Collection Acquisitions & Loans

Student Docent Fiona Asokacitta studies works in the Block Collection

THE COLLECTION IN 2020-21: ACQUISITIONS & LOANS

COLLECTION DATABASE WORK

PRODUCTIVE CONSTRAINTS

WRITING ALT TEXTS AT THE BLOCK

ONGOING PROJECT

As The Block pivoted to online engagement our staff continued to consider how to center equity and inclusion in our digital work. Thanks to the dedicated efforts of the Collections team, almost 6,000 high resolution images of artworks in the collection are now visible on our new public-facing collections site. After the site’s launch in fall 2020, we began to think about how to make the site more accessible to visitors who are blind or visually impaired.

Melanie Garcia Sympson, Curatorial Associate, enlisted Amelia Mylvaganam (Radio/ Television/Film & Computer Science 2023), Curatorial Research Aide, in launching a pilot program to add alternative texts (or “alt texts”) to artworks our collection database.

The pair began by seeking guidance from AccessibleNU and researching best practices created by colleagues at other museums, before drawing up a plan and a style guide for the Block’s own alt-text work. Working alongside student researchers Janitza Luna and Joyce Wang in Spring 2021, Melanie and Amelia have already added alt texts for about 350 works, or 6% of the collection. Creating these texts has been a learning process, one that raised questions around how anyone, regardless of ability, views and accesses artwork.

Alt texts are short descriptions of images, typucally 10-15 words, and around 100 characters long, that are read by screen readers as users navigate websites and apps. This feature is vital for individuals who are visually impaired.

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COLLECTION DATABASE WORK

ART, ACCESS, AND AGENCY

TALK WITH GALLERY SYSTEMS ABOUT THE BLOCK’S ONLINE COLLECTION

ONGOING PROJECT

Northwestern University’s The Block Museum of Art is placing a stronger focus on its digital initiatives in a resounding response to the COVID-19 pandemic. As a teaching and learning museum, the institution is upholding its mission statement of “presenting art across time, cultures, and media” by pursuing innovative ways to open its doors virtually to students, faculty, and the public. Through staff’s recent efforts, The Block launched a new eMuseum online collections site, actively hosting virtual tours through its 6,000-object collection, and collaborating with Northwestern to bring (formerly in-person) events online, creating an interdisciplinary experience for audiences.

Our eMuseum is powered by Gallery Systems, a software development company whose interwoven suite of collections management solutions have been used by the world’s most elite museums and institutions. They learned about these dynamic changes at The Block and interviewed Melanie Garcia Sympson, The Block's Curatorial Associate. Melanie gave a closer look at what roles curatorial teams can play in undertaking online collections and projects, while sharing how collections management software shapes research and learning in a university setting.

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COLLECTION HIGHLIGHTS

SPOTLIGHT SERIES

The Block Collection Spotlight series invites a closer look at objects in the Block Museum permanent collection from students, staff, faculty, and museum audiences. The monthly blog allows for new scholarship and new perspectives on collection work.

SCOTTSBORO LIMITED, PRENTISS TAYLOR BY CORINNE GRANOF

Taylor’s image of the Scottsboro case, paired with Hughes’s spare and powerful language, became an indictment against racism that was rampant in society and especially in the judicial system. Along with the other prints in the series, Scottsboro Limited, is an example of the belief that art can play a role in repairing society.

EBOLA TIMES, EMMANUEL BAKARA DAOU BY KATHLEEN BICKFORD BERZOCK

With Le temps Ebola, Daou used photography to witness and communicate the physical and psychological toll of trauma. Together the six photographs in the series evoke the anticipation, confusion, and urgency of a sudden public health crisis. With imagery that moves from the surreal reality of makeshift emergency centers to the uncanny fiction of an all-too-real “what if” scenario that envisions the virus entering Mali’s largest city, Daou’s photographs unflinchingly probe how an epidemic raises awareness of the razor’s edge between life and death and invites reflection on the proximity of the supernatural.

RUE TRANSNONAIN, ON APRIL 15, 1834, HONORÉ DAUMIER BY BAILEY PEKAR

The somber tone of this scene distinguishes Rue Transnonain from the rest of Daumier’s oeuvre of social and political commentary. In this image, there is no caricature or witty comment. Instead, he is using his skill to show the story of what happened on April 15, 1834, on Rue Transnonain, documenting an historical event of government-sponsored violence against its own people. He toes the line between news and art in an era before photography, before instantaneous sharing via social media and the internet.

CHICAGO, ILL., CHARLES SWEDLUND BY CORINNE GRANOF

Swedlund’s interest in process and visual experimentation perhaps begins with Chicago, Ill., with its obscured figure, stark lighting contrasts. The work combines Swedlund’s early interest in the city as theme—one he shared with many of his ID colleagues (including his teachers Harry Callahan and Aaron Siskind, as well as students Wayne Miller, Ray Metzger, Barbara Crane, and Richard Nickel)—with his growing interest in the technical possibilities of the camera and in representing the world in a non-objective way.

MEXICAN STREET SCENED, MIGUEL COVARRUBIAS BY MELANIE GARCIA SYMPSON

Research by Luna and Wang helped us understand the social and historical contexts of Mexican Street Scene – on the surface, a seemingly simple nostalgic print. We began to understand the generalized title and depiction of rural figures as representative of the pride of an artist determined to shine a light on the important contributions of Mexican artists to the international modernist movement. At the same time, the print can be understood within the practice of appropriating folk and indigenous culture to present a more unified Mexican (and often flattened) identity.

“The Hollanders’ generous gifts have become the foundation of our modern photography collection here at The Block; Steichen’s works are in continuous circulation and study by students and researchers who make active use of our Eloise W. Martin Study Center. We are honored to fulfill the Hollanders’ goals of ensuring greater public access to Steichen’s remarkable art,” –Lisa Corrin, Ellen Philips Katz Director, The Block Museum of Art

Edward Steichen (American, born Luxembourg, 1879 - 1973) Amelia Earhart, for Vanity Fair 1931 Gelatin silver print 10 × 8 in. Mary and Leigh Block Museum of Art, Northwestern University, gift of Richard and Jackie Hollander in memory of Ellyn Lee Hollander 2019.29.28

ACQUISITION NEWS

THIRD MAJOR GIFT OF STEICHEN PHOTOGRAPHS BROADENS BLOCK MUSEUM TEACHING COLLECTION

OCTOBER 06, 2020

Northwestern University’s Block Museum of Art has acquired 41 silver gelatin and platinum prints by renowned American artist Edward Steichen from collectors Richard and Jackie Hollander.

The donation broadens the museum’s already significant holding of vintage prints by Steichen. The gift is the third to the museum from the Hollander family, who donated 49 Steichen prints to The Block in 2013, and 44 in 2017.

The extraordinary new group of works includes portraits of historical figures such as Carl Sandburg, Amelia Earhart and Thomas Mann; examples of the artist’s commercial advertising images for brands such as Kodak and Jergens; fashion studies for Vogue and Vanity Fair; and early photographic experiments executed in the late 19th century during the artist’s teenage years.

Regarded as one of the greatest photographers of the 20th century, Steichen (1879–1973) transformed the medium through his innovations in portrait, fashion, theater, horticultural and advertising photography.

ACQUISITION NEWS

THE BLOCK RECEIVES GIFT OF POSTERS BY ARGENTINEAN POP ARTIST EDGARDO GIMÉNEZ

OCTOBER 06, 2020

The Block Museum proudly announces a gift of mid-twentieth century posters that significantly expands its holdings of Latin American art, graphic design, and Pop Art.

In recognition of the presentation of the exhibition Pop América, 1965–1975 (fall 2019), The Block has received a donation of 18 archival posters by Edgardo Giménez (Argentinean, born 1942). A generous gift from the Institute for Studies on Latin American Art (ISLAA), New York, these works contribute to the museum’s goals to acquire work with rich connections to Northwestern’s curriculum and deepen its representation of modern and contemporary culture from international perspectives.

Established in 2011, The Institute for Studies on Latin American Art (ISLAA) is dedicated to increasing the visibility of Latin American art on a global scale. Since its creation, ISLAA has played an international role in fostering advanced research and public engagement in the field. ISLAA views fine arts and graphic design as being intricately related, and understands posters as a fundamental element within the larger narrative of art history.

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Edgardo Giménez (Argentine, born 1942), Untitled (Fuera de caja proof), 1970, Offset lithograph on paper. 14 3/4 × 22 inches. Mary and Leigh Block Museum of Art, Northwestern University, gift of the Institute for Studies on Latin American Art (ISLAA) 2020.10.15

Stephanie Alaniz (American, born 1991) We Are What Make America Great, from the portfolio The Trumped 2.0 2020 Lithograph and screenprint on paper 15 x 20 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the participating artists 2021.3.1

Brett Anderson (American) The Reoccuring Nightmare, from the portfolio Trumped 2.0 2020 Lithograph and screenprint on paper 20 × 15 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the participating artists 2021.3.3 Marty Azevedo (American, born 1982) The Pit, from the portfolio Trumped 2.0 2020 Lithograph on paper 20 × 15 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the participating artists 2021.3.2

Michael Barnes (American, born 1969) Stimulus Maximus, from the portfolio Trumped 2.0 2020 Hand-colored lithograph on paper 20 × 15 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the participating artists 2021.3.4

Sasha Bitzer (American, born 1988) Beneath the Daisies, from the portfolio Trumped 2.0 2020 Lithograph on paper 15 × 20 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the participating artists 2021.3.5

John Cage (American, 1912–1992) Not Wanting to Say Anything about Marcel 1969 Eight silkscreens on Plexiglas on wood base 15 × 14 1/2 × 24 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of Richard and Mary L. Gray Collection 2021.9.1 Chuck Close (American, born 1940) Self-Portrait 2007 Color screenprint on paper 74 1/2 × 57 3/4 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of Robert and Diane Saltzman 2020.12

Sydney Cross (American, born 1955) Vanity, from the portfolio Trumped 2.0 2020 Lithograph on paper 15 × 20 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the participating artists 2021.3.6 Jesus Santa Cruz (Mexican-American) Destroyer and Chief, from the portfolio Trumped 2.0 2020 Stone lithograph on paper 15 × 20 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the participating artists 2021.3.26

Andrew DeCaen (American, born 1974) Drop Leaf, from the portfolio Trumped 2.0 2020 Lithograph and screenprint on paper 20 × 15 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the participating artists 2021.3.7

"Seven Imitate is a suite of seven prints and are examples of how Brendan Fernandes works at the intersection of dance and visual arts, reflecting themes of otherness, colonialism, and institutional critique. The prints were made during several research visits to Queen’s University in Kingston, Ontario. There Fernandes worked with The Justin and Elisabeth Lang Collection of African Art at the university museum, the Agnes Etherington Art Centre.

These visual collages call attention to the dislocation of objects through colonization, appropriation, and cultural tourism. The dancer’s limbs and body parts are playfully manipulated to merge with African art objects. The collapsing of dance forms an collected objects raises questions about the display and discursive frameworks that shape understanding of African art within Western museums. In the images and title, Fernandes has adapted the idea of the imitator in West African masquerade and ritual. According to Fernandes, the imitator serves as a trickster character, often appearing as a hybrid of human and animal form These forms and ideas have personal relevance in Fernandes’s work and life, as well. The recombinations of forms recall Fernandes’s lifeexperiences as a classically trained ballet dancer and as an immigrant from Kenya.

By combining the ballet body fragments with the African art and artifacts, Fernandes reanimates objects that are removed from their cultural origins in a sense and makes dynamic, vital, and playful collages that emphasize hybridity and adaptable nature of identity.

Brendan Fernandes (Canadian, born Kenya, 1979) Seven Imitate I-VII 2015 Seven siligraph prints on paper 42 × 29 3/4 inches each Mary and Leigh Block Museum of Art, Northwestern University, gift of Anne, Beth, Michael, and Charlie Kaplan 2021.7.1-7 TOP TO BOTTOM, LEFT TO RIGHT:

2021.7.1, 2021.7.3, 2021.7.4 2021.7.5, 2021.7.6, 2021.7.7

Filmed on location in Harlem, New York, and in Claude Monet’s historic gardens in Giverny, France, The Giverny Suite is a multi-textured cinematic poem that meditates on the safety and bodily autonomy of Black women. The work unleashes an arsenal of techniques and materials, including direct animation on archival 16mm film, woman-on-the-street interviews, and montage editing, to explore the creative virtuosity of Black femme performance figures whileinterrogating the histories of those bodies as spaces of forced labor and commodified production.

– Ja'Tovia Gary, artist statement

Ja'Tovia Gary (American, born 1984) The Giverny Suite 2019 Three-channel video installation, color / black and white, with stereo sound, 39:56 minutes, loop Variable dimensions Mary and Leigh Block Museum of Art, Northwestern University, Julie and Lawrence Bernstein Family Art Acquisition Fund purchase 2020.8

Edgardo Giménez (Argentine, born 1942) Edgardo Giménez en la galería Rioboo 1964 Lithograph on paper 22 1/2 × 14 1/4 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the Institute for Studies on Latin American Art (ISLAA) 2020.10.1

Edgardo Giménez (Argentine, born 1942) Néstor Cruz: Expone dibujos de la (serie de los ministerios) 1964 Lithograph on paper 23 3/16 × 11 9/16 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the Institute for Studies on Latin American Art (ISLAA) 2020.10.2

Edgardo Giménez (Argentine, born 1942) Danza. Primera aproximación 1964 Offset lithograph on paper 23 3/16 × 16 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the Institute for Studies on Latin American Art (ISLAA) 2020.10.3

Edgardo Giménez (Argentine, born 1942) Guzmán Loza – Galería Rioboo 1964 Silkscreen on paper 23 5/8 × 10 1/4 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the Institute for Studies on Latin American Art (ISLAA) 2020.10.4

Edgardo Giménez (Argentine, born 1942) Antonio Berni dialoga sobre su obra con Eduardo González Lanuza 1965 Silkscreen on paper 23 1/8 × 16 1/16 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the Institute for Studies on Latin American Art (ISLAA) 2020.10.5

Edgardo Giménez (Argentine, born 1942) Carlos Squirru – Produzca más, modifique su esqueleto 1965 Lithograph on paper 23 3/16 × 15 1/2 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the Institute for Studies on Latin American Art (ISLAA) 2020.10.6 Edgardo Giménez (Argentine, born 1942) Dalila Puzzovio – La matabrujas de más calidad 1965 Lithograph on paper 23 3/16 × 15 1/8 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the Institute for Studies on Latin American Art (ISLAA) 2020.10.7

Edgardo Giménez (Argentine, born 1942) Edgardo Giménez – En la duda: un enano 1965 Lithograph on paper 22 1/2 × 15 9/16 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the Institute for Studies on Latin American Art (ISLAA) 2020.10.8

Edgardo Giménez (Argentine, born 1942) Luis Felipe Noé Conferencia – La creación en un país joven y subdesarrollado 1965 Lithograph on paper 15 1/2 × 20 3/8 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the Institute for Studies on Latin American Art (ISLAA) 2020.10.9

Edgardo Giménez (Argentine, born 1942) Edgardo Giménez – Las Panteras Objetos 1966 Offset lithograph on paper 13 15/16 × 23 3/16 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the Institute for Studies on Latin American Art (ISLAA) 2020.10.10

Edgardo Giménez (Argentine, born 1942) Los medios audiovisuales en la comunidad contemporánea 1966 Offset lithograph on paper 23 × 15 1/2 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the Institute for Studies on Latin American Art (ISLAA) 2020.10.11 Edgardo Giménez (Argentine, born 1942) Arte 67 1967 Offset lithograph on paper 23 3/16 × 14 3/16 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the Institute for Studies on Latin American Art (ISLAA) 2020.10.13

Edgardo Giménez (Argentine, born 1942) Edgardo Giménez Edgardo Giménez Edgardo Giménez 1967 Lithograph on paper 9 3/8 × 22 5/8 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the Institute for Studies on Latin American Art (ISLAA) 2020.10.14

Edgardo Giménez (Argentine, born 1942) Untitled (Fuera de caja proof) 1970 Offset lithograph on paper 14 3/4 × 22 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the Institute for Studies on Latin American Art (ISLAA) 2020.10.15

Edgardo Giménez (Argentine, born 1942) Love (Butterfly) 1970 Color silkscreen on paper 10 1/4 × 9 1/16 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the Institute for Studies on Latin American Art (ISLAA) 2020.10.16

Edgardo Giménez (Argentine, born 1942) Un cuarto de mujer 1981 Offset lithograph on paper 28 5/8 × 18 3/8 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the Institute for Studies on Latin American Art (ISLAA) 2020.10.17

Edgardo Giménez (Argentine, born 1942) Jorge Romero Brest – Homenaje 1989 Offset lithograph on paper 28 1/16 × 15 5/16 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the Institute for Studies on Latin American Art (ISLAA) 2020.10.18

Edgardo Giménez (Argentine, born 1942) Narcisa Hirsch con Walter Mejía en Concepción – vida – muerte y transfiguración 1966 Offset lithograph on paper 23 × 16 7/16 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the Institute for Studies on Latin American Art (ISLAA) 2020.10.12

We are honored that the Institute for Studies on Latin American Art has chosen The Block Museum of Art among the national institutions to house this work. These vibrant posters will be widely utilized in teaching and learning across Northwestern by students studying advertising, design, and Latin American culture and politics among many other disciplines. –Lisa Corrin, Ellen Philips Katz Director, The Block Museum of Art

Michelle Goans (American, born 1988) This Pussy Grabs Back, from the portfolio Trumped 2.0 2020 Lithograph on paper 15 × 20 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the participating artists 2021.3.8

Dan Heskamp (American, born 1985) Soft- Spoken, from the portfolio Trumped 2.0 2020 Lithograph on paper 15 × 20 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the participating artists 2021.3.9

Pearl Hirshfield (American, born 1922) Transfer drawing on film for the print Pieta 1975 Black media on transparent film 24 1/4 × 18 1/8 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of Pearl Hirshfield 2020.13.1

Pearl Hirshfield (American, born 1922) Transfer drawing on film for the print Pieta 1975 Black media on opaque film with white lettering 24 1/4 × 18 1/8 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of Pearl Hirshfield 2020.13.2

"Pietá is an anti-war image of a mother and deceased and brutalized son. Hirshfield, who has been an artist and activist in Chicago throughout her life, created this work in 1975, nearing the end of the Vietnam War or shortly after. The imagery picks up on the classic iconography of a Pietá and uses Renaissance composition of a mother with her dead son on her lap. The body of the boy is dismembered, and the abdomen is open as if the work were a medical illustration showing the abdominal cavity. With severed limbs and organs exposed, the boy is a sacrifice to the senseless cause of war. The work alludes to the tragic loss of life through names of boys who were killed as soldiers, although it is not known whether the names have specific references." –Corinne Granof, Academic Curator

Winslow Homer (American, 1836–1910) March Winds (top) and April Showers (bottom), from Harper’s Weekly, April 2, 1859 1859 Wood engraving on newsprint 16 x 11 3/8 x 1/8 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of Michael Lukasiewicz and Martha Tedeschi 2021.2.1

Winslow Homer (American, 1836–1910) Christmas boxes in Camp, from Harper’s Weekly, January 4, 1862 1862 Wood engraving on newsprint 16 1/16 x 11 5/16 x 1/8 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of Michael Lukasiewicz and Martha Tedeschi 2021.2.2

Winslow Homer (American, 1836–1910) The Surgeon at Work at the Rear during an Engagement; The War for the Union, 1862—the Bayonet Charge 1862, from Harper’s Weekly, July 12, 1862 Wood engraving on newsprint 15 7/8 x 11 3/8 x 1/8 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of Michael Lukasiewicz and Martha Tedeschi 2021.2.3

Winslow Homer (American, 1836–1910) Rebels Outside Their Works at Yorktown; Union Cavalry and Artillery; Charge of the First Massachusetts Regiment, from Harper’s Weekly, May 17, 1862 1862 Wood engraving on newsprint 15 7/8 x 11 3/8 x 1/8 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of Michael Lukasiewicz and Martha Tedeschi 2021.2.4

Winslow Homer (American, 1836–1910) Thanksgiving in Camp, from Harper’s Weekly, November 29,1862 1862 Wood engraving on newsprint 16 x 11 3/8 x 1/8 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of Michael Lukasiewicz and Martha Tedeschi 2021.2.5

Winslow Homer (American, 1836–1910) Home from the War, from Harper’s Weekly, June 13, 1863 1863 Wood engraving on newsprint 16 x 11 3/8 x 1/8 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of Michael Lukasiewicz and Martha Tedeschi 2021.2.6 Winslow Homer (American, 1836–1910) The Great Russian Ball at the Academy of Music, from Harper’s Weekly, November 21, 1863 1863 Wood engraving on newsprint 15 7/8 x 11 1/4 x 1/8 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of Michael Lukasiewicz and Martha Tedeschi 2021.2.7

Winslow Homer (American, 1836–1910) Our Watering Places—The Empty Sleeve at Newport; Horse Races at Saratoga, from Harper’s Weekly, August 26, 1865 1865 Wood engraving on newsprint 16 1/8 x 11 1/4 x 1/8 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of Michael Lukasiewicz and Martha Tedeschi 2021.2.8

Winslow Homer (American, 1836–1910) Christmas Belles, from Harper’s Weekly, January 2, 1869 1869 Wood engraving on newsprint 16 1/4 x 11 3/8 x 1/8 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of Michael Lukasiewicz and Martha Tedeschi 2021.2.9

Winslow Homer (American, 1836–1910) On the Beach, from Harper’s Weekly, August 17, 1872 1872 Wood engraving on newsprint 15 7/8 x 11 1/4 x 1/8 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of Michael Lukasiewicz and Martha Tedeschi 2021.2.10

Winslow Homer (American, 1836–1910) Under the Falls—Catskills Mountains, from Harper’s Weekly, September 14, 1872 1872 Wood engraving on newsprint 16 1/4 x 11 3/8 x 1/8 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of Michael Lukasiewicz and Martha Tedeschi 2021.2.11

Winslow Homer (American, 1836–1910) Waiting for a Bite, from Harper’s Weekly, August 22, 1874 1874 Wood engraving on newsprint 15 7/8 x 11 3/16 x 1/8 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of Michael Lukasiewicz and Martha Tedeschi 2021.2.12

Winslow Homer (American, 1836–1910) Gathering Berries, from Harper’s Weekly, July 11, 1874 1874 Wood engraving on newsprint 15 7/8 x 11 3/16 x 1/8 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of Michael Lukasiewicz and Martha Tedeschi 2021.2.13 Winslow Homer (American, 1836–1910) Raid on a Sand Swallow Colony. How many Eggs?, from Harper’s Weekly, June 13, 1874 1874 Wood engraving on newsprint 16 × 11 3/8 × 1/8 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of Michael Lukasiewicz and Martha Tedeschi 2021.2.14

Winslow Homer (American, 1836–1910) Seesaw, Gloucester Massachusetts, from Harper’s Weekly, September 12, 1874 1874 Wood engraving on newsprint 15 7/8 x 11 3/8 x 1/8 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of Michael Lukasiewicz and Martha Tedeschi 2021.2.15

Harper’s Weekly, January 8, 1859 1859 Wood engraving on newsprint 15 7/8 × 11 1/16 × 1/8 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of Michael Lukasiewicz and Martha Tedeschi 2021.2.16

Harper’s Weekly, July 9, 1859 1859 Wood engraving on newsprint 15 7/8 × 11 1/8 × 1/8 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of Michael Lukasiewicz and Martha Tedeschi 2021.2.17 Harper’s Weekly, February 6, 1864 1864 Wood engraving on newsprint 15 15/16 × 11 3/8 × 1/8 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of Michael Lukasiewicz and Martha Tedeschi 2021.2.18

Winslow Homer (American, 1836–1910) The Seceding Mississippi Delegation in Congress, from Harper’s Weekly, February 2, 1861 1861 Wood engraving on newsprint 16 × 11 3/8 × 1/8 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of Michael Lukasiewicz and Martha Tedeschi 2021.2.19

Matthew Hopson- Walker (American, born 1976) Head Hedonist, from the portfolio Trumped 2.0 2020 Stone and photolithograph on paper 15 × 20 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the participating artists 2021.3.10

Rashid Johnson (American, born 1977) Untitled (Anxious Man) 2015 Black soap and wax on white ceramic tile 74 × 47 × 3 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the Kruger Family 2020.9.1 [OPPOSITE PAGE]

"In this work, Rashid Johnson uses black soap, a cleanser composed of natural materials including plant ash and coconut oil. Black soap originates from West Africa and is traditionally sold by Afro-centric vendors in the United States. The chaotic circular cuts within the work’s distinctive topography, created by melting and pouring the soap, contradict the orderly rhythm of the white porcelain tile background. This act of subtraction reveals an abstracted head, suggesting a literal stripping away of Black identities.

Untitled (Anxious Man) makes public unwitnessed moments when the ever-present anxiety, fear, and neurosis of living as a Black man in the United States surface. In a recent interview, the artist questions, “How does the Black body function in space when it’s being witnessed, versus when it is not?”

—Mina Pembe Malaz ’21, Art History and Psychology

Tonika Lewis Johnson (American, born 1979) 6900 South Ashland, Chicago, from the series Folded Map™ Project 2017 Pigment print 16 × 20 1/16 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of Lisa Graziose Corrin and Peter Erickson in honor of the commitment to diversity, equity, access, and inclusion pledged in 2021 by the Block’s staff and Board of Advisors 2021.4.1

Tonika Lewis Johnson (American, born 1979) 6925 North Ashland, Chicago, from the series Folded Map™ Project 2017 Pigment print 16 × 20 1/16 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of Lisa Graziose Corrin and Peter Erickson in honor of the commitment to diversity, equity, access, and inclusion pledged in 2021 by the Block’s staff and Board of Advisors 2021.4.2 Tonika Lewis Johnson (American, born 1979) 6720 South Ashland, Chicago, from the series Folded Map™ Project 2017 Pigment print 16 × 20 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of Lisa Graziose Corrin and Peter Erickson in honor of the commitment to diversity, equity, access, and inclusion pledged in 2021 by the Block’s staff and Board of Advisors 2021.4.3

Tonika Lewis Johnson (American, born 1979) 6720 North Ashland, Chicago, from the series Folded Map™ Project 2017 Pigment print 16 × 20 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of Lisa Graziose Corrin and Peter Erickson in honor of the commitment to diversity, equity, access, and inclusion pledged in 2021 by the Block’s staff and Board of Advisors 2021.4.4

Tonika Lewis Johnson (American, born 1979) 6329 South Paulina, Chicago, from the series Folded Map™ Project 2017 Pigment print 16 × 20 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of Lisa Graziose Corrin and Peter Erickson in honor of the commitment to diversity, equity, access, and inclusion pledged in 2021 by the Block’s staff and Board of Advisors 2021.4.5 [LEFT]

Tonika Lewis Johnson (American, born 1979) 6330 North Paulina, Chicago, from the series Folded Map™ Project 2017 Pigment print 16 × 20 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of Lisa Graziose Corrin and Peter Erickson in honor of the commitment to diversity, equity, access, and inclusion pledged in 2021 by the Block’s staff and Board of Advisors 2021.4.6 [RIGHT]

Tonika Lewis Johnson (American, born 1979) 6327 South Hermitage, Chicago, from the series Folded Map™ Project 2017 Pigment print 16 × 20 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of Lisa Graziose Corrin and Peter Erickson in honor of the commitment to diversity, equity, access, and inclusion pledged in 2021 by the Block’s staff and Board of Advisors 2021.4.7

Tonika Lewis Johnson (American, born 1979) 6333 North Hermitage, Chicago, from the series Folded Map™ Project 2017 Pigment print 16 × 20 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of Lisa Graziose Corrin and Peter Erickson in honor of the commitment to diversity, equity, access, and inclusion pledged in 2021 by the Block’s staff and Board of Advisors 2021.4.8

Tonika Lewis Johnson (American, born 1979) 6135 South Wolcott, Chicago, from the series Folded Map™ Project 2017 Pigment print 16 × 20 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of Lisa Graziose Corrin and Peter Erickson in honor of the commitment to diversity, equity, access, and inclusion pledged in 2021 by the Block’s staff and Board of Advisors 2021.4.9

Tonika Lewis Johnson (American, born 1979) 6129 North Wolcott, Chicago, from the series Folded Map™ Project 2017 Pigment print 16 × 20 1/16 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of Lisa Graziose Corrin and Peter Erickson in honor of the commitment to diversity, equity, access, and inclusion pledged in 2021 by the Block’s staff and Board of Advisors 2021.4.10 Tonika Lewis Johnson (American, born 1979) 6514 South Damen, Chicago, from the series Folded Map™ Project 2017 Pigment print 16 × 20 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of Lisa Graziose Corrin and Peter Erickson in honor of the commitment to diversity, equity, access, and inclusion pledged in 2021 by the Block’s staff and Board of Advisors 2021.4.11

Tonika Lewis Johnson (American, born 1979) 6516 North Damen, Chicago, from the series Folded Map™ Project 2017 Pigment print 16 × 20 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of Lisa Graziose Corrin and Peter Erickson in honor of the commitment to diversity, equity, access, and inclusion pledged in 2021 by the Block’s staff and Board of Advisors 2021.4.12 "When looking at Tonika Johnson’s work, I think of the ever-changing landscape that is Chicago. It is a city known for its racially segregated neighborhoods but also for the rapid gentrification happening within these spaces. During my early childhood, I lived in the neighborhood of Pilsen. Whenever I pass through the area now, I see the ways the neighborhood has changed and continues to change. Although more resources are being brought in, I question who gets to benefit from them. In the Folded MapTM Project, Johnson connects residents who share corresponding addresses on the same street, but on the North and South sides of Chicago. Photographing both locations, she showcases the differences in available funding and resources between neighborhoods. Johnson’s project and the interactions she facilitates between residents question the racial dynamics at play. "

—Cristobal Alday ’18, Art History and Latino/a Studies, Block Curatorial Intern 2016

Tonika Lewis Johnson (American, born 1979) Twins Nanette and Wade together on Wade’s porch, from the series Map Twins, Folded Map™ Project 2018 Inkjet print on paper 24 × 36 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the artist 2021.11.1 Tonika Lewis Johnson (American, born 1979) Wade in front of Nanette’s home, from the series Map Twins, Folded Map™ Project 2018 Inkjet print on paper 18 × 24 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the artist 2021.11.3

Tonika Lewis Johnson (American, born 1979) Nanette on Wade’s porch, from the series Map Twins, Folded Map™ Project 2018 Inkjet print on paper 18 × 24 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the artist 2021.11.2

"Two large-scale photographs by artist Vardi Kahana document and reflect on the state of museums during the COVID pandemic in 2020. Part of the series, The Art of Social Distancing, the photographs were taken at the Tel Aviv Museum in spring 2020. In general, they foreground the empty spaces, without visitors. The Art of Social Distancing #10, Jeff Koons at the TLV Museum shows an exhibition that had opened, but was closed to the public shortly after opening. A masked museum staff member walks through the gallery and gives a sense of the scale of the sculpture. The large-scale, brightly colored, shiny Balloon Dog is the only artwork visible in the large gallery space. In a recent phone call, Kahana spoke about capturing the absurdity of this major artwork essentially stuck in a mid-sized museum during the pandemic." -Corinne Granof, Academic Curator

"In this work Deborah Kass appropriates the style of Pop artist Andy Warhol’s painting of Chairman Mao, leader of the People’s Republic of China from 1949 to 1976 (below). Kass replaces Mao with an image of Gertrude Stein, a writer, art collector, prominent LGBTQ+ icon, and cultural figure of the 20th century. Warhol’s painting undermines Mao’s authoritarian persona by decorating (or defacing) his image with playful colors and scribbles. Kass applies similar techniques to her image of Stein, whose intense expression contrasts with the bright colors and subtle suggestions of makeup around the left eye and mouth. However, unlike the stark contrast between Mao’s infamous reputation and the way he is portrayed by Warhol, Kass’s Chairman Ma presents a more ambiguous commentary on Stein. The portrait is neither obviously subversive nor simply celebratory. " —Chayda Harding ’22, History

Vardi Kahana (Israeli, born 1959) The Art of Social Distancing #10, Jeff Koons at the TLV Museum 2020, printed 2021 Inkjet print, pigment- based 44 1/4 × 31 inches Mary and Leigh Block Museum of Art, purchase funds provided by Lisa Munster Tananbaum and Steven Tananbaum 2021.5.1 [PG. 99]

Vardi Kahana (Israeli, born 1959) The Art of Social Distancing #22, The Israeli Art Collection at the TLV Museum 2020, printed 2021 Inkjet print, pigment- based 38 3/4 × 44 1/4 inches Mary and Leigh Block Museum of Art, purchase funds provided by Lisa Munster Tananbaum and Steven Tananbaum 2021.5.2

Deborah Kass (American, born 1952) Chairman Ma #21 (Gertrude) 1993 Silkscreen and acrylic on canvas 46 1/4 × 41 3/4 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of Alice and Marvin Kosmin 2020.5 [PG. 100]

Brian Kelly (American, born 1969) The Nightmare of 45 and His Confederacy of the KKK, from the portfolio Trumped 2.0 2020 Lithograph on paper 15 × 20 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the participating artists 2021.3.11

Mario Kiran (Indian, born 1974) The Anxious Journey, from the portfolio Trumped 2.0 2020 Lithograph on paper 15 × 20 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the participating artists 2021.3.12 Andrew Kosten (American, born 1979) Ghouls, Squids and Other Invertebrates, from the portfolio Trumped 2.0 2020 Lithograph on paper 15 × 20 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the participating artists 2021.3.13 Beauvais Lyons (American, born 1958) The United States Congress of Trump Impersonators, from the portfolio Trumped 2.0 2020 Lithograph and photolithograph on paper 15 × 20 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the participating artists 2021.3.14

Samantha Mendoza (American, born 1991) Venom of Corruption, from the portfolio Trumped 2.0 2019 Lithograph on paper 20 × 15 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the participating artists 2021.3.15

Emmett Merrill (American, born 1993) Red Death, from the portfolio Trumped 2.0 2020 Color lithograph on BFK tan paper 20 × 15 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the participating artists 2021.3.16

Tatsuo Miyajima (Japanese, born 1957) Model (16) No. 30 1994 Green light emitting diode, IC, electric wire, aluminum panel, and aluminum joint 12 3/8 × 12 3/8 × 6 3/4 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of Richard and Mary L. Gray Collection 2021.9.2 Kimiko Miyoshi (Japanese, born 1964) unravel it, from the portfolio Trumped 2.0 2020 Lithograph and silkscreen on Arnhem 1618 15 × 20 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the participating artists 2021.3.17

Yasumasa Morimura (Japanese, born 1951) An Inner Dialogue with Frida Kahlo (Gift 2) 2001 Chromogenic print 47 1/4 × 37 3/4 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the Kruger Family 2020.9.2 Stone lithograph on paper15 × 20 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the participating artists, 2021.3.18

Peter Nickel (American, born 1951) Iapetus (Moon of Saturn), from the portfolio Trumped 2.0 2020 Two-color lithograph on Arches white paper 15 × 20 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the participating artists 2021.3.19

Meghan O'Connor (American, born 1981) Sticky Situation, from the portfolio Trumped 2.0 2020 Lithograph and screenprint on paper 15 × 20 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the participating artists 2021.3.20

Chris Pappan (Kaw, Osage, Cheyenne River Sioux, born 1971) Definition 1 2018 Graphite, map collage, and acrylic on 1925 Evanston municipal ledger 23 x 18 inches Mary and Leigh Block Museum of Art, Northwestern University, purchase funds provided by the Andra S. and Irwin Press Collections Fund, 2021.10.1

Chris Pappan (Kaw, Osage, Cheyenne River Sioux, born 1971) Of White Bread and Miracles (Gett’n Down) 2020 Graphite, ink, map collage, and gold leaf on embossed 1924 Evanston municipal ledger 18 x 11 1/2 inches Mary and Leigh Block Museum of Art, Northwestern University, purchase funds provided by the Andra S. and Irwin Press Collections Fund 2021.10.2 [OPPOSITE LEFT]

Chris Pappan (Kaw, Osage, Cheyenne River Sioux, born 1971) Of White Bread and Miracles (Jiggy) 2020 Graphite, ink, map collage, and gold leaf on embossed 1924 Evanston municipal ledger 18 x 12 inches Mary and Leigh Block Museum of Art, Northwestern University, purchase funds provided by the Andra S. and Irwin Press Collections Fund 2021.10.3 [OPPOSITE RIGHT]

Erika Navarrete (American, born 1979) Ignorance is Bliss, from the portfolio Trumped 2.0 2020

"Chris Pappan describes himself as a “Native American Lowbrow” artist whose work addresses themes such as colonialism, cultural appropriate, and the interpretation of history. His drawing and collage series Of White Bread and Miracles and Definition are based on the tradition of American Indian ledger drawings of the mid to late 19th century. Both series are executed on Evanston municipal ledgers from the 1920s and seek to recontextualize modern issues of Indigenous identity and culture through the tradition of ledger drawings. Of White Bread and Miracles series speaks to the misappropriation of sacred Native American practices by the Boy Scouts. According to the artist. the figures from this series originate from the Boy Scouts manual “Here Is Your Hobby… Indian Dancing and Costumes,” where the figures are meant to instruct the reader how to dance.“ —Corinne Granof, Academic Curator

Richard Peterson (American, born 1952) Make America Great Again, from the portfolio Trumped 2.0 2020 Four-color lithograph 15 × 20 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the participating artists 2021.3.21

Pat Phillips (born 1987, Lakenheath, England, active in Louisiana) Untitled "I got in 1 little graffiti arrest & my mom got scared...but my dad lost it when me & the homey didn't take community service seriously" 2019 Acrylic, pencil, airbrush, and aerosol paint on paper 22 1/4 × 30 1/8 inches Mary and Leigh Block Museum of Art, gift of Sari and James A. Klein 2020.7 Andy Polk (American, born 1950) Virus, from the portfolio Trumped 2.0 2020 Lithograph on paper 15 × 20 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the participating artists 2021.3.22

Kathryn Polk (American, born 1952) Waist Deep in the Big Muddy, from the portfolio Trumped 2.0 2019 Stone and plate lithograph on paper 20 × 15 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the participating artists 2021.3.23 Walid Raad (Lebanese and American, born 1967) Appendix 137_048 2018 Archival inkjet print mounted on Sintra 34 5/8 × 29 1/4 inches Mary and Leigh Block Museum of Art, Northwestern University, Norton S. Walbridge Fund purchase 2021.1.1

"Two prints by multimedia conceptual artist Walid Raad from his Appendix 137 series reference the history of twentieth-century war and colonialism, global modernism, and the slippery reliability of the archive"

– Kathleen Bickford Berzock, Associate Director of Curatorial Affairs

Walid Raad (Lebanese and American, born 1967) Appendix 137_120 2018 Archival inkjet print mounted on Sintra 34 5/8 × 29 1/4 inches Mary and Leigh Block Museum of Art, Northwestern University, Norton S. Walbridge Fund purchase

Jessica Robles (American, born 1983) Idiot, from the portfolio Trumped 2.0 2020 Lithograph and screenprint on paper 20 × 15 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the participating artists 2021.3.24

Judith Roth (American, 1935–2019) Untitled 1990 Oil crayon on paper (possible charcoal) 24 × 18 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of The Judith Roth Revocable Trust and Kohler Foundation, Inc. 2020.6

Mark Ruwedel (American, born 1954) Chocolate Mountains, Ancient Footpath toward Indian Pass 1996, printed 2000 Gelatin silver print mounted on matboard 14 15/16 × 18 15/16 inches Mary and Leigh Block Museum of Art, Northwestern University, Gift of Gary B. Sokol, San Francisco 2020.4.1

Mark Ruwedel (American, born 1954) The Bonneville Flood, Snake River Canyon (Evel Knievel’s Ramp, to Jump the Canyon on a Motorcycle) 1999, printed 2000 Gelatin silver print mounted on matboard 14 15/16 × 18 15/16 inches Mary and Leigh Block Museum of Art, Northwestern University, Gift of Gary B. Sokol, San Francisco 2020.4.2

Mark Ruwedel (American, born 1954) Lower Colorado Desert: The Horse Intaglio (A Suggestion of the Encounter) 2000, printed 2000 Gelatin silver print mounted on matboard 14 7/8 × 18 7/8 inches Mary and Leigh Block Museum of Art, Northwestern University, Gift of Gary B. Sokol, San Francisco 2020.4.3

"Mark Ruwedel's photographs put the past and present in conversation in ways that make the viewer take a closer look at the landscape he presents. Close inspection of each image shows human presence in different ways. Scholar Murray Whyte notes that Ruwedel's "landscapes contemplate not just a world we’ve altered, but one that will carry on without us. ‘Layering’ time in a single image, recalling past and present moments in one frame in this way is typical of Ruwedel’s work: in his photographs, history and modernity coexist in the same image." -Madeline Hultquist, Undergraduate Curatorial Rsearch Assistant

Brandon Sanderson (American, born 1977) Beast from the West, from the portfolio Trumped 2.0 2020 Lithograph and relief print on paper 15 × 20 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the participating artists 2021.3.25

Jeff Sippel (American, born 1953) Marco was Right, from the portfolio Trumped 2.0 2020 Waterless lithograph on paper 20 × 15 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the participating artists 2021.3.27

Mark Sisson (American, born 1957) Portrait of Gianna Martucci-Fink : Fakebook News, from the portfolio Trumped 2.0 2020 Seven-color lithograph on paper 15 × 20 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the participating artists 2021.3.28

Kiki Smith (American, born Germany, 1954) Untitled (Self Portrait) 1996 Gelatin silver print 14 x 11 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of Lisa Graziose and Peter Erickson in honor of Christine Olson Robb, ’66, chair, The Block Board of Advisors and First Woman Chair of Northwestern’s Board of Regents 2020.11

Leonard Suryajaya (Chinese-Indonesian, born 1988) Quarantine Blues, from the series Quarantine Blues 2020 Inkjet print 50 × 40 inches Mary and Leigh Block Museum of Art, Northwestern University, purchase funds provided by Craig Ponzio and Julie and Lawrence Bernstein Family Art Acquisition Fund 2021.6

Unidentified artist, circle of Sir Peter Paul Rubens (European, possibly Flemish or Dutch, 1600–1675) Untitled [head of a bearded man] Early/mid 17th century Red and black chalk with graphite on cream colored laid paper (with laid paper margin adhered to recto) 8 3/4 × 6 1/2 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of Richard and Mary L. Gray Collection 2021.9.3

Various artists Trumped 2.0 portfolio (Portfolio Exchange Project) 2020 Box of 28 lithographs and title page on paper 15 × 20 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of the participating artists 2021.3.1-28

"Connecting the Dots for a Just Transition is a project that seeks to document the overlooked history of the remains of over 500 abandoned uranium mines on the lands of the Navajo Nation (Dinétah). By photographing these sites, I intend to shape a platform for voices of resilience, Indigenous knowledge and restorative systems of remediation while bearing witness to a history of environmental damage and communal loss on the Dinétah." - Will Wilson, artist statement

Will Wilson (Diné/Bilagaana, born 1969) Cameron Chapter Complex 1, Detail, Cameron, Arizona, Navajo Nation, from the series Connecting the Dots for a Just Transition 2020 Inkjet print 18 × 24 1/8 inches Mary and Leigh Block Museum of Art, Northwestern University, purchase funds provided by the Andra S. and Irwin Press Collections Fund 2021.8.1

Will Wilson (Diné/Bilagaana, born 1969) Shiprock Disposal Cell, Shiprock, New Mexico, Navajo Nation, from the series Connecting the Dots for a Just Transition 2020 Inkjet print 21 × 27 inches Mary and Leigh Block Museum of Art, Northwestern University, purchase funds provided by the Andra S. and Irwin Press Collections Fund 2021.8.2

Claire Zeisler (American, 1903–1991) Untitled 1988 Hemp and acrylic 16 1/2 x 40 x 4 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of Richard and Mary L. Gray Collection 2021.9.4

2019-2020

LOANS FROM THE MUSEUM COLLECTION

Duro Olowu: Seeing Chicago

Museum of Contemporary Art, Chicago February 29, 2020 - May 10, 2020 Exhibition closed on March 17, 2020 due to COVID-19 Exhibition re-opened on July 24 through Sept 27, 2020

Yves Klein, French, 1928 – 1962 Monochrome und Feuer (Triptych) Color silkscreens and gold leaf on cardstock 18 in x 35 3/4 in gift of Bill and Sheila Lambert, 2014.7.3

Sam Gilliam, American, born 1933 One, 1970 Acrylic on unstretched canvas 92 × 67 in. (233.7 × 170.2 cm) gift of the Collection of Walter A. Netsch and Dawn Clark Netsch, 2016.5

Kwame Brathwaite, American, born 1938 Untitled (Nomsa Brath with earrings designed by Carolee Prince), 1964, printed 2017 Inkjet print 30 × 30 in. (76.2 × 76.2 cm) gift of the Allen-Niesen Family: Kim, Keith, Kelsey, and Kyle, 2019.13.1

Joan Truckenbrod: Digital Fibers – 1975 to Present

Schneider Museum of Art, Southern Oregon University, Ashland, OR August 6, 2021 through September 16, 2021

Joan Truckenbrod (American, born 1945) Electronic Patchwork, 1978 Color photocopy of computer monitor display transferred to polyester sheet 80 x 55 inches Mary and Leigh Block Museum of Art, Northwestern University, gift of Joan Truckenbrod, 2008.15.1

Lust, Love, and Loss in Renaissance Europe

Smart Museum of Art, the University of Chicago, Chicago, IL April 8, 2021 through June 13, 2021

Hendrick Goltzius, Dutch, 1558 – 1617 Mars and Venus, 1588 Engraving on paper plate: 17-1/4 x 13-1/16 in; sheet: 18-3/4 in x 14-1/8 in Mary and Leigh Block Museum of Art, Northwestern University, purchased in memory of Gilbert "Pape" Prevostean, 1994.85

Nigerian-born British designer DURO OLOWU is internationally recognized for his womenswear label launched in 2004. Characterized by unique fabrics, evocative patterns, and impeccable construction, the London-based designer’s garments are informed by his international background and curator’s eye. Olowu’s multinational and multicultural viewpoint has translated into wildly popular platforms and projects from his dynamic Instagram account to his revelatory curatorial projects in London and New York.

Now Olowu turns his cosmopolitan eye to Chicago. Drawing from the city’s public and private art collections including works in the MCA’s collection, Olowu curates a show that reimagines relationships between artists and objects across time, media, and geography. Moving away from traditional exhibition formats, Olowu combines photographs, paintings, sculptures, and films in dense and textural scenes that incorporate his own work.

The exhibition is guest-curated by Duro Olowu and organized for the MCA by Naomi Beckwith, Manilow Senior Curator, with Jack Schneider, Curatorial Assistant.

Class visit to the Eloise Martin Study Center

Installation work on the exhibition Behold, Be Held on the outside of The Block building.