ADMIION I FR DIRCTION 10:00 TO 5:00 National Gallery of Art Release Date: April 27, 2016 Janine Antoni, Sally Mann, Christina Ramberg, and Roger Brown Acquisitions Made Possible by the Collectors Committee Enter the National Gallery of Art's Collection Janine Antoni, Lick and Lather, 1993. Complete set of fourteen usts: seven chocolate and seven soap on fourteen pedestals dition 1/1 From an edition of 1 and 1 artist's proof National Galler of Art, Washington Gift of the Collectors Committee Washington, DC—The National Galler of Art recentl acquired Lick and Lather (1993) Janine Antoni, argual her most famous work, two untitled photographs all Mann, and eight images Chicago Imagist artists Christina Ramerg and Roger rown. "The Collectors Committee, with the generous support of other donors, has enhanced the Galler's growing contemporar holdings with groundreaking works Janine Antoni and all Mann as well as the addition to the Galler's Chicago Imagist collection of works on paper," said arl A. Powell III, director, National Galler of Art. "We are ver grateful to the Collectors Committee for their continued support of the Galler's collection of modern art." Janine Antoni, Lick and Lather (1993) This iteration of Lick and Lather, the onl extant set of 14 usts, was first shown at the 1993 Venice iennale, and later that ear at the andra Gehring Galler in New York. To make the work, Antoni cast her own head and shoulders from life in two materials, chocolate and soap, producing seven of each. he then licked the chocolate usts and athed with the soap casts, re-shaping her "self-portrait." Lick and Lather reflects on the nature of cast sculpture as a reproductive medium while questioning the idealizing tradition of classical sculpture, and the mutale character of contemporar materials. The 14 usts ma e arranged in two parallel rows of seven, with the chocolate usts facing the soap usts, or in a circle, depending on the architectural setting. Antoni is a leading contemporar artist whose performative work has consistentl emploed her od as a tool, transforming the processes of dail rituals–like eating and washing—into art. The results create a rich inter-media oeuvre comprising photograph, video, sculpture, and installation, that weave together primal concerns of the mind and od. Antoni emerged with a generation of peers, including Glenn Ligon and ron Kim, whose concerns with identit and social relations direct their respective work. orn in Freeport, ahamas, in 1964, Antoni received her .A. from arah Lawrence in 1986, and a M.A. in sculpture from the Rhode Island chool of Design in 1989 efore moving to New York, where she continues to live and work. he is the recipient of several prestigious awards including a John D. and Catherine T. MacArthur Fellowship in 1998, the Larr Aldrich Foundation Award in 1999, The John imon Guggenheim Memorial Foundation Fellowship in 2011, a 2012 Creative Capital Artist Grant, the 2014 Anonmous Was A Woman award, and a 2014 project grant from the Pew Center for Arts and Heritage to collaorate with choreographers Anna Halprin and tephen Petronio at the Faric Workshop and Museum in Philadelphia on an exhiition opening in 2016. all Mann, Deep outh #16 (Three Drips) (1998) and attlefields #27 (attle, Cold Haror) (2003) In the mid-1990s, Mann turned her attention from the intimate photographs of her children to the American outh, a muse that had een a constant presence in her life and the ackground. At this time, she also egan to investigate 19th-centur photographic processes, notal the wet collodion method of making negatives, which she said allowed her to capture "the radical light of the outh." Although the Galler owns 25 photographs Mann, the two new acquisitions are the first from her important series on outhern landscapes and Civil War attlefields to enter the collection, made possile with additional support from the arah and William L Walton Fund. In Deep outh #16 (Three Drips) (1998), made in a miasmal swamp, and attlefields #27 (attle, Cold Haror) (2003), made at the Cold Haror attlefield outside Richmond, Virginia, a Civil War site of a horrific loss of life, she explores the meaning of the outh as place and identit, homeland and graveard, refuge and attleground. orn in Lexington, Virginia, in 1951, Mann received achelor's and master's degrees in creative writing from Hollins College in Roanoke, Va., in 1974 and 1976. he pulished her first ook of photographs, econd ight, in 1983, and her second ook, At Twelve: Portraits of Young Women, in 1988. The 1992 pulication Immediate Famil—intimate pictures of her husand and children set in the Arcadian landscape surrounding their summer cain on the Maur River in Lexington—rought her to national attention. ince then, she has pulished man ooks, including What Remains (2003) and Deep outh (2005). In 2015, her highl acclaimed memoir, Hold till: A Memoir with Photographs, was a finalist for a National ook Award and won the Andrew Carnegie Medal for xcellence in Non-Fiction. he has received grants from numerous institutions, including the National ndowment for the Arts, the National ndowment for the Humanities, and the Guggenheim Foundation. Chicago Imagists Christina Ramerg and Roger rown The Galler's rapidl expanding collection of Chicago Imagist art is enhanced with the addition of eight works on paper Christina Ramerg (1946– 1995) and Roger rown (1941–1997). First gaining attention in the late 1960s, the artists who ecame known as Chicago Imagists were affiliated with the chool of the Art Institute of Chicago and exhiited at Chicago's Hde Park Art Center under the names Hair Who, Nonplussed ome and False Image. The work of this loosel affiliated group was stlisticall diverse, consistentl figurative, and drew upon popular culture as well as surrealist, vernacular, and outsider art. The three untitled drawings Ramerg acquired the Galler depict the female od in various poses, wearing tight-fitting undergarments evocative of the 1940s. Made earl in her career, etween 1968 and 1973, the recall the surrealist fascination with fetishism and pschosexual tension. Heads and ack-to-ack, oth from 1973, depict acks of heads and women's torsos ound tightl in sheathing, almost like od armor. Two 1977 etchings, inking and tanding While All Around Are inking, reveal rown's idiosncratic view of the world with high-rise uildings that lean and sink into the ground and inhaitants that are visile through rightl lit windows. rown's color woodcut, Famil Tree Mourning Print (1987), relates to Victorian-era mourning prints portraing women standing eside gravestones, their heads owed in grief. The woman in rown's composition stands near a tree, whose leaf ranches are inscried with names of wars fought either on American soil or American soldiers. eginning in earl 2015, the Galler expanded its collection of works Chicago Imagist artists with three works acquired from the Corcoran Galler of Art, 17 works donated Washington collectors o tana and Tom Jud, and 15 works purchased the Galler. With the acquisition of these eight works on paper Ramerg and rown using Collectors Committee funds, the Galler now has a solid foundation of Chicago Imagist art on which to uild. Prints, Drawings, Illustrated ooks, and Photographs at the National Galler of Art The Galler's collection of prints, drawings and illustrated ooks consists of more than 117,000 works on paper (prints, drawings, watercolors, illuminated manuscripts and illustrated ooks) uropean and American artists that date from the 12th centur to the present da. Works on paper not on view ma e studied appointment in the Galler's Print and Drawing tud Rooms calling (202) 842-6380 (uropean works) or (202) 842– 6605 (American works) or e-mail [email protected]. The stud room for uropean works of art on paper is located in the ast uilding and the stud room for American works of art on paper is in the West uilding. The Galler's photograph collection includes some 15,000 works spanning the histor of the medium from 1839 to the present. The strengths of the collection are large and important groups several major 20th-centur American photographers, such as Alfred tieglitz, Paul trand, Walker vans, Roert Frank, and Roert Adams. To make an appointment to view photographs, call (202) 842-6144 or e-mail [email protected] Collectors Committee The Collectors Committee, formed in 1975, helps select and finance commissions to fill the pulic spaces of the ast uilding. It has estalished a curatorial discretionar fund for acquiring prints, drawings and photographs to acquire major 20th- and 21st-centur paintings and sculpture for the Galler. Founding enefactor Paul Mellon asked Ruth Carter tevenson, chair of the Galler's oard of trustees from 1993 to 1997, to e the first chair of the Collectors Committee. Denise aul and Kle Krause are the current co-chairs of the Collectors Committee. A major collector of 20th-centur art, aul lives in New York with her husand Andrew and is a leading cultural philanthropist. CO of the midwestern convenience store chain Kum & Go, Krause is a major collector of contemporar art and resides with his wife haron in West Des Moines, Iowa. To date, the Collectors Committee has made possile the acquisition of some 300 works of art; approximatel half of these are works living artists. Major artists include Louise ourgeois, Alexander Calder, Dan Flavin, va Hesse, Anselm Kiefer, arara Kruger, Norman Lewis, René Magritte, Kerr James Marshall, Joan Miró, Jackson Pollock, Martin Purear, Gerard Richter, Wane Thieaud, and Anne Truitt.