modern art market.

Kuz’ma Petrov-Vodkin (Russian, 1878–1939). Mother of God with Child, 1922. Oil on board. Gift of Thomas P. Whitney (Class of 1937)

One Scholar, One Work Organized by Michael Kunichika and David E. Little On view at the Amherst Center for Russian Culture February 12–June 12, 2020 First rotation: January 13–February 28, 2020: Wendy Salmond, Chapman University, on Salvador Dalí (Spanish, 1904-1989). St. George and the Kuz’ma Petrov-Vodkin’s Mother of God with Child (1922) Dragon, 1947. Etching. Gift of Mr. Edward C. Crossett

This exhibition was designed around the art of close looking. Every month, a different artwork—indeed, one masterpiece—from the Whitney Collection of Russian Art would serve as the focus. Visitors were invited to contemplate the artwork in the Gallery of the Amherst Center for Russian Culture (ACRC) on the second floor of Webster Hall. For each rotation, a renowned art historian would visit Amherst to discuss the work with us.

128 Mead Art Museum Annual Report 2019–20 Mead Art Museum Annual Report 2019–20 129 ART DIALOGUE: ON STARTING AT THE MEAD WITH LISA CROSSMAN AND NIKO VICARIO Lisa: “It’s been a pleasure to begin work with the Mead’s amazing collection, team, and student interns. While the pandemic has presented challenges, we’ve been finding new ways to engage with our communities virtually and to share our collection online.”

UNPACKING “ART OF THE AMERICAS”

Niko: “The category ‘art of the Americas’ suggests that the art produced in the US has something in common with art from other parts of the hemisphere. A question becomes how and to what degree Lisa Crossman do curators and professors want to emphasize commonality and to what degree [do] they want to The Mead’s inaugural curator of American art and art of the emphasize difference and particularity?” Americas. She holds a PhD in art history and Latin American studies from Tulane University and has extensive experience Lisa: “There’s not uniformity across museums as to what constitutes arts of the ‘Americas,’ and at in exhibitions, teaching, and research. One of her mandates at times, ‘American’ art is included in this category. I think of the United States as part of the Americas, the Mead is to help develop the collection in Latin American art but also recognize both the utility and problems associated with categories like ‘American’ art or and offer new cultural resources for Amherst’s diverse student ‘Latin American’ art, for example.” body to study. CHALLENGES UNIQUE TO TEACHING, RESEARCHING, AND CURATING ART OF THE AMERICAS

Niko: One challenge is how teachers, curators, and audiences “acknowledge that we are in the US and that art from other parts of the Americas, when exhibited or looked at here, may be mobilized Niko Vicario and instrumentalized in a variety of ways, as has been the case historically. Who and what and where is marginalized when we think hemispherically—and why?” Assistant professor in Amherst’s Department of Art and the History of Art. He has a new book out, titled Hemispheric Lisa: When I began graduate studies, I decided to focus on art since the twentieth century in the Integration: Materiality, Mobility, and the Making of Latin Southern Cone. There simply wasn’t enough scholarship on art from the region. Since then, the field American Art (University of California Press, 2020). He teaches has expanded and there are more museums and universities focusing on not only the ancient arts of the courses Latin American Art, Introduction to Contemporary the Americas, but also the rich, diverse artistic practices through contemporary. Still, there’s more Art, the Contemporary Art Market, and the Practice and work to do... There remains a continued need to focus on the diversity of art production . . . while Theory of Art History. considering the complicated nature of group identities as presented in art museums.”

The Mead has a well-established collection of art of the Americas, anchored by ancient Indigenous works from Mesoamerica and Peru and by popular Liliana Porter (Argentine, born 1941, resides in the United Mexican art in the Morrow Collection. This area of States). Still Life #1, 1970. Etch- the collection contains a variety of other artworks, ing and yarn. Gift of Rowell A. Schleicher (Class of 1921) and including Mexican prints from the nineteenth and Susan T. Schleicher twentieth centuries.

130 Mead Art Museum Annual Report 2019–20 It’s been a pleasure to see Dario Escobar’s Turbulence II on view at the Mead. Escobar thinks critically about local, regional, and international contexts, which we “in turn are invited to assess and reassess. This artwork is compelling as it questions the values and meanings associated with mass- produced objects like baseball bats, and the cultural and economic significance of sports, through the unlikely display of a band of thirty bats, painted to depict flames—a decorative motif that suggests the side of a race car.”

—Lisa Crossman Dario Escobar (Guatemalan, born 1971). Turbulence II, 2008. Wood and polyurethane paint. Anonymous gift

STUDYING LATIN AMERICAN ART AT AMHERST Art tends toward paradox over singular readings, which makes art museums particularly well suited spaces for dialogue.” Niko: “Students in these courses are primarily not art history or art majors, so we can think about how these courses fit in the broader open curriculum of the college. For instance, with the Latin American art course, some students come to it with an interest in Latin America, others with an PLANS FOR THE FUTURE interest in the relationship between art and politics, others curious to think about art for the first time.” Lisa: “I am enjoying research on upcoming exhibitions and making connections with faculty members, such as Niko, to plan future collaborations like one with the artist Liliana Porter. He and I are planning ON CURATING AT A COLLEGE MUSEUM to offer students an opportunity to participate in the creation of an online exhibition of Porter’s work, which will include direct communication with the artist, as part of a course on contemporary art and Lisa: “Art museums on college campuses have the resources to explore art from different the history and practice of organizing exhibitions. Porter’s practice, which ranges from drawing and disciplinary perspectives, consider multiple subjectivities, and to consider ways that national and printmaking to video and installation, explores issues of representation and the human condition regional categories have functioned in giving or denying visibility to artists and art practices. through inanimate objects like toys.”

132 Mead Art Museum Annual Report 2019–20 Mead Art Museum Annual Report 2019–20 133 ENGAGEMENT PUBLIC PROGRAMS 2019

SEPTEMBER

10 Curating the Contemporary Panel 10 Curating the Contemporary Opening Reception 11 Grab & Don’t Go with Tiffany Bradley 14 Community Makers Day 18 Gallery Talk with Galina Mardilovich 25 Gallery Talk with David E. Little 27 Five College Faculty Teaching Workshop

OCTOBER

10 CHI Reception 16 Office of Diversity & Inclusion Reception 17 CISE Scholars Reception 18 Board of Trustees Reception 22 Craftivism with Survivors Art Collective 24 Yoga at the Mead 25 Back to Class at the Mead 25 Behind the Scenes Tour with David E. Little 26 Close Looks Tour 30 Dining in the Dark

NOVEMBER

2 Advancement Tea and Tour 12 Live Performance and Lecture by Justin Alexander 13 The Sounds of Stonewall 14 Artist Talk with Tourmaline 15 Artist Lunch with Tourmaline 21 A New Thanksgiving

DECEMBER

3 Understanding the Cultural & Political Impact of HIV/AIDS 10–11 Massages at the Mead 11 EAT! Opening & Reception

136 Mead Art Museum Annual Report 2018–19 Mead Art Museum Annual Report 2019–20 137 PUBLIC PROGRAMS 2020

JANUARY

17 Collecting 101: Acquiring Art for the Mead Presentations & Public Vote

FEBRUARY

11 Spring Opening Reception 13 Galentine’s Day: A Celebration of Friendship 20 Grab and Don’t Go with Christopher Myers 20 The Red Plague Rid You for Learning Me Your Language: Artist Talk with Christopher Myers 21 Art and Reading with Christopher Myers 28 Black Art Matters Festival

MARCH

5 Winter Warmers: Foods and Beverages to Warm You Up from the Inside Out 54 EVENTS 2018-19

34 2019-20 ATTENDANCE

July 2018–June 2019 July 2019–March 2020 (closed due to Covid-19 17,570 11,151 starting in mid-March)

GIFTS

2018–19 307 2019–2020 17

PURCHASES

2018–2019 21 2019–2020 9

PURCHASES BY STUDENTS

NUMBERS 2018–2019 2 2019–2020 3

TRANSITIONING STUDENT STAFF TO REMOTE WORK: SPRING 2020

By Olivia Feal

In March 2020 Amherst College closed the campus in response to the rising number of COVID-19 cases around the world. Very quickly all students, staff, and faculty transitioned to remote learning. At the Mead, the question was how to keep students employed as lobby attendants, museum educators, and interns. These students count on their work at the Mead to provide vital income and experience. And we count on them for their valuable contributions. No pandemic was going to stop us.

Three Mead staff members went into action to create meaningful, project-based work for students: Danielle Amodeo, public programs and marketing specialist; Emily Potter-Ndiaye, head of education; and Nicholas Taupier, museum security supervisor who oversees students employed at the Mead’s front desk. First they surveyed the lobby attendants and student museum educators to get a sense of their research interests, skills, and majors so students could be placed with a Mead staff supervisor and a project that would relate to their personal and academic interests. The projects students were assigned 2019–2020 to included doing research for upcoming exhibitions, developing acquisition requests, creating a coloring book focused on the Mead collection, keywording untitled works for the museum database, and Museum Educators Interns documenting the Mead’s exhibition history. Julia Molin ’21 Augusta Weiss ’23 In addition to their core projects, the education team asked students to dedicate one hour a week to writing a reflection as a cohort, giving (Syeda) Zahra Shah ’22 Luke Williamson ’21 them the opportunity to share surprises, discoveries, challenges, Charissa Doerr ’20 Dominique Manuel ’20 and accomplishments from their work or life in quarantine. These reflections were a way for students and staff to stay connected, and Aditi Nayak ’23 Julia Molin ’21 folx were encouraged to comment on each others’ posts. Dominique Manuel ’20

Thanks to the hard work of the Mead staff, sixteen lobby attendants, Maki Ybarra-Young ’20 five student museum educators, and three interns were provided paid work during this tumultuous time.

142 Mead Art Museum Annual Report 2019–20 Mead Art Museum Annual Report 2019–20 143

#MEADFROMHOME

In spring 2020, after the Amherst College campus shut down and classes moved online, the Mead reached out across social media to encourage engagement with artwork in the collection. Followers were invited to reimagine a work of art from the collection, take a photo, and upload it with the hashtag #MeadFromHome.

Here are some of the creative results, side by side with the artwork that inspired it.

Student museum educator Charissa Doerr ’20 captured the spirit and style of this retro figure, updating the look with a messy bun and a cozy fleece. Sean Mellyn (American, born 1965). Crème Brûlée, 2000. Oil on canvas mounted over stretcher and board. Gift of Steven M. Jacobson (Class of 1953)

Mead head of education and curator of academic programs Emily Potter-Ndiaye enlisted the Mead marketing and design intern Luke Williamson ’21 edited the picture of a nineteenth- help of her family to create “Two Girls with Apple Juice,” inspired by Serge Hollerbach century portrait from the Mead’s collection, replacing the sitter’s head with his own. Unknown (American, born Russia, 1923). Two Girls with Soft Drinks, 1977. Acrylic on paper. artist (American, 19th century). Robert E. Hudson, 1830–40. Oil on canvas. Gift of Mrs. Frances Gift of Thomas P. Whitney (Class of 1937) Cushing Hall STAFF NEWS & NOTES Writer-editor Eric Danton bid farewell to the Mead in 2019 to pursue his freelance career— from Madrid, where his wife, Amherst professor of Spanish Sara Brenneis, was on sabbatical conducting research during the 2019–20 academic year. You can hear Danton, the former rock critic of the Hartford Courant, every Wednesday with Joan Holliday on the Best New Song of the Week segment on WRSI-FM (93.9) in Northampton, Mass. Danielle Amodeo (she/her/hers), Public Programs and Marketing Specialist Lisa A. Crossman (she/her/hers), Curator of American Art and Arts of the Americas Olivia A. Feal (she/her/hers), Museum Educator Stephen S. Fisher, Collections Manager Timothy Gilfillan (he/him/his), Preparator Miloslava Hruba (she/her/hers), Study Room Manager and European Print Specialist David E. Little (he/him/his), John Wieland 1958 Director and Chief Curator Emily A. Potter-Ndiaye (she/her/hers), Dwight and Kirsten Poler & Andrew W. Mellon Head of Education and Curator of Academic Programs Eileen C. Smith, Financial and Administrative Assistant Since May 2019 Danielle Amodeo has served on Nicholas I. Taupier, Museum Security Supervisor the Steering Committee of the Arts at Amherst Initiative (AAI) and is the acting supervisor to the Arts Coordinator for AAI. In June 2019 she joined the Security Officers: Board of the Northampton Arts Council and founded Jerry Devine the Board’s Equity and Inclusion Committee as well as Fiore Graziano the Outreach Committee. As a member of the Grants Jason M. Jock Committee she helped secure 129 emergency relief Joseph J. Kosiorek grants for artists affected by COVID-19 in spring of Rachel E. Thern 2020. In January 2020 Danielle was nominated to the Massachusetts State House Art Commission; the appointment is pending due to COVID-19.

Danielle Amodeo (middle right) and Eileen Smith Lisa Crossman’s essay “To Summon and Witness (right), along with former Mead colleague Jocelyn the Apparitions of Our Pasts” was published in the Edens, co-authored a case study titled “It Takes Two catalogue Visionary New England, edited by Sarah (or More) to Make a Thing Go Right: Collaboration as a J. Montross (MIT Press, June 2020), accompanying Strategy for Impact,” published in Randi Korn, Intentional the exhibition at the deCordova Sculpture Park and Practice for Museums: A Guide for Maximizing Impact (2018). Museum in Lincoln, Massachusetts. In June 2020 Lisa was awarded a grant by the New England Humanities Consortium (NEHC) for her proposal “Curating at a Distance,” which will research and pilot new ways to In 2019 Jocelyn Edens, assistant museum educator at the Mead, left Amherst to take a present artwork and exhibitions on digital platforms position in the Department of Interpretation and Digital Learning at the Nelson-Atkins in collaboration with curatorial colleagues at Colby Museum of Art in Kansas City, Missouri. College and Tufts University.

146 Mead Art Museum Annual Report 2018–20 Olivia Feal began working at the Mead in April 2020. Stephen Fisher said that “organizing and traveling with Dimensionism: Art in the Age of She graduated from Smith College and has worked in Einstein was one of the greatest experiences in my thirty-year career in museums.” In total the education departments at the Brooklyn Children’s he spent nearly four weeks at the Berkeley Art Museum, the show’s first venue, leading and Museum, Smith College Museum of Art, Princeton assisting their team as they installed and later deinstalled the exhibition. “I am always excited University Art Museum, and Dallas Museum of Art. She to see how museums plan exhibition spaces, and what tools and technologies are utilized in said, “I started the job remotely during COVID, and I am so the process.” After Dimensionism closed at the Mead, the final venue was the Zimmerli Art thankful to my colleagues who made time to welcome me Museum at Rutgers University in New Jersey. “I had wonderful hosts at the museum,” Stephen and get me acclimated.” In just one month she planned said, “and the exhibition couldn’t have gone smoother.” the Mead’s largest summer internship cohort ever. Your “three-truck” what now? Traveling with Dimensionism was my first cross-country road trip. From Berkeley, California, to Amherst, Mass., our three-truck caravan rode just ahead of a major snowstorm. I was able to view from the passenger’s seat so much of the American landscape that I had never seen before.

Any restaurant recommendations? In the past two years, Tim Gilfillan made several trips If you ever find yourself in New Brunswick, NJ, you have with Mead paintings on loan to exhibitions in the US to go to Ramen Nagomi. There is always a line, but the and Europe. He traveled with Monet’s Morning on the ramen is out of this world! Seine, Giverny twice: to the Thyssen-Bornemisza National Museum in Madrid (October 2018), and the Museum Barberini in Potsdam (February 2020). In spring of 2019 Below: The final venue for Dimensionism at the Zimmerli Art he flew with paintings by Thomas Cole and Eastman Museum at Rutgers University in New Jersey. Johnson to the Wallraf-Richartz Museum in Cologne for the show Once Upon a Time in America. And in early March 2020, right before everything shut down due to COVID-19, he went to the Denver Art Museum with Winslow Homer’s Fisher Girl.

“That was an anxiety-ridden trip,” Tim said. “Masks were just starting to show up at the airport.” The journey was also tinged with nostalgia.

"One of the first courier trips of my career was to DAM, thirty-five or so years ago, and this one will more than likely be among the last, things being what they are these days.”

Business class or economy? When you’re traveling with the art in cargo you fly business class, which is cool.

All work and no play? The trips are pretty packed, but there’s usually at least one free day in between the travel and the work part.

Most interesting sites? The cathedral in Cologne, actually. That was unbelievable.

Best beer? Kolsch in Cologne. Was never a big fan of the style, but it originated there, so it’s the real deal.

148 Mead Art Museum Annual Report 2019–20 Mead Art Museum Annual Report 2019–20 149 Rembrandt van Rijn (Dutch, 1606–1669). Christ Preach- ing (La petite tombe), ca. 1652. Etching, drypoint, and burin on laid paper with watermark. Gift Working across the Amherst campus, Emily Potter-Ndiaye of Edward C. joined the Advisory Board for the Center for Humanistic Crossett (Class Inquiry (CHI) in 2019. CHI hosts residents at the Center each year of 1905) and presents conferences, performances, exhibitions, and more in support of humanistic endeavors. Emily also continues to serve as president of the Museum Education Roundtable (MER), an international organization that promotes innovative thinking and practice in the field through content published in MER’s Journal of Museum Education.

In the fall of 2019, David E. Little traveled to the University of East Since attending a symposium on Rembrandt at the Herbert F. Anglia and the Sainsbury Institute for the Study of Japanese Arts Johnson Museum of Art at Cornell University, Mila Hruba has and Cultures in Norwich, England, to deliver his paper “Shomei participated in their WIRE project (Watermark Identification Tomatsu’s Okinawa: A Foreigner’s Interpretation,” as part of the in Rembrandt’s Etchings), a national database of Rembrandt’s international symposium, Okinawan Art in Its Regional Context: watermarks. In the process she confirmed her earlier identification Historical Overview and Contemporary Practice. of two watermarks in the Mead’s collection of fourteen Rembrandt prints AC 1951.1901 (shown above) and AC 1985.13. Mila also spent the summer of 2019 researching developments in printmaking in three eastern European countries (Czech Republic, Slovak Republic, and Slovenia) from circa 1960s to the present with an emphasis on women artists and their innovative processes under the constraints of communist rule and cultural expectations.

“One of the thrills After five years as curator of American art at the Mead organizing exciting shows and publications such as Intersecting Colors: Josef Albers and His Contemporaries (2015) and Dimensionism: Modern of the trip Art and the Age of Einstein (2018), Vanja Malloy left Amherst College in July 2019 to become was seeing director and chief curator of the Syracuse University Art Galleries in New York. Norman Foster and Galina Mardilovich, the Mead’s curator of Russian and European art, left Amherst at the end of Wendy 2019 to pursue research and writing in New York. She has co-edited New Narratives of Russian and East European Art between Traditions and Revolutions (2019) and is currently at work on a Cheesman’s book about prints and modernism in Russian art of the late Imperial period. magnificent Sainsbury Centre for Visual Arts.” 150 Mead Art Museum Annual Report 2019–20 Mead Art Museum Annual Report 2019–20 151 FINANCIAL REPORT

2018–19 (FY19) 2019–20 (FY20)

Friends of the Mead Gifts $ 62,716 Friends of the Mead Gifts $ 45,907 Grants $ 140,000 Grants $ - Exhibition Fees $ 60,000 Exhibition Fees $ 60,000 Endowment Draw $ 291,280 Endowment Draw $ 204,249 College Support $ 1,126,862 College Support $ 1,059,984

TOTAL REVENUE $ 1,680,858 TOTAL REVENUE $ 1,370,140

OPERATING EXPENSES OPERATING EXPENSES

Exhibitions $ 360,249 Exhibitions $ 162,715 Marketing $ 20,116 Marketing $ 9,146 Acquisitions $ 103,605 Acquisitions $ 83,623 Education Programs $ 26,344 Education Programs $ 17,593 Collection $ 10,742 Collection $ 21,679 Administrative Costs & Salary $ 1,159,802 Administrative Costs & Salary $ 1,075,384

TOTAL EXPENSES $ 1,680,858 TOTAL EXPENSES $ 1,370,140

152 Mead Art Museum Annual Report 2019–20 Mead Art Museum Annual Report 2019–20 153 THE MEAD ADVISORY BOARD

Ariel Aisiks P’17, ’19 Candace Barasch ’89, P’19 Nichole Bridges ’97 Linda Daitz P’88 Ronald Daitz ’61, P’88 Catherine Epstein, Amherst College Provost and Dean of the Faculty Suzannah Fabing Loretta Howard ’83 Rev. Phil Jackson ’85 Younghee Kim-Wait ’82 Arthur Koenig ’66 Tara Kole ’98 Adrienne Lei ’05 David E. Little, John Wieland 1958 Director and Chief Curator Biddy Martin, Amherst College President Charmel Maynard ’07 Scott Nagle ’85 Scott Niichel ’06 Sam Orlofsky ’98 Brooke Kamin Rapaport ’84, P’16 Joanne Schnell P’11 Paul Schnell ’76, P’11, Chair

Members of the Mead Advisory Board visited the studio of Sa- rah Morris in New York City in January 2020. Morris, an Ameri- can born in England in 1967, did a series of one-word paintings in the 1990s based on headlines from New York newspapers. Please, 1997 was recently gifted to the Mead and is included in the exhibition Starting Something New: Recent Contemporary Acquisitions and Gifts. The series includes works called Guilty, Liar, Nothing, Girls, Never, Hell, and Sorry.

154 Mead Art Museum Annual Report 2019–20 Mead Art Museum Annual Report 2019–20 155 FRIENDS OF THE MEAD

Ariel Aisiks P’17, ’19 Suzannah Fabing Ronald Levy ’69 Janice Schell P’06, ’09 Deborah Amodeo P’13 Kent Faerber ’63 Richard Linenthal ’78 Barrett T. Schleicher ’53 K. Frank Austen ’50 Thomas Fels ’67 David E. Little James & Burd Schlessinger Michele Barale Jay Fields ’17 Catherine Lowdon ’17 Paul and Joanne Schnell ’76, P’11 Candace Barasch ’89, P’19 Stephen Foster ’70 William & Fidele Malloy H. Axel Schupf ’57 Kit Smyth Basquin Jonathan Frey ’64 Vincent & Lucy Marsanico G’13 Siyu Shen ’15 Mike & Tina Berins Debby Goan ’07 David Martula ’66 Andrew & Kirsten Shilling ’89, P’21 Robert Bernstein ’70, P’01 James H. Goodwin ’70 Charmel Maynard ’07 Catharine Alexander Shirley ’80, P’19 Alan S. Bernstein ’63, P’94 Marjorie Greene John D. McKenzie Jr. ’66 Michael S. Simon ’86, P’22 Linda Best Frederick Griffiths George McNeil Betsy Cannon Smith ’84 Jeffrey Birnbaum ’79 Coleman Harwell Surinder Mehta Dr. Amy Snyder ’00 Nichole Bridges ’97 Harvey Hecht ’58 Samuel D. Miller III ’64 Bryan Southergill ’98 Peter O. Brown ’86 George & Fran Hertzberg P’97 Richard Minutillo ’67 Cynthia Stanton Dr. Rebecca S. and Dr. Andrew N. Joy Peterson Heyrman ’82 Lucy Mitchell Mary Strunk Carpenter ’89, ’88 Warren & Marilyn Hollinshead ’57, P’81 Paul S. Monroe ’71 Thomas & Bette Sturges ’66, P’05 Catherine Connor W’45 Richard & Ann Holt P’04 Cullen Murphy ’74 Thomas W. Thaler ’75 George C. Corson Jr. ’56, P’85 Thomas F. Horan ’70 Aimee Newell ’92 David & Arlene Thrope P’10 Ronald & Linda Daitz ’61, P’88 Loretta Howard ’83 Scott Niichel ’06 Keith Tobin ’81 Alex Davis-Lawrence ’10 Bruce S. Johnson ’70 Paul & Debbie Ouyang ’78, P’10, ’14 Christine Tuttle Katherine Chia & Arjun Desai ’88, P’22 Virginia Kamin P’79, ’84 Robert Osborne & Margot Parrot Margaret Vandryes Maggie Dethloff Peter & Jamie Kaplan P’21 Carolyn Pastel ’01 Renate Wasserman P’81, ’89 Juliana & Carl Dupre Charles Kelly ’53 Spencer E. Pearce George & Carlyjane Watson ’54 Andrew S. Durbin ’93 Paul Koulouris ’72, P’06 Stephen C. Pollock ’77 William A. Weary ’64 Peter G. Dustin ’67 Nicole & Peter Krensky ’11 Brooke Kamin Rapaport ’84 Jacqueline Werner W’54 Whitney Morsman Ebmeyer ’96 Richard Landfield ’62, P’90, ’93 V. Ross Read III ’73, P’08, ’11 John & Sue Wieland ’58 Lindsey Echelbarger ’74 Adrienne Lei ’05 Ronald C. Rosbottom Sandy & Helen Wilkes ’71, P’08 Catherine Epstein Jennifer Lesar ’96 Kenneth Rosenthal ’60 Charles Sims & Nancy Wolf ’71, P’05, ’07 Claude Erbsen ’59, P’86 Donna & Maurice Levin Lila Rountree Steven Yashon ’87 LOBBY ATTENDANTS

2018–19 Phebe Palmer ’21 Sade Green ’20 Kennedy Reed ’19 Hannah Goldberg ’22 Saad Baloch ’20 Anastasia Sleder ’19 Joshua Kim ’21 Hilary Bediako ’19 Chloe Tausk ’18 Kenneth Lee ’22 Elisa Bello ’19 David Wilson ’20 Bethany Letendre ’22 Jaclyn Chetty ’20 Mikayla Young ’20 Peter Kang ’21 Emma Eddy ’22 Annie Martin ’22 Lexie Freeman ’19 2019–20 Madison Matthews ’22 Julia Gill ’21 Phebe Palmer ’21 Michael Gibson ’21 Saad Baloch ’20 Anthony Phillips ’20 Hannah Goldberg ’22 Jaclyn Chetty ’20 Amalia Roy ’21 Designer: Jess Marsh Wissemann Sade Green ’20 Emma Eddy ’22 Phoenix Shaw ’22 Publication director: David E. Little Joshua Kim ’21 Michael Gibson ’21 David Wilson ’20 Writer and editor: Sheila Flaherty-Jones Kenneth Lee ’22 Julia Gill ’21 Mikayla Young ’20 Event and installation photography: Maria Stenzel Jiayi Liu

Mead Art Museum at Amherst College 41 Quadrangle Drive P.O. Box 5000 Amherst, MA 01002

413.542.2335 amherst.edu/mead

Our last day... The Mead staff gathered for a distanced toast in the Rotherwas Room on March 16, 2020— not knowing it would be our last day working together for over ten months. In 2020 the world confronted illness, death, economic struggle, racial injustice, disinformation, and misunderstanding. At the Mead, we look forward to a future when we are all closer and can welcome students, staff, faculty, alumni, and the community back to the museum. On the Cover:

Matthew Day Jackson (American, born 1974). Sacajawea (American Martyr Series), 2005. Scorched wood, wood-burned drawing, Sculpey, mother-of-pearl, abalone, yarn, epoxy, tooled leather, skull bead. Anonymous Gift. Image courtesy of the artist

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