Meret Oppenheim: My Exhibition

March 25–September 18, 2022

Meret Oppenheim: My Exhibition was the Swiss artist’s first major transatlantic retrospective. From her artistic beginnings in Paris through her postwar career in Switzerland, Meret Oppenheim (1913 –1985) created art that defied neat categorizations of medium, style, and historical movement. At the time of her death at age seventy-two, her output included object constructions, narrative paintings, hardedge abstractions, witty drawings, and collages and assemblages. This retrospective exhibition, organized chronologically, surveyed the sweep of her remarkably original artwork.

After arriving in Paris in 1932, the artist became involved with the Surrealists before returning to Switzerland prior to World War II. The show followed her subsequent reengagement with Surrealist ideas and development of a new visual vocabulary alongside postwar art movements such as Nouveau Réalisme and Pop. During the last two decades of her life, her longstanding interests in nature, abstraction, and enchantment combined to forge a novel new style. The exhibition was accompanied by a comprehensive, fully illustrated catalogue featuring new scholarly texts.

Meret Oppenheim: My Exhibition was coorganized by the Menil Collection, Houston; The Museum of Modern Art, New York (October 30, 2022–March 4, 2023); and the Kunstmuseum Bern (October 22, 2021–February 13, 2022). The exhibition was cocurated by Natalie Dupêcher, Associate Curator of Modern Art, The Menil Collection; Anne Umland, The Blanchette Hooker Rockefeller Senior Curator of Painting and Sculpture, The Museum of Modern Art; and Nina Zimmer, Director, Kunstmuseum Bern / Zentrum Paul Klee.

Major funding for this exhibition was provided by Art Blocks; Bettie Cartwright; a gift in memory of Virginia P. Rorschach; Scott and Judy Nyquist; Marilyn Oshman; Susan Vaughan Foundation; The Vaughn Foundation; and Lea Weingarten. Additional support came from Henrietta Alexander in memory of Marcy Taub Wessel; Eddie Allen and Chinhui Juhn; Suzanne Deal Booth; Hilda Curran; John R. Eckel, Jr. Foundation; Barbara and Michael Gamson; Janet and Paul Hobby; Caroline Huber; Linda and George Kelly; Janie C. Lee; Susan and Francois de Menil; Franci Neely; Carol and David Neuberger; Susanne and William E. Pritchard III; Robin and Andrew Schirrmeister; James William Stewart, Jr.; MaryRoss Taylor; Nina and Michael Zilkha; and the City of Houston through Houston Arts Alliance.

Joseph E. Yoakum: What I Saw April 22–August 7, 2022

Joseph E. Yoakum: What I Saw was the first major museum retrospective in more than twenty-five years to focus on the dreamlike landscape drawings of Joseph Elmer Yoakum (1891–1972), a self-taught, visionary American artist. The show illuminated his vivid creativity, imaginative vision of the land and deep spirituality, and explored his complex biography as an African American man with Native American heritage.

Born in Missouri just twenty-five years after the end of the Civil War, Yoakum had little schooling before he left home to work for several circuses, traveling across the United States as well as abroad. He later served in a segregated noncombat regiment during World War I and ultimately settled in Chicago’s South Side. Inspired by a dream, he began his artistic career at age seventy-one, producing some two thousand drawings before his death in 1972.

Yoakum’s drawings reflect his travels to every continent except Antarctica. As he put it, “I had it in my mind that I wanted to go to different places at different times. Wherever my mind led me, I would go. I’ve been all over this world four times.” His idiosyncratic drawings, predominantly landscapes in ballpoint pen, colored pencil, pastel, and watercolor, convey his poetic view of nature.

The exhibition at the Menil Drawing Institute featured more than eighty drawings by Yoakum, many from the collections of Chicago-based artists. Nine of these were recently given to the museum. An extensive, richly illustrated exhibition catalogue provided new scholarship on the artist and expanded upon key themes of the show.

Joseph E. Yoakum: What I Saw was coorganized by Edouard Kopp, John R. Eckel, Jr. Foundation Chief Curator, Menil Drawing Institute; Mark Pascale, Janet and Craig Duchossois Curator of Prints and Drawings, The Art Institute of Chicago; and Esther Adler, Curator, Department of Drawings and Prints, MoMA.

The exhibition was generously supported by Cecily Horton; Leah Bennett; Diane and Michael Cannon; Hilda Curran; Cindy and David Fitch; Barbara and Michael Gamson; Janet and Paul Hobby; Caroline Huber; Mary Hale Lovett McLean; John and Stephanie Smither Visionary Art Fund; James William Stewart, Jr.; Nina and Michael Zilkha; Alice Kleberg Reynolds Foundation; and the City of Houston through Houston Arts Alliance.

Christo, Valley Curtain 1970. Collage of gelatin silver prints, fabric, tape, colored pencil, graphite, and ink. 13 7/8 × 16 7/8 in. (35.3 × 42.9 cm). Gift of Caroline Huber and the estate of Walter Hopps. © Christo and JeanneClaude Foundation

Richard Artschwager

American, 1924–2013

Study of Potatoes, 1997

Charcoal on paper

25 × 19 in. (63.5 × 48.3 cm)

Gift of Christina and Norman Diekman

Geneviève Asse

French, 1923–2021

Untitled 1992

Oil on canvas

76 5/16 × 43 11/16 in. (193.8 × 111 cm)

Gift of Silvia Baron Supervielle

Untitled mid 20th- early 21st century

Oil on canvas

76 5/16 × 44 13/16 in. (193.8 × 113.8 cm)

Gift of Silvia Baron Supervielle

Untitled mid 20th- early 21st century

Oil on canvas

76 5/16 × 44 13/16 in. (193.8 × 113.8 cm)

Gift of Silvia Baron Supervielle

Billy Al Bengston

American, 1934–2022

Untitled (Dento) ca. 1965

Enamel lacquer silkscreened on incised aluminum

24 × 22 in. (61 × 55.9 cm)

Gift of Caroline Huber and the estate of Walter Hopps

James Bettison

American, 1957–1997

Still Life with Lava Lamp, 1987

Oil and wood relief

26 1/2 × 18 × 2 1/4 in. (67.3 × 45.7 × 5.7 cm)

Gift of Caroline Huber and the estate of Walter Hopps

Chryssa, Flight of Birds 1957–1960. Cast aluminum. 59 × 61 × 3 in. (149.9 × 154.9 × 7.6 cm). Gift of JPMorgan Chase & Co. © The Estate of Chryssa

Charcoal on paper

29 1/2 × 22 1/2 in. (74.9 × 57.2 cm)

Gift of Fredericka Hunter and Ian Glennie in honor of Louisa Stude Sarofim

Christo

American, 1935–2020

Valley Curtain 1970

Collage of gelatin silver prints, fabric, tape, colored pencil, graphite, and ink

13 7/8 × 16 7/8 in. (35.3 × 42.9 cm)

Gift of Caroline Huber and the estate of Walter Hopps

Chryssa

American, 1933–2013

Flight of Birds, 1957–1960

Cast aluminum

59 × 61 × 3 in. (149.9 × 154.9 × 7.6 cm)

Gift of JPMorgan Chase & Co.

Composition Bach ca. late 1950s

Wood, plaster, paint, and glass

34 1/2 × 34 × 5 in. (87.6 × 86.4 × 12.7 cm)

Gift of JPMorgan Chase & Co.

Lygia Clark

Brazilian, 1920–1988

Modulated Space (Espaço Modulado), 1958

Cut-and-pasted paper on paper

8 × 8 in. (20.3 × 20.3 cm)

Gift of Kool 1, LLC, a Florida limited liability company, on behalf of Irving Stenn, Jr. in honor of Louisa Stude Sarofim and Janie C. Lee

Bruce Conner

American, 1933–2008

Untitled 1961

Graphite on paper

John Biggers

American, 1924–2001

Opa Oranmiyan, Ile Ife, Nigeria ca. 1957

Conté crayon on paper possibly mounted on board

Sight: 29 15/16 × 19 in. (76 × 48.3 cm)

Gift of Drs. Robert and Jean Galloway

Trisha Brown

American, 1936–2017

Left Foot Drawn by Right Foot, Right Foot

Drawn by Left Foot, 1980

Graphite on paper

17 1/4 × 23 in. (43.8 × 58.4 cm)

Gift of Fredericka Hunter and Ian Glennie in honor of Louisa Stude Sarofim

26 × 20 in. (66 × 50.8 cm)

Gift of Caroline Huber and the estate of Walter Hopps

Linda Connor

American, born 1944

Spirit Door, Egypt 1989

Gelatin silver print

Image: 9 5/8 × 8 1/2 in. (24.4 × 21.6 cm)

Sheet: 11 7/8 × 10 in. (30.2 × 25.4 cm)

Gift of Caroline Huber and the estate of Walter Hopps

Jay DeFeo

American, 1929–1989

Untitled 1953

From the series Tree Ink on paper

35 1/2 × 28 in. (90.2 × 71.1 cm)

Gift of Caroline Huber and the estate of Walter Hopps

William Eggleston, Untitled , ca. 1970, printed later. Dye imbibition photograph. Image: 17 7/8 × 11 3/4 in. (45.5 × 29.8 cm). Sheet: 20 1/8 × 16 in. (51.1 × 40.6 cm). Gift of Caroline Huber and the estate of Walter Hopps. © Eggleston Artistic Trust, Courtesy Eggleston Artistic Trust and David Zwirner

Eleanor Creekmore Dickinson

American, 1931–2017

Symbol, 1979–1980

Oil on velvet

16 × 14 1/4 in. (40.6 × 36.2 cm)

Gift of Caroline Huber and the estate of Walter Hopps

Anne Doran

Canadian, born 1957

Untitled (Study for Lush Life), 1986 Collage and ink on paper

19 5/8 × 14 in. (49.8 × 35.6 cm)

Gift of Caroline Huber and the estate of Walter Hopps

Rackstraw Downes

British, born 1939

Presidio Race Track Association Track, Presidio, Texas: The Judges’ Tower and Spectator Shelters 2005 Graphite on cream paper with blue threads

10 × 50 1/4 in. (25.4 × 127.6 cm)

Gift of Fredericka Hunter and Ian Glennie in honor of Franci Neely

Presidio Horse Racing Association Track, Presidio, Texas. Looking East, South, and Southwest. The Judges’ Tower and Spectator Shelters 2006 Oil on canvas

15 × 106 in. (38.1 × 269.2 cm)

Gift of Franci Neely in honor of the 30th anniversary of the Menil Collection

Mary Beth Edelson

American, 1934–2021

Earth Works: Reclaiming the Land, 1976 Graphite, ink, and colored pencil on card

26 7/16 × 35 15/16 in. (67.2 × 91.3 cm)

Purchased with funds provided by Leah Bennett, Poppi Massey, and Mary Hale

Lovett McLean

William Eggleston

American, born 1939

Allen Ginsberg

American, 1926–1997

William Burroughs, 1984

Gelatin silver print

Image: 6 1/8 × 9 1/16 in. (15.5 × 23 cm)

Sheet: 7 × 9 1/2 in. (17.8 × 24.1 cm) (visible)

Gift of Caroline Huber and the estate of Walter Hopps

William Burroughs, 1953

Gelatin silver print

Image: 7 1/2 × 11 1/2 in. (19.1 × 29.2 cm)

Sheet: 9 3/8 × 12 3/8 in. (23.9 × 31.5 cm) (visible)

Gift of Caroline Huber and the estate of Walter Hopps

Hans Hofmann

American, 1880–1966

Untitled 1946

Gouache on paper

23 × 28 3/4 in. (58.4 × 73 cm)

Gift of the Fitch Family in memory of Bobbie Fitch

Barry Le Va

American, 1941–2021

Accumulated Vision (Stages I & II):

Length Ratios, 1976

Ink and graphite on paper

22 × 16 3/4 in. (55.9 × 42.5 cm)

Gift of Fredericka Hunter and Ian Glennie

Study for Corner Sections, 1977 Graphite and ink on paper and vellum

16 × 45 1/4 in. (40.6 × 114.9 cm)

Gift of Fredericka Hunter and Ian Glennie

Sheets–To Strips–To Particles (According to Section), 1967

Ink on paper

17 × 22 in. (43.2 × 55.9 cm)

Purchased with funds provided by an anonymous donor

Either, Or #2 (Centers and Segments, Exact Location, Switch), 1974

Mary Beth Edelson, Earth Works: Reclaiming the Land 1976. Graphite, ink, and colored pencil on card 26 7/16 × 35 15/16 in. (67.2 × 91.3 cm). Purchased with funds provided by Leah Bennett, Poppi Massey, and Mary Hale Lovett McLean. © Mary Beth Edelson

Untitled 1972, printed later

Dye imbibition photograph

Image: 9 × 13 1/2 in. (22.9 × 34.3 cm)

Sheet: 16 × 20 1/2 in. (40.6 × 52.1 cm)

Gift of Caroline Huber and the estate of Walter Hopps

Untitled ca. 1970, printed later

Dye imbibition photograph

Image: 17 7/8 × 11 3/4 in. (45.5 × 29.8 cm)

Sheet: 20 1/8 × 16 in. (51.1 × 40.6 cm)

Gift of Caroline Huber and the estate of Walter Hopps

Ink on paper

42 × 126 in. (106.7 × 320 cm)

Purchased with funds partially provided by the William F. Stern Acquisitions Fund Glenn Ligon

American, born 1960

Untitled (How Does It Feel to Be White You?) 1991

Oil stick on paper

32 × 16 in. (81.3 × 40.6 cm)

Purchased with funds provided by Louisa Stude Sarofim in memory of Dr. and Mrs. William Larimer Mellon, Jr.

Linda Lynch

American, born 1958

Turmoil, 1999

Pastel pigment on paper

Each: 30 × 22 1/4 in. (76.2 × 56.5 cm)

Gift of the artist

James Mullen

American, born 1949

Untitled 1981/1994

Collage, ink, and paint on paper

8 3/8 × 9 in. (21.3 × 22.9 cm)

Gift of Caroline Huber and the estate of Walter Hopps

Reuben Nakian

American, 1897–1986

Study for Rape of Lucrece, 1958

Ink on paper

11 3/4 × 14 1/2 in. (29.8 × 36.8 cm)

Gift of Caroline Huber and the estate of Walter Hopps

Robyn O’Neil

American, born 1977

Maria Selma at Sunset, 2021

Gouache, colored pencil, graphite, and watercolor on mulberry paper

12 3/8 × 17 in. (31.5 × 43.2 cm)

Gift of Clare Casademont and Michael Metz

Betty Parsons

American, 1900–1982

Sputnik 1961

Oil on canvas

30 × 22 in. (76.2 × 55.9 cm)

Gift of Cecily Horton

Giuseppe Penone

Italian, born 1947

Leaves of Grass In The Hands–I wander all night, 2014

Graphite on tissue paper on Lyon silk veil

Sheet: 15 × 19 1/2 in. (38.1 × 49.5 cm)

Mount: 21 1/2 × 27 1/2 in. (54.6 × 69.9 cm)

Purchased with funds provided by the John R. Eckel, Jr. Foundation

Lew Thomas

American, 1932–2021

Bibliography 3 , 1977

From the series Reproductions of Reproductions

Screenprint

20/75

Image: 28 1/8 × 20 1/8 in. (71.4 × 51.1 cm)

Sheet: 30 1/4 × 22 1/8 in. (76.8 × 56.1 cm)

Gift of Caroline Huber and the estate of Walter Hopps

Jorinde Voigt

German, born 1977

Immersive Integral The Real Extent III, 2019

India ink, gold leaf, pastel, oil pastel, and graphite on paper in artist- designed frame

Sheet: 55 3/8 × 109 1/2 in. (140.7 × 278.1 cm)

Frame: 59 × 115 × 3 11/16 in. (149.9 × 292.1 ×

9.4 cm)

Purchased with funds provided by the William F. Stern Acquisitions Fund

Nari Ward

American, born in Jamaica, 1963

Say Can You See, 2021

Security tags on American flag 228 × 120 × 3 in. (579.1 × 304.8 × 7.6 cm)

Gift of Jeffrey Deitch and Michael Zilkha

Joseph E. Yoakum

American, 1886–1972

Chorro Valley Sanluis Obispo County Paso

Robles California, 20th century

Black ballpoint pen, black fountain pen, and watercolor on paper

9 15/16 × 7 15/16 in. (25.2 × 20.2 cm)

Anonymous gift

Ground Floor of Grand Canyon Colorado River near Arizona State Line stamped 1964 Black and blue fountain pen, colored pencil, and pastel on paper

12 × 17 15/16 in. (30.5 × 45.6 cm)

Anonymous gift

Mt Puyed Dome near Clermont France WE

(Some Where in France Theres a Lily?), stamped 1970 Black felt-tip pen, black ballpoint pen, blue fountain pen, pastel, and colored pencil on paper

12 3/16 × 19 1/16 in. (31 × 48.4 cm)

Anonymous gift

Mt Sinaii at Sea Port on Gulf of Aquaba near Dhant al Haii of Saudi Arabia in Asia stamped 1968

Blue and black ballpoint pen, pastel, and colored pencil on paper

11 7/8 × 19 1/16 in. (30.2 × 48.4 cm)

Anonymous gift

An Alaskan Passenger Sail Boat While in Vancouver British Columbia Canada, 1969 Blue fountain pen, pastel, and colored pencil on paper

8 1/16 × 10 1/16 in. (20.5 × 25.6 cm)

Anonymous gift

Wilks Land in East Sector of Antartica

Continents on Rose Sea and Ice Shellf Cliffe of the Two Sectors Discovery Since Australia and New Zealand, stamped 1969 Black felt-tip pen, blue fountain pen, purple ballpoint pen, pastel, and colored pencil on paper

12 × 18 7/8 in. (30.5 × 47.9 cm)

Anonymous gift

Jessie Willard 2nd Challenge to Champion Fight with Jack Johnson for Worlds Heavy Weight Prize Fighting Champion Ship in Year 1917 and in 1921, stamped 1969 Black felt-tip pen, blue fountain pen, black ballpoint pen, and pastel on paper

11 15/16 × 18 7/8 in. (30.3 × 47.9 cm)

Anonymous gift

Mt Makkah near Village Mecca of Sudi Arabia SE Asia, stamped 1968

Blue felt-tip pen, black fountain pen, colored pencil, and pastel on paperboard

14 1/16 × 21 15/16 in. (35.7 × 55.7 cm)

Anonymous gift

Mt Atzmon on Border of Lebanon and Palestine SE. A., stamped 1968

Purple and black ballpoint pen, pastel, and colored pencil on paper

19 1/16 × 24 1/8 in. (48.4 × 61.3 cm)

Anonymous gift

Publishing Archives

14 webpages, 113 images, 3 audio tracks, 1 video

English/Español

Enchanted: Visual Histories of the Central Andes

This online, bilingual publication focuses on the formation of the museum’s collection of Andean visual culture and related photography by Pierre Verger. Essays authored by leading scholars in Andean studies highlight several of the major examples in the Menil’s first exhibition of Andean archaeological material and other works in the collection. Important texts on macaw-feathered panels from the Wari civilization and the monumental Prisoner Textile from the Chimú civilization combine with artwork illustrations, music, video, and interactive features to animate the reader’s experience.

Authored by Paul R. Davis, Susan E. Bergh, Kari Dodson, Ana Girard, Amy B. Groleau, Heidi King, Zoila S. Mendoza

Niki de Saint Phalle in the 1960s

This publication presents a focused look at two bodies of work in the experimental practice of French-American artist Niki de Saint Phalle (1930–2002): the Tirs, or “shooting paintings,” and the Nanas. Alongside a poetic response to the work, four essays investigate Saint Phalle’s performances and works of feminist art as a ground-breaking oeuvre. Together, they constitute a reevaluation of her transatlantic career, collaborations, and key contributions to artistic innovations in the 1960s. The book includes the first-ever comprehensive and heavily illustrated chronology of all of Saint Phalle’s known shooting sessions in Europe and the United States, drawn from research conducted at the Niki Charitable Art Foundation, with archival images of the artist’s participatory and performance-based practice.

Library

248 pages, 135 illustrations

Hardcover

Authored by Jill Dawsey, Michelle White, Amelia Jones, Ariana Reines, Alena J. Williams, Molly Everett, and Kyla McDonald. Published with the Museum of Contemporary Art San Diego.

Joseph E. Yoakum: What I Saw

In this volume, invited specialists and the three cocurators of the exhibition Joseph E. Yoakum: What I Saw chronicle, assess, and reassess the work and career of an artist who spontaneously began to draw and paint landscapes at the age of seventy-one. The texts delve into the friendships Yoakum forged with the Chicago Imagists, who secured his place in art history, explore the religious outlook that may have helped him cope with a racially fractured city, and examine his complicated relationship to his African American and Native American identities. With hundreds of color reproductions of his beautiful, dreamlike drawings, it offers the most comprehensive study of the artist to date, illuminating his vivid imagination and creativity.

The Menil Archives preserves and provides access to administrative, business, and departmental records of the Menil Foundation and the Menil Collection, as well as exhibition history records, film and media materials, special collections, and the papers of John and Dominique de Menil. The Archives receives periodic transfers of institutional records that document the present and past activities of the museum.

In Fiscal Year 2022, Archives fielded 356 internal and external inquiries and hosted 118 onsite research visits. Extensive material from the Archives was featured in the exhibition Niki de Saint Phalle in the 1960s, including film, photography, and drawings.

The library of the Menil Collection supports the reference, research, and scholarly needs of the museum and outside scholars. The library added more than 1,500 new books, periodicals, and digital resources to its collection during Fiscal Year 2022. Materials from the Menil Library’s Special Collections were included in several of the Menil’s permanent collection galleries, and two books recounting the tales of Genevieve and Apollo and Daphne were displayed in Meret Oppenheim: My Exhibition

Significant acquisitions include Dubose Heyword’s Porgy & Bess, printed in 2013 by Arion Press and purchased with funds provided by the William F. Stern Endowment for Special Collections.

The library is open by appointment to graduate students, university and college faculty, museum professionals, professional artists and designers, art historians, arts professionals, and arts writers.

252 pages, 200 color illustrations

Hardcover

Authored by Mark Pascale, Esther Adler, and Edouard Kopp.

Contributions by Kathleen Ash-Milby, Mary Broadway, Clara Granzotto, Whitney Halstead, Faheem Majeed, Laura K. Minton, Emily Olek, and Ken Sutherland. Published with the Art Institute of Chicago and Museum of Modern Art, New York.

Collection Management

The Menil’s Collection Management Department consists of Registration, Art Services, Collection Database Administration, and Imaging Services.

Registration oversees all documentation related to the acquisition, exhibition, and storage of more than 17,000 artworks in the permanent collection. The team coordinates all exhibitions and gallery rotations, as well as incoming and outgoing loans. Registrars manage contract negotiations, fine art insurance, packing and crating, shipping, couriers, and electronic and physical file management for all projects. In Fiscal Year 2022, Registration arranged 171 shipments containing 2,156 objects.

Art Services professionally installs and dismantles all Menil exhibitions and rotations. The team is responsible for packing and crating incoming and outgoing loans, monitoring storage areas, tracking location moves, and couriering outgoing loans with complex installation requirements. In Fiscal Year 2022, Art Services made 6,720 object moves.

The Collection Database team continually uploads data on artworks from the permanent collection to the Menil’s internal database and website, menil.org. More than a thousand entries are currently available to the public, 105 of which were added in Fiscal Year 2022.

Imaging Services supervises new photography of collection objects, archival materials, and rare books for the Menil. Imaging sta ff manage analog object photography and digital imaging collections, license images to outside scholars and publishers, and secure reproduction rights for publications. In Fiscal Year 2022, 229 objects from the permanent collection were photographed.

Fellowships

Each year, the Menil Collection offers paid fellowships to established scholars and university students of art history and conservation at various stages of their careers.

Anne Schmid, the Andrew W. Mellon Fellow in Paintings Conservation, participated in the Conserving Canvas Initiative with the removal of varnish from a Georges Braque painting and the preparation of a wax-resin extraction treatment for a Mark Rothko painting. She also treated two two Walter De Maria canvases in preparation for an upcoming exhibition.

Anna Smith, recipient of the University of Houston Fellowship at the Menil Collection, worked closely with the curatorial team to advance scholarship on Walter De Maria’s plywood sculptures.

Karine Raynor, recipient of the John and Dominique de Menil Fellowship at Rice University, helped develop future exhibitions at the Menil Drawing Institute and assisted with the installation of Meret Oppenheim: My Exhibition.

Filippo Bosco, 2021–22 Pre-Doctoral Fellow at the Menil Drawing Institute and PhD Candidate at the Scuola Normale Superiore di Pisa, studied the circulation of Minimalism and conceptual art projects in Europe between 1960 and 1970 and the legacy of Surrealist drawing practices in conceptualist work.

Anna Lovatt, 2021–22 Research Fellow at the Menil Drawing Institute, and Associate Professor of Art History at Southern Methodist University, worked on her research project titled Lines of Resolution: Drawings and the Small Screen that explores the relationship between drawing, television, and video art of the 1950s to the 1980s.

Outgoing Loans

During Fiscal Year 2022, the Menil Collection loaned seventy objects to twenty-three institutions in seven countries:

Art Institute of Chicago, Chicago, IL

CaixaForum Barcelona, Barcelona, Spain

Dallas Museum of Art, Dallas, TX

El Museo del Barrio, New York, NY

Eskenazi Museum of Art, Indiana University, Bloomington, IN

The Jewish Museum, New York, NY

Kimbell Art Museum, Fort Worth, TX

Kunstmuseum Bern, Bern, Switzerland

Los Angeles County Museum of Art, Los Angeles, CA

Musée National d’Art Moderne, Centre Georges Pompidou, Paris, France

Museo Tamayo Arte Contemporáneo, Mexico City, Mexico

Museo Thyssen-Bornemisza, Madrid, Spain

Museum Barberini, Potsdam, Germany

Museum of Contemporary Art San Diego, La Jolla, CA

The Museum of Fine Arts, Houston, Houston, TX

The Museum of Modern Art, New York, NY

National Gallery of Art, Washington, DC

Peggy Guggenheim Collection, Venice, Italy

Philadelphia Museum of Art, Philadelphia, PA

The Rachofsky Collection, Dallas, TX

University of Houston-Clear Lake Art Gallery, Houston, TX

University of Houston-Downtown, Houston, TX

Whitney Museum of American Art, New York, NY

In Fiscal Year 2022, the Conservation department hosted two workshops to research the extraction of wax-resin lining adhesive in preparation for the future treatment of The Green Stripe, 1955, by Mark Rothko. This study is part of Conserving Canvas, the Getty Foundation’s international grant initiative focused on the conservation of paintings on canvas.