Women in the Arts Fall 2014 by Women in the Arts

FALL 2014

FOUNDER’S LETTER

Dear Members and Friends, Magdalena Abakanowicz is the greatest living woman sculptor. It is exciting to be bringing her work to New York Avenue. Her sculpture was first shown at the museum in 1991–92 in the exhibition Voices of Freedom: Polish Women Artists and the Avant-Garde, 1880–1990. I had long admired her and then had the good fortune to personally meet her through Patti Cadby Birch, a friend who collected her work. In 2002, the President of Poland came for a state visit at the White House. Afterward, he gave a dinner at the museum. Magdalena called me and said she was a part of his entourage and could escape during cocktails if I might meet her at the museum. Of course I was pleased and invited Krystyna Wasserman, the founder of our library, who also happens to be Polish, to join us. We met in the library and she said that Patti Birch had told her that we were interested in acquiring a work of hers. I explained that we could not possibly afford her sculpture and that Patti was mistaken. However, I told her that I was very happy that it had led to her visit for I had long admired her sculpture. She asked what I liked and I said, “Everything.” Krystyna brought the books about her from the library and put them out on the table. Magdalena exclaimed, “You have everything ever written about me.” Krystyna said, “Of course, you are Mrs. Holladay’s favorite.” We leafed through the books and she kept asking me what I liked best and pointed to some seated figures and I said yes, they were beautiful, as was all of her work. From that meeting she returned to Poland and later sent us a magnificent sculpture, 4 Seated Figures. It was extremely generous on her part and we are ever grateful. She has remained a friend. I feel certain that the installation of her sculpture will bring pleasure to all of you who are fortunate enough to see it. Warmest best wishes,

Wilhelmina Cole Holladay Chair of the Board

The National Museum of Women in the Arts brings recognition to the achievements of women artists of all periods and nationalities by exhibiting, preserving, acquiring, and researching art by women and by teaching the public about their accomplishments. MUSEUM INFORMATION Location: 1250 New York Avenue, NW, Washington, DC 20005 Public transportation: Take metrorail to Metro Center station, 13th Street exit; walk two blocks north to corner of New York Avenue and 13th Street Website: http://nmwa.org Blog: broadstrokes.org Main: 202-783-5000 Toll free: 800-222-7270 Member Services: 866-875-4627 Shop: 877-226-5294 Tours: 202-783-7996 Mezzanine Café: 202-628-1068 Library and Research Center: 202-783-7365 Magazine subscriptions: 866-875-4627 Hours: Monday–Saturday, 10 a.m.–5 p.m.; Sunday, noon–5 p.m. Closed Thanksgiving Day, Christmas Day, and New Year’s Day Admission: NMWA Members free, Adults $10, Visitors over 65 $8, Students $8, Youth under 18 free. Free Community Day is the first Sunday of every month. Admission for special exhibitions may vary; for information check http://nmwa.org.

Women in the Arts Fall 2014 (Volume 32, no. 3) Women in the Arts is a publication of the NATIONAL MUSEUM of WOMEN in the ARTS® Director | Susan Fisher Sterling Editor | Elizabeth Lynch Editorial Intern | Kelly Johnson Design | Studio A, Alexandria, Virginia For advertising rates and information, call 202-266-2814 or email elynch@nmwa.org.

Women in the Arts is published three times a year as a benefit for museum members by the National Museum of Women in the Arts, 1250 New York Avenue, NW, Washington, D.C. 20005-3970. Copyright © 2014 National Museum of Women in the Arts. National Museum of Women in the Arts®, The Women’s Museum®, and Women in the Arts® are registered trademarks of the National Museum of Women in the Arts.

On the cover: Magdalena Abakanowicz, Walking Figures, 2009; Bronze, varying dimensions (each figure approx. 106 ¼ x 35 3⁄8 x 55 1⁄8 in.); © Magdalena Abakanowicz, courtesy Marlborough Gallery, New York Founder’s photograph: Michele Mattei

Cover Story

Features

Departments

Arts News

Interiority and Exteriority: Magdalena Abakanowicz’s Sculptures in the New York Avenue Sculpture Project

Context and Connections: Picturing Mary Online

Culture Watch

The third installation of the sculpture project honors internationally renowned artist Magdalena Abakanowicz, whose monumental bronzes representing human figures and dynamic, stainlesssteel birds in flight will be on view just outside the museum. J. Rachel Gustafson

To complement NMWA’s winter exhibition Picturing Mary: Woman, Mother, Idea, a concurrent online exhibition features fascinating imagery of Mary from around the globe. Virginia Treanor

Summer Report

Dedicated Donor Mildred Weissman

26 Museum News and Events

Soda_Jerk: After the Rainbow Australian art collective Soda_Jerk remixes film clips, using The Wizard of Oz and a later documentary to illuminate the complex life of star Judy Garland. Stephanie Midon

16 Calendar

29 Supporting Roles 32 Museum Shop

22 The First Woman Graphic Novelist: Helena Bochorˇ ákováDittrichová Prints from wordless novels by the Czech artist showcase her cinematic eye and appealing, richly detailed woodcut style. Heather Slania

FALL 2014 | WOMEN IN THE ARTS

ARTS NEWS

Arts News

NMWA received several visits from Maya Angelou, notably when she spoke at the opening of an exhibition of work by South African Ndebele artist Esther Mahlangu in 1994, which featured a BMW Art Car and a mural on the façade of the annex gallery building that became NMWA’s Kasser Wing.

In Memoriam Maya Angelou, celebrated writer and social justice advocate, died May 28 at age eighty-six. Renowned for her poetry and autobiographical writing, Angelou’s wide-ranging career and life included acting, singing, dancing, and deep involvement with the Civil Rights movement. Her best-known book, I Know Why the Caged Bird Sings, is an autobiography of her youth and coming of age; long a fixture on school reading lists, it depicts the Jim Crow South, racism, and her struggle to grow and create an identity as an African American woman. Angelou was an iconic figure of inspiration and education. Her achievements were numerous and varied—she became an activist, working with Martin Luther King, Jr. and Malcolm X; she continued acting; and she published seven volumes of autobiography and several volumes of poetry. Later in her career—in addition to teaching American Studies at Wake Forest University for many years—she recited a poem at President Clinton’s inauguration, lectured frequently, was awarded a National Medal of Arts in 2000 and a Presidential Medal of Freedom in 2011, and was nominated for a Pulitzer Prize, a Tony Award, and Grammy Awards.

In the Public Realm The Americans for the Arts Public Art Network Year in Review program is intended to provide recognition to outstanding U.S. public art projects. Announced over the summer, the 2014 Year in Review honored thirty-seven projects—of those, sixteen were made by 2

WOMEN IN THE ARTS | FALL 2014

Jennifer Steinkamp, Murmuration, 2013; Installation view at Governor George Deukmejian Courthouse, Long Beach, California

men, fifteen by groups or collectives (some including men and women, some only including men), and just six were created by women. The list included some impressive and innovative work by women artists, including Jennifer Steinkamp’s Murmuration, in Long Beach, California. Murmuration, an LED display on electronic mesh, is permanently installed within the vast lobby of the Governor George Deukmejian Courthouse in Long Beach. On the mesh screen, glowing, candy-colored feathers fly in a pattern that evokes birds in flight. It refers to the Egyptian goddess Maat, who was frequently depicted with an ostrich feather symbolizing truth and justice.

A Design Worth Dancing For

Anonymous Was A Woman Awards

Choreographer Krzysztof Pastor invited artist Shirin Neshat to collaborate on the production of the Dutch National Ballet’s performance of Shakespeare’s The Tempest in Amsterdam this summer. Pastor encountered Neshat’s video projections, which contrast the rigid gendered experiences of Iranians, at the Stedelijk Museum in Amsterdam in 2006, and subsequently asked her to contribute video work to the ballet’s production design. The Tempest’s story of familial conflict and exile fits well with Neshat’s psychologically charged work about her homeland. The performance’s cinematic film installation, shot by Neshat primarily in Holland, and choreography by Pastor, is anticipated to travel to Warsaw and Singapore.

Anonymous Was A Woman, a grantmaking organization supporting U.S. women artists over the age of forty, announced the ten artists receiving unrestricted grants of $25,000 in recognition of their artistic achievements. This year’s winners range from painters to installation artists to performance artists, including Janine Antoni, Nicole Eisenman, Harmony Hammond, Kira Lynn Harris, Lynn Hershman Leeson, Hilja Keading, Elizabeth King, Beverly Semmes, Elise Siegel, and Marianne Weems. These women are now part of a group of 191 artists who have been awarded grants. The Anonymous Was A Woman award was created in 1996, when the National Endowment of the Arts ceased funding individual artists; its name refers to a line in Virginia Woolf’s A Room of One’s Own.

Anonymous Was A Woman award-winner Harmony Hammond, The Meeting of Passion and Intellect, 1981; Mixed media, 33 x 36 ½ x 5 in.; National Museum of Women in the Arts, Gift of Lily Tomlin and the artist

BENGT OBERGER

Nadine Gordimer, South African Nobel Prize-winning author and anti-apartheid activist, died July 13 at age ninety. Her novels Burger’s Daughter (1979) and July’s People (1981), authored in her 50s, were banned by the South African apartheid government for their fictional explorations of the country’s racist politics and culture. Born in 1923, Gordimer grew up witnessing major political conflicts, such as WWII and the institutionalization of apartheid, which occurred while she was in her 20s. Galvanized by these social injustices, the author began writing stories based on her experiences, providing critical insight for international audiences on the state of South Africa. When she was awarded the Nobel Prize in Literature in 1991 for her work’s complex characters and timeliness, the ceremony’s speaker described her novels as works in which “artistry and morality fuse.” Lamenting Gordimer’s passing in The Guardian, author Margaret Atwood wrote, “It seems impossible—surely she was ageless, like one of those very old, tiny, trees in the Arctic, gnarled and tough as a nut, but none theless evergreen. Despite her minute size, she was a huge presence—a voice of rectitude that spoke above the political din, addressing itself to our common humanity.”

intention, and long-term human intervention in the natural world. Another of Paterson’s recent works, in a series of meteorites called Campo del Cielo that she has melted down and re-cast back into their original forms, was “returned to space” this summer by the European Space Agency.

New York Avenue Sculpture Project Art in New York City The Sentinels, outdoor sculptures by Chakaia Booker, loom large in New York City’s

Garment District this fall. Installed on Broadway between 36th and 41st streets, the five towering sculptures will remain in the pedestrian plazas through November 2014. Booker’s signature works are made of recycled rubber tires and stainless steel tubing, assemblages revealing diversity in texture and form. This group of Booker sculptures includes four of the same works that were included in NMWA’s New York Avenue Sculpture Project, installed outside the museum from March 2012 to April 2014.

In Memoriam

The Tempest, at the Dutch National Ballet, with film projections by Shirin Neshat

Into the Future . . . and Into Orbit Katie Paterson, a Scottish artist based in Berlin, produces artwork that reaches great distances of time and space. She was commissioned by Bjørvika Utvikling to create a work, Future Library, in Norway that will take shape over the next hundred years. She began by planting one thousand trees in a forest just outside of Oslo, Norway. Each year between now and 2114, an editorial panel will commission a writer to contribute a text; the growing collection of manuscripts will be stored unread and unpublished. (The first author, Margaret Atwood, was announced in early September.) In 2114, the trees will be cut down and used to create paper on which the books will be printed. The artist has formed a trust, a group of people who will safeguard the trees and manuscripts, seeing to the work’s completion. Her project explores concepts of collaboration, planning and artistic

Katie Paterson, Future Library, 2014–2114

FALL 2014 | WOMEN IN THE ARTS

California

Yvonne Rainer is one of the most influential American artists of the late 20th century, connecting creative disciplines with her visionary work in dance and cinema. Featuring Rainer’s films, videos, writings, and sketches, this exhibition celebrates the feminist choreographer’s work from the last fifty years.

Lita Albuquerque: Particle Horizon Laguna Museum of Art On view October 12, 2014–January 25, 2015

Illinois Ethel Stein, Master Weaver Art Institute of Chicago On view through November 9, 2014

Environmental artist Albuquerque installs video projections of celestial views of the North and South Poles on the gallery walls and floor, accompanied by ambient sounds. In November, the artist will choreograph a performance in the installation, continuing her explorations of mapping, the cosmos, and connectivity. Yvonne Rainer: Dances and Films Getty Research Institute On view through October 12, 2014 © YVONNE RAINER, THE GETTY RESEARCH INSTITUTE

Yvonne Rainer in Film About a Woman Who… (1974); On view at the Getty Research Institute

Shinique Smith: Bright Matter Museum of Fine Arts, Boston On view through March 1, 2015

Shinique Smith, Splendid, 2014; On view at the Museum of Fine Arts, Boston

Lita Albuquerque, Pigment Figure No. 1, 2012; On view at the Laguna Museum of Art

Massachusetts

C U LT U R E WAT C H

Culture Watch | Exhibitions

Ethel Stein, Moon Wall, 2008; On view at the Art Institute of Chicago

This exhibition features more than thirty handloom weavings executed over a thirty-year year period by artist Ethel Stein, largely unrecognized for her innovative work until now. Her large-scale textiles feature traditional weaving techniques combined with a modernist, painterly sensibility for color and form.

Bundled, swirling paintings, sculptures, and installations, accompanied by videos and performances both old and new, burst from Smith’s retrospective. Drawing inspiration from the social and spiritual significance of acquiring personal belongings, her colorful works explore habits of consumer culture with panache.

New York Outlooks: Virginia Overton Storm King Art Center On view through November 30, 2014 Invited to create a new site-specific outdoor work for the world-renowned sculpture park,

Books Hannah Höch: Works on Paper (Whitechapel Gallery and DelMonico Books, 2014), published in conjunction with the first major exhibition of the artist’s work in the U.K., explores the trajectory of Höch’s collages—at turns sub versive, humorous, and lyrical—over the span of her sixty-year career. Reflecting Höch’s cut-and-paste technique in its alternations between scholarly essays, original documents, and arresting images, the catalogue brims with her voice and vision, drawing a vivid portrait of the artist’s life in Berlin during periods of extreme social and political upheaval. Editors Dawn Ades and Daniel F. Herrmann, as well as the essayists, do not pigeonhole Höch (1889–1978) because of her involvement with the Berlin Dadaists or over-simplify her engagement with gender and mass media, instead emphasizing the complexity of her body of work. Höch believed that the power of collage stems from the alienation involved in cutting up and recombining found images. While Höch’s collages are fantastical, she engages firmly with reality. As Höch stated, “these phantasms are not escapist, they are attacks.” This eloquently composed monograph highlights the enduring relevance of Höch’s social satire and indelible mark on modernism.—Olivia Mendelson 4

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As Amy Helene Kirschke, editor of Women Artists of the Harlem Renaissance (University Press of Mississippi, 2014), describes, in spite of the sexism and racism faced by this group of artists, “they illuminated the issues of race and they hoped to uplift the souls of their people.” During the Harlem Renaissance period (addressed as roughly 1920–1940), the African American population of Harlem grew rapidly and contributed to burgeoning literary, music, and visual arts scenes. As the period progressed, artists “were determined to express the African American experience in all of its variety and complexity,” says contributor Cary D. Wintz. Essays in this scholarly book cover a broad chronological period that led to and revealed the legacy of the Harlem Renaissance. Early chapters focus on sculptor Edmonia Lewis (1845–1907) and Meta Warrick Fuller’s Ethiopia, revealing contemporary struggles and interpretations of race. Authors examine the art of Laura Wheeler Waring and other women illustrators; Jazz Age artists May Howard Jackson, Beulah Ecton Woodard, and Selma Burke; and renowned sculptor Augusta Savage. Loïs Mailou Jones and Elizabeth Catlett are shown responding to and transcending racial issues of their time through art.—Elizabeth Lynch

COURTESY THE ARTIST AND MITCHELL-INNES & NASH; PHOTO JERRY L. THOMPSON

Marisol is a mixed-media artist known for her oddly-sculpted groups of wooden figures, influenced by the Pop art movement and themes of identity. This retrospective promotes the artist as a prominent figure in postwar American art, and provides new context for her works on paper. Virginia Overton, Untitled, 2014; On view at Storm King Art Center

LÜBECKER MUSEEN, MUSEUM BEHNHAUS DRÄGERHAUS

Summoning Ghosts: The Art of Hung Liu (University of California Press, 2013) accompanies the artist’s first major survey, organized by the Oakland Museum of Art, which contextualizes the evolution of Liu’s dynamic “ink-splash” paintings featuring people and scenes from Mao’s Communist regime in China. Liu paints from historical photographs of that era, often featuring women as her images’ protagonists. She began painting farmers and rural landscapes while working in rice and wheat fields during the Cultural Revolution, later becoming a student and teacher of mural painting at Beijing’s Central Academy of Fine Arts. In 1984, Liu began attending the University of California, San Diego, where she received her MFA, studied with Happenings performance artist Allan Kaprow, and met her husband, art critic and curator Jeff Kelley. Eventually settling in Oakland, California, Liu was a painting professor at Mills College from 1990 to 2013. Liu’s work explores the cultural and political identities of past Chinese generations, as well as her own identity as a Chinese immigrant. Her images simultaneously preserve and alter her country’s complex history, as colorful birds, bugs, flowers, and paint-drips obscure the figures in her work. In one catalogue essay, University of Chicago art historian Wu

Paula ModersohnBecker, Stehender und kniender Mädchenakt vor Mohnblumen II (Standing and Kneeling Nude Girl in Front of Poppies II), 1906; On view at the Louisiana Museum of Art

Marlene Dumas: The Image as Burden Stedelijk Museum Amsterdam

Paula Modersohn-Becker Louisiana Museum of Modern Art On view December 5, 2014–April 6, 2015 German painter Modersohn-Becker had a short but prolific career, creating dynamic,

MARISOL: Sculptures and Works on Paper El Museo del Barrio On view October 9, 2014–January 10, 2015

COLLECTION OF THE ARTIST

The Netherlands

International Denmark

Overton has installed a 500-foot brass tube that frames and underlines the vast landscape. The sculpture will remain through several seasons, interacting with growing hay fields and changing color with the weather.

Marisol, Mi Mama y Yo, 1968; On view at el Museo del Barrio

expressionistic landscapes and portraits of women and children. She was one of the first artists in Germany to incorporate Post-Impressionist influences into painting, and was labeled as a “degenerate artist” by the Nazis for her female nudes.

Marlene Dumas, Amy—Blue, 2011; On view at the Stedelijk Museum Amsterdam

On view through January 4, 2015 In a sweeping retrospective of the South African/Dutch artist’s oeuvre, this exhibition shows Dumas’s powerful contributions to the painting medium. Drawing from images found in newspapers and magazines, she paints human figures with touches of bold colors, often referencing psychological states of transformation, such as birth and death.

Hung writes, “Liu’s creative concept is neither to make these people concrete nor to make them abstract. Rather, she intends to communicate a sense of history through these blurred images” of, as Liu herself describes them, “wandering ghosts.” The book includes art historical and anec dotal essays, concluding in a rich biographical chronology detailed by Kelley. Combined, the texts and images reverently catalog the artist’s intimate examinations of historical identity and memory.—Kelly Johnson

Hung Liu, Mu Nu (Mother and Daughter), 1997; Liu’s paintings, along with personal photographs and sketches, will be on view at the Kemper Museum of Contemporary Art in Kansas City, Missouri, October 10, 2014–January 11, 2015

FALL 2014 | WOMEN IN THE ARTS

SUMMER REPORT

Summer Report

At the ABC Teacher Institute, teachers had the opportunity to create artists’ books (such as the book formats shown below) and lesson plans, learn from noted book artist Carol Barton, and enjoy the energy and creativity of the group

ABC Teacher Report 2014 For a select group of educators from as far away as Cleveland, Ohio, and as near as Cleveland Park, D.C., NMWA’s annual weeklong Art, Books, and Creativity (ABC) Teacher Institute was an opportunity to refresh the mind and discover new ideas. Twenty-three educators representing Pre-K through twelfth grade spent the week of July 14–18 with NMWA’s educators and institute instructors learning arts-integration techniques centered on the ABC curriculum. Developed by NMWA through a grant from the U.S. Department of Education, the ABC curriculum unites visual and language arts through the creation of artists’ books. In addition to developing students’ visual literacy, critical thinking, and writing skills, ABC also focuses on the cultural contributions of women artists. The ABC Teacher Institute introduces the curriculum to those who teach students of all ages and abilities, and provides them with

WOMEN IN THE ARTS | FALL 2014

resources to integrate visual arts into their classrooms successfully. Over the course of the week, creative juices flowed as participants assembled individual portfolios of artists’ books and writing samples as models for classroom lessons; learned the basics of Visual Thinking Strategies (VTS), a method for facilitating discussions about art; and brainstormed ideas to bring ABC content into their own classrooms. The week culminated with the participants presenting lesson concepts that adapted components of the ABC curriculum to address their unique curricula, objectives, and standards of learning. The resulting concepts clearly demonstrated myriad cross-curricular applications of the ABC curriculum and the innovative thinking of the teachers themselves. One participant summed up the inspiring week: “The energy and ideas were flying right up ’til the last minute! I think the enthusiasm of all of the presenters rubbed off on the participants and spurred us on. I feel refreshed as a teacher going into the summer vacation and when has that ever happened before?” Discover the ABC curriculum and related resources at www.artbookscreativity.org.

an agency supported in part by the National Endowment for the Arts. Additional funding was provided by the New Mexico State Committee of NMWA, the Louis J. Kuriansky Foundation, and the Samuel Burtoff, M.D. Foundation.

NMWA education staff traveled to northeastern Ohio in late July to present a three-day profes sional development workshop for thirty-five K–12 public school teachers from Lorain City Schools. Taking inspiration from the weeklong ABC Teacher Institute, the program introduced participants to NMWA and the ABC curriculum and served as a pilot program for future ABC national outreach endeavors. Teachers practiced VTS, created a variety of artists’ books, and brainstormed ways to incorporate art-making and art discussion into their classroom routines. Responses were overwhelmingly positive. Said one participant, “This course was a good blend of hands-on and coursework. This is practical and much needed as we do not have art classes in elementary schools.” Another enthused, “The hands-on book making . . . was awesome. It was fun to watch people work through lunch and breaks—very engaging!!”

The 2014 ABC Teacher Institute was made possible by support from the Leo Rosner Foundation and the DC Commission on the Arts and Humanities,

The Lorain, OH, workshop was sponsored in part by a grant from the Martha Holden Jennings Foundation.

Taking ABC on the Road

D E D I C AT E D D O N O R

Dedicated Donor | Mildred Weissman

PHOTO BY WALTER SANDERS/THE LIFE PICTURE COLLECTION/GETTY IMAGES

Most of the causes I am interested in are women’s causes—after all, women are fifty percent of humanity.

Mildred and George Weissman in 1959, when they were featured in a LIFE magazine article that focused on their modern home.

ildred Weissman and her late husband, George, first became aware of the National Museum of Women in the Arts through Founder Wilhelmina Cole Holladay, before the museum opened. The Weissmans had been longtime arts enthusiasts, as well as supporters of women’s causes. As Mildred Weissman describes their connection to NMWA’s mission, “It’s a matter of wanting advancements for women. George was always a feminist, too—that’s one of the reasons I married him.” They began giving to the museum in 1986, over the years generously supporting some of NMWA’s biggest initiatives, such as becoming founding members of the building’s Elisabeth A. Kasser Wing expansion in 1995, donating art, and helping to fund several exhibitions. Holladay says, “The meaningful early support of the Weissmans was extremely important, and Mildred Weissman’s continued generosity is greatly appreciated.” As Mildred Weissman describes, she and her husband rarely set out to buy art, though they built a collection by purchasing pieces by artist friends and works that they happened to find and love. The first piece of art they ever bought was by a woman artist; she says that, often coincidentally, she has found herself drawn to work by women. Their gifts to NMWA’s collection include works by Shirley Rothenberg and Susan Fishgold. The Weissmans’ world travels and friendships also provided fantastic opportunities. Once, they were invited by a photographer friend to the home and studio of sculptor Henry Moore, where they spent the day with his family. “I always preferred figurative art,” Weissman says, “I like to see the essence of something. At that time he was working on a figure that was a mother holding a child, and it looked wonderful, so that’s what we bought.”

Now ninety-four, Mildred Weissman has led a busy and varied life. She and her husband raised three children (their youngest son became a lithographer), and she has had a lifelong love of cooking and food, even opening and running a restaurant for a number of years. She left that business to do more traveling with George, chairman and chief executive of Philip Morris International. In her free time, she took art classes for several years and enjoyed painting, describing her satisfaction when her first project was recognizably like its subject: “You get a high by creating something like that.” George retired in 1984, and in 1986 he became chair of the Board of Trustees at Lincoln Center, where he had long been a member of the board. Since George’s death in 2009, Mildred has continued their support of NMWA, in addition to her patronage of several other museums, Jewish nonprofits, and Hunter College, her alma mater, which was a women’s college when she attended it. Overall, she says, “Most of the causes I am interested in are women’s causes—after all, women are fifty percent of humanity.” This fits well with NMWA’s mission and future goals. She believes that the museum has become established through Holladay’s impressive efforts: “She’s a very determined lady. She’s galvanized a lot of people, and she’s made things move. I admire her greatly.” When describing her hopes for NMWA’s future, Mildred Weissman says that she would like to see its profile continue to grow nationwide and worldwide, furthering and creating opportunities for women in the arts.

FALL 2014 | WOMEN IN THE ARTS

Interiority Magdalena Abakanowicz’s Sculptures in the New York Avenue Sculpture Project September 27, 2014–September 27, 2015 j. rachel gustafson 8

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∏

he story of the new installation in NMWA’s New York Avenue Sculpture Project began more than twenty years ago, when NMWA held the exhibition Voices of Freedom: Polish Women Artists and the Avant-Garde, 1880–1990. The exhibition featured the work of Magdalena Abakanowicz (b. 1930), an ambitious artist whose fiber-based sculptures left a meaningful impression on NMWA Founder Wilhelmina Cole

and Exteriority Holladay. Nearly ten years later, in the summer of 2002, Abakanowicz first visited the museum. She celebrated NMWA as a space for viewers to “allow their imagination to work undisturbed, a place where people come to seek the answers.”1 Abakanowicz soon thereafter produced a fiber sculpture exclusively for the museum’s collection using the original molds for one of her previous works, Seated Figures (1974–79). Today Four Seated

Figures (2002) sits in the museum’s Rose Benté Lee Sculpture Gallery, and the relationship laid the groundwork for this year’s striking installation.

Magdalena Abakanowicz, Big Figures (with the artist), 2001–02; Bronze, 20 walking figures; Photograph Artur Starewicz; All images © Magdalena Abakanowicz, Courtesy of Marlborough Gallery, New York

FALL 2014 | WOMEN IN THE ARTS

[These works] touch on universal notions and existential quandaries such as human limitations, the continuity of nature, and the brutality of war.

hile Washington, D.C., is renowned for its national monuments, comparatively little public sculpture in the city is modern or contemporary, and very few works are created by women. Featuring installations that change every year or two, the New York Avenue Sculpture Project helps to fill that void. Since its inaugural installation in 2010 it has introduced the work of women sculptors Niki de Saint Phalle and Chakaia Booker to the downtown neighborhood near the White House. Earlier this year, the project’s advisory committee chose Abakanowicz as the next featured artist and selected sculptures to be installed on the highly visible New York Avenue median between 12th and 13th Streets, NW, in front of the museum. The exhibition of Abakanowicz’s art acknowledges her position as one of the world’s most prominent creators of public sculpture, with major installations presented in Europe, Asia, and the U.S. Three bodies of work will be represented: Walking Figures (2009), The Second Never Seen Figure On Beam with Wheels (2001), and three of Abakanowicz’s colossal, stainless-steel birds (2009). The bronze and steel sculptures represent recurring motifs within the artist’s work—abstracted, large-scale human figures and subjects from nature. Just as in other outdoor installations by Abakanowicz, the sculptures may look similar, merging into flocks or crowds from a

The Second Never Seen Figure On Beam with Wheels, 2001; Bronze, 92 ¼ x 123 x 26 ¼ in.

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distance. However, closer examination reveals distinct proportions, colors, and textures among the individual pieces. In fact, examining the works’ exteriors provides insight into the interior, personal experiences that shaped Abakanowicz’s artistic development. Abakanowicz grew up in rural Poland, with the Second World War looming as the young artist approached adolescence. Subsequently, she and her family suffered dislocation, deprivation, and violence during the war and then endured oppressive post-war regimes in Poland, where Abakanowicz still lives and works. Although driven by her biography, Abakanowicz describes her art as fully metaphorical, representing forces that shape all human lives. Abakanowicz first made an impact in international art in the 1960s and ’70s, with textile sculptures, including her “Abakan” series of large woven, organic, abstract shapes. Later in her career, she began creating monumental armless figures that recall her formative experiences and suggest war’s destruction and its impact on her work. These concepts are evident in the three sculptural groupings in this installation. In Walking Figures, the viewer is presented with ten headless, armless human figures. This series supports the artist’s vision of “a landscape of shell-like human shapes, negatives of the bulk . . .” that allows her to “speak about what I had observed in life, what I experienced looking at humans—their limits and their power.”2 Abakanowicz’s Walking Figures—each in a transitory walking gesture—suggest confrontation as well as power in numbers. With one foot planted in front of the other, the figures of this sculptural tribe do not appear to be at rest. On either side of New York Avenue, viewers too will walk alongside Abakanowicz’s figures, mimicking their advancing actions. The Walking Figures also echo, in metal, the earthy textures she successfully used in her fiber sculptures. Each form has a creased surface that abstracts the anatomy of the figures while suggesting skin, scars, or draped fabric. The surfaces retain the raw, irregular qualities that mark the artist’s early oeuvre but also fit within the modern tradition of sculpture, revolutionized by Auguste Rodin, which shows the physicality of the artist’s hands in the sculpting process. The Second Never Seen Figure On Beam with Wheels, another human figure, also alludes to Abakanowicz’s wartime experiences. This sculpture depicts a lone, headless human figure on a beam supported by two wheels, that evokes an axle or barbell. But rather than rely on gesture to imply momentum, as in Walking Figures, this figure’s placement on a mobile-like apparatus is “more threatening,” in its joining of “body and object.”3 However, the figure’s potential for movement as well as its placement on

New York Avenue could also suggest a metaphorical journey. For drivers or passengers, this work stimulates the space while mirroring their own travels. Movement and migration are also at play in the static flight of the bird-like figures of Stainless Bird on Pole I, II, and III. Abakanowicz, who roamed the Polish countryside in her youth, has repeatedly cited the natural world as a point of inspiration. She has sought solace and entertainment in nature. “I had to fill the enormously long and empty days, alone, minutely exploring everything in the environment. Learning about all that was alive—watching, touching, and discovering—was accomplished in solitude. . . . Everything was immensely important. All was one with me.”4 While Magdalena Abakanowicz’s life experiences have influenced the content of her sculptures, they do not ultimately define them. These works are raw and corporeal, delving into the human condition through the treatment of their surfaces. They touch on universal notions and existential quandaries such as human limitations, the continuity of nature, and the brutality of war.

From left to right: Stainless Bird on Pole I, 2009; Stainless steel, 124 x 129 7⁄8 x 59 in.; Stainless Bird on Pole II, 2009; Stainless steel, 144 1⁄8 x 106 ¼ x 57 1⁄8 in.; Stainless Bird on Pole III, 2009; Stainless steel, 151 5⁄8 x 63 x 53 1⁄8 in.

The 1991 exhibition catalogue for Voices of Freedom declares that Abakanowicz’s art imitates “nature in both its creation and destruction, growth and erosion.”5 By revealing her interior experiences, the artist has created sculptures that illuminate human truths more persistent than the specific circumstances that inspired her. “I am still working on the same old story,” Abakanowicz has said, “old as existence itself, telling about it, its anxieties, disillusions, and longings.”6 New York Avenue Sculpture Project: Magdalena Abakanowicz is made possible with funding provided by the DC Commission on the Arts and Humanities, Public Art Building Communities Grant Program; the Homer and Martha Gudelsky Family Foundation; and Medda Gudelsky. The New York Avenue Sculpture Project is organized by the National Museum of Women in the Arts (NMWA) and created in collaboration with the Downtown DC Business Improvement District (BID), the DC Office of Planning, the District of Columbia Department of Transportation, and other local agencies.

J. Rachel Gustafson is a curatorial fellow at the National Museum of Women in the Arts.

Walking Figures, 2009; Bronze, dimensions variable (each figure approximately 106 ¼ x 35 3⁄8 x 55 1⁄8 in.)

Notes: 1. Magdalena Abakanowicz as quoted in Krystyna Wasserman, “Recent Acquisition: Magdalena Abakanowicz’s Four Seated Figures,” in Women in the Arts, Spring 2003, 5; 2. Magdalena Abakanowicz as quoted in Mary Jane Jacob, “Art Throughout a Lifetime,” in Magdalena Abakanowicz, A Survey: 1987–2009 (New York: Marlborough, 2013), 5; 3. Mary Jane Jacob, “Art Throughout a Lifetime,” 6; 4. Magdalena Abakanowicz, “Portrait x 20,” in Magdalena Abakanowicz: Recent Sculpture (Providence: Museum of Art, Rhode Island School of Design, 1993), 23: 5. Agnieszka Morawin ´ska, “Polish Women Artists,” in Voices of Freedom: Polish Women Artists and the Avant-Garde, 1880–1990 (Washington, D.C.: National Museum of Women in the Arts, 1991), 39; 6. Michael Brenson, “Magdalena Abakanowicz and Modern Sculpture” in Magdalena Abakanowicz: Recent Sculpture, 19.

FALL 2014 | WOMEN IN THE ARTS

Context and Connections Picturing Mary Online

ater this year, the National Museum of Women in the Arts opens Picturing Mary: Mother, Woman, Idea (December 5, 2014–April 12, 2015), which brings together more than sixty Renaissance- and Baroque-era masterworks from world-renowned collections such as the Vatican Museums, Uffizi Gallery, and Louvre. Paintings, sculptures, and other pieces explore the concept of womanhood represented by the Virgin Mary, mother of Jesus Christ and one of the most-depicted subjects in art. The exhibition also examines the social and sacred functions her image has served through the ages (to learn more, see “Coming Soon” on the back cover). For the first time, NMWA is launching an online exhibition to complement and enrich its on-site offerings. The physical exhibition features six thematic sections presenting motifs in the depiction of Mary—these show different facets of her meaning to believers, portraying her as a woman, mother, and icon. The concurrent online exhibition echoes those themes, illuminating each with a wider array of artwork. To contextualize the works in NMWA’s galleries—primarily Italian paintings, sculptures, and decorative objects—the online exhibition showcases unique and interesting artwork from around the globe. Manuscripts, needlework, and other objects incorporate imagery from Asia, the Middle East, and the Americas, as well as depictions of Black Madonnas, both of European origin and from the African Diaspora. These pieces demonstrate the ways in which the Virgin Mary’s image has been shaped by aesthetic and theological traditions of varied and diverse cultures. Approximately thirty fascinating objects that relate to the themes of the physical exhibition will be accessible via NMWA’s

WOMEN IN THE ARTS | FALL 2014

website, where users will be able to view images of the artworks, read about the subject, watch videos, and access additional resources.

Madonna and Child One of the earliest and most prevalent themes in Marian imagery is the Madonna and Child, typically showing Mary holding the infant Jesus. Madonna, a term that has become synonymous with the Virgin Mary, is in fact an honorific in Italian, meaning “my lady,” applied to Mary as a sign of respect. Very early Christian images of Mary depict her as an ordinary young mother, but imagery changed after the Council of Ephesus (431 A.D.), which conferred upon her the title of Mother of God. From that point onward, artists portrayed the Virgin dressed in luxurious garments and often wearing a crown or seated on a throne, embodying another of her titles, Queen of Heaven.

Woman and Mother Beginning in the fourteenth century, images of the Madonna and Child became less formal and rigid as Renaissance artists depicted mother and son as relatable individuals rather than as static and lofty deities. As a result, representations of Mary and Jesus began to reflect an intimacy and tenderness between mother and child. Artists in other parts of the world took up this theme, often imitating European images they would have known through prints.

Opposite: Farrukh Beg, The Madonna and Child, ca. 1605–10; Opaque watercolor and gold on paper, 6 ¼ x 4 3⁄8 in.; Bijapur, India; Smithsonian Freer and Sackler Museums, F1907.155

From left to right: Madonna and Child, flanked by Empress Irene and Emperor John II Komnenos, 12th century; Mosaic; Hagia Sophia, Istanbul, Turkey Our Lady of Sorrows, 19th century; Oil on canvas, 32 ¾ x 23 ¾ in.; Bolivia; Joslyn Art Museum; Gift of Mr. and Mrs. Fred Lowell, 1964.113 Virgin of the Immaculate Conception, ca. 1690–1710; Ivory with gilt and polychromy, 10 1⁄8 in. high; Ceylon (in present-day Sri Lanka); Walters Art Museum, 71.341 Title page to chapter 19 of Qur’an (Sura Maryam), 15th century; Ink and pigments on thin laid paper, 15 ¾ x 12 3⁄16 in.; Northern India; Walters Art Museum, manuscript W.563.274B

This was likely the inspiration for a small watercolor by Mughal artist Farrukh Beg, in which Mary is seated on the ground—a sign of her humility—tenderly holding Jesus, who holds an open book in his arms.

representing this concept using the figure of the adult Virgin. In the most common iconography (derived from the Book of Revelation), Mary is shown standing or sitting on a crescent moon, wearing a crown of twelve stars, as seen in an ivory statuette from Sri Lanka (unfortunately, the stars have broken off).

Mother of the Crucified Images depicting Mary’s grief over the death of her son are also found throughout the world. The Mater Dolorosa, or Sorrowful Mother, was a popular theme, particularly in Spain. Spanish conquistadors and missionaries brought this visual tradition with them to the New World, where images like Our Lady of Sorrows continued to be depicted. Often, as in an image originally from Bolivia, Mary is shown with seven swords piercing her torso. These swords symbolize seven events in her life related to Christ’s death, including its foretelling and her premonitions.

Mary as Idea The figure of Mary has been used throughout history as a symbol of certain concepts or ideals such as chastity, humility, and compassion. Her figure is also used to convey abstract theological ideas, most notably the Immaculate Conception. This term refers not to the conception of Jesus but of Mary herself, describing the belief that Mary was conceived without sin and was, from the beginning of time, part of God’s plan for the salvation of humankind. In the late fifteenth century, artists began 14

WOMEN IN THE ARTS | FALL 2014

A Singular Life Although Mary is mentioned surprisingly little in the Bible, there are nevertheless countless images of her life before and after Christ’s birth. These images are often based on stories from legends or apocryphal texts, passages written in the first centuries after Christ’s death but not accepted into official church canon. Many of these texts describe events from Mary’s life: conception, birth, education, and betrothal. These, together with elaborated accounts of the Annunciation and Crucifixion, create a fuller biography.1 There is another source that describes events from the life of the Virgin: the Qur’an, the holy book of Islam. A chapter, or sura, is named after Mary, with a long passage describing the story of Jesus’s miraculous conception and birth under a palm tree (Sura Maryam, 19: 16–37); it is the only sura in the Qur’an to bear a woman’s name.2 NMWA’s online exhibition Above: Nun’s Emblem, 18th century; Silk and silver thread embroidery, 7 in. diameter; New Spain; Franz Mayer Collection

includes a title page to the Sura Maryam from a fifteenth-century illuminated manuscript of the Qur’an.

Mary in the Life of Believers Throughout the ages, many people felt a personal connection with the Virgin Mary. Nuns, especially, had a special relationship to Mary as they, like the Virgin herself, were figurative “Brides of Christ.” The title was bestowed on Mary by Christians who believed her to be Jesus’s helpmate in the salvation of humankind. This is seen in an eighteenth-century nun’s emblem (escudo de monja) from Spanish colonial Mexico, embroidered by a nun belonging to the Order of St. Clare. She would have worn it on her chest or shoulder, over her habit, demonstrating not only her devotion to the Virgin Mary but also her expert embroidery skill.

MapHook: Clicking on Icons and Charting an Exhibition NMWA’s digital team is working with the location-based social networking application MapHook to create another special web-based feature for Picturing Mary, highlighting the exhibition as it comes together. The interactive webpage traces the journey of each work—from museum, church, and private collections in Europe and the U.S.—to join the exhibition in Washington, D.C. Launching in the months before the exhibition opens, this feature is your sneak preview! Visit http://nmwa.org/picturing-mary for links to MapHook and the online exhibition throughout the presentation of Picturing Mary.

Through these themes, the on-site and online exhibitions illuminate this familiar figure in Western art by showcasing the breadth, but also the recurring symbolism, in representations of Mary. Gallery-goers and web users alike can come to recognize motifs in the iconography of the Virgin and gain perspective on how they traveled around the world. Virginia Treanor is the associate curator at the National Museum of Women in the Arts. Notes: 1. The Protoevangelium of James (2nd century C.E.) and the Gospel of PseudoMatthew (7th century C.E.) were the main apocryphal sources for these stories. 2. Mary is also mentioned in other parts of the Qur’an, especially 3:36–37 and 42–45; 4:156–157, 159, and 171; 21:26, 91, and 101; 23:50; and 66:12.

FALL 2014 | WOMEN IN THE ARTS

9 | 24–10 | 8

EXHIBITIONS

WED 12–12:30 P.M. GALLERY TALK SERIES. Total Art Conversation Pieces. Video art captures viewers’ attention in ways other mediums cannot. Often presented as immersive experiences, video installations engage multiple senses, requiring time to view and appreciate. During each “Conversation Piece,” view selected videos featured in Total Art, then join NMWA staff and fellow participants for a conversation about what you saw, heard, felt, and thought. Free. No reservations required.

Total Art: Contemporary Video On view through October 12, 2014 Soda_Jerk: After the Rainbow September 19–November 2, 2014 New York Avenue Sculpture Project: Magdalena Abakanowicz September 27, 2014–September 27, 2015 Picturing Mary: Woman, Mother, Idea December 5, 2014–April 12, 2015 The First Woman Graphic Novelist: Helena Bochorˇáková-Dittrichová On view through November 14, 2014, in the Betty Boyd Dettre Library and Research Center; Open Monday–Friday, 10 a.m.–12 p.m. and 1–5 p.m. Helena BochorˇákováDittrichová, woodcut from Z Mého Deˇtství (From My Childhood), 1929; On view in The First Woman Graphic Novelist

Dara Birnbaum, Technology/Transformation: Wonder Woman, 1978–79; On view in Total Art

9 | 30

TUE 12–1 P.M.

SCHOLAR TALK. Mary Jane Jacob. Join NMWA for an in-depth talk on Magdalena Abakanowicz’s newly installed sculptures in the New York Avenue Sculpture Project. Mary Jane Jacob, a leading scholar on the work of Abakanowicz, will discuss the new installation and the artist’s body of work. Jacob curated the first U.S. retrospective on Abakanowicz and has written several major essays on the artist’s work.

10 | 15–12 | 3

FRI 7–8:15 P.M.

LIVE VIDEO ESSAY. The Carousel. Soda_Jerk performs a two-channel, live “video lecture performance,” The Carousel (2011), which explores the intersections of death and cinema. Using live narration to navigate an eclectic matrix of film samples, this multi-channel video essay conjoins media theory, mysticism, deconstruction, kung-fu film, vintage sci-fi, and techno horror. Themes of The Carousel run parallel to Soda_ Jerk’s “Dark Matter” video installations, including After the Rainbow (2009), which will be open for viewing before and after this program, from 6–7 and 8:15–9 p.m.) Film samples included in The Carousel are rated from PG-13 to R. Free. Reservations required. Reserve online at http://nmwa.org/events/performance-sodajerk. Soda_Jerk, The Carousel, 2011

DAKOTA FINE

10 | 3

9 | 24 Conversation Piece: Eve Sussman/Rufus Corporation’s 89 Seconds at Alcázar, 2004, and Alex Prager’s La Petite Mort, 2012 10 | 1 Conversation Piece: Dara Birnbaum’s Technology/Transformation: Wonder Woman, 1978–79, and Margaret Salmon’s Ninna Nanna, 2007 10 | 8 Conversation Piece: Pipilotti Rist’s Blauer Leibesbrief (Blue Bodily Letter), 1992/98, and Michal Rovner’s Data Zone, Cultures Table #3, 2003

WED 12–12:30 P.M.

GALLERY TALK SERIES. Lunchtime Gallery Talks. Looking for some artistic and intellectual nourishment during your lunch break? Visit NMWA on Wednesdays for short gallery talks to explore special exhibitions and NMWA’s collection with museum staff. Free. No reservations required.

10 | 29

WED 7:30–9:30 P.M.

SHENSON CHAMBER MUSIC CONCERT. Cicely Parnas, cello. Gilan Tocco Corn, Artistic Director of the Shenson Chamber Music Concerts series, welcomes 20-year-old American cellist Cicely Parnas to the NMWA stage. First prize winner of the 2012 Young Concert Artists International Auditions, Parnas is recognized for bringing “velvety sound, articulate passagework, and keen imagination” to her performances. Free. Reservations required. Visit http://nmwa.org/shenson for information or to reserve your seat.

Visit http://nmwa.org for more information and a complete calendar of events and programs.

WOMEN IN THE ARTS | FALL 2014

MICHAEL POLITO

CALENDAR

Calendar

10 | 30

12 | 4

THU 6:30 P.M.

FALL BENEFIT. Cabaret Evening with Karen Akers. NMWA will present the Award for Excellence in the Performing Arts to concert and cabaret star Karen Akers. The evening includes a cocktail reception, seated dinner, and performance by Akers. Proceeds support the Shenson Chamber Music Concerts, led by Artistic Director Gilan Tocco Corn, education programming, and the exhibition Picturing Mary. For additional information or to purchase tickets, contact emchugh@nmwa.org or 202-266-2815.

12 | 5

FRI 12–1 P.M.

CURATOR TALK. Timothy Verdon. Join Timothy Verdon, director of Museo dell’Opera del Duomo and canon of the Florence Cathedral, to learn more about NMWA’s special exhibition. Verdon, guest curator of Picturing Mary, is renowned for his scholarship on sacred art. He will share insights into the exhibition’s content and themes, focusing on the works on view and their depiction of Mary, for centuries among the most important subjects in Western art. Free with admission. No reservations required. Guillaume de Marcillat, Deposition and Entombment (Deposizione e Sepoltura di Cristo), 1526; On view in Picturing Mary

1 | 10

FRI 10 A.M.–3 P.M.

MEMBER PREVIEW DAY. Picturing Mary: Woman, Mother, Idea. On December 4, 10 a.m.–3 p.m., members enjoy a first look at Picturing Mary: Woman, Mother, Idea. Featuring more than sixty masterworks from the Renaissance and Baroque eras, the exhibition examines the concept of womanhood represented by the Virgin Mary and the power her image has exerted through time. Members will enjoy light refreshments, a 10% discount in the Museum Shop, gallery talks, and a special noon lecture by guest curator Timothy Verdon, director of Museo dell’Opera del Duomo and canon of the Florence Cathedral. Free admission for members and one guest.

12 | 10–1 | 28

WED 12–12:30 P.M.

GALLERY TALK SERIES. Picturing Mary: Woman, Mother, Idea. These bite-size lunchtime talks are offered most Wednesdays throughout Picturing Mary. Museum staff members facilitate interactive talks, encouraging close looking and the investigation of the mediums, techniques, and overarching themes of the exhibition. Free. No reservations required. 12 | 10 12 | 17 1 | 7 1 | 14 1 | 21 1 | 28

Themes of Picturing Mary Connections between Picturing Mary and NMWA’s collection Themes of Picturing Mary Materials in the art of Picturing Mary Themes of Picturing Mary Connections between Picturing Mary and NMWA’s collection

Artemisia Gentileschi, Madonna and Child (Madonna col Bambino), 1609–10; On view in Picturing Mary

SAT 10 A.M.–3 P.M.

WORKSHOP. Renaissance and Baroque Techniques and Materials: “Wood” you like to Engrave? Join us for the first hands-on workshop of a three-part series inspired by Picturing Mary. Guest artist Rosemary Feit Covey introduces wood engraving, a form of woodcut printmaking, to a multigenerational audience. Participants will learn from this skilled artist, practice the technique, and explore prints in the exhibition. Ages 14 and up. Materials and instruction will be provided. $15 general; $13 members, seniors, and students. Reservations required. Reserve online at http://nmwa.org/calendar. Albrecht Dürer, The Assumption and Coronation of the Virgin, 1510; On view in Picturing Mary

MON 4:30–7:30 P.M.

TEACHER WORKSHOP. Picturing Mary: Woman, Mother, Idea. Explore Picturing Mary through gallery discussions, writing, and hands-on activities. Discover the mediums, techniques, and messages of Renaissance- and Baroque-era works on view. Receive related materials and ideas for classroom use. Light refreshments will be served. Free for educators. Reservations required. Reserve online at http://nmwa.org/calendar.

YASSINE EL MANSOURI

1 | 12

Education programming is made possible by Fred M. Levin and Nancy Livingston, The Shenson Foundation, in memory of Drs. Ben and A. Jess Shenson; the Leo Rosner Foundation; Newman’s Own Foundation; and the William Randolph Hearst Foundation. Additional support is provided by the D.C. Commission on the Arts and Humanities, an agency supported in part by the National Endowment for the Arts; Cigna Foundation; the Harriet E. McNamee Youth Education Fund; William and Christine Leahy; The Samuel Burtoff, M.D. Foundation; Washington Marriott at Metro Center; Sofitel Washington D.C. Lafayette Square; and the Junior League of Washington.

Visit http://nmwa.org for more information and a complete calendar of events and programs.

FALL 2014 | WOMEN IN THE ARTS

Soda_Jerk, After the Rainbow, 2009; 2-channel projection on screens back-lit with fluorescents, 5 min, 42 sec.; Image courtesy of the artists

WOMEN IN THE ARTS | FALL 2014

SODA _ JERK

AFTER THE RAINBOW SEPTEMBER 19–NOVEMBER 2, 2014

HAILING FROM AUSTRALIA, Soda_Jerk is a two-person art

collective that creates video installations through sampling, a technique that involves the appropriation, collaging, and remixing of images and sound. After the Rainbow is a two-screen video projection that combines film clips from The Wizard of Oz (1939) with clips from a 1960s television special starring Judy Garland. In the classic movie, Garland’s Dorothy character encounters the famed twister that takes her to Oz; in Soda_Jerk’s work, however, the young Garland is transported to the future, where she meets her disillusioned older self. Soda_Jerk provided Curatorial Assistant Stephanie Midon insight into their practice and their upcoming installation and performance at NMWA.

Stephanie Midon / What about the video medium appeals to you? Soda_Jerk / Every medium has its own relation to time, and film has always struck us as a form that is particularly heavy with history. So repurposing existing film footage in our video work feels like a concrete way of getting our hands on the stuff of history, of literally hacking into the cultural record of our time.

FALL 2014 | WOMEN IN THE ARTS

SM / After the Rainbow primarily uses clips from The Wizard of Oz and a 1960s TV special featuring Judy Garland. What inspired you to create this piece? S_J / What has always fascinated us about The Wizard of Oz is the way that Dorothy’s sense of longing in the film is loaded with the optimism of Judy Garland’s early career. Of course, since she would go on to have a notoriously troubled life, you can’t help but feel for the young Judy and her dreams of a better future. And yet by pairing this iconic role with the star’s grown-up performance, we also seek to complicate a too-easy narrative of a life gone astray. For us what is most compelling about the television footage is that while Garland sings with a heartbreaking pathos, her performance is also charged with an unmistakable resilience and wisdom.

SM / Please describe your process and techniques for creating After the Rainbow. S_J / Since we work exclusively with existing footage, our video

might be applied to the realm of cinema. This gave life to “Dark Matter,” a series of three video installations in which encounters are staged between the past and future selves of a deceased screen star. We like to think of these works as “séance fictions.” Most recently in The Time That Remains we have cast classical cinema stars Bette Davis and Joan Crawford in a gothic melodrama of our own making. Here, the women constantly awaken to find themselves haunted by apparitions of themselves and terrorized by markers of time. Like After the Rainbow, part of what’s at stake is a critical engagement with gendered discourses of aging that we feel conflates older women with a sense of expiration and invisibility.

SM / After the Rainbow is on view at NMWA as part of a citywide public art project, 5x5. Your work was selected under the theme (home)land, encompassing topics of transit, dislocation, and residence. How does it relate to these ideas? S_J / It’s probably the sci-fi dreamer in us, but we’ve always

works are primarily created through processes of editing and post-production. For the most part, this involves absurdly labor-intensive digital effect strategies such as the frame-by-frame masking that transports Judy Garland into a new cinematic landscape. For After the Rainbow we were also psyched to get our hands on an 8-mm print of The Wizard of Oz. This allowed us to experiment with scratching and decaying the film strip to create material disruptions in the footage. These blemishes on the celluloid were then converted to digital and reintegrated into the edit.

thought about the potential for home to be situated not only as a site of geography but also as points in, and across, time. After the Rainbow is very much an exploration of this idea. And while it was important for us that Dorothy’s famous mantra, “There is no place like home,” is never explicitly uttered in the work, we feel that it resonates throughout.

SM / After the Rainbow is your second “Dark Matter” video installation; how does it relate to the other works in the series (The Phoenix Portal and The Time That Remains)? S_J / In 2005 we became interested in Jacques Derrida’s notion of hauntology and began thinking about how this cultural theory

process meshes really well with the acute mutability of digital media, where drastic alterations can be easily orchestrated and undone. But although we’re nerds for adopting new technologies and software, we definitely don’t buy into the idea of techno-history as some kind of progressive march towards ever-more

Soda_Jerk, After the Rainbow, 2009; 2-channel projection on screens back-lit with fluorescents (Installation view at UTS Gallery, Sydney, 2013); Image courtesy of the artists

Soda_Jerk, After the Rainbow, 2009; 2-channel projection on screens back-lit with fluorescents, 5 min, 42 sec.; Image courtesy of the artists

SM / How have changes in technology impacted your work and its presentation? S_J / The sense of improvisation that underlies our collaborative

DAVID LAWREY

WOMEN IN THE ARTS | FALL 2014

“THE SENSE OF IMPROVISATION THAT UNDERLIES OUR COLLABORATIVE PROCESS MESHES REALLY WELL WITH THE ACUTE MUTABILITY OF DIGITAL MEDIA, WHERE DRASTIC ALTERATIONS CAN BE EASILY ORCHESTRATED AND UNDONE.” Soda_Jerk, The Carousel, 2011; 2-channel video lecture performance, 60 minutes; Image courtesy of the artists

advanced and wow-worthy capabilities. So within our digital video works we often integrate samples from older media formats—an HD clip might sit side-by-side with a crunchy low-res web rip and some grainy VHS.

SM / How does working as a collective affect your work, both in inspiration and practice? S_J / For us collaboration is a means of disrupting the closed economy of production. It short-circuits the linear trajectory between idea and execution, and instead opens a space of improvisation and uncertainty. People often express a sense of wonder at what they feel must be the mysterious mechanics of working so closely with another person. But we suspect that individual practices function more similarly to collective practice than most imagine. Whether explicitly acknowledged or not, we feel that all forms of art production are fundamentally based on collaboration, drawing on the influences and innovations of existing culture. But certainly the nuance of our relationship also lends itself particularly well to the intimacy and honesty that is demanded of being two halves of a single art entity. Because we are not just friends and collaborators, but also sisters, we have a very gloves-off approach to sparring through ideas.

SM / What other artists do you admire? S_J / To answer this question is to unleash an utterly sprawling

also. But with sympathies for your editor, we will limit ourselves. Hito Steyerl (b. 1966, Munich) and Jill Godmilow (b. 1943, Philadelphia) are two artists who have enshrined our wildest respect in recent years. Both have an incredibly astute understanding of how to strategically intervene in the cultural archive to create renegade forms of political documentary.

SM / What can visitors expect from your program The Carousel , being presented at NMWA on Friday, October 3, at 7 p.m.? S_J / At once deadly serious and darkly humorous, The Carousel combines the format of a lecture with a multi-channel film experience. We think of it as a kind of “video lecture performance” in which we build a thesis of cinema from a ramshackle construction of connections. By folding the cinematic archive into new constellations, we unearth an alternate history of cinema as a burial crypt where we collectively commune with the resurrected dead. Along the way we navigate viewers through an unruly path of media theory, mysticism, deconstruction, kung-fu film, vintage sci-fi, zombie flicks, and techno horror. Soda_Jerk: After the Rainbow is part of 5 × 5, a project of the DC Commission on the Arts and Humanities, and is presented in collaboration with the National Museum of Women in the Arts. The exhibition is part of the multi-work project 5 × 5: (home)land, curated by Justine Topfer.

Stephanie Midon is the curatorial assistant at the National Museum of Women in the Arts.

list of heroes past and present, and many of our friends and peers FALL 2014 | WOMEN IN THE ARTS

First Woman Graphic Novelist The

Helena Bochor áková-Dittrichová

May 12–November 14, 2014

Heather Slania

elena Bochorˇ áková-Dittrichová (1894–1980), a Czech graphic artist, created the 1929 novel Z Mého Deˇ tství (From My Childhood), which is widely acknowledged to be the first wordless novel by a woman. Bochorˇ áková-Dittrichová was born to a middle-class family in Výškové, Moravia, in what is now the Czech Republic. She grew up in the nearby town of Haná, moving with her family to the city of Brno in 1913. In 1919 she began commuting from home to study painting and drawing at the Academy of Fine Arts in Prague. A year after graduating, she received a Ministry of Education Scholarship to study modern printmaking in Paris. It was there that she encountered wordless novels, pioneered by Belgian graphic artist Frans Masereel—this discovery inspired her to make wordless novels of her own. Wordless novels were an important precursor to the development of the modern graphic novel. The wordless novel (also known as a woodcut novel or novel in woodcuts) was popularized in the early twentieth century in Europe and the United States. The genre was influenced by German Expressionism as well as silent film. Expressionists, whose art sought to provoke emotions (most often disgust, horror, or unease), were attracted to woodcuts—not in the medium’s most highly realized state, but as woodcuts

Opposite: Helena Bochorˇáková-Dittrichová, untitled print from Malírˇka Na Cestách (The Artist on her Journey), n.d.; Woodcut, 4 ¼ x 3 ¹⁄8 in.; National Museum of Women in the Arts Betty Boyd Dettre Library and Research Center

appeared when they were first introduced to Europe from China in the 1400s. The crude, rougher nature of medieval-style woodcuts viscerally illustrated the pain and suffering felt by those encountering the oppression, injustice, and violence depicted in the Expressionists’ work. Some of these artists, such as German artist Käthe Kollwitz, created print cycles—works that, when viewed together, have a thematic narrative. However, despite their socialist themes, these print cycles were not created for the masses but produced in limited editions for art collectors. Wordless novels, however, reached wide audiences: the most popular of Frans Masereel’s sold over one hundred thousand copies and went through several printings. His books would have been as accessible to Bochorˇ áková-Dittrichová in Paris as popular modern-day graphic novels are to the public today. Silent film, another popular cultural medium at that time, also had a great impact on Masereel’s wordless novels. Silent films, especially those without intertitles to set the scene or state intended dialogue, allowed the public to embrace a completely visual narrative. Silent film acting uses heightened expressions and movements in order to compensate for the lack of dialogue. Similarly, the emotions of characters within the wordless novel must be legible without dialogue—their faces and figures are generally exaggerated. Additionally, like silent films, the composition of each woodcut uses familiar film framing techniques such as panorama and zooming, as well as the thoughtful sequencing of stills. Bochorˇ áková-Dittrichová’s work shows her cinematic eye, much like that of Masereel, but she was a very different artist. FALL 2014 | WOMEN IN THE ARTS

WOMEN IN THE ARTS | FALL 2014

1 Helena Bochorˇáková-Dittrichová, woodcut

print from Kristus: Drˇevoryty k Novému Zákonu (Christ: Woodcuts from the New Testament), Prague: Novina, 1944, National Museum of Women in the Arts Betty Boyd Dettre Library and Research Center 2 Helena Bochorˇáková-Dittrichová, woodcut

print from Švédové Prˇed Brnem: Kniha Drˇevorytu˚ (The Swedes Before Brno: A Book of Woodcuts), Brno: K.V.U. Ales, 1936; National Museum of Women in the Arts Betty Boyd Dettre Library and Research Center

“In comparison to other wordless novels created at the time, her work is richer in light, movement, and openness.”

3 Helena Bochorˇáková-Dittrichová,

woodcut print from Z Mého Deˇtství (From My Childhood), Prague: Orbis, 1929; National Museum of Women in the Arts Betty Boyd Dettre Library and Research Center 4 Helena Bochorˇáková-Dittrichová, untitled

print from Malírˇka Na Cestách (The Artist on her Journey), n.d.; Woodcut, 4 ¼ x 3 ¹⁄8 in.; National Museum of Women in the Arts Betty Boyd Dettre Library and Research Center

While Masereel and other wordless novelists focused on the working class and the downtrodden, From My Childhood focused on the day-to-day life of a middle-class girl, from childhood into adulthood. Her work is not exaggerated or didactic but a realistic depiction of the joy of life. While the main character does encounter tragedy, it is at the personal level rather than at the institutional or state level, departing from common themes of the genre. Additionally, in comparison to many other wordless novels created at the time, her work is richer in light, movement, and openness. Aspects of Bochorˇ áková-Dittrichová’s work can also be compared to Kollwitz’s print cycles: From My Childhood and her other wordless novels focus on sequences of interconnected feelings and impressions, rather than true narratives. Her unpublished manuscript, Malírˇ ka Na Cestách (The Artist on her Journey), which contains fifty-two original woodcuts about a young woman artist studying abroad, shows the same artistic priorities. While the woodcuts do have a clear narrative in the beginning and end—the artist wins an award and travels to Paris—the majority of the novel focuses on evoking the feeling of the city, or, more precisely, the artist’s feelings about the city. Bochorˇ áková-Dittrichová’s artistic growth and increased mastery of woodcut printmaking are evident throughout this work.

Bochorˇ áková-Dittrichová was not only a printmaker, but also an accomplished painter. In the years 1924–30, she exhibited regularly at the Salon in Paris and also had exhibitions in Antwerp (1925), Philadelphia (1926), Zurich (1927), Buenos Aires (1928), and Vienna (1934). She traveled extensively throughout Europe until the outbreak of the Second World War. Bochorˇ ákováDittrichová lost much of her eyesight in the 1940s due to a degenerative eye disease and was forced to quit printmaking because of the genre’s need for detail. She died in Brno at age 86. Bochorˇ áková-Dittrichová is not well known outside of the Czech Republic; there, however, she is recognized as a leading printmaker and an important figure in history. Her art is featured in many collections in the Czech Republic, including the Moravian Gallery, Museum Vyškovska, the Academy of Fine Arts in Prague, and the Brno City Museum. NMWA owns four of her wordless novels, Mého Deˇ tství (From My Childhood, 1929), Indiáni Jindy a Dnes (Indians Then and Now, 1934), Švédové Prˇ ed Brnem: Kniha Drˇ evorytu˚ (The Swedes Before Brno: A Book of Woodcuts, 1936), and Kristus: Drˇ evoryty k Novému Zákonu (Christ: Woodcuts from the New Testament, 1944), as well as her unpublished manuscript Malírˇ ka Na Cestách (The Artist on her Journey) and two editions of Dojmy Z SSSR (Impressions from the USSR, 1934), which she wrote and illustrated. Interest in wordless novels faded after the 1930s, once sound film was introduced and both Germany and the United States started censoring dissident artists, but the medium had an indelible impact. Audiences’ interest revived again in the 1960s during the “silver age” of comic books, as the wordless novel genre became recognized as an important precursor to comic books and, later, graphic novels. Bochorˇ áková-Dittrichová is recognized as one of the few women to create art in this genre, and she deserves a wider audience for her contributions. Heather Slania is the director of the Betty Boyd Dettre Library and Research Center at the National Museum of Women in the Arts.

FALL 2014 | WOMEN IN THE ARTS

MUSEUM NEWS AND EVENTS

Member News Meet the Young pARTners The Young pARTners Circle (YPC) connects young professionals in their 20s and 30s in the D.C. metro area who share a passion for NMWA’s mission to advance women in the arts. Members of the YPC enjoy opening receptions, behind-the-scenes tours, happy hours, and networking events, all designed to enhance their appreciation for the work of women artists and support the museum’s work. Members of the YPC Host Committee, a dedicated group of young professionals, help create cultural enrichment opportunities for YPC members and their guests. We asked some of the committee members—Claudia Koerbler, Andrew Hale-Byrne, and Jemi Lacle—to describe their connection to the museum and the group’s plans for the future. Why did you join the YPC? Claudia: I enthusiastically decided to join because the National Museum of Women in the Arts is the only museum in the world dedicated exclusively to recognizing the achievements of women artists and is truly one of a kind. What has been a highlight of the events or programs you’ve attended since joining the YPC? Andrew: Soon after I joined, the YPC was given a private tour of A World Apart: Anna Ancher and the Skagen Art Colony exhibition.

WOMEN IN THE ARTS | FALL 2014

NMWA’s curators and education staff made the world of Anna Ancher and the Skagen community come alive in the first exhibition of Ancher’s work ever to be held in the United States. For most of us, it was our introduction to a wonderful artist and a hugely enriching experience. How do you see the importance of the YPC to the museum and the D.C. area? Jemi: We fulfill an educational role by organizing a variety of events and programs to inspire curiosity and encourage the younger generation in D.C. to get acquainted with and become lifelong supporters of the visual arts. What are your future goals for the YPC? Andrew: The Host Committee of the YPC is enthusiastic about raising awareness of the museum’s brilliant collection, and its pioneering role in celebrating women in the arts. Jemi: As a progressive voice of a new generation, we will help the museum engage young people in supporting its mission. Why would you encourage others to join the YPC? Claudia: Membership in the YPC provides an opportunity to join a circle of young professionals who are dedicated to supporting the museum’s unique and important work. We have the opportunity to bring together like-minded groups to socialize and enjoy the arts. Below: YPC members at NMWA Nights: Total Art

NMWA Nights: Total Art

Gift Memberships for the Holidays!

In June, the Young pARTners hosted NMWA Nights: Total Art to mark the opening of Total Art: Contemporary Video. Approximately 200 people attended the lively reception with signature cocktails and a first look at the exhibition. Curators and education staff were on hand to answer questions, and guests enjoyed a NMWA-themed photo booth and one-of-a-kind Vine tours of art in the museum’s collection.

NatioNal MuseuM of WoMeN in the arts 1250 New York Avenue, NW, Washington, DC 20005-3970

coming soon

Soda_Jerk: After the Rainbow September 19–November 2, 2014

oda_Jerk, a two-person art collective from Australia, creates video installations through sampling, a technique of appropriating segments from music, videos, and film. After the Rainbow (2009) combines film clips from The Wizard of Oz (1939) and a 1960s television special starring Judy Garland. Instead of the famed twister taking Garland’s Dorothy character to Oz, the young Garland is transported to the future, where she meets her disillusioned older self. The work interweaves the fantasy world of cinema with the complex reality of Garland’s life. After the Rainbow is the second work in Soda_Jerk’s Dark Matter series, an ongoing cycle of video installations featuring deceased movie stars. The series explores the relationship between screen technologies and the personal and communal experiences of time and death.

Soda_Jerk, After the Rainbow, 2009; 2-channel projection on screens back-lit with fluorescents, 5 min, 42 sec.; Image courtesy of the artists

This exhibition is part of 5 x 5, a project of the District of Columbia Commission on the Arts and Humanities, and is presented in collaboration with the National Museum of Women in the Arts.

New Shopping Deal for Members! In addition to the 10% discount NMWA members receive in the shop year-round, all members will now get a 15% discount in the Museum Shop on the 15th of every month! Also get a jump on holiday shopping with a special 25% off during the four days after Thanksgiving: November 28, 29, 30, and December 1. Shop to your heart’s content while supporting women in the arts!

Save the Date for Member Preview Day On December 4, 10 a.m.–3 p.m., members enjoy a first look at Picturing Mary: Woman, Mother, Idea, featuring more than sixty masterworks from the Renaissance and

Need a gift for art-loving friends and family members? All membership benefits include a subscription to Women in the Arts magazine, free museum admission, special invitations to member previews and other events, and discounts in the Museum Shop. Call 866-875-4627 or visit http://nmwa.org/support/membership. To guarantee delivery by December 25, orders must be received by December 3, 2014. summer 2014

On Member Preview Day for Total Art: Contemporary Video, NMWA members enjoyed a talk by Chief Curator Kathryn Wat

Member eNews—an Insider’s View, Just for You

Baroque eras that examine the concept of womanhood represented by the Virgin Mary and the power her image has exerted through time. Members will enjoy light refreshments, a 10% discount in the Museum Shop, gallery talks, and a special noon lecture by the exhibition’s guest curator. Free admission for members and one guest.

Sign up today and you’ll get an insider’s look at the extraordinary achievements of women in the arts. Member eNews includes a wide variety of content that adds depth to NMWA’s current exhibitions, behind-the-scenes museum information, exclusive member events and exhibition previews, special offers, and more. To sign up email member@nmwa.org with the subject line “Member News.” Please include your full name and mailing address.

Committee News NMWA in Ohio Earlier this year, NMWA Advisory Board members Barbara Richter and Harriet Warm founded the Ohio State Committee of NMWA. They now serve as its co-chairs, and they recently organized a special trip to Washington, D.C., for some of the Ohio Advisory Group’s founding members. NMWA staff led the group through tours and lively presentations showcasing the museum’s collection, library and archives, and wide-ranging education programs. The group enjoyed a luncheon with Board Vice Chair Winton Holladay, Director Susan Fisher Sterling, and Deputy Director Ilene Gutman in the museum’s Elisabeth A. Kasser Board Room, followed by a brief presentation on the committees’ Women to Watch program and a tour by Chief Curator Kathryn Wat of Total Art: Contemporary Video. Capping off the day, NMWA Founder Wilhelmina Cole Holladay treated the guests to tea at her home. Warm later said, “As anticipated, the visit with Mrs. Holladay was inspiring and ‘put a face’ to the history of NMWA for everyone.”

Ellen Stirn Mavec, Harriet Warm, NMWA Founder Wilhelmina Cole Holladay, Maddie Mavec, Eliza Wing, Barbara Richter, and Marilena Disilvio

FALL 2014 | WOMEN IN THE ARTS

MUSEUM NEWS AND EVENTS

Committee Events & Excursions Throughout the year, NMWA’s committees develop a broad range of regional activities and events which highlight important women artists and their contributions. In so doing, they play an invaluable role in expanding the museum’s mission throughout the country and the world. The UK Friends of NMWA organized a tour of the exhibition In Hampstead 1994–2014: Photographs by Dorothy Bohm which was guided by the artist and her daughter, art historian Monica Bohm-Duchen. The day also featured two films about Bohm and her work, as well as further discussion with the artist, who spoke about the important role of photography in her life. Committee Co-Chair Patti White said that Bohm followed “her passion, and it showed in the way she spoke.” In July, members of the Southern California Committee visited Louis Stern Fine Arts, where gallery director Maria Chambers led them through the exhibition

June Wayne: Eloquent Visionary. Wayne (1918– 2011) was renowned for her paintings, prints, and tapestries, as well as her role as founder and director of the Tamarind Lithography Workshop (now Tamarind Institute), which played a critical role in revitalizing the art of lithography in the U.S.

Celebrations & Membership Meetings An annual highlight of the Mississippi State Committee’s many activities is the Honored Artists’ Luncheon. On August 5, the group gathered at the Country Club of Jackson, where they recognized plein-air painter Grace Atkinson Buchanan, a founding member of the Mississippi Oil Painters’ Assocation, and Laurie Parker, acclaimed author and illustrator of thirteen children’s books. The committee also presented scholarships to Desiree Kapler of the University of Mississippi, Brianna Brown of Belhaven University, and Molly Howel of the University of Southern Mississippi. NMWA Director of Membership Programs Christina Knowles attended the event, where she commended the group on its many achievements, including building an impressive membership base in the state. Membership growth is a major objective of all of the museum’s committees, and in late June, NMWA Advisory Board member Roddie Harris graciously opened her art-filled home to the New Mexico State Committee for a reception to engage new members and raise funds for the group’s participation in Women to Watch 2015. With more than eighty

Left: At the 2014 Mississippi State Committee Honored Artists’ Luncheon August 5, the committee honored painter Grace Atkinson Buchanan and writer and illustrator Laurie Parker.

attendees and a raffle of fine art and jewelry, the event was an exciting success.

Upcoming Regional Women to Watch 2015 Programming Several committees are organizing activities in their regions in conjunction with the Women to Watch 2015 exhibition, taking place at NMWA from June 5–September 13, 2015. Both the Massachusetts and Greater New York Area Committees will be holding receptions celebrating their Women to Watch artist nominees in October. Check back for details on additional programming in your area in upcoming issues of the magazine. • Massachusetts State Committee of NMWA Women to Watch Reception Liquid Art House, 100 Arlington Street, Boston, October 15, 2014 For more information or to purchase tickets, email contact@ma-nmwa.org or call 508-631-5009. • Greater New York Committee of NMWA Kick-Off Event and Women to Watch Reception University Club of New York, One West 54th Street, New York, October 21, 2014 For more information or to purchase tickets, email chair@gnyc-nmwa.org or call 914-337-6810. • UK Friends of NMWA Women to Watch Panel with Shortlisted Artists, moderated by Lisa LeFeuvre Christie’s King Street, London, November 3, 2014, 6:30 p.m. For more information or to purchase tickets, email rsvp@UKFriendsofNMWA.org.

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WOMEN IN THE ARTS | FALL 2014

The National Museum of Women in the Arts is deeply grateful to the following donors who made contributions from July 1, 2013, to June 30, 2014. Your support enables NMWA to develop groundbreaking exhibitions, expand its education, library, and outreach programs, and offer other special events to the public. Although we can only list donations of $500 and above due to space limitations, NMWA is thankful for all of its members and friends, whose contributions are critical to the museum’s success. We also wish to acknowledge our Spring Gala and Fall Benefit sponsors. This year’s generous endowment gifts are listed separately on page 31. For more information, contact the Development Office at 202-266-2805.

Individual Donors $50,000–$1 million Anonymous • Wilhelmina C. and Wallace F.* Holladay • Sr. • Jacqueline Badger Mars • Alejandra and Enrique Segura $25,000–$49,999 Ann C. Broder • The Honorable Mary V. Mochary • Albert Halprin and Janice Obuchowski • Annie S. Totah $15,000–$24,999 Bertha Soto Braddock • Patricia J. Kaspar* • Bonnie McElveen-Hunter and Bynum Hunter • Dee Ann McIntyre • Kristine Morris • Sheila and Richard Shaffer • Clarice R. and Robert H.* Smith • Jack and Dana Snyder • Susan L. and James R. Swartz $10,000–$14,999 Gina and Eugene Adams • Gary Altman and Elizabeth G. Glines • Mr. and Mrs. Robert Bennett • Marcia Myers and Frank Carlucci • Deborah G. Carstens • Rose and Paul Carter • Diane Casey-Landry and Brock Landry • Paula Ballo Dailey and Brian Dailey • Belinda de Gaudemar • Elva Ferrari-Graham • Rosemarie Forsythe • Jody Harrison Grass • Lois Lehrman Grass • Medda Gudelsky and Joseph D. Moss • Barbara R. and Larry Hayes • Sue J. Henry • Margaret M. Johnston • Albert Baker Knoll • Susan Carmel Lehrman • Marlene A. and Frederic V. Malek • Carolann and K. George Najarian • Haleh and David Niroo • Marjorie and Philip Odeen • Dr. Michael Olding • The Honorable Katherine D. Ortega • Heather Miller Podesta • Elizabeth Robinson • Elizabeth A. Sackler • Geri Skirkanich • Patti Amanda and Bruce Spivey • Patricia* and Paul G. Stern • Cheryl Tague • MaryRoss Taylor • Paula S. Wallace $5,000–$9,999 Ursula Andreas • Margaret C. Boyce Brown • Charlotte and Michael Buxton • Jane and Peyton S. Carnes, Jr. • Linda L. and John Comstock • Thomas J. Dillman • Martha Dippell and Daniel Korengold • Nancy and Marc Duber • Susan Fawcett • Jamie S. Gorelick and Richard E. Waldhorn • Winton and Hap Holladay • Caroline Rose Hunt • Alice D. Kaplan • Arlene Fine Klepper and Martin Klepper • Lori Laitman • Leonard Leveen • Gladys K. and James W.* Lisanby • Nancy Livingston and Fred M. Levin • Adrienne B. and John F. Mars • Juliana and Richard E. May • Irene Natividad • Jeannette T. Nichols • Christine Oakley • Kay W. Olson • Irene Roth and Vicken Poochikian • Mary Roth • Jean Hall and Thomas D. Rutherfoord, Jr. • Kathern Ivous Sisk • Kathleen Elizabeth Springhorn • Sharon and William Stark • Nancy N. and Roger Stevenson, Jr. • Daniel Suissa • Mahinder and Sharad Tak • Alice W. and Gordon T. West, Jr. • Patricia and George White $2,000–$4,999 Noreen M. Ackerman • Sunny Scully Alsup and William Alsup • Marilyn C. Anderson • Jean T. and William B.* Astrop • Pamela G. and William W. Bailey • Gail D. Bassin • Susan G. and Lee Berk • Sue Ann and Ken Berlin • Catherine Bert and Arthur Bert, M.D. • Brenda Bertholf • Susan Borkin • Caroline Boutté • M.A. Ruda and Peter J. Brickfield • Charlotte Anne Cameron • Nicholas and Eleanor Chabraja • Marilyn L. Charles • Mr. and Mrs. A. James B. Clark • Paul T. Clark • Mary Clutter • Alisann A. Collins •

SUPPORTING ROLES

With Thanks Lizette Corro • Lynn Finesilver Crystal • Porter and Lisa Dawson • Betty B. and Rexford* Dettre • Elizabeth J. Doverman • Kenneth P. Dutter • Geraldine E. Ehrlich • Barbara L. Elky • Hanna G. Evans • Mimi Alpert Feldman • Priscilla Fernandez • Suzy Finesilver • Jane Fortune • Marie J. Fouts • Barbara L. Francis and Robert Musser • Robert Freeman • Sara A. and Michael Friedman • Karen L. Friss • Rita Diane Fuchsberg • Julie and Jon Garcia • Raymond Garcia and Fruzsina M. Harsanyi • Carol and Henry Goldberg • Susan Goldberg • Barbara S. Goldfarb • Mrs. Joseph W. Goldzieher • Lorraine G. Grace • Sheila and Patrick Gross • Roddie Harris • Jean E. Hayward, M.D. • Anna Stapleton Henson • Robert Hisaoka • Mareen Hughes • Nancy Itteilag and Jack Donnelly • Alexine C. and Aaron G.* Jackson • Jan V. Jessup • Lynn M. Johnston • Sally and Christopher H. Jones • Cheryl L. Keamy • Doris Kloster • Marina Sergeyevna Kotova and Seyfeddin Roustamov • W. Bruce Krebs • Sandra W. and James Langdon, Jr. • Nelleke Langhout-Nix • Anne and Robert Larner • Carol M. and Climis G. Lascaris • Elise and Marc Lefkowitz • Lori Leveen and Laura E. Gidley • Ann L. Maguire • Dr. Kathleen A. Maloy and Ms. Heather L. Burns • Richard E. and Nancy Marriott • Maria Teresa Martínez • Mr. and Mrs. Clyde S. McCall, Jr. • Debby McGinn • Cynthia McKee • Joan S. Miller • Sassona Norton and Ron S. Filler • Carol J. Olson • Margaret H. and Jim Perkins • Jean Porto • Madeleine Rast • Elizabeth S. Ray • Drina Rendic • Carrie D. Rhodes • Barbara Richter • Andrea Roane and Michael Skehan • Patricia D. Robbins* • Dr. Markley Roberts • Mary Anne Rogers • Beatrice Schultz • Marsha Brody Shiff • Salwa J. Aboud Smith • Alice and Ken Starr • Jessica S. and Louis Sterchi • Audrey and Barry Sterling • Susan and Scott Sterling • Josephine L. and Thomas D. Stribling • Joanne C. Stringer • Lisa Cannon and Charles Edison Taylor • Deborah Dunklin Tipton • Sarah Bucknell Treco • Frances Usher • Nancy W. Valentine • Harriet L. Warm • Krystyna Wasserman • Amy Weiss • Island Weiss • Elizabeth B. Welles • Tara Beauregard Whitbeck • Betty Bentsen Winn • Rhett D. Workman • Barbara H. and Michael W. Wynne $1,000–$1,999 Anonymous • Janice L. and Harold L. Adams • Joan Afferica • Mark and Kathe Albrecht • Nicole Alger • Rita Balian • Joanne Barker • Jane L. Barwis • Mr. and Mrs. John T. Beaty, Jr. • Leonora Rocc Bernheisel • LaFawn Biddle • Barbara Boggs • Deborah and Mario H. Boiardi • Paula Botstein, M.D. • Michele A. Bowe • Anne E. Branch • Nancy G. Brinker • Jean B. Brown • Edna L. Canada and Vann Canada • Dr. Mary A. Carnell and Dr. Agnes Guyon • Rosemary Casey and Charles Carroll Carter • Luba Cherbakov • Joanne Coia • Ann S. Cole • Myrna Colley-Lee • Ellen and Steve Conley • Bethanne Kinsella Cople • Byron Croker • Jo Ann Crow, Ph.D. • Sophie Degan • Sara Jo Victors Dew • Mr. and Mrs. Scott E. Dreyer • Arline W. Eltzroth • Mary Evans • Joyce and Harry H. Farr • Laurie and Michael Farr • Cathy and Hubert Feehan • Jay Ferriero • Ron S. Filler • Jacquelyn G. and Timothy J. Finn • Nancy M. Folger • Mary M. Free • Cary Frieze • Audrey Gaelen • Reide Garnett • Lille Gold • Arlene F. Greenfield • Lorraine Gyauch • Susan Hairston • Nora Harlow • Maribeth Harper • Carla Hay • Marilyn J. and Philip Hayes • Mr. and Mrs. Charles P. Heeter • Pat and Fred Henning • Lilo A. Hester • Mary-Ellen and Richard A. Hibey • James P. Hickman • Jean Hofacket • Michelle Howard • Jane S. and E. Claiborne Irby • Sheila Jefferson • Viola G. Johnson • Gretchen W. and James L. Johnson • Ann Kaplan • Keiko and Steven Kaplan • Amarie M. Kappaz • Julie Karcis • Christine N. Kearns • Kathleen Kiernan • Judith L. V. Klein • Mary L. Kotz • Leonard Kreppel • Sue Kroll and Michael Desilets • M. Leanne Lachman • Julia M. Lander and Frank S. Lander • Michelle Larose • Stephanie F. Lennon • Lynn and Ted Leonsis • John E. Lynch • Tamar and Milton Maltz • Selwa Masri, Esq. • Tracy B. McGillivary • Eileen and Paul McGrath • Debra McLeod • Joyce A. Mims • Barbara Mitchell • Brette and John Monagle • Judith N. Morton • Patricia L. Mote • Magdalena Muller • Raymond F. Murphy, Jr. • Nancy Ann Neal • Norma Nutman • Jules Oaklander • Susan O’Brien, M.D. • Nancy E. O’Connell and Raymond J. Wiacek • Mary Linda O’Connor • Mary B. Olch • Llelanie Orcutt • Roberta Orlen Chaplin • Regina M. Oxley-Burley • Virginia L. Paige • Sarah Perot • Jeanette Petite and Michael James Petite • Alison Petretti • Barbara and John Phair • Dr. Michael and Mrs. Mahy Polymeropoulos • K. Shelly Porges and Rich Wilhelm • Timothy M. Price • Nancy Rasenberger • Toni Ratner Miller • Anne B. Rector • John D. Reilly • A.M. Sargent • Isabelle Schiavi • Carol Murdock* and Joseph

FALL 2014 | WOMEN IN THE ARTS

Francis Scinto • Jean and John E. Sheehan • Elizabeth L. Shepard • Esther Simplot • Nancy Adams Sims • Virginia Smith • Dot Snyder • Judy W. Soley • Janet W. Solinger • Kimberly Stanley • Dr. Marjorie L. Stein • William H. and Lucretia D. Tanner • Joanna H. Terry • Sharen A. Thomas • Micaela A. Trumbull • Valetta • Caspar W. Weinberger, Jr. • Candace King Weir • Arbe J. Williams • Donald M. Wolf • Dorothy and Kenneth Woodcock • Nancy and Harold Zirkin $500–$999 Anonymous (4) • Diane Abeloff • Jackie Afram • Deanna S. and Charles T. Akre • Lynn M. Alexander • Elizabeth Allison • Melva A. Arditti • Sylvia A. Azoyan • Anastasia McCarty and Alan Bagliore • Rosamond A. Barber • Kathleen Barclay • Linda C. Barclay • Brittain Bardes • Carol J. and Barney Barnett • Celia Barteau • Cherry and Peter Baumbusch • Kyle Z. Bell • Barbara E. Berner • Barbara S. Bissinger • Frances and Daniel W. Blaylock • Ms. Blazin • Barbara Bogue • Gloria Bohan • Eva Monika Borins • Martha Braniff • Karey Bresenhan • Gwen Brewer • Bobbe J. Bridge • Randall Brooks • Marcia J. Brown • Margaret C. Brown • Katherine and Richard Bruch • Anne Buell • Carol Byrne • Catherine and William Cabaniss • Nora E. Carbine • Jan S. Carr • Ellen A. Cherniavsky • Shirley S. Chewning • Rita R. Chipani • Douglas M. and Kathryn Cochrane • Elizabeth Colton • Yvonne C. Condell • Darlene D. Conrad • Hope Curtis • Joan Curtis • Dr. Linda Daniel • Doloras E. Davison • Princess Beatriz de Orleans-Borbon • Carol A. Deakyne and John E. Adams • Gloria Deflice • Millicent Demski • Karen Detweiler • Jean P. Devine • Sally Di Giovanni • Mary Ann Dickie and Leslie Dach • Constance Dierickx • Barbara Douglas • Jane Doyle • Anne B. Dutcher • Pat T. and Jerry B. Epstein • Mary Page and Tom Evans • Sara Beck Fein • Maria Fernandez • G. Fineberg • Cheryl Fishbein • Suzanne R. Fishman • Jeremy H. and Peter J. FitzGerald • Betty Forman • Maggie Foskett • E. Aracelis Francis • Constance S. and Joseph P. Franklin • Wendy Frieman and David Johnson • Virginia Elkin Fuller • Virginia L. Fulton • Samme L. Gee • Judith and Phillip George • Lynn K. Gibbons • Carol and Kenneth Gideon • Susan Glantz • Merry Glosband • Marguerite F. Godbold • Jim Goldschmidt • Ruth Goldstein • Julia Goodrich-Benbow • Carol F. Grant • Elisabeth Griffith • Helen C. Griffith • Laurel A. Grotzinger • Kathleen A. Guinn • Sandi and Larry Hammonds • Nadine S. Hardin • Charlotte P. Harrell • Delphine Hedtke • Sheila A. Hegy • Charles T. Hendrix • Connie Hershey • Yolanda R. Hicks • Gloria Hidalgo • Dr. and Mrs. Robert Hieronimus • Jennefer A. Hirschberg • Muna Hishmeh • Pamela J. Hoiles • Ann C. Holmes • Ruth Horwich • Dr. Barbara Jackson • Diane M. Jacobs • Rosalyn and Gary Jonas • Stephanie W. Kanwit • Anne Keiser and Douglas Lapp • Joanne M. and Joseph Kelly • Ellen Mears Kennedy • Patricia A. Kenney • Leslie J. Kenyon • Gladys Kessler • Cynthia E. Knapp • Charlotte Koenigsaecker • Yvette Kraft • Lynne S. Kraus • Arlene Peper La Pierre • Jacquelynne P. Lanham • Miriam and Robert Laughlin • Nancy and George Leitmann • Joan and Michael Lemp • Claudette S. Leyden • Nancy and Robert Lindemeyer • Lynn Lindsey • Ann and Mark G. Livingston • David Lloyd • Janet Loranger • Carl M. Louck • Judy R. Loving • Anne and Stanley N. Lupkin • Maryann Lynch • Amelia Macsleyne • Joan L. Malin • Pamela Marron • Marsha Mateyka • Ellen Stirn Mavec • Ann M. McGraw • Laurie E. McNeil and Patrick W. Wallace • Iris McWilliams • Alice Mennitt • Laura Miles • Gloria Adams Mills • Edwina H. and Charles P. Milner • Jerrine E. Mitchell • Nancy S. Moore • Shawn Murphy • Linda Myers • Melissa Nabors • Barbara Nessim • Kim and Patrick Nettles • Christie Neuger • Ruby Nock • Melanie and Larry Nussdorf • Robert Oaks • Thomas O’Connor • Louise D. Orkin • Carol Oukrop • Nell Oxendine • Josephine R. Paine • John Paradiso and Tom Hill • Zoe H. Parker • Cynthia Paschen • Joanne H. Patton • Lois M. Pausch • Joanne D. Payson • Norma J. Pearson • Lenin Pellegrino • Marta M. Pereyma • Sheryl A. Pesce • Beverly Peterkofsky • Judith C. Pierson • Edith and John Poertner • Dr. and Mrs. Jerold J. Principato • Martha A. Prumers • C. Russel Pryor • Kathleen R. Quinn • Marjorie B. Rachlin • Mary H. Railsback and Joel L. Ekstrom • P.C. Rajam • Mrs. William C. Rawson • Jean W. Roach • Avis and Eugene Robinson • Dorothy E. Romaine • Bonnie and Thomas Rosse • Donna Z. Saffir • Stephanie Sale • Peggy Rae Sapienza • Edna J. Schade • Karen Schwartz • Thomas P. Sculco • Margaret Sheehy • Jane Simanis • Doris G. Simonis • Margaret A. Smith • Gene M. Smith and Rachel Atcheson • Richard E. Stafford • Susanne Stager • Ms. Patricia A. Stahl • Mary L. Steptoe • Barbara K. Streicker • Douglas K. Struck • C. Jan Swearingen • Abigail B. Test • Cheryl P. Thompson • Linda J. Thompson • Susan S. Thoms • Lee Van Deusen

WOMEN IN THE ARTS | FALL 2014

Tollefson • Susan Tomasky • Patricia A. Vaughan • Margaret S. Vining • Wendy C. Wehr • David E. Weisman • Barbara S. Weiss • Marie Wilkie • Jane Wilson • Richard Winter • Barbara G. and Mitchell Wommack • Wanda C. Wood, Ret. • Lana Wright • Donald Zucker

Corporations and Foundations $100,000+ McDermott Will & Emery** • The Weissman Family Foundation, Inc. $50,000–$99,999 Clark-Winchcole Foundation • Olga V. Hargis Family Trusts $25,000–$49,999 FedEx Corporation • Share Fund • Skagens Museum • The Walton Family Foundation, Inc. $15,000–$24,999 Bernstein Family Foundation • Leo Rosner Foundation, Inc. $10,000–$14,999 Anonymous • CIGNA Foundation • The Coby Foundation, Ltd. • J.M. Kaplan Fund • The LaVerna Hahn Charitable Foundation • Mellor Family Foundation • The Robert Mapplethorpe Foundation $5,000–$9,999 Bank of America, Greater Washington • The Bernstein Companies • Bernstein Global Wealth Management • The Louis J. Kuriansky Foundation, Inc. • Marshall B. Coyne Foundation, Inc. • The Mary Potishman Lard Trust • The Mill Foundation, LTD • The Mississippi State Committee of NMWA • Mutual of America • PECO Foundation • The Samuel Burtoff, M.D. Foundation • United Technologies Corporation • Washington Art Library $2,000–$4,999 Cowles Charitable Trust • The Georgia Committee of NMWA • National Financial Services • Testamentary Trust of Carey A. McCormick* • United Way of the National Capital Area $1,999 and below Junior League of Washington, Inc. • McGregor Links Foundation • Moore College of Art & Design • The NAMASTE Foundation • Paul and Emily Singer Family Foundation • Princeton Area Community Foundation • Tabard Corporation • The Texas State Committee of NMWA • United Way of Greater Pennsylvania and Southern New Jersey • Veverka Family Foundation • Woodward Family Foundation

Government Sponsors DC Commission on the Arts and Humanities • U.S. Commission of Fine Arts

* Deceased ** In-kind Gifts NMWA strives to ensure the accuracy of donor information. We apologize for any errors or omissions. Please note that event ticket purchases are not included in the donation amounts provided in this list. Contact 202-266-2805 with changes or questions.

Legacy of Women in the Arts Endowment Campaign

Wilhelmina Cole Holladay—Chair of the Board, Winton S. Holladay—Vice Chair of the Board, Sheila Shaffer— President, Gina F. Adams—First Vice President, Heather Miller Podesta—Second Vice President (Community Relations), Arlene Fine Klepper—Treasurer, Juliana E. May—Secretary, Mary V. Mochary—Finance Chair, Amy Weiss—Nominations Chair, Nancy Nelson Stevenson— Works of Art Chair, Marcia Myers Carlucci—Building Chair, Carol Matthews Lascaris—President Emerita and Endowment Chair, Dana J. Snyder—At Large, Susan Fisher Sterling*—Alice West Director, Janice Lindhurst Adams, Pamela G. Bailey, M. A. Ruda Brickfield, Charlotte Clay Buxton, Rose Carter, Diane CaseyLandry, Lizette Corro, Deborah I. Dingell, Martha Lyn Dippell, Nancy Duber, Gabriela Febres-Cordero, Karen Dixon Fuller, Susan Goldberg, Cindy Jones, Sally L. Jones, Marlene McArthur Malek, Jacqueline Badger Mars, Bonnie McElveen-Hunter, Marjorie Odeen, Andrea Roane, Clarice Smith, Kathleen Elizabeth Springhorn, Sharon Lee Stark, Jessica H. Sterchi, Joanne C. Stringer, Mahinder Tak, Annie S. Totah, Frances Usher, Ruthanna Maxwell Weber, Alice West

We wish to thank all of the supporters of the Legacy of Women in the Arts Endowment Campaign, whose generosity guarantees that NMWA will endure and forever inspire for generations to come. Although we can only list donations of $10,000 and above due to space limitations, NMWA is grateful to all donors of the endowment.

*Ex-Officio

NMWA Advisory Board Sarah Bucknell Treco—Chair, Noreen M. Ackerman, Sunny Scully Alsup, Jean Astrop, Gail Bassin, Susan G. Berk, Sue Ann Berlin, Catherine Little Bert, Brenda Bertholf, Ann Lisanby Bianchi, Caroline Boutté, Nancy Anne Branton, Amy Sosland Brown, Margaret Boyce Brown, Deborah Carstens, Eleanor Chabraja, Paul T. Clark, John Comstock, Linda Comstock, Lynn Finesilver Crystal, Belinda de Gaudemar, Betty Dettre, Elizabeth J. Doverman, Ginni Dreier, Kenneth P. Dutter, Gerry E. Ehrlich, Patrice Emrie, Elva B. FerrariGraham, Suzy Finesilver, Rosemarie Forsythe, Jane Fortune, Robert Freeman, Claudia Fritsche, Lisa Garrison, Barbara S. Goldfarb, Jamie S. Gorelick, Lorraine G. Grace, Jody Harrison Grass, Roddie Harris, Sue J. Henry, Anna Stapleton Henson, Caroline Rose Hunt, Jan Jessup, Alice D. Kaplan, Doris Kloster, Nelleke Langhout-Nix, Fred M. Levin, Gladys Kemp Lisanby, Sarah H. Lisanby, M.D., Nancy Livingston, Maria Teresa Martínez, C. Raymond Marvin, Pat McCall, Debby McGinn, Dee Ann McIntyre, Cynthia McKee, Suzanne Mellor, Joan S. Miller, Eleanor Smith Morris, Deborah E. Myers, Jeannette T. Nichols, Kay W. Olson, Katherine D. Ortega, Margaret Perkins, Patti Pyle, Madeleine Rast, Drina Rendic, Barbara Richter, Elizabeth Robinson, Elizabeth A. Sackler, Steven Scott, Marsha Brody Shiff, Geri Skirkanich, Salwa J. Aboud Smith, Patti Amanda Spivey, Kathleen Elizabeth Springhorn, Bonnie Staley, Jo Stribling, Susan Swartz, Cheryl S. Tague, Lisa Cannon Taylor, MaryRoss Taylor, Deborah Dunklin Tipton, Nancy W. Valentine, Christy A. Vezolles, Paula S. Wallace, Harriet L. Warm, Island Weiss, Tara Beauregard Whitbeck, Patti White, Betty Bentsen Winn, Rhett D. Workman (all lists as of July 15, 2014)

SUPPORTING ROLES

Board of Trustees

Endowment Foundation Trustee ($1 million+) Anonymous, Betty B. and Rexford* Dettre, Estate of Grace A. George, Wilhelmina C. and Wallace F.* Holladay, Sr., Carol and Climis Lascaris, Estate of Evelyn B. Metzger, The Honorable Mary V. Mochary, Rose Benté Lee Ostapenko, Madeleine Rast, The Walton Family Foundation Endowment Foundation Governor ($500,000–$999,999) Noreen M. Ackerman, P. Frederick Albee and Barbara E. Albee*, Catherine L. and Arthur A. Bert, M.D., J.W. Kaempfer, Nelleke Langhout-Nix, Joe R. and Teresa L. Long, James R. and Suzanne S. Mellor, National Endowment for the Humanities, Drs. A. Jess and Ben Shenson*, MaryRoss Taylor, Alice W. and Gordon T. West, Jr. Endowment Foundation Fellow ($200,000–$499,999) Catharina B. and Livingston L. Biddle, Jr.*, Marcia Myers and Frank Carlucci, Costa del Sol Cruise, Kenneth P. Dutter, Estate of E. Louise Gaudet, Lorraine G. Grace, William Randolph Hearst Foundation, Estate of Eleanor Heller, Fred M. Levin and Nancy Livingston/The Shenson Foundation, in memory of Drs. Ben and A. Jess Shenson, Dorothy S. Lyddon*/ Seven Springs Foundation, Marlene McArthur and Frederic V. Malek, Victoria J. Mastrobuono*, Sea Goddess I and II Trips, Alejandra and Enrique Segura, Sheila and Richard Shaffer, Clarice Smith Endowment Foundation Counselor ($100,000–$199,999) Janice L. and Harold L. Adams, Nunda and Prakash Ambegaonkar, Carol C. Ballard, Baltic Cruise, Eleanor and Nicholas D. Chabraja, Clark Charitable Foundation, Hilda and William B. Clayman, Julia B. and Michael M. Connors, Martha Lyn Dippell and Daniel Lynn Korengold, Gerry E. and S. Paul* Ehrlich, Jr., Enterprise Rent-A-Car, FedEx Corporation, Barbara A. Gurwitz and William D. Hall, Caroline Rose Hunt/The Sands Foundation, Alice D. Kaplan, Dorothy and Raymond LeBlanc, Lucia Woods Lindley, Gladys K. and James W.* Lisanby, Lockheed Martin Corporation, Adrienne B. and John F. Mars, Juliana and Richard E. May, Bonnie McElveen-Hunter, Irene Natividad, Jeannette T. Nichols, Lady Pearman, Reinsch Pierce Family Foundation by Lola C. Reinsch and J. Almont Pierce, Julia Sevilla Somoza, Marsha Brody Shiff, June Speight*, Kathleen Elizabeth Springhorn, Sami and Annie Totah Family Foundation Endowment Circle ($50,000–$99,999) Linda Able Choice*, George* and Ursula Andreas, Arkansas Fifty, Lulu H. Auger*, Virginia Mitchell Bailey*, Sondra D.* and Howard M. Bender/The Bender Foundation, Inc., Patti Cadby Birch*, Laura Lee and Jack S. Blanton, Sr.*/Scurlock Foundation, Anne R. Bord*, Caroline Boutté, BP Foundation Inc., M.A. Ruda and Peter J.P. Brickfield, Margaret C. Boyce Brown, Martha Buchanan, Charlotte Clay Buxton, Sandra and Miles Childers, Mary and Armeane Choksi, Margaret and David Cole/The Cole Family Foundation, Holland H. Coors*, Porter and Lisa Dawson, Courtenay Eversole, Suzy Finesilver/The Hertzel and Suzy Finesilver Charitable Foundation, Karen Dixon Fuller, Alan Glen Family Trust, Peter and Wendy Gowdey, Laura L. Guarisco, Jolynda H. and David M. Halinski, Janie Hathoot, Hap and Winton Holladay, Evan and Cindy Jones Foundation, I. Michael and Beth Kasser, William R. and Christine M. Leahy, Louise C. Mino Trust, Zoe H. and James H. Moshovitis, Joan and Lucio A. Noto, Marjorie H. and Philip Odeen, Nancy Bradford Ordway, Katherine D. Ortega, Margaret H. and Jim Perkins, Ramsay D. Potts*, in honor of Veronica R. Potts, Elizabeth Pruet*, Edward Rawson, Jane S. Schwartz Trust, Jack and Dana Snyder, Judith Zee Steinberg and Paul J. Hoenmans, Susan and Scott Sterling, Nancy N. and Roger Stevenson, Jr., Jo and Thomas Stribling, Susan and Jim Swartz, Mahinder K. and Sharad Tak, Elizabeth Stafford Hutchinson Endowed Internship—Texas State Committee of the National Museum of Women in the Arts, William and Frances Usher, Elzbieta Chlopecka Vande Sande, Betty Bentsen Winn and Susan Winn Lowry, Yeni Wong Endowment Patron ($25,000–$49,999) Micheline and Sean Connery, Sheila ffolliott, Georgia State Committee of NMWA, New York Trip, Nancy O’Malley, Mississippi State Committee of NMWA, Northern Trust, Estate of Mary Marvin Breckinridge Patterson, Chris Petteys*, Lisa and Robert Pumphrey*, Elizabeth A. Sackler, Estate of Madoline W. Shreve, Patti Amanda and Bruce Spivey, Sahil Tak/ST Paper, LLC, Jean and Donald M. Wolf, The Women’s Committee of the National Museum of Women in the Arts Endowment Sponsor ($15,000–$24,999) Deborah G. Carstens, Stephanie Fein, Martha and Homer Gudelsky*, Sally L. Jones, Louise H. Matthews Fund, Lily Y. Tanaka, Liz and Jim Underhill, Elizabeth Welles, Dian Woodner Endowment Friend ($10,000–$14,999) Carol A. Anderson, Julia and George L. Argyros, Mrs. Joseph T. Beardwood, III, Catherine Bennett and Fred Frailey, Susan G. Berk, Mary Kay Blake, Booz Allen Hamilton, Lynne V. and Richard Cheney, Esther Coopersmith, Darby Foundation, Jack J. Dreyfus, Jr.*, Patricia M. and Clifford J. Ehrlich, Mary Page and Thomas B. Evans, Lois Lehrman Grass, Anna Stapleton Henson, Alexine C. and Aaron G.* Jackson, Jan Jessup, Pamela Johnson and Wesley King, Helga and Peter-Hans Keilbach, Howard and Michelle Kessler, Ellen U. and Alfred A. King*, Jacqueline Badger Mars, C. Raymond Marvin, Clyde and Pat Dean McCall, Edwina H. and Charles P. Milner, Evelyn V. and Robert M. Moore, Harriet Newbill, Estate of Edythe Bates Old, PepsiCo., Inc., Anne and Chris Reyes, Savannah Trip, Mary Anne B. Stewart, Paula Wallace/ Savannah College of Art and Design, Marjorie Nohowel Wasilewski, Jean S. and Gordon T. Wells * Deceased

FALL 2014 | WOMEN IN THE ARTS

MUSEUM SHOP

Museum Shop

Angel with Pearl Earring Beautiful pearl earrings designed by Shaune Bazner feature a delicate tiny angel detail. Available in 22-karat old gold plating or sterling silver oxide. $32/Member $28.80 (Item #22002)

iPhone Purse This silicone cover not only protects your iPhone, it turns it into a fashion statement. For iPhone 5. Available in black and red. $16/Member $14.40 (Black, Item #29211; Red, Item #29212)

Picturing Mary: Woman, Mother, Idea NMWA’s catalogue presents Mary’s image as it is examined in the upcoming exhibition—an enthroned queen, a tender young mother, and a pious woman. Hardcover, 160 pages. Pre-order: available in late November. $45/Member $40.50 (Item #125)

Save the Dates for Holiday Shopping! New Member Benefit: 15 Percent on the 15th NMWA members now enjoy a 15% discount off regular-priced merchandise on the 15th of every month. Visit, call, or go online on September, October, November, and December 15 to do your shopping!

Madonna & Child Cube Paintings from Italy and the Netherlands from over three centuries adorn this fun and decorative cube. A pamphlet details the artists, paintings, and styles. $15/Member $13.50 (Item #5903)

Praise Earrings Earrings by Shaune Bazner feature varied gems—they are comfortable, versatile, and timeless. $32/Member $28.80 (Item #22002)

Strathmore Hall Museum Shop Around November 13–16. In the D.C. area? Kick off your holiday shopping with more than twenty museum shops under one roof. Most shops participate in the North American Reciprocal Membership program to provide discounts. Visit www.strathmore.org for details.

Member VIP Weekend November 28–December 1. Members save 25% off regular-priced merchandise. On Saturday, November 29, 10 a.m.–2 p.m., receive complementary gift-wrapping and light refreshments.

Before/After Christmas Sale

Praise Necklace Designed by Shaune

December 24 and December 26. Look for enormous savings—up to 70%—off of select books, jewelry, and gift merchandise.

Bazner, each one-of-a-kind necklace is made with assorted gems and accented by an angel or a cross. $98/Member $88.20 (Item #20000)

Art & Prayer: The Beauty of Turning to God Picturing

Picturing Mary DVD Narrated by Jane Seymour, this DVD tours museums, chapels, and cathedrals in eight countries to view rare and sacred art representing Mary. Not rated, 1 hour. Pre-order: reserve before October 15; available November 1. $14.99/ Member $13.49 (Item #40000)

Mary guest curator Timothy Verdon explores the interaction of sacred images and prayer, exploring the ways that images affect believers. Hardcover, 320 pages. Pre-order: available September 30. $32.50/ Member $29.25 (Item #1000)

Solar Pope Powered entirely by solar

Graffiti Cocktail Shaker This stainless steel,

energy, this smiling pontiff will wave to you, gracing you with his blessing from your home or office. $25/Member $22.50 (Item #29213)

14-ounce cocktail shaker features a spray-paint can design, with red cap, jigger top and built-in strainer. $25/Member $22.50 (Item #29206)

Gold Halo Frame Beautiful resin

Everybody’s Cookies This wonderful

frame to showcase an extraordinary picture. Can stand vertically or horizontally. Fits 4 x 6 in. photograph. $28/Member $25.20 (Item #4579)

children’s book about food and culture is written and illustrated by folk artist Sissy Cutchen. Softcover, 49 pages. $14.95/ Member $13.46 (Item #3100)

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COMING SOON

Picturing Mary: Woman, Mother, Idea December 5, 2014–April 12, 2015

icturing Mary: Woman, Mother, Idea explores the concept of womanhood represented by the Virgin Mary as well as the social and sacred functions her image has served through time. This landmark exhibition, organized by the National Museum of Women in the Arts, brings together more than sixty Renaissance- and Baroque-era masterworks from the Vatican Museums, Uffizi Gallery, and other museums, churches, and private collections in Europe and the United States. Divided into six thematic sections, the exhibition presents images of Mary as a daughter, cousin, and wife; the mother of an infant; a bereaved parent; the protagonist in a rich life story; a link between heaven and earth; and an active participant in the lives of those who revere her. The exhibition features works made by both female and male artists. Paintings by Sofonisba Anguissola, Artemisia Gentileschi, Orsola Maddalena Caccia (an Ursuline nun who ran a bustling painting studio in her convent in northern Italy), and Elisabetta Sirani highlight the varied ways in which women artists conceptualized the subject of Mary. These artists’ works are featured alongside treasured Marian paintings, sculptures, and drawings by Fra Filippo Lippi, Botticelli, Michelangelo, Pontormo, Giovanni Battista Tiepolo, and others. During the presentation of Picturing Mary, NMWA’s website will feature an online exhibition exploring global traditions in Marian imagery, further contextualizing the works on view in the galleries.

Sandro Botticelli, Madonna and Child (Madonna col Bambino), also called Madonna of the Book (Madonna del Libro), 1480–81; Tempera and oil on wood panel, 22 7⁄8 × 15 5⁄8 in.; Museo Poldi Pezzoli, Milan; inv. 443