The Museum of Fine Arts, Houston ANNUAL REPORT 2016–2017

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μ˙ annual 2016–2017 report

μ˙ The Museum of Fine Arts, Houston ANNUAL REPORT 2016–2017

is an , Indian, born 1954, outstanding sculpture of exceptional Standing over two stories tall, beauty. it gracefully invites the contemplation of not only the object itself but also the position of the viewer in relation to the world. The highly polished stainless-steel surface reflects every nuance of light, and captures the surroundings as well. At the same time, the play between the convex and concave surfaces establishes a dual as the elongated core of the reality, sculpture presents the world upside down, bringing the heavens to earth. ALG active London , 1998–2006 Cloud Column Stainless steel 351 x 130 x 80 in. (891.5 x 330.2 x 203.2 cm) Museum purchase funded by Wiess Law Accessions the Caroline Endowment Fund 2017.246 Anish Kapoor’s Cloud Column ANISH KAPOOR ON THE COVER: MFAH BY THE NUMBERS July 1, 2016–June 30, 2017

Attendance • 990,065 visits to the Museum, the Lillie and Hugh Roy Tuition $4.77 Cullen Sculpture Garden, Bayou Bend Collection and Revenue 7% Other $2.0 $7.2 Gardens, Rienzi, and the Glassell School of Art 3% 11% Membership THE MUSEUM OF Revenue • 114,500 visitors and students reached through learning $3.2 THE MUSEUM OF 5% FINE ARTS, HOUSTON, and interpretation programs on-site and off-site FINE ARTS, HOUSTON, FY 2017 • 62,964 youth visitors ages 18 and under received free Operating Operating Revenues Endowment WARMLY THANKS or discounted access to the MFAH Fund-raising (million) Spending WARMLY THANKS $15.8 $34.1 23% 51% THE MORE THAN • 44,615 schoolchildren and their chaperones received THE MORE THAN free tours of the MFAH 1,000 DOCENTS, 1,000 DOCENTS, • 6,332 Houstonians were served through community VOLUNTEERS, AND engagement programs off-site Total Revenues: $67 million VOLUNTEERS, AND MEMBERS OF THE • 122 community partners citywide collaborated with MEMBERS OF THE the MFAH Exhibitions, Curatorial, MUSEUM’S GUILD FOR and Collections $13.6 Auxiliary 22% MUSEUM’S GUILD FOR Activities $3.3 • 2,871,252 visits recorded at mfah.org 5% THEIR EXTRAORDINARY THEIR EXTRAORDINARY • 268,650 visits recorded at the online collections module Fund-raising $5.1 8% DEDICATION DEDICATION • 258,766 people followed the MFAH on Facebook, FY 2017 Education, AND COMMITMENT. Instagram, and Twitter Operating Expenses Libraries, AND COMMITMENT. (million) and Visitor Engagment $12.5 • 212,432 online visitors accessed the Documents 20% of 20th-Century Latin American and Latino Art Website, icaadocs.mfah.org Management Buildings and Grounds and General $12.8 and Security $14.5 21% • 82,004 visitors attended Degas: A New Vision 24% Total Expenses: $61.8 • 29,405 member households supported the MFAH

• 1,000 volunteers and docents served the MFAH

• 657 permanent and temporary staff were employed by the MFAH CONTENTS ANNUAL REPORT JULY 1, 2016–JUNE 30, 2017

The Museum of Fine Arts, Houston 4 Board of Trustees 5 Committee Chairmen 6 Report of the Director 16 Accessions Illustrated works on the cover and on pages 17–61 African Art, 62 Art of the Americas, 62 Art of the Islamic Worlds, 62 Asian Art, 62 The Bayou Bend Collection, 62 Decorative Arts, 63 European Art, 64 Latin American Art, 65 Modern and Contemporary Art, 65 Photography, 66 Prints and Drawings, 71 The Rienzi Collection, 74

75 Exhibitions Major Loan and Permanent-Collection Exhibitions, 75 Additional Displays from the Permanent Collection and Gallery Rotations, 90 98 Departmental Highlights 100 Learning and Interpretation 102 Membership and Guest Services 103 International Center for the Arts of the Americas 104 Sarah Campbell Blaffer Foundation 105 The Glassell School of Art 106 Bayou Bend Collection and Gardens 107 Rienzi 108 The Brown Foundation Fellows Program The Dora Maar House, Ménerbes, France 109 Development 122 Report of the Chief Financial Officer 127 Staff BOARD OF TRUSTEES

OFFICERS LIFE TRUSTEES Mrs. Sandra Godfrey Mrs. Cyvia G. Wolff Ms. Carroll R. Goodman Mrs. Nina O’Leary Zilkha Mr. Richard D. Kinder Mr. Isaac Arnold, Jr. Mr. Martyn E. Goossen Chairman Mrs. Anne S. Duncan Mrs. Windi Grimes HONORARY TRUSTEES Mrs. Clare Attwell Glassell Ms. Cecily E. Horton AND TRUSTEES EMERITI Mrs. Anne S. Duncan Mr. Frank J. Hevrdejs Mr. William J. Hill Vice-Chairman and Secretary Dr. Marjorie G. Horning Mr. Ronald E. Huebsch Mrs. Carol C. Ballard Mr. Frank J. Hevrdejs Mr. E. J. Hudson, Jr. Mrs. Mary F. Johnston Mr. Raphael Bernstein Treasurer Mr. Richard D. Kinder Mr. Jesse H. Jones II Ms. Tanya Brillembourg Mrs. Cornelia C. Long Mrs. Elise Elkins Joseph Mrs. Gisele Chulack Mrs. Cornelia C. Long Mrs. Sara S. Morgan Mr. Lenoir M. Josey II Mrs. Joyce Z. Greenberg Chairman Emeritus Mrs. Nancy Brown Negley Mr. George B. Kelly Mr. Adolpho Leirner Ms. Anne Schlumberger Ms. Carla Knobloch Mr. Thomas V. McMahan Ms. Alice C. Simkins Mr. Andrius Kontrimas Mr. Robert C. McNair Mrs. Jeanie Kilroy Wilson Mrs. Colleen Kotts Mrs. Nancy Peterkin Mr. Richard W. Wortham III Mrs. Sima Ladjevardian Mrs. Isla Reckling Mrs. Lynn S. Wyatt Mr. Douglas L. Lawing Mrs. Louisa Stude Sarofim Mrs. Rolanette Lawrence Ms. Barbara Slifka ELECTED TRUSTEES Mr. Michael C. Linn Dr. Alvia J. Wardlaw Mr. James Edward Maloney EX-OFFICIO TRUSTEES Mrs. Gail F. Adler Mr. William N. Mathis Mrs. Sushila Agrawal Mrs. Lisa M. Mears Mrs. Karol Barnhart Ms. Gerry Aitken Mrs. Nidhika O. Mehta MFAH Volunteer Guild Mr. Jack S. Blanton, Jr. Ms. Nancy Powell Moore Mr. Brad Bucher Ms. Joan Morgenstern Mr. Dwight A. Boykins Mr. Charles Butt Mrs. Laurie Morian Houston City Council Mr. Frank N. Carroll Mrs. Bobbie Nau Ms. Ellen Cohen Ms. Bettie Cartwright Ms. Franci Neely Houston City Council Mrs. Jereann H. Chaney Mrs. Pamela F. Ott Dr. Anne S. Chao Mrs. Cynthia Petrello Mrs. Kackie Dunwoody Mr. Peter R. Coneway Mrs. Susanne Pritchard River Oaks Garden Club Mr. Michael G. Cousins Mrs. Tina Pyne Mrs. Mary Cullen Mrs. Macey Hodges Reasoner Mrs. Kay English Bayou Bend Docent Organization Mrs. Rosanette S. Cullen Ms. Beth Robertson Mrs. Rania Daniel Mr. Manolo Sánchez Ms. Kate Kraycirik Mrs. Linnet F. Deily Mrs. Courtney Lanier Sarofim The Junior League of Houston Ms. Sara Paschall Dodd Mrs. Eliza Stedman Mr. Holbrook F. Dorn Mrs. Aliyya Kombargi Stude Ms. Debbie McNulty Mr. Rodney J. Eichler Mrs. Judy Spence Tate City of Houston Mrs. Zeina N. Fares Mrs. Phoebe Tudor Mr. Gregory E. Fourticq, Jr. Mrs. Cindy Wallace Mr. Barron F. Wallace The Garden Club of Houston Mrs. Barbara Gamson Mr. James D. Weaver Mrs. Lela Gibbs Mrs. Barbara Webber Mr. Tom Glanville Mrs. Margaret Alkek Williams Mr. Alfred C. Glassell, III Dr. Frazier Wilson

4 COMMITTEE CHAIRMEN

MUSEUM BAYOU BEND COLLECTION AND GARDENS Mr. Richard D. Kinder Mr. Frank J. Hevrdejs Mr. Richard W. Wortham III Executive Committee Collections Committee Latin American Art Mrs. Martha Erwin Subcommittee Bayou Bend Committee Mr. Jack S. Blanton, Jr. Mr. Frank N. Carroll Audit Committee Africa, Oceania, and Mr. Jack S. Blanton, Jr. Mrs. Jeanie Kilroy Wilson the Americas Subcommittee and Mr. Jesse H. Jones II Bayou Bend Collection Mr. Richard W. Wortham III (Co-Chairs) Subcommittee Buildings and Grounds Mrs. Jeanie Kilroy Wilson Modern and Contemporary Committee American Painting and Art Subcommittee THE GLASSELL SCHOOL Sculpture Subcommittee OF ART Mr. Richard D. Kinder Mr. James Edward Maloney Compensation Committee Mrs. Nancy O’Connor Photography Subcommittee Mr. Brad Bucher Abendshein Executive Committee Mrs. Courtney Lanier Sarofim Antiquities Subcommittee Ms. Franci Neely and Development Committee Mr. Michael S. Zilkha Mrs. Jereann H. Chaney Mrs. Sima Ladjevardian (Co-Chairs) Core Residency Program Mr. H. John Riley, Jr. and Ms. Franci Neely Mrs. Lynn Wyatt Subcommittee Endowment Committee (Co-Chairs) (Founding Chair) Art of the Islamic Worlds Film Subcommittee RIENZI Mr. E. J. Hudson, Jr. Subcommittee Finance Committee Mr. Jack S. Blanton, Jr. Mrs. Rosslyn F. Crawford Dr. Marjorie G. Horning Prints and Drawings Rienzi Committee Mr. Richard D. Kinder (Chair) Subcommittee Long-Range Planning Mrs. Nidhika O. Mehta Mrs. Cyvia G. Wolff Committee (Co-Chair) Mr. E. J. Hudson, Jr. Rienzi Collections Asian Art Subcommittee and Ms. Alice C. Simkins Subcommittee Mr. Richard D. Kinder (Co-Chairs) Nominating Committee Ms. Cecily E. Horton Conservation Committee Mrs. Cheryl H. Moore Decorative Arts Subcommittee Rienzi Garden Subcommittee Mrs. Anne S. Duncan Mrs. Judy E. Margolis Exhibitions Committee European Art Subcommittee Mrs. Macey Hodges Reasoner Learning and Interpretation Committee

Ms. Terry Ann Brown Library Committee

5 REPORT OF THE DIRECTOR

Museum. Featuring unprecedented loans from the Musée d’Orsay, Paris, among the some two hundred works lent by dozens of lenders, the selection, made by Henri Loyrette and myself, emphasized the continuity of Degas’s experimentation, treating a group of themes in every medium available to the artist, from paint and pastel to printmaking, sculpture, and photography. Degas: A New Vision was awarded the prestigious Global Fine Arts Award for best monographic exhibition of the year, and was praised by the Los Angeles Times art critic, Christopher Knight, as “fascinating.”

An even higher number of visitors, nearly 147,000 over It is difficult to characterize a year in the life of a the course of almost six months, was captivated by the museum in a single phrase, but if fiscal year 2015–2016 work of contemporary artist Ron Mueck. Thirteen of his could be called the year of extraordinary acquisitions, sculptures of everyday people, startlingly lifelike and then 2016–2017 was the year of extraordinary atten- deliberately skewed in scale from the miniscule to the dance. At a time when museums around the world gargantuan, revealed the deeply philosophical essence were witnessing declining admission, we experienced of Mueck’s vision, which charts the mysteries of human growth. Attendance at all of our facilities increased 10 existence from birth to death. This exhibition brought percent over the previous year, to just under one million. an unprecedented number of first-time visitors to Many other metrics increased accordingly. One of the the Museum. most surprising is that the number of youth visitors, age eighteen and under, increased 50 percent—to nearly In a year of many programs, achievements, and institu- 63,000. Concurrent with this robust attendance, all tional milestones, the fiscal year that ended on June 30, streams of earned income increased proportionally, 2017, also welcomed important works of art to the per- bringing us to the end of the fiscal year with a record manent collection. Nearly every curatorial department surplus of income over expenses. Although counting grew. The Museum purchased 335 objects and received methods were different in years past, as accurately as we an additional 402 objects as gifts. Outstanding among can determine, we have exceeded all previous records these significant gifts are four Maya objects from Mr. handily. Similarly, our balance sheet tipped the scales at Frank N. Carroll, including the exquisite jade Head of a an all-time record net worth of $1.6 billion—a sum that Spider Monkey; two drawings from Ms. Cecily E. Horton, does not include the value of our extensive collections of including John Flaxman’s lyrical Oceanus and Prometheus art. By this measure, the Museum of Fine Arts, Houston, Bound, one of the British Neoclassical artist’s influential ranks fourth among art museums in the country. illustrations of Greek myths. We received from Mr. William J. Hill a dazzling nineteenth-century sewing Without question, the increased number of visits was table by master craftsman William Otto Glosnop, carved driven by our exhibition program. The landmark retro- from Texas wood, and a vase from the Newcomb College spective of the works of the French Impressionist Edgar Pottery; twenty-one French Art Deco objects, including Degas, organized with our colleagues at the National important furniture by the famed designer Jacques- Gallery of Victoria, Melbourne, and Art Exhibitions Émile Ruhlmann, from Mr. and Mrs. Meredith J. Long, Australia, received 82,004 visits, the highest attendance instantly creating strength where there was a gap, in documented for a traditional three-month run at the addition to their gift of a major painting by Robert

6 Motherwell, Three Personages, from the Hollow Men community outreach led by Waverly Gooding, audience series; the painted portrait of Miss Ima Hogg by Robert engagement manager, continues to bring the greater C. Joy, a gift of Mr. and Mrs. John H. Lindsey; the Houston community to the Museum, and the Museum photograph Base by Gilbert and George from the Chaney into the community. Over the course of fiscal year Family Collection in honor of Ms. Anne Wilkes Tucker; 2016–2017, nearly 115,000 people participated in pro- and the painting Prosperity by Francesco Clemente, grams on- and off-site, including more than 44,000 a gift of the Alex Katz Foundation. students and chaperones who received free tours and 6,300 others who had access to art in their own com- This fiscal year also witnessed a fine slate of purchases, munities through programs such as Glassell-on-the-Go, capped by Anish Kapoor’s monumental stainless-steel which brings art classes to youth across Houston. The sculpture Cloud Column, which will be permanently Museum’s teen program, hang@mfah, is being used as sited on The Brown Foundation, Inc. Plaza in front of a model by other museums for engagement with young the Glassell School of Art. We also were able to obtain a people. With the Museum’s Mellon Undergraduate handsome group of Jalisco figures; an Albrecht Dürer Curatorial Fellowship Program, a national program print, Saint George Killing the Dragon; a Compositional designed to diversify the museum field, our curators Study for “Le Combat des Sections d’Infanterie”by Jacques continue to support two fellows each year, with the Callot; a remarkable Chinese celadon Pot-Pourri with goal of mentoring them through their acceptance into fantastic French ormolu mounts; an eighteenth-century graduate school. embroidered panel from India; a Terrestrial Globe by J. & W. Cary; an unforgettable Helmet Mask Representing The free admission that was extended to nearly a third a Warrior by the Kom peoples; the last photographic of visitors on the main campus was supported by $15.8 portrait of Charles Baudelaire, made by Cautin & Berger; million in donations for operations, a fund-raising the sculpture Clytie by George Frederick Watts, our first program overseen by Chief Development Officer Amy British sculpture from the nineteenth century; Jeune Purvis and her staff. Given the ongoing $450-million femme (Young Woman) by Berthe Morisot and a haun- Capital Campaign, this impressive figure demonstrates ting and rare Pointillist landscape, La route (The Road), the extraordinary commitment of our supporters. The by Achille Laugé; an extraordinary bronze Head of a Trustees continue to set a standard of philanthropy that Philosopher by the Neapolitan Vincenzo Gemito; a strik- is a tribute not only to the Museum but also to our city. ing Portrait of Arnold Hannay by William Nicholson; a sketchbook by famed Houston artist John Biggers; In addition to Degas: A New Vision and Ron Mueck, “Monumentino da Casa,” a psychedelic-era chair de- the Museum presented a range of dynamic, thought- signed by Alessandro Mendini; the photographs Lovely provoking exhibitions during this fiscal year. Kusama: Six Foota by Mickalene Thomas, Monuments: 276 Views At the End of the Universe , which featured the Museum’s of the United States–Mexico Border by David Taylor, and recent acquisition of Yayoi Kusama’s Aftermath of Beautiful Vanessa by Richard Learoyd; and seventy-five Obliteration of Eternity, welcomed as many visitors as works by the humanist photographer Fazal Sheikh, an possible given that each was given sixty seconds alone acquisition made possible by Jane P. Watkins. At the in the artist’s Infinity Room. Emperors’ Treasures: end of the year, we were able to acquire, and install, Chinese Art from the National Palace Museum, Taipei the enchanting Pixel Forest Transformerand Worry Will marked another milestone for the Museum: not in Vanish Dissolution by Pipilotti Rist. two decades had the Taipei museum lent so many treasures to an American institution, and this initiative Extensive programming by our Department of Learning allowed us to nurture relationships with another of and Interpretation, headed by Caroline Goeser, with Houston’s many communities.

7 REPORT OF THE DIRECTOR

Ancient Luxury and the Roman Silver Treasure from silk and cotton ikats from Uzbekistan. Malcolm Daniel’s Berthouville, an exhibition of over 170 objects from the Homelands and Histories: Photographs by Fazal Sheikh ancient Roman Empire, featured an opulent collection of earned significant press attention, including from the silver objects known as the Berthouville Treasure, a cache Wall Street Journal. Two compelling exhibitions opened accidentally discovered by a French farmer in the early just as the fiscal year closed: Pipilotti Rist: Pixel Forest nineteenth century and recently conserved by the J. Paul and Worry Will Vanish and Paint the Revolution: Mexican Getty Museum. The Treasure was displayed alongside a Modernism, 1910–1950. The first, organized by Alison selection of precious gemstones, glass, jewelry, and other de Lima Greene, was a mesmerizing voyage into the Roman luxury items from the royal collections of the artist’s own world and another in the ongoing series of Cabinet des Médailles of the Bibliothèque nationale de summer immersive installations in Cullinan Hall. The France. It was handsomely installed by Frances Marzio. second, originated by the Philadelphia Museum of Art and the Museo del Palacio de Bellas Artes in Mexico A pair of fascinating exhibitions brought the artistic City and organized here by Dr. Ramírez, was an heritage of Texas to our galleries. A Texas Legacy: insightful, comprehensive survey of a highly influential Selections from the William J. Hill Collection encompassed chapter of modernism. furniture, drawings, paintings, pottery, and silver, showcasing the art and traditional craft practices of the early Each of our curators was actively engaged in bringing settlers; Julian Onderdonk and the Texan Landscape sur- their collections to the public through special installa- veyed the career of this San Antonio–born artist, who tions, from photography to design to artists’ books, was trained under the American Impressionist master and the fiscal year 2016–2017 also marked a milestone William Merritt Chase. We are deeply indebted to Mr. in the Museum’s presentation of works from its Hill for his devotion to the artists and artisans of Texas collection: The Museum partnered with Buffalo Bayou and for his commitment to the Museum, Bayou Bend, Partnership to present Rain: Magdalena Fernández at and the Glassell School. Two Centuries of American Still- the Houston Cistern, located in the historic Buffalo Life Painting: The Frank and Michelle Hevrdejs Collection, Bayou Park Cistern near downtown Houston. The traced the history of American still-life painting. Mr. exhibition featured 2iPM009, an abstract video- Hevrdejs, a Life Trustee and the Treasurer of the projection installation that evokes a rain-soaked night. Museum, announced the promised gift of this collection For this presentation, Fernández adapted the work to be at the inauguration of the show: this unique collection an immersive environment projected onto the cistern’s will transform our holdings of American art. 221 columns. All of these exhibitions were managed with great professionalism and efficiency by the exhibi- Adiós Utopia: Dreams and Deceptions in Cuban Art Since tions team, overseen by Assistant Director Deborah 1950 was a groundbreaking exhibition, organized for the Roldán; coordinated by the department of the registrar, Museum by Dr. Mari Carmen Ramírez with Olga Viso, led by Julie Bakke; and installed by the Museum’s team former director of the Walker Art Center, that brought of preparators, led by Dale Benson. modern and contemporary Cuban art to the United States on an unprecedented scale. The exhibition gave The MFAH house museums, Bayou Bend Collection “a vivid sense of the island’s still-unfamiliar modernist and Gardens and Rienzi, continue to expand and past,” as the co-chief art critic for the New York Times, enhance their public programs. This year witnessed Holland Cotter, noted. Colors of the Oasis: Central Asian yet another exciting installment of Christmas Village Ikats, organized by Dr. Aimée Froom from a loan exhi- at Bayou Bend, which delighted over 15,000 visitors bition of the Textile Museum, Washington, DC, featured in just under three weeks with striking outdoor

8 illuminations and projections, a beautiful mirrored executive administrator, Office of the Director, returned Spiegeltent, and a spirited guided tour through the to New York to join the Cooper Hewitt, Smithsonian house. Conceived by Todd Waite, and executed by Bonnie Design Museum. It is impossible to overstate my per- Campbell, Bayou Bend director, and her team, each year sonal appreciation for her invaluable contributions to the the tour brings Ima Hogg and her cultural passions to administration of the Museum during a key moment of life, with actors, music, and special effects. We hope transition both for the institution and for me personally. that Christmas Village will become a Houston tradition. I would like to close with recognizing the May 31, 2017, At Rienzi, newly minted programs included Yoga in the groundbreaking ceremony for the future Nancy and Gardens and Rienzi Reels, which presents outdoor film Rich Kinder Building for modern and contemporary art, screenings in the Camellia Garden. The newly added which took place as two other major structures—the Masterson Focus Tour showcases, three times a year, Glassell School of Art and the Sarah Campbell Blaffer how the Mastersons lived at Rienzi prior to generously Foundation Center for Conservation—were well under donating their house to the Museum. way. In the midst of a dynamic and rewarding exhibition and programming roster, behind the scenes our focus During fiscal year 2016–2017, the staff of 657 profes- continues to be centered on the planning for the expand- sionals was enhanced and supported by a thousand ed Susan and Fayez S. Sarofim Campus, a transformation docents, volunteers, and members of the Museum’s that features three new buildings, three new public Guild, all of whom welcomed nearly one million visits plazas, an amphitheater, a roof garden, two tunnels, and to our various facilities. Our operations required an two underground parking garages. Planning has been expenditure of $61.8 million, of which $34.1 million overseen by Chief Operating Officer Willard Holmes (51 percent of the $67 million revenue total) was provided under the supervision of Richard D. Kinder, Chairman by the Museum’s endowment, and $15.8 million (23 per- of the Long-Range Planning Committee. Chief Financial cent of revenue) by fund-raising and gifts, and $17.17 Officer Eric Anyah continues the astute stewardship of million (26 percent of revenue) was earned income. our endowment to ensure support of expanded future The City of Houston allocated $855,059 (1.28 percent of operations. Chairman Emeritus Cornelia C. Long revenue) in Hotel Occupancy Tax funds to the Museum. worked hand in hand with Ms. Purvis to direct the Capital Campaign, which had received, as of June 30, With each year, of course, comes transition. Mrs. 2017, approximately $390 million in pledges and Frances P. Marzio, curator of Antiquities and the Arts individual gifts toward our goal of $450,000,000. of Africa, Oceania, and the Americas, retired after more than thirty years with the institution. Frances brought It has been an extraordinary year. As with each edition an abiding passion and a sensitive intelligence to each of the annual report, this publication can provide only and every initiative she undertook here at the Museum; a summary of the accomplishments of our exceptional we, her colleagues, and the public benefitted in countless staff and volunteers, and the many generous contribu- ways as a result. In recognition of her career-long tions of our nearly one hundred Trustees and more than devotion to the Museum of Fine Arts, Houston, the fifty thousand Museum members. As I do each year, on Trustees appointed her Curator Emerita of the Glassell behalf of the entire organization, I would like to extend Collections. Dr. Michael D. Wellen, our longtime assis- my sincere thanks to everyone who participated in the tant curator of Latin American and Latino art, assumed Museum’s initiatives. a prestigious new position at the Tate Gallery, London. And after five years at the Museum, Ms. Nykia Omphroy, —Gary Tinterow

9 REPORT OF THE DIRECTOR

THE CAMPAIGN FOR THE MUSEUM OF FINE ARTS, HOUSTON

The Campaign for the Museum of Fine Arts, Houston, Like so many other institutions across the region, the reached several milestones in fiscal year 2017, beginning Museum and its redevelopment project were affected with the formal unveiling of the permanent architectural by the flooding brought by Hurricane Harvey. The signage for the newly named Susan and Fayez S. Sarofim Sarofim Campus fared well during the hurricane, Campus on January 30, 2017. With an array of public with limited, isolated leaks in the Caroline Wiess Law plazas, reflecting pools, and gardens, as well as improved Building and Audrey Jones Beck Building that were sidewalks, street lighting, and wayfinding, the expanded immediately contained. The Glassell School and Kinder campus will provide a beautiful and dynamic setting for Building construction sites received about two million the Museum’s new and existing buildings. gallons of water in all. Cleanup began directly after the hurricane, and work on the construction sites resumed. On May 31, Trustees, donors, and special guests The overall impact will be seen in the timeline of the gathered to celebrate the official groundbreaking of redevelopment project. Today, the new Glassell School the Nancy and Rich Kinder Building and the beginning of Art is expected to open in May 2018, and the Kinder of the second phase of the campus redevelopment, Building for twentieth- and twenty-first-century art which will realize the 164,000-square-foot building for to open in 2020. The Blaffer Foundation Center for twentieth- and twenty-first-century art. A week prior, the Conservation construction area was not affected by Glassell School of Art’s new, 285-space underground the flooding and remains on track to be completed parking garage opened for public use. Above ground, by summer 2018. construction continued on the Glassell School facility, designed by Steven Holl Architects. Elsewhere on The Museum’s ambitious capital project would campus, work continued on the Sarah Campbell Blaffer be impossible without the exceptional support of Foundation Center for Conservation, designed by Houston’s communities. To date, the Museum Lake Flato and situated above the west side of the has raised more than $389 million toward a total Museum’s Visitors Center and parking garage. goal of $450 million for the overall campus rede- Preliminary site work for the state-of-the-art center velopment campaign. We are truly humbled by this concluded in early 2017, and construction began extraordinary generosity. in April. A complete list of donors to the campaign, as of June 30, 2017, can be found on pages 14–15.

10 SARAH CAMPBELL SUSAN AND FAYEZ S. SAROFIM CAMPUS BLAFFER FOUNDATION CENTER FOR CONSERVATION

AUDREY JONES BECK BUILDING

NANCY AND RICH KINDER BUILDING

GLASSELL SCHOOL OF ART CAROLINE WIESS LAW LILLIE AND HUGH BUILDING THE BROWN ROY CULLEN FOUNDATION, INC. SCULPTURE GARDEN PLAZA

The expansion of the Susan and Fayez S. Sarofim Campus represents more than ten years of strategic planning by the Museum’s Board of Trustees and executive leadership to identify and address the Museum’s crucial needs.

11 REPORT OF THE DIRECTOR

Museum director Gary Tinterow (at left) and Susan and Fayez S. Sarofim (at far right) at the unveiling of the newly named Sarofim Campus.

Christopher and Courtney Lanier Sarofim at the Sarofim Campus unveiling.

12 At the groundbreaking for the Nancy and Rich Kinder Building (left to right): Chris McVoy, architect; Anne Duncan, Vice Chair, Board of Trustees; Nancy Kinder; Gary Tinterow, MFAH director; Richard D. Kinder, Chair, Board of Trustees; and Steven Holl, architect.

Charles Duncan III with Anne and Charles Duncan at the Kinder Building groundbreaking.

13 REPORT OF THE DIRECTOR

DONORS TO THE CAMPAIGN FOR $1,000,000–$2,999,999 $250,000–$999,999 THE MUSEUM OF FINE ARTS, Louisa Stude Sarofim Foundation The Eleanor and Frank HOUSTON Joyce Z. Greenberg Freed Foundation As of June 30, 2017 in memory of Jacob Greenberg The Levant Foundation Michelle and Frank Hevrdejs The Gordon A. Cain Foundation $50,000,000 or More Lynne and Joe Hudson Jeaneane B. Duncan Mr. Fayez S. Sarofim Barbara and Michael Gamson Jereann and Holland Chaney Kinder Foundation Franci Neely Mr. and Mrs. Nijad Fares Mary Lawrence Porter Carla Knobloch/ $10,000,000–$49,999,999 Gail, Louis, and Marc Adler Knobloch Family Foundation The Brown Foundation, Inc. Margaret Patricia in memory of Peter C. Marzio The Glassell Family and Daniel Breen Family The J. E. and L. E. Mabee Mr. and Mrs. Meredith J. Long The E. Rudge Allen, Jr. Family Foundation, Inc. Mr. and Mrs. Charles W. Duncan, Jr. Ann and John Bookout The Omena Fund The Sarah Campbell Blaffer Foundation Leslie and Brad Bucher Tina and Joe Pyne The Cullen Foundation Sue and Rusty Burnett Alice C. Simkins The Wortham Foundation, Inc. Sara Paschall Dodd The Skiles Foundation Lynn and Oscar Wyatt The Favrot Fund Ms. Ann G. Trammell Paige and Tilman Fertitta Mr. William J. Hill $3,000,000–$9,999,999 The Fondren Foundation Mr. and Mrs. T. R. Reckling III BBVA Compass Foundation Mr. and Mrs. C. Berdon Lawrence, Sr. Anonymous Ting Tsung Michael C. Linn Family Foundation Sushila and Dr. Durga D. Agrawal and Wei Fong Chao Foundation John P. McGovern Foundation M.D. Anderson Foundation John R. Eckel, Jr. Foundation Laurie and Reed Morian Mr. and Mrs. Isaac Arnold, Jr. The Elkins Foundation Bobbie and John Nau Robin and Lela Gibbs The Hamill Foundation Mrs. Minnette Robinson in memory of Peter C. Marzio Hildebrand Foundation Anne-Marie Louise Schlumberger Mr. and Mrs. Melbern G. Glasscock Houston Endowment Inc. Scurlock Foundation/ The Joan and Marvin The Robert and Janice McNair Blanton Family Kaplan Foundation Foundation Sterling-Turner Foundation Teresa and Luther King/ Sara and Bill Morgan Phoebe and Bobby Tudor Luther King Capital Management Kitty King Powell Randa and K. C. Weiner Mr. James Edward Maloney The Stanford and Joan Cyvia G. and Melvyn L. Wolff Gary Mercer Alexander Foundation Nina and Michael Zilkha Diane and David A. Modesett in honor of Anne Tucker Pamela F. and David A. Ott Jerold B. Katz Foundation in memory of Peter C. Marzio Jeanie Kilroy Wilson Susanne and William E. Pritchard III H. John and Diane M. Riley Mr. and Mrs. Christopher B. Sarofim Judy and Charles Tate in memory of Peter C. Marzio Vivian L. Smith Foundation

14 Up to $249,999 Mary Lynn and Steve Marks Mr. and Mrs. William R. Lloyd, Jr. Linnet F. Deily Anne Levy Fund Will L. McLendon Windgate Charitable Foundation Marilyn Graves Lummis Ms. Margie Wedemeyer Mr. and Mrs. Rodney H. Margolis Neiman Marcus Mrs. W. Tucker Blaine, Jr. Mr. and Mrs. Herman L. Stude Karen Pulaski Irving and Paula Pozmantier The Abendshein Family Beverly and Howard Robinson David and Edlyn Pursell Coneway Family Foundation Mr. and Mrs. Russ Robinson Ms. Vickie Milazzo Rosanette and Harry Cullen Pauline and Stephen Smith and Mr. Thomas Ziemba The James W. Glanville Jerry Ann Woodfin-Costa Ms. Barbara Springer Family Foundation / and Victor Costa Mr. and Mrs. Fred T. Wilson Nancy H. Glanville Melanie Gray and Mark Wawro Dr. Nancy E. Zey Kathleen and Martyn Goossen Dorene and Frank Herzog and Jonathan G. Brush Mr. Samuel F. Gorman Tamara and Andrius Kontrimas Dr. Penelope Marks Howard W. Horne Family Foundation/ Mr. and Mrs. Moez Mangalji and Mr. Lester Marks Carrie M. Horne Ms. Joan Morgenstern Carol and Michael Stamatedes Mr. and Mrs. Ronald E. Huebsch Sarah C. Morian and Michael Clark Mrs. Dorothy C. Sumner Jesse H. Jones II Stedman West Foundation Mr. and Mrs. Martin Debrovner Frances Marzio Robert L. and Edith F. Zinn Mr. Joseph D. Jamail in memory of Peter C. Marzio Claire and Doug Ankenman Carol and Eric Timmreck J.B.D. Foundation Mr. Frank N. Carroll Joyce R. Ahearn Montgomery Trucking Co., LLC Ms. Clara Vega and Mr. Mauricio Fabre Mindy Goto Wendy and Mavis Kelsey, Jr. Dr. Fernando Scaglia in memory of Patti Mullendore Lisa and Downing Mears Mrs. Telma Elizabeth Ferrari Toni E. Wallingford Scott and Judy Nyquist Mr. and Mrs. R. W. Wortham III William and Diane Lee The Orton Family Bettie Cartwright Mike and Barbara Adams Macey and Harry Reasoner Stephen E. Hamilton Mr. and Mrs. Paul S. Ache Gary Tinterow and Christopher Gardner Jennifer Cronin Mr. Phillip C. Alter Erla and Harry Zuber Mrs. Wayne B. Duddlesten Karen Bodner The Estate of Mary Anne Phillips George and Mary Josephine Mr. and Mrs. Larry F. Cochran Susan G. Balon Hamman Foundation Boriana Grueva Terry Ann Brown Mary and George Hawkins Suzanne and David Kerr Michael W. Dale Kelly and Nicholas Silvers Andrew W. Tang Didi Garza and Peter McLaughlin Clark and Charlene Thompson Mr. and Mrs. John Cutler Heidi and David Gerger Foundation in honor of Mr. Christian H. Cutler Mr. and Mrs. Masoud Ladjevardian Charles Emrich and Mr. Leigh H. Tucker

15 ACCESSIONS

16 MAYA Jade, the color of water and growing Head of a Spider Monkey, AD 100–600 plants, was a symbol of agricultural fertility and was regarded as one of the Jade most precious materials in the Maya 1 3/4 x 2 1/4 x 7/8 in. (4.4 x 5.7 x 2.2 cm) world. Only esteemed individuals pos- Gift of Frank Carroll in honor sessed jade, which is a difficult stone of Frances Marzio to carve. The laborious work required 2016.280 patience, determination, and tremendous skill. This jade pendant is carved into the head of a spider monkey, which the Maya associated with scribes and artists, respected professions in their culture. The Monkey Scribe Gods were the patrons of art, writing, and mathematics. This pendant, filled with symbolic associa- tions, must have been a treasured item. CD

17 ACCESSIONS

MAYA Plumed Serpent Finial, AD 600–900 Earthenware 4 3/4 x 9 5/8 x 2 5/8 in. (12.1 x 24.4 x 6.7 cm) Gift of Frank Carroll 2016.278

The ancient Maya art style was graceful and refined, with elaborate images of gods and rulers. Maya artworks often depict mythological scenes along with the daily lives of the elite. Most sculptures that survive come from burials, where they were deposited to accom- pany the dead in the afterlife. Maya ceramic sculptures, like this finial, come from a sophisticated understanding of the principles of clay. The plumed serpent was associated with transformation and with birds that could fly to the celestial realm. The finial likely capped the staff of a political or religious leader, people seen to have connections with the divine. CD

JALISCO Ancestral Couple, c. AD 200 Earthenware with slip Male: 13 1/2 x 8 5/8 x 6 5/8 in. (34.3 x 21.9 x 16.8 cm) Female: 12 x 7 3/4 x 5 1/4 in. (30.5 x 19.7 x 13.3 cm) Museum purchase funded by the Alfred C. Glassell, Jr. Accessions Endowment Fund 2017.108

The ancient cultures of West Mexico shared a belief system that honored powerful ancestors. Prominent families buried their relatives in deep shaft tombs with ceramic figures and other goods to honor the deceased and for support in the afterlife. The ceramics embodied important concepts in religion and society. This ancestral couple may represent a foundation myth of the peoples that lived in a narrow region between the modern- day Mexican states of Jalisco and Zacatecas. Both figures wear ear- spools, and multiple necklaces and armbands, signs of prestige. CD

18 KOM PEOPLES Helmet Mask Representing a Warrior, 19th century Wood with pigment 23 x 15 x 13 1/2 in. (58.4 x 38.1 x 34.3 cm) Museum purchase funded by the Alfred C. Glassell, Jr. Accessions Endowment Fund 2017.105

For the Kom peoples, the visual and dramatic arts play a central role in expressing a highly stratified social and political organization. The sacred authority of the Fon, or king, is communicated through a broad spectrum of palace art and royal regalia rich in symbolic meaning. Masks feature prominently and are worn at the annual “Fon’s dance” and at the funeral celebrations of esteemed men. Worn above the head with a netting covering the face of the performer during the ceremony, masks of this type depict the ancestors from whom the Fon draws his life force and royal authority. CD

19 ACCESSIONS

TIBETAN Kadampa Ritual Stupa, 13th century Bronze 9 x 4 7/8 in. diameter (22.9 x 12.4 cm) Museum purchase funded by the Friends of Asian Art 2017.248

Among the earliest Buddhist icons is the stupa, a reliquary of the Buddha’s remains. The shape of the bronze stupa is an abstraction of the Buddha sitting in meditation. The thirteen rungs of the upper spire symbolize the stages along the path to Buddhahood. In the Tibetan tradition, the stupa also represents the five elements of reality: the square base represents earth, the hemispherical dome represents water, the conical spire represents fire, the upper lotus parasol represents air, and the dissolving point represents space. This thirteenth-century stupa is associated with the Kadampa School of Tibetan Buddhism that flourished from the eleventh through the fourteenth centuries. AGP

INDIA Embroidered Panel, c. 1750–1800 Cotton, embroidered with floss silk and metal-wrapped thread, with couching and satin stitch 66 9/16 x 40 3/16 in. (169 x 102 cm) Museum purchase funded by Franci Neely, Olive and Bruce Baganz, Joy and Benjamin Warren, and Hamid and Lily Kooros 2016.287

This visually striking panel is one of the finest embroidered textiles from the Deccan region of south-central India. The elaborate design, sumptuous palette, intricate embroidery, and lavish use of metal-wrapped thread suggest that it was probably made in a royal workshop and intended for a courtly setting. It may have been used to cover a throne platform. Many of these textiles were also made for overseas markets. This panel came from a Portuguese collection and was likely imported from Portuguese trading ports in colonial India during the active global trade of the eighteenth century. AF

20 21 ACCESSIONS

ALBRECHT DÜRER, German, 1471–1528 Saint George Killing the Dragon, c. 1504–5 Woodcut on laid paper 8 11/16 x 5 7/8 in. (22 x 15 cm) Museum purchase funded by the Marjorie G. and Evan C. Horning Print Fund 2017.18

Albrecht Dürer, the greatest German artist of the Northern Renaissance era, revolutionized printmaking and elevated it to an independent art form. This single-leaf woodcut is of the Christian martyr Saint George, who was put to death by Emperor Diocletian for refusing his orders to perse- cute Christians. The saint is portrayed on horseback slaying the mythical dragon beneath his feet. According to medieval legend, the dragon had terrorized a city, requiring a daily human sacrifice that culminated in the offering of the emperor’s daughter. She was finally rescued by the saint, and his actions saved the city from the beastly menace. DMW

JOHN FLAXMAN, English, 1755–1826 Oceanus and Prometheus Bound, from the series Aeschylus, c. 1795 Graphite with ink on wove paper 9 x 11 1/4 in. (22.9 x 28.6 cm) Gift of Cecily E. Horton 2017.220

John Flaxman was a leading figure of Neoclassicism in England. His stylized linearity revolutionized the art of drawing, and his designs for the potter Josiah Wedgwood established his repute. Flaxman’s illustrations of the classical epics of Dante, Homer, and Aeschylus provided financial reward and were highly celebrated in his lifetime. This drawing is from a series of illustrations of the ancient Greek play Prometheus Bound that were commissioned in Rome by Margaret, Countess Spencer. The struggling Prometheus, who is being punished by Zeus for giving fire to humankind, contrasts with the elegant sea god Oceanus riding on a sea monster. DMW

22 23 ACCESSIONS

JACQUES CALLOT, French, 1592–1635 Jacques Callot was an exceptional artist of Compositional Study for “Le Combat des his time. Although he never painted, he Sections d’Infanterie,” from the series La made drawings and worked exclusively Guerra d’Amore (The War of Love), c. 1616 as a printmaker. During Callot’s stay in Florence in the early 1600s, he enjoyed Pen and brown ink and wash and red working under Cosimo II de’ Medici. This chalk over black chalk on laid paper rare, preparatory drawing is for an etching 6 1/8 x 13 3/16 in. (15.5 x 33.5 cm) in Callot’s four-part print series The War of Museum purchase funded by Love, commemorating the Florentine carni- the Alvin S. Romansky Prints and val of 1616 and dedicated to Cosimo’s wife, Drawings Accessions Endowment Fund Maria Magdalena of Austria. The drawn 2017.226 composition is full of action and vivacity, showcasing Callot’s celebrated silhouetted acrobatic figures. The amphitheater scene also depicts the mock battle, procession, and various participants and observers. DMW

24 JOHN ROBERT COZENS, English, 1752–1797 The late eighteenth-century British artist London and the Thames from Greenwich, John Robert Cozens used watercolor as 1792 an expressive and poetic art form for the contemplation of nature. Cozens’s techni- Watercolor over graphite on laid paper cal and imaginative innovations inspired 14 3/8 x 20 5/8 in. (36.5 x 52.4 cm) major British landscapists of his day, The Stuart Collection, museum such as John Constable and J. M. W. purchase funded by Francita Stuart Turner. This view of London and the Koelsch Ulmer river Thames seen from Greenwich Hill 2016.345 downplays topographical exactitude in favor of an evocative connection with a view of Rome. His atmosphere and color washes of gray, green, and blue compare favorably to the melancholic grandeur of Roman panoramas and were well suited to the contemporary literary taste for the sublime. DMW

25 ACCESSIONS

UNKNOWN MAKER, French Pot-Pourri, c. 1745–49 Porcelain with celadon glaze; ormolu 14 1/2 x 15 x 9 1/2 in. (36.8 x 38.1 x 24.1 cm) Museum purchase funded by Cecily E. Horton 2016.347

This extravagant pot-pourri comprises a seventeenth-century Chinese covered bowl and 1740s French gilt-bronze mounts. The taste for such ornamented wares reached its peak in eighteenth-century France, growing in popularity with the rise of the Rococo style. They were especially prevalent at the court of Louis XV (1710–1774), where whole ceramic objects or separate components or parts were set in gilt-bronze mounts and turned into opulent items suitable for fash- ionable interiors. The pierced rim on this celadon example allowed for the fragrance from the petals, herbs, and spices held inside to scent the air. CG

26 J. & W. CARY, English, c. 1791–1850 Terrestrial Globe, stand and globe c. 1791, updated 1831 Satinwood, paper, and brass 46 7/16 x 27 15/16 in. diameter (118 x 71 cm) The Rienzi Collection, museum purchase funded by the Rienzi Society 2016.346

This elegant terrestrial library globe records the known world at the end of the eighteenth century, a time of significant European exploration. While the globe illustrates regions discovered by the famed explorers Captain Cook, Captain Vancouver, and the Comte de Lapérouse, it also includes an 1831 update featuring new discoveries. Eighteenth-century Enlightenment thought emphasized the value of reason; during this period of great scientific inquiry, terrestrial globes were educational tools for conveying geographical, astronomical, and cosmo- graphical concepts. For the elites of the period, such luxurious items served as symbols of learning while also fueling their curiosity about the larger world. CG

27 ACCESSIONS

WILLIAM OTTO GLOSNOP, American, born Germany, 1835–1895 Sewing Table, 1877 Walnut, cedar, unidentified woods, and porcelain 34 1/2 x 26 1/2 in. diameter (87.6 x 67.3 cm) The Bayou Bend Collection, gift of William J. Hill B.2017.1

William Otto Glosnop made this spectacular sewing table in 1877 for display at Austin’s Capital State Fair, winning “Best Center Table . . . Made in Texas of Texas Wood.” Appropriately for an exhibition object, the table represents a tour de force of Glosnop’s skills and techniques. Most striking is the dazzling marquetry top with its variety of woods in contrasting colors. The body of the table is supported on a column turned from laminated stock, creating an effect of vertical stripes. Each leg features a whimsical carved dolphin sport- ing a spiny dorsal fin and a trefoil-like tip on its tail. BCB

28 PLATT D. BABBITT, American, 1823–1879 By the mid-nineteenth century, Niagara Falls Niagara Falls, c. 1855 was a favorite U.S. travel destination, with more than 60,000 visitors annually. Daguerreotype in leather case Capitalizing on this popularity, Platt Babbitt Overall (closed case): secured the sole rights to photograph at the 7 1/16 x 9 1/16 x 11/16 in. prime viewing point—the open-air pavilion (18 x 23 x 1.8 cm) on the American side (now called Prospect Museum purchase funded by the Point). From this location, Babbitt produced S. I. and Susie Morris Photography full-plate daguerreotypes for his clients, Endowment and Alexander K. McLanahan whom he positioned overlooking this 2017.122 natural wonder. These daguerreotypes— precise one-of-a-kind photographic images on silver-plated sheets of copper—both allowed visitors to take home a view of the spectacular falls and served as undeniable proof that they had stood at its very edge. LV

29 ACCESSIONS

Possibly by ANTOINE-SAMUEL ADAM-SALOMON, French, 1818–1881 Or LÉON CRÉMIÈRE, French, 1831–1913, and ERWIN HANFSTAENGL, German, 1838–1904 [A Sleeping Child, Likely the Prince Imperial], c. 1859 Salted paper print from glass negative 10 1/2 x 8 in. (26.6 x 20.3 cm) Museum purchase funded by the Buddy Taub Foundation, Dennis A. Roach and Jill Roach, Directors 2017.139

This sleeping child with tousled hair, stretched out on a velvet-draped armchair, may well be the Prince Imperial, son of Emperor Napoleon III and Empress Eugénie of France. Regardless of the artist’s or sitter’s identity, however, this photograph—which is known only in this single exquisite example—possesses a beauty and intimacy rarely found in portraits of the period. MD

30 GEORGE FREDERICK WATTS, English, 1817–1904 Clytie, c. 1868 Painted plaster 31 11/16 x 23 5/8 x 15 3/4 in. (80.5 x 60 x 40 cm) Museum purchase funded by “One Great Night in November, 2017” 2017.205

Clytie was the first major sculpture by George Frederick Watts, one of Victorian England’s greatest artists. First shown as a marble in London in 1868, it remains one of the most famous sculptures of its era. Watts made four plaster versions; this one, with its original painted surface, is probably the best pre- served. The water nymph Clytie, in Ovid’s Metamorphoses, fell in love with the sun god Helios. When he deserted her, she changed into a sunflower, fated forever to turn her head and follow Helios’s golden chariot on its daily course across the sky. Watts depicts her during her transformation. DB

31 ACCESSIONS

VINCENZO GEMITO, Italian, active Naples, 1852–1929 Head of a Philosopher, c. 1890 Bronze 20 1/2 x 9 1/2 x 10 in. (52 x 24.1 x 25.4 cm) Museum purchase funded by the Buddy Taub Foundation, Dennis A. Roach and Jill Roach, Directors 2017.222

Said to be inspired by the angular features of his adoptive father, Vincenzo Gemito’s compelling Head of a Philosopher was also based on a Hellenistic sculpture in the Museo Nazionale in his native Naples. Gemito became a celebrated artist while still young, when Victor Emmanuel II, king of Naples, acquired a bronze figure he had made of a card player. He revived the lost- wax process for bronze casting and in 1883 built his own bronze foundry, in which the present head was produced. This fine cast, with the details of features, hair, and beard sharply defined, is in beautiful condition. DB

32 BERTHE MORISOT, French, 1841–1895 Berthe Morisot and her sisters, Edma and Jeune femme (Young Woman), 1871 Yves, studied painting seriously from an early age, training with Geoffry Alphonse Oil on canvas Chocarne, Joseph Guichard, Jean-Baptiste- 21 1/2 x 18 1/8 in. (54.6 x 46 cm) Camille Corot, and his pupil Achille François Museum purchase funded by the Oudinot. The only one to pursue painting as Audrey Jones Beck Accessions a career, Berthe became closely linked with Endowment Fund Édouard Manet, who acted as her mentor, 2016.339 often actively counseling her on her work. This may indeed have been the case in this portrait, where Manet’s hand can be detected in the fluid brushwork of the sitter’s left hand and arm. Morisot’s characteristic loose and delicate brushwork informs the depiction of the delicate fabric of the dress. HKA

33 ACCESSIONS

ACHILLE LAUGÉ, French, 1861–1944 A native of Arzens in southern France, La route (The Road), 1893 Achille Laugé went to Paris in 1882 to Oil on canvas study with Alexandre Cabanel and Jean- 15 3/4 x 19 3/4 in. (40 x 50.2 cm) Paul Laurens at the École des Beaux-Arts. However, instead of following their aca- Museum purchase funded by the Audrey demic style, he became a disciple of Jones Beck Accessions Endowment Fund Georges Seurat’s revolutionary divisionist 2017.167 technique, also called Pointillism. After his studies, he returned to southern France, where he worked most of his life in relative isolation, capturing its intense sunlight in his stark compositions of clear geometric shapes. This painting from his most desir- able period of the early 1890s is in pristine condition and an outstanding example of his work. HKAHKA

34 MAX WEBER, American, born Russia, 1881–1961 Abstract Forms, 1917 Pastel on beige wove paper 14 1/2 x 10 in. (36.8 x 25.4 cm) The Alice C. Simkins Collection, gift of Alice C. Simkins and museum purchase funded by Aggie Foster 2016.311

Russian-born émigré Max Weber was one of the first American artists to openly engage with European Modernism due to his trip to Paris in 1905. The vital structure and rhythms of Abstract Forms stem from the language of Analytic Cubism and relate to Pablo Picasso’s still lifes of 1909. Identifiable objects—a table, a bottle, a carafe, and a glass stopper—emerge from the abstract framework. Weber’s use of the lush pastel medium suits his warm color harmonies, and his robust lines, decorative curves, rubbed passages, and delicate areas resembling washes. They are offset by places of exposed, bare paper. DMW

35 ACCESSIONS

ANDRÉE FAURÉ, French, 1904–1985 ATELIER FAURÉ, French, c. 1919–1985 Vase, c. 1925 Copper, enamel, and gold foil 7 7/8 x 7 3/4 in. diameter (20 x 19.7 cm) Museum purchase funded by the Museum Collectors 2017.207

Camille Fauré, the owner of the foremost Limoges enamel atelier of the twentieth century, specialized in thickly enameled wares that usually incorporated geometric or figurative patterns. This vase, designed by his daughter and chief designer Andrée Fauré, shows the influences of modern art movements such as Cubism and Futurism as well as the work of artists like Fernand Léger. The work of the Atelier Fauré is marked by dynamic color, daring design, and technical virtuosity. Such vases would take from two weeks to two months to complete due to the complex firings required to create their signature three- dimensional surfaces. CG

JACQUES-ÉMILE RUHLMANN, French, 1879–1933 Made by Établissement Ruhlmann et Laurent, French, active 1919–33 “Double Colonnettes” Table, 1923 Mahogany, Macassar ebony veneer, and ivory 20 1/8 x 20 5/8 in. diameter (51.1 x 80.3 cm) Gift of Mr. and Mrs. Meredith Long 2016.332

The “Double Colonnettes” coffee table demonstrates Jacques-Émile Ruhlmann’s originality in design and use of luxurious materials such as ivory and Macassar ebony veneers. The table was included in the Grand Salon of Ruhlmann’s famous pavilion, Hôtel du Collectionneur, at the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris, considered a high point in his career and cited as the most complete expression of the Art Deco style. CS

36 JACQUES-ÉMILE RUHLMANN, French, 1879–1933 Made by Établissement Ruhlmann et Laurent, French, active 1919–33 “Salonicol” Chair, c. 1925–33 Macassar ebony and Macassar ebony veneer; upholstery not original 41 1/2 x 23 1/2 x 25 in. (105.4 x 59.7 x 63.5 cm) Gift of Mr. and Mrs. Meredith Long 2016.329

Jacques-Émile Ruhlmann is considered the most important French furniture maker and interior designer of the Art Deco period. The “Salonicol” armchair reveals his sensitivity for line and classicism. Recorded in the Ruhlmann archives as Ref. 184a NR, it was among a range of furniture that he had designed for one of his last major commissions—the office of the architect André Granet in Paris (1932–34). Period photographs from 1933 show a “Salonicol” chair upholstered in this fabric design behind the architect’s desk. CS

37 ACCESSIONS

GONZALO FONSECA, Uruguayan, 1922–1997 Sin título [Untitled], c. 1950 Incised wood with paint 29 5/8 x 26 7/8 x 12 1/4 in. (75.2 x 68.3 x 31.1 cm) Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund 2017.110

This one-of-a-kind cabinet was produced by the Uruguayan artist Gonzalo Fonseca, a prominent member of the influential workshop Taller Torres-García—the arts and crafts workshop established by Joaquín Torres-García in Montevideo, Uruguay, in 1944. The visual strength of the cabinet lies in the balance between its overall rustic and sturdy structure—emphasized by clean lines and solid planes of black and red—and the elaborately painted and incised ornamentation that brings together many of the symbols of Constructive Universalism. The work presents Fonseca’s personal approach to using this artistic language, particularly his unique application of the grid as an architectonic element and his stylized portrayals of the human form. These structural and stylistic features defined his mature style. RM

38 FRANCISCO MATTO, Uruguayan, 1911–1995 Formas [Forms], 1977 Painted wood 45 3/4 x 36 x 9 3/4 in. (116.2 x 91.4 x 24.8 cm) Gift of Olive Neuhaus Jenney 2016.96

Francisco Matto emerged from the Taller Torres-García. Matto extended Torres- García’s ideas of Constructive Universalism to his work with painting and sculpture, reducing elements from nature to their fun- damental essence and using pictograms as a universal common language. In Formas, he explores the ambiguity between abstraction and representation in his search for symbolic meaning, fusing the principles of Constructive Universalism with iconographic references to Pre-Columbian and indigenous art. The artist liberates his forms from the rational, constructive grid and strips the constructive language to its utmost simplicity. RM

39 ACCESSIONS

FANNY SANÍN, Colombian, born 1938 In 1971 the Colombian artist Fanny Sanín Acrylic No. 5, 1973 permanently relocated to New York, Acrylic on canvas where she was influenced by established 85 x 116 in. (215.9 x 294.6 cm) representatives of Color Field painting and hard-edge abstraction. Her work Museum purchase funded by also draws from groundbreaking devel- the Caribbean Art Fund and opments in Latin American postwar the Caroline Wiess Law Accessions abstraction, thereby situating Sanín as a Endowment Fund pivotal figure between abstract develop- 2017.112 ments north and south. Acrylic No. 5, with its juxtaposed bands of color, represents Sanín’s exemplary chromatic structures. The uneven vertical sequences defy the two-dimensional plane and the illusion of space. Sanín’s aim is to liberate color from the surface of the canvas. The large scale of Acrylic No. 5 confronts the viewer with a chromatic expanse. RM

40 ALESSANDRO MENDINI, Italian, born 1931 “Monumentino da Casa,” 1974 Wood and tape 77 1/4 x 14 1/4 x 56 1/4 in. (196.2 x 36.2 x 142.9 cm) Museum purchase funded by the John R. Eckel, Jr. Foundation 2017.107

In 1970 the Cesare Cassina Research Centre established the collection Bracciodiferro to create experimental furniture in limited editions. “Monumentino da Casa” was one of the designer Alessandro Mendini’s four designs for Bracciodiferro—all produced in 1974. The chair allows for observation from alternative points of view as well as invokes spirituality and the nature of monuments. “Monumentino da Casa” was never produced, making this example exceedingly rare. CS

41 ACCESSIONS

ROBERT MOTHERWELL, American 1915–1991 Three Personages, from the series Hollow Men, 1988 Acrylic and charcoal on canvas 60 x 96 1/4 in. (152.4 x 244.5 cm) Gift of Mr. and Mrs. Meredith J. Long 2017.223

With Three Personages, Robert Motherwell summed up his lifelong commitment to the tragic and timeless in art, and its ability to chart the complexities of the human condition. The composition is dominated by three loosely defined figures drawn in charcoal and filled with semitransparent washes of sienna and brilliant yellow. The painting has its origins in Motherwell’s Elegy to the Spanish Republic series that he launched in the late 1940s. Four decades later, Motherwell returned once again to this compositional theme, with ghostly outlines taking the place of his earlier solid color forms. ALG

42 43 ACCESSIONS

44 GILBERT AND GEORGE, British, active since 1967 Gilbert Proesch, British, born Italy, 1943 George Passmore, British, born 1942 Base, 2005 Inkjet prints 148 13/16 x 225 3/16 in. (378 x 572 cm) Gift of the Chaney Family Collection in honor of Anne Wilkes Tucker on the occasion of her retirement 2017.6

The work of Gilbert and George, addressing provocative issues such as sex, religion, and politics, attracts both commendation and condemnation. In Base, a mirrored image of a crucified Christ is flanked by the “saintly” figures of the two artists. The bottom register of this pseudo- altarpiece—an area usually reserved for saints—is occupied by a line of cheap charms evoking homoerotic stereotypes: the policeman, the sailor, the firefighter. Gilbert and George leave the meaning of Base ambiguous—are they toying with sincere believers or suggesting an analogous history of rejection and persecution? LV

45 ACCESSIONS

SANDY SKOGLUND, American, born 1946 In the late 1970s, an era marked by mini- Luncheon Meat on a Counter, mal, conceptual art and black-and-white from the series Food Still Lifes, 1978, photography, the artist Sandy Skoglund printed 2017 found the hyper-colored constructs of mass marketing more fascinating than the Inkjet print cerebral productions of the fine-arts world. 22 x 29 11/16 in. (55.9 x 75.4 cm) “If you [could] see . . . what it took to make Museum purchase funded by an advertising photograph . . . like the Jean L. Karotkin, and Judy Nyquist photo assistant carefully arranging meat- and Jerome Schultz in memory of balls,” Skoglund noted, “the degree of Jane Schultz unnaturalness would be astonishing.” 2017.247 Skoglund pursued this brand of artificial reality in her eye-catching and humorous series Food Still Lifes. The acquisition of this work led to an anonymous gift of eight additional prints. LV

46 DAVID LEVINTHAL, American, born 1949 Untitled, from the series Space, 2007 Dye diffusion transfer print Sheet: 30 x 22 in. (76.2 x 55.9 cm) Gift of an anonymous donor 2017.190

David Levinthal uses photography to address topics central to American history, identity, and consciousness, including World War II, the myth of the American West, romantic and sexual desire, racial stereotyping, and the heroism of sport, among others. He explores these themes through toys, dolls, and other mass- produced figures—staging his scenes in such a way as to hover between authenti- city and artificiality. In his series Space, Levinthal conjures fantasies of extraterres- trials, flying saucers, and intergalactic travel nurtured in childhood by comics, televi- sion, and films. Thirty-five photographs spanning the artist’s career were donated to the museum in fiscal year 2016–2017. MD

47 ACCESSIONS

FAZAL SHEIK, American, born 1965 A portraitist of uncommon sensitivity, with compassion and respect. He brings Ajoh Achot and Achol Manyen, Sudanese Fazal Sheikh has spent twenty-five years contentious issues such as refugees, Refugee Camp, Lokichoggio, Kenya, 1992, photographing displaced and marginalized women’s rights, and Muslims and the West printed 2016 members of society, particularly refugees, to a human level, hoping to counter igno- Shahjahan Apa, Women’s Rights Leader, in Africa, South Asia, and the Middle East. rance and prejudice with a sense of shared Delhi, India, 2008, printed 2016 Spending weeks, months, or even years humanity. Jane P. Watkins made possible with the communities he portrays in order the Museum’s acquisition of seventy-five Inkjet prints to better understand their history and photographs spanning Sheikh’s career. 24 7/16 x 18 15/16 in. (62.1 x 48.1 cm) culture, Sheikh approaches his subjects MD 26 x 24 3/16 in. (66 x 61.5 cm) Museum purchases funded by Jane P. Watkins 2017.35, 2017.78

48 49 ACCESSIONS

TONY OURSLER, American, born 1957 Tony Oursler combines found objects with Hideaway, 1995 video projections to create psychologically discomforting tableaux. Hideaway typifies Chair, fabric, videotape, VCR, and video these hybrid and theatrical works. It was projector, updated to digital format by created with the performance artist Tracy the artist in 2016 Leipold, one of Oursler’s chief collaborators Video 11 minutes, 12 seconds, and muses. Speaking from under the over- dimensions variable turned chair, the fallen figure commands Museum purchase funded by the viewer’s attention while expressing the contemporary@mfah 2017, wish to escape notice. Leipold brings an the Caroline Wiess Law Accessions extraordinary range of emotion into the Endowment Fund, Suzanne S. Miller, deceptively simple and carefully scripted Lester Marks, and Chris Urbanczyk monologue; she alternately confronts and 2017.116 cajoles the viewer, uttering: “I’m getting smaller (and smaller). . . . Forget this face. Turn away and forget this face. . . . I’m gone. Bye-bye.” ALG

50 MICKALENE THOMAS, American, born 1971 Powerfully evocative of the feminist and Lovely Six Foota, 2007 Black Power movements of the 1970s, Mickalene Thomas’s daringly confronta- Chromogenic print tional Lovely Six Foota explores what it 48 1/8 x 59 3/8 in. (122.2 x 150.8 cm) means to be an African American woman, Museum purchase funded by with all of the layering of race, gender, Clare Glassell, Bettie Cartwright, sexuality, and class that inflects one’s the Meyer Levy Charitable Foundation, sense of identity. With legs spread, blouse Jean L. Karotkin, Director, Jereann unbuttoned, eyebrow arched, and eyes Chaney, and Sara and Bill Morgan staring directly at the viewer, Thomas’s in honor of Yasufumi Nakamori model seduces and challenges the viewer’s 2016.201 gaze. The setting, too, is a constructed fiction assembled in the artist’s studio, replete with faux animal prints, boldly colored fabrics, and period furniture harkening back to the “Black is Beautiful” milieu of Thomas’s childhood. MD

51 ACCESSIONS

MITCH EPSTEIN, American, born 1952 The American landscape has long been Amos Coal Power Plant III, West Virginia, a symbol of national identity. In the nine- from the series American Power, 2007 teenth century, sublime paintings of natural wonders extolled the unlimited Chromogenic print potential of the young nation in the midst 45 x 57 in. (114.3 x 144.8 cm) of an industrial boom. In the twenty-first Gift of John A. MacMahon century, the photographer Mitch Epstein 2017.164 once again turned to landscape as a sign of American prosperity and industrialism. With its towering smokestacks and carved landforms, Amos Coal Power Plant III, West Virginia, part of Epstein’s celebrated American Power series, examines the connections among the environment, the power industry, and American ideals in a new era. LV

52 DAVID TAYLOR, American, born 1965 Over nearly a decade, David Taylor sought Monuments: 276 Views of the United out and photographed all 276 boundary States–Mexico Border, 2007–15, markers that delineate the 690 miles of printed 2017 U.S.–Mexico border that stretch from the Rio Grande to the Pacific, crossing Portfolio of 276 inkjet prints valleys and mountains and cutting through 11 x 14 11/16 in. (27.9 x 37.3 cm) each cities and towns. Some of the nineteenth- Museum purchase funded by the century obelisks stand alongside tall steel Caroline Wiess Law Accessions and concrete barriers; some next to simple Endowment Fund cattle fences, strings of barbed wire, or dirt 2017.225 roads; and still others in open countryside. Little could Taylor have imagined at the outset that, as his project reached completion, the territory he photographed would be so fraught with political, economic, and social tension. MD

53 ACCESSIONS

PAUL MPAGI SEPUYA, American, born 1982 Mirror Study (Self Portrait) (_Q5A2059), 2016 Inkjet print 31 5/16 x 23 3/8 in. (79.5 x 59.4 cm) Museum purchase funded by Photo Forum 2017 2017.250

As a queer black man, Paul Mpagi Sepuya explores the way portraiture—and particularly self-portraiture—has the potential to both reveal and withhold personal identity from the viewer. In this visually complex image, Sepuya points his camera at a mirror that is partially covered by a torn self-portrait. The artist’s face—the very element that, by convention, discloses a sitter’s inner character—is visible in neither the representation nor the reflec- tion. Having solved the visual riddle of Sepuya’s picture, the viewer is left with the more profound question of his identity unresolved. MD

54 RICHARD LEAROYD, British, born 1966 Beautiful Vanessa, 2014 Silver dye bleach print 62 13/16 x 47 13/16 in. (159.5 x 121.5 cm) Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund 2016.343

Using a gargantuan camera and direct- positive paper, Richard Learoyd creates exquisitely crafted, one-of-a-kind images with astonishing detail and mesmerizing presence. Although his photographs are unmistakably contemporary, their sense of intimacy and quiet contemplation, emphasized by unadorned backgrounds, soft lighting, and shallow depth of field, evokes painted portraiture from the Dutch Masters to Edgar Degas as well as nineteenth-century photography, including daguerreotypes and the work of Julia Margaret Cameron. Their scale, detail, and sense of proximity invite the guilty pleasure of voyeurism; the viewer can see within the thin plane of focus each pore, hair, and mole—the imperfections that make Learoyd’s subjects human. MD

55 ACCESSIONS

FRANCESCO CLEMENTE, Italian, born 1952 A global traveler, Francesco Clemente has Prosperity, 2014 made several extended trips to Brazil, where he studied Candomblé, a pantheistic Oil on canvas religion that came from West Africa in the 72 x 72 in. (182.9 x 182.9 cm) sixteenth century by means of the interna- Gift of the Alex Katz Foundation tional slave trade. Still practiced today, 2016.75 Candomblé venerates the forces of nature. With Prosperity, Clemente draws on the iconography of Candomblé to express his own beliefs in mystical renewal. Three orixás, or deities, are presented in an altar- like tableau: Iemanjá, the blue goddess of the ocean; Oxóssi, the green god of the forest and the hunt; and Oxum, the golden goddess of calm water. ALG 56 LINAREJOS MORENO, Spanish, born 1974 Art Forms in Mechanism XII, 2016 Inkjet print 71 7/8 x 50 9/16 in. (182.5 x 128.5 cm) Museum purchase funded by Photo Forum 2017 2017.261

While researching at a Spanish archive, Linarejos Moreno discovered a collection of nineteenth-century botanical models and was taken by their artistry—the shapely papier-mâché petals, the painted veins along the stem, and the careful placement of the clips, hooks, and labels that enabled hands-on learning. Moreno photographed the models in a conscious imitation of Karl Blossfeldt’s botanical photographs, which were produced in the 1920s for classroom study but are now recognized as icons of art photography. Through their modernist style and monumental size, Moreno’s photographs challenge the presumed neutrality of study objects, celebrating instead the artistry of these handmade specimens. LV

57 ACCESSIONS

JENNY HOLZER, American, born 1950 isms Text: Selections from Truisms, 1977–79, 2015

Horizontal LED: RGB diodes and stainless-steel housing, edition 5/6 4 7/8 x 90 13/16 x 2 1/16 in. (12.4 x 230.7 x 5.2 cm)

Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund and “One Great Night in November, 2016” 2016.304

Jenny Holzer began her career in the 1970s by writing more than 250 “truisms” that convert common clichés into subversive texts. Using LED technology mimicking news scrolls, she then broadcast these texts in such public spaces as Times Square in New York, as well as in museums and galleries. Recent programming innovations have allowed Holzer to introduce new colors and pattern effects in her LEDs that both underscore and contradict these texts. At times beautiful, at times haunting, at times shocking, isms Text: Selections from Truisms, 1977–79 is a reminder of our aspirations, desires, and common humanity. ALG

SHARI MENDELSON, American, born 1961 Blue Urn with Found Greek Key, 2016 Plastic, hot glue, resin, acrylic polymer, and paint 33 1/2 x 11 x 11 in. (85.1 x 27.9 x 27.9 cm) Museum purchase funded by Sara S. Morgan in honor of Anna Walker 2017.233

Shari Mendelson’s recent body of work references the legacy of past civilizations by reimagining historic glass vessels using the ubiquitous material of plastic. Blue Urn with Found Greek Key transcends the utilitarian vessel with its greatly exag- gerated size and ornamented surface. Its shape, color, and “Greek key” decoration reference ancient glass. Additionally, the trails of semicircular loops on its sides are a common feature of Roman glass vessels from the fourth century through the seventh century. CS

58 ROBERT GOBER, American, born 1954 Robert Gober explores the uncertain Untitled, 2014–15 relationship that the human body has with nature and architecture. This untitled Plaster, beeswax, human hair, epoxy putty, work evolved from a series of sculptures cast gypsum polymer, cast pewter, oil, and that trap the human form in the ordinary enamel paint furniture and decor of middle-class 41 x 47 x 7 in. (104.1 x 119.4 x 17.8 cm) America. Here, weirdly extended and Museum purchase funded by the scarred limbs sculpted from beeswax Caroline Wiess Law Accessions are woven among lathes cast in pewter. Endowment Fund Despite their apparent fragility, the 2016.222 limbs remain unbroken, while the lathes bend and crack around them. Gober has refrained from commenting directly on this work; however, it can be under- stood as a testament to the persistence of life and memory in the face of aging and death. ALG

59 PIPILOTTI RIST, Swiss, born 1962 Pixel Forest Transformer, 2016 Hanging LED light installation and media player, edition 2/3 20.5 minutes, dimensions variable Worry Will Vanish Dissolution, 2014 Two-channel video and sound installation, edition 3/3 10.25 minutes, dimensions variable Museum purchases funded by the Caroline Wiess Law Accessions Endowment Fund 2017.114, 2017.115

Pipilotti Rist pushes the boundaries between video and the built environment, creating installations that fuse the natural world with the electronic sublime. Worry Will Vanish Dissolution takes viewers into a fantastic dreamscape where the body and nature become one. Pixel Forest Transformer, which she created two years later, is carefully coordinated with this projection. Each light is controlled by a signal in sync with the video, and visitors can stroll through paths in this “forest,” surrounded by sinu- ous waves of color. Rist has stated: “I want to make it clear that everything we look at is also always just organized light.” ALG

Whenever possible, the nationality PURCHASES ASIAN ART THE BAYOU BEND and life-span dates of the artist or COLLECTION maker are provided. Purchases funded by the GIFTS Alfred C. Glassell, Jr. Accessions Endowment Fund: GIFTS Imaemon Imaizumi XIII, Japanese, AFRICAN ART Jalisco 1926–2001 William Otto Glosnop, American, Ancestral Couple, c. AD 200 Covered Tea Cup, 1988–90 born Germany, 1835–1895 PURCHASES Earthenware with slip Porcelain with polychrome underglaze Sewing Table, 1877 2017.108 Gift of Amy and Robert Poster Clarksville, Texas Kom peoples 2016.192 Walnut, cedar, unidentified woods, Helmet Mask Representing a Warrior, Maya and porcelain 19th century Eccentric Sculpture of a Serpent, PURCHASES The Bayou Bend Collection, Wood with pigment c. AD 550–950 gift of William J. Hill Museum purchase funded by the Obsidian Japanese B.2017.1 Alfred C. Glassell, Jr. Accessions 2017.245 Nin’ami Dohachi, Japanese, 1783–1854/55 Endowment Fund Bowl with Yoshino Mountain (Cherry Robert C. Joy, American, 1910–1993 2017.105 Mamie Gregory, American, 1867–1947 Blossom) Design, 18th–19th century Miss Ima Hogg, c. 1971 Basket Jar with Butterflies, 1920s Earthenware with overglaze enamel Oil on canvas Tswana peoples Willow, bull rush, and sumac Museum purchase funded by Peter K. The Bayou Bend Collection, Staff, late 19th century 2017.251 Jameson, Cavanaugh O’Leary, and gift of John and Sara Lindsey Wood Sean P. Wade in honor and celebration B.2017.4 Museum purchase funded by the of Meredith J. Long’s many years of Alfred C. Glassell, Jr. Accessions ART OF THE ISLAMIC leadership at “One Great Night in Richard Clay, English, 1789–1877 Endowment Fund WORLDS November, 2016” After William Henry Bartlett, 2017.124 2016.205 English, 1809–1854 GIFTS Published by George Virtue Purchases funded by Ms. Miwa S. Sakashita and Dr. John R. Stroehlein: The Ascent to the Capitol Washington, 1840 ART OF THE AMERICAS Persian (Qajar) Etching with engraving on wove paper Set of 16 Playing Cards for the Game The Bayou Bend Collection, gift of GIFTS Japanese of As Nas, 19th century Hirschl & Adler Galleries Meisen Unlined Robe (Nagagi) Papier-mâché; painted, gilded, and B.2017.5 Maria Martinez, San Ildefonso Pueblo, with Pattern of Waves, pre-1930s lacquered 1887–1980 Meisen Unlined Robe (Nagagi) Gift of Dr. Jalal and Mrs. Safa Golshan Gorham Manufacturing Company, Small Bowl, 1956–65 with Complex Pattern, c. 1950–55 2017.11 American, established 1831 Earthenware with metallic black slip Meisen Unlined Robe (Nagagi) with Tiffany & Co., American, established 1837 Gift of Sherry Foster PURCHASES Pattern of Moon and Waves, c. 1950–55 Made in Providence, Rhode Island 2016.277 Meisen Unlined Robe (Nagagi) with Retailed in New York, New York Indian Checker and Stripe Patterns, c. 1950–55 Gifts of Frank Carroll: Serving Spoon, 1875 Embroidered Panel, c. 1750–1800 Warp, machine-spun silk, weft silk Silver with partial gilding Cotton, embroidered with floss silk and (Isesaki, Gunma Province) Maya The Bayou Bend Collection, metal-wrapped thread, with couching 2017.239–2017.242 Plumed Serpent Finial, AD 600–900 gift of Phyllis Tucker and satin stitch Earthenware B.2017.6 Museum purchase funded by • • • Whistle in the Shape of a Man Wearing Franci Neely, Olive and Bruce Baganz, PURCHASES a Bird Costume, AD 600–900 Joy and Benjamin Warren, and Tibetan Molded and incised earthenware with Kadampa Ritual Stupa, 13th century Hamid and Lily Kooros Teapot, c. 1745–50 traces of pigment Bronze 2016.287 Staffordshire, England Head of a Spider Monkey, AD 100–600 Museum purchase funded by the Lead-glazed earthenware (agate ware) Jade Friends of Asian Art The Bayou Bend Collection, museum In honor of Frances Marzio 2017.248 purchase funded by the Bayou Bend Bowl with Profiles of Lords in the Docent Organization in honor of Underworld, AD 600–900 Moriyama Kanjiro, Japanese, born 1984 Dorothy Taylor’s 50 years of service Earthenware with traces of pigment Kiritsugi “Kai”: Splice (Joined Strands) to Bayou Bend 2016.278–2016.281 “Rotation,” 2016 B.2016.5 Glazed stoneware Museum purchase funded by the Museum Collectors 2017.255

62 The Bayou Bend Collection | Decorative Arts

William Will, American, DECORATIVE ARTS Gifts of Dr. Alfred and Unknown French born Germany, 1742–1798 Joyce Goodman: Ten Dining Chairs, c. 1920–33 Tankard, c. 1764–98 GIFTS Tropical hardwood veneer, other woods, Philadelphia, Pennsylvania Jean G. Theobald, American, 1873–1952 and paint; leather upholstery not original Pewter Gino Sarfatti, Italian, 1912–1985 Styled by Virginia Hamill, American, 2016.334 The Bayou Bend Collection, museum Manufactured by Arteluce, Italian, 1898–1980 purchase funded by Greg Curran, established 1936 Manufactured by Wilcox • • • Ralph Eads, Jeff Hildebrand, Floor Lamp, Model No. 1073/3, Silver Plate Co., American, Bill Montgomery, and Tony Petrello at designed 1956, active 1898–c. 1960 Judith Salomon, American, born 1952 “One Great Night in November, 2016” manufactured 1961 “Diament” Tea Set, designed 1928 Plate, c. 1990 B.2016.6 Chrome-plated steel, enameled steel, Silverplate and Bakelite White earthenware and aluminum 2016.269 Gift of George Bowes in memory of Frederick Christian Lewis, Gift of the Casati Gallery, Chicago Betty and Mitch Salomon English, 1779–1856 2016.105 Raymond Subes, French, 1893–1977 2017.208 After John Vanderlyn, Sellette, c. 1935 American, 1775–1852 Made by Joseph Meyer, American, Steel and marble Gifts of the artist and Marc Benda: Printed by Frederick Christian Lewis 1841–1931 2016.270 Published by John Vanderlyn Decorated by Harriet Coulter Joor, Andrea Branzi, Italian, born 1938 A View of the West Branch, of the Falls of American, 1875–1965 Demétre Haralamb Chiparus, Drawing for Plank Cabinet 1, 2014 Niagara: taken from the Table Rock, looking Newcomb College Pottery, Romanian, 1886–1947 Pastel and ink on paper up the River, over the Rapids, c. 1804 American, active 1894–1940 Egyptian Dancer, c. 1925 Drawing for Plank Cabinet, 2014 Aquatint in colors with watercolor and Vase, 1900 Bronze, paint, and marble Pastel and ink on paper gouache hand coloring on wove paper, Earthenware 2016.271 Drawing for Plank Cabinet 5, 2014 proof before lettering Gift of William J. Hill Pastel and ink with collage on paper The Bayou Bend Collection, museum 2016.198 Gifts of Mr. and Mrs. Drawing for Plank Cabinet 8, 2014 Meredith J. Long: purchase funded by Hal Pontez, Brock Pastel and ink on paper Hudson, and John Cardwell in honor of Marjorie Schick, American, born 1941 2017. 209–2017.212 Unknown French William J. Hill at “One Great Night in Feasting Armlets, 1991 Desk, c. 1920–30 PURCHASES November, 2016” Papier-mâché and paint Mahogany, oak, tulip poplar, chestnut, B.2016.7 Gift of Dr. James B. M. Schick and and Macassar ebony veneer Koloman Moser, Austrian, 1868–1918 Robert M. Schick, in honor of the 2016.328 Manufactured by Meyr’s Neffe, Bohemian, Mug, c. 1690–1710 Helen Williams Drutt Collection, courtesy active 1841–1922 Dehua, Fujian Province, China Helen Drutt, Philadelphia, Pennsylvania Jacques-Émile Ruhlmann, Three Wine Glasses, designed c. 1900 Hard-paste porcelain 2016.200 French, 1879–1933 Glass The Bayou Bend Collection, museum Made by Établissement Ruhlmann et Museum purchase funded by purchase funded by Patti Mullendore English Laurent, French, active 1919–33 Brad Bucher in honor of Leslie Bucher at B.2016.8 Stick Pin, c. 1870 “Salonicol” Chair, c. 1925–33 “One Great Night in November, 2016” 18k gold, 15k yellow gold, and agate Macassar ebony and Macassar ebony 2016.208 François Denis Née, French, 1732–1817 Gift of Marion Glober veneer; upholstery not original After Louis de Carmontelle, 2016.230 Four “Conseil” Chairs, c. 1930 Lester Geis, American, dates unknown French, 1717–1806 Macassar ebony; upholstery not original Manufactured by Heifetz Manufacturing Published by François Denis Née Ralph Bacerra, American, 1938–2008 Three “Fauteuil Ducharne” Armchairs, Co., American, active 1938–63 On l’a vu désarmer les Tirans et les Dieux Teapot, 1990 c. 1925–27 Adjustable Table Lamp, Model no. T-5-G, (Tyrants and Gods are known to have Whiteware Veneered wood and bronze; upholstery c. 1951 yielded to him), 1780–81 Gift of Kenneth Deavers not original Enameled metal and brass Engraving with etching on laid paper 2016.231 “Double Colonnettes” Table, 1923 The American Institute of Architects, The Bayou Bend Collection, museum Mahogany, Macassar ebony veneer, Houston Design Collection, museum purchase funded by Bobbie Nau and ivory purchase funded by friends of B.2016.9 2016. 329–2016.332 William Neuhaus 2016.246 Unknown French Dining Table, c. 1920–1933 Exotic hardwood veneer, other woods, and paint 2016.333

63 ACCESSIONS | Decorative Arts | European Art

Dustin Farnsworth, American, Kay Sekimachi, American, born 1926 Walter von Nessen, American, EUROPEAN ART born 1983 Untitled, c. 1970 born Germany, 1889–1943 Saint Ann’s Theatre, 2012 Monofilament Manufactured by Nessen Studio, Inc., GIFTS Basswood, plywood, poplar, and fabric Museum purchase funded by the American, established 1927 Museum purchase funded by the Mary Kathryn Lynch Kurtz Charitable Table, model no. 451, c. 1930 John Constable, English, 1776–1837 Art Colony Association, Inc. and Lead Trust, Carol A. Straus by exchange, Aluminum and Bakelite A View on the Banks of the River Stour, the Collectors of Wood Art and Friends of the Decorative Arts, Museum purchase funded by the early 19th century 2016.286 Peter Straus, and the Franzheim Decorative Arts Endowment Fund, the Oil on board, laid down on panel synergy Trust, courtesy of Design Council 2017, the estate of Claire The Stuart Collection, gift of Francita Jeffry Mitchell, American, born 1958 Susan Kaplan-Franzheim, by exchange Fox, the estate of Caroline Wiess Law, Stuart Koelsch Ulmer in memory of The Mushroom, 2012 2017.140 Joan Morgenstern, Charles Cox by James Chillman, Jr., the first Director of Terra cotta and porcelain slip exchange, Mrs. Edmund J. Kahn by the Museum of Fine Arts, Houston Museum purchase funded by the Andrea Branzi, Italian, born 1938 exchange, James Howley by exchange, 2017.30 Mark and Hilarie Moore Family Trust Archizoom Associati, Italian, Cynthia A. Toles, Eleanor Lensky by in memory of Neil E. Moore active 1966–74 exchange, Sue Rowan Pittman by PURCHASES 2016.288 Manufactured by Poltronova, exchange, Karin and Leo Shipman, Italian, established 1957 and Kerry Inman and Denby Auble William Nicholson, English, 1872–1949 Unknown Maker, French “Farfalla” Textile, 1967 2017.231 Portrait of Arnold Hannay, 1908 Pot-Pourri, c. 1745–49 Screen-printed synthetic Oil on canvas Porcelain with celadon glaze; ormolu The American Institute of Architects, Dagobert Peche, Austrian, 1887–1923 Museum purchase funded by Museum purchase funded by Houston Design Collection, museum Manufactured by Vereinigte Wiener und “One Great Night in November, 2016” Cecily E. Horton purchase funded by the American Gmundner Keramik, established 1903 2016.209 2016.347 Institute of Architects, Houston Box with Lid, model number 309, designed 2017.166 c. 1912 John King, English 1788–1847 Alessandro Mendini, Italian, born 1931 Earthenware Raja Ram Roy (1812–c. 1840), Son of Raja “Monumentino da Casa,” 1974 Andrée Fauré, French, 1904–1985 The American Institute of Architects, Ram Mohan Roy (1772–1833) Wood and tape Atelier Fauré, French, c. 1919–1985 Houston Design Collection, museum 1831–38 Museum purchase funded by the Vase, c. 1925 purchase funded by the American Oil on canvas John R. Eckel, Jr. Foundation Copper, enamel, and gold foil Institute of Architects, Houston Museum purchase funded by James C. 2017.107 Museum purchase funded by the 2017.232 Flores in memory of Jane Caldwell Flores Museum Collectors at “One Great Night in November, 2016” Harry Powell, English, 1853–1922 2017.207 Shari Mendelson, American, born 1961 2016.210 Manufactured by James Powell & Sons, Blue Urn with Found Greek Key, 2016 English, active 1834–1980 J. Kuykens, Dutch Plastic, hot glue, resin, acrylic polymer, Berthe Morisot, French, 1841–1895 Decanter, 1912 Floor Lamp, c. 1930 and paint Jeune femme (Young Woman), 1871 Glass and sterling silver Tubular steel and glass Museum purchase funded by Oil on canvas Museum purchase funded by friends Museum purchase funded by the Sara S. Morgan in honor of Anna Walker Museum purchase funded by the Audrey of Katherine S. Howe in honor of her Design Council, 2017 2017.233 Jones Beck Accessions Endowment Fund retirement from the MFAH 2017.228 2016.339 2017.117 Myra Mimlitsch-Gray, American, Barbara Brown, English, born 1932 born 1962 Achille Laugé, French, 1861–1944 Richard Redgrave, English, 1804–1888 Manufactured by Heal’s, English, Split Slab, 2012 La route (The Road), 1893 Made by Stangate Glass Works, English, established 1810 Silver Oil on canvas active c. 1840–50 Ensign, c. 1965 Museum purchase funded by the Museum purchase funded by the Audrey Made for Felix Summerly’s Art Cotton GRITS Foundation and the Art Colony Jones Beck Accessions Endowment Fund Manufactures, English, active c. 1847–51 Museum purchase funded by Joan Association, Inc. 2017.167 “Well Spring” Carafe, c. 1847–51 Morgenstern in honor of Cecily E. Horton 2017.234 Glass, enamel, and gilt 2017.229 George Frederick Watts, Museum purchase funded by friends Tanya Aguiñiga, American, born 1978 English, 1817–1904 of Katherine S. Howe in honor of her Peter McCulloch, American, Mend, 2015 Clytie, c. 1868 retirement from the MFAH born Scotland, 1933 Cotton, wool, and Painted plaster 2017.118 Manufactured by Heal’s, English, copper-electroplated epoxy clay Museum purchase funded by established 1810 Museum purchase funded by the “One Great Night in November, 2017” Project, designed 1965 Art Colony Association, Inc., and 2017.205 Cotton the Latin Maecenas Museum purchase funded by 2017.235 Cecily E. Horton 2017.230

64 European Art | Latin American Art | Modern and Contemporary Art

Vincenzo Gemito, Italian, Darío Escobar, Guatemalan, born 1971 PURCHASES Miguel Ángel Ríos, Argentinean, active Naples, 1852–1929 Sin título [Untitled], 2008 born 1943 Head of a Philosopher, c. 1890 Wood, urethane, paint, and stainless steel Vincent Valdez, American, born 1977 Mecha: Storyboards, 2010 Bronze Gift of the artist and the Nils Stærk Gallery Untitled, from the series 136 electrostatic prints on wove paper Museum purchase funded by the 2016.175 The Strangest Fruit, 2013 with paint, graphite, ballpoint pen, Buddy Taub Foundation, Dennis A. Roach Oil on canvas ink, and tape and Jill Roach, Directors Gyula Kosice, Argentinean, 1924–2016 Museum purchase funded by the Museum purchase funded by the Latin 2017.222 Gota LED [Water Drop LED], 2010 Latin Maecenas Maecenas and various donors in honor Mixed media, Plexiglas, water, and light 2016.170 of María Inés Sicardi and her son, Gift of the artist Maximiliano Rivarola, in celebration of LATIN AMERICAN ART 2016.177 Carlos Garaicoa, Cuban, born 1967 the 20th anniversary of Sicardi Gallery Sin título (Hospital infantil) [Untitled 2017.169 GIFTS Alexandre Arrechea, Cuban, born 1970 (Children’s Hospital)], 2016 Training Camp (Billboards), 2004 Diptych. Pins and threads on chromogenic Gifts of Olive Neuhaus Jenney: Gouache, watercolor, and graphite on print mounted to Gator Board MODERN AND heavy paper Museum purchase funded by Francisco Matto, Uruguayan, 1911–1995 CONTEMPORARY ART Gift of Rodrigo Leal Alfred C. Glassell, III, in honor of Formas [Forms], 1977 2016.178 Mari Carmen Ramírez and Mike Wellen GIFTS Painted wood at “One Great Night in November, 2016” Vista del puerto de Montevideo [View of the Gonzalo Fonseca, Uruguayan, 1922–1997 2016.213 Gifts of the Alex Katz Foundation: Port of Montevideo], date unknown Teapot and Cup, 1955 Oil on cardboard Incised and painted earthenware Carlos Garaicoa, Cuban, born 1967 Francesco Clemente, Italian, born 1952 2016.96, 2016.100 Untitled, 1955 Ciudad doblada (roja) [Bent City (Red)], Prosperity, 2014 Incised earthenware 2007 Oil on canvas Rafael Barradas, Uruguayan, 1890–1929 Gifts of Gary Mercer Wood, Plexiglas, and 2016.75 Sin título (Hombre con pipa) 2017.137, 2017.138 hand-cut Bristol cardboard [Untitled (Man with Pipe)], 1925 Museum purchase funded by the Andrew Masullo, American, born 1957 Graphite and red chalk on laid paper Gifts of Leslie and Brad Bucher: Caribbean Art Fund, the Caroline Wiess 2045, 1989–2014 Sin título [Untitled], date unknown Law Accessions Endowment Fund, and Oil on canvas Graphite and watercolor on wove paper Eduardo Ramírez Villamizar, Colombian, the 2015 Latin American Experience 2016.76 2016.97, 2016.98 1923–2004 Gala and Auction Sin título [Untitled], 2004 2016.352 David Rhodes, British, born 1955 Jorge Macchi, Argentinean, born 1963 Rana Muisca [Muisca Frog], 2004 Untitled, 2013 Sin título [Untitled], date unknown Flor de la Curuba [Flower of the Banana Purchases funded by the Caribbean Acrylic on canvas Gouache and oil on cast paper Passion Fruit], 2004 Art Fund and the Caroline Wiess Law 2016.77 2016.99 Cardboard Accessions Endowment Fund: 2017.213–2017.215 Etel Adnan, American, Miguel Angel Pareja, Darío Escobar, Guatemalan, born 1971 born Lebanon, 1925 Uruguayan, 1908–1984 • • • Obverse and Reverse XIV, 2013 Le Poids du Monde 15 Abstracto [Abstract], c. 1975 Latex, synthetic leather, string, and steel (The Weight of the World 15), 2016 Oil pastel on paper León Ferrari, Argentinean, 1920–2013 2017.109 Oil on canvas 2016.101 Sin título 15/1/10 [Untitled 15/1/10], 2010 2016.259 Drawing, charcoal, ink, graphite, Fanny Sanín, Colombian, born 1938 Luis Camnitzer, Uruguayan, and pastel on canvas Acrylic No. 5, 1973 Juan Uslé, Spanish, born 1954 born Germany, 1937 Gift of the estate of León Ferrari in honor Acrylic on canvas Soñé que revelabas (Mackenzie), 2015 He had offered it, though without of María Inés Sicardi and her son, 2017.112 Vinyl, dispersion, acrylic, and expectation, 1987 Maximiliano Rivarola, in celebration of dry pigment on canvas Porcelain, stainless steel, unknown Purchases funded by the the 20th anniversary of Sicardi Gallery Caroline Wiess Law Accessions 2016.260 casting resin, unknown dye, 2016.305 Endowment Fund: silicone adhesive, wood, and brass; • • • engraved brass and two Gonzalo Fonseca, Uruguayan, 1922–1997 brass-headed picture hanging nails Sin título [Untitled], c. 1950 Branch of an Oak Tree Reconstituted Incised wood with paint with Sawdust of a Pine Tree, 1974–75 Mosaic Coffee Table, 1959 Brass, glass, wood, and molded pine Mosaic tile and wood sawdust with plastic resin 2017.110, 2017.111 2016.102, 2016.104

• • • • • •

65 ACCESSIONS | Modern and Contemporary Art | Photography

Donald Sultan, American, born 1951 PURCHASES Tony Oursler, American, born 1957 Wendy Levine, American, January 20, 1980, Cigarette, 1980 Hideaway, 1995 born Greece, 1957 Oil, tile, and tar on wood Purchases funded by the Chair, fabric, videotape, VCR, and video Mother and Daughter, 1980 Gift of Mary Downe Caroline Wiess Law Accessions projector, updated to digital format by Gelatin silver print Endowment Fund: 2016.193 the artist in 2016 Gift of the artist in honor of Museum purchase funded by Anne Wilkes Tucker on the Robert Gober, American, born 1954 Gifts of the June Mattingly Bequest: contemporary@mfah 2017, the occasion of her retirement American, born 1954 Caroline Wiess Law Accessions 2016.168 Untitled, 2014–15 Patrick Faulhaber, American, 1946–2016 Endowment Fund, Suzanne S. Miller, Plaster, beeswax, human hair, epoxy putty, Inwood, 1995 Lester Marks, and Chris Urbanczyk Richard Benson, American, 1943–2017 cast gypsum polymer, cast pewter, oil, and Oil on wood 2017.116 Robert Gould Shaw Memorial, 1973, enamel paint 2016.235 printed later 2016.222 24 inkjet prints Aaron Parazette, American, born 1960 PHOTOGRAPHY Gifts of Peter and Susan MacGill Pipilotti Rist, Swiss, born 1962 Beach Bunnie, 2004 in honor of Anne Wilkes Tucker Lighting design by Kaori Kuwabara, Acrylic on canvas GIFTS 2016.174 2016.236 Swiss, born, 1971 Pixel Forest Transformer, 2016 John Goodman, American, born 1947 Chuck Kelton, American, born 1952 Hanging LED light installation and John Pomara, American, born 1952 Shower/Buonconvento Italy, Untitled, 2016 media player, edition 2/3 Flat File No. 2, 2002 August 1995, printed 2012 Gelatin silver print, chemigram 2017.114 Oil and enamel on aluminum Solitaire/Times Square Gym, 1993, Gift of the artist 2016.237 printed 2007 2016.188 Pipilotti Rist, Swiss, born 1962 2 gelatin silver prints Music by Anders Guggisberg, Linda Ridgway, American, born 1947 Gifts of the artist Simon Norfolk, British, Swiss, born 1966 Pining, 2004 2016.72, 2016.73 born Nigeria, 1963 Worry Will Vanish Dissolution, 2014 Bronze John Burke, British, 1843(?)–1900 Two-channel video and sound installation, 2016.238 Victoria Sambunaris, Burke + Norfolk: Photographs from edition 3/3 American, born 1964 the War in Afghanistan, 2011 2017.115 Susie Rosmarin, American, born 1950 VS-12-76 Untitled 104 chromogenic prints Big Red (No. 308), 2004 (Rail car unloading) Gifts of Morris Weiner Anish Kapoor, Indian, born 1954, Acrylic on canvas near Cotulla, Texas, 2012 2016.224 2016.239 active London Chromogenic print Cloud Column, 1998–2006 Gift of the artist and Yancey Gifts of Anne Wilkes Tucker: • • • Stainless steel Richardson Gallery in honor 2017.246 of Anne Wilkes Tucker Paul Strand, American, 1890–1976 Fahamu Pecou, American, born 1975 2016.113 Mrs. Archie MacDonald, South Uist, American Dream’n, 2009 • • • Outer Hebrides, 1954 Acrylic and oilstick on canvas Rodrigo Valenzuela, Gelatin silver print Gift of Matt Arnold Jenny Holzer, American, born 1950 American, born 1982 In honor of Mike and 2016.337 isms Text: Selections from Truisms, Prole #2, 2015 Muffy McLanahan 1977–79, 2015 Inkjet print 2016.228 Igor Kopystiansky, American, Horizontal LED: RGB diodes and Gift of Leslie and Brad Bucher born Ukraine, 1954 stainless-steel housing, edition 5/6 2016.167 Frederick H. Evans, English, 1853–1943 The Painting, 2008 Museum purchase funded by the Wells Cathedral, c. 1890 Oil on canvas Caroline Wiess Law Accessions Platinum print Gift of the artist Endowment Fund and “One Great In memory of Susie Morris 2017.14 Night in November, 2016” 2016.229 2016.304

Robert Motherwell, American, 1915–1991 Alice Wells, American, 1927–1987 Three Personages, from the series Drew Bacon, born 1989 Transformed, 1969–72, Hollow Men, 1988 Stutter and Spill, 2014 from the series Found Moments Acrylic and charcoal on canvas Two-channel video, edition 1/3 Gelatin silver print from found Gift of Mr. and Mrs. Meredith J. Long Museum purchase funded by glass negative, solarized 2017.223 an anonymous donor In memory of Nathan Lyons 2017.20 2016.232 • • •

66 Dave Heath, Canadian, Brian O’Doherty Hugh Owen, English, 1808–1897 Gilbert and George, British, born United States, 1931 (as Patrick Ireland, 1972–2008), [Dam in a ravine], before 1855, printed active since 1967 Untitled [Nathan Lyons], October 14, 1978 Irish, born 1928 1860s–70s Gilbert Proesch, British, born Italy, 1943 Internal dye diffusion transfer print First Sketch for Five Identities, 1998 Albumen silver print from paper negative George Passmore, British, born 1942 In memory of Nathan Lyons Internal dye diffusion transfer prints Gift of Hans P. Kraus, Jr. Base, 2005 2016.233 Gifts of David and Julie Moos 2016.306 Inkjet prints 2016.255 Gift of the Chaney Family Collection in Ray K. Metzker, American, Gifts of Joan Morgenstern: honor of Anne Wilkes Tucker on the 1931–2014 Mahtab Hussain, British, born 1981 occasion of her retirement Untitled, 1975, String vest, two tears, 2012, printed 2016 Keith Carter, American, born 1948 2017.6 from the series Sand Creatures Chromogenic print Dog Ghost, 1990 Gelatin silver print Gift of the artist Oliver and Pippin, 1993 Susan Anne Rankaitis, American, In memory of Nathan Lyons 2016.256 2 gelatin silver prints born 1949 2016.234 In honor of Cindy Conley Limbicwork Photogram Drawing #11, Lisa Kereszi, American, born 1973 2016.319, 2016.320 2005–6 Anne-Laure Autin, French, Gael Dressing, State Palace Theatre, Gelatin silver print with applied color born 1975 New Orleans, 2001, printed 2005 Elliott Erwitt, American, born 1928 Gift of Carroll Parrott Blue, a friend of Wave, 2015 Dixie Evans Fixing Her Shoe, Irish Wolfhound with Stick, 1971, Malcolm Daniel, in memory of his father, Van Dyke brown print Exotic World, Helendale, California, printed 1980s Ries Daniel In honor of Selina Lamberti 2002, printed 2005 Gelatin silver print 2017.17 2017.22 2 chromogenic prints In memory of Ries Daniel Gifts of the artist 2016.321 Helen Levitt, American, 1913–2009 Gifts of Charles Isaacs and 2016.257, 2016.258 Brooklyn, New York, c. 1945 Carol Nigro: Naoya Hatakeyama, Japanese, born 1958 New York, c. 1940 Stephen Shore, American, born 1947 Underground #7001, 1999, printed 2001 New York, 1938 Circle of Albert Londe, French, 1858–1917 Giverny, 1977–82, printed 1984 Chromogenic print 3 gelatin silver prints [Musculature Study, Back], 1890–95 5 dye transfer prints In honor of Jason Dibley Gifts of Marvin Hoshino Gelatin silver print Gifts of Susan and Peter MacGill 2016.322 2017.23–2017.25 2016.244 2016.261–2016.265 Alessandra Sanguinetti, Lisa Kereszi, American, born 1973 Unknown Artist, French Diane Arbus, American, 1923–1971 Argentinean, born 1968 Water Fountain, PS 26, Governors Island, [Cow at Agricultural Exhibition] c. 1860 Printed by Neil Selkirk, American, The Models, 2000 2003, printed 2005 Albumen silver print from glass negative born 1947 Silver dye bleach print Chromogenic print 2016.245 Lady bartender at home with a souvenir dog, 2016.323 Gift of the artist New Orleans, 1964, printed later 2017.28 Louis Lafon, French, active 1870s–90s A castle in Disneyland, Cal., 1962, Joel Sternfeld, American, born 1944 [Cityscape, Building under Construction], printed later Rustic Canyon, Santa Monica, California, Mitch Epstein, American, born 1952 1880s 2 gelatin silver prints May 1979, printed September 1986 Dad, Hampton Ponds III, from the series Cour des Ateliers, 1880s The Gay Block Collection, Chromogenic print Family Business, 2002 Cour des Ateliers: La Revue, gifts of Gay Block 2016.324 Amos Coal Power Plant III, West Virginia, Chalons-sur-Marne, c. 1880 2016.266, 2016.267 from the series American Power, 2007 [Railroad Bridge in Landscape], c. 1880 Anne-Laure Autin, French, 2 chromogenic prints 4 albumen silver prints from Etienne Carjat, French, 1828–1906 born 1975 Gifts of John A. MacMahon glass negatives Henry Monnier in Character as Pulse, 2015 2017.163, 2017.164 2016.282–2016.285 Monsieur Prudhomme, c. 1875 Van Dyke brown print Woodburytype 2017.21 Victoria Sambunaris, American, • • • Gift of Malcolm Daniel in honor of born 1964 Serge Plantureux • • • Untitled (Alaskan Pipeline at Atigun Pass), 2016.268 Brooks Range, AK, 2003 Irving Penn, American, 1917–2009 Chromogenic print Sid Grossman, American, 1913–1955 John Marin, 1947 Gift of John A. MacMahon Oklahoma, c. 1940 Gelatin silver print 2017.165 Coney Island, c. 1947 Gift of Paul Brauchle in honor of Mulberry Street, c. 1948 Lorelai and Dorian Hawkins Mulberry Street, c. 1948 2016.338 4 gelatin silver prints Gifts of Arline and Ben Guefen 2016.273–2016.276

67 ACCESSIONS | Photography

David Levinthal, American, born 1949 PURCHASES Mahtab Hussain, British, born 1981 Eugene Von Bruenchenhein, Untitled, from the series Checked top, striped top and cap, 2010, American, 1910–1983 American Beauties, 1990 Hans Breder, American, printed 2016 [Marie], 1945–51 Untitled, from the series born Germany, 1935 Chromogenic print Gelatin silver print American Beauties, 1989 Coralville Studio, 1969 2016.295 Museum purchase funded by Barrett Untitled, from the series Baseball, 2003 Gelatin silver print Reasoner and Robin Gibbs in honor of Untitled, from the series Baseball, 2003 Museum purchase funded by Antoine-Samuel Adam-Salomon, Susan Reasoner and Lela Gibbs at Untitled, from the series Blackface, 1997 Don A. Sanders French, 1818–1881 “One Great Night in November, 2016” Untitled, from the series Blackface, 1996 2016.162 [Seated Elderly Man Reading], c. 1860 2016.217 Untitled, from the series Blackface, 1997 Albumen silver print from glass negative Untitled, from the series Blackface, 1997 Hans Breder, American, 2017.2 Stan Douglas, Canadian, born 1960 Untitled, from the series Blackface, 1995 born Germany, 1935 Hogan’s Alley, 2014 Untitled, from the series Blackface, 1995 Body/Sculpture, Cuilapan, Mexico, 1973 Pol Bury, Belgian, 1922–2005 Chromogenic print Untitled, from the series Blackface, 1995 Gelatin silver print Chicago, 1973 or later Museum purchase funded by Untitled, from the series Hockey, 2007 Museum purchase funded by Gelatin silver print collage “One Great Night in November, 2016” Untitled, from the series Hockey, 2007 Photo Forum 2016 2017.120 2016.218 Untitled, from the series Passion, 2005 2016.163 Untitled, from the series Passion, 2005 • • • Thomas Annan, Scottish, 1829–1887 Untitled, from the series Passion, 2005 John Goodman, American, born 1947 Close, No. 18 Saltmarket, 1868, Untitled, from the series Passion, 2005 The Schlitz Boys, July 26, 1978, Mickalene Thomas, American, printed 1877 Untitled, from the series Space, 1988 printed c. 2006 born 1971 Carbon print Untitled, from the series Space, 1988 Gelatin silver print Lovely Six Foota, 2007 Museum purchase funded by Untitled, from the series Space, 2007 Museum purchase funded by Chromogenic print Alexander K. McLanahan in honor Untitled, from the series Space, 2007 Photo Forum 2016 Museum purchase funded by of Jonathan Finger at “One Great Untitled, from the series Space, 2007 2016.189 Clare Glassell, Bettie Cartwright, Night in November, 2016” Untitled, from the series Wild West, 1994 the Meyer Levy Charitable Foundation, 2016.219 Untitled, from the series Wild West, 1994 Purchases funded by the Jean L. Karotkin, Director, Untitled, from the series Wild West, 1994 S. I. Morris Photography Jereann Chaney, and Albert Thomas Watson Penn, Endowment: Untitled, from the series Wild West, 1988 Sara and Bill Morgan in honor of British, 1849–1924 Untitled, from the series XXX, 1999 Yasufumi Nakamori Toda Man, Ootacamund, c. 1860 Bill Jay, American, born England, Untitled, from the series XXX, 1999 2016.201 Albumen silver print from glass negative 1940–2009 Untitled, from the series XXX, 2000 Museum purchase funded by James Hajicek, American, born 1947 29 dye diffusion transfer prints Chuck Kelton, American, born 1952 Carey C. Shuart Bill Jay: Twixt Representation and Reality, Gifts of an anonymous donor A View Not From a Window #75, 2015 2016.289 A Personal Post-Mortem Project, 2017.170–2017.198 Gelatin silver print, chemigram December 2014 Museum purchase funded by Kirk Crippens, American, born 1971 Bound book with letterpress text and David Levinthal, American, born 1949 Jean Karotkin Gretchen LeMaistre, American, gum bichromate print from the ashes Untitled, from the series Passion, 2005, 2016.203 born 1965 of Bill Jay printed 2016 Redwood Highway, April 2016 2016.194 Dallas 1963, from the series History, 2014 Robert Covington, American, born 1950 Heartwood, January 2016 2 inkjet prints Tide Pool, 2016 Dry Lagoon, April 2016 Chris Killip, British, born 1946 Gifts of Donald S. Rosenfeld Single-channel video 3 gelatin silver prints Crabs and People, Skinningrove, North 2017.199, 2017.204 Museum purchase funded by Museum purchases funded by Yorkshire, 1981, printed 2015 W. Burt Nelson in honor of Kara Fiedorek Clare A. Glassell Collie Burning Rubbish, Lynemouth, David Levinthal, American, born 1949 2016.204 2016.290–2016.292 Northumberland, 1983, Untitled, from the series Modern Romance, printed 2015 1984–85 Anderson & Low, British, Unknown Artist, Russian 2 gelatin silver prints 4 internal dye diffusion transfer prints active since 1990 Joseph Stalin, 1949 2016.195, 2016.196 Gifts of Donald S. Rosenfeld Jonathan Anderson, British, born 1961 Gelatin silver print with applied color 2017.200–2017.203 Edwin Low, British, born 1957 Museum purchase funded by John Goodman, American, born 1947 Westminster Bridge (007 sound stage) Joan Morgenstern and Geoffrey Koslov The Universe/Times Square Gym, 1993 Julie Brook Alexander, American, Panorama with lamppost in foreground, 2016.293 Gelatin silver print born 1957 2015 2016.197 Forgiveness, 2016 Inkjet print Equanimity, 2016 Museum purchase funded by 2 inkjet prints Harry Reasoner in honor of Gifts of the artist Macey Reasoner at “One Great 2017.217, 2017.218 Night in November, 2016” 2016.216

68 Mahtab Hussain, British, born 1981 Richard Learoyd, British, born 1966 José María Sert, Spanish, 1874–1945 Brothers, Born in Exile, Afghan Refugee Brick wall, cap and invisible gun, 2010, Beautiful Vanessa, 2014 [Life Study for Kent House], c. 1913 Village, Khairabad, North Pakistan, 1998 printed 2016 Silver dye bleach print Gelatin silver print Abdul Aziz, Holding a Photograph Chromogenic print Museum purchase funded by the Museum purchase of His Brother, Mula Abdul Hakim, Museum purchase funded by Joan Caroline Wiess Law Accessions 2017.10 Afghan Refugee Village, Khairabad, Morgenstern and the S. I. and Susie Endowment Fund North Pakistan, 1998 Morris Photography Endowment 2016.343 Constantin Freiherr von Ettinghausen, Qurban Gul Holding a Photograph of Her 2016.294 Austrian, 1826–1897 Son Mula Awaz, Afghan Refugee Village, Unknown Artist, French Alois Pokorny, Austrian, 1826–1886 Khairabad, North Pakistan, 1998 Nicholas Nixon, American, born 1947 Fingerprints, c. 1900 Soldanella montana Willd, 1856 Osman and Farid, Blind Qari (“One The Brown Sisters, Truro, 4 gelatin silver prints Potamogeton Hornemanni Meyer, 1856 Who Knows the Koran by Heart”) Brothers Massachusetts, 2016 Museum purchases 2 intaglio prints with Rosaries, Afghan Refugee Village, Gelatin silver print 2016.348–2016.351 Museum purchases funded by Nasir Bagh, Northwest Frontier Province, Museum purchase funded by Joan Morgenstern and James Maloney Pakistan, 1997 Nina and Michael Zilkha Cruver Manufacturing Company, 2017.12, 2017.13 Sisters, Sima and Shahima, Afghan Refugee 2016.296 American, active 1902–1960s Village, Nasir Bagh, Northwest Frontier [Celluloid Buttons and Advertising Fazal Sheikh, American, born 1965 Province, Pakistan, 1996 Purchases funded by the Buddy Taub Materials in Salesman Sample Case], Chrissie Butterworth’s Neighbors, Dr. Ahmed Jan’s Son and Friend, Afghan Foundation, Dennis A. Roach and 1910s–20s Griquatown “Coloured Location,” Refugee Village, Northwestern Frontier Jill Roach, Directors: 4 celluloid buttons and related ephemera South Africa, 1989 Province, Pakistan, 1996 Museum purchase funded by Bosele School for the Deaf and Blind, Abdul Shakour’s First Wife Najiba, Etienne Carjat, French, 1828–1906 Joan Morgenstern Lebowa Homeland, South Africa, 1989 Afghan Refugee Village, Northwest Frontier Printed by Cautin & Berger, 2017.3 Day Laborer, Lebowa Homeland, Province, Pakistan, 1996 French, active early 1900s Africa, 1989 Mohammed Daud’s Hand, One Year Charles Baudelaire, 1866, printed 1906 Félix Méheux, French, 1838–1908 Ama’s Home, Lamu, Kenya, 1989 after Picking up a Butterfly Mine He Gelatin silver print [Test Tubes with Tuberculosis Ajoh Achot and Achol Manyen, Sudanese Thought Was a Toy, Afghan Refugee 2016.335 Germs in Glycerin Gel], 1887 Refugee Camp, Lokichoggio, Kenya, 1992 Village, Nasir Bagh, Northwest Frontier [Test Tubes with Fungus Samples], 1887 Tony Matayu with Caged Kambuna Birds, Province, Pakistan, 1997 Charles Desavary, French, 1837–1885 2 Woodburytypes Mozambican Refugee Camp, Nyamithuthu, Dawn along the Yamuna River, [Camille Corot at His Easel, Museum purchases funded by Malawi, 1994 Vrindavan, India, 2005 Saint-Nicolas-lez-Arras], c. 1875 various donors Section Leader Abiri Bande with Bhajan Ashram at Dawn, Albumen silver print from glass negative 2017.4, 2017.5 Mozambican Elder Dotizhi Tenfar, with Vrindavan, India, 2005 2016.340 Section Leader, Abiri Bande, Dawn along the Yamuna River, Frank French, American, active c. 1870s Mozambican Refugee Camp, Nyamithuthu, Vrindavan, India, 2005 Possibly by Antoine-Samuel [Advertising Arrangement of Malawi, 1994 Private Prayer with Krishna, Bhajan Adam-Salomon, French, 1818–1881 Cartes-de-Visite], c. 1870s Borana War Widow, Darmi Halake Gilo, Ashram, Vrindavan, India, 2005 Or Léon Crémière, French, Albumen silver print from glass negative Ethiopian Refugee Camp, Walda, Pigeon Roost, Vrindavan, India, 2005 1831–1913, and Museum purchase funded by Kenya, 1993 Krishna Icons with the Image of the Erwin Hanfstaengl, German, various donors Hadija and Her Father, Badel Addan Gadel, Guru at Rest, Vrindavan, India, 2005 1838–1904 2017.7 Somali Refugee Camp, Mandera, Bhajan Ashram, Vrindavan, India, 2005 [A Sleeping Child, Likely the Kenya, 1993 Yamuna Dasi (“Servant of the Yamuna”), Prince Imperial], c. 1859 James Deane, American, 1801–1858 Jamaa Abdullai and Her Brother Adan, Vrindavan, India, 2005 Salted paper print from glass negative Ichnographs from the Sandstone of Somali Refugee Camp, Mandera, Suniti Chatterjee (“Good Rule”), 2017.139 Connecticut River, 1861 Kenya, 1993 Vrindavan, India, 2005 Bound book with lithographs Shamso, Zahara and Alima, Somali Neela Dey (“Sapphire”), Vrindavan, • • • and salted paper prints Refugee Village, Liboi, Kenya, 1994 India, 2005 Museum purchase funded by Abshiro Aden Mohammed, Women’s Leader, Pramila Satar (“Lover”), Vrindavan, Alphonse Bertillon, French, 1853–1914 Manfred Heiting by exchange, Somali Refugee Camp, Dagahaley, India, 2005 Cours théorique de signalement descriptif the Manfred Heiting Collection Kenya, 2000 Rajeshwari (“Queen of the Kingdom”) (portrait parlé) en vingt leçons, exercices 2017.8 Rohullah, Afghan Refugee Village, Holding Her Pet Rats, Chuni and Muni, pratiques de reconnaissances d’identité Badabare, Northwest Frontier Province, Vrindavan, India, 2005 (Course on the Theory of Individual Jim Goldberg, American, born 1953 Pakistan, 1997 Night along the Yamuna River, Description [Spoken Portrait] in Powell & Market, 1986, printed 1994 Abdul Manam, Afghan Refugee Village, Vrindavan, India, 2005 Twenty Lessons, Practical Exercises Gelatin silver print Miran Shah, Northwest Frontier Province, Night along the Yamuna River, of Identity Recognition), c. 1900 Museum purchase funded by Jacqueline Pakistan, 1998 Vrindavan, India, 2005 Bound album of gelatin silver prints and William S. Taylor III in honor of Afghan Boy Born in Exile, Afghan Night along the Yamuna River, Museum purchase Anne Wilkes Tucker Refugee Village, Khairabad, Vrindavan, India, 2005 2016.341 2017.9 North Pakistan, 1998 Pushpa Dasi’s Krishna Icons, Baharam’s Son Muradi, Afghan Refugee Vrindavan, India, 2005 Village, Northwest Frontier Alleyway beside the Yamuna River, Province, Pakistan, 1996 Vrindavan, India, 2005 69 ACCESSIONS | Photography | Prints and Drawings

Abala Dasi, Vrindavan, India, 2005 Daido Moriyama, Japanese, born 1938 David Crossley, American, born 1940 Zanele Muholi, South African, born 1972 Sanjeeta, Delhi, India, 2007 [Three Boys] from the series The Island of Facts You Should Know ZaVa, Amsterdam, 2014 Manita, Ahmedabad, India, 2007 100 Million People 48, 1968, printed 1980s (Houston Livestock Show), 1983 Gelatin silver print Labhuben, Gujarat, India, 2007 Gelatin silver print Gelatin silver print 2017.249 Simran, New Delhi, India, 2007 Museum purchase funded by Museum purchase funded by Rodi with Roses, Streets of Delhi, John A. MacMahon Jereann Chaney and Geoffrey Koslov Paul Mpagi Sepuya, American, born 1982 India, 2008 2017.121 2017.162 Mirror Study (Self Portrait) (_Q5A2059), Shahjahan Apa, Women’s Rights Leader, 2016 Delhi, India, 2008 Platt D. Babbitt, American, 1823–1879 J. Thézard, French, Inkjet print Night-Walking in Benares, India, 2008–11 Niagara Falls, c. 1855 active early 20th century 2017.250 Night-Walking in Benares, India, 2008–11 Daguerreotype in leather case [Wilbur Wright in Flight], Night-Walking in Benares, India, 2008–11 Museum purchase funded by the S. I. and September 21, 1908 Ima Mfon, Nigerian, born 1989 Night-Walking in Benares, India, 2008–11 Susie Morris Photography Endowment Gelatin silver print Untitled 03, 2015, printed 2017 Night-Walking in Benares, India, 2008–11 and Alexander K. McLanahan Museum purchase funded by Untitled 13, 2015, printed 2017 Night-Walking in Benares, India, 2008–11 2017.122 friends of Malcolm Daniel in 2 gelatin silver prints Night-Walking in Benares, India, 2008–11 memory of Ries Daniel 2017.259, 2017.260 Anisa Ahmad Jaber- Mahamid,- Manuel Franquelo, Spanish, born 1953 2017.168 Umm el-Fahem, Born in 1908, 2012 Things in a Room (Untitled #8), 2015 Linarejos Moreno, Spanish, born 1974 Lifta, Jerusalem District, 31°47’46”N / Inkjet print on gesso-coated aluminum Unknown Artist Art Forms in Mechanism XII, 2016 35°11’46” E, 2012 Museum purchase funded by [Fotoescultura Portrait of a Woman], Inkjet print Amqa – Acre District, 2012 Bryn Larsen, Nena Marsh, and the c. 1940s 2017.261 Suba,- Jerusalem District, 31°47’6”N / Museum Collectors Gelatin silver print with applied color, 35°7’32” E, 2012 2017.123 mounted to wood • • • Deir Rafat – Jerusalem District, 2012 Museum purchase funded by Carol Mahmud-- Muhammad Mahmud, Rich Frishman, American, born 1951 Strawn and Tim Linehan in memory Kusakabe Kimbei, Japanese, 1841–1934 Umm el-Fahem, Jenin- District, 2012 Segregation Wall, Gonzales, Texas, 2016 of Joan and Jim Strawn [Album of Japanese Views and Latitude: 31°18’50”N / Longitude: Inkjet print 2017.206 Genre Scenes], c. 1890 34°40’58”E, October 4, 2011 Museum purchase funded by Album of 50 albumen silver prints Latitude: 31°12’45”N / Longitude: James Edward Maloney David Taylor, American, born 1965 with applied color, Japanese lacquer 35°11’60”E, October 4, 2011 2017.125 Monuments: 276 Views of the United (Urushi) covers with ivory inlays Latitude: 31°0’60”N / Longitude: 34°43’4”E, States–Mexico Border, 2007–15, Museum purchase funded by October 9, 2011 Louis-Émile Durandelle, printed 2017 Morris Weiner Latitude: 31°21’7”N / Longitude: 34°46’27”E, French, 1839–1917 Portfolio of 276 inkjet prints 2017.244 October 9, 2011 Frise et corniche de la scène Museum purchase funded by the Latitude: 31°25’0”N / Longitude: 34°27’51”E, (Frieze and Cornice of the Caroline Wiess Law Accessions Sandy Skoglund, American, born 1946 October 10, 2011 Stage Tower), 1876 Endowment Fund Luncheon Meat on a Counter, from the Latitude: 31°7’40”N / Longitude: 34°18’49”E, Albumen silver print from 2017.225 series Food Still Lifes, 1978, November 13, 2011 glass negative printed 2017 Latitude: 31°1’48”N / Longitude: 34°33’56”E, Museum purchase funded by United Press International, founded 1907 Inkjet print November 13, 2011 Krista and Michael Dumas [Kennedy Family Portrait], 1960 Museum purchase funded by Latitude: 30°57’14”N / Longitude: 2017.126 Gelatin silver print with applied graphite Jean L. Karotkin, and Judy Nyquist 34°39’25”E, November 13, 2011 and paint and Jerome Schultz in memory of Latitude: 30°58’57”N / Longitude: Farnham Maxwell Lyte, Museum purchase funded by F. Richard Jane Schultz 34°57’52”E, November 14, 2011 British, 1828–1906 Pappas in honor of Malcolm Daniel 2017.247 Latitude: 31°1’5”N / Longitude: 34°57’5”E, Bagnères de Bigorre, Pyrénées, 1858 2017.236 November 14, 2011 Albumen silver print from glass negative Christopher Colville, American, Latitude: 30°45’14”N / Longitude: Museum purchase funded by Joan Purchases funded by born 1974 Photo Forum 2017: 35°10’31”E, November 22, 2011 Morgenstern and James Edward Maloney Citizen #3, 2016 Latitude: 31°8’7”N / Longitude: 35°12’25”E, 2017.127 Gelatin silver print, gunpowder generated Bourne & Shepherd, British, November 22, 2011 Museum purchase funded by Burt Nelson active India, 1863–2016 Israeli, Born in 1948, the Year of the Eric Pickersgill, American, born 1986 in honor of Lisa Volpe [Portrait of Two Men, Possibly Jaisinhji Creation of the State of Israel, 2013 Removed Self-Portrait, TEDx Bend, 2016 2017.258 Bhupatsinhji and His Son], c. 1875 Palestinian, Born in 1948, the Year of the Inkjet print Albumen silver print from glass negative Creation of the State of Israel, 2013 Museum purchase funded by 2017.243 75 inkjet prints, printed 2016 Anne Wilkes Tucker, Joan Morgenstern, Museum purchases funded by and Clinton T. Willour in honor of Jane P. Watkins Rick Wester 2017.31–2017.104 2017.161

70 PRINTS AND Danielle Dean, American/British, Mimmo Paladino, Italian, born 1948 Gifts of the June Mattingly Bequest: DRAWINGS born 1982 Printed by Felix Harlan and Carol Weaver Legit., 2015 at Harlan & Weaver, New York Melissa Miller, American, born 1951 GIFTS Colored pencil, graphite, and watercolor Published by Waddington Graphics, Eight Coyotes, 2004 on wove paper London Dive, 2004 Gifts of Dr. and Mrs. Craig Calvert: 2016.165 Camera degli Sposi, 1985 Elephant, 2000 Drypoint and aquatint, printed chine Watercolor on wove paper Cornelis Bega, Dutch, 1631/32–1664 Harold Mendez, American, born 1977 collé, on wove paper, edition 35/40 2016.240–2016.242 The Young Mother, c. 1660 Busto de Gaitan destruido, 2015 Intermezzo, 1984–85 Etching on laid paper, state II/II Electrostatic toner transfer with white Etching, spit bite etching and aquatint Sam Reveles, American, born 1958 2016.93 spray enamel paint, lithographic crayon, with roulette, printed chine collé, on Untitled Juarez Drawing VI, 2009–10 paper fibers, and vegetable oil on wove paper, edition 35/40 Gouache on paper Édouard Manet, French, 1832–1883 reclaimed ball-grained aluminum Chiaro di Luna, 1984–85 2016.243 Published by Cadart and Chevalier, lithographic plate Drypoint and aquatint, printed chine for the Société des Aquafortistes, Paris 2016.166 collé, on wove paper, edition 35/40 • • • Les Gitanos (The Gypsies), 1862 2016.183–2016.185 Etching on laid paper, state II/II • • • John Beerman, American, born 1958 2016.94 Melissa Miller, American, born 1951 Printed by Hudson River Editions, Elizabeth Peyton, American, born 1965 Big Owl, Little Owl, and Spiral Galaxies, South Nyack, New York Dirk Jacobsz. Vellert, Netherlandish, Printed by Derrière L’Étoile Studios, 1996 Untitled #930 (Landscape, New Mexico), 1480/85–after 1547 New York Watercolor on wove paper 1990 Christ and the Woman of Samaria Published by Counter Editions, London 2016.186 Etching and aquatint on wove paper, at the Well, 1523 Thursday (Tony), 2000 working proof Engraving and etching on laid paper Lithograph and screenprint Annie Pootoogook, Inuit, born Canada, Gift of Alison de Lima Greene in honor 2016.95 on wove paper, edition 217/300 1969–2016 of Alice C. Simkins and Ann Tobin Gift of McClain Gallery Composition (Windswept Hair), 2006 2016.251 Jean-Baptiste-Camille Corot, 2016.172 Fiber-tipped pen, graphite, French, 1796–1875 and crayon on wove paper Ken King, American, born 1969 Printed by Auguste Delâtre, Gifts of Renée and 2016.187 Untitled, 1998 Stanford Wallace: French, 1822–1907 Laser print on wove paper Published by Cadart and • • • Gift of Alison de Lima Greene in honor Milton Resnick, American, Chevalier, for the of Cecily E. Horton 1917–2004 Société des Aquafortistes, Paris Dana Harper, American, born 1972 2016.252 Portrait of J.I., 1984 Souvenir d’Italia (Recollection of Italy), Untitled, 2015 Gouache and watercolor 1863 Collage of cut printed paper Brian O’Doherty, Irish, born 1928 on wove paper Etching on laid paper, state I/IV on wove paper BO’D Labyrinth as a Straight Line, 2016.179 2016.199 Untitled, 2016 1967/68 Collage of cut printed paper Pen and ink on wove paper Nancy Spero, American, 1926–2009 • • • on wove paper Gift of David and Julie Moos Vertigo, 1994 Gifts of the artist 2016.253 Collage of cut lithography in colors Matt Kleberg, American, born 1985 2016.190, 2016.191 and monotype on Japanese paper Landscape, 2016 Brian O’Doherty (as Patrick Ireland, 2016.180 Pen and ink on wove paper Kate Shepherd, American, born 1961 1972–2008), Irish, born 1928 Gift of Mary Ralph Lowe Printed by Luther Davis, Sigmoid Labyrinth, 1998 Luis Jiménez, American, 1940–2006 2016.159 Axelle Editions, New York Marker and graphite on paper Vaquero Spur (Cowboy Spur), 1982 Splendor of Duration, Triumph Gift of David and Julie Moos Colored pencil on cut wove paper, Gifts of Leslie and Brad Bucher: of the Moment, 2013 2016.254 mounted to cut foam core Screenprint on wove paper, edition 1/1 2016.181 JooYoung Choi, American, Gift of the artist John Linnell, English, 1792–1882 born South Korea, 1982 2016.223 Shoreham, Kent, c. 1828 R. B. Kitaj, American, 1932–2007 Spacio Tanno—A Dream That Became a Graphite, white chalk, and watercolor The Leftist, Portrait of the artist Reality and Spread throughout the Stars, on buff wove paper Irving Petlin, 1997 2015 Gift of Cecily E. Horton Drypoint on wove paper, edition 16/25 Acrylic over graphite on wove paper 2016.318 2016.164 2016.182

71 ACCESSIONS | Prints and Drawings

Amédée Bourgeois, French, 1798–1837 John Baldessari, American, born 1931 Christian Eckart, Canadian, born 1959 Purchases funded by the After Gédéon François Reverdin, Jonathan Borofsky, American, born 1942 Published by Parasol Press, Ltd. Alvin S. Romansky Prints Swiss, 1772–1828 Frank Gehry, American, Cimabue Restoration Project, 1987 and Drawings Accessions Endowment Fund: Pieds, Cahier 11, Plate 3, from Cours born Canada, 1929 Series of 80 laminated halftone prints complet d’études pour la figure, c. 1813 Ann Hamilton, American, on wove paper with gold and aluminum Chris Ofili, British, born 1968 Stipple engraving on laid paper born 1956 leaf collage, edition 3/8 Published by Two Palms, New York Gift of Etienne Bréton, Saint Honoré Jasper Johns, born 1930 Gift of the Steven Leiber Irrevocable Trust Black Shunga, 2015 Art Consulting Ellsworth Kelly, American, 1923–2015 2017.219 Series of 11 aquatint, etching, photogra- 2016.326 Brice Marden, American, born 1938 vure, and hand-applied metallic pigment Julie Mehretu, American, John Flaxman, English, 1755–1826 on wove paper, edition 2/20 Noël François Bertrand, French, born Ethiopia, 1970 Oceanus and Prometheus Bound, from 2016.173 1785–1852 Ken Price, American, 1935–2012 the series Aeschylus, c. 1795 After Gédéon François Reverdin, Susan Rothenberg, American, born 1945 Graphite with ink on wove paper Guercino (Giovanni Francesco Barbieri), Swiss, 1772–1828 Ed Ruscha, American, born 1937 Gift of Cecily E. Horton Italian (Bolognese), 1591–1666 Mains, Cahier 12, Plate 3, from Cours Richard Serra, American, born 1939 2017.220 River Landscape with Figures in a Boat and complet d’études pour la figure, c. 1813 Richard Tuttle, American, born 1941 Two Travelers in the Distance, c. 1620s–40s Engraving on laid paper Published by Gemini G.E.L., Los Angeles Karl Umlauf, American, born 1939 Pen and brown ink on laid paper Gift of Etienne Breton, Saint Honoré Artists for Obama, 2008 Tracer III, 1981 2016.307 Art Consulting Portfolio of 13 screenprints, lithographs, Cast paper 2016.327 and etchings, edition 88/150 Gift of Clinton T. Willour and Jacques Callot, French, 1592–1635 Gift of Grace Phillips and Eugene Nosal Reid Mitchell Compositional Study for “Le Combat Paul Sandby, English, 1731–1809 2017.19 2017.221 des Sections d’Infanterie,” from the series La A Figure on a Horse by a Cottage, Guerra d’Amore (The War of Love), c. 1616 c. 1780–1809 Luis Jiménez, American, 1940–2006 Emma McNally, British, born 1969 Pen and brown ink and wash and red Watercolor and ink on laid paper Printed by Michael Sims, Choral Fields 10, 2014–16 chalk over black chalk on laid paper The Stuart Collection, gift of Lowell Art Department, Western Michigan Graphite on wove paper 2017.226 Libson Ltd. in honor of Francita Stuart University, Kalamazoo Gift of OUTSET Koelsch Ulmer Published by Lawrence Lithography 2017.224 • • • 2016.336 Workshop, Kansas City War Horse, 2001 PURCHASES Théodore Géricault, French, 1791–1824 Leonard Baskin, American, 1922–2000 Lithograph on wove paper, edition 2/50 Étude de femme nue pour le Trio érotique We Lie Here Dead and His Godly Name Gift of Dr. Monte R. Rhodes Henri Edmond Cross, French, 1856–1910 (Study of a Female Nude for the Erotic Trio) Grows Greater and Holier, 1996 2017.26 Preparatory Drawings for Regatta in Venice, [recto]; The Combat of Hercules and Woodcut in colors on Japanese paper, c. 1903–4 Hippolyta, Queen of the Amazons and edition 7/50 Roger Shimomura, American, born 1939 Graphite and black conté crayon on [reversed underlying sketch] Woman on Gift of Dr. Bruce Patsner Printed by Michael Sims, American, Ingres 1871 watermark paper the Ground and Woman in Half Length 2016.342 born 1944 Museum purchase funded by Diana and [verso], 1816–17 Published by Lawrence Lithography Harry Fuller and Friends in memory of Black chalk on white wove paper Rudolf de Crignis, Swiss, 1948–2006 Workshop, Kansas City Mary Fuller Frasher Museum purchase funded by Painting #91139, 1991 Kansas Samurai, 2004 2016.161.1, .2, .5 Dennis Roach at “One Great Night in Watercolor, graphite, and incision on Lithograph in colors on wove paper, November, 2016” wove paper edition of 46 Henri Edmond Cross, French, 1856–1910 2016.212 Gift of the estate of Rudolf de Crigniss Gift of Dr. Monte R. Rhodes Preparatory Drawings for Regatta in Venice, 2017.16 2017.27 c. 1903–4 Graphite and black conté crayon on John Twachtman, American, 1853–1902 Boat at Dock, Newport, 1889 Marcantonio Raimondi, Italian (Roman), Ingres 1871 watermark paper Pastel on sandpaper board c. 1470/82–1527/34 Museum purchase funded by the Ira Museum purchase funded by Frank J. After Raphael, Italian (Marchigian), and Virginia Jackson Endowment Fund Hevrdejs, Jim Crane, and Gary Petersen 1483–1520 2016.161.3, .4 in honor of Bob McNair at “One Great Mercury, after Raphael’s Fresco in the Loggia Night in November, 2016” of Psyche in the Villa Farnesina, Rome, Elizabeth Peyton, American, born 1965 2016.215 c. 1517, printed probably mid-16th century Published by Two Palms, New York Engraving on laid paper Marc (Pink), 2003 Gift of Susan Schulman and Carolyn Spit bite aquatint on pink wove paper, Bullard in honor of Dena M. Woodall edition 6/10 2017.29 Museum purchase funded by Grace Phillips and Eugene Nosal at Art + Paper 2016 2016.171

72 Dario Robleto, American, born 1972 Purchases in honor of The Alice C. Simkins Collection, Stuart Davis, American, 1892–1964 Printed by Gary W. Nichols Clinton T. Willour: gifts of Alice C. Simkins and Jazz, 1947 Published by Hare and purchases: Gouache over graphite on paper board Hound Press, San Antonio Toni LaSelle, American, 1901–2002 Funded by American Art & Wine Untitled (Shadows Evade the Sun l), 2012 Untitled, 1968 Andrew Dasburg, American, 1887–1979 2016.313 Series of 9 digital prints on paper Oil pastel on wove paper Taos Landscape, 1933 with UV protective spray, mounted Funded by the Vaughn Foundation Fund Double-sided watercolor over traces Arthur G. Dove, American, 1880–1946 on mat board, edition 17/25 2016.297 of graphite on wove paper Green Sun, c. 1936 Untitled (Shadows Evade the Sun II), 2012 Funded by the Caroline Wiess Law Watercolor on wove paper Series of 9 digital prints on paper Toni LaSelle, American, 1901–2002 Accessions Endowment Fund Funded by American Art & Wine with UV protective spray, mounted Untitled, 1968 2016.308 2016.314 on mat board, edition 17/25 Oil pastel on wove paper Museum purchases funded by Funded by Dr. Malcolm and Preston Dickinson, American, 1891–1930 Charles Demuth, American, 1883–1935 Bill Baldwin at “One Great Jackie Wolens Mazow Still Life, c. 1920s Tree Forms Bermuda, 1916 Night in November, 2016” 2016.298 Pastel and graphite on laid paper Double-sided watercolor over traces 2016.220 Funded by Kelly and Harper Trammell of graphite on wove paper Toni LaSelle, American, 1901–2002 and the Caroline Wiess Law Accessions Funded by the John R. Eckel, Jr. Henry Ossawa Tanner, Untitled, 1968 Endowment Fund Foundation American, 1859–1937 Oil pastel on wove paper 2016.309 2016.315 Printed posthumously by his son, Funded by Rebecca Trahan, Jesse O. Tanner John Blackmon, and John Roberson Marsden Hartley, American, 1877–1943 John Marin, American, 1870–1953 Fishing Boats at Shore, Brittany, c. 1905–10 2016.299 New Mexico, 1919 Tunk Mountains, 1952 Etching and aquatint on wove paper, Pastel on paperboard Watercolor and black crayon edition 27/120 Toni LaSelle, American, 1901–2002 Funded by the John R. Eckel, Jr. on wove paper Gateway in Tangier, c. 1905–10 Untitled, 1968 Foundation Funded by Evan Katz in honor of Etching and aquatint on wove paper, Oil pastel on wove paper 2016.310 Jerold B. Katz at “One Great Night edition 113/120 Funded by Craig Cornelius and in November, 2016” Museum purchases funded by Richard L. Flowers Max Weber, American, born Russia, 2016.316 Carol Lynne Werner at Art + Paper 2017 2016.300 1881–1961 2016.225, 2016.226 Abstract Forms, 1917 Abraham Walkowitz, American, Toni LaSelle, American, 1901–2002 Pastel on beige wove paper born Russia, 1878–1965 Henry Ossawa Tanner, Untitled, 1968 Funded by Aggie Foster Isadora Duncan, 20th century American, 1859–1937 Oil pastel on wove paper 2016.311 Watercolor and ink on cream wove paper Raising of Lazarus, c. 1910 Funded by Lea Weingarten and Funded by Alison de Lima Greene Etching on laid paper Kerry Inman Marguerite Zorach, American, 1887–1968 2016.317 Museum purchase funded by Christy 2016.301 New England Fall #3, 1917 and Mark K. Craig in honor of Lauren Watercolor over graphite on paper board Rosenblum, Dr. and Mrs. Craig S. Calvert, • • • Funded by Cecily E. Horton and Wynne Phelan at Art + Paper 2017 2016.312 2016.227 Tim Bavington, British, born 1966 Live Forever (Not Fade Away), 2008 Colored pencil on grid paper Museum purchase funded by the Mark and Hilarie Moore Family Trust 2016.303

73 ACCESSIONS | Prints and Drawings | The Rienzi Collection

The Stuart Collection, Paul Sandby, English, 1731–1809 Samuel Palmer, English, 1805–1881 THE RIENZI purchases funded by St. Albans Abbey from the Printed by A. H. Palmer COLLECTION Francita Stuart Koelsch Ulmer: North-west with the Sun Rising, 1797 The Lonely Tower, 1879 Gouache and watercolor over graphite Etching and drypoint with scraping on GIFTS Peter de Wint, English, 1784–1849 on wove paper wove paper, trial proof, state V/VII Alfriston, Sussex, c. 1830s–50s In honor of Miles Ulmer Graham Museum purchase funded by Art + Paper Gifts of James Deegan: Watercolor over graphite on wove paper 2017.252 2017 and the Scurlock Foundation in In memory of Ella Stuart Heyer honor of Lauren Rosenblum Charles Fraser, American, 1782–1860 2016.202 • • • 2017.253 Portrait Miniature of Mrs. Mitchell King, c. 1828 Thomas Girtin, English, 1775–1802 Albrecht Dürer, German, 1471–1528 Analia Saban, Argentinean, born 1980, Portrait Miniature of a Lady, c. 1835 Wetherby Bridge and Mills, Yorkshire, Saint George Killing the Dragon, c. 1504–5 active United States Watercolor on ivory Looking across the Weir, c. 1800 Woodcut on laid paper Printed and published by Mixografía, 2016. 248, 2016.249 Watercolor over graphite on laid paper Museum purchase funded by the Los Angeles In memory of Bonner Means Marjorie G. and Evan C. Horning Three-Stripe Hand Towel with Hole and Anna Claypoole Peale, Baker Moffitt Print Fund Unsewn Label, 2016 American, 1791–1878 2016.302 2017.18 Mixografía® monoprint on handmade Portrait Miniature of a Gentleman paper, edition 29/40 called Edward Sheegog, 1839 Thomas Girtin, English, 1775–1802 Martin Puryear, American, born 1941 Museum purchase funded by Bridget Watercolor on ivory Rochester Castle from the River, 1791/92 Printed and published by Universal and Patrick Wade at Art + Paper 2017 2016.250 Watercolor and graphite on laid paper, Limited Art Editions, Bay Shore, 2017.254 with original mount New York PURCHASES 2016.344 Untitled (State 1), 2016 Vasily Kandinsky, Russian, 1866–1944 Drypoint, etching, soft ground etching, Kleine Welten VI (Small Worlds VI), 1922 J. & W. Cary, English, c. 1791–1850 John Robert Cozens, English, 1752–1797 sugar lift, open bite and aquatint in Woodcut on white wove paper Terrestrial Globe, stand and globe London and the Thames from Greenwich, colors on wove paper, bon à tirer of an Museum purchase funded by c. 1791, updated 1831 1792 edition of 29 Art + Paper 2017 Satinwood, paper, and brass Watercolor over graphite on laid paper Museum purchase funded by 2017.256 The Rienzi Collection, museum 2016.345 Theodore J. Lee and Marc Sekula purchase funded by the Rienzi Society 2017.106 Giuseppe Penone, Italian, born 1947 2016.346 Edward Lear, English, 1812–1888 Ombra (Shadow), 1996 The Gombo, Pisa, 1883 John Biggers, American, 1924–2001 Coffee on wove paper Watercolor over pen and ink and graphite Untitled [Sketchbook], 1942–45 Museum purchase funded by the on wove paper Bound sketchbook with graphite, water- Alice C. Simkins Drawing In honor of Adele Birdsall Houghton color, and pastel on wove paper with Endowment Fund 2017.1 printed paperboard cover and cloth spine 2017.257 Museum purchase funded by the Samuel Palmer, English, 1805–1881 Caroline Wiess Law Accessions On the River Machwy, Wales, 1837 Endowment Fund Watercolor and gouache over black chalk 2017.227 on wove paper, heightened with white chalk on wove paper 2017.15

Edward Lear, English, 1812–1888 Mount Olympus from Larissa, Greece, c. 1840s–60s Watercolor over traces of graphite on wove paper In memory of John Kelvin Koelsch 2017.119

74 MAJOR LOAN AND PERMANENT-COLLECTION EXHIBITIONS

Except where noted, all exhibitions listed on pp. 75–97 were organized exclusively by the Museum of Fine Arts, Houston.

Helen Levitt: In the Street One of the most celebrated photographers of the twentieth century, September 13, 2016–January 1, 2017 Helen Levitt (1913–2009) captured candid views of everyday life Cameron Foundation Gallery on the streets of New York City. Helen Levitt: In the Street spanned The Audrey Jones Beck Building her career from the late 1930s to the mid-1980s, featuring her black- and-white and color photographs, as well as her short film In the This exhibition was organized by Telfair Museums, Savannah, Georgia. Street (1948). A lifelong New Yorker, Levitt used her camera to tell the stories of the urban characters she encountered. Frequenting In Houston, generous support was provided by Mrs. Robert O. Levitt. working-class neighborhoods such as the Lower East Side and Spanish Harlem, she documented the theater of life as it played out The exhibition debuted at Telfair Museums, Savannah, Georgia, where on stoops and sidewalks. The exhibition comprised more than forty it was on view from April 25 to September 21, 2014, then traveled to the works, including three from the Museum’s collection. High Museum of Art, where it was on view from January 10 to July 12, 2015. The exhibition was then presented at the Everson Museum of Art, where it was on view from February 6 to May 8, 2016, before traveling to the Museum of Fine Arts, Houston, and on to the Milwaukee Art Museum, where it was on view from January 27 to April 16, 2017.

75 MAJOR LOAN AND PERMANENT-COLLECTION EXHIBITIONS

A Texas Legacy: Selections from the William J. Hill Collection A Texas Legacy brought together a selection from the William J. October 2, 2016–January 1, 2017 Hill Collection of furniture, drawings, paintings, pottery, silver, Hevrdejs Galleries and other objects from the era when Texas was a sparsely settled The Audrey Jones Beck Building territory (1836 to 1845) to the turn of the twentieth century, when the oil boom resulted in the rapid expansion of the state’s Generous support for this exhibition was provided by Mr. William J. Hill. economy, transportation networks, and population. This exhibition showcased the traditional craft practices employed by early settlers The exhibition debuted at the Museum of Fine Art, Houston, where it was as they produced everything from utilitarian stoneware pottery to on view from October 2, 2016, to January 1, 2017. The silver objects from highly accomplished decorative furniture. More than sixty-five the collection then traveled to the Yale University Art Gallery, where they works of art were on view, including such highlights as a one-of- were on view from August 15 to December 10, 2017. a-kind, intricately carved desk by Adolph Kempen; a monumental wardrobe by Johann Michael Jahn; and early Texas silver by Samuel Bell.

76 Julian Onderdonk and the Texan Landscape San Antonio native Julian Onderdonk (1882–1922) spent October 2, 2016–January 1, 2017 his formative years as an artist training in New York under Kilroy Foundation Gallery and Hevrdejs Galleries William Merritt Chase. Studying at Chase’s Shinnecock The Audrey Jones Beck Building School of Art on Long Island, Onderdonk established his own footing in American Impressionist painting and ignited Generous support for this exhibition was provided by Mr. William J. Hill. his love of working en plein air. Returning to Texas in 1909, Onderdonk developed what would become his signature The exhibition debuted at the Museum of Fine Arts, Houston, where it depictions of the state’s iconic flower, the bluebonnet, which was on view from October 2, 2016, to January 1, 2017, and then traveled he captured at different times of day and throughout the to the San Antonio Museum of Art, where it was on view from January seasons. This exhibition presented more than twenty-five of 20 to April 23, 2017, before continuing to its final venue, the Art Onderdonk’s paintings, from luminous views of the Long Museum of South Texas, Corpus Christi, where it was on view from Island landscape to sweeping impressions of the Texas blue- May 14 to August 31, 2017. bonnet. The exhibition coincided with the release of the first catalogue raisonné of the artist.

7777 MAJOR LOAN AND PERMANENT-COLLECTION EXHIBITIONS

Degas: A New Vision Degas: A New Vision presented the most significant international survey October 16, 2016–January 16, 2017 in nearly thirty years of the work of the celebrated French artist Hilaire- Upper Brown Pavilion Germain-Edgar Degas (1834–1917). Although the acclaimed reputation The Caroline Wiess Law Building of Degas has often focused on his ballet imagery, the artist’s rich, complex, and abundant oeuvre spans the entire second half of the nine- This exhibition was organized by the Museum of Fine Arts, Houston; teenth century and the first years of the twentieth century. Not since the the National Gallery of Victoria, Melbourne; and Art Exhibitions landmark international retrospective Degas in 1988 has the artist’s career Australia. This exhibition was supported by an indemnity from the been fully assessed. That exhibition led to a revival of interest in Degas, Federal Council on the Arts and the Humanities. and Degas: A New Vision provided an unprecedented opportunity to see the artist in a new light, across more than two hundred works. The This exhibition was made possible in part by a grant from the Museum was the only U.S. venue for this exhibition, in which Degas’s Texas Commission on the Arts. preparatory drawings were reunited with the major paintings that evolved from them. Lead foundation underwriting was provided by Kinder Foundation and The Hamill Foundation.

Lead corporate sponsor: BBVA Compass

With additional generous funding from Anchorage Foundation of Texas; Mr. and Mrs. Meredith J. Long; River Oaks District; CHRISTIE’S; MD Anderson Foundation; National Endowment for the Arts; Norton Rose Fulbright; Carol and Michael Linn; Scaler Foundation, Inc.; and Ann G. Trammell

Official promotional partners: Houston Public Media and Telemundo

The exhibition debuted at the National Gallery of Victoria, Melbourne, where it was on view from June 24 to September 18, 2016, before traveling to the Museum of Fine Arts, Houston.

78 79 MAJOR LOAN AND PERMANENT-COLLECTION EXHIBITIONS

Emperors’ Treasures: Chinese Art from the National Palace Museum, Taipei Emperors’ Treasures: Chinese Art from the October 23, 2016–January 29, 2017 National Palace Museum, Taipei brought to Brown Foundation, Inc. Gallery Houston masterpieces that highlight the The Audrey Jones Beck Building artistic and cultural contributions of imperial rulers in China, from the Song dynasty to the This exhibition was co-organized by the Asian Art Museum of San Francisco and the National Palace Qing dynasty. More than 160 works of art Museum, Taipei. from the National Palace Museum offered a unique selection of paintings, bronzes, The presentation in Houston was a collaboration among the Museum of Fine Arts, Houston; calligraphy, and decorative arts, including the Asian Art Museum; and the National Palace Museum. porcelain, textiles, enamels, and jade. The exhibition presented examples of the finest Lead foundation underwriting was provided by The Ting Tsung and Wei Fong Chao Foundation. craftsmanship and imperial taste, exploring the roles that eight emperors and one Additional generous support for this exhibition was provided by Cindy and Frank Liu Family Foundation; empress had in the establishment and Cartier; James and Leeshan Birney – Stone Mountain Properties; Ceyan Birney – Stone Mountain development of new artistic directions Properties; World Journal; Global Federation of Chinese Business Women in Southern U.S.A.; Sushila through the masterpieces they collected, and Dr. Durga D. Agrawal; The Honorable Theresa and Dr. Peter Chang; Kathy and Marty Goossen; commissioned, and in some cases created. Wea Lee; Nidhika and Pershant Mehta; Southwest Management District; Mr. and Mrs. Ed Tseng; Cynthia Emperors’ Treasures outlined how Chinese and Michael Chang, Syntergy LLC; Dr. and Mrs. Jarvis Cheung; E & M Foundation; Eagle Global Advisors; art evolved and flourished under Han Milton D. Rosenau, Jr. and Dr. Ellen R. Gritz; Harmony Public Schools; Rocky Lai & Associates, Inc.; Chinese, Mongol, and Manchu rulers. Annie and Kenneth Li – Southwest Realty Group; STOA Architects; Miwa S. Sakashita and Dr. John R. Stroehlein; Amy Sung Foundation; Tang Family Foundation; Nanako and Dale Tingleaf; and George C. Yang.

The exhibition debuted at the Asian Art Museum, where it was on view from June 17 to September 18, 2016, before traveling to the Museum of Fine Arts, Houston.

80 Ancient Luxury and the Roman Silver Treasure from Berthouville Ancient Luxury and the Roman Silver Treasure from Berthouville featured the November 6, 2016–February 5, 2017 Berthouville Treasure, a cache of opulent silver objects that was accidentally Millennium Gallery discovered by a French farmer in the early nineteenth century and recently The Audrey Jones Beck Building conserved by the J. Paul Getty Museum. This collection was displayed alongside precious gemstones, glass, jewelry, and other Roman luxury This exhibition was organized by the J. Paul Getty Museum in items from the Cabinet des Médailles of the Bibliothèque nationale collaboration with the Bibliothèque nationale de France, de France. The techniques employed by ancient craftsmen in designing and Département des Monnaies, médailles et antiques, Paris. creating these treasures reveal fascinating aspects of Roman technology, culture, and religion. Exhibition highlights included the “Patera of Rennes,” In Houston, this exhibition was dedicated to the memory of one of the few surviving examples of Roman gold tableware; the “Shield of Isabel Brown Wilson with generous support provided by Scipio,” a silver-and-gold plate depicting the Homeric hero Achilles, extracted Kinder Foundation; The Brown Foundation, Inc.; Nina and from the Rhone River in 1656; and a bejeweled cameo of Emperor Trajan, Michael Zilkha; and Wallace S. Wilson. intricately carved from multilayered sardonyx.

The exhibition debuted at the J. Paul Getty Museum, Getty Villa, where it was on view from November 19, 2014, to August 17, 2015, before traveling to the Fine Arts Museum of San Francisco, where it was on view from September 19, 2015, to January 10, 2016. The exhibition then traveled to the Museum of Fine Arts, Boston, where it was on view from February 14 to May 22, 2016, and finally to the Nelson-Atkins Museum of Art, where it was on view from June 25 to October 2, 2016, before traveling to the Museum of Fine Arts, Houston.

81 MAJOR LOAN AND PERMANENT-COLLECTION EXHIBITIONS

Two Centuries of American Still-Life Painting: Two Centuries of American Still-Life Painting: The Frank and The Frank and Michelle Hevrdejs Collection Michelle Hevrdejs Collection traced the history of American January 14–April 9, 2017 still-life painting for nearly two hundred years. The majority Kilroy Foundation Gallery and Hevrdejs Galleries of the sixty works on view, selected from the private, Houston- The Audrey Jones Beck Building based collection of Frank and Michelle Hevrdejs, had never been seen by the public before. The most influential American Lead corporate sponsor: JPMorgan Chase luminaries of the genre were represented, including William Merritt Chase, Georgia O’Keeffe, James Peale, John F. Peto, Lead foundation underwriting was provided by The Gordon A. Cain Foundation. Wayne Thiebaud, Max Weber, and Andrew Wyeth. The masterpieces on view demonstrated the diversity of still-life painting Additional generous support was provided by Frank and Michelle Hevrdejs; and why this genre has continued to captivate American Sara and Bill Morgan; Kinder Foundation; Tina and Joe Pyne; and Janet Gurwitch. artists, collectors, and audiences from the nineteenth century to the present day. The extraordinary range of artistic styles The exhibition traveled from the Museum of Fine Arts, Houston, to the Memphis and subject matter encompasses European-influenced Brooks Museum of Art, where it was on view from April 22 to July 30, 2017, and realism and trompe l’oeil, Impressionism, modernism, on to the Tacoma Art Museum, where it was on view from September 2, 2017, to Pop Art, and contemporary expressions. January 7, 2018.

82 Ron Mueck The exhibition Ron Mueck presented thirteen sculptures by this contemporary artist, February 26–August 13, 2017 spanning the arc of his career from 1999 to 2013. Ron Mueck (born 1958) has drawn Brown Foundation, Inc. Gallery upon memories, reveries, and everyday experiences to create his sculptures, in which The Audrey Jones Beck Building he balances realism with the unreal. Mueck has captured every feature with astonishing detail, yet the naturalism of his work is undercut by his calculated play with scale: some figures fill a gallery, whereas others stand no more than three feet high. Displayed together, these figures illustrated the artist’s ongoing investigation of the cycle of life, from the first moment of consciousness, to young love, to the various stages of maturity and aging, and ultimately to oblivion.

83 MAJOR LOAN AND PERMANENT-COLLECTION EXHIBITIONS

Adiós Utopia: Dreams and Deceptions Adiós Utopia: Dreams and Deceptions in Cuban in Cuban Art Since 1950 Art Since 1950 examined how Cuba’s revolution- March 5–May 21, 2017 ary aspirations for social utopia, and subsequent Upper Brown Pavilion disillusionment, shaped sixty-five years of art The Caroline Wiess Law Building on the island. This exhibition was the most comprehensive and significant presentation Adiós Utopia: Dreams and Deceptions in Cuban Art Since 1950 was a project conceived by the of modern and contemporary Cuban art shown Cisneros Fontanals Fundación Para Las Artes (CIFO Europa) and The Cisneros Fontanals Art in the United States since 1944, when the Foundation, CIFO USA. The exhibition was organized in partnership with the Museum of Fine Museum of Modern Art in New York presented Arts, Houston, and the Walker Art Center, Minneapolis. The exhibition was made possible in part Modern Cuban Painters. More than one hundred by a major grant from the National Endowment for the Humanities: Exploring the human endeavor. pivotal works—ranging from painting, graphic design, and photography to video, installation, Major support for the exhibition was provided by the Ford Foundation; The Diane and Bruce Halle and performance—were selected for Adiós Foundation; and the Andy Warhol Foundation for the Visual Arts. This project was supported in Utopia. Although many artists have emigrated part by an award from the National Endowment for the Arts. Additional generous support was from Cuba to live and work abroad, this exhibition provided by Ella Fontanals-Cisneros. focused on the previously untold narrative of those artists who remained in Cuba or whose careers In Houston, additional generous support was provided by Baker McKenzie. skyrocketed after Fidel Castro’s 1959 revolution.

The exhibition traveled from the Museum of Fine Arts, Houston, to the Walker Art Center, Minneapolis, where it was on view from November 11, 2017, to March 18, 2018.

84 Colors of the Oasis: Central Asian Ikats Colors of the Oasis: Central Asian Ikats showcased nearly fifty ikat robes and March 12–June 4, 2017 panels from the renowned Murad Megalli Collection of the Textile Museum in Millennium Gallery Washington, DC. These bold garments were mainstays of cosmopolitan oasis The Audrey Jones Beck Building culture in the nineteenth century, worn by inhabitants of different classes and religions throughout crowded marketplaces, private homes, centers of wor- This exhibition was organized by the George Washington University ship, and ceremonial places. The textiles on display—including robes for men Museum and The Textile Museum. and women, dresses, trousers, and hangings—featured eye-catching designs in dazzling colors. These textiles were originally produced in the 1800s in In Houston, generous support for this exhibition was provided weaving centers across Uzbekistan, including Bukhara, Samarkand, and the by Bruce and Terry Baganz; Luther King Capital Management; Fergana Valley. Supplementing these ikats were historical photographs and Franci Neely; The E. Rhodes & Leona B. Carpenter Foundation; didactic materials about the tradition of their creation. Jennifer and Matt Esfahani; Mary Jo Otsea and Richard Brown; Alastair and Kathy Dunn; and Felix and Keisha Phillips.

85 MAJOR LOAN AND PERMANENT-COLLECTION EXHIBITIONS

Homelands and Histories: The photographer Fazal Sheikh (born 1965) has traveled the world, capturing Photographs by Fazal Sheikh images of the displaced and marginalized in Africa, South Asia, and the Middle From May 6, 2017 East. Homelands and Histories: Photographs by Fazal Sheikh featured images rep- Cameron Foundation Gallery resenting each of his key projects from the late 1980s to 2013. A portraitist of The Audrey Jones Beck Building uncommon sensitivity, Sheikh has sought to sustain a relationship with the societies he has photographed, often spending extended periods of time in each Generous support was provided by community. In Sheikh’s own words, his aim has been to “contribute to a wider Joseph M. Cohen and W. Temple understanding of these groups, to respect them as individuals, and to counter Webber III. the ignorance and prejudice that often attaches to them.” This exhibition celebrated the Museum’s acquisition of seventy-five photographs spanning the artist’s career.

86 Pipilotti Rist: Pipilotti Rist: Pixel Forest and Worry Will Vanish brought together two Pixel Forest and Worry Will Vanish mesmerizing works newly acquired by the Museum. The Swiss artist From June 11, 2017 Pipilotti Rist (born 1962) has worked at the forefront of video and Cullinan Hall digital imagery since the mid-1980s. Pixel Forest Transformer, created The Caroline Wiess Law Building in collaboration with the lighting designer Kaori Kuwabara, consisted of thousands of hanging LED lights, each controlled by a video signal Lead corporate sponsor: so that the “forest” was constantly changing. The lights sometimes Rand Group shifted in a staccato rhythm, and sometimes in waves of color. Worry Will Vanish Disolution featured a corner projection with a lyrical, resonantly textured soundtrack by the musician Anders Guggisberg. Its panoramic sequences charted a dreamlike journey through the natural landscape, the human body, and the heavens.

87 MAJOR LOAN AND PERMANENT-COLLECTION EXHIBITIONS

Paint the Revolution: Mexican Modernism, 1910–1950 Paint the Revolution: Mexican Modernism, 1910–1950 From June 25, 2017 traced the development of modern art in Mexico and the Upper Brown Pavilion social, political, and cultural forces that shaped it over The Caroline Wiess Law Building the course of nearly half a century. Featuring some 175 works—including prints, photographs, books, newspa- This exhibition was originated by the Philadelphia Museum of Art and the Museo del Palacio de pers, easel paintings, large-scale portable murals, and Bellas Artes, Mexico City. The presentation in Houston was organized by the Museum of Fine mural fragments—this exhibition presented master- Arts, Houston. pieces by well-known figures such as Frida Kahlo, José Clemente Orozco, Diego Rivera, David Alfaro Siqueiros, Bank of America was the National Sponsor of Paint the Revolution: Mexican Modernism, 1910–1950. and Rufino Tamayo, as well as works by many of their important contemporaries. In addition, three historical This project was made possible in part by a major grant from the National Endowment for the murals by Orozco, Rivera, and Siqueiros were digitally Humanities: Exploring the human endeavor. This project was supported in part by an award re-created and projected in the galleries. Paint the from the National Endowment for the Arts. Revolution offered visitors the opportunity to see the emergence of Mexico as a center of modern art. In Houston, the exhibition was also supported by H-E-B; Ignacio and Maria Isabel Torras; José Luis Barragán; The Honorable Oscar Rodriguez Cabrera, Consul General of Mexico; Celina Hellmund, Nina and Léon Brener-Hellmund; Mr. and Mrs. Greg Curran; Stephen and Johanna Donson; Linda and George Kelly; Trini and O.C. Mendenhall Foundation (Trini, Jan, and Oniel Mendenhall); Cathy and Alex López Negrete; Ms. Silvia Salle; Daniela and Manolo Sánchez; and Federica Simón de Andina.

The accompanying catalogue in English and Spanish editions was made possible by the Mary Street Jenkins Foundation. The English-language edition was additionally supported by the Davenport Family Foundation, The Andrew W. Mellon Fund for Scholarly Publications at the Philadelphia Museum of Art, and by Furthermore: a program of the J.M. Kaplan Fund.

The exhibition traveled from the Philadelphia Museum of Art, where it was on view from October 25, 2016, to January 8, 2017, and to the Museo del Palacio de Bellas Artes, where it was on view from February 10 to May 7, 2017, before traveling to the Museum of Fine Arts, Houston.

88 89 ADDITIONAL DISPLAYS FROM THE PERMANENT COLLECTION AND GALLERY ROTATIONS

4 1

3 2

1. Much Ado about Something: 2. A History of Photography: Selections 3. Christian Marclay, “Telephones” 4. Wangechi Mutu, Shakespeare Illustrated on the from the Museum’s Collection (VI) October 11–November 6, 2016 “The End of carrying All” Printed Page September 20, 2016–January 8, 2017 Cullinan Hall November 8, 2016–January 26, 2017 July 12–December 15, 2016 Lower Beck Corridor The Caroline Wiess Law Building Cullinan Hall Hirsch Library The Audrey Jones Beck Building The Caroline Wiess Law Building The Caroline Wiess Law Building Generous funding was provided by The Robert Mapplethorpe Foundation, Inc.; PHILLIPS; and Susan and Thomas Dunn.

90 7

5. Prototype/Production 6. Drawn to Teach: Instruction Manuals 7. Eye on Houston: High School November 12, 2016–April 30, 2017 from the 17th to 19th Century Documentary Photography Alice Pratt Brown Gallery December 16, 2016–April 22, 2017 January 13–May 7, 2017 The Caroline Wiess Law Building Hirsch Library Lower Beck Corridor The Caroline Wiess Law Building The Audrey Jones Beck Building

This exhibition received generous funding from the CFP Foundation; the Junior League of Houston, Inc.; and the Texas Commission on the Arts.

91 ADDITIONAL DISPLAYS FROM THE PERMANENT COLLECTION AND GALLERY ROTATIONS

8. A History of Photography: Selections 9. Vignettes: Masterworks on Paper, 10. Ádám Magyar, “Stainless” from the Museum’s Collection (VII) 1520 to 1870 February 8–April 9, 2017 January 14–May 14, 2017 January 14–April 16, 2017 Cullinan Hall Lower Beck Corridor Cameron Foundation Gallery The Caroline Wiess Law Building The Audrey Jones Beck Building The Audrey Jones Beck Building

Generous funding was provided by The Robert Mapplethorpe Foundation, Inc.; PHILLIPS; and Susan and Thomas Dunn.

92 11

11. CLAP!—10 x 10 Contemporary 12. Reading Music: Latin American Photobooks Sound Recordings and the Book March 2–April 8, 2017 From April 25, 2017 Hirsch Library Hirsch Library The Caroline Wiess Law Building The Caroline Wiess Law Building

93 ADDITIONAL DISPLAYS FROM THE PERMANENT COLLECTION AND GALLERY ROTATIONS

13. A History of Photography: Selections from the Museum’s Collection (VIII) From May 16, 2017 Lower Beck Corridor The Audrey Jones Beck Building

Generous funding was provided by United Airlines.

94 14

14. In the Studio: Craft in Postwar America, 1950–1970 From May 18, 2017 Alice Pratt Brown Gallery The Caroline Wiess Law Building

Generous funding was provided by United Airlines.

95 ADDITIONAL DISPLAYS FROM THE PERMANENT COLLECTION AND GALLERY ROTATIONS

15 16 17

LOWER BROWN CORRIDOR KINDER FOUNDATION RIENZI EXHIBITIONS INSTALLATIONS GALLERY EXHIBITIONS in the Caroline Wiess Law Building in the Caroline Wiess Law Building Grand Designs: The MFAH Education Center receives generous Neoclassical Taste in the 18th Century 15. Securing the Glow: Photographs of Clouds funding from Kinder Foundation. September 17, 2016–February 20, 2017 October 11, 2016–January 29, 2017 Isla’s Gallery Art.Write.Now. Generous funding was provided by United Airlines. November 1, 2016–January 8, 2017 19. Decorative Arts in the Age of Victoria From March 11, 2017 Overhead and Under Foot: 18. Fashion Fusion Exhibition Isla’s Gallery Contemporary Topographies on Paper From May 16, 2017 October 11, 2016–January 29, 2017

Generous funding was provided by United Airlines.

16.Cuban Photography after 1980: Selections from the Museum’s Collection February 7–June 4, 2017

17. Houston Artists Select: Selections from the Museum’s Collection From June 13, 2017

96 18 19 20

THE GLASSELL SCHOOL OF ART EXHIBITIONS 2017 Core Exhibition The following Glassell School of Art Exhibitions March 17–April 22, 2017 were presented in the Kinder Morgan Building Fundamentals Exhibition Lawndale Art Center in Houston: August 5–September 24, 2016 Interspace Gallery The Core Program at the Glassell School of Art Watercolors: Ken Mazzu/Monica Seibert/Brenda Studio School receives generous funding from the Joseph and Willliamson Sylvia Slifka Foundation and the National Through September 2, 2016 Periwinkle Foundation “Making a Mark” Endowment for the Arts. September 1–October 28, 2016 Figurative Faculty Exhibition Norma R. Ory Gallery Core fellowships have been underwritten by The September 5–December 2, 2016 Junior School Dickson-Allen Foundation; Rania and Jamal Daniel; Mr. Alfred C. Glassell, III; The Francis L. Lederer RED Exhibition Wells Fargo Student Show Foundation; Meredith Long; McClain Gallery; December 5, 2016–March 3, 2017 September 8–October 26, 2016 Mr. Marc Melcher; The Powell Foundation; Norma R. Ory Gallery Karen Pulaski; and The Arch and Stella Rowan LINE Exhibition Junior School Foundation, Inc. March 6–June 9, 2017

Collage and Assemblage Exhibition Block Exhibition TEXTURE Exhibition October 3–22, 2016 March 20–April 7, 2017 From June 12, 2017 Interspace Gallery Interspace Gallery Studio School Studio School OFF-CAMPUS EXHIBITIONS Just Life Society for the Performing Arts Exhibition October 30–December 2, 2016 April 10–26, 2017 20. Rain: Magdalena Fernández Interspace Gallery Norma R. Ory Gallery at the Houston Cistern Studio School Junior School December 10, 2016–June 25, 2017 The Buffalo Bayou Park Cistern Annual Junior School Holiday Exhibition Advanced Portfolio Prep (APP) Exhibition This exhibition was organized by November 17, 2016–February 10, 2017 April 10–May 13, 2017 the Museum of Fine Arts, Houston, Norma R. Ory Gallery Norma R. Ory Gallery and co-presented by Buffalo Bayou Junior School Junior School Partnership.

Along the Road Life Drawing/Jewelry Collaborative Exhibition Citywide African American Artists Exhibition January 23–February 11, 2017 April 17–May 5, 2017 From June 16, 2017 Interspace Gallery Interspace Gallery The University Museum at Studio School Studio School Texas Southern University

Post Oak High School Senior Show Annual Student Exhibition February 22–23, 2017 May 19–June 30, 2017 Norma R. Ory Gallery Interspace Gallery Junior School Studio School

Presbyterian School Fourth Grade Installation, Think.Make.See. March 1–31, 2017 Norma R. Ory Gallery Junior School

97 DEPARTMENTAL HIGHLIGHTS

Construction began on the Sarah Campbell Blaffer Foundation Center for Conservation. Film still from The Beatles: 8 Days A Week—The Touring Years

CONSERVATION Scientist published important papers in LIBRARIES At the time of writing this report, con- the Burlington Magazine and the AIC This year the Libraries added a record struction of the new Sarah Campbell Journal this year, and the former pub- number of volumes (6,753) and the Blaffer Foundation Center for Conser- lished a book on the Spanish painter second highest number of titles (6,098) vation has begun atop the Visitors Center and treatise writer Jusepe Martínez. in our ninety-one-year history. More than on Fannin Street. The coming year Working together, they are also engaged half came as gifts, reflecting the stalwart should see the near-completion of the in research for a book on the Abstract and generous support that we receive center and the beginning of our move Expressionist painter Franz Kline. from Houston’s communities. Further, into the state-of-the-art facilities that we the Libraries made significant additions —David Bomford have long anticipated. Meanwhile, practi- to our rare book holdings, acquiring CHAIRMAN, CONSERVATION cal conservation, research, and exhibition Leonardo da Vinci’s influential treatise and acquisition support have continued on painting (1651), a suite of cabinetmak- FILM across all areas of the Museum’s perma- ing and marquetry plates from Denis A highlight of the 2016–2017 fiscal year nent collection. The working life of the Diderot’s prominent Encyclopédie (1778– was the centennial celebration of the leg- Conservation Department has been 79), William Blake’s most ambitious endary actress Olivia de Havilland, who exceptionally busy in our temporary stu- commercial book production (1797), turned one hundred on July 1, 2017, and dios and laboratories. One very welcome El Lissitzky’s masterpiece of Soviet lives in Paris. Her daughter, Gisele development has been the expansion of photo bookmaking (1935), and a com- Galante Chulack, an Honorary Trustee decorative arts conservation to establish plete run of the Taller Torres-García’s of the Museum, introduced The Dark a position for an assistant conservator dynamic journal (1945–53). In March Mirror and delighted the audience by of historic frames; this position has long 2017, the Hirsch Library hosted sharing her mother’s anecdotes about been needed to work on the Museum’s CLAP!—10 x 10 Contemporary Latin making that film. Special guests during extensive collection of Old Master picture American Photobooks, a two-day “pop-up” the Houston Cinema Arts Festival in frames, and the beneficial results are installation in our reading room that November included the award-winning already evident in the Audrey Jones Beck welcomed nearly 150 attendees. This cinematographer Frederick Elmes, with Building galleries.We are also delighted program featured 130 recent publica- a fortieth-anniversary restoration of Blue to acknowledge a wonderfully generous tions and provided a hands-on Velvet, and members of the Brennan gift from Ted and Melza Barr to fund opportunity for Houston audiences restaurateur family, who premiered the the appointment of an assistant paper to explore innovations in photography documentary Ella Brennan: Commanding conservator. This position will provide book publishing throughout Latin the Table. Audiences flocked to films additional help and expertise in what is America. In conjunction with the event, about music, including The Beatles: one of the largest parts of the collection Dr. Roberto Tejada, professor of art 8 Days a Week—The Touring Years, and one of the busiest areas of conserva- history and creative writing at the Monterey Pop, and the fifth edition tion at the Museum. University of Houston, presented a of the summer series Jazz on Film. lecture on the subject. Following the pro- Both our Senior Conservator of Paintings —Marian Luntz gram, the publications were donated to and our Andrew W. Mellon Research CURATOR, FILM AND VIDEO the Hirsch Library by 10x10 Photobooks, a New York–based nonprofit whose 98

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Museum visitors experiencing the CLAP!—10 x 10 Contemporary Latin American The Museum published three major books that had special resonance in Texas. Photobooks event at the Hirsch Library, March 2–3, 2017. mission is to promote the photobook extraordinarily vibrant paintings of the to the Museum—particularly her genre. The William J. Hill Texas Artisans Texas landscape. This authoritative publi- collection of American furniture and and Artists Archive enhanced its digital cation, authored by Harry Halff and her home, Bayou Bend. Excerpts from presence by adding 25,000 records, Elizabeth Halff, with an essay by the Hogg’s personal journals and letters, bringing its total to an impressive 81,000 Museum’s former curator of American plus images from her life and of her records. This distinctive resource also art, Emily Ballew Neff, demonstrates the collection, enrich the narrative. broadened its reach by partnering with breadth and brilliance of Onderdonk’s three new regional institutions: the work. The book also includes an exten- Museum Life Trustee Frank Hevrdejs Dallas Historical Society, and the sive chronology of the artist’s life and and his wife, Michelle, have amassed a Rosenberg Library and the Bryan career. The first publication to document treasured collection of still-life painting Museum, both in Galveston. The the complete, nearly 1,200 works of this over several decades. Two Centuries of Museum Archives joined the Library talented artist, the Museum’s catalogue American Still-Life Painting represents department this year, positioning both raisonné brings Onderdonk’s lyrical the beauty and complexity of this genre entities to better meet the research needs paintings to the long-deserved attention in the United States. More than sixty-five of our constituents as we move forward. of a national audience. Julian Onderdonk: works from the Hevrdejs collection Collectively, these activities speak to the A Catalogue Raisonné received a 2017 are accompanied by comprehensive depth of our growing collections, the CASETA (Center for the Advancement commentaries. Featuring works by institution’s continued support for schol- and Study of Early Texas Art) award for prestigious artists such as Raphaelle arship, and the ongoing importance of its important contribution to the pub- Peale, Thomas Hart Benton, Georgia serving the Houston art community. lished literature on the subject. O’Keeffe, and Andrew Wyeth, this study expands the overall notion of the still life —Jon Evans Ima Hogg (1882–1975) left her mark on by examining its use in a variety of paint- CHIEF OF THE LIBRARY AND ARCHIVES Texas through sustained support of the ing styles—from the nineteenth century arts, education, and mental health. In the to the present day. With color illustra- PUBLICATIONS biography Ima Hogg: The Extraordinary tions and an essay by the distinguished The Museum published three distin- Cultural Patron behind the Unusual Name, scholar William H. Gerdts, this book guished books this year, with each one David B. Warren, the founding director demonstrates why the still life has been a celebrating a deep connection to the emeritus of Bayou Bend Collection and compelling preoccupation for American state of Texas. A publication that was Gardens, paints an intimate and engag- artists. The Hevrdejses announced their more than seven years in the making, ing portrait of the legendary philanthro- gift to the Museum of the artworks dis- Julian Onderdonk: A Catalogue Raisonné pist. This portrait is shaped by extensive played in the exhibition held this year, in serves as the definitive resource on the archival research and insights gleaned the process transforming this catalogue American Impressionist artist who lived from the years Warren worked by her into a publication that will document and worked primarily in Texas. A San side. The book traces Hogg’s dedication highlights from the permanent collection. Antonio native, Onderdonk (1882–1922) to children’s welfare, her efforts to estab- first trained in New York with William lish the Houston Symphony, and her —Diane Lovejoy Merritt Chase and went on to create generous donations of major works of art PUBLISHER IN CHIEF

99 LEARNING AND INTERPRETATION

Opposite and above: In fiscal year 2016–2017, the Department of Learning and Interpretation offered engaging programs for a range of audiences and interests.

This year, the Department of Learning In response to this research, Learning Cuban Art Since 1950. For intergenera- and Interpretation deepened its engage- and Interpretation staff offered a variety tional audiences looking for hands-on ment with students, teachers, and of public programs to meet the engage- experiences, the weekly Sunday Family visitors of all ages, serving a total of ment preferences of a total of 42,047 Zone and Studio allowed parents and 114,500 individuals in the Museum’s visitors. For those wanting to hear from children to appreciate and make art galleries and classrooms, in the Kinder art experts, the Museum’s robust lec- together. For those interested in fashion Foundation Education Center, and ture offerings included the 41st Annual and art, the third annual Fashion off-site in Houston’s communities. Ruth K. Shartle Symposium lectures, Fusion competition and runway show Evaluation and research were particular generously funded by The Brown featured original garments—inspired priorities throughout the year. The Foundation, Inc. A broad range of by the Adiós Utopia exhibition—created Museum was one of six museums speakers interpreted the major exhibi- by students in the award-winning nationwide to partner with the National tion Degas: A New Vision, including fashion design program at Houston Art Education Association and the Gary Tinterow, director of the MFAH Community College. For those desiring Association of Art Museum Directors and organizing curator of the exhibition; a festival experience, the Lunar New to gather data on the impact of art George Shackelford, deputy director of Year Celebration at the Museum museum programs on students. In the Kimbell Art Museum; and Jodi concluded the exhibition Emperors’ the spring, the Museum facilitated Hauptman, senior curator of prints Treasures: Chinese Art from the National docent-led tours for fourth-, fifth-, and and drawings at the Museum of Modern Palace Museum, Taipei, with calligraphy sixth-grade students from the Houston Art, New York. For those seeking multi- demonstrations, lion dancing, and a Independent School District (HISD) sensory experiences in the galleries, performance by the North American as part of this important study. In part- partnerships with the Houston Ballet Youth Chinese Orchestra. nership with Slover Linett Audience Academy and the Houston Girls Research, the MFAH initiated a study Chorus brought young singers and In collaboration with Museum curators, to understand how audiences wish dancers into Degas: A New Vision for an Learning and Interpretation staff to be engaged at the Museum. This evening of song and improvised dance expanded digital and hands-on interpre- cutting-edge research, supported by movement, inspired by Degas’s paint- tive offerings in the galleries for visitors a major grant from the Institute for ings, and a long-standing partnership to enhance their experience with art on Museum and Library Services, has with Da Camera Young Artists trans- view. For the exhibition Colors of the guided the Museum in program design ported visitors into the world of Cuban Oasis: Central Asian Ikats, an iPad kiosk for different audience segments. instrumental music in the exhibition and video installation demonstrated the Adiós Utopia: Dreams and Deceptions in natural dying technique used in ikat

100 textiles, while a discovery cart allowed During the year, the department visitors to interact with dyed yarns facilitated object-based learning for and jarred pigments. In the exhibition educators and students throughout the Vignettes: Masterworks on Paper, 1520 greater Houston area. Learning Through to 1870, an iPad kiosk clarified the Art workshops and summer institutes engraving technique, and handheld served 913 K–12 teachers, and in turn magnifying glasses allowed visitors reached 129,875 students in their class- to view details of the works on paper, rooms. On-site, the Museum welcomed offering opportunities for group 44,615 students, educators, and chaper- interaction and social media posts. ones through the ExxonMobil School Tour Program at the MFAH, the The Museum expanded community Museum’s teen programs, and pro- relationships this year to serve 6,332 grams for university and professional Houstonians with art-inspired program- school students. A new class of docents ming in their neighborhoods. The was trained to meet the growing need Museum’s strengthening relationship for school tours, serving all third with the Baker-Ripley Neighborhood graders from Houston and Clear Creek Centers produced a yearlong slate of Independent School Districts, and all programs in Houston’s East End Latino fourth graders from Spring Branch community. At Ripley House, the and Galena Park Independent School nonpartisan Art of the Vote program Districts. The hang@mfah teens experi- brought candidates for local office into mented with augmented-reality game conversation with constituents about design to interpret the Museum’s collec- community values, sparked by works tions, and the Eye on Houston: High of art in the Museum’s collections. School Documentary Photography Glassell-on-the-Go, the Museum’s exhibition featured photographs by after-school mobile art classes for forty-seven high school students from underserved students, was brought to HISD schools. At the MFAH, five select Houston Public Library branches undergraduates participated in the and HISD schools for two semesters, Mellon Foundation Undergraduate with culminating experiences for stu- Curatorial Fellowship program, which dents and their families at the Museum. supports students from underrepre- In collaboration with the MFAH, sented backgrounds with two-year Texas Southern University hosted the fellowships and curatorial mentorship Citywide African American Artists at six museums nationwide. To date, Exhibition, which opened in June. For MFAH graduates of this program have this exhibition, eighty-five works of art been hired for curatorial positions at were chosen by curator Jamal Cyrus, the Los Angeles County Museum of Art and prizes were awarded to artists by and the Pérez Art Museum Miami. judges Michael Ray Charles, Yvonne Garcia, and Ramon Manning. —Caroline Goeser, Ph.D. W. T. AND LOUISE J. MORAN CHAIR OF THE DEPARTMENT OF LEARNING AND INTERPRETATION

101 MEMBERSHIP AND GUEST SERVICES

Attendance at the Museum. On-site conversions of guests Museum’s Susan into members and three multichannel and Fayez S. marketing campaigns (utilizing mail, Sarofim Campus, email, digital advertising, and phone) the Glassell helped to increase the number of mem- School of Art, ber households by 11 percent. At 29,405 Bayou Bend, active member households, member- and Rienzi was ship this fiscal year achieved the highest 990,065—a 10 level of members in the last decade—a percent increase statistic that even surpassed the level from the previ- of memberships during the year of the ous year. The popular “King Tut” exhibition in fiscal Sarofim Campus, year 2011–2012. In addition to each Guests line up around the Caroline Wiess Law currently consisting of the Audrey Jones paying member household, 10,040 Building as part of a twenty-four-hour marathon viewing period on the closing day of Kusama: Beck Building and the Caroline Wiess college students were provided member At the End of the Universe. Law Building, hosted 80,900 more vis- privileges as part of the Museum’s its than the previous year. This was an University Partnership Program. In impressive 23.5 percent increase from total, there were nearly 40,000 member the previous year. households this year.

The fiscal year’s exhibition roster fueled Although ticket and membership sales this growth and provided guests with are crucial to the financial health of the one of the most wide-ranging and irre- Museum, at the heart of the organiza- sistible offerings of specially ticketed tion are the guests and members we exhibitions to date. During this twelve- serve. The Membership and Guest month period, members and guests had Services Department enhanced its the opportunity to view ten prestigious commitment to providing a positive international exhibitions: High Society: guest experience by launching a new, The Portraits of Franz X. Winterhalter museum-wide initiative: “The Fine Art and Kusama: At the End of the Universe of Hospitality.” To date, more than four (both opened in the prior fiscal year); hundred employees across all depart- Degas: A New Vision; Emperors’ Treasures: ments of the Museum have completed Chinese Art from the National Palace hospitality training. Among our chief Museum, Taipei; Ron Mueck; Pipilotti objectives is bringing together staff to Rist: Pixel Forest and Worry Will Vanish; best serve our audiences. and Paint the Revolution: Mexican Modernism, 1910–1950. The Membership and Guest Services Department looks forward to welcom- The varied exhibition offerings inspired ing you and Houston’s communities us to create “combo packages” of tickets to the Museum again very soon. to two or three shows for a discount off the regular price of each ticket. These —Jennifer Garza ticket packages also helped to entice a CHIEF ADMINISTRATOR OF MEMBERSHIP visitor with an even better value propo- AND GUEST SERVICES sition to become a member of the

102 INTERNATIONAL CENTER FOR THE ARTS OF THE AMERICAS

During fiscal year 2016–2017, the International Center for the Arts of the Americas (ICAA) continued on its track to finalize the processing of documents recovered during the first phase of the Documents of 20th-Century Latin American and Latino Art project. Our central operating team at the Museum of Fine Arts, Houston, edited, cata- logued, and translated materials sub- mitted by the documents recovery team in Montevideo, Uruguay. By the end of June 2017, nearly 8,300 documents from this and other teams had been View of one of the conversations in the three-part series Art and the Cuban Revolution: A Critical Dialogue. made available, free of charge, to more than 358,000 online visitors and 23,500 contemporary practitioners such as begin in the fall of 2018. This unprece- registered users through its bilingual Carlos Garaicoa, Glenda León, and Los dented partnership will enhance platform (icaadocs.mfah.org). Carpinteros. The ICAA also partnered undergraduate and graduate humanities with Rice University and the Center education at the university through Concurrent with these activities, the for Latin American Visual Studies direct exposure to objects and primary ICAA continued to be an integral com- (CLAVIS) at the University of Texas at sources culled from the rich Latin ponent of the research, scholarship, and Austin in staging the graduate-student American and Latino art collection exhibition initiatives of the Latin workshop Between the Contemporary and digital archival holdings of the American Art Department. The ICAA and the Archive: New Challenges and Museum. The partnership will establish was fully involved in the planning, Perspectives in Cuban Art History, an innovative model for the interaction research, and deployment of the land- which took place at the Moody Center between museums and research mark exhibition Adiós Utopia: Dreams for the Arts at Rice University. The universities that could inform similar and Deceptions in Cuban Art Since 1950. objective of this collaborative workshop collaborations at the national level. Developed in partnership with the was to encourage students of Cuban Cisneros Fontanals Fundación Para and Caribbean art to explore their This fiscal year, the ICAA received Las Artes (CIFO Europa), the Cisneros research options among a community support from an NEH Humanities Fontanals Art Foundation, CIFO USA, of artists, mentors, and peers. Initiatives Hispanic-Serving Institutions and the Walker Art Center in grant awarded to the University of Minneapolis, Adiós Utopia examined In fiscal year 2016–2017, the ICAA Houston for collaborative work with how Cuba’s revolutionary aspirations significantly advanced key exchanges the center, as well as a significant two- for social utopia—and subsequent with the University of Houston. year grant from the Bruce T. Halle disillusionment—shaped sixty-five Working with peers at the university’s Family Foundation for the technological years of art on the island. Art History Program (College of the overhaul of the Documents Project’s Arts), the Department of Hispanic database and website. It also received The ICAA also organized a related Studies (College of Liberal Arts and support from the individual contributions three-part series of artist-centered Social Sciences), and the MD Anderson of the ICAA Ideas Council members. conversations—titled Art and the Library, as well as the MFAH Depart- Cuban Revolution: A Critical Dialogue. ment of Learning and Interpretation, —Mari Carmen Ramírez, Ph.D. The program featured Cuban masters ICAA administration defined the WORTHAM CURATOR OF LATIN AMERICAN such as Pedro de Oraá, artists from parameters for a partnership centered ART AND DIRECTOR, INTERNATIONAL the 1980s generation including Flavio on digital humanities and object-based CENTER FOR THE ARTS OF THE AMERICAS Garciandía and René Francisco, and learning that is projected to officially

103 SARAH CAMPBELL BLAFFER FOUNDATION

GIACOMO AND GIOVANNI ZOFFOLI Museum of Western Art in Tokyo and the Figure of Apollo Belvedere, c. 1769 Bronze National Museum of Art in Osaka. The 14 x 8 1/2 x 5 1/2 in. (35.6 x 21.6 x 14 cm) Sarah Campbell Blaffer Foundation Allegory of the Consequences of the Peace of BF.2017.6 Utrecht, by Paolo de Matteis, was lent to the Petit Palais in Paris for the exhibition The Art of Peace: Secrets and Treasures of Diplomacy. Two prints from the foundation’s collection were on display in the exhibition Vignettes: Masterworks on Paper, 1520 to 1870 at the Museum of Fine Arts, Houston. Recently, Still Life: The Smell, by Edwaert Collier, returned from Canada, where it had been on view since 2015 at all four venues of the exhibition The Unvarnished Truth: Exploring the Material History of Paintings.

In 2017 the foundation acquired the Figure of Apollo Belvedere, c. 1769, by Giacomo and Sarah Campbell Blaffer In 1964 Sarah Campbell Blaffer established a Giovanni Zoffoli. This bronze statuette Foundation foundation for religious, charitable, and edu- reproduces on a small scale one of the most Board of Trustees cational purposes. Since that time, the Sarah famous sculptures of antiquity, the over-life- Campbell Blaffer Foundation has supported a Mr. Charles W. Hall sized marble Apollo that has been in the wide variety of institutions through monetary President Belvedere of the Vatican Palace since 1511. grants. In 1971 its trustees, including Mrs. Such statuettes were produced in Italy from Mr. Edward Joseph Hudson, Jr. Blaffer, decided to focus more of the founda- the fifteenth century onward and became Vice-President and Secretary tion’s resources on acquiring works of art that popular in the eighteenth century, when they would be made available to people in Texas Ms. Anne D. Owen were sold to foreigners, especially the British, through a “museum without walls.” Vice-President and Treasurer on a so-called Grand Tour. As such, this work fits perfectly in the eighteenth-century case Mr. Robert Lee Hudson The Sarah Campbell Blaffer Foundation now of the Cabinet of Curiosity, installed in the Vice-President maintains, exhibits, and continues to develop foundation’s smallest gallery at the Museum, a collection of more than 150 Old Master and which features several English items from the Mr. James Owen Coleman modern paintings, approximately 500 works Vice-President period, including a portable microscope and a on paper, and a small collection of decorative pocket globe, as well as a French painting of arts. Prior to 2000, the foundation had never the period, by Jacques Sablet, that was painted occupied its own permanent exhibition space. in Rome and has a classical subject and a fig- However, as the result of an agreement with ure possibly derived from the Apollo Belvedere. the Museum of Fine Arts, Houston, the finest works in the Blaffer Foundation’s collection The staff of the Blaffer Foundation is grateful continue to be exhibited in five dedicated to the foundation’s Board of Trustees for its galleries in the Audrey Jones Beck Building. continued guidance. We would also like to thank Museum staff members who lend their In the 2016–2017 fiscal year, the Blaffer expertise to the advancement of the founda- Foundation pursued its ongoing program of tion’s art programs. exhibiting works of art at museums in Texas and outside the state. The Suicide of Lucretia, —James Clifton by Lucas Cranach the Elder, was included in DIRECTOR, SARAH CAMPBELL BLAFFER FOUNDATION the monographic exhibition at the National 104 THE GLASSELL SCHOOL OF ART

Established in 1979, the Glassell School of Art serves as the teaching wing of the Museum by offering a variety of classes, workshops, and educational opportunities for students diverse in age, interests, experience, and needs through our Studio School, Junior School, and the nationally acclaimed Core Residency Program.

The Glassell Studio School completed a second year at its temporary location at the John P. McGovern campus of the Texas Medical Center. Once construction Core artist-in-residence Tsuyoshi Anzai installs Oblivion, 2017, his work made from connected of the new facility is completed, the pantographs, pastel on paper, wood table, mic stand, tripod, and bricks. school will move into its new studios and classrooms. The school offered a play a large role in the school’s contin- of the seven Core artists-in-residence. variety of programs designed to engage ued success. Portfolio Day and Sketch The show was accompanied by a publi- the student body and to complement Day, the school’s annual scholarship cation that documented the artists’ work the coursework. The school’s presenta- competitions, resulted in more than and featured essays contributed by the tions this year included artists David 306 scholarships awarded. Core critical writers. Aylsworth and Gael Stack in conversation and a lecture by metalsmith and The Core Residency Program at the In 2016–2017, the Glassell School of educator Myra Mimlitsch-Gray. The Glassell School of Art is a nine-month Art received generous financial support school continued its partnership with postgraduate program consisting of from individuals, foundations, and Kinder Morgan, which hosted an seven artists and three critical writers. corporations. The Annual Fund Drive exhibition series featuring selections of Participants are provided studio or office raised $250,950. The Annual Benefit student and faculty work. The popular space in the Bermac Arts building, a and Art Auction, “Back to the Future,” Annual Student Exhibition opened in stipend, and access to all school equip- raised $280,667. The Core Program the Interspace Gallery on May 19, con- ment and facilities. A distinguished exceeded its fund-raising goal, and the cluding a year of individual and group roster of artists, critics, curators, and art Glassell Studio and Junior schools con- student shows. The school saw steady historians is invited each year to lecture tinued to receive strong support. enrollment numbers, reaching 1,787 and conduct studio visits. This year’s visi- units, 120 of which were registered tors included lectures by Fia Backstrom, I would like to thank the members of through the University of St. Thomas. Lauren Berlant, Hannah Feldman, the Glassell School of Art committees Charles Gaines, Catherine Morris, Rit for their leadership and enthusiastic The Glassell Junior School continues to Premnath, Martha Rosler, and Wendy support of the school. I wish to maintain strong enrollment numbers. Vogel. Core critic-in-residence Taraneh acknowledge the Executive Committee Once again, the school enjoyed high Fazeli organized a curatorial project Chair Brad Bucher and the Core enrollment during the summer, boost- titled The Warp and Weft of Care with Residency Program Subcommittee ing the final total enrollment for the year performances and workshops at Chair Jereann Chaney. to 4,810. Newly added programming Lawndale Art Center and Project Row and expanding community partnerships Houses. In March, the 2017 Core —Joseph Havel with Post Oak High School, Presbyterian Exhibition opened at Lawndale Art DIRECTOR, THE GLASSELL SCHOOL OF ART School, and the homeschool community Center. The exhibition featured the work

105 BAYOU BEND COLLECTION AND GARDENS

The Museum’s biennial David B. Warren Symposium; the fiscal year always exhibition A Texas Legacy: Selections from begins in one year the William J. Hill Collection, presented at the and carries over to Museum’s Sarofim Campus; and Christmas the next. In 2017 Village at Bayou Bend, a twenty-night event Bayou Bend attended by more than 17,000 people that Collection and received an even more impressive overall Gardens experi- audience survey score than in year one. enced an additional Publications included volume 5 in the ongoing transition, and one series documenting the Warren symposium of historical signifi- proceedings; Inside/Out, Bayou Bend’s cance: in March, we concluded our fiftieth biannual magazine; and the first-ever volume A view of the north facade of Bayou Bend. anniversary celebration and began our fifty- dedicated to the subject of nineteenth-century first year of sharing our cultural resources Texas silver. A complete exterior repainting with Houston’s communities. of the house—walls, doors, windows, and ironwork—followed the early 1990s restora- Following a well-established tradition at tion example. Bayou Bend, this year was successful on many levels. The budget had a positive end- Annual attendance again exceeded 100,000 ing balance, due in large part to an annual and represented an increasingly broad and fund drive that exceeded its goal by nearly diverse audience. Bayou Bend’s emphasis $50,000, under the enthusiastic leadership this year on digital marketing helped us of Martha Erwin, chair of the Bayou Bend reach many more potential visitors, and Committee. Also, many generous individuals included website promotion, targeted eblasts, and organizations contributed to our educa- and social media. Events such as Jazz and tional and public programs. Special apprecia- Juleps, Holiday Brews on the Bayou, and tion goes to William J. Hill for underwriting Sip and Stroll introduced new—as well as several children’s activities throughout the younger—adults to Bayou Bend. year, and to the Houston Junior Woman’s Club for its significant grant supporting While reviewing the year’s many accomplish- History Camp, bus scholarships, and a new ments in order to write this report, I was school tour program that reflects best prac- reminded yet again of Bayou Bend’s unique tices in history education. support structure that makes everything possible: our generous donors; the steadfast Springtime highlighted the beauty of Bayou service groups that assist us at every turn, Bend’s gardens, providing a spectacular back- namely the Bayou Bend Docent Organization, drop for our three successful annual fund- River Oaks Garden Club, Houston Junior raisers: an elegant Fashion Show chaired by Woman’s Club, and Houston Alumnae Phoebe Tudor; a delightful Children’s Party Chapter of Kappa Alpha Theta; our expert organized by Chairs Caroline Billipp, Tay staff; and our dedicated Bayou Bend Carey, Tennie Ott, Mary Steen, and Mequet Committee members. Fifty-one years and Werlin; and a celebratory Garden Party counting, we all continue to be inspired by honoring Bayou Bend’s founder, Ima Hogg. the philanthropy and vision of Ima Hogg.

Successful major projects included the —Bonnie Campbell ongoing expansion of the William J. Hill DIRECTOR, BAYOU BEND COLLECTION Texas Artisans and Artists Archive; the sixth AND GARDENS

106 RIENZI

July 2016 marked a significant month for Rienzi with the retirement of Katherine Howe, Rienzi’s founding director. In stepping into the position, I inherited a flourishing house and collection and a mandate to build on this strong foundation. With the clever guidance of Rienzi Committee Chair Rosslyn Crawford, Collections Subcommittee Chair Cyvia Wolff, and Garden Subcommittee Chair Cheryl Moore, Rienzi’s staff spent the year exhibiting and exploring the collection, developing new programs, and finding innovative ways to introduce the gardens to visitors.

In September, Rienzi held its second Guests were serenaded as they entered Rienzi to attend the annual spring party. biennial symposium, underwritten in part by the Houston Antiques Dealers Rienzi Reels was a popular offering in Rienzi’s fund-raising events were also Association Endowment. Drawing which we screened The Young Victoria on extremely successful this year. Due inspiration from the Museum’s land- the lawn. Our twice-yearly partnership to the generosity of Houston patrons, mark acquisition of the Robert Adam– with Breakfast Yoga Club once again Rienzi had already met its 2016–17 designed Dundas Sofa, seven young brought two hundred to three hundred Annual Fund Drive goal by January. scholars gave papers on architect- yogis to the gardens. The Rienzi Society dinner, held on designed objects. The fall exhibition January 19, was chaired by Mary Eliza Grand Designs: Neoclassical Taste in the With the financial help of the Sterling- Shaper and Melissa Schnitzer. Thanks 18th Century explored decorative arts, Turner Foundation, Rienzi’s education must go to them for such an elegant like the sofa, that were inspired by programs continued to be robust and evening, which raised $291,800 with classical models. This was followed lively. This year saw the debut of a new which members voted to purchase the by a leap to the nineteenth century in focus tour on Rienzi’s founders, Harris Terrestrial Globe (c. 1791, updated 1831) the spring exhibition, Decorative Arts and Carroll Sterling Masterson, and by the English firm of J. & W. Cary. in the Age of Victoria. how they lived in their house. Our part- At the annual Rienzi Spring Party on nership with Houston Grand Opera April 19, chaired by Stacey and Jeff Rienzi’s green spaces benefitted greatly Studio maintains a strong following. Henningsen; Rachel and Mark Lawrence; from the stewardship of The Garden The series is underwritten by a and Angie and John Reckling, mari- Club of Houston (GCH) and Bart generous grant from Margaret Alkek achis serenaded guests as they walked Brechter, the Museum’s newly promoted Williams and Randa and Charles up the driveway. This charming event head of gardens and landscape. Their Williams. Rienzi also partnered with raised $151,553 for Rienzi. collaboration with Stephanie Niemeyer, Clark Cooper Concepts to present a learning and interpretation manager, led dinner featuring female champagne I am grateful to all who have given to the first published guide to Rienzi’s makers and their histories. The season of their time, funds, and most of all gardens, underwritten by the GCH. ended with an Ars Lyrica collaboration goodwill to Rienzi this past year. Labor Day saw an exponential increase in featuring bilingual English-Spanish attendance from the previous year, with music for children as well as bilingual —Christine Gervais garden-themed activities for children and Rienzi docents in the house. DIRECTOR, RIENZI lectures aimed at the home gardener.

107 THE BROWN FOUNDATION FELLOWS PROGRAM THE DORA MAAR HOUSE, MÉNERBES, FRANCE

reading at the Dora Maar House in March as part of the village-wide month of poetry.

As of June 30, 2017, the program counts 191 alumni, all of whom consistently express their gratitude to Mrs. Negley and The Brown Foundation, Inc. Our alumni are a credit to the residency with their continued accolades. For example, this year many of our artists had solo exhibitions, including Carole Benitah, Ellen Driscoll, Laurie Fendrich, Nene Humphrey, Patricia Treib, and Liz Ward. Piotr Klemensiewicz had a yearlong solo exhibition, terreste (paysages), at the Salagon Museum and Gardens. Jane South

Salon in the garden at the The Brown Foundation Fellows Program at was appointed chair of the Fine Arts Dora Maar House. the Dora Maar House in Ménerbes, France, Department at the School of Art at Pratt has established an international reputation Institute. Jennifer Grotz received a John as a highly respected residency program for Simon Guggenheim Memorial Foundation people in the arts and the humanities. The Fellowship. Milagros de la Torre received the program was conceived in 2006 by Nancy Merited Person of Culture Award in Peru. Brown Negley and is funded by The Brown Emma Franz’s most recent documentary, Bill Foundation, Inc. Frisell: A Portrait, is nominated for the Grand Jury Award at the SXSW Film Festival and Twenty-five Brown Foundation Fellows were the Nashville Film Festival. Jennifer Haigh’s selected for the 2016–2017 program. These book Heat and Light was translated into Fellows—artists, poets, novelists, filmmakers, French and published in France. Libbie historians, curators, and scholars from a wide Masterson created a stained-glass permanent range of fields—immersed themselves in the installation at William P. Hobby Airport in creative aspects of their work and engaged Houston. Kathleen Winter won the Elixir with their peers and community through Press Poetry Prize. Kia Corthron’s The Castle thirty-three cultural activities and events that Cross the Magnet Carter won the Center for attracted more than 1,700 visitors to the Dora Fiction’s First Novel Prize. Maar House. Among the activities this year were lectures that resulted from the reward- The Brown Foundation Fellows Program is ing partnership with the classical music indebted to Nancy Brown Negley for conceiv- organization Les Musicales du Luberon, and ing and executing this remarkable residency; monthly salons at which the Fellows share to the members of the board of The Brown their work with the community. We continue Foundation, Inc., for its years of trust and to partner with other cultural groups. With La support; to our loyal alumni; and to the citi- Strada, we screened two award-winning films zens of Ménerbes, who have embraced the by our Fellows: a feature film, Noor, directed Fellows and have selflessly assisted them in by Cagla Zencirci and Guillaume Giovanetti; countless positive ways. and a documentary, Intangible Asset Number 82, by Emma Franz. We hosted lectures in the —Gwen Strauss garden as part of the Italian Film Festival in DIRECTOR, THE BROWN FOUNDATION FELLOWS early August. In addition, we hosted a poetry PROGRAM, THE DORA MAAR HOUSE, MÉNERBES, FRANCE 108 DEVELOPMENT

During the 2016–2017 fiscal year, the many successes in fund-raising were the result of commitment and work by members of the Board of Trustees, chaired by Richard D. Kinder; the Campaign for the Museum of Fine Arts, Houston, chaired by Cornelia C. Long; and the Development Committee, chaired by Courtney Lanier Sarofim. The generous support of individuals, foundations, corporations, and government agencies totaled $20.3 million for operations, accessions, and special projects. On behalf of the Board of Trustees, we honor all those donors who made this achievement possible. For a list of the donors who contributed to the Museum’s Capital Campaign, as of June 30, 2017, please see pages 14–15.

ANNUAL DRIVES

Funds raised through annual drives are an essential portion of the Museum’s operating budget. This year, four separate drives raised a total of $3,470,760 for the Museum, Bayou Bend Collection and Gardens, the Glassell School of Art, and Rienzi. The institution is indebted to the individuals who give their time and resources to help raise unrestricted funds for daily operations. We give special thanks to the Glassell Family, whose challenge grant matched unrestricted gifts for the Glassell School of Art. Additionally, we would like to thank the Cullen Foundation and Houston Endowment Inc. for providing leadership gifts.

BENEFIT EVENTS

Every year, special events at the Museum raise vital funds for operations, and the Museum organized seven such events for the 2016–2017 fiscal year. The Grand Gala Ball raised $1,836,873. The Glassell School of Art Benefit and Auction raised $280,667. Three benefits at Bayou Bend raised $1,015,243, and the Rienzi Spring Party raised $151,553. Two additional events, One Great Night in November and the Latin American Experience, supported accessions for the Museum and collectively raised $2,697,989.

For a list of all MFAH annual drives and benefits, please see page 112.

INDIVIDUAL GIFTS

Individuals continue to provide some of the most significant support for Museum activities, including exhibitions; learning and interpretation programs; conservation projects; and accessions. For extraordinarily generous gifts, we thank Leslie and Brad Bucher; Anne and Charles Duncan; Clare A. Glassell; Mindy and Jeff Hildebrand; Lynne and Joe Hudson; Nancy and Rich Kinder; Sara and Bill Morgan; Fayez S. Sarofim; Randa and K. C. Weiner; and Jeanie Kilroy Wilson.

109 DEVELOPMENT

FOUNDATION SUPPORT

This year, 170 foundations provided more than $25 million in support of operations, accessions, and capital projects. Houston foundations are exceptional in their giving, and we extend a special thank-you to The Brown Foundation, Inc.; Sarah Campbell Blaffer Foundation; Ting Tsung and Wei Fong Chao Foundation; the Cullen Foundation; John R. Eckel, Jr. Foundation; the Elkins Foundation; the Hamill Foundation; Jerold B. Katz Foundation; John P. McGovern Foundation; and the Wortham Foundation, Inc.

CORPORATE CONTRIBUTIONS

The Museum is proud of the support received from the corporate community in Houston and far beyond. This year, corporate groups provided $3.2 million. Special thanks go to Bank of America; BBVA Compass; Budweiser/Silver Eagle Distributors; Christie’s; ExxonMobil; JPMorgan Chase; Luther King Capital Management; Mercantil Bank N.A.; Palmetto Partners; and Shell Oil Company.

CIVIC AND GOVERNMENT GRANTS

The Museum could not exist without funds provided by various civic and government organizations. This year, the Museum received more than $2 million in grants from these local, state, and national groups. Our deepest appreciation is extended to the City of Houston; Houston Junior Woman’s Club; the Institute of Museum and Library Services; MD Anderson Cancer Center; the National Endowment for the Arts; the River Oaks Garden Club; Texas Commission on the Arts; and Theta Charity Antiques Show.

110 PLANNED GIVING

The Museum’s Myrtle Wreath and Ima Hogg Societies continue to flourish, with 310 members to end the fiscal year. These societies allow the MFAH to recognize donors who have let us know that they intend to provide important resources for future generations by including the Museum, the Glassell School of Art, Bayou Bend, and/or Rienzi in their estate plans. We extend our deep gratitude to the friends who have enrolled in these societies.

NON-CASH CONTRIBUTIONS

Every year the Museum receives valuable support from donors who provide indispensable in-kind services to the institution. We especially recognize Vinson & Elkins, LLP for donating consistent and extraordinary legal service; Houston Public Media for generously supporting Museum exhibitions and programs through advertising; and United for donating airfare for Museum administrators as well as for supporting exhibitions and special events.

VOLUNTEERS

Our volunteers are perhaps the most impressive endorsement of the Museum. They give their time and service to enable the institution to better serve the community. In 2016–2017, more than 900 volunteers worked over 56,500 recorded hours. According to guidelines established by the Independent Sector, this support is worth more than $1.3 million. Volunteers give vital assistance in all areas of the Museum, including membership, guest services, and learning and interpretation. The corps of docents provides vast support not only for the Museum, but also for Bayou Bend and Rienzi. We wish to pay special tribute to the Guild, the Museum’s volunteer leadership organization. The Guild was 474 members strong and provided constant, immeasurable support.

—Amy Purvis CHIEF DEVELOPMENT OFFICER

111 DEVELOPMENT

Funds raised by the annual drives, benefits, and support organizations listed in this section are total gross proceeds.

ANNUAL DRIVES BENEFITS

Museum Annual Fund Drive 2016 Grand Gala Ball Raised: $2,473,774 October 2, 2016 Chairs: Mr. and Mrs. S. Reed Morian Bayou Bend Annual Fund Drive Raised: $1,836,873 for operations Raised: $621,736 One Great Night in November, 2016 Glassell School Annual Fund Drive November 2, 2016 Raised: $250,950 Raised: $836,355 for accessions

Rienzi Annual Fund Drive 2017 Latin American Experience Raised: $124,300 March 4, 2017 Chairs: Mr. and Mrs. Thomas Lile PLANNED GIFTS Raised: $1,861,634 for accessions and operations The Myrtle Wreath Society Members: 258 2017 Bayou Bend Fashion Show and Luncheon The Ima Hogg Society March 31, 2017 Members: 52 Chair: Phoebe Tudor Raised: $384,825 for operations

2017 Bayou Bend Children’s Party April 1, 2017 Chairs: Mr. and Mrs. Peter Billipp; Mr. and Mrs. Philip Carey; Mr. and Mrs. David A. Ott, Jr.; Mr. and Mrs. John Steen; Mr. and Mrs. David Werlin Raised: $82,450 for operations

2017 Bayou Bend Garden Party April 2, 2017 Raised: $547,968 for operations

2017 Rienzi Spring Party April 19, 2017 Chairs: Mr. and Mrs. Jeffrey Alan Henningsen; Mr. and Mrs. Mark Lawrence; Mr. and Mrs. John Reckling Raised: $151,553 for operations

Florescence 2017 April 25–26, 2017 Chairs: Mrs. Carole Bailey; Mrs. Sara Ledbetter Raised: $513,653

The 2017 Glassell School of Art Benefit and Auction May 6, 2017 Raised: $280,667 for operations

112 1 2 3 4

5 6 7 8

9 10 11

1 Grand Gala Ball: Chairs Reed and Laurie Morian 7 Rienzi Society: Charles and Judy Tate 2 Grand Gala Ball: Meredith and Cornelia Long 8 Latin American Experience: Chairs Tom and Mary Lile 3 Grand Gala Ball: Tony and Cynthia Petrello 9 Latin American Experience: Pat Breen; Gabriel Castello; 4 One Great Night in November: Bill Hill; Joe Hudson Celina Hellmund 5 One Great Night in November: John Duncan; Will Mathis 10 Latin American Experience: Pershant and Nidhika Mehta 6 Rienzi Society: Chairs Park and Mary Eliza Shaper; 11 Bayou Bend Fashion Show: Anne Duncan; Rose Cullen; Chairs Melissa and Doug Schnitzer Elise Joseph

113 DEVELOPMENT

12 13 14

15 16 17 18 19

20 21 22

12 Bayou Bend Fashion Show: Chair Phoebe Tudor; Lynn Wyatt 17 Bayou Bend Garden Party: Jim and Sharyn Weaver 13 Bayou Bend Fashion Show: Isabel Lummis; Aliyya Stude; 18 Bayou Bend Garden Party: Rich and Nancy Kinder Courtney Sarofim 19 Bayou Bend Garden Party: Susanne and Bill Pritchard 14 Bayou Bend Children’s Party: Chair Mequet Werlin; Chair Caroline 20 Rienzi Spring Party: Chairs Jeff and Stacey Henningsen; Chairs Billipp; Chair Tennie Ott; Chair Tay Carey; Chair Mary Steen Mark and Rachel Lawrence; Chairs Angie and John Reckling 15 Bayou Bend Children’s Party: Chris and Kristy Bradshaw and family 21 Rienzi Spring Party: Christiana McConn; Carroll Goodman 16 Bayou Bend Garden Party: Jeanie Kilroy Wilson and Wally Wilson 22 Rienzi Spring Party: Marty and Kathy Goossen

114 23 24 25 26 27

28 29 30

31 32 33 34

23 Florescence: Chairs Carole Bailey and Sara Ledbetter 30 Degas: A New Vision opening dinner: Linda McReynolds; 24 Florescence: Butch and Nancy Abendshein Nancy Kinder 25 Florescence: Cherie and Jim Flores 31 Degas: A New Vision opening dinner: Rodney and Judy Margolis 26 Glassell School of Art Benefit: Brad and Leslie Bucher 32 Degas: A New Vision opening dinner: Tom and Liz Glanville 27 Glassell School of Art Benefit: Scott and Judy Nyquist 33 Degas: A New Vision opening dinner: Tom and Marsha Brown 28 Julian Onderdonk and the Texan Landscape opening dinner: 34 Emperors’ Treasures: Chinese Art from the National Palace Museum, Harry and Eleanor Halff; William J. Hill Taipei opening dinner: Anne and Albert Chao 29 Julian Onderdonk and the Texan Landscape opening dinner: Lenoir and Susan Josey; Lela and Robin Gibbs

115 35 36 37

38 39 40 41 42

43 44 45 46 47

35 Emperors’ Treasures: Chinese Art from the National Palace Museum, 40 Two Centuries of American Still-Life Painting: The Frank and Michelle Taipei opening dinner: Charles and Anne Duncan Hevrdejs Collection opening dinner: Michelle and Frank Hevrdejs 36 Emperors’ Treasures: Chinese Art from the National Palace Museum, 41 Ron Mueck opening reception: Sara Dodd and George Dodd Taipei opening dinner: Miwa Sakashita; Louis Adler; 42 Adiós Utopia: Dreams and Deceptions in Cuban Art Since 1950 John Stroehlein; Gail Adler; Ann Trammell opening reception: Mary Lile; Rusty Wortham 37 Emperors’ Treasures: Chinese Art from the National Palace Museum, 43 Adiós Utopia: Dreams and Deceptions in Cuban Art Since 1950 Taipei opening dinner: Sushila Agrawal; Nancy Allen; opening reception: Gary Tinterow; Ella Fontanals-Cisneros Dr. Durga D. Agrawal 44 Colors of the Oasis: Central Asian Ikats opening dinner: 38 Two Centuries of American Still-Life Painting: The Frank and Michelle Cenk and Catherine Ozdogan Hevrdejs Collection opening dinner: Downing and Lisa Mears 45 Colors of the Oasis: Central Asian Ikats opening dinner: Franci Neely 39 Two Centuries of American Still-Life Painting: The Frank and Michelle 46 Colors of the Oasis: Central Asian Ikats opening dinner: Hamid and Hevrdejs Collection opening dinner: Macey and Harry Reasoner Lily Kooros 47 Paint the Revolution: Mexican Modernism, 1910–1950 opening dinner: Mari Carmen Ramírez; Marilyn Oshman; Mary Cullen; Rose Cullen 116 DEVELOPMENT

Contributions to the Museum Victoria Goldstein and Randall Jamail Mr. and Mrs. Russell C. Joseph Mr. Samuel F. Gorman of Fine Arts, Houston; Bayou Bend Linda and George B. Kelly JPMorgan Chase Ms. Cynthia G. Holliday Collection and Gardens; the Glassell The Mary Kathryn Lynch Kurtz Mr. and Mrs. Marvin Kaplan The Houston Arts Combined School of Art; and Rienzi Charitable Lead Trust Knobloch Family Foundation Endowment Foundation The Levant Foundation Mr. and Mrs. C. Berdon Lawrence Houston Livestock Show and Rodeo A list of donors to the Capital Campaign Mr. and Mrs. Thomas Lile The Frank and Cindy Liu Mickie and Ron Huebsch is published on pages 14–15. Mr. and Mrs. Michael C. Linn Family Foundation Mrs. Nancy Glanville Jewell Mr. and Mrs. Meredith J. Long Mr. Mike A. Loya Mr. and Mrs. Evan Katz $500,000 or More Lucky 13 Revocable Trust Ms. Beth Madison Wendy and Mavis Kelsey, Jr. Fund Nancy and Rich Kinder Luther King Capital Management Judy and Rodney Margolis Carla Knobloch Mr. Fayez Sarofim Andrew W. Mellon Foundation Mr. and Mrs. Michael Margolis The Larsen Family Charitable Fund The Brown Foundation, Inc. Bobbie and John Nau MD Anderson Cancer Center Jan and J.Venn Leeds Foundation Mrs. Clare Attwell Glassell Franci Neely Mr. and Mrs. Downing Mears Mr. and Mrs. Steven J. Lindley The Wortham Foundation, Inc. The Omena Fund Mr. and Mrs. Pershant Mehta Ms. Janine Luke Sarah Campbell Blaffer Foundation Mr. and Mrs. Robert C. McNair Mercantil Bank N.A. Mrs. Fred R. Lummis The Cullen Foundation Ms. Mary Lawrence Porter Mr. and Mrs. David A. Modesett Mary Lynn and Steve Marks Ting Tsung and Mr. and Mrs. William E. Pritchard III National Endowment for the Arts Mrs. Frances Parker Marzio Wei Fong Chao Foundation Mr. and Mrs. Thomas R. Reckling III Mr. William Nehman Mr. and Mrs. Robert L. McClain John R. Eckel, Jr. Foundation Mr. and Mrs. H. John Riley, Jr. The Powell Foundation Mr. and Mrs. Jed Molleston Mindy and Jeff Hildebrand River Oaks Garden Club The Rand Group, LLC Morgan, Lewis & Bockius LLP Sara and Bill Morgan Mrs. Minnette Robinson Mr. and Mrs. Harry M. Reasoner Morian Foundation John P. McGovern Foundation Shell Oil Company Mr. and Mrs. Howard C. Robinson The Scott and Judy Nyquist Fund Mr. and Mrs. Charles W. Duncan, Jr. Scurlock Foundation Sotheby’s Phillips Randa and K. C. Weiner Simon Property Group / Tenaris Tina and Joe Pyne Family Fund The Elkins Foundation Galleria Houston Theta Charity Antiques Show Vanessa and Tony Sanchez Leslie and Brad Bucher The Skiles Foundation Vitol, Inc. Ms. Anne Schlumberger City of Houston The Joseph & Sylvia Slifka Foundation Bridget and Patrick Wade Joanne M. Houck and Tim Singletary BBVA Compass Sterling-Turner Foundation Lan and Kuan Yu Stedman West Foundation Mrs. Jeanie Kilroy Wilson Mr. and Mrs. Charles W. Tate Mr. and Mrs. Harry A. Zuber Ms. Miwa Sakashita and Jerold B. Katz Foundation The Buddy Taub Foundation Dr. John R. Stroehlein Texas Commission on the Arts The Carl and Marilynn Thoma Foundation Lynne and Joe Hudson $25,000–$49,999 Ms. Ann G. Trammell Mr. and Mrs. Ignacio M. Torras The Glassell Family Foundation Mr. and Mrs. Stanford Alexander Phoebe and Bobby Tudor Mr. and Mrs. Frank D. Tsuru The Hamill Foundation Mr. and Mrs. Edward R. Allen III Mr. and Mrs. James G. Ulmer Susan Vaughan Foundation The J. E. and L. E. Mabee Susan and Richard Anderson United Airlines The Vaughn Foundation Foundation, Inc. Family Fund Vinson & Elkins LLP The Winston Charitable Foundation Edward H. Andrews Foundation Andy Warhol Foundation Cyvia and Melvyn Wolff $100,000–$499,999 The Honorable and Jane P. Watkins Fund Zinn Petroleum Company Mrs. Nancy C. Allen Mrs. Hushang Ansary Windgate Charitable Foundation Mr. and Mrs. Isaac Arnold, Jr. Baker & McKenzie LLP Mr. and Mrs. Michael S. Zilkha Laura and John Arnold Mr. and Mrs. A. L. Ballard $10,000–$24,999 Bank of America Karol and Paul Barnhart, Jr. Mr. and Mrs. Louis K. Adler Melza and Ted Barr $50,000–$99,999 BHP Billiton Andrew and Julie Alexander Foundation Ann and John Bookout Sushila and Dr. Durga D. Agrawal Leeshan and James Birney Anchorage Foundation of Texas Sue and Rusty Burnett MD Anderson Foundation Mrs. Daniel A. Breen, Jr. Mr. and Mrs. Richard H. Anderson The Gordon A. Cain Foundation Budweiser/Silver Eagle Distributors Mr. Graeme Briggs Apache Corporation Ms. Sara Paschall Dodd Mrs. Jereann H. Chaney Cadence Bank Dr. Angela Rechichi Apollo Elemetal Direct Christie’s Capricorn Foundation Arnold & Porter, LLP ExxonMobil The Coneway Family Foundation The P. and C. Carroll Foundation Dr. and Mrs. Bernardino Arocha The Favrot Fund The Crane Family Foundation Cartier Athena Art Finance The Tilman and Paige Fertitta Mr. and Mrs. Harry H. Cullen Anne and Albert Chao Mr. and Mrs. Thomas G. Bacon Family Foundation Mr. and Mrs. Greg Curran Citi Dr. and Mrs. Bruce P. Baganz Cherie and Jim Flores Rebecca and Morgan de Marigny Jerry Ann Woodfin-Costa Ms. Maria M. Barlow The Fondren Foundation Mrs. Linnet F. Deily and Victor Costa The Joe Barnhart Foundation The Eleanor and Frank Freed Foundation Sharon G. Dies Mr. and Mrs. Jamal H. Daniel Patricia and José Luis Barragán Mr. and Mrs. Michael Gamson Mr. and Mrs. Stephen B. Donson Lisa and Ralph Eads Mr. and Mrs. Marcos Basso Mr. Alfred C. Glassell, III Mrs. Diane Lokey Farb The William Stamps Farish Fund Mr. and Mrs. Jack S. Blanton, Jr. Mr. and Mrs. Martyn E. Goossen H. Fort Flowers Foundation, Inc. Olivia and Peter Farrell Fund Polly and Murry Bowden Fund The Bruce T. Halle Family Foundation Mr. and Mrs. Robin C. Gibbs Mrs. Jake Figi Bracewell LLP Mr. and Mrs. Frank J. Hevrdejs Mr. and Mrs. Melbern G. Glasscock Mrs. Aggie L. Foster Mr. and Mrs. James L. Britton III Mr. William J. Hill Celina Hellmund and Gabriel Castello Mr. Gregory E. Fourticq, Jr. Mr. and Mrs. Laurence C. Burns, Jr. Mrs. Howard W. Horne Hines Interests Limited Partnership Julia and Russell M. Frankel Mr. Charles Butt Houston Endowment Inc. Houston Junior Woman’s Club The Garden Club of Houston Mr. and Mrs. James Walker Cain II Institute of Museum and Library Services The JBD Foundation Ms. Carroll R. Goodman Dr. and Mrs. Luis T. Campos

117 DEVELOPMENT

Ms. Karol Kreymer and Dr. Robert J. Card Mr. Gary Mercer Mr. Wallace S. Wilson Mr. and Mrs. S. Stacy Eastland The E. Rhodes & Leona B. Mr. and Mrs. Steve L. Miller Mr. and Mrs. Oscar Wyatt Mr. and Mrs. Ike Epley Carpenter Foundation Mr. and Mrs. Richard Mithoff, Jr. Mr. and Mrs. Sheldon R. Erikson The Carruth Foundation, Inc. Mr. and Mrs. H. Dixon Montague $5,000–$9,999 Mr. and Mrs. Nijad I. Fares CFP Foundation Mrs. Denise D. Monteleone Mr. and Mrs. Mark B. Abendshein Kelli and Martin Fein Theresa and Peter Chang Fund Montgomery Trucking Co. All Nippon Airways Co., Ltd. Fidelity Investments Mr. and Mrs. Ernest M. Charles Moore Family Trust Frances H. Pengra and Ed Allday Susan and Bill Finnegan Chevron Ms. Joan Morgenstern AmCap Mortgage Ms. Julia M. Flowers The Estate of Evelyn Houstoun Chew Anne Lewis and David Morris American Institute of Architects Houston Mr. and Mrs. Andrew M. Fossler Sallie C. Morian and Michael H. Clark Mr. and Mrs. John H. Morris American Turkish Association-Houston Mr. and Mrs. Edwin H. Frank III Mr. and Mrs. Joseph A. Cleary, Jr. Fannie and Peter Morris Lilly and Thurmon Andress Janet Gurwitch and Ronald Franklin The Crain Foundation Mrs. Lucian L. Morrison III Priscilla Angly and Miles Smith Prince and Princess Piotr Galitzine Creative Industries Fund NL The Claire & Theodore Morse Foundation Mr. and Mrs. W. Douglas Ankenman, Jr. Ms. Kerry Anne Galvin Mr. and Mrs. James D. Dannenbaum Mr. and Mrs. Gary P. Moss Art Colony Association Inc. Mr. and Mrs. R. Neal Gassman Mr. Ugo di Portanova Mrs. Claude H. Mullendore Mr. Roland Augustine Mr. and Mrs. Frederic Gautier-Winther Ellena Dickerson and Rudy Steary Ms. Susan Neptune Axens North America, Inc. GE Foundation The Dickson-Allen Foundation The John S. and Katharine W. Orton Fund Mr. and Mrs. David Ayers Dr. Cullen K. Geiselman Ms. Linda P. Dodge Mr. and Mrs. Dee S. Osborne Mr. and Mrs. Floyd Kenneth Bailey The Gelb Family Foundation Doggett Family Foundation Dr. and Mrs. David A. Ott Barbara and Bob Bailey Mr. and Mrs. Gary F. Gibson Mr. and Mrs. Dale Dorn Mrs. Nancy Peterkin Mr. Tony Bechara Global Corporations Mr. and Mrs. Frank E. Driscoll Mr. and Mrs. Gary R. Petersen David J. and Judith Beck Foundation Dr. and Mrs. Gary Glober Dumas/Johnson Family Fund The Petrello Family Foundation Berman Family Fund Grasselli Endowment Foundation Mrs. James A. Elkins III Post Oak Motor Cars, Ltd. Oscar Cuellar and William Bickford, Jr. Windi and David Grimes Charitable Fund Mr. and Mrs. Dan English III Karen S. Pulaski Philanthropic Fund Mrs. W. Tucker Blaine, Jr. Mr. and Mrs. Albert J. Grobmyer IV The Marvy Finger Family Foundation Margaret Wilson Reckling Mrs. Thomas W. Blake Sofia Adrogue and Sten Gustafson Jerry and Nanette Finger Foundation Ms. Beth Robertson Mr. and Mrs. Myron G. Blalock III Merrill and Joe Hafner Fund Ella Fontanals-Cisneros and Leslie and Russ Robinson Meg L. Goodman and Michael Bonini Mr. and Mrs. Randall Hale Guido Albi-Marani Dr. Ellen R. Gritz and Boulevard Realty Mr. and Mrs. Henry R. Hamman Mr. and Mrs. S. David Frankfort Mr. Milton D. Rosenau, Jr. Kristy and Chris Bradshaw Harmony Public Schools Frost Bank Rosenstock Investments Mr. and Mrs. Edward Britt William E. and Natoma Pyle Harvey Mr. and Mrs. H. Lee Godfrey Arch and Stella Rowan Foundation, Inc. Gayle and Bruce Buhler Charitable Trust Grits Foundation Mr. and Mrs. Manolo Sánchez Ms. Tina L. Buikat Mr. and Mrs. Michael Hendryx Mrs. Nancy P. Guinee Mrs. Louisa Stude Sarofim Mr. Hiram C. Butler Mr. and Mrs. Jeffrey Allen Henningsen Sra. Barbara Gunz Mr. and Mrs. Douglas W. Schnitzer C56J45 Fund Ralph F. Herbert Charitable Fund The George and Mary Josephine Dr. Jennifer Segal Carnegie Corporation of New York Mr. and Mrs. Frank C. Herzog Hamman Foundation Mary Eliza and Park Shaper Mr. Frank N. Carroll Mr. and Mrs. Marc Herzstein Hastings Family Fund The Helmle Shaw Foundation Mr. and Mrs. Thomas L. Carter, Jr. Hobby Family Foundation The Heart of Fashion, LLC Ms. Maria Ines Sicardi Mr. and Mrs. Michael Chang Mr. and Mrs. Paul W. Hobby Neiman Marcus Mr. and Mrs. Mark S. Siegel Dr. and Mrs. Jarvis Cheung The Holthouse Foundation for Kids Henry Roos Properties, L.L.C. Mr. and Mrs. Nicholas Silvers Norbert Choucroun Trust Marcia Backus and Mike Hood Mrs. Olive McCollum Jenney The Ray and June Smith CIBC Atlantic Trust Private Wealth Houston Academy of Medicine John Daugherty Realtors Charitable Foundation Management The Houston Arts Alliance Mr. Jesse H. Jones II W. A. and Madeline Smith Jean and Robert L. Clarke Houston Neurocare, P.A. Mr. and Mrs. Lenoir M. Josey II Charitable Trust Family Foundation Houston Trust Company Melissa and Steven Kean R. E. Smith Foundation Joseph M. and Barbara Cohen Foundation Lauren and Brock Hudson Carolyn Frost Keenan The Vivian L. Smith Foundation Conley Rose P.C. Humanities Texas Mr. and Mrs. John P. Kotts Southwest Management District, Mr. and Mrs. Roberto Contreras Mr. Micah Ine The Francis L. Lederer Foundation Harris County Ms. Nancy Costolnick International Investors Group Mr. Adolpho Leirner Stream of Change Foundation Carolyn Covault Revocable Trust International Women’s Forum Anne Levy Fund Mrs. Dorothy C. Sumner Cragg Family Foundation IRO Ms. Martha Katherine Long Clark and Charlene Thompson Foundation Mr. and Mrs. Rogers L. Crain Mr. and Mrs. James L. Jacobe Cathy and Alex López Negrete Nanako and Dale Tingleaf Mr. and Mrs. Marshall Crawford Mr. and Mrs. Peter K. Jameson Macquarie Group Kelley and Harper Trammell Fund Mr. and Mrs. Gary T. Crum Mrs. Daniel R. Japhet Mr. James Edward Maloney Mr. and Mrs. Ed Tseng Mr. Michael W. Dale Mr. and Mrs. James K. Jennings, Jr. Monica F. and Luis E. Mancera Adrienne and Tim Unger Mr. and Mrs. Platt W. Davis III J.F. Painting LLC Mr. and Mrs. David Marsh Mr. and Mrs. Robert M. Walls, Jr. Mr. and Mrs. Ken Delery Elva Johnston Foundation Ms. Marlene Masten Ms. Suzanne D. Walstad Denman/Newman Foundation Mr. and Mrs. Joseph Kaplan Mr. and Mrs. William N. Mathis Ms. Margie Wedemeyer Mr. and Mrs. Carl A. Detering, Jr. Ms. Anne Lamkin Kinder Ms. Lynn Mathre Richard W. Weekley Family Fund The Diehl Family Charitable Fund Mrs. David H. Knapp McCarthy Building Companies, Inc. Mr. and Mrs. Conrad Weil, Jr. Linda and David Dillahunty Mr. and Mrs. Geoffrey C. Koslov McClain Gallery Dr. Morris A. Weiner Mrs. Karen Duddlesten Ms. Lynn D. Lasher Dr. and Mrs. G. Walter McReynolds Wells Fargo Mr. and Mrs. John H. Duncan, Sr. Mr. and Mrs. Mark Lawrence Trini and O. C. Mendenhall Foundation Mrs. Sara E. White Mr. and Mrs. W. McComb Dunwoody Mr. and Mrs. James B. Ledbetter

118 The Meyer Levy Charitable Foundation Mr. and Mrs. Corbin J. Robertson, Jr. $2,500–$4,999 Mr. and Mrs. Frank W. Donnelly, Jr. Mr. and Mrs. Kenneth Li Rocky Lai and Associates Neelofur and Sami Ahmad Mr. David Du Mr. and Mrs. Paul S. Likhari Mr. Bruce Ross Alamo Heights Terrell Hills Garden Club Mrs. Deborah DeFord Dunkum Mr. and Mrs. William R. Lloyd, Jr. Mr. Martin Rozenblum Ms. Maire C. Albiol Mr. and Mrs. Alastair Dunn Lone Pine Foundation Mr. George Saade The Alkek and Williams Foundation Mr. and Mrs. David M. Dunwoody Mr. Antonio Lopez Safeway Stores, Inc. Amegy Bank of Texas E & M Foundation Lowe and Booker Charitable Trust Mr. and Mrs. William D. Sanchez Dr. and Mrs. Paolo Angelini Mr. and Mrs. John Eads Lucas/Eilers Design Associates LLP Mr. and Mrs. Christopher B. Sarofim Mrs. Jennifer T. Arnold Mrs. Christy G. Echols Lupton-Liedtke Family Fund Mr. and Mrs. Shannon B. Sasser Kerry F. Inman and W. Denby Auble Mr. and Mrs. Rodney J. Eichler Mr. and Mrs. Steven P. Mach Dr. Fernando Scaglia Avalon Advisors Charles Jago Elder Foundation, Inc. Mr. John A. MacMahon Schwab Charitable Fund Ms. Jennifer Ayers Mr. and Mrs. Mark S. Elias Mr. and Mrs. Paul S. Madan Mr. and Mrs. William P. M. Schwind Mrs. Ray B. Bailey Mrs. James N. Erwin, Jr. Penelope and Lester Marks Theodore J. Lee and Marc A. Sekula Mr. and Mrs. Raleigh William Baird III Marie Fay and S. K. Evnochides Matt Camron Rugs & Tapestries, Inc Mrs. Mariana Servitje Mr. and Mrs. James A. Baker III Mr. and Mrs. Richard E. Fant Mr. and Mrs. John McCauley Amy and Peter Shaper Family Fund Mr. and Mrs. Sundaresan Bala Mr. and Mrs. Albert B. Fay, Jr. Mr. and Mrs. John Luke McConn III Mr. and Mrs. Sebastiano Simon Mr. and Mrs. Arturo Barragan Ms. Rhoda Ferris McDugald-Steele Landscape Architects Mr. and Mrs. Terry Simon Mr. Shahzad A. Bashir Dr. and Mrs. Jeremy Finkelstein Mr. and Mrs. Hugh E. McGee III Mr. and Mrs. Stephen J. Smith Garth C. Bates Jr. Memorial Fund Jordan and Devinah Finn McGregor Manne Charitable Fund Mr. and Mrs. Thomas E. Smith R. Michelle Beale and Richard H. Foundation Fund Mr. and Mrs. Alexander K. McLanahan Mr. and Mrs. Richard S. Snell Anderson Charitable Fund Mr. and Mrs. David D. Fitch Mr. and Mrs. Thomas V. McMahan South Texas Money Management Dr. Patricia J. Eifel and Dr. James A. Belli Michelle and Jeff Foutch Clare Casademont and Michael Metz Mr. and Mrs. Stuart W. Stedman Ms. Leah Bennett Mr. and Mrs. R. Clinton Fox, Jr. Arnold and Suzanne Miller Stena Bulk Ms. Lucia T. Benton Franco Family Charitable Fund Charitable Fund STOA International Architects, Inc. Rita and Jerred Blanchard Mr. and Mrs. Lloyd Robin French III Mr. and Mrs. Michael S. Moehlman Strake Foundation Mr. Elliott M. Bossin Dr. and Mrs. J. Pedro Frommer Mr. and Mrs. Richard D. Moore Mr. and Mrs. J. Terry Strange Mrs. Karen A. Bradshaw Mr. and Mrs. Thad B. Fuller Cristina G. and William R. Moore The Summerlee Foundation Walt and Nancy Bratic Charitable Fund Mr. and Mrs. James E. Furr Mr. and Mrs. James M. Nakfoor Amy Sung Foundation Mr. and Mrs. John C. Brewster Mr. and Mrs. H. Scott Galloway Mr. and Mrs. David Nassif Mr. and Mrs. J. Taft Symonds Mr. Steve Brown Galveston Arts Center, Inc. Mr. W. Burt Nelson Tam International Inc. Mr. and Mrs. Thomas W. Burke, Jr. Mr. and Mrs. John G. Garibaldi Mr. and Mrs. Charles G. Nickson Tang Family Foundation Mr. and Mrs. Walter T. Burke Gensler Sandra and Pat O’Donnell Tejas Orthopedic and Sports Medicine Mrs. Barbara Matton Bushong Heidi and David Gerger Oliver Wyman T.L.L. Temple Foundation Mr. and Mrs. David D. Bynum Mr. and Mrs. Steven J. Gibson Mr. and Mrs. Ted O’Neal Mr. and Mrs. James E. Thorp Mr. Byan Byrd Mr. and Mrs. Noel M. Giesecke The Oshman Foundation Charlotte and Frank Tieh Dr. and Mrs. Craig S. Calvert Betty and Robert Gilliam Mr. and Mrs. Christopher N. O’Sullivan Mr. and Mrs. Keller Towns Mr. and Mrs. Roy A. Camberg Mr. and Mrs. Thomas S. Glanville Alvin and Lucy Owsley Foundation June and Pete Trammell Mr. and Mrs. Edward H. Cappel Mr. and Mrs. Eugene G. Glover Dr. and Mrs. Cenk Ozdogan Transart Foundation Cardno Haynes Whaley, Inc. Ms. Kari Gonzales Palmer Foundation Mr. and Mrs. Michael Treviño Mr. and Mrs. Robert J. Carney Aron & Anaruth Gordon Foundation Mr. and Mrs. George W. Passela Mr. and Mrs. Brad Tucker Ms. Bettie Cartwright James C. and Nancy R. Gordon Fund The Peddamatham Family Fund UBS Dr. Mirtha Casimir and Gorman’s Uniform Rental, Inc. Pelham Investments, LLC Mrs. David M. Underwood Mr. Jack McKinley The Green Tree Fund Mr. and Mrs. William E. Penland, Jr. Mr. Paul A. Van Hook Mr. and Mrs. Michael Chambers Mrs. Beverly B. Green Mr. and Mrs. Harry C. Pinson Mr. and Mrs. M. C. Bill Walker III Mr. and Mrs. Paul D. Chapman Mr. James H. Greer Mr. and Mrs. Ernesto Poma Warburg Pincus LLC Mr. and Mrs. Leroy Chiao Mr. and Mrs. W. Garney Griggs, Jr. Mr. Hal Pontez Mrs. Charles H. Watt III Chinese Community Center Mr. Enrique Guerrero Puffer-Sweiven Inc. The Webber Foundation Mr. and Mrs. Fielding L. Cocke Mr. and Mrs. Gary L. Hall Mr. Carlos Cruz Puga Mr. and Mrs. David F. Webber Collectors of Wood Art Dr. and Mrs. Carlos R. Hamilton, Jr. Mr. and Mrs. David A. Pursell Mr. and Mrs. Steven A. Webster The Conlon Family Trust Mr. and Mrs. Lee Hancock Mr. and Mrs. David A. Pustka The Weingarten Schnitzer Foundation Elizabeth and David Copeland Dr. Georgia R. Hsieh and Mr. and Mrs. Emory Pylant, Jr. Carol Lynne Werner and Karen Hughes Mr. Steven L. Cowart Dr. Mark J. Hausknecht Mrs. A. P. Raghuthaman Mr. and Mrs. Thomas F. Wessel Mr. and Mrs. Mark K. Craig Mr. and Mrs. John P. Havens Mr. and Mrs. Edward Randall IV Mrs. Raye G. White Mr. and Mrs. Sanford W. Criner, Jr. Mr. and Mrs. George A. Hawkins Mr. and Mrs. Risher Randall Malcolm Hewitt Wiener Foundation Jewel B. Crosswell Trust Mr. and Mrs. Michael J. Hay Nicholas R. Rasmussen and Aerin Williams and Quentin Smith Robin and Joseph Cunningham Ann Lents and J. David Heaney II Julia S. Tucker Charitable Fund Mr. Clinton T. Willour Datymell S.A. Julie Watkins Baker and Paul Heim Mr. and Mrs. Barrett H. Reasoner Mrs. Barbara W. Winston Mr. and Mrs. Daniel David Heimbinder Family Foundation Mr. and Mrs. James S. Reckling Mr. and Mrs. Christopher D. Winters Karla Garcia-Bango and Mr. and Mrs. Erik Heymann Mr. and Mrs. John Reckling Mr. and Mrs. R. W. Wortham III Antonio De La Guardia Maureen Higdon Mr. and Mrs. Jordan W. Reese III Dr. and Mrs. George Yang Department 56 Village Collection Mr. and Mrs. Thomas A. Hill Rice University Mr. and Mrs. Jaime Yordan The Honorable and Mrs. Rosann F. Hooks W. E. Robertson Fund Mr. and Mrs. Donald Young Mrs. Edward P. Djerejian

119 DEVELOPMENT

Huneycutt Family Foundation Payne Foundation Rosaliz Ufret and Mike Villemarette Mr. Stan Druck ILEX Foundation Mr. and Mrs. Leon M. Payne, Jr. Volunteer Houston Shirley S. Druggan International Fine Print Mr. and Mrs. Melvin C. Payne Mr. and Mrs. Randall Walker Mrs. Wayne B. Duddlesten Dealers Association Ms. Sue E. Payne Mr. and Mrs. William H. Wallace Jeaneane Booth Duncan + * Ms. Ann S. Jackson Mr. and Mrs. David A. Perez Mrs. Ralph Wallingford Deborah DeFord Dunkum + Dodie and Richard S. Jackson Mr. and Mrs. Antone L. Peterson III Mrs. Elizabeth C. Walter John R. Eckel, Jr. * Mr. and Mrs. Thomas G. Jameson Mrs. Wynne H. Phelan Nancy Ames and Danny Ward Charles Emrich + Mrs. Ann Jones Ms. Jessica Phifer Benjamin and Joy Warren John Eymann Mr. and Mrs. Joshua I. Jones Mr. and Mrs. Felix P. Phillips Philanthropic Fund Marilyn Jane Fedder * Junior League of Houston, Inc. Margaret and Michael Pierce Mr. and Mrs. David J. Weaver Linda K. Finger + * Madeleine and Kenneth Kades Mr. and Mrs. Irving Pozmantier Mr. and Mrs. James D. Weaver Richard E. Fluhr and Mr. and Mrs. Thomas R. Kelsey Marie-Claire Abelanet and Ed Price Mr. and Mrs. Ralph Weaver Rodolfo Hernandez, Jr. Kendall/Heaton Associates, Inc. Eric J. Pulaski Philanthropic Fund Mr. and Mrs. W. Temple Webber III Aggie Foster Mrs. Kathryn Ketelsen Mr. and Mrs. Perry J. Radoff Weingarten Art Group, LLC H.J. (Joe) Foster * Mr. William E. King The Edward and Westmont Hospitality Group Gregory Fourticq Mr. and Mrs. Thomas C. Knudson Ellen Randall Foundation Ms. Susan T. Whitfield Morgan Garwood * Ms. Anne Kubik Leonor and Eric Ratliff Mrs. Myra Whitten Didi Garza and Peter McLaughlin L’Alliance Française de Houston Mr. and Mrs. Hugh Ray Mrs. Curtis C. Williams III Eileen B. Glaser The Estate of Margo Lamb Mr. Thomas R. Reckling IV The Wilson Family Fund Susanne M. Glasscock + Mr. and Mrs. Mark Lange Jeannette Burg and Anthony Riedel Kay and Doug Wilson Alfred C. Glassell, Jr. + * Mr. and Mrs. Willie Langston II Mr. and Mrs. John A. Robins Vallette and Russell Windham Fund Clare Attwell Glassell + Mr. and Mrs. Truett Latimer Barbara Springer and Clay Robinson Ms. Vivian M. Wise Marc P. Gordon Ms. Catherine J. Leachman Mr. Donald M. Rose Mr. and Mrs. William A. Wise Samuel F. Gorman + Mr. Matthew A. LeBlanc Mr. and Mrs. Robert P. Ross, Jr. Mr. and Mrs. John F. Wombwell Joyce Z. Greenberg Mr. and Mrs. William Gentry Lee, Jr. Mr. and Mrs. Matthew P. Rotan Ms. Silvia Salle and Mr. Peter T. Wood Valerie B. Greiner Joe Levit Family Foundation Mr. and Mrs. Jerry Rubenstein Elizabeth and Barry Young Dr. Ellen R. Gritz Mr. and Mrs. Marshal Lightman Nancy and Clive Runnells Foundation Vickie Milazzo and Thomas Ziemba Nora Grossman Kevin and Lesley Lilly Foundation Dr. Sara Sant’Ambrogio Zions Management Services Company Nancy P. Guinee Lisson Gallery Mrs. Nancy Schissler Patricia Lewis Zoch Children’s Foundation Jas A. Gundry + Ms. Marian L. Lloyd Dr. H. Irving Schweppe, Jr. Luis A. Gutierrez The Lubrizol Foundation Mr. and Mrs. David T. Searls III Myrtle Wreath Society Anne Overton Haass Mr. and Mrs. Ransom C. Lummis Mr. and Mrs. Arthur Seeligson III Anonymous (27) Bruce Haass * Lykes Knapp Family Fund Dr. Sandra L. Sessoms Dr. and Mrs. George J. Abdo William C. Hauber * Ms. Marlene Marker Sara Shackleton and Michael McKeogh Sandy and Russell Andorka Barbara and Ernest Henley Mr. and Mrs. Neil Martin Mrs. Elizabeth Shamas Diane Arnold and Bill Frazier Carola and John Herrin Mr. and Mrs. Arshad Matin Ms. Carey C. Shuart Lynne and John Averett Mr. and Mrs. Frank J. Hevrdejs Mr. and Mrs. William K. Matthews III Mrs. Ellen C. L. Simmons Audrey Jones Beck * George S. Heyer, Jr. * Dr. and Mrs. Malcolm L. Mazow The Lester and Sue Smith Foundation Margaret E. Biehl * Marjorie G. Horning + Mr. and Mrs. Joseph Dietrich McCord Leigh and Reggie Smith Rick Bihner Katherine and George Howe Mr. and Mrs. Carew McFall Mr. and Mrs. Stuart M. Smith Dorothy B. Black Ira J. Jackson * Mr. and Mrs. William K. McGee, Jr. Carol and Michael Stamatedes Jack S. Blanton, Sr. * Virginia Hartle Jackson * Dr. Didi Garza and Dr. Peter McLaughlin The Stanton Foundation Gay S. Block Dr. Lamar and Jane Jackson Mr. Will L. McLendon Mr. and Mrs. Andrew Stepanian Dr. Michael and Susan Bloome + Charitable Remainder Trust + Dr. Alice R. McPherson Mr. and Mrs. Nicholas C. Stephens Jessie Carolyn Brown + * and Dodie and Richard S. Jackson Mrs. Karen Benbow McRae Jane and Leopold Swergold Jack Harold Upton Brown + * Nancy Glanville Jewell + Mr. and Mrs. Mike Melnik Teleco Intercontinental Corporation Terry Ann Brown A. Clark Johnson + Mrs. Pati Mengden-Eckhardt Jennifer Dorge-Traina and Leslie and Brad Bucher + Dr. Blair Justice + * Mr. and Mrs. Jim Mercurio Jonathan T. Tesfaye Rusty Burnett Dr. Rita Justice + Jean and Saul A. Mintz Foundation Mr. and Mrs. Davis Thames Douglas Burton and Christopher Ralston James Ketelsen * Ms. Nancy Powell Moore Ms. Cynthia Thomas /Apartment Zero Kathryn Ketelsen The W. T. and Louise J. Moran Foundation Mrs. Sellers J. Thomas, Jr. Hiram Butler Mr. Jarrod S. Klawinsky Mr. and Mrs. Shea Morenz Nancy P. and Peter K. Thompson Fund Rose Marie Byrne * Andrius R. Kontrimas + Dr. Susan R. Morrison Ms. Sharon Thomson Dr. and Mrs. Craig Calvert Mr. and Mrs. Vahid Kooros + Carol and David Neuberger Dr. and Mrs. John F. Thrash Frank N. Carroll + Mary Lynch Kurtz * Mr. and Mrs. Stephen D. Newton Sandra L. Tirey and Jan R. Van Lohulzen Elizabeth H. Caselli * Ms. Margo Lamb * Nordstrom Tootsies Duncan Wills Corbett Caroline Wiess Law * Mr. and Mrs. G. Michael O’Leary, Jr. Ms. Anne W. Tucker Fredericka Crain * Mark Lensky * Blanca and Cavanaugh O’Leary Turkish Cultural Foundation Michael W. Dale Phillip Leonian * Mr. and Mrs. Tom D. O’Leary Kim and Dan Tutcher John Blodgett Davis + * Richard D. Lester Ms. Mary Jo Otsea and University of Houston Downtown James J. Deegan + Elsie Lieskovsky * Mr. Richard Brown University of St. Thomas Leonora De Grasse * Victoria and Marshal Lightman Mr. and Mrs. Michael F. Padon The Estate of Carlos Valbona, MD Ms. Ellena Dickerson Michael C. Linn + Nancy and John Parsley Mr. Peter Viles Diana do Carmo Patricia G. Linn *

120 Eric R. Liston Isabel B. Wilson + * *gift matured Mr. and Mrs. Meredith J. Long + Jeanie Kilroy Wilson + +charter member Christopher H. Loo, M.D., Ph.D. Diane and Gabriel Wisdom John Andrew MacMahon Daisy S. Wong Every effort was made to ensure that Mr. and Mrs. Michael D. Malbin + John C. Wynne * the information published in this report Mike and Mickey Marvins John L. Zipprich II is accurate and reflects the requests Mrs. Frances P. Marzio + of individual donors. If any errors or Dr. Peter C. Marzio + * Ima Hogg Society Lori Lynn and Marcel Mason + Anonymous (3) omissions have occurred, please notify June Mattingly * Marie Sharpe Blaine + the Museum’s development department. Kate Hilton McConnico Bonnie Campbell + Kay McKeough Evelyn Houstoun Chew + * Will L. McLendon Marie and John Houser Chiles Laura Sue H. McMurrey * Elinor M. Christian + Allen D. McReynolds Harriet Sharpe Cochran and Gary Mercer Larry F. Cochran Sara and Bill Morgan Mary Frances Couper * Joan Morgenstern Mrs. Lacy Crain + Mrs. S.I. Morris * Sharon G. Dies Charles Morse * O.B. Dyer + * Celia and James Munisteri Martha Erwin + Franci Neely Richard E. Fluhr and Edward Oppenheimer, Jr. * Rodolfo Hernandez, Jr. Maria C. Osorio Lorraine and David Frazier Bruce Patsner Debbie and Gary Gibson + Mary Anne Holloman Phillips * Susanne M. Glasscock + Mary Lawrence Porter + Jas A. Gundry + Amy M. Purvis Kay Collins Handly Mr. and Mrs. Edward Randall III Cynthia G. Holliday + Minnette Robinson + Mrs. Nancy Glanville Jewell + Arthur D. Robson, Jr. + * A. Clark Johnson + Milton D. Rosenau, Jr. Carolyn Frost Keenan + Diane and Ron Sandberg + Kathy Lee Kennedy Linda A. Sarandrea Elsie Layton Anne-Louise Schaffer Robert J. Lorio Marc Schindler + Mr. and Mrs. Gilbert Y. Marchand + Alice C. Simkins Laura Sue H. McMurrey * William J. Sloughter * Susan Morrison Anita J. and William R. Snell Patti Mullendore Charlotte H. Stafford + Mrs. Robert V. Nelson, Jr. + Levi Alvin Stark, Jr. + * Susan Neptune + William F. Stern * Sara M. Peterson + Catherine Stevenson Marc Schindler + Carol Ann Straus * Mr. Morin Montagu Scott, Jr. + * Harold Jack Tausend, M.D. * Mrs. Morin Montagu Scott, Jr. + Charlene Quitter Thompson * Alice C. Simkins Merrianne Timko and Peter Lotz Katie Smith Gary Tinterow Mrs. Dewitt Untermeyer + * Dr. Robert and Fiona Toth Ralph Wallingford + * Ann G. Trammell + Toni Wallingford + Anne Wilkes Tucker + David B. Warren + Francita Stuart Koelsch Ulmer + Mrs. Sara E. White Dr. Carlos Vallbona * Barbara Graham Williams + Jana Vander Lee Jeanie Kilroy Wilson + Suneeta and Nanik Vaswani Sally and Denny Wright Margaret Waisman, M.D. Thomas Barry Walker * Renee G. Wallace Michael Weller Dorothy S. and Robert D. Wells Herbert C. Wells * Jane Day Westerfield + * Eleanor L. Williams

121 REPORT OF THE CHIEF FINANCIAL OFFICER

Fiscal year 2017 was an exceptional one for the Museum of Fine Arts, Houston (Museum), with most of the key financial metrics at record highs. The Museum’s financial strength is rooted in its balance sheet, which affords the institution the enviable position of steadfastly pursuing its mission without undue concern for short-term vagaries in macro or local economic conditions. At the end of the fiscal year, the key balance sheet index, the Museum’s net worth (financial assets minus liabilities), had increased to a record $1.6 billion (fig. 1).

OPERATING RESULTS

Operating budget results for the year ending on June 30, 2017, were substantially better than both the prior year and the approved budget, with the organization generating an operating surplus on both a Generally Accepted Accounting Principles (GAAP) and a Management View basis. On a GAAP basis, the Museum earned a surplus from operations of $5.2 million. For its internal decision making, the Museum excludes certain non-recurring items and adjusts for non-cash items in its assessment of operations. This generally results in a more conserva- tive Management View position relative to GAAP. By that measure, the Museum ended the fiscal year with a surplus of $4.0 million or approximately 6% of operating revenues.

Financial performance was fueled by a robust exhibition schedule resulting in a significant increase relative to budget in admission and membership revenues and exhibition fund- raising. Admission revenue reached approximately $4.8 million—an increase of 51% over fiscal year 2016 (fig. 2). Approximately 990,000 people visited the Museum, Bayou Bend, and Rienzi or enrolled in classes at the Glassell School during fiscal year 2017. Membership revenue was $3.2 million, or more than 8% higher than fiscal year 2016. The Museum had an average of 29,405 member households during the fiscal year.

The Museum’s finances have historically been anchored by philanthropic support and remained so in fiscal year 2017. Operating fund-raising increased more than 9% from fiscal year 2016, reaching $15.8 million (fig. 3). In addition, $21.2 million was added to the capital campaign during the 2017 fiscal year, bringing the total raised at the end of the year to more than $390 million.

Tuition revenues at the Glassell School of Art were flat on a year-on-year basis, totaling $2 million. The Glassell Studio School program has been temporarily operating from a location off campus on Holcombe Boulevard between Hermann Park and the Texas Medical Center. The Glassell Studio School program will be back at the Susan and Fayez S. Sarofim Campus in May 2018 following the completion of the reimagined Glassell School building.

INVESTMENT PERFORMANCE

The Museum’s pooled endowment generated a strong return of 14.6% during fiscal year 2017, placing it in the top quartile of the Cambridge Associate greater than $1 billion endowment universe and substantially ahead of the median returns for colleges and universities tracked by Wilshire’s Trust Universe Comparison Service (TUCS). Investment performance has consistently outperformed globally diversified reference portfolios comprising equities and bonds.

122 At the end of the fiscal year, the market value of the pooled endowment stood at a record high of $1.19 billion (fig. 4). The Museum also had certain non-pooled investments totaling approximately $49 million. The Museum employs a spending formula that cushions the operating budget from short-term swings in the value of the endowment with a primary emphasis on maintaining the purchasing power of the endowment. The objective is to achieve a long-term real return in excess of endowment spending. Over the past seven years, the pooled endowment’s trailing annualized real return has exceeded endowment spending by approximately 340 basis points.

As of June 30, 2017, 66% of the pooled endowment was allocated to equity and equity mutual funds (fig. 5), followed by alternative investments (20.7%), money market mutual funds (7.5%), U.S. Treasuries and bonds (4.1%), and real assets and REITS (1.7%).

CHANGE IN NET ASSETS

The Museum had total assets of $1.7 billion at the end of fiscal year 2017 (fig. 6). The largest asset categories are investments of $1.25 billion; land, buildings, and equipment of $217 million; and pledges, notes, and accounts receivables of $115 million.

On an ongoing basis the Museum’s financial strength is measured by its net assets (assets minus debt). This gauge of the Museum’s net worth increased by $116.5 million from fiscal year 2016, reaching a record $1.6 billion (fig. 7). The principal additions to net assets were endowment returns (net of spending) of $95 million and $21.2 million in gifts primarily earmarked for facilities. Since fiscal year 2012, the Museum’s net assets have increased by a remarkable $509 million—the result of a combination of superior endowment returns and gifts to the capital campaign.

CONCLUSION

We proudly celebrate the enormous success of the Museum’s financial program in fiscal year 2017. It is a program structured on rigorous budgetary planning and on the disciplined, prudent use of resources. Yet no amount of financial accountability can obviate the fact that the Museum’s financial success is made possible largely by the tremendous generosity of its Trustees, partners, donors, and other supporters; 74% of the Museum’s fiscal year 2017 revenue stream was made possible through philanthropy in the form of endowment distri- butions (from past donations) and operating fund-raising (current donations).

As we navigate fiscal year 2018 and future periods, we are immensely thankful and gratified by our community of donors and supporters. Even with the inherent challenges of rebuilding after Hurricane Harvey and the inevitability of a macro economy that at some point will slow down, the future of the Museum has never looked more promising, and we are heartened by the support of fellow Houstonians who continue to invest in the Museum’s excellence.

—Eric Anyah

The audited financial statements of the Museum of Fine Arts, Houston, for the year ended June 30, 2017, are available by contacting the Office of the Controller, 5100 Montrose Blvd., Houston, TX 77006. They are also available online at the Museum’s website, mfah.org.

123 REPORT OF THE CHIEF FINANCIAL OFFICER

Fig. 1 MFAH: Net Assets: Total Financial Assets less Debt Fig. 2 Total Admissions Revenue (Museum, Bayou Bend, and Rienzi) (millions) (thousands) $4,775 $1,800 $5,000 $1,612 $1,527 $1,600 $1,497 $1,496 $4,000 $1,400 $1,299 $3,152 $1,200 $3,000 $2,585 $2,531 $1,000 $2,475

$800 $2,000 $600

$400 $1,000 $200 0 0 FY2013 FY2014 FY2015 FY2016 FY2017 FY2013 FY2014 FY2015 FY2016 FY2017

Fig. 3 MFAH: Fund-raising for Operations Fig. 4 MFAH: Market Value of Endowment (thousands) (millions)

$17,000 $16,621 $1,300 $15,838 $1,196 $16,000 $15,562 $1,200 $1,181 $1,141 $15,000 $14,506 $1,100 $1,098 $13,965 $14,000 $1,044 $1,000 $13,000

$900 $11,000

$10,000 $800

$9,000 $700 FY2013 FY2014 FY2015 FY2016 FY2017 FY2013 FY2014 FY2015 FY2016 FY2017

Fig. 5 MFAH: Composition of Pooled Investments at June 30, 2017 Fig. 6 MFAH: Composition of Assets at June 30, 2017 (000) (millions)

Money Market Other Assets Real Assets Mutual Funds Net Physical Assets $3 and REITS 7.5% $217 1.7%

Pledges, Notes, and Alternative Accounts Receivable Investments $115 20.7%

Equity and Equity Mutual Funds Cash Investments 66.0% $80 $1,245

U.S. Treasuries, Bonds, and Bond Mutual Funds 4.1%

124 Fig. 7 FY 2017 Change in Total Net Assets (millions) FY 2017 operating surplus (deficit) $5.2 Contributions designated for capital and long-term investment 21.2 Depreciation and amortization (6.8) Investment returns on long-term assets less amounts designated for current use 97.5 Net art acquisition activity (purchases in excess of contributions and investment returns) 1.1 All other net (1.7) Total increase (decrease) in net assets 116.5

Net assets at June 30, 2016 1,495.5 Net assets at June 30, 2017 $1,612.0

Table 1

The Museum of Fine Arts, Houston Statements of Financial Position as of June 30, 2017 (thousands) 6/30/2017

Assets: Cash and cash equivalents $80,478 Pledges, grants, accounts and interest receivable 115,333 Inventories 597 Prepaid expenses and other assets 2,845 Investments 1,244,897 Property and equipment, net 217,486 Total assets $1,661,636

Liabilities and net assets:

Liabilities: Accounts payable and other liabilities 32,987 Deferred revenues 16,620 Total liabilities $49,607

Net assets: Unrestricted 372,746 Temporarily restricted 533,053 Permanently restricted 706,230 Total net assets 1,612,029

Total Liabilities and Net Assets $1,661,636

125 REPORT OF THE CHIEF FINANCIAL OFFICER

Table 2

The Museum of Fine Arts, Houston: FY 2017 Operating Statement (000)

Operating Revenues Contributions and grants $13,189 Investment returns designated for current use 34,062 Membership revenue 3,162 Admission revenue 3,152 Tuition revenue 2,031 Auxiliary revenue 2,845 Other 2,184 Net assets released from restriction 4,714

Total Operating Support and Revenue 66,962

Operating Expenses Program Services Curatorial and collections 9,096 Exhibitions 4,102 Education and public programs 7,586 Glassell School 3,487 Bayou Bend 4,212 Rienzi 1,193 Membership activities 1,191 Buildings and grounds and security 12,033 Subtotal program services 42,900

Supporting Services Management and general 11,306 Auxiliary activities 3,167 Fund-raising 4,425 Subtotal supporting services 18,898

Total Operating Expenses Before Depreciation and Amortization 61,798

Operating Surplus (Deficit) Before Depreciation and Amortization $5,164

126 STAFF As of June 22, 2017

Gary Tinterow Paintings Decorative Arts, Craft, Photography HIRSCH LIBRARY Director Zahira Bomford and Design Malcolm Daniel Jon Evans Senior Conservator Cindi Strauss The Gus and Chief Librarian and Archivist Maite Leal The Sara and Bill Morgan Lyndall Wortham Eric Anyah Jason Anfinsen Conservator Curator of Decorative Arts, Curator of Photography Chief Financial Officer Lauren Lovings-Gomez Melissa Gardner Craft, and Design Lisa Volpe Jamie Teich Willard Holmes Associate Conservator Marissa Hershon Associate Curator Jason Valdez Chief Operating Officer Bert Samples Curatorial Assistant Kara Fiedorek Library Assistants Amy Purvis Senior Conservation Anna Walker Curatorial Assistant Diane Sandberg Chief Development Officer Technician The Windgate Foundation Jason Dibley Cataloging Assistant Curatorial Fellow Collection Manager, Prints, Sunyoung Park OFFICE OF Photography Drawings, and Photographs Catalog Librarian THE DIRECTOR Toshi Koseki European Art Selina Lamberti Cheryl Payne The Carol Crow David Bomford Collection Cataloguer Technical Services Librarian James Batt Senior Conservator The Audrey Jones Beck August DiStefano Joel Pelanne Assistant Director, of Photographs Curator of European Art Framing Technician Assistant Technical Hospitality Helga Kessler Aurisch Adrian Alejo Services Librarian Research Science Curator Administrative Assistant Lynn Wexler Deborah Roldán Corina Rogge Reference Librarian Assistant Director, The Andrew W. Mellon Film and Video Prints and Drawings Exhibitions Research Scientist Marian Luntz Dena Woodall ARCHIVES Cindi Strauss Curator Associate Curator Damian Brum Assistant Director, Works on Paper Tracy Stephenson Lauren Rosenblum Digital Archivist Programming Tina Tan Coordinator Curatorial Assistant Melissa Gonzales Conservator Jason Dibley Assistant Archivist Winnie Scheuer Latin American Art and the Collection Manager, Prints, Executive Administrator CURATORIAL International Center for the Arts Drawings, and Photographs LEARNING AND and Liaison for External Administration of the Americas (ICAA) INTERPRETATION Relations April Gutierrez Mari Carmen Ramírez Sarah Campbell Caroline Goeser Susannah Bowen Administrator The Wortham Curator of Blaffer Foundation The W. T. and Administrative Assistant Clifford Edwards Latin American Art and James Clifton Louise J. Moran Blanch Rodriguez Ray Gomez Director, International Director Chair of the Department Administrative Receptionist Madison Rendall Center for the Arts of Julie Timte of Learning and Julie Timte the Americas Administrative Assistant Interpretation CONSERVATION Administrative Assistants Rachel Mohl Charlotte Perry David Bomford Assistant Curator DESIGN Coordinator and Assistant Chairman Africa, Oceania, and María Gaztambide Jack Eby to the Chair Esmar Sullivan the Americas Associate Director, ICAA Chief Exhibition Designer Gilbert Baca Assistant to the Chairman Chelsea Dacus Angel Carrazco Bill Cochrane Assistant Daniel Estrada Assistant Curator Yvonne Zepeda Exhibition Designer Senior Framing Technician Technical Assistants Object-based Learning Matthew Golden American Painting and Sculpture Nora Heymann EXHIBITIONS Jennifer Beradino Conservation Imaging Kaylin Weber Copyrights Coordinator Deborah Roldán Senior Manager Specialist Assistant Curator Maria McGreger Assistant Director Clare Hulfish Karen Willis Beatriz Olivetti Marcelina Guerrero Claire Johnson Coordinator Antiquities Specialists Coordinator Kelley Magill Chelsea Dacus Bonnie Van Zoest Specialists Decorative Arts Assistant Curator Project Administrator Merritt Peele Steve Pine Mayra Rivera Senior Conservator Art of the Islamic Worlds Modern and Contemporary Art Assistants Trevor Boyd Aimée Froom Alison de Lima Greene Ivan Reyes Garcia Curator The Isabel Brown Wilson Assistant Conservators Curator of Modern and Asian Art Contemporary Art Objects and Sculpture Amy Poster Althea Ruoppo Jane Gillies Interim Curator Curatorial Assistant Senior Conservator Beatrice Chan Ingrid Seyb Curatorial Assistant Associate Conservator

127 STAFF

Studio and Gallery Programs PUBLICATIONS PHOTOGRAPHIC AND Anthony Canaan EXHIBIT PRODUCTION Elizabeth Roath Garcia Diane Lovejoy IMAGING SERVICES Sorin Coman Lucian Salajan Manager Publisher in Chief Marty Stein Jesus Guico Manager Denise Gonzalez Christine Waller Manca Manager Oscar Magana Alfonso Cipriano Specialist Senior Editor Tom DuBrock Bob Pierce Senior Production Technician Hayley McSwain Heather Brand Senior Collection Matthew Sieger Alberto Sanchez Assistant Managing Editor Photographer Technicians II Carpenter/Technician Melissa Aytenfisu Michelle Dugan Matthew Lawson James Barber Sotero Dolormente Claudia Zopoaragon Associate Editor Digital Imaging Bob Evans Jesus Merino Teaching Artists Kem Schultz Projects Coordinator Paul Fatu Painters/Carpenters Tiffany Echevarria Editorial Assistant Will Michels Theodore Kucinski Jose Calderon Alvarado Zully Wisniewski Collection Photographer Gabriel Ramos Painter Guides GRAPHICS Cynthia Odell Nereo Sifuentes Obel Rivera Phenon Finley-Smiley Image Projects and Miladin Vidojevic Drywall Finisher/Painter Lectures and Concerts Manager Rights Coordinator Vernon Wells, Jr. Margaret Mims Graciela Araujo Shelby Rodriguez Technicians III GARDENS AND Senior Manager Shaun Dorris Imaging Services Associate Paul Aguirre LANDSCAPE Linda East Amy Elliott Albert Sanchez Chance Brashears Bart Brechter Assistant Senior Designers Digital Imaging Specialist Lucio Espinal Head of Gardens and Anthony Reynolds Jack Kerby Landscape Audience Engagement Graphic and Web Designer OFFICE OF THE CHIEF Apprentices Waverly Gooding Radu Runcanu OPERATING OFFICER Jordan Ronsonette Operations Manager Production Specialist Mohan Singh Chad Burgess Sydney Kreuzmann Electrical Technicians Lead Gardener Willard Holmes Specialist REGISTRATION Juan Garza Joe Calderon Chief Operating Officer Michelle Kiang Julie Bakke Building Management Eduardo Castaneda Marlene Hoffheiser Coordinator Chief Registrar Systems Supervisor Raymundo Castaneda Executive Assistant/ Minerva Carmona David Hernandez Ramiro Rangel-Perez Projects Coordinator Gallery Interpretation Administrative Assistant Control Room Operator Rafael Ruiz Carlotta Ramirez Chelsea Shannon Marcus Mettlen Gerardo Ruiz-Martinez Museum Counsel Specialist Collections HVAC Mechanic Gardeners Kim Pashko Petre Salajan BUILDING AND On-Call Educators Registrar Training and Safety HOUSEKEEPING GROUNDS Mike Beradino Maggie Bond Supervisor James Batt Mike Pierce Rita Curran-Whiteman Senior Assistant Registrar, Assistant Director, Chief of Building Operations Sandra Jacobs Outgoing Loans Building Services Hospitality Jim Rightmire LuAnn Turley Geoffrey Dare Ron Armfield Orlando Martinez Associate Chief of Senior Assistant Registrar, Nemesio Casas Banuelos Housekeeping Manager Building Operations MARKETING AND Incoming Loans Hernan Medina Rivas Rogelio Morales Chelsea Kucinski COMMUNICATIONS Phyllis Hastings Nicholas Pedraza Narciso Orellana-Sorto Administrative Coordinator Mary Haus Associate Registrar, Assistants Housekeeping Supervisors Allie Ramsey Head of Marketing New Accessions Liliana Gomez Administrative Assistant and Communications Jen Levy Lighting Lead Custodian Gwen Watkins Assistant Registrar, Wesley Jefferson Mario Alvarado Building Engineers Associate Head Incoming Loans Senior Lighting Technician Victoriano Perez Ken Doan Kelly Erin Laskosky Kacie Rice Harol Carrillo Freddy Torres Celestino Garcia Senior Editor Assistant Registrar Liviu Niculae Custodian/Floor Technicians Roger Vasquez Laine Lieberman Merrianne Timko Lighting Technicians Maria Alvarado Vernon Wells, III Publicist Data Standards Manager Juan Alvarez Team Leaders Sarah Hobson Linda Wilhelm Rafael Alvarez Leonard Chapa Associate Publicist Associate Registrar Dora Ceballos Anselmo Estrada Kerry Ingram Jose Davila Bernie Rodriguez Vanessa Ramirez-Sparrow Exhibitions Maria Escobar Ricky Rodriguez Associates Kathleen Crain Marta Granados Kyle Schuenemann Sara Blair Matthews Registrar Ana Hernandez Lead Technicians Christi Vasquez John Obsta Laura Hernandez Larry Drake Coordinators Associate Registrar Minerva Medrano Larry Farr Emily Link Ryan O’Toole Steve Kalmus Elspeth Patient Maria Rangel Technicians I Assistant Registrars Maria Rosales Custodians 128 HUMAN RESOURCES Audio-Visual Cheryl Williams Analie Lucasan VOLUNTEER SERVICES Sheila Armsworth Omar Al-Bochi Daniel Williamson Leticia Magno Lesleigh Gilmour Head of Human Resources Lead Technician Security Supervisors Jose Martinez Manager Kara Dolence Ralph Kaethner Paul Castro Mila Martinez Rebeca Barvin Representative Kirston Otis Veronica Chavez-Rojas Reynaldo Martinez Coordinator Danielle Lucy Technicians Mariah Graham Emeteria Mendoza Assistant Louis Jackson Khisran Mohmand OFFICE OF THE CHIEF Perla Mancillas Office Services Ivery Malveaux Osvaldo Montes DEVELOPMENT OFFICER Representative I Patsy Gonzales Joyce Mumphord Alexander Morales Sarah Martinez Supervisor Elena Rodriguez Blandina Narciso Amy Purvis Coordinator Laura Rodriguez Nancy Rodriguez Qasem Naseh Chief Development Officer Carole Pavlik Mail Room Coordinator Teresita Ruiz Vicente Natividad Rebecca Little Hunt Database Administrator Tony Domingo Julius Santos Ana Oprean Executive Assistant Liz Reitz Mail Services Technician Miguel Saruca Nilda Ortega Betty Gerecht Senior Benefits Administrator Wayne Wright Prenam Panesse Coordinator PARKING Mary Wylie Basilio Paningbatan INFORMATION Andrew Spies Console Monitors Debra Pereira Kimball Tyson TECHNOLOGY Manager, Parking and Event Florencia Aguila Katherine Perez Montoya Managing Development Shemon Bar-Tal Management System Danilo Alviar Abigail Perez Noyola Officer Chief Technology Officer Paula Waldon Reka Anderson Javier Perez Laura Murphy Jill Aremband Coordinator Sylvia Banay Genaro Pesodas Associate Senior Administrator Kenneth Ohonba Roderick Banks Jalal Raain Gabriella Flournoy Tom Howell Associate Kent Barker Joe Ramirez Stewardship Coordinator Senior Infrastructure and Lolita Battin Sylvia Ramirez Technical Services Manager PREPARATIONS Marlon Bonifacio Abdul Raoufi Annual Campaigns Albert Diaz Dale Benson Emmanuel Borja David Rivera Bradley Houston Support Center Technician Chief Preparator Beatrice Cadelinia Elizabeth Rodriguez Senior Development David Knickerbocker Michael Kennaugh Benedicto Capalad Franklin Rodriguez Officer Senior Support Center Senior Preparator/ Alice Carmona Maria Rodriguez Flora Schaeffer Technician Administrator Jose Casallo Holly Ross Coordinator Cheryl Lee Ken Beasley Guadalupe Cavazos Victor Saldon Network Security Manager Richard Hinson Brandon Chavez Salazar Jason Salinas The Campaign for the MFAH Tim Luu Senior Preparators Elsie Corteza Carlota Sam Caroline Williams Network Operations Terry Andrews Anna Custodio Maria Santos Senior Development Administrator Michael Crowder Emma De Guzman Corey Scott Officer Christina Martinez Curtis Gannon Paulita Del Gallego Chris Serrano Purchasing and Inventory Chris Huron Mohammad Deljoy Jedidiah Shepler Corporate Relations Manager Ole Petersen Carl Dequito Miguel Sifuentes Kristen Flack Tausheli McClure Jason Storrs Alma Ebarle Joselito Solis Development Officer Network Communications Associate Preparators Manolo Estrada Dawn St. Andrassy Janine Arostique Specialist Joseph Cowart Mohammad Fardis Bill Stephenson Associate Edward Nelson Juan Escoto Nancy Felipe Edward Stinchcomb Network Security Analyst Robert Kimberly Darren Freeman Vaska Stoeva Curatorial Affairs Phillip Parks Preparators Kay French Vicente Tan Ashley Powell Project Manager Frances Trahan John Garcia Andres Tarol Development Officer Chris Pratt Mountmaker Regina Gomez Antonio Tenio Christin Blaschke Lead Application and Maria Granados Cyanne Topaum Associate Web Developer SECURITY Alexis Guerrero David Torres Richard Ramirez Kevin Rapp Daniel Guerrero Nani Tubman Development Special Events Support Center Analyst Chief of Security Gregg Gustilo Javandon Vallare Julia Smith Edith Stone Mona Jones Richard Hayes Annastasia Vela Senior Development Officer Software Trainer Office Manager Mario Hernandez Lilia Velmonte Kathryn Brill Dave Thompson Franklin Collantes Sayed Hosseini Jesse Villareal Senior Coordinator TMS Database Andrew Perez Laura Jaramillo Villedas Armando Villegas Arianna Gazis Administrator Assistant Chiefs Zulema Jimenez Eleanor Villegas Coordinator Dat Truong Lemuel Bulawin Kelly Johnson Martin Villegas Megan Gallagher Web Developer Adam Gutierrez Sammie Johnson Balaji Viswanathan Associate Duncan Hart La’Juan Jones Rose Walker Carlos Morales-Pereira Anu Kshetri Rodolfo Yap Jerri Olivas Michelle Louring Security Officers

129 Development Operations ACCOUNTING MEMBERSHIP AND RETAIL BAYOU BEND Tammy Largent Julia Petty GUEST SERVICES Chris Goins COLLECTION Deputy Chief Development Controller Jennifer Garza General Manager AND GARDENS Officer Sergio Britos Chief Administrator Bernard Bonnet JoAnne Herrington Accounts Payable Specialist Book Buyer Bonnie A. Campbell Donor Database Manager Christy Brown Membership Mel Cronenwett Director Jason Alber Payroll Manager Andrew Edmonson Inventory Assistant Caryn Fulda Coordinator Kristopher Clark Manager Andrew Groocock Assistant to the Director Erika Cordova Accountant, General Lori Lang Manager, Inventory Sue Canup Tim Hsu Kathy Dishman Senior Coordinator and Receiving Janet Marshall Isamar Perez Linda O’Toole Rachel Stephens Suzanne Harrison Administrative Assistants Data Processors Accounting Assistants Coordinator Manager, MFA Shop Amanda Whiteside Laura Howitt Helen Benoist Barbarah Viles Curatorial Research Officer Cash Receipts Clerk Associate Retail Administrator Bradley Brooks Lonnie Lew Joy Zhou Maricela Covarrubias Curator Grants and Development Assistant Controller Audience Research Manager Madeline Flores Remi Dyll Communications Janette Portillo John George Curatorial and Lisa Powell Christina Varela Guest Services Victoria Martinez Programs Liaison Senior Development Officer Accounts Payable Clerks II Kristi Marchand Ellen Patton Dorie Shellenbergar Rosie Ramirez Manager Alison Schneider Education Development Officer Accounts Payable Clerk I Rebecca Benitez Marina Schneider Jennifer Hammond Lucas Sepulveda Stella Rivera Assistant Manager Cameron Scott Head of Education Samantha Skelton Payroll Coordinator Andi Kling Susan Soffer Emily Hermans Writers Stephanie Rogers Sarah Wells Bill Voss Joey Milillo Michelle Verduzco Senior Accountant Coordinators Catarina Williams Programs Managers Coordinator Virginia St. Hilaire Matthew Becker Sales Assistants Martha Rogers Accounts Payable Manager Gianna Fernandez Programs Assistant Special Gifts Vijay Thiyagarajan Jeremy Hamilton-Arnold SPECIAL EVENTS Valerie Greiner Business Analyst Angel Lartigue James Batt Building and Grounds Senior Development Officer Teresa Martinez Assistant Director, Ruben Obregon Janine Arostique INVESTMENTS Adair Stephens Hospitality Facilities Manager, Associate Darren Bartsch Catherine Watson Harold Madison Bayou Bend and Rienzi Officer Ambassadors Event/Beverage Manager Mario Cuellar OFFICE OF THE CHIEF Bradford Smith Annie Ardell Meagan McKellar Building Services Assistant FINANCIAL OFFICER Senior Analyst Cassandria Bradley Administration and Maria Castaneda Matthew Glover Sales Coordinator Juana Zapata Eric Anyah Patrick Krause Errika Tellez Custodians Chief Financial Officer Jack Lucas Business Coordinator Maggie Schutza Maybelline Mallory Nerissa Gomez Kitty King Powell Library Executive Assistant Robert Newcomb Senior Coordinator Margaret Culbertson Rosemarie Pesodas Sarah Gutierrez Librarian Edwin Terrell Shannon Howell Helen Lueders Reginald Thomas Anne Simpson Assistant Attendants Coordinators Sarah Callahan Dionesia Narvios Project Assistant William Short Michelle Johnson Senior Attendants Project Manager, William J. Hill Texas Artisans and Artists Archive Leslie Rahuba Project Associate, William J. Hill Texas Artisans and Artists Archive

130 STAFF

The Shop at Bayou Bend RIENZI THE GLASSELL SCHOOL Studio School Administration Krista Beveroth OF ART Jennifer Cronin Sales Assistant Associate Director Christine Gervais Nadia Al-Khalifah Director, Rienzi, and Joseph G. Havel Security Administrative Assistant Curator, Decorative Arts Director Nevelyn Williams Gina Stayshich Misty Flores Lindsay Kayser Security Manager, Registrar Curatorial Assistant Communications Liaison Bayou Bend and Rienzi Alexandria Gomez and Assistant to Director Victorino Aguila Assistant Registrar Learning and Interpretation Lilia Gonzalez-Alvarado Travis Dennard Stephanie Niemeyer Core Residency Program Benny Orda Weekend Desk Attendant Manager Mary Leclère David Yates Don Ridenhour Ryan Hernandez Associate Director Console Monitors Evening Administrative Coordinator Peter Gershon Eva Campbell Monitor Program Coordinator Angela Chavez Building and Grounds Shana Hoehn Kadien Chin Studio School Eder Zapata Ruslana Lichtzier Charlene Dinn Patrick Palmer Building Services Assistant Yue Nakayama Martha Gutierrez Faculty Chair/Dean Felipe Steinberg Gloria Ibarra Anna Tahinci Security Laura Wellen Katherine Orsak Art History Department Francisco Narvios Core Residents Rosalie Stowe Head Jessie Narvios Apollo Tee Sandra Zilker Johnnie Powell Junior School Raymond Thomas Associate Dean of Student Security Officers Pam Perez Bridget Thompson-Mathis Activities Administrative Dean Juan Torres Michael Bise Naila Ansari Security Officers Amy Blakemore Cristina Gonzalez Lydia Bodnar-Balahutrak Program Assistants Visitor Services Susan Budge Valerie Nevarez Lavinia Ignat Charlotte Cosgrove Office Assistant Manager Sharon Dennard Natalie Torres Cyrus Kohanloo Nathan Dube Registrar Assistant Jeff Forster Emily Anmuth Yasmin Ali Francesca Fuchs Judi Burton Dylan Barclay Jan Harrell Stacy Coulter Daniel Kiehnhoff James Hill Jane French Maggie Rucinski-Gros Clara Hoag David Fulton Attendants Suzanne Manns Loren Gardner Arielle Masson Donna Garoh Ken Mazzu Michele Heater David Medina Erin Joyce Emily Peacock Vehishta Kaikobad Mark Ponder Jessica McMahon Brian Portman Maureen McNamara Robert Ruello Valerie Nevarez Alexander Squier Eduardo Ortiz Arthur Turner Elena Poirot Studio School Instructors Kealy Racca Mary Rouen Ian Sigley Emily Sloan Michael Stovall Susan Tadlock Bonnie Van Hook Rachelle Vasquez Richard Williams Junior School Instructors Flora Siaotong Security Officer

131 CREDITS

© 2018 The Museum of Fine Arts, Houston Copyright and Photography Credits Major Loan and Permanent-Collection Exhibitions, and 1001 Bissonnet Street Additional Displays from the Permanent Collection Houston, Texas 77005 p. 99 (left): Will Michels and Gallery Rotations www.mfah.org p. 100: Photograph by Jorge Luna All installation views of exhibitions and gallery rotations Printed in the United States of America p. 106: Photograph by Rick Gardner are provided courtesy of the Museum of Fine Arts, Houston, Archives, and photographed by Thomas R. p. 107: Photograph by Jenny Antill DuBrock (pp. 83, 85, 87); Will Michels (pp. 75, 76, 77, 78, p. 108: © Christophe Crénel 79, 80, 81, 82, 84, 86, 88, 89, 90 [top left and bottom left], The authors of the texts accompanying 91 [right], 92 [left and bottom right], 94, 95, 96, 97 [center the accessions highlights, which are and right]; and Albert Sanchez (pp. 90 [bottom right], illustrated on the front cover and on Highlights of Accessions 92 [top right]). pages 17–61, are identified as follows: Except where noted, all photographs of the Museum’s p. 90 (top right): Mr. William Shakespeare’s Comedies, AF Aimée Froom highlights of accessions are by Thomas R. DuBrock (pp. 17, 18, 19, 20, 21, 26, 28, 32, 37, 41, 50, 58, 60–61); Histories, and Tragedies, 1632, the Museum of Fine Arts, AGP Amy G. Poster Will Michels (cover, and pp. 25, 27, 29, 31, 33, 34, 40, 42, 46, Houston, Hirsch Library, gift of Mr. and Mrs. ALG Alison de Lima Greene 51, 52, 54, 55, 56, 57, 59; and Albert Sanchez (pp. 22, 24, 30, Harris Masterson; (top left): © Wangechi Mutu; (bottom BCB Bradley C. Brooks 47), the Department of Photographic and Imaging Services. left): © Christina Marclay; (bottom right): © Dawoud Bey CD Chelsea Dacus p. 23: Photograph by Matthew Golden CG Christine Gervais p. 91 (top left): Cameron Ottea, Off-Roading, 2016, inkjet print; (right): Andrea Branzi, Prototype for Tree 5, 2008–10, CS Cindi Strauss p. 35: © Estate of Max Weber; anodized aluminum and wood, the Museum of Fine Arts, DB David Bomford photograph by Michael Jay Smith Houston, The American Institute of Architects, Houston DMW Dena M. Woodall p. 36: © Estate of Andrée Fauré Design Collection, museum purchase funded by friends HKA Helga K. Aurisch p. 38: © Estate of Gonzalo Fonseca of Charles Tapley, in his honor. 2011.811. © Studio Branzi LV Lisa Volpe p. 39: © Estate of Francisco Matto MD Malcolm Daniel p. 92 (left): © Adam Magyar; (top right): Henri-Victor RM Rachel Mohl p. 40: © 1973 Fanny Sanín Regnault, Sèvres, La Seine à Meudon, 1852–53, salted paper print from paper negative, the Museum of Fine Arts, p. 41: © Alessandro Mendini Houston, museum purchase funded by The Brown pp. 42–43: © Dedalus Foundation, Inc./ Foundation, Inc., the Manfred Heiting Collection, 2004.635. Licensed by VAGA, New York, NY p. 96 (center): Carlos Garaicoa, Sin título (Hospital infantil) pp. 44–45: © Gilbert and George [Untitled (Children’s Hospital)], 2016, diptych: pins and p. 46: © Sandy Skoglund threads on chromogenic print mounted to gator board, the p. 47: © David Levinthal Museum of Fine Arts, Houston, museum purchase funded by Alfred C. Glassell, III in honor of Mari Carmen Ramírez pp. 48, 49: © Fazal Sheikh and Mike Wellen at “One Great Night in November, 2016,” p. 50: © Tony Oursler 2016.213. © Carlos Garaicoa

p. 51: © Mickalene Thomas p. 97 (right): Magdalena Fernández, 2iPM009, 2009, video p. 52: © Mitch Epstein installation with sound, edition 2/3 + artist proof, dimensions variable, the Museum of Fine Arts, Houston, museum p. 53: © David Taylor purchase funded by the Caribbean Art Fund and the p. 54: © Paul Mpagi Sepuya Caroline Wiess Law Accessions Endowment Fund, 2012.84. p. 55: © Richard Learoyd © Magdalena Fernández. Overall view as installed in the Cistern at Buffalo Bayou Park, 2017 p. 56: © Francesco Clemente p. 57: © Linarejos Moreno p. 58 (top): © 2017 Jenny Holzer, member Artists Rights Society (ARS), NY p. 58 (bottom): © Shari Mendelson p. 59: © Robert Gober pp. 60–61: © 2016 Pipilotti Rist. All rights reserved. Courtesy of the artist, Luhring Augustine, New York and Hauser & Wirth

132 MFAH BY THE NUMBERS July 1, 2016–June 30, 2017

• 1,000 volunteers and docents served the MFAH

• 657 permanent and temporary staff were employed by the MFAH The Museum The Houston Arts, Fine of

μ˙ annual 2016–2017 report

μ˙ The Museum of Fine Arts, Houston ANNUAL REPORT 2016–2017