Mead Art Museum Annual Reports 2018-2019, 2019-2020 by meadartmuseum

ANNUAL REPORT DOUBLE ISSUE 2018 –2019 2019 –2020

Paneled room with light-filled stained-glass background; sculpted figure with a world globe as a head wears a multicolored dress and stands on one leg, a stack of books balanced on the other

CONTENTS

Foreword

Introduction Nichole Bridges

Letter from the Director David E. Little

Paul Schnell

PART 1: 2018–19

10 22 40

Education Exhibitions Engagement

54 89 92

ACQUISITIONS 2018–19 2019–20 Trinkett Clark Memorial Student Acquisition Project

PART 2: 2019–20

100 114 134

146 152 155 156

Education Exhibitions Engagement Staff News and Notes Financial Report Advisory Board Friends of the Mead

On the cover: Matthew Day Jackson (American, born 1974). Sacajawea (American Martyr Series) (detail), 2005. Anonymous Gift Learn about the artwork » This page: Rotherwas Project No. 4: Yinka Shonibare CBE, The American Library Collection (Activists).

“

FOREWORD Today, the Museum crackles with vitality—an energy one can sense whether visiting in person or connecting online. The Mead has become integral to the curriculum and to building community at the College. It is recognized as one of the leading, most innovative college art museums in the country."

Paul Schnell, ’76 P’11 Chair of the Mead Advisory Board

I have felt a strong connection to the Mead Art Museum since my first year at Amherst, when I lived a few steps away in Stearns Hall. Back then, I thought of the Museum as a quiet, underutilized and underappreciated place. As a student security guard there, I would never “click in” more than a handful of visitors over the course of an afternoon. Today, the Museum crackles with vitality—an energy one can sense whether visiting in person or connecting online. The Mead has become integral to the curriculum and to building community at the College. It is recognized as one of the leading, most innovative college art museums in the country. The great part of this is due to the extraordinary vision and leadership of our Director, David Little, and contributions of the entire staff. During the last year, the Mead has prevailed over the pandemic. David and the staff have reimagined the Museum, developing a powerful virtual presence and creative new programming. If anything, the Mead has expanded its outreach to the College and broader communities over the last year. I hope you will use the Mead’s new online accessibility, as I have, to experience the joy, during these difficult days, in seeing and learning about a great work of art or exhibition in the Museum. My thanks to the Museum team, the members of the Advisory Board, the many friends of the Mead, and the College for their continued hard work, support and engagement. I look forward to a time when we can once again stand together in person in a Mead gallery enjoying a work of art.

Mead Art Museum Annual Report 2018–20

INTRODUCTION Nichole Bridges ’97

The Mead was my next-door neighbor. I lived in James my first year at Amherst. From the east window of the corner room that I shared with my roommate, I saw the Mead Art Museum and Stearns Steeple. For most residents of James and Stearns Halls, the Mead is a background to life as a first-year student. For me, however, the Mead emerged in the forefront of my first year and beyond. I interacted with the Mead’s collection early that first fall term. WilliamAdolphe Bouguereau’s Le travail interrompu (Work Interrupted) was the subject of my first formal analysis paper in Professor Natasha Staller’s introduction to western art history. I quickly appreciated the value of examining the painting in person rather than its postcard version, and I returned to study it in the gallery several times for the assignment. Senior year, I received a fellowship to assist the Mead’s registrar, Linda Best, with an inventory of mid-nineteenthto early-twentieth-century African art collected by Barry D. Maurer ’59, which was later gifted to the Mead through the generous support of H. Axel Schupf (Class of 1957). The project was the serendipitous culmination of a growing interest I had developed through coursework in African art with Professor Rowland Abiodun and the late Professor John Pemberton III. I relished handling and measuring every object, noting each one’s specific cultural origins in southern Congo, northern Angola, or southwestern Nigeria, and documenting dimensions

Mead Art Museum Annual Report 2018–20

and materials. These direct experiences with art through close looking and careful handling formed a critical foundation to my work after graduation, first as a museum educator, then as a doctoral student in art history, and now, for over a decade, as a museum curator specializing in historical art from Africa. These many years later it is an honor to serve the Mead in return as a member of the Mead Advisory Board. I am excited by recent innovations in programming that expand the Mead’s reach across Amherst’s community and curriculum. The Trinkett Clark Memorial Student Acquisitions program, the classroom built in 2017 that offers specific selections for close study by classes with a bonus panoramic view of art storage, dynamic engagement with contemporary art and artists, and new efforts toward increasing diversity and accessibility across all areas of the Mead’s work make this an exciting time to be a part of the Mead and support David E. Little’s leadership as director and chief curator. I hope you enjoy reading this annual report, which looks back over two years of accomplishments at the Mead. Along with my fellow Advisory Board members, I look forward to supporting the Mead team as they continue to implement creative strategies for bringing the Mead to the forefront of even more students’ Amherst experience.

“

...new efforts toward increasing diversity and accessibility across all areas of the Mead’s work make this an exciting time to be a part of the Mead and support David E. Little’s leadership as director and chief curator.” Nichole Bridges ’97 completed a double major in Fine Arts and French at Amherst. She is associate curator in charge, Arts of Africa, Oceania, and the Americas at the Saint Louis Art Museum.

Left: Unknown artist (Congolese, Luba people). Kakishi (Friction Oracle), late 19th–early 20th century. Wood with glass beads. The Barry D. Maurer (Class of 1959) Collection of African art purchased with Amherst College Discretionary Fund and funds from H. Axel Schupf (Class of 1957). The Mead’s current collection of African art owes much to the expertise and generosity of brothers Barry D. Maurer ’59 and Evan Maurer ’66, and the munificent support of H. Axel Schupf ’57, a life trustee of Amherst College.

Mead Art Museum Annual Report 2018–20

LETTER FROM THE DIRECTOR

“

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

This double issue of the Mead’s annual report, spanning two academic years, is our first ever all-digital presentation. In the new format, you will immediately see the benefits of going digital: we’ve included more great images highlighting the collection, especially recent acquisitions; you can view and share the report with ease; and we’ve offered links to interactive tours. In the future, we hope to expand the platform to enrich the possibilities even more.

Mead Art Museum Annual Report 2018–20

This digital issue is also a sign of how life and culture changed dramatically in 2020, as we all maintained a healthy distance and for the most part viewed art and visited museums via a computer screen. The World Health Organization (WHO) declared the novel coronavirus (COVID-19) a global pandemic on March 11, 2020, and by March 13, the Mead had closed its doors to the public (and remains closed at this time). Just over two months later, the killing of George Floyd in Minneapolis reminded us of the urgent need to combat systemic racism and, as a museum, to increase our efforts to reach and welcome audiences in meaningful ways. Amid everything, the last year underscored the incredible talent, resilience, and resourcefulness of the Mead staff. As you look through these pages, you will see the product of their work to offer the best education through art to Amherst students even under the most extraordinary circumstances. David E. Little John Wieland 1958 Director and Chief Curator he/him/his

Mead Art Museum Annual Report 2018–20

E D U C AT I O N

In the Chemistry Department, Professor Christopher Durr has coordinated a “lab” between the Mead and Beneski. He describes: “The idea is that students would go to a teaching space in the Mead where they would first look at minerals that have been used throughout art history as pigments. These minerals are made out of various elements across the periodic table which they can identify and discuss based on their semester of chemistry. Then we would turn to the art around the room which is actually made with the minerals they just studied. We will have art and artifacts spanning thousands of years that students can observe.”

1,285

COLLEGE STUDENTS IN CL ASS SESSIONS

AMHER ST COLLEGE COUR SES

AMHER ST COLLEGE DEPARTMENTS

FIR ST-YE AR SEMINAR S

OTHER COLLEGE AND UNIVERSITY COURSES

781

Mead Art Museum Annual Report 2018–19

ART OBJECTS VIEWED BY CL ASSES IN STUDY ROOMS

AMHER ST COLLEGE CL ASSES MAKING A VISIT TO THE ME AD 2018 –19

American Studies (AMST) 111 Global Valley 215 “The Embodied Self” in American Culture and Society 224 The Neo-Western 468 Research Methods in American Culture Anthropology (ANTH) 220 Collecting the Past Architecture (ARCH) 101 Language of Architecture (ARHA-101) Art and the History of Art (ARHA) 135 Art and Architecture of Europe, 1400s–1800 (ARCH-135, EUST-135) 145 The Modern World (EUST-145, SWAG-145) 213 Printmaking I: The Hand-Printed Image 218 Photography I 258 Art, Things, Spaces, and Places (ARCH-258, EUST-258) 319 Working in Series: The Interdisciplinary Connection between Drawing and the Hand-Printed Image 327 Printmaking II: Further Investigations of the Hand-Pulled Print 350 Practice and Theory of Art History 384 The Replicated Image in Japanese Art: Woodblock Prints, Postcards, and Photographs (ASLC-384) 385 Witches, Vampires, and Other Monsters Asian Languages and Civilizations (ASLC) 144 Religion in Ancient India (RELI-143) 152 Introduction to Buddhist Traditions (RELI-152) Black Studies (BLST) 377 Bad Black Women

AMHER ST COLLEGE CL ASSES MAKING A VISIT TO THE ME AD 2018 –19 (CONTINUED)

OTHER COLLEGE AND UNIVER SIT Y CL ASSES MAKING A VISIT TO THE ME AD 2018 –19

Chemistry (CHEM) 151 Introductory Chemistry 371 Inorganic Chemistry

BARD COLLEGE CLEMENTE COURSE IN THE HUMANITIES Art History 101

Environmental Studies 225 Environmental Philosophy (PHIL-225) First-Year Seminars (FYSE) 103 Drugs in History 110 Encounters with Nature 111 Literature of Love 115 Goya and His World 119 Coexistence: Christians, Muslims, and Jews in Spain 124 Faulty Vision 125 Geology of the American West 126 Manifestos 128 Growing Up in America 131 Thinking through Improvisation 132 Food and Culture French (FREN) 342 Women of Ill Repute: Prostitutes in Nineteenth-Century French Literature

HAMPSHIRE COLLEGE Experiential Drawing Global Contemporary Art Global Renaissance Intermediate Drawing Literature and Community UNIVERSITY OF MASSACHUSETTS AMHERST African Literature Ancient Civilizations Environmental History of Latin America Math Photo I: Image Capturing Urban Cultures of Tokyo-Shanghai Visual Storytelling K–12 GROUP VISIT Hartsbrook High

History (HIST) 360 Revolutionary America 419 On Nationalism Philosophy (PHIL) 111 Philosophical Question Political Science (POSC) 160 Sexualities in International Relations (SWAG-160) Psychology (PSYC) 206 The Psychology of Play Sexuality, Women’s and Gender Studies (SWAG) 344 Gender and Technology Spanish (SPAN) 211 Literature and Culture of the Hispanic World 222 Short Stories from the Hispanic World 237 Art as Protest in Spain and Latin America 317 Women in Early Modern Spain Theater and Dance (THDA) 235 Critical Moves: Performance, Politics, and Activist Bodies

Mead Art Museum Annual Report 2018–19

2019 W I S E AWA R D FOR STUDIO ART

Jonathan Jackson ’19

Presented annually in the spring to a student in the college for distinction in the completion of an original work or works of art and the purchase thereof. The 2019 Wise Award was awarded to Jonathan Jackson for his portfolio of photographs titled The House Servant’s Directory. In his artist’s statement Jackson wrote that “during my senior year at Amherst College, I developed this body of work that focuses on my fifth Great Grandfather Robert Roberts.” In 1827 Roberts published The House Servant’s Directory based on his years of employment in the home of Christopher Gore, a former governor of Massachusetts. Jackson said, “I was interested in addressing the broad conceptual questions surrounding Roberts’s life.” The photographs “summarize a movement from the internally driven self-portrait work of my undergraduate years to images that embody Robert Roberts and further engage with the history of New England life.” The images were made in the Gore family house, now a National Historic Landmark and museum called Gore Place, in Waltham Massachusetts. Jackson said he used Gore Place “as a site to activate the history of Robert Roberts. I aimed to build images that circulate around multiple tiers of thought,” including “images that visualize Robert Roberts and the history of domestic service in the United States . . . [and] photographs that call attention to the efforts of peoples within the African diaspora to either retain or dismiss a cultural identity.”

Jonathan Jackson (American, born 1996). Egg Wash (above) and Calling, Listening (left) from The House Servant’s Directory, 2019. Archival inkjet prints. Purchase with Richard Templeton (Class of 1931) Photography Fund Mead Art Museum Annual Report 2018–19

LEADING THE EDUCATION DEPARTMENT

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

Emily is only the second person to head the Education Department at the Mead. In 2009 Amherst created the position of Andrew W. Mellon Curator of Academic Programs to promote integration of the Mead’s collections into the Amherst College curriculum. Pamela Russell was hired to fill the role. From 2009 until 2017, Pam laid the groundwork for the current strong collaborations between the Mead and faculty across disciplines. Working one-on-one with professors to help shape class content, the Head of Education encourages faculty to include art objects in their courses and helps students make connections and discoveries in the collection. Prior to Pam’s arrival, only thirty classes visited the Mead on average per year. She increased class visits by over 400 percent, before retiring in 2017 to pursue her own research.

Mead Art Museum Annual Report 2018–19

Emily has added yet another dimension to the academic program by working closely with faculty on research projects that add content about art objects to the Mead database. She also co-taught Eat! An Exhibition Seminar in the fall of 2019, with Amy Cox Hall, visiting assistant professor in the Anthropology Department. The seminar resulted in the exhibition Embodied Taste, co-organized by students in the class.

» Read more about Embodied Taste on page 109.

Mead Art Museum Annual Report 2018–19

EXHIBITIONS

Timing Is Everything Organized by Vanja Malloy and Mila Hruba September 13, 2018–March 3, 2019 Drawn entirely from the Mead’s collection, this exhibition presented artworks and historical timepieces from different cultures that visualize concepts of time: linear and cyclical, absolute and relative. It questioned the role of time in memory and the many factors that have influenced human perception of the past, present, and future, including seasons, geography, and technology. Ideas of time told through historical and visual narratives have overlapping meanings and far-reaching significance for the sciences and humanities. Timing Is Everything juxtaposed some of the Mead’s masterworks, such as Thomas Cole’s The Past and The Present, with artworks by contemporary artists Lorna Simpson, Shuli Sadé, and Motoda Hisaharu. The works in the show presented a small fraction of the ways humans imagine and make tangible notions of temporality. Space within the exhibition was created for members of the community to share personal and cultural reflections regarding time.

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

Mead Art Museum Annual Report 2018–19

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

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

Mead Art Museum Annual Report 2018–19

Abstraction: Recent Acquisitions Organized by Vanja Malloy and Mila Hruba September 13, 2018–February 17, 2019

This exhibition celebrated the recent growth of the Mead’s collection of abstract art through generous donations of paintings, sculptures, and works on paper to the museum’s collection. Richard and Brooke Kamin Rapaport ’84, P’16 donated works by Caio Fonseca and Leon Polk Smith; the Leon Polk Smith Foundation donated four additional works by Smith on view. And Amherst College students selected Analia Saban’s print as part of the Trinkett Clark Memorial Student Acquisition Program. We are proud to welcome all of the artworks in this exhibition to the Mead so they may be studied and enjoyed for many years to come. Left: Leon Polk Smith (American, 1906–1996). Untitled, 1959. Paint on paper. Gift of the Leon Polk Smith Foundation

Mead Art Museum Annual Report 2018–19

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

Rotherwas Room Project 4: Yinka Shonibare CBE, The American Library Collection (Activists) Organized by David E. Little October 30, 2018–January 6, 2019 This exhibition featured the Mead’s new acquisition The American Library Collection (Activists), a large-scale installation by the British-Nigerian artist Yinka Shonibare CBE. The first artwork by Shonibare to enter the Mead’s collection, The American Library Collection (Activists) was on view as the fourth iteration of the Rotherwas Project, which situates contemporary art in the museum’s seventeenth-century oak-paneled room. Bound in his signature brightly colored Dutch wax printed fabric, Shonibare’s selection of 233 books tells a specific story of how knowledge is organized and disseminated. The spines of the books are emblazoned in gold foil with the names of activists, including artists, musicians, academics, and writers. Many of them are immigrants or the children of immigrants, while others have spoken against immigration, diversity, and equality. Shelved together, they draw attention to the debates that emerge across time and cultures. In addition to the wrapped books, the collection comes with a bookshelf designed by the artist and a card catalog of names from the books. The work is an extension of the artist’s 2017 series The American Library Collection, which included other groupings, such as (Politicians), (Filmmakers), and (Scientists).

Mead Art Museum Annual Report 2018–19

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

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

Views from the Eastern Front: Russian Modernism and the Great War

Fleeting Nature: Selections from the Collection

On view at the Amherst Center for Russian Culture Organized by Galina Mardilovich November 12, 2018–February 17, 2019

Organized by Galina Mardilovich, Vanja Malloy, and Emily Potter-Ndiaye March 5–September 10, 2019

Views from the Eastern Front: Russian Modernism and the Great War considered the role of World War I in Russia through the arts one hundred years later. Presenting works by Russian avant-garde artists and symbolist poets, it explored the ways in which Russian modernists engaged with the themes of war, violence, and destruction during this fateful period.

Mead Art Museum Annual Report 2018–19

Today people across the world collectively grapple with the impact of human activity on the Earth. As we struggle to imagine landscapes of the future, it is instructive to examine the past. This exhibition presented the ways in which artists across time and geography have turned to the genre of landscape to understand the relationship among people and societies and their environments. Rendered in different media, the views and scenes encompass the American South, Norwegian mountains, the French countryside, and beyond. The works offered viewers a chance to consider how nature continues to enthrall, challenge, and awe, despite the increasing threat from human action—or inaction. Fleeting Nature: Selections from the Collection featured works by Thomas Cole, Claude Monet, James McNeill Whistler, Winslow Homer, Nikolai Roerich, André Derain, and Barbara Bosworth, among others.

Mead Art Museum Annual Report 2018–19

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

Mead Art Museum Annual Report 2018–19

DIMENSIONISM: MODERN ART IN THE AGE OF EINSTEIN

By Mary Elizabeth Strunk

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

Dimensionism: Modern Art in the Age of Einstein traced the interactions of European and American artists who signed the 1936 “Dimensionist Manifesto” in Paris. Amid wartime dislocation, Alexander Calder, Joseph Cornell, Marcel Duchamp, Naum Gabo, Helen Lundeberg, Joan Miró, and others who signed the Manifesto were brought together by their shared interest in scientific revolutions. Together, they became an engine for avant-garde innovation. Radical breakthroughs in physics and astronomy galvanized Calder and his international peers to become “pioneers of creative art,” who (in the words of the Manifesto) vowed to shun “older forms and exhausted essences as prey for less demanding artists!” Two-dimensional painters sought to add a third dimension, and three-dimensional sculptors sought to add a fourth dimension, the better to explore Einstein’s concept of relativity, in which space and time are no longer separate categories. “All the old borders and barriers of the arts suddenly disappear,” wrote the authors of the Manifesto, because “this new ideology has elicited a veritable earthquake, a landslide, in the old artistic system.” Curator of American Art Vanja Malloy developed Dimensionism from her ten years of research on Calder and her in-depth knowledge of both the Manifesto and art-science relations. The exhibition, which included seventy works drawn from collections around the US and Europe, and from the Mead, offered fresh interpretations of individual master artworks, while challenging conventional perceptions of a schism between modern art and modern science. The catalogue was published by MIT Press.

Mead Art Museum Annual Report 2018–19

To represent the artists’ responses to an array of early twentieth-century scientific revolutions, Curator of American Art Vanja Malloy (pictured above) organized the exhibition into four groups: “Einstein’s Theory of Relativity (the new fourth dimension),” “Macrocosm (the suddenly endless cosmos),” “Microcosm (the surprise of tiny worlds),” and “Quantum Theory (the certainty of uncertainty).” Dimensionism traveled to the UC Berkeley Art Museum and Pacific Film Archive and the Zimmerli Art Museum at Rutgers University. It was on view at the Mead from March 28 through July 28, 2019— ideally timed with the opening of Amherst College’s new Science Center—and was supported by generous grants from the Henry Luce Foundation and the Terra Foundation for American Art.

Mead Art Museum Annual Report 2018–19

Paste, Stick, Glue: Constructing Collage in Russia

Constructing Collage Part 2

Organized by Galina Mardilovich On view at the Amherst Center for Russian Culture March 4–June 3, 2019

Organized by Galina Mardilovich June 11–October 6, 2019

Mead Art Museum Annual Report 2018–19

ENGAGEMENT Mead Art Museum Annual Report 2018–19

PUBLIC PROGR AMS 2018

SEPTEMBER 1 3 4 5 13 20 25 26 28

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

OCTOBER 2 11 16 19 26 26 26 30 30

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

NOVEMBER 1 3 7 12 14

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

DECEMBER

Mead Art Museum Annual Report 2018–19

11 12 12–20 13

Gallery Talk with David E. Little Massages at the Mead Study at the Mead 4x4 String Quartet Performances

PUBLIC PROGR AMS 2019 JANUARY 18

Collecting 101 Presentations and Public Vote

FEBRUARY 8 20 22

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

24 28 MARCH 1 2 3 4 7 8 22 28 28

Lost Art of Concentration Close Looks Public Tour Timing Is Everything Closing Concert Constructing Collage in Russia Opening Reception Linefork Screening and Q&A Art of Concentration Meditation Art of Concentration Guided Looking Dimensionism Talk Dimensionism Reception

APRIL 3 3 10 12 15 23 23 24 25 25 29 30

Mead Art Museum Annual Report 2018–19

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

Mead Art Museum Annual Report 2018–19

How do you think your liberal arts education benefits your work in the finance industry?

A Conversation with Charmel Maynard ’07

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

As the chair of the Mead Advisory Board’s Budget Committee—and associate vice president, chief investment officer, and university treasurer at the University of Miami— Charmel Maynard ’07 knows a bit about finance. His work and expertise on the Budget Committee helps the Mead’s staff and Advisory Board understand the Mead’s budgets and financial situation more clearly. A political science major during his time at Amherst, Charmel didn’t visit the Mead very much, but he “was always into art in some form or fashion.”

Who is your favorite artist currently?

The Mead’s financial and administrative assistant, Eileen Smith, asked him some questions about art, finance, and the importance of pursuing a liberal arts education.

Besides continuing to collect exceptional pieces of art, I am excited for the Mead to continue using the museum as a site for learning for students at Amherst College.

Kehinde Wiley continues to be my favorite artist. His mixture of contemporary figures mixed with historic settings and bright colors makes his work very appealing to me. What are you excited about the Mead doing in the future?

Why do you think students should get involved in the arts, even if they are pursuing other degrees? What benefits do you think it brings? I believe having a healthy balance between the “left side” and “right side” of the brain is key to a student’s pursuit of a liberal arts education. I think art helps students take abstract thoughts and feelings and convert them into words, a skill that I believe is important in life.

PaJaMa (American, 1937– ca.1950) (Paul Cadmus, American, 1904–1999; Jared French, American, 1905–1988; and Margaret French, American, 1906– 1998). Jared French, NYC, ca. 1946. Gelatin silver print. Purchase with Acquisition Fund

What would you say to a student to convince them to visit an art museum? I would tell them not to be intimidated by the word “art” or “museum.” I would tell them that the Mead does a great job of making the space as welcoming as possible for new art lovers or experienced art aficionados. What drew you to working in a university? Higher education is a place where eager and hungry students, of all levels, come to fulfill their dreams, to begin or continue crafting their own story. Being a part of something much bigger than each of us is inspiring and motivating. I fundamentally believe that if I can just do my part—through stability of our balance sheet and growth in our endowment—I make a difference. It’s the reason we are all here.

Mead Art Museum Annual Report 2018–19

What artist would you like to see have an exhibition at the Mead? I think it would be cool to see an alum such as Jared French (Class of 1925) or Terry Rodgers (Class of 1969) have an exhibition at the Mead.

Mead Art Museum Annual Report 2018–19

S T U D E N T M U S E U M E D U C AT O R S & INTERNS 2018 –2019

Jane Bragdon ’20 Emilie Flamme ’20 Troy Gelobter ’21 Julia Gill ’20 DeLyna Hadgu ’21

Julia Molin ’21 (Syeda) Zahra Shah ’22 Julia Shea ’21 Yosen Wang ’22 Maggie Wu ’22

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

Mead Art Museum Annual Report 2018–19

GROWING AN ART COLLECTION

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

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

In 2018 –20 the Mead added many imp or tant ar t work s to the collec tion, dating from the six teenth centur y to 2020. Sevent y p ercent of our recent purchases are by ar tist s of color. In 2019 we b ene f ited from a gif t of over 180 contemporar y ar t work s from an anonymous donor.

Mead Art Museum Annual Report 2018–19

AC Q U I S I T I O N S GIFTS AND ACQUISITIONS

As always, each new work came to the Mead as a gift or as an acquisition purchased with endowed funds. Thomas Cole’s oil paintings Past and Present (1838), for example, were museum purchases in 1950. Examples of purchases made by the Mead in 2018–20 are the suite of photographs by Heather Agyepong titled Too Many Blackamoors, and Helen Lundeberg’s painting Biological Fantasy. Generous gifts of art are frequently made by Amherst alums. Foundational gifts in the past were made by brothers Herbert L. Pratt, Class of 1895, and George D. Pratt, Class of 1893, who donated many American works; Thomas P. Whitney, Class of 1937, who gave generously from his Russian collection; and Edward C. Crossett, Class of 1905, and Frank Austen, Class of 1950, whose gifts are vital to the Mead’s print collection. The tradition of generous gifts of art from Amherst graduates continues: in the list below, look for names followed by Amherst class years. You might be surprised to hear that some of the Mead’s most treasured artworks came to us thanks to non-Amherst graduates, such as our magnificent Claude Monet painting, Morning on the Seine, Giverny (1897), gifted by Miss Susan Dwight Bliss. In 2019 we benefited from a gift of over 18O contemporary artworks from an anonymous donor.

ACQUISITIONS 2018 - 2019

Heather Agyepong (British, born 1990). Too Many Blackamoors, #1. Commissioned by Autograph ABP as part of “The Missing Chapter Collective,” 2015, printed in 2019. Archival giclée pigment print. Purchase with Richard Templeton (Class of 1931) Photography Fund, 2019.45.1 Heather Agyepong (British, born 1990). Too Many Blackamoors, #2. Commissioned by Autograph ABP as part of “The Missing Chapter Collective,” 2015, printed in 2019. Archival giclée pigment print. Purchase with Richard Templeton (Class of 1931) Photography Fund, 2019.45.2 Heather Agyepong (British, born 1990). Too Many Blackamoors, #3. Commissioned by Autograph ABP as part of “The Missing Chapter Collective,” 2015, printed in 2019. Archival giclée pigment print. Purchase with Richard Templeton (Class of 1931) Photography Fund, 2019.45.3 Heather Agyepong (British, born 1990). Too Many Blackamoors, #4. Commissioned by Autograph ABP as part of “The Missing Chapter Collective,” 2015, printed in 2019. Archival giclée pigment print. Purchase with Richard Templeton (Class of 1931) Photography Fund, 2019.45.4 Heather Agyepong (British, born 1990). Too Many Blackamoors, #5. Commissioned by Autograph ABP as part of “The Missing Chapter Collective,” 2015, printed in 2019. Archival giclée pigment print. Purchase with Richard Templeton (Class of 1931) Photography Fund, 2019.45.5 Heather Agyepong (British, born 1990). Too Many Blackamoors, #6. Commissioned by Autograph ABP as part of “The Missing Chapter Collective,” 2015, printed in 2019. Archival giclée pigment print. Purchase with Richard Templeton (Class of 1931) Photography Fund, 2019.45.6 Heather Agyepong (British, born 1990). Too Many Blackamoors, #7. Commissioned by Autograph ABP as part of “The Missing Chapter Collective,” 2015, printed in 2019. Archival giclée pigment print. Purchase with Richard Templeton (Class of 1931) Photography Fund, 2019.45.7 Heather Agyepong (British, born 1990). Too Many Blackamoors, #8. Commissioned by Autograph ABP as part of “The Missing Chapter Collective,” 2015, printed in 2019. Archival giclée pigment print. Purchase with Richard Templeton (Class of 1931) Photography Fund, 2019.45.8 Heather Agyepong (British, born 1990). Too Many Blackamoors, #9. Commissioned by Autograph ABP as part of “The Missing Chapter Collective,” 2015, printed in 2019. Archival giclée pigment print. Purchase with Richard Templeton (Class of 1931) Photography Fund, 2019.45.9

Mead Art Museum Acquisitions 2018–2019

H E AT H E R A G Y E P O N G Agyepong re-created poses inspired by nineteenth-century cartes-de-visite of Lady Sarah Forbes Bonetta, the adopted West African goddaughter of Queen Victoria. The title is drawn from Queen Elizabeth I’s racist edict from 1596: “Her Majesty understanding that several blackamoors have lately been brought into this realm, of which kind of people there are already too many here . . . her Majesty’s pleasure therefore is that those kind of people should be expelled from the land.”

Mead Art Museum Acquisitions 2018–2019

Chritiane Baumgartner (German, born 1967). Pfad, 2003. Woodcut on Japanese Misumi paper. Gift of Perrin and Ted Stein (Class of 1984), 2018.10 Alfred Birdsey (Bermudan, born in Great Britain, 1912–1996). Sailing in a Bermuda Harbor, n.d. Watercolor. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.24 Richard Bosman (American, born in India, 1944). Drowning Man, 1981. Woodcut. Anonymous Gift, 2018.35 Richard Bosman (American, born in India, 1944). Life Raft, 1983–84. Color etching. Anonymous Gift, 2018.36 Andrea Bowers (American, born 1965). Crowd Drawing: LA Club Kid, Girl Waving, 1998/2004. Colored pencil on paper. Anonymous Gift, 2018.37 Mark Bradford (American, born 1961). Untitled, 2012. Etching, photogravure, and chine collé. Anonymous Gift, 2018.38.1–6 Joe Bradley (American, born 1975). Fat Cross for Bill West, 2007. Vinyl on wood. Anonymous Gift, 2018.41.a–c Slater Bradley (American, born 1975). Explosions in the Sea II, 2004–5. Chromogenic print. Anonymous Gift, 2018.39 Slater Bradley (American, born 1975). Roosevelt Island, 2005. Chromogenic print. Anonymous Gift, 2018.40 Sarah Braman (American, born 1970). Good with Houseplants, 2003. Colored plexiglass, acrylic paint, and sticker paper. Anonymous Gift, 2018.42 Candice Breitz (South African, born 1972). Becoming Julia, 2003. Dual-channel video installation. Anonymous Gift, 2018.43 Birgit Brenner (German, born 1964). Er tat mir leid und ich tat es, 2007. Mixed media on paper. Anonymous Gift, 2018.44 Birgit Brenner (German, born 1964). Ich verdanke alles meinen Brüsten, 2007. Mixed media on paper. Anonymous Gift, 2018.45

Cris Brodahl (Belgian, born 1963). Sin Sick, 2007. Oil on linen. Anonymous Gift, 2018.48 Roger Broders (French, 1883–1953). Menton: Paris – Lyon – Méditerranée, ca. 1923. Lithograph. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.40 Roger Broders (French, 1883–1953). Monaco, Monte-Carlo aux pays du soleil: Paris – Lyon – Méditerranée, ca. 1920. Lithograph. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.41 Pablo Bronstein (Argentine, active in London, born 1977). Monument to the Classical Vernacular, 2005. Ink and gouache on paper. Anonymous Gift, 2018.50 Cecily Brown (British, born 1969). Untitled no. 59, 2000. Watercolor. Anonymous Gift, 2018.54 Cecily Brown (British, born 1969). Untitled no. 60, 2000. Watercolor. Anonymous Gift, 2018.55 Delia Brown (American, born 1969). Some of My Clothes, 2002. Inkjet prints on Fujicolor Crystal Archive paper. Anonymous Gift, 2018.51 Delia Brown (American, born 1969). Untitled (Smoking), 2001. Watercolor. Anonymous Gift, 2018.52

Birgit Brenner (German, born 1964). Ich weiss mir etwas Liebes, 2005. Printout, paper, ink on paper. Anonymous Gift, 2018.46

Delia Brown (American, born 1969). Untitled (Sunbathing), 2001. Oil on canvas. Anonymous Gift, 2018.53

Cris Brodahl (Belgian, born 1963). Manipulator, 2003. Oil on canvas. Anonymous Gift, 2018.47

Edgar Bryan (American, born 1970). Nobody, 2004. Acrylic, oil, and watercolor. Anonymous Gift, 2018.56

Mead Art Museum Acquisitions 2018–2019

Matt Bryans (British, born 1977). Untitled (Mother & Baby), 2005. Rubbed-out newspaper. Anonymous Gift, 2018.33 Matt Bryans (British, born 1977). Untitled (Thistles), 2005. Erased newspaper cuttings. Anonymous Gift, 2018.34 Bernard Buffet (French, 1928–1999). Paris – French Railways, 1967. Offset print. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.38 Charles Ephraim Burchfield (American, 1893–1967). House and Trees in the Snow, ca. 1940. Watercolor on Dietzgen “Excello” paper. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.09 Matthew Byloos (American, born 1974). Hancock Park no. 5, 2004. Acrylic, enamel, and prismacolor on mahogany panel. Anonymous Gift, 2018.57 Ingrid Calame (American, born 1965). CgONG! (made from “#70 3/4 Working Drawing”), 2002. Enamel paint on aluminum. Anonymous Gift, 2018.59 Alexander Calder (American, 1898–1976). McGovern for McGovernment, 1974. Lithograph. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.10 Brian Calvin (American, born 1969). Sundown, 2002. Acrylic on canvas. Anonymous Gift, 2018.60 Brian Calvin (American, born 1969). Unseen Sea, 2003. Acrylic on canvas. Anonymous Gift, 2018.61 Carter (John Carter) (American, born 1970). Untitled, 2006. Paper and ink on handmade marbleized paper. Anonymous Gift, 2018.62 Carolyn Castaño (American, born 1971). Venus, 2004. Mixed media on paper. Anonymous Gift, 2018.63 John White Cerasulo (American, born 1974). Untitled, Eindhoven, 2006. Oil on linen. Anonymous Gift, 2018.64 Enrique Chagoya (American, born in Mexico, 1953). Illegal Alien’s Guide to Somewhere over the Rainbow, 2010. Color lithograph with chine collé on handmade paper. Purchase, Trinkett Clark Memorial Student Acquisition Fund, 2019.01 Jonathan Lyndon Chase (American, born 1989). Forehead Kiss, 2018. Stone and plate lithograph on Somerset satin white paper, digital print on brown paper bag, and CDR with seven soundtracks. Purchase, Trinkett Clark Memorial Student Acquisition Fund, 2019.07.a, b Asa Cheffetz (American, 1897–1965). In the Hill Country (Vermont), ca. 1943. Wood engraving. Gift of Norton and Irene Starr, 2018.264 Asa Cheffetz (American, 1897–1965). In Deep Vermont, ca. 1947. Wood engraving. Gift of Norton and Irene Starr, 2018.265 Sonya Clark (American, born 1967). Unraveling, 2015 to present. Cotton Confederate battle flag. Purchase with Charles H. Morgan Fine Arts Fund, 2018.11

Mead Art Museum Acquisitions 2018–2019

S O N YA C L A R K For her performance piece Unraveling, Sonya Clark invited viewers to gently unravel a Confederate flag thread by thread with her and talk about the experience while doing it. Above, Amherst College President Biddy Martin and Clark were documented unraveling on the Mead’s Instagram. Professor Clark teaches in the Art and History of Art Department and is a graduate of the College. A major survey of her twenty-five year career opens at the National Museum of Women in the Arts in Washington, DC, on March 3, 2021.

Mead Art Museum Acquisitions 2018–2019

Francesco Clemente (Italian, born 1952). Five Grottesche, 1999. Pastel on paper. Anonymous Gift, 2018.65.1–5

Zoe Crosher (American, born 1975). Almost the Same (Allon Willis), 2011. Digital chromogenic prints. Anonymous Gift, 2018.58

Francesco Clemente (Italian, born 1952). Two Women, 1999. Pastel on paper. Anonymous Gift, 2018.66

Rosson Crow (American, born 1982). Haunted House with Stella, 2006. Oil on linen. Anonymous Gift, 2018.104

Caleb Considine (American, born 1982). Telepathic Affair, 2008. Oil on canvas. Anonymous Gift, 2018.67

Andrew Dadson (Canadian, born 1980). Tic Tac, 2014. Oil on linen. Anonymous Gift, 2018.72

Liz Craft (American, born 1970). Birdman, 2003. Bronze. Anonymous Gift, 2018.68

Arthur Bowen Davies (American, 1862–1928). Inspiration, n.d. Pastel. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.11

José de Creeft (American, born in Spain, 1884–1982). Embracing Figures, n.d. Marble. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.28

Jay Davis (American, born 1975). The Royal Family, 2002. Acrylic and vinyl on canvas. Anonymous Gift, 2018.73

José de Creeft (American, born in Spain, 1884–1982). Reclining Nude, n.d. Marble. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.29

Joseph Decker (American, born in Germany, 1853–1924). Cherries, n.d. Oil on canvas. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.14

José de Creeft (American, born in Spain, 1884–1982). Nude, n.d. Wood. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.30

Adolf Dehn (American, 1895–1968). Sunflowers, n.d. Watercolor. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.12

Gregory Crewdson (American, born 1962). Untitled (bud man), 1999. Laser direct chromogenic print. Anonymous Gift, 2018.69

Adolf Dehn (American, 1895–1968). Central Park, n.d. Watercolor. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.13

Gregory Crewdson (American, born 1962). Untitled (flower mound), 1999. Laser direct chromogenic print. Anonymous Gift, 2018.70

Henri Deschamps (French, 1898–1990); after Pablo Picasso (Spanish, active in Spain and France, 1881–1973). Côte d’Azur, 1962. Lithograph. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.44

Gregory Crewdson (American, born 1962). Untitled (girl in window), 1999. Laser direct chromogenic print. Anonymous Gift, 2018.71

Harry Dodge (American, born 1966). Mano Cornuto, 2011. Concrete, galvanized pipe, wood wrapped in wool and cotton, beeswax, urethane resin, flexible slip, and paint. Anonymous Gift, 2018.75 Harry Dodge (American, born 1966). Night Goat, 2012. Silicone flexible foam, concrete, epoxy, glue, fir dowels, and urethane alkyd gloss paint. Anonymous Gift, 2018.76 Do-Ho Suh (South Korean, born 1962). Karma, 2002. Colored pencil on paper. Anonymous Gift, 2018.186.1–5 Peter Doig (British, active in Trinidad, born 1959). Untitled (Gideon Boots Khaki Suit) from White Columns Print Portfolio (edition 41 of 100), 2007. Letterpress print. Anonymous Gift, 2018.204.4 Daniel Dove (American, born 1971). Geometree, 2004. Oil on canvas. Anonymous Gift, 2018.77 Stef Driesen (Belgian, born 1966). Belief, 2004. Oil on linen. Anonymous Gift, 2018.78 Stef Driesen (Belgian, born 1966). Untitled, 2006. Oil on canvas. Anonymous Gift, 2018.79 Moira Dryer (Canadian, 1957–1992). The Pleasure Principle, 1991. Acrylic on wood. Anonymous Gift, 2018.80 Angela Dufresne (American, born 1969). Rio Das Marte Hanna Two Times, 2005. Oil on canvas. Anonymous Gift, 2018.81 Carroll Dunham (American, born 1949). Mesokingdom Three (Empty Hills), 2001. Mixed media on linen. Anonymous Gift, 2018.82 Mead Art Museum Acquisitions 2018–2019

Martin Eder (German, born 1968). Der gläserne Tag, 2004. Oil on canvas. Anonymous Gift, 2018.84 Martin Eder (German, born 1968). Die Nervenwaage – nachts, 2004. Oil on canvas. Anonymous Gift, 2018.85 Tim Eitel (German, born 1971). Untitled (Cops), 2008. Oil on canvas. Anonymous Gift, 2018.86 Jeff Elrod (American, born 1966). Mythic Proportions, 2000. Acrylic on canvas. Anonymous Gift, 2018.87 Jeff Elrod (American, born 1966). R.S.V.P., 1997. Acrylic on canvas. Anonymous Gift, 2018.88 Dario Escobar (Guatemalan, born 1971). Turbulence II, 2008. Wood and polyurethane paint. Anonymous Gift, 2018.89.1–30 Dario Escobar (Guatemalan, born 1971). Untitled, 2008. Cotton paper and motor oil. Anonymous Gift, 2018.90.1–9 Dario Escobar (Guatemalan, born 1971). Untitled, 2006. Oil and watercolor on paper. Anonymous Gift, 2018.91 Roe Ethridge (American, born 1969). Untitled (Saratoga Springs), 2001. Chromogenic print. Gift of Sam Orlofsky (Class of 1998), 2018.262 Angus Fairhurst (British, 1966–2008). 6th Lower Expectations, 1997. Enamel paint on aluminum panel. Anonymous Gift, 2018.92 Pierre Falize (French, 1876–1953). Prunier: Livre – Vite – Bien, ca. 1935. Lithograph. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.42 Angelo Filomeno (Italian, active in the United States, born 1963). Guilty, 2005. Embroidery on silk shantung stretched over linen. Anonymous Gift, 2018.93 Chris Finley (American, born 1971). Buddhacreature, 1971. Acrylic sign, enamel on canvas over wood. Anonymous Gift, 2018.94 Kim Fisher (American, born 1973). Carbon 17 (Bort Diamond), 2004. Oil on linen. Anonymous Gift, 2018.95 Rachel Foullon (American, born 1978). Lava Flow IV (Bombax ellipticum), 2004. Paper, chipboard, cast paper pulp, wire, and brads over cardboard armature. Anonymous Gift, 2018.96 Mark Fox (American, born 1963). Untitled (Cry, Idea, Work, Look), 2006. Ink, watercolor, crayon acrylic, marker, colored pencil, pen and ink, and gouache on paper and linen; tape and wire. Anonymous Gift, 2018.97 Carroll Dunham (American, born 1949). Particular Aspects (three), 2003. Mixed media on canvas. Anonymous Gift, 2018.83

Phil Frost (American, born 1973). Soe Slaughter Surrender, 1999. Mixed media on wood and canvas. Anonymous Gift, 2018.98 Steven Gontarski (American, born 1972). Blood III, 2000. Fiberglass and acrylic paint and plinth. Anonymous Gift, 2018.99

Mead Art Museum Acquisitions 2018–2019

M O N A H AT O U M Hatoum cast intestinal coils in silicone rubber to create this domestic mat. Take a close look as the coil pattern beneath the clear rubber surface may be a rhythmic design or a grotesque internal organ.

Ken Heyman (American, 1930–2019). On a Sidewalk in Harlem, New York, 1959, 1959. Gelatin silver print. Gift of John Chatzky and Deborah Mullin, 2018.12 Ken Heyman (American, 1930–2019). Muddy Shoes, Newark, New Jersey, 1969, 1969. Gelatin silver print. Gift of John Chatzky and Deborah Mullin, 2018.13 Joseph Hirsch (American, 1910–1981). “Couple and One” from the deluxe portfolio Couples, 1970. Lithograph. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.15 Joseph Hirsch (American, 1910–1981). Duo, 1964. Lithograph. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.16 David Hockney (British, born 1937). Dog Etching no. 4, 1998. Etching. Anonymous Gift, 2018.110

Henriette Grahnert (German, born 1977). It’s So Hard to Cover an Ugly Hip, 2006. Oil on canvas. Anonymous Gift, 2018.100 Matt Greene (American, born 1972). It’s Enough to Pretend We’re Alive, 2005. Acrylic and mixed media on canvas. Anonymous Gift, 2018.101 Fariba Hajamadi (American, born in Iran, 1957). Stretched Out Underground, Saying Nothing, Never Kissing, Given Silence for Silence, 1989. Lacquer and emulsion on birch and canvas. Anonymous Gift, 2018.102 Peter Halley (American, born 1953). Silver Prison, 2000. Acrylic and Roll-A-Tex on canvas. Anonymous Gift, 2018.103 Josephine Halvorson (American, born 1971). Hearth, 2009. Oil on linen. Anonymous Gift, 2018.105 Al Hansen (American, 1927–1995). Budweiser House Goddess, 1985. Cigarettes in wood box. Anonymous Gift, 2018.106 Hilary Harkness (American, born 1971). Iowa Class, 2002. Graphite on paper. Anonymous Gift, 2018.107 Mona Hatoum (British-Palestinian, born in Lebanon, 1952). Rubber Mat, 1996. Silicone rubber, Anonymous Gift, 2018.108 Todd Hebert (American, born 1972). Dew, 2004. Acrylic on canvas over wood. Anonymous Gift, 2018.109 Sophie von Hellerman (German, born 1975). Black Magic, 2005. Acrylic on canvas. Anonymous Gift, 2018.193

Mead Art Museum Acquisitions 2018–2019

Henry Horenstein (American, born 1948). Wanda behind the Bar, Tootsie’s Orchid Lounge, Nashville, TN, 1974, negative 1974; printed later. Gelatin silver print. Gift of John Chatzky and Deborah Mullin, 2018.29 Henry Horenstein (American, born 1948). Connie Smith, Ryman Auditorium, Nashville, TN, 1972, negative 1972; printed later. Gelatin silver print. Gift of John Chatzky and Deborah Mullin, 2018.30 Henry Horenstein (American, born 1948). DeFord Bailey, Grand Ole Opry House, Nashville, TN, 1972, negative 1972; printed later. Gelatin silver print. Gift of John Chatzky and Deborah Mullin, 2018.31 Matthew Day Jackson (American, born 1974). Sacajawea (American Martyr Series), 2005. Scorched wood, wood-burned drawing, Sculpey, mother-of-pearl, abalone, epoxy, tooled leather, skull bead. Anonymous Gift, 2018.74 Xylor Jane (American, born 1963). Sick Heart, 2008. Oil on panel. Anonymous Gift, 2018.111 John Jurayj (American, born 1968). Untitled (Beirut on Fire, 1982, no. 1), 2005. Oil on linen. Anonymous Gift, 2018.112 Wassily Kandinsky (Russian, active in France, 1866–1944); printed by Mourlot Frères (French, ca. 1930); published by Tériade (French, established 1937). The Stars (Les étoiles), 1938. Color lithograph on Velin paper. Purchase with Wise Fund for Fine Arts, 2019.46 Wassily Kandinsky (Russian, active in France, 1866–1944); printed by Mourlot Frères (French, ca. 1930); published by Tériade (French, established 1937). Comets (Comètes), 1938. Color lithograph on Velin paper. Purchase with Wise Fund for Fine Arts, 2019.47 Gertrude Käsebier (American, 1852–1934). Mother and Children, 1904. Platinum print. Purchase with Wise Fund for Fine Arts, 2018.261 Toba Khedoori (Australian, active in the United States, born 1964). Untitled (Walkway), 2001. Graphite on tracing paper. Anonymous Gift, 2018.113 Karen Kilimnik (American, born 1955). Onyx Troika and Diamond Keeshond from the Enchanted Whistle, 2000. Water-soluble oil color, china marker, glitter, and archival glue on canvas. Anonymous Gift, 2018.114 Justin Kimball (American, born 1961). Liberty Street, 2017. Inkjet print. Gift of Ralph and Nancy Segall, 2018.268 Justin Kimball (American, born 1961). Oak Street, 2017. Inkjet print. Gift of Ralph and Nancy Segall, 2018.269 Justin Kimball (American, born 1961). Elk Street, 2017. Inkjet print. Gift of Ralph and Nancy Segall, 2018.270 Justin Kimball (American, born 1961). Broadway, 2017. Inkjet print. Gift of Ralph and Nancy Segall, 2018.271

Mead Art Museum Acquisitions 2018–2019

Justin Kimball (American, born 1961). Wyoming Avenue, 2017. Inkjet print. Gift of Ralph and Nancy Segall, 2018.272 Justin Kimball (American, born 1961). Niagara Street, 2017. Inkjet print. Gift of Ralph and Nancy Segall, 2018.273 Justin Kimball (American, born 1961). State Road, 2017. Inkjet print. Gift of Ralph and Nancy Segall, 2018.274 Justin Kimball (American, born 1961). Highway 5, 2017. Inkjet print. Gift of Ralph and Nancy Segall, 2018.275 Justin Kimball (American, born 1961). Mohawk, 2017. Inkjet print. Gift of Ralph and Nancy Segall, 2018.276 Justin Kimball (American, born 1961). State Line Highway 5, 2017. Inkjet print. Gift of Ralph and Nancy Segall, 2018.277 Kapwani Kiwanga (Canadian, active in France, born 1978). Greenbook, Mississippi (1940), 2018. Digital prints on Elementa paper. Purchase with William K. Allison (Class of 1920) Memorial Fund, 2019.05 Martin Kobe (German, born 1973). Untitled, 2006. Acrylic on canvas. Anonymous Gift, 2018.115 David Kramer (American, born 1963). Untitled, 2003. Mixed media. Anonymous Gift, 2018.116 David Kramer (American, 1963). Untitled (If you can make it here . . .), 2005. Oil on canvas. Anonymous Gift, 2018.117

JUSTIN KIMBALL

Udomsak Krisanamis (Thai, born 1966). Super Horny, 1997. Acrylic and collage on canvas. Anonymous Gift, 2018.118

Professor Kimball's photographs from his award-winning book Elegy (2017) capture economic decline and inequalities in streets, residences, and landscapes of small towns in Massachusetts, New York, Pennsylvania, and Ohio. “In Elegy,” he said, “my photographs of people, their homes, neighborhoods, and streets document moments where we can see the weight of our time on our bodies and surroundings, while also marveling at the resilience and hope we can maintain under that weight. These pictures are about struggle, loss, hope, and what it is to be human; they point to a ubiquitous, yet invisible part of the American landscape.”

Walt Kuhn (American, 1877–1949). Pears, 1931. Oil on canvas. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.17 Walt Kuhn (American, 1877–1949). Red and Yellow Roses, 1937. Oil on canvas. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.18 Ulrich Lamsfuß (German, born 1971). Untitled (Andy 1), 2002. Oil on canvas. Anonymous Gift, 2018.119 Paul Laster (American, born 1951). Orrespondance, 1991. Transparent tape and print media on paper. Anonymous Gift, 2018.120

Maurice Lefebvre-Lourdet (French, 1860–1934). Tous les soirs: Marigny théâtre, ca. 1900. Lithograph. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.39

Charles Ledray (American, born 1960). Untitled (3 garments), 1994. Fabric, thread, and tatting. Anonymous Gift, 2018.121

Tobias Lehner (German, born 1974). Untitled, 2004. Acrylic on canvas. Anonymous Gift, 2018.123

Charles Ledray (American, born 1960). Untitled (woman’s foundations tatting), 1994. Fabric, thread, and tatting. Anonymous Gift, 2018.122

Annette Lemieux (American, born 1957). Father Knows Best, 1987. Wood and fabric. Anonymous Gift, 2018.124

Mead Art Museum Acquisitions 2018–2019

Kurt Lightner (American, born 1971). Untitled, 2005. Acrylic on Mylar collage. Anonymous Gift, 2018.125 Jörg Lozek (German, born 1971). Der Wettkämpfer, 2005. Oil on canvas. Anonymous Gift, 2018.126 Sarah Lucas (British, born 1962). Laugh?, 1998. Type-R print. Anonymous Gift, 2018.127 Danny Lyon (American, born 1942). Cotton Pickers, negative 1968/69; print 2011. Gelatin silver print. Gift of John Chatzky and Deborah Mullin, 2018.14 Danny Lyon (American, born 1942). Hoe Sharpener and the Line, negative 1968/69; print 2011. Gelatin silver print. Gift of John Chatzky and Deborah Mullin, 2018.15 Danny Lyon (American, born 1942). Guns Are Passed to the Picket Tower, the Line Returns from Work, negative 1968/69; print 2011. Gelatin silver print. Gift of John Chatzky and Deborah Mullin, 2018.16 Danny Lyon (American, born 1942). Meal Line, negative 1968/69; print 2011. Gelatin silver print. Gift of John Chatzky and Deborah Mullin, 2018.17 Danny Lyon (American, born 1942). Cell Block Table, negative 1968/69; print 2011. Gelatin silver print. Gift of John Chatzky and Deborah Mullin, 2018.18 Danny Lyon (American, born 1942). Aaron Evert Jones, Life, Habitual Criminal, negative 1968/69; print 2011. Gelatin silver print. Gift of John Chatzky and Deborah Mullin, 2018.19 Danny Lyon (American, born 1942). Heat Exhaustion (Man in Back of Truck), negative 1968/69; print 2011. Gelatin silver print. Gift of John Chatzky and Deborah Mullin, 2018.20 Danny Lyon (American, born 1942). Shakedown before Returning to the Building, negative 1968/69; print 2011. Gelatin silver print. Gift of John Chatzky and Deborah Mullin, 2018.21 Danny Lyon (American, born 1942). Young Convict about to Discharge a Ten-Year Sentence. Apparatus to Open Cells, negative 1968/69; print 2011. Gelatin silver print. Gift of John Chatzky and Deborah Mullin, 2018.22 Danny Lyon (American, born 1942). Clearing Land, negative 1968/69; print 2011. Gelatin silver print. Gift of John Chatzky and Deborah Mullin, 2018.23 Danny Lyon (American, born 1942). Return from the Fields, Shakedown at the Rear Gate. Twice Every Work Day, negative 1968/69; print 2011. Gelatin silver print. Gift of John Chatzky and Deborah Mullin, 2018.24 Danny Lyon (American, born 1942). Day Room, negative 1968/69; print 2011. Gelatin silver print. Gift of John Chatzky and Deborah Mullin, 2018.25 Danny Lyon (American, born 1942). Cell Block (Face behind Bars, Other Prisoners behind Him), negative 1968/69; print 2011. Gelatin silver print. Gift of John Chatzky and Deborah Mullin, 2018.26

C O N V E R S AT I O N S W I T H T H E D E A D “I’ve tried with whatever power I had to make this picture of imprisonment as distressing as it is in reality. The few times I doubted the wisdom of my attitude, I had only to visit someone in his cell to straighten out my mind. . . . “If back in 1968 I thought I could bring down the mighty walls of the Texas prison system by publishing Conversations of the Dead and the works of [prisoner] Billy McCune then those years of work are among the greatest failures of my life. In Texas I photographed a world of over 12,500 men and women. Within a generation that number exploded to over 200,000.” —Danny Lyon

Mead Art Museum Acquisitions 2018–2019

Danny Lyon (American, born 1942). Building Shakedown, negative 1968/69; print 2011. Gelatin silver print. Gift of John Chatzky and Deborah Mullin, 2018.27 Danny Lyon (American, born 1942). Convict Shouting during a Shakedown, negative: 1968/69; print 2011. Gelatin silver print. Gift of John Chatzky and Deborah Mullin, 2018.28 Marcin Maciejowski (Polish, born 1974). Still-Life with Pitcher, 2003. Oil on linen. Anonymous Gift, 2018.128 Christian Marclay (American and Swiss, born 1955). Blind Television (Hitachi), 2000. Modified television set and surveillance mirror. Anonymous Gift, 2018.130 Christian Marclay (American and Swiss, born 1955). Vishh!, 2006. Pigment on Arches paper. Anonymous Gift, 2018.131 Reginald Marsh (American, 1898–1954). On the Boardwalk; verso: Showers, 1948. Watercolor. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.19 Herbert Matter (American, born in Switzerland, 1907–1984). Untitled (Alexander Calder hanging mobile in motion), 1936. Gelatin silver print. Purchase with Richard Templeton (Class of 1931) Photography Fund, 2018.09

Nick Mauss (American, born 1980). Before, 2005. Oil on canvas. Anonymous Gift, 2018.132 Dan McCarthy (American, born 1962). Huntington Beach, 2005. Oil on canvas. Anonymous Gift, 2018.133 Paul McCarthy (American, born 1945). Santa Octopussy (red balls, 6 tentacles, 3 heads), 2004. Urethane, brass, and epoxy on wood crate. Anonymous Gift, 2018.134 Ryan McGinness (American, born 1972). Untitled, 2005. Acrylic on paper. Anonymous Gift, 2018.135 Keegan McHargue (American, born 1982). Ease of Extraction I, II, III (Resources, Quarries, Refinement), 2006. Acrylic on panel. Anonymous Gift, 2018.136.1–5 Harland Miller (British, born 1964). I’m So Fucking Hard, 2002. Oil on canvas. Anonymous Gift, 2018.137 Jonathan Monk (British, born 1969). Keep Still (Baldessari), 2001. Found photograph with Letraset type. Anonymous Gift, 2018.138 Jonathan Monk (British, born 1969). Keep Still (Ed ’66), 2002. Found photograph with Letraset type. Anonymous Gift, 2018.139 Julie Moos (Canadian, born 1965). Domestic: Mae and Margaret, 2001. Chromogenic print. Anonymous Gift, 2018.140 Sarah Morris (American, born in England, 1967). Please, 1997. Gloss household paint on canvas. Anonymous Gift, 2018.141 Dave Muller (American, born 1964). Untitled from White Columns Print Portfolio, 2007. Letterpress print with plastic. Anonymous Gift, 2018.204.2 Takashi Murakami (Japanese, born 1962). Champagne Supernova Drawing, 2000. Computer printout, pen, and marker. Anonymous Gift, 2018.142 Christopher Myers (American, born 1974). Dead Giraffe, 2018. Appliqué fabric. Purchase with Wise Fund for Fine Arts, 2019.06 Jerome Myers (American, 1867–1940). Children in Playground, ca. 1925. Oil on canvas. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.20 Thomas Willoughby Nason (American, 1889–1971). The Grey Barn, 1931. Wood engraving. Gift of Norton and Irene Starr, 2018.263 Iván Navarro (Chilean, active in the United States, born 1972). Glow in the Dark, 2006. Neon. Anonymous Gift, 2018.143 Erin O’Keefe (American, born 1962). Built Work #38, 2018. Archival pigment print. Purchase with funds from Younghee Kim-Wait (Class of 1982), 2019.08 Alex Olson (American, born 1978). She Sells Seashells, 2010. Oil on canvas. Anonymous Gift, 2018.144

Mead Art Museum Acquisitions 2018–2019

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

Aleksandr Orlsowski (Russian, born in Poland, 1777–1832). Une femme du roi, à cheval conduite par un eunuque (A King’s Wife on Horseback Led by a Eunuch), 1819. Chalk lithograph on laid paper. Purchase with Amherst Whitney Collection of Russian Art Fund, 2019.04 Ruby Osorio (American, born 1974). Off the Vine, 2003. Gouache, thread, and ink on paper. Anonymous Gift, 2018.145 Laura Owens (American, born 1970). Untitled, 2001. Watercolor, pencil, and collage on paper. Anonymous Gift, 2018.146 Jorgen Pardo (American, born in Cuba, 1963). Untitled, 1999. Ink on Mylar. Anonymous Gift, 2018.147 Eddie Peake (British, born 1981). Handschmeichler 11 (Non-Diagonal Twins), 2014. Painted aluminum, timber, foam, leather, bronze, and plaster. Anonymous Gift, 2018.148.a–g Adam Pendleton (American, born 1984). City of Night, 2004. Silkscreen on canvas. Anonymous Gift, 2018.149

A D A M P E N D E LT O N By reproducing a text from John Rechy’s landmark gay novel, City of Night (1963), Adam Pendleton used painting to shape images and express ideas.

Mead Art Museum Acquisitions 2018–2019

Adam Pendleton (American, born 1984). Untitled (bulletin 41) from White Columns Print Portfolio, 2007. Letterpress print. Anonymous Gift, 2018.204.1

Matthew Ritchie (British, active in the United States, born 1964). The Dead Schiekorn, 2004. Ink on Denril. Anonymous Gift, 2018.163

Elizabeth Peyton (American, born 1965). Leonardo di Caprio as the Sun King, 1998. Colored pencil on paper. Anonymous Gift, 2018.150

Hugo Robus (American, 1885–1964). Girl Doing Her Hair, 1956. Bronze. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.31

Andrea Pezman (Slovak, born 1975). 3d>html< (Infinite Book), 2010. Etching on paper. Purchase with William W. Collins (Class of 1953) Print Fund, 2019.03.1–3

Alexis Rockman (American, born 1962). The Hammock, 2000. Oil on wood. Anonymous Gift, 2018.164

Paul Pfeiffer (American, born 1966). Live Evil (Copenhagen), 2003. 30-second digital video loop, LCD monitor, DVD player, and cast plastic armature. Anonymous Gift, 2018.151

Norman Rockwell (American, 1894–1978). Ward Patton as Huck Finn, 1953. Gouache on gessoed Masonite board. Gift of Ward H. Patton III (Class of 1969) in honor of his father, Ward H. Patton Jr. (Class of 1942), 2018.267

Magnus Plessen (German, born 1967). Allergie (Allergy), 2004. Oil on canvas. Anonymous Gift, 2018.152 Monique Prieto (American, born 1962). Pic-n-Choose, 2000. Acrylic on canvas. Anonymous Gift, 2018.153 Monique Prieto (American, born 1962). Wistful III, 1998. Color aquatint etching on rag paper. Anonymous Gift, 2018.154 Rob Pruitt (American, born 1964). Spider Webs, 2002. Glitter and enamel paint on canvas. Anonymous Gift, 2018.155.1–4

Halsey Rodman (American, born 1973). To See a Landscape as It Is When I’m Not There (The Navigator’s Chair), 2007. Chair, aluminum foil, acrylic paint, aluminum tubing, epoxy putty. Anonymous Gift, 2018.165 Kay Rosen (American, born 1943). Do Not Disturb from White Columns Print Portfolio, 2007. Letterpress print. Anonymous Gift, 2018.204.3 Christian Rosa (Brazilian, active in Austria and the United States, born 1982). At Home Alone, 2015. Oil, charcoal, pencil, and resin gel on canvas. Anonymous Gift, 2018.166

Marc Quinn (British, born 1964). Italian Landscape (1), 2000. Permanent pigment on canvas. Anonymous Gift, 2018.129 David Ratcliff (American, born 1970). Forest, 2007. Acrylic on canvas. Anonymous Gift, 2018.156 Tyson Reeder (American, born 1974). Untitled, 2015. Dispersed pigment, rabbit-skin glue, and graphite on canvas. Anonymous Gift, 2018.157 Mary Reid Kelley (American, born 1979). Deep in Our Shell Hole Our Smelli Smellhole Deep in Shell Hole Just You and Me, 2008. Pencil on paper. Anonymous Gift, 2018.158 Mary Reid Kelley (American, born 1979). Mergy, Bergy, Fergy, 2008. Pencil on paper. Anonymous Gift, 2018.159 Mary Reid Kelley (American, born 1979). Pizi, Wizi, Dizi, 2008. Pencil on paper. Anonymous Gift, 2018.160 Mary Reid Kelley (American, born 1979). The American Soldier Is Physically Strong and Virile, Aggressive and Virile Loyal and Virile, Virile and Virile, Hurried and Virile, and Seemingly Insurmountable Virile, 2008. Pencil on paper. Anonymous Gift, 2018.161 Pierre Auguste Renoir (French, 1841–1919). Maternité, ca. 1912. Lithograph. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.25 Robin Rhode (South African, active in Germany, born 1976). Stacked Drawing (in 10 Parts), 2004. Gelatin silver prints face-laid on Plexiglas and mounted on aluminum. Anonymous Gift, 2018.162.1–10

Mead Art Museum Acquisitions 2018–2019

Sterling Ruby (American, born in Germany, 1972). Sex, 2007. Lambda print laminated to Plexiglas. Anonymous Gift, 2018.169 Christoph Ruckhäberle (German, born 1972). Untitled, 2006. Oil on canvas. Anonymous Gift, 2018.170 Thomas Ruff (German, born 1958). Nudes pus08, 2000. Laserchrome and Diasec mounted. Anonymous Gift, 2018.171 Thomas Ruff (German, born 1958). Portrait (Elke Dende), 1988. Chromogenic print. Anonymous Gift, 2018.172 Analia Saban (American, born in Argentina, 1980). Decant (White) no. 2, 2011. Encaustic paint on canvas. Anonymous Gift, 2018.173 Analia Saban (American, born in Argentina, 1980). One-Armed, Three-Legged Chair (with Coil Spring Rubbings), 2014. Anonymous Gift, 2018.174 Saindré (French, 20th century). “Le Cévenol” visitez les Cévennes avec l’autorail, 1955. Lithograph. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.43 Dean Sameshima (American, born 1971). Safe Mingle, 2008. Silkscreen on canvas. Anonymous Gift, 2018.175 Yehudit Sasportas (Israeli, born 1969). A Surprise Reversal, 2008. Ink on paper. Anonymous Gift, 2018.176 Florian Schmidt (Austrian, born 1980). Untitled (Position) 4, 2010. Lacquer, acrylic gel, graphite, paper, cardboard, plastic, canvas, and wood. Anonymous Gift, 2018.177 Peri Schwartz (American, born 1951). Untitled (Self-Portrait), 1986. Oil on linen. Gift of the artist, 2019.48 Peri Schwartz (American, born 1951). Studio Self-Portrait, n.d. Willow charcoal on paper. Gift of the artist, 2019.49 Sekino Juni’chirō (Japanese, 1914–1988). Totsuka – Dondo Fire, n.d. Woodblock print. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.32 Sekino Juni’chirō (Japanese, 1914–1988). Cat on Rooftop, 1957. Woodblock print. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.33 Sekino Juni’chirō (Japanese, 1914–1988). Puppet Master / Bungoro on Stage, ca. 1953. Woodblock print. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.34 Alexander Ross (American, born 1960). Untitled, 1998. Oil on canvas. Anonymous Gift, 2018.167 Brie Ruais (American, born 1982). Tailings Pond, 2001. Paper pulp and pigment. Anonymous Gift, 2018.168

Mead Art Museum Acquisitions 2018–2019

Sekino Juni’chirō (Japanese, 1914–1988). Daruma Doll Fair, ca. 1960s. Woodblock print. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.35 Sekino Juni’chirō (Japanese, 1914–1988). Snow Scene, ca. 1970s. Woodblock print. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.36

Mead Art Museum Acquisitions 2018–2019

Yinka Shonibare (British-Nigerian, born in England, 1962). The American Library Collection (Activists), 2018. 225 hardback books, bookcase, Dutch wax printed cotton textile, gold-foil names, and card catalog box. Purchase with William K. Allison (Class of 1920) Memorial Fund, 2018.08 Laurie Simmons (American, born 1949). The Instant Decorator (Black and White Living Room), 2002. Flex print. Anonymous Gift, 2018.180 Laurie Simmons (American, born 1949). Walking Hourglass, 1989. Vibachrome print. Anonymous Gift, 2018.181 Taryn Simon (American, 1975). Charles Irvin Fain, Scene of the Crime, Snake River, Melba, Idaho, 2002. Chromogenic print. Anonymous Gift, 2018.182 John Sloan (American, 1871–1951). Dolly Reading, ca. 1914. Oil on canvas. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.22 Zak Smith (American, born 1976). Most Accurate Self-Portrait to Date, 2004. Acrylic and ink on plastic coated paper. Anonymous Gift, 2018.183 Raphael Soyer (American, 1899–1987). Leah, n.d. Oil on canvas. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.23 Kamila Stanclova (Slovak, born 1945). Changing or Undressing the Skin, 1990. Etching on paper. Purchase with William W. Collins (Class of 1953) Print Fund, 2019.02 Frances Stark (American, born 1967). Repurposed Prayer Rug, 2004. Carbon, ink, collage, and paper with linen tape. Anonymous Gift, 2018.184 Despina Stokou (Greek, born 1978). The Accidental Woman (by J Coe), 2012. Mixed media on canvas. Anonymous Gift, 2018.185 Robert Storr (American, born 1949). A. Part 1–4, 2015. Oil on canvas stretched on panel. Gift of the American Academy of Arts and Letters, 2018.32.1–4 Louis Clyde Stoumen (American, 1917–1991). Deadly Disease, Times Square, New York, 1980. Vintage gelatin silver print. Gift of John Chatzky and Deborah Mullin, 2018.266 Philip Taaffe (American, born 1955). Still-Life with Ferns, 2000. Mixed media on canvas. Anonymous Gift, 2018.187 Andres Serrano (American, born 1950). Ringmaster Jonathan Lee Iverson, Ringling Bros. and Barnum & Bailey Circus, 2003. Cibachrome. Anonymous Gift, 2018.178 Ben Shahn (American, born in Lithuania, 1898–1969). Wheat Field, ca. 1958. Offset lithograph and hand coloring. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.27 Cindy Sherman (American, born 1954). Untitled, 1985–99. Chromogenic print. Anonymous Gift, 2018.179 Everett Shinn (American, 1876–1953). Startled Nude, 1911. Red and white chalk on paper. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.21

Mead Art Museum Acquisitions 2018–2019

Francisco Tamagno (Italian, active in France, 1851–1933); published by Camis & Cie (French, late 18th–early 19th century). Terminus absinthe bienfaisante, ca. 1900. Lithograph. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.37 Sam Taylor-Johnson (British, 1967). Wrecked, 1996. Chromogenic print. Anonymous Gift, 2018.188 Luc Tuymans (Belgian, born 1958). Untitled, 1990. Ink on square notepaper. Anonymous Gift, 2018.189 Luc Tuymans (Belgian, born 1958). Untitled, 1996. Gouache on paper. Anonymous Gift, 2018.190

Mead Art Museum Acquisitions 2018–2019

Unknown (German/Swiss). Armorial Panel, 1595. Glass. Gift of the Metropolitan Museum of Art, New York, 2018, 2018.205

Unknown (German?). Armorial Panel, 16th–17th century. Glass. Gift of the Metropolitan Museum of Art, New York, 2018, 2018.222

Unknown (Dutch). Warship, 1669. Glass. Gift of the Metropolitan Museum of Art, New York, 2018, 2018.206

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

Unknown (Dutch). Warship, 1665. Glass. Gift of the Metropolitan Museum of Art, New York, 2018, 2018.207

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

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

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

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

Unknown (German?). Armorial Panel, 1554. Glass. Gift of the Metropolitan Museum of Art, New York, 2018, 2018.226

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

Unknown (German/Dutch). Armorial Panel, 1762. Glass. Gift of the Metropolitan Museum of Art, New York, 2018, 2018.227

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

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

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

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

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

Unknown (German?). Armorial Panel, 1648. Glass. Gift of the Metropolitan Museum of Art, New York, 2018, 2018.230

Unknown (Dutch). Warship, 1667. Glass. Gift of the Metropolitan Museum of Art, New York, 2018, 2018.214

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

Unknown (Dutch). Warship, 1670. Glass. Gift of the Metropolitan Museum of Art, New York, 2018, 2018.215

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

Unknown (Dutch). Warship, 17th century. Glass. Gift of the Metropolitan Museum of Art, New York, 2018, 2018.216

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

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

Unknown (European). The Crucifixion, 16th-century style. Glass. Gift of the Metropolitan Museum of Art, New York, 2018, 2018.234

Unknown (German?). Armorial Panel, 16th–17th century. Glass. Gift of the Metropolitan Museum of Art, New York, 2018, 2018.218

Unknown. School of Pietro Testa (Italian, 1612–1650). Dream of Saint Joseph; verso: Nude Male, n.d. Ink on laid paper. Gift of Loretta Howard (Class of 1983), 2018.235

Unknown (German?). Armorial Panel, 16th–17th century. Glass. Gift of the Metropolitan Museum of Art, New York, 2018, 2018.219

Koen van den Broek (Belgian, born 1973). Yellow Border no. 2, 2001. Oil on canvas. Anonymous Gift, 2018.49

Unknown (German?). Armorial Panel, 16th–17th century. Glass. Gift of the Metropolitan Museum of Art, New York, 2018, 2018.220

Ned Vena (American, born 1982). Alumni, 2007. Acid-etched glass on panel. Anonymous Gift, 2018.191

Unknown (German?). Armorial Panel, 16th–17th century. Glass. Gift of the Metropolitan Museum of Art, New York, 2018, 2018.221

Claude Venard (French, 1913–1999). Le pot blanc, n.d. Oil on canvas. Bequest of Dr. Sanford B. Sternlieb (Class of 1946), 2019.26

Mead Art Museum Acquisitions 2018–2019

G I F T O F S TA I N E D G L A S S FROM THE MET

WHAT: Twenty-nine panels of stained glass gifted to the Mead in 2018 by the Metropolitan Museum of Art in New York. They are decorated with warships, heraldic imagery (think coats of arms, rampant lions, fleurs-de-lys), biblical scenes, and saints. WHO MADE THEM: Attributed to unknown Dutch and German artists, most of whom lived in the sixteenth or seventeenth century DÉJÀ VU: If you’ve been to the Mead, chances are good you’re already familiar with these “new” acquisitions: the stained glass panels have graced the windows of the Mead’s historic English Rotherwas Room for decades. BACKSTORY: The glass panels were once owned by Amherst College graduate George Dupont Pratt (Class of 1893), a philanthropist and art collector. On his death, in 1935, his stained glass collection was bequeathed to the Metropolitan Museum of Art. The entire group, over seventy panels in total, then came to Amherst College on indefinite loan from the Met in 1941. It is unclear why. There is no record of what the College did with the glass upon its arrival. The Mead building was not constructed until 1949. Younger brother Herbert Lee Pratt (Class of 1895) died in 1944, leaving the Rotherwas Room, among other works of art, to Amherst College. The Rotherwas Room was installed in the museum, and some of the panels of stained glass were permanently installed with it. They had never been together before (brothers George and Herbert lived in separate mansions in Glen Cove, New York). In 1980, everything that wasn’t cemented into the walls of Rotherwas was returned to the Met. The twenty-nine pieces of glass remained. Every year, the Met extended the loan for an additional year. Finally, in 2018 the Met decided to permanently deaccession the panels in Rotherwas and gift them to the Mead.

Mead Art Museum Acquisitions 2018–2019

Banks Violette (American, born 1973). Twin-Screen (american murder anthem), 2003. Steel, hardware, plywood, tinted epoxy, sandbags, and graphite on paper. Anonymous Gift, 2018.192 Cornelius Völker (German, born 1965). Bücher (Books), 2008. Oil on canvas. Anonymous Gift, 2018.194 Brett Weston (American, 1911–1993). Reeds, Oregon, 1975. Vintage gelatin silver print. Gift from the Christian Keesee Collection, 2018.236 Brett Weston (American, 1911–1993). Cactus, Baja, ca. 1940. Vintage gelatin silver print. Gift from the Christian Keesee Collection, 2018.237 Brett Weston (American, 1911–1993). Mud Crack, Arizona, 1962. Vintage gelatin silver print. Gift from the Christian Keesee Collection, 2018.238 Brett Weston (American, 1911–1993). Grass, Water, 1975. Vintage gelatin silver print. Gift from the Christian Keesee Collection, 2018.239 Brett Weston (American, 1911–1993). Swan, Europe, 1971. Vintage gelatin silver print. Gift from the Christian Keesee Collection, 2018.240 Brett Weston (American, 1911–1993). Building Wall, Windows, Fence, Europe, 1971. Vintage gelatin silver print. Gift from the Christian Keesee Collection, 2018.241 Brett Weston (American, 1911–1993). Mountain and Trees, Landscape, Spain, ca. 1960. Vintage gelatin silver print. Gift from the Christian Keesee Collection, 2018.242

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

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

Brett Weston (American, 1911–1993). Convent, Portugal, 1960. Vintage gelatin silver print. Gift from the Christian Keesee Collection, 2018.244

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Mead Art Museum Acquisitions 2018–2019

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

ACQUISITIONS 2019 - 2020

Pae White (American, born 1963). Web Sampler no. 51, 2001. Spider web on Perfect paper. Anonymous Gift, 2018.196 Christopher Williams (American, active in Germany, born 1956). AGFA Color (oversaturated), 2000. Chromogenic print. Anonymous Gift, 2018.197 Aaron Young (American, born 1972). Focus on the Four Dots in the Middle of the Painting for Thirty Seconds Close Your Eyes and Tilt Your Head Back (Yellin’ Melon), 2006. Silkscreen on canvas. Anonymous Gift, 2018.198 Aaron Young (American, born 1972). Freedom Fries, 2005. DVD. Anonymous Gift, 2018.199 Aaron Young (American, born 1972). Platonic Heaven (Black and Gray), 2005. Acrylic and silkscreen on canvas. Anonymous Gift, 2018.200 Aaron Young (American, born 1972). The Young and the Restless (1), 2006. Rubber and spray glue on safety glass. Anonymous Gift, 2018.201 Brenna Youngblood (American, born 1979). NYT, 2013. Mixed media on panel. Anonymous Gift, 2018.202 Kevin Zucker (American, born 1976). Each Day a New Beginning, 2001. Acrylic, carbon transfers, and enamel on canvas. Anonymous Gift, 2018.203

Fred Becker (American, 1913–2004). Woman of the Quarry (study), ca. 1959. Pen and ink on paper. Gift of Carla M. Becker, 2019.64 Fred Becker (American, 1913–2004). Woman of the Quarry, 1959. Woodcut with collagraph on wove paper. Gift of Carla M. Becker, 2019.65 Fred Becker (American, 1913–2004). Nets, 1981. Collagraph on magnesium plate. Gift of Carla M. Becker, 2019.66 Andrea Carlson (Anishinaabe/Ojibwe, born 1979); published by Highpoint Center for Printmaking (American, founded 2001). Exit, 2018. Screenprint. Purchase, Trinkett Clark Memorial Student Acquisition Fund, 2020.04 Edgardo Giménez (Argentine, born 1942). Edgardo Giménez en la galería Rioboo, 1964. Lithograph on paper. Gift of the Institute for Studies on Latin American Art (ISLAA), 2019.54 Edgardo Giménez (Argentine, born 1942). Edgardo Giménez, Edgardo Giménez, Edgardo Giménez, 1967, 1967. Lithograph on paper. Gift of the Institute for Studies on Latin American Art (ISLAA), 2019.55 Edgardo Giménez (Argentine, born 1942). Serie “Por siempre Ameba” de Luciana Daelli, 1968. Silkscreen on paper. Gift of the Institute for Studies on Latin American Art (ISLAA), 2019.56 Edgardo Giménez (Argentine, born 1942). Untitled (Fuera de Cafa proof), 1970. Offset lithograph on paper. Gift of the Institute for Studies on Latin American Art (ISLAA), 2019.57 Edgardo Giménez (Argentine, born 1942). Love (Butterfly), 1970. Silkscreen on paper. Gift of the Institute for Studies on Latin American Art (ISLAA), 2019.58 Edgardo Giménez (Argentine, born 1942). Fuera de Caja box design (Saturn), 1970. Offset lithograph on paper. Gift of the Institute for Studies on Latin American Art (ISLAA), 2019.59 Edgardo Giménez (Argentine, born 1942). Untitled wallpaper design (black cat positioned left), 1968. Silkscreen on paper. Gift of the Institute for Studies on Latin American Art (ISLAA), 2019.60 Edgardo Giménez (Argentine, born 1942). Untitled wallpaper design (black cat positioned right), 1968. Silkscreen on paper. Gift of the Institute for Studies on Latin American Art (ISLAA), 2019.61 Edgardo Giménez (Argentine, born 1942). Love (Hearts), n.d. Silkscreen on paper. Gift of the Institute for Studies on Latin American Art (ISLAA), 2019.62

Mead Art Museum Acquisitions 2018–2019

Mead Art Museum Acquisitions 2019–2020

Jenny Holzer (American, born 1950). Truisms Portfolio, ca. 1979–82. Matted offset lithographs on colored paper in cloth-bound portfolio box. Gift of Ronald F. Daitz (Class of 1961) and Linda F. Daitz, 2019.53.1–8 Jonathan Jackson (American, born 1996). The House Servant’s Directory, 2019. Archival inkjet print. Purchase with Richard Templeton (Class of 1931) Photography Fund, 2019.50.1–20 Shivangi Ladha (Indian, born 1991). Self-Portrait, 2017. Unique print, screen print, fabric, and Japanese paper. Purchase with William W. Collins (Class of 1953) Print Fund, 2019.67 Shivangi Ladha (Indian, born 1991). Self-Portrait, 2017. Unique print, screen print, and Japanese paper. Purchase with William W. Collins (Class of 1953) Print Fund, 2019.68 Sherrie Levine (American, born 1947). Parchment Knot: 4, 1985/2003. Acrylic on plywood. Gift of Sam Orlofsky (Class of 1998) in honor of David E. Little, Director of Mead Art Museum, 2019.63 Helen Lundeberg (American, 1908–1999). Biological Fantasy, 1946. Oil on board. Purchase with Wise Fund for Fine Arts, 2019.52 Jonathan Monk (British, active in Rome and Berlin, born 1969). Restaurant Drawing (Aeb a brilliant idea), 2019. Pencil and watercolor on thermal paper. Purchase with Wise Fund for Fine Arts, 2019.51 Dennis Oppenheim (American, 1938–2011). Reading Position for Second Degree Burn, 1970; printed ca. 2000. Chromogenic print on Fuji photographic paper. Gift of Dennis Oppenheim Estate and Studio/Archive, 2019.69 Shinique Smith (American, born 1971); printed by Valpuri Remling (Finnish, active in 21st century); published by Tamarind Institute (American, founded 1970). Wishing Words, 6/15/2017. Two-color lithograph with yarn and Kozo paper on tan Rives BFK paper. Purchase with William K. Allison (Class of 1920) Memorial Fund, 2020.03 Unknown (Burkina Faso); Mossi peoples. Doll (paog’ biga), mid-20th century. Wood. Gift from the Ernie and Diane Wolfe Collection, 2020.01 Unknown (Burkina Faso); Mossi peoples. Doll (paog’ biga), mid-20th century. Wood. Gift from the Ernie and Diane Wolfe Collection, 2020.02 Dyani White Hawk (Lakota/Sičaᶇğu Oyáte, born 1976); Highpoint Center for Printmaking (American, founded 2001). Nakíčižiᶇ | Protect, 2019. Screenprint with metal foil. Purchase, Trinkett Clark Memorial Student Acquisition, 2020.06 Dyani White Hawk (Lakota/Sičaᶇğu Oyáte, born 1976); Highpoint Center for Printmaking (American, founded 2001). Wačháᶇtognaka | Nurture, 2019. Screenprint with metal foil. Purchase, Trinkett Clark Memorial Student Acquisition, 2020.05

Mead Art Museum Acquisitions 2019–2020

HELEN LUNDEBERG Mixing art and science, Helen Lundeberg created abstract forms based on life forms observed under a microscope. About Lundeberg’s painting Biological Fantasy, Mead intern Hannah Goldberg ’22 wrote, “As a biology major, I think that sometimes I get too bogged down by details of my coursework or experiments to recognize why I really love science: to discover something that is unknown and mysterious, like the subject of this work. It makes me question what the subjects are, and, if they are not based on the more realistically depicted trees in the artist’s early works, what could these figures be and represent?”

F I V E D AY S I N J A N U A R Y : THE TRINKETT CLARK MEMORIAL STUDENT ACQUISITION PROJECT 2018–20

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

Over five days in January, during Amherst’s interterm period, the Mead offers a class in how museums acquire artwork. Students study collection criteria, acquisitions policies, and the path of an artwork from the artist’s studio to the loading dock to gallery wall. After a quick overview of museum practices, with a focus on contemporary American prints, they venture into the art world, meet professionals in the field, and select one or more prints to purchase for the Mead. ALSO KNOWN AS: Collecting 101: Acquiring Art for the Mead DO THE MATH: The class has been in existence for just over a decade, a milestone the Mead celebrated in 2019–20 with the exhibition Ten Years of Trinkett Clark Memorial Student Acquisitions. So far over ninety students have participated and thirty-nine works have been added to the Mead’s collection. WHAT’S THE IDEA? The class starts with two days of workshops at the Mead. On day three, they set out to visit galleries and studios, almost always ending up in New York City, especially the gallery district in Chelsea from 14th Street to Hudson Yards. Students meet with artists, gallery directors, and art dealers, while examining particular prints they think will fulfill the Mead’s collecting criteria, from content to care and preservation. They also are on the lookout for prints that will inspire research and engagement among students and professors for years to come. REQUIRED READING: It varies, but the 2019 reading list included Randy Kennedy, “Black Artists and the March into the Museum” (New York Times, Nov. 28, 2015) and “Critical Curators: Interview with Kellie Jones” in EyeMinded: Living and Writing Contemporary Art (Duke University Press, 2011).

SO IT’S A REAL CLASS? While students don’t receive academic credit for the class, they do gain valuable insights into museums, fine arts careers, and the creation, buying, and selling of art. IF IT’S TUESDAY, THIS MUST BE—WARHOL? In 2019 the class visited C.G. Boerner Gallery in Chelsea and the studio of Rico Gatson in Brooklyn (left), and explored two exhibitions: Soul of a Nation: Art in the Age of Black Power at the Brooklyn Museum and Andy Warhol: From A to B and Back Again at the Whitney Museum of American Art. In 2020 the first stop was the Zea Mays Printmaking Studio in Florence, Mass., followed by trips to Powerhouse Arts Printshop in Brooklyn, and Lehmann Maupin Gallery and the International Print Center (IPCNY) in Chelsea.

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

Mead Art Museum Annual Report 2018–20

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

Mead Art Museum Annual Report 2018–20

2019

2020

(Above) Enrique Chagoya (American, born in Mexico, 1953). Illegal Alien’s Guide to Somewhere over the Rainbow, 2010. Color lithograph with chine collé on hand-made paper; edition 19/30. Purchase, Trinkett Clark Memorial Student Acquisition Fund

(Above) Andrea Carlson (Anishinaabe/ Ojibwe, born 1979); published by Highpoint Center for Printmaking (American, founded 2001). Exit, 2018. Screenprint. Purchase, Trinkett Clark Memorial Student Acquisition Fund

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

(Left) Dyani White Hawk (Lakota/ Sičaᶇğu Oyáte, born 1976); published by Highpoint Center for Printmaking (American, founded 2001). Nakíčižiᶇ | Protect (far left) and Wačháᶇtognaka | Nurture, 2019. Screenprint with metal foil. Purchases, Trinkett Clark Memorial Student Acquisition Fund

PA R T I I

2019–2020 In late August 2019, a group of first-year students took part in LEAP (Learn, Explore, Activate, and Participate) orientation at the Mead, and soon classes were meeting in the Mead’s classrooms and galleries at a hectic pace. Students gathered shoulder to shoulder in the lobby, before moving as a group to one of the classrooms in the building. In the galleries they clustered around works of art for close looking and conversation with a curator, professor, or their classmates. Mead openings and events routinely draw large numbers of students, faculty, staff, and local audiences from the Five College region. Families and friends come for Homecoming tours in the fall, and alumni return to the Mead throughout the year, especially during the spring reunions. The Mead exists for the whole Amherst community to use: to learn from and engage with art and one another in real time. All that changed in the middle of March 2020 when COVID-19 made social distancing a necessity. For the safety of all, Amherst College closed the campus, and with rare exceptions the Amherst community began working and attending classes remotely. The question became: How could Mead staff continue to carry out our mission of making the collection and other resources available for the education and enjoyment of the community? #Adaptability The Mead’s collection, of which over 95% is digitized, became an essential resource for student research and classes. And the Mead’s talented staff began the process of developing additional digital resources, from programs via Zoom to virtual exhibitions, which connected the community with the Mead. In 2020 the world confronted illness, death, economic struggle, racial injustice, disinformation, and misunderstanding. At the Mead, we look forward to a future when we are all closer and can welcome students, staff, faculty, alumni, and the community back to the museum.

E D U C AT I O N

In 2020 the question became: How could Mead staff continue to carry out our mission of making the collection and other resources available for the education and enjoyment of the community?

992 COLLEGE STUDENTS IN CL ASS SESSIONS

39 AMHER ST COLLEGE COUR SES

18 AMHER ST COLLEGE DEPARTMENTS

6 FIR ST-YE AR SEMINAR S

695 ART OBJECTS VIEWED BY CL ASSES IN STUDY ROOMS

6 OTHER COLLEGE AND UNIVER SIT Y COUR SES

Mead Art Museum Annual Report 2019–20

103

W I S E AWA R D F O R S T U D I O A R T 2 0 2 0 The Wise Award is presented every spring to a student in the College for distinction in the completion of an original work or works of art. Jiajia Zhang ’22 received the award after submitting three mixed media works. One work in the series will join the Mead’s permanent collection. The final selection was postponed because of constraints related to the COVID-19 pandemic.

Jiajia Zhang, ’22

Zhang said that her series was inspired by “the recent anti-Asian and Sinophobic hate crimes against Chinese British individuals.” Responding to her desire to “tell Chinese British and Chinese diaspora history, as well as revolt against government and societal negligence of Chinese immigrant issues,” the works zero in on a story of Sinophobic violence. “This piece was inspired by installation artist Cai Guo-Qiang, who recalled in an interview of his that gunpowder was originally invented in China by an alchemist in search of a medicine for immortality: gunpowder in Chinese, I realized, is in fact not called “gun powder” but “fire medicine.” This piece places us in one of the first times gunpowder was used against the Chinese people on a large scale: The First Opium War. Each individual is depicted, in silhouette form, being shot and killed but rather than simply dying, the explosion seems to rise above him and evolve into an animal. These are the five animals, also called ‘five symbols,’ or ‘five forms’ in Chinese mythology: each represents a different stage in one’s life, different parts of one’s body, and different emotions in one’s mind. Therefore, these pieces reflect the duality of gunpowder in Eastern/Western narratives: as a force of destruction, or an elixir for immortality?” Jiajia Zhang, Fire Medicine. Black gouache, marker, pen Mead Art Museum Annual Report 2019–20

105

AMHER ST COLLEGE CL ASSES MAKING A VISIT TO THE ME AD 2019 –20

American Studies (AMST) 111 Global Valley 224 The Neo-Western Anthropology (ANTH) 304 The Photograph Art and the History of Art (ARHA) 154 Art and Architecture of South Asia (ARCH-154, ASLC-154) 159 Modernity and the Avant-Garde 187 Native American Art (LLAS-187) 213 Printmaking I: The Hand-Printed Image 319 Working in Series: The Interdisciplinary Connection between Drawing and the Hand-Printed Image Asian Languages and Civilizations (ASLC) 123 Arts of Japan (ARHA-123) 152 Introduction to Buddhist Traditions (RELI-152) 220 Reinventing Tokyo: The Art, Literature, and Politics of Japan’s Modern Capital Black Studies (BLST) 294 Black Europe Chemistry (CHEM) 371 Inorganic Chemistry English 226 Fiction Writing I 343 British Romantic Poetry: Nature and the Imagination 448 Body in Peril: An Exploration of Tragedy through Poetic Form European Studies (EUST) 127 Early Modern Europe in a Global Context ( HIST-127) Film and Media Studies (FAMS) 221 Foundations in Video Production (ARHA-221) First-Year Seminars (FYSE) 102 What Is Mainstream Music? 112 Beginnings 115 Space and Place 118 Food and Culture 120 Manifestos 123 Keywords in American Culture

French (FREN) 101 Elementary French 103 Intermediate French German (GERM) 316 German Cultural History from 1800 to the Present History (HIST) 122 Readings in the European Tradition II 126 Medieval Europe in a Mediterranean Context (500–1500) Latinx and Latin American Studies (LLAS) 186 Pre-Columbian Art and Architecture (ARHA-186) 301 Literature and Culture of the Hispanic World (SPAN-301) Music (MUSI) 227 Jazz History after 1945 Philosophy (PHIL) 260 Introduction to Feminist Philosophy: Subjectivity, Embodiment, and Situatedness Russian (RUSS) 332 Russian Lives Sexuality, Women’s, and Gender Studies (SWAG) 100 The Cross-Cultural Construction of Gender 105 Women, Gender, and Popular Culture Spanish (SPAN) 101 Fundamentals of Spanish Language and Culture

OTHER COLLEGE AND UNIVER SIT Y CL ASSES MAKING A VISIT TO THE ME AD 2019 –20

M A K I N G E M B O D I E D TA S T E : FOOD STORIES IN THE ART MUSEUM

HAMPSHIRE COLLEGE Absurdism in Art, Literature, and Linguistics MOUNT HOLYOKE COLLEGE The Haitian Literary Tradition: Revolution, Diaspora and Writing in French Now UNIVERSITY OF MASSACHUSETTS AMHERST Advanced Drawing History of Photography Mediterranean Mosaic Painting

CLASS MEETING ENTIRELY AT THE MEAD Anthropology 303: Eat! Exhibition Seminar

By Emily Potter-Ndiaye Dwight and Kirsten Poler & Andrew W. Mellon Head of Education and Curator of Academic Programs

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

CHALLENGE: Use museum and food studies methods to unpack important topics around food, eating, culture, and power from an anthropological perspective, while also investigating food as a recurring theme and subject of art across cultures and times.

full sort to about a hundred objects, which the students would view, do secondary research on, and finally boil down to an exhibition checklist of thirty-five objects.

FIELDWORK: As a break from course readings, discussion, and research, we traveled to New York City to CONSTRAINTS: encounter food narratives in public contexts. We had a modest budget for design and We went on a food-truck tour of Midtown installation in the two-room Collins Gallery. Manhattan led by Turnstile Tours to see how Everything in the exhibition had to come from a tourism company creates narratives around the Mead’s collection or, given their proximity food, culture, and local history. Students and accommodating spirit, from the College’s studied the exhibition design of Chow: Making Archives and Special Collections. the Chinese American Restaurant at the Museum of Food and Drink in Williamsburg, SELECTION OF WORKS: Brooklyn. We stopped for shaved ice in the Before the semester, I created a long list of park and chatted with the purveyor, before Mead artworks relating to food and sorted it wrapping up the trip with an after-dark stroll into possible thematic threads to establish through the Met. proof of concept. Amy and I whittled down the

108

Mead Art Museum Annual Report 2018–19

Mead Art Museum Annual Report 2019–20

109

HUNGRY YET? To support the mood of the project, the students chose to paint the gallery walls in Sherwin-Williams colors White Flour and Cherries Jubilee. STUCK IN THE MIDDLE: The hardest part of the project was the middle. Drawing from practical museum texts by Elaine Gurian (Civilizing the Museum) and Beverly Serrell (Exhibit Labels), Amy and I led collective brainstorming to home in on a “big idea” and title for the exhibition, as well as a general gallery layout and exhibition script. For most students, all of these steps revealed just how subjective a museum exhibition can be.

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

111

“

The course provide d a lens into what we as curators, or viewers, can and should do with ar t , focusing on the modalities of our exhibition, as much as on the content." -Emily Pot ter-Ndiaye

Dwight and Kir s ten Poler & Andrew W. Mellon Head of Educa tion and Curator of Academic Pro grams

PRIDE OF PLACE: The student curators were clear that although they did plan to include the Mead’s impressively large seventeenth-century painting Larder with a Servant, by Flemish artist Frans Snyders, they didn’t want that canvas to occupy the key “hook” position. Such prominent placement, they felt, would not express the main ideas of the exhibition, which involved shifting from expected, traditional, and Eurocentric canons. Instead, they selected a more contemporary, relatable painting by Serge Hollerbach that depicts two young women in a café or diner, sharing drinks and company. SPEAK, MEMORY: To encourage visitors to bring their memories and a sensory approach to looking at the exhibition, some students chose to incorporate audio of people eating together and alone, as well as poetry. Another group took on the class’s widespread interest in interactive components, and made a recipe/memory station.

A student pauses to take notes near Frans Snyders (Flemish, 1579–1657). Larder with a Servant, about 1635–40. Oil on panel. Museum purchase

REPRESENTATION: Another group, concerned that women of color, including those outside of the US, were underrepresented in the show, created a montage of videos from pop culture and YouTube that presented women as agents in their cooking. Finally, a group represented the labor of harvest and cultivation that is often invisible to consumers but foundational to the lives of those laborers and their families. They aimed their language not at the unaware consumer but at the person who may have some experience harvesting food. FEEDBACK: Students described the Eat! class as challenging and stressful, but said it offered unique opportunities to work in modalities they were unfamiliar with but eager for, and in collaboration. Some said it was the best class they had taken. AFTERLIFE: While the pandemic has slowed down in-person projects for the short term, this one lives on through a virtual tour, and has seeded a partnership with Amherst Regional Public Schools for their fourth-grade curriculum connecting family recipes, seeds, oral history, and portraiture. It is fitting that an exhibition about art and food that nourishes and defines us would continue to bear fruit. Serge Hollerbach (American, born Russia, 1923). Two Girls with Soft Drinks, 1977. Acrylic on paper. Gift of Thomas P. Whitney (Class of 1937)

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

Mead Art Museum Annual Report 2019–20

113

EXHIBITIONS

» Starting Something New, Again: Recent Contemporary Art Acquisitions and Gifts (Part 2) Organized by David E. Little September 10, 2019–July 18, 2021 Drawn from museum purchases and an extraordinary recent gift of 184 contemporary artworks from an anonymous donor, this exhibition builds on the Mead’s first and most comprehensive contemporary art exhibition, presented in fall 2019. Spanning four decades, from the 1980s to 2019, the exhibition highlights how artists experiment with media and use historical events, ideas, and images to address politics and the nature of art. Featured artists include Heather Agyepong, Moira Dryer, Mark Fox, Al Hansen, Sarah Morris, Thomas Ruff, Analia Saban, and Paul Mpagi Sepuya.

116

Mead Art Museum Annual Report 2019–20

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

Ten Years of Trinkett Clark Memorial Student Acquisitions (Part 1) Organized by Galina Mardilovich September 10, 2019–July 26, 2020 This exhibition celebrated ten years of the Trinkett Clark Memorial Fund. Established in honor of Trinkett Clark (1951–2006), curator of American art at the Mead from 2001 until her untimely death, her family’s gift helped create an innovative annual program in which curators and educators work with Amherst College students to help select a contemporary print for the museum to purchase. Thanks to the Trinkett Clark Memorial Student Acquisition Fund, students have helped choose nearly forty works for the Mead thus far, and this exhibition showcased some of those diverse acquisitions.

118

Mead Art Museum Annual Report 2019–20

Rotherwas Room Project 5: Christopher Myers, The Red Plague Rid You for Learning Me Your Language Organized by David E. Little September 10, 2019–May 31, 2020

The year 1611 gave birth to the Mead’s wood-paneled Rotherwas Room and William Shakespeare’s The Tempest. Inspired by this historical convergence, Myers presented an installation of contemporary sculptures, textiles, and boats that question why the figure of the “wildman” appears again and again in literature and arts from the twelfth century to the present day. Bottom far left: Christopher Myers visited the Mead in February 2020 for an artist talk and workshops.

120

Mead Art Museum Annual Report 2019–20

121

Rico Gatson (American, born 1966). St. James #3, 2015. Color pencil and photograph on paper. Purchase with Richard Templeton (Class of 1931) Photography Fund

Constructing Collage On view at the Amherst Center for Russian Culture Organized by Galina Mardilovich March 5, 2019–January 5, 2020

“Pursuing a Ghost”: Illustrating the Russian Classics On view at the Amherst Center for Russian Culture Organized by Galina Mardilovich September 30, 2019–January 3, 2020

This exhibition took as its starting point Oleg Vassiliev’s portfolio of lithographs The House with a Mezzanine (1991), which centers around the artist’s conversation across time with Anton Chekhov’s short story. The show examined the complex relationship in Russian culture between art and literature, the dynamic between image and text, and illustration and artistic freedom.

122

Mead Art Museum Annual Report 2019–20

Plumbing the Mead’s collection, this three-part exhibition presented some of the ways in which artists have employed collage, and the related forms of photomontage and film montage, throughout the twentieth and twenty-first centuries. As a technique, collage involves the physical layering of disparate elements often borrowed from other contexts. This capacity for fragmenting and combining has rendered collage both an inexhaustible medium and emblematic of the everchanging modern world. Drawn from the museum’s collection as well as loans from Mount Holyoke College Art Museum, the exhibition featured works by Joseph Cornell, Romare Bearden, Olga Rozanova, and Robert Rauschenberg, among others.

Mead Art Museum Annual Report 2019–20

123

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

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

124

Mead Art Museum Annual Report 2019–20

125

Ten Years of Trinkett Clark Memorial Student Acquisitions (Part 2) Organized by Galina Mardilovich February 11–July 26, 2020

This exhibition celebrated ten years of the Trinkett Clark Memorial Fund. Established in honor of Trinkett Clark (1951–2006), curator of American art at the Mead from 2001 until her untimely death, her family’s gift helped create an innovative annual program in which curators and educators work with Amherst College students to help select a contemporary print for the museum to purchase. Thanks to the Trinkett Clark Memorial Student Acquisition Fund, students have helped choose nearly forty works for the Mead thus far, and this exhibition showcased some of those diverse acquisitions. Shivangi Ladha (Indian, born 1991). Self-Portrait, 2017. Monoprint, screenprint, drawing, masking tape, and ink on Japanese paper. Purchase, Trinkett Clark Memorial Student Acquisition Fund

126

Mead Art Museum Annual Report 2019–20

127

The Best Impressions: Inside the Edward C. Crossett Collection of Prints Organized by Galina Mardilovich February 11–July 26, 2020

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

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

One Scholar, One Work

Salvador Dalí (Spanish, 1904-1989). St. George and the Dragon, 1947. Etching. Gift of Mr. Edward C. Crossett

Organized by Michael Kunichika and David E. Little On view at the Amherst Center for Russian Culture February 12–June 12, 2020 First rotation: January 13–February 28, 2020: Wendy Salmond, Chapman University, on Kuz’ma Petrov-Vodkin’s Mother of God with Child (1922)

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

128

Mead Art Museum Annual Report 2019–20

129

ART DIALOGUE: WITH LISA CROSSMAN AND NIKO VICARIO

ON STARTING AT THE MEAD Lisa: “It’s been a pleasure to begin work with the Mead’s amazing collection, team, and student interns. While the pandemic has presented challenges, we’ve been finding new ways to engage with our communities virtually and to share our collection online.” UNPACKING “ART OF THE AMERICAS”

Lisa Crossman The Mead’s inaugural curator of American art and art of the Americas. She holds a PhD in art history and Latin American studies from Tulane University and has extensive experience in exhibitions, teaching, and research. One of her mandates at the Mead is to help develop the collection in Latin American art and offer new cultural resources for Amherst’s diverse student body to study.

Niko Vicario Assistant professor in Amherst’s Department of Art and the History of Art. He has a new book out, titled Hemispheric Integration: Materiality, Mobility, and the Making of Latin American Art (University of California Press, 2020). He teaches the courses Latin American Art, Introduction to Contemporary Art, the Contemporary Art Market, and the Practice and Theory of Art History.

The Mead has a well-established collection of art of the Americas, anchored by ancient Indigenous works from Mesoamerica and Peru and by popular Mexican art in the Morrow Collection. This area of the collection contains a variety of other artworks, including Mexican prints from the nineteenth and twentieth centuries.

130

Mead Art Museum Annual Report 2019–20

Niko: “The category ‘art of the Americas’ suggests that the art produced in the US has something in common with art from other parts of the hemisphere. A question becomes how and to what degree do curators and professors want to emphasize commonality and to what degree [do] they want to emphasize difference and particularity?” Lisa: “There’s not uniformity across museums as to what constitutes arts of the ‘Americas,’ and at times, ‘American’ art is included in this category. I think of the United States as part of the Americas, but also recognize both the utility and problems associated with categories like ‘American’ art or ‘Latin American’ art, for example.” CHALLENGES UNIQUE TO TEACHING, RESEARCHING, AND CURATING ART OF THE AMERICAS Niko: One challenge is how teachers, curators, and audiences “acknowledge that we are in the US and that art from other parts of the Americas, when exhibited or looked at here, may be mobilized and instrumentalized in a variety of ways, as has been the case historically. Who and what and where is marginalized when we think hemispherically—and why?” Lisa: When I began graduate studies, I decided to focus on art since the twentieth century in the Southern Cone. There simply wasn’t enough scholarship on art from the region. Since then, the field has expanded and there are more museums and universities focusing on not only the ancient arts of the Americas, but also the rich, diverse artistic practices through contemporary. Still, there’s more work to do... There remains a continued need to focus on the diversity of art production . . . while considering the complicated nature of group identities as presented in art museums.”

Liliana Porter (Argentine, born 1941, resides in the United States). Still Life #1, 1970. Etching and yarn. Gift of Rowell A. Schleicher (Class of 1921) and Susan T. Schleicher

“

It’s been a pleasure to see Dario Escobar’s Turbulence II on view at the Mead. Escobar thinks critically about local, regional, and international contexts, which we in turn are invited to assess and reassess. This artwork is compelling as it questions the values and meanings associated with massproduced objects like baseball bats, and the cultural and economic significance of sports, through the unlikely display of a band of thirty bats, painted to depict flames—a decorative motif that suggests the side of a race car.” —Lisa Crossman Dario Escobar (Guatemalan, born 1971). Turbulence II, 2008. Wood and polyurethane paint. Anonymous gift

STUDYING LATIN AMERICAN ART AT AMHERST Niko: “Students in these courses are primarily not art history or art majors, so we can think about how these courses fit in the broader open curriculum of the college. For instance, with the Latin American art course, some students come to it with an interest in Latin America, others with an interest in the relationship between art and politics, others curious to think about art for the first time.” ON CURATING AT A COLLEGE MUSEUM Lisa: “Art museums on college campuses have the resources to explore art from different disciplinary perspectives, consider multiple subjectivities, and to consider ways that national and regional categories have functioned in giving or denying visibility to artists and art practices.

132

Mead Art Museum Annual Report 2019–20

Art tends toward paradox over singular readings, which makes art museums particularly well suited spaces for dialogue.” PLANS FOR THE FUTURE Lisa: “I am enjoying research on upcoming exhibitions and making connections with faculty members, such as Niko, to plan future collaborations like one with the artist Liliana Porter. He and I are planning to offer students an opportunity to participate in the creation of an online exhibition of Porter’s work, which will include direct communication with the artist, as part of a course on contemporary art and the history and practice of organizing exhibitions. Porter’s practice, which ranges from drawing and printmaking to video and installation, explores issues of representation and the human condition through inanimate objects like toys.”

Mead Art Museum Annual Report 2019–20

133

E N G AG E M E N T

PUBLIC PROGR AMS 2019

SEPTEMBER 10 10 11 14 18 25 27

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

OCTOBER 10 16 17 18 22 24 25 25 26 30

CHI Reception Office of Diversity & Inclusion Reception CISE Scholars Reception Board of Trustees Reception Craftivism with Survivors Art Collective Yoga at the Mead Back to Class at the Mead Behind the Scenes Tour with David E. Little Close Looks Tour Dining in the Dark

NOVEMBER 2 12 13 14 15 21

Advancement Tea and Tour Live Performance and Lecture by Justin Alexander The Sounds of Stonewall Artist Talk with Tourmaline Artist Lunch with Tourmaline A New Thanksgiving

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

136

Mead Art Museum Annual Report 2018–19

Mead Art Museum Annual Report 2019–20

137

PUBLIC PROGR AMS 2020 JANUARY 17 Collecting 101: Acquiring Art for the Mead Presentations & Public Vote FEBRUARY 11 13 20 20 21 28

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

MARCH 5

Winter Warmers: Foods and Beverages to Warm You Up from the Inside Out

EVENTS

2018 -19

2019 -20 AT T E N D A N C E

July 2018 –June 2019

July 2019–March 2020

17,570 11,151

(closed due to Covid-19 starting in mid-March)

GIFTS 2018–19 307 2019–2020 17 PURCHASES 2018–2019 2019–2020

NUMBERS

21 9

PURCHASES BY STUDENTS 2018–2019 2019–2020

2 3

T R A N S I T I O N I N G S T U D E N T S TA F F TO REMOTE WORK: SPRING 2020

By Olivia Feal

In March 2020 Amherst College closed the campus in response to the rising number of COVID-19 cases around the world. Very quickly all students, staff, and faculty transitioned to remote learning. At the Mead, the question was how to keep students employed as lobby attendants, museum educators, and interns. These students count on their work at the Mead to provide vital income and experience. And we count on them for their valuable contributions. No pandemic was going to stop us. Three Mead staff members went into action to create meaningful, project-based work for students: Danielle Amodeo, public programs and marketing specialist; Emily Potter-Ndiaye, Dwight and Kirsten Poler & Andrew W. Mellon Head of Education and Curator of Academic Programs; and Nicholas Taupier, museum security supervisor who oversees students employed at the Mead’s front desk. First they surveyed the lobby attendants and student museum educators to get a sense of their research interests, skills, and majors so students could be placed with a Mead staff supervisor and a project that would relate to their personal and academic interests. The projects students were assigned to included doing research for upcoming exhibitions, developing acquisition requests, creating a coloring book focused on the Mead collection, keywording untitled works for the museum database, and documenting the Mead’s exhibition history. In addition to their core projects, the education team asked students to dedicate one hour a week to writing a reflection as a cohort, giving them the opportunity to share surprises, discoveries, challenges, and accomplishments from their work or life in quarantine. These reflections were a way for students and staff to stay connected, and folx were encouraged to comment on each others’ posts.

2019 –2020 Museum Educators

Interns

Julia Molin ’21 (Syeda) Zahra Shah ’22 Charissa D oerr ’20 Aditi Nayak ’23 D ominique Manuel ’20 Maki Ybarra-Young ’20

Augus ta Weiss ’23 Luke Williamson ’21 D ominique Manuel ’20 Julia Molin ’21

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

142

Mead Art Museum Annual Report 2019–20

143

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

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

Emily Potter-Ndiaye, Dwight and Kirsten Poler & Andrew W. Mellon Head of Education and Curator of Academic Programs, enlisted the help of her family to create “Two Girls with Apple Juice,” inspired by Serge Hollerbach (American, born Russia, 1923). Two Girls with Soft Drinks, 1977. Acrylic on paper. Gift of Thomas P. Whitney (Class of 1937)

Mead marketing and design intern Luke Williamson ’21 edited the picture of a nineteenthcentury portrait from the Mead’s collection, replacing the sitter’s head with his own. Unknown artist (American, 19th century). Robert E. Hudson, 1830–40. Oil on canvas. Gift of Mrs. Frances Cushing Hall

S TA F F N E W S & N O T E S

Danielle Amodeo (she/her/hers), Public Programs and Marketing Specialist Lisa A. Crossman (she/her/hers), Curator of American Art and Arts of the Americas Olivia A. Feal (she/her/hers), Museum Educator Stephen S. Fisher, Collections Manager Timothy Gilfillan (he/him/his), Preparator Miloslava Hruba (she/her/hers), Study Room Manager and European Print Specialist David E. Little (he/him/his), John Wieland 1958 Director and Chief Curator Emily A. Potter-Ndiaye (she/her/hers), Dwight and Kirsten Poler & Andrew W. Mellon Head of Education and Curator of Academic Programs Eileen C. Smith, Financial and Administrative Assistant Nicholas I. Taupier, Museum Security Supervisor

Security Officers: Jerry Devine Fiore Graziano Jason M. Jock Joseph J. Kosiorek Rachel E. Thern

Danielle Amodeo (middle right) and Eileen Smith (right), along with former Mead colleague Jocelyn Edens, co-authored a case study titled “It Takes Two (or More) to Make a Thing Go Right: Collaboration as a Strategy for Impact,” published in Randi Korn, Intentional Practice for Museums: A Guide for Maximizing Impact (2018).

In 2019 Jocelyn Edens, assistant museum educator at the Mead, left Amherst to take a position in the Department of Interpretation and Digital Learning at the Nelson-Atkins Museum of Art in Kansas City, Missouri.

146

Mead Art Museum Annual Report 2018–20

Writer-editor Eric Danton bid farewell to the Mead in 2019 to pursue his freelance career— from Madrid, where his wife, Amherst professor of Spanish Sara Brenneis, was on sabbatical conducting research during the 2019–20 academic year. You can hear Danton, the former rock critic of the Hartford Courant, every Wednesday with Joan Holliday on the Best New Song of the Week segment on WRSI-FM (93.9) in Northampton, Mass.

Since May 2019 Danielle Amodeo has served on the Steering Committee of the Arts at Amherst Initiative (AAI) and is the acting supervisor to the Arts Coordinator for AAI. In June 2019 she joined the Board of the Northampton Arts Council and founded the Board’s Equity and Inclusion Committee as well as the Outreach Committee. As a member of the Grants Committee she helped secure 129 emergency relief grants for artists affected by COVID-19 in spring of 2020. In January 2020 Danielle was nominated to the Massachusetts State House Art Commission; the appointment is pending due to COVID-19.

Lisa Crossman’s essay “To Summon and Witness the Apparitions of Our Pasts” was published in the catalogue Visionary New England, edited by Sarah J. Montross (MIT Press, June 2020), accompanying the exhibition at the deCordova Sculpture Park and Museum in Lincoln, Massachusetts. In June 2020 Lisa was awarded a grant by the New England Humanities Consortium (NEHC) for her proposal “Curating at a Distance,” which will research and pilot new ways to present artwork and exhibitions on digital platforms in collaboration with curatorial colleagues at Colby College and Tufts University.

Olivia Feal began working at the Mead in April 2020. She graduated from Smith College and has worked in the education departments at the Brooklyn Children’s Museum, Smith College Museum of Art, Princeton University Art Museum, and Dallas Museum of Art. She said, “I started the job remotely during COVID, and I am so thankful to my colleagues who made time to welcome me and get me acclimated.” In just one month she planned the Mead’s largest summer internship cohort ever.

Stephen Fisher said that “organizing and traveling with Dimensionism: Art in the Age of Einstein was one of the greatest experiences in my thirty-year career in museums.” In total he spent nearly four weeks at the Berkeley Art Museum, the show’s first venue, leading and assisting their team as they installed and later deinstalled the exhibition. “I am always excited to see how museums plan exhibition spaces, and what tools and technologies are utilized in the process.” After Dimensionism closed at the Mead, the final venue was the Zimmerli Art Museum at Rutgers University in New Jersey. “I had wonderful hosts at the museum,” Stephen said, “and the exhibition couldn’t have gone smoother.” Your “three-truck” what now? Traveling with Dimensionism was my first cross-country road trip. From Berkeley, California, to Amherst, Mass., our three-truck caravan rode just ahead of a major snowstorm. I was able to view from the passenger’s seat so much of the American landscape that I had never seen before.

In the past two years, Tim Gilfillan made several trips with Mead paintings on loan to exhibitions in the US and Europe. He traveled with Monet’s Morning on the Seine, Giverny twice: to the Thyssen-Bornemisza National Museum in Madrid (October 2018), and the Museum Barberini in Potsdam (February 2020). In spring of 2019 he flew with paintings by Thomas Cole and Eastman Johnson to the Wallraf-Richartz Museum in Cologne for the show Once Upon a Time in America. And in early March 2020, right before everything shut down due to COVID-19, he went to the Denver Art Museum with Winslow Homer’s Fisher Girl.

Any restaurant recommendations? If you ever find yourself in New Brunswick, NJ, you have to go to Ramen Nagomi. There is always a line, but the ramen is out of this world! Below: The final venue for Dimensionism at the Zimmerli Art Museum at Rutgers University in New Jersey.

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

"One of the first courier trips of my career was to DAM, thirty-five or so years ago, and this one will more than likely be among the last, things being what they are these days.” Business class or economy? When you’re traveling with the art in cargo you fly business class, which is cool. All work and no play? The trips are pretty packed, but there’s usually at least one free day in between the travel and the work part. Most interesting sites? The cathedral in Cologne, actually. That was unbelievable. Best beer? Kolsch in Cologne. Was never a big fan of the style, but it originated there, so it’s the real deal.

148

Mead Art Museum Annual Report 2019–20

149

Working across the Amherst campus, Emily Potter-Ndiaye joined the Advisory Board for the Center for Humanistic Inquiry (CHI) in 2019. CHI hosts residents at the Center each year and presents conferences, performances, exhibitions, and more in support of humanistic endeavors. Emily also continues to serve as president of the Museum Education Roundtable (MER), an international organization that promotes innovative thinking and practice in the field through content published in MER’s Journal of Museum Education.

In the fall of 2019, David E. Little traveled to the University of East Anglia and the Sainsbury Institute for the Study of Japanese Arts and Cultures in Norwich, England, to deliver his paper “Shomei Tomatsu’s Okinawa: A Foreigner’s Interpretation,” as part of the international symposium, Okinawan Art in Its Regional Context: Historical Overview and Contemporary Practice.

“One of the thrills of the trip was seeing Norman Foster and Wendy Cheesman’s magnificent Sainsbury Centre for Visual Arts.” 150

Mead Art Museum Annual Report 2019–20

Rembrandt van Rijn (Dutch, 1606–1669). Christ Preaching (La petite tombe), ca. 1652. Etching, drypoint, and burin on laid paper with watermark. Gift of Edward C. Crossett (Class of 1905)

Since attending a symposium on Rembrandt at the Herbert F. Johnson Museum of Art at Cornell University, Mila Hruba has participated in their WIRE project (Watermark Identification in Rembrandt’s Etchings), a national database of Rembrandt’s watermarks. In the process she confirmed her earlier identification of two watermarks in the Mead’s collection of fourteen Rembrandt prints AC 1951.1901 (shown above) and AC 1985.13. Mila also spent the summer of 2019 researching developments in printmaking in three eastern European countries (Czech Republic, Slovak Republic, and Slovenia) from circa 1960s to the present with an emphasis on women artists and their innovative processes under the constraints of communist rule and cultural expectations.

After five years as curator of American art at the Mead organizing exciting shows and publications such as Intersecting Colors: Josef Albers and His Contemporaries (2015) and Dimensionism: Modern Art and the Age of Einstein (2018), Vanja Malloy left Amherst College in July 2019 to become director and chief curator of the Syracuse University Art Galleries in New York. Galina Mardilovich, the Mead’s curator of Russian and European art, left Amherst at the end of 2019 to pursue research and writing in New York. She has co-edited New Narratives of Russian and East European Art between Traditions and Revolutions (2019) and is currently at work on a book about prints and modernism in Russian art of the late Imperial period.

Mead Art Museum Annual Report 2019–20

151

FINANCIAL REPORT

2018 –19 (F Y19)

Friends of the Mead Gifts Grants Exhibition Fees Endowment Draw

2019 –20 (F Y20)

$ 62,716 $ 140,000 $ 60,000 $ 291,280

Grants

$ 60,000

Exhibition Fees

$ 204,249

Endowment Draw

College Support

$ 1,126,862

College Support

$ 1,059,984

TOTAL REVENUE

$ 1,680,858

TOTAL REVENUE

$ 1,370,140

OPERATING EXPENSES Exhibitions Marketing Acquisitions

152

$ 45,907

Friends of the Mead Gifts

OPERATING EXPENSES $ 360,249 $ 20,116 $ 103,605

$ 162,715

Exhibitions

$ 9,146

Marketing Acquisitions

$ 83,623

Education Programs

$ 26,344

Education Programs

$ 17,593

Collection

$ 10,742

Collection

$ 21,679

Administrative Costs & Salary

$ 1,159,802

Administrative Costs & Salary

$ 1,075,384

TOTAL EXPENSES

$ 1,680,858

TOTAL EXPENSES

$ 1,370,140

Mead Art Museum Annual Report 2019–20

153

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

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

154

Mead Art Museum Annual Report 2019–20

155

FRIENDS OF THE MEAD

Ariel Aisiks P’17, ’19 Deborah Amodeo P’13 K. Frank Austen ’50 Michele Barale Candace Barasch ’89, P’19 Kit Smyth Basquin Mike & Tina Berins Robert Bernstein ’70, P’01 Alan S. Bernstein ’63, P’94 Linda Best Jeffrey Birnbaum ’79 Nichole Bridges ’97 Peter O. Brown ’86 Dr. Rebecca S. and Dr. Andrew N. Carpenter ’89, ’88 Catherine Connor W’45 George C. Corson Jr. ’56, P’85 Ronald & Linda Daitz ’61, P’88 Alex Davis-Lawrence ’10 Katherine Chia & Arjun Desai ’88, P’22 Maggie Dethloff Juliana & Carl Dupre Andrew S. Durbin ’93 Peter G. Dustin ’67 Whitney Morsman Ebmeyer ’96 Lindsey Echelbarger ’74 Catherine Epstein Claude Erbsen ’59, P’86

Suzannah Fabing Kent Faerber ’63 Thomas Fels ’67 Jay Fields ’17 Stephen Foster ’70 Jonathan Frey ’64 Debby Goan ’07 James H. Goodwin ’70 Marjorie Greene Frederick Griffiths Coleman Harwell Harvey Hecht ’58 George & Fran Hertzberg P’97 Joy Peterson Heyrman ’82 Warren & Marilyn Hollinshead ’57, P’81 Richard & Ann Holt P’04 Thomas F. Horan ’70 Loretta Howard ’83 Bruce S. Johnson ’70 Virginia Kamin P’79, ’84 Peter & Jamie Kaplan P’21 Charles Kelly ’53 Paul Koulouris ’72, P’06 Nicole & Peter Krensky ’11 Richard Landfield ’62, P’90, ’93 Adrienne Lei ’05 Jennifer Lesar ’96 Donna & Maurice Levin

Ronald Levy ’69 Richard Linenthal ’78 David E. Little Catherine Lowdon ’17 William & Fidele Malloy Vincent & Lucy Marsanico G’13 David Martula ’66 Charmel Maynard ’07 John D. McKenzie Jr. ’66 George McNeil Surinder Mehta Samuel D. Miller III ’64 Richard Minutillo ’67 Lucy Mitchell Paul S. Monroe ’71 Cullen Murphy ’74 Aimee Newell ’92 Scott Niichel ’06 Paul & Debbie Ouyang ’78, P’10, ’14 Robert Osborne & Margot Parrot Carolyn Pastel ’01 Spencer E. Pearce Stephen C. Pollock ’77 Brooke Kamin Rapaport ’84 V. Ross Read III ’73, P’08, ’11 Ronald C. Rosbottom Kenneth Rosenthal ’60 Lila Rountree

Janice Schell P’06, ’09 Barrett T. Schleicher ’53 James & Burd Schlessinger Paul and Joanne Schnell ’76, P’11 H. Axel Schupf ’57 Siyu Shen ’15 Andrew & Kirsten Shilling ’89, P’21 Catharine Alexander Shirley ’80, P’19 Michael S. Simon ’86, P’22 Betsy Cannon Smith ’84 Dr. Amy Snyder ’00 Bryan Southergill ’98 Cynthia Stanton Mary Strunk Thomas & Bette Sturges ’66, P’05 Thomas W. Thaler ’75 David & Arlene Thrope P’10 Keith Tobin ’81 Christine Tuttle Margaret Vandryes Renate Wasserman P’81, ’89 George & Carlyjane Watson ’54 William A. Weary ’64 Jacqueline Werner W’54 John & Sue Wieland ’58 Sandy & Helen Wilkes ’71, P’08 Charles Sims & Nancy Wolf ’71, P’05, ’07 Steven Yashon ’87

L O B B Y AT T E N D A N T S 2018–19 Saad Baloch ’20 Hilary Bediako ’19 Elisa Bello ’19 Jaclyn Chetty ’20 Emma Eddy ’22 Lexie Freeman ’19 Julia Gill ’21 Michael Gibson ’21 Hannah Goldberg ’22 Sade Green ’20 Joshua Kim ’21 Kenneth Lee ’22

Phebe Palmer ’21 Kennedy Reed ’19 Anastasia Sleder ’19 Chloe Tausk ’18 David Wilson ’20 Mikayla Young ’20 2019–20 Saad Baloch ’20 Jaclyn Chetty ’20 Emma Eddy ’22 Michael Gibson ’21 Julia Gill ’21

Sade Green ’20 Hannah Goldberg ’22 Joshua Kim ’21 Kenneth Lee ’22 Bethany Letendre ’22 Peter Kang ’21 Annie Martin ’22 Madison Matthews ’22 Phebe Palmer ’21 Anthony Phillips ’20 Amalia Roy ’21 Phoenix Shaw ’22 David Wilson ’20 Mikayla Young ’20

Designer: Jess Marsh Wissemann Publication director: David E. Little Writer and editor: Sheila Flaherty-Jones Event and installation photography: Maria Stenzel Jiayi Liu

Mead Art Museum at Amherst College 41 Quadrangle Drive P.O. Box 5000 Amherst, MA 01002 413.542.2335 amherst.edu/mead

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

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

nails ead h at

s as

scorched wood

leather

o wo

dbu rne d

shading

ul tic olo re

spike-st ud

d de

f-pearl and er-o ab h a ot

eyes ne lo

em ble d

d yarn