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1 front cover T E A C H I N G L E A R N I N G W I T H E X C E P T I O N A L A R T T H E Y E A R I N R E V I E W 2 0 1 4 1 5 SCHEMA S M I T H C O L L E G E M U S E U M O F A R T 2 July 1 2014June 30 2015 ANNUAL BUDGET 2896395 MUSEUM ATTENDANCE 31758 Smith College students 6148 Smith College faculty 804 Other Five College students and faculty 1080 Children and youth 5157 Adults 17466 CUNNINGHAM CENTER ATTENDANCE 1154 Class visits 88 ACADEMIC CLASS VISITORS 6189 PreK12 students 3198 PreK12 class visits 150 College students 2991 College class visits 171 PROGRAMS Teacher workshops 3 Family programs 15 Member programs 17 Public programs 20 EXHIBITIONS 14 WORKS IN PERMANENT COLLECTION 25133 Loans to other institutions 29 Works receiving conservation 23 Works on Paper used for classes or individual study 2790 ART ACQUISITIONS 1191 Gifts 1099 Purchases 91 Transfers 1 MEMBERS 1114 Directors Associates 15 Tryon Associates 36 Contemporary Associates 13 StudentPatron levels 1015 Library Pass Partners 35 STAFF 96 Full- and part-time 31 Student assistants 25 Guards and security system specialists 40 VOLUNTEERS 35 An integral part of Smith College and its mission the Smith College Museum of Art educates and engages our academic and broader communities through meaningful and memorable enounters with exceptional art. FY15 OPERATIONS ALLOCATION OF ENDOWMENT INCOME 16 25 406 12 SPECIAL INITIATIVES 92K GENERAL SUPPORT 141K ACADEMIC INITIATIVES 222K INTERNS 35K ASIAN ART INITIATIVES 68K ENDOWMENT FIVE COLLEGE STUDENT FACULTY VISITS FY10 FY15 6742 20 8032 ACADEMIC VISITS MARKET VALUE FY10 26M 44M FY15 OPERATIONS COLLEGE SUPPORT ACQUISITIONS 5.9M 5.5M 13.5M 22.5M15M 8.2M 67 FY10 FY15 256 19 306 AVERAGE MEMBERSHIP GIFT REVENUE FY10 FY15 340K10 309K REVENUE SOURCES 27 29 39 5 STUDENTPATRON DIRECTORS ASSOCIATES TRYON ASSOCIATES CONTEMPORARY ASSOCIATES MEMBERSHIP TRYON ASSOCIATES LIBRARY PASS PARTNERS MEMBERSHIP COUNTS 36 35 CONTEMPORARY ASSOCIATES13 STUDENTPATRON1015 DIRECTORS ASSOCIATES15 A T A G L A N C E 3 C O N T E N T S 2 0 1 4 1 5 2 4 10 26 24 16 FROM THE DIRECTOR ON VIEW MARY BAUERMEISTER THE NEW YORK DECADE MEMBERSHIP MATTERS MAKING MEANINGFUL CONNECTIONS WITH ART COMMUNITY STUDENT PROGRAMS EVENTS MUSEUM REIMAGINED 30 31 32 56 GIFT PURCHASES OF ART COLLAGE DRAWINGS PAINTINGS PHOTOGRAPHS PRINTS SCULPTURE VIDEO NEW MEDIA ADVISORY GROUPS ACQUISITIONS GIFTS TO THE MUSEUM MUSEUM ASSISTANTS MUSEUM STAFF counterclockwise from top left 1 Lower level renovation 2 Students in Bauermeister exhibition 3 Dancer in the museum 4 Smith College Campus School students in the galleries 5 Curator Yao Wu presents a Members Preview 6 Samantha Page 17 and guest at Family Day 7 Lang Collection print by Charles Wheeler Locke 8 Peggy Block Danziger 62 and Elizabeth Betty Mugar Eveillard 69 9 Mona Sinha 88 and Joan Lebold Cohen 54 FRONT COVER clockwise from top left Smith President Emerita Carol Christ and Smith President Kathleen McCartney at the Carol T. Christ Asian Art Gallery dedication visitors in the galleries Smith student dancers in the museum Curator Yao Wu giving a gallery talk Members in the Cunningham Center for Prints Drawings and Photographs a family in the Ancient art gallery and center Smith students viewing a mobile cabinet for works on paper 1 2 3 4 5 9 8 7 6 2 FROM THE DIRECTOR FROM THE DIRECTOR SYNERGYTHE PROCESS OF COMING TOGETHER such that the result is greater than the sum of its partsis the concept I keep returning to as I reect on the past year at SCMA. Through enhanced programs and partnerships and thoughtful engagement with the campus and larger community the outcomes of our efforts continue to surpass our ambitious expectations. Our biggest and most visible undertaking of 20142015 was the completion of the Gallery Rede- sign Project advancing our mission to foster meaningful memorable experiences with exceptional art. We nd ourselves at an es- pecially exciting moment thats both a time of culmination and celebration as well as a new beginning with great potential. In taking a close careful look at how the museum and its collection are being used by our many constituencies we were able to rethink rene and renew our spaces to support that evolution. You see this most concretely in the renova- tion of our lower level where the recong- ured contemporary global art gallery allows for more works on view our Winslow Teach- ing Gallery is signicantly improved an in- novative Video New Media Gallery reects the museums commitment to this rapidly growing area of art-making and a central Talk Back space that provides an opportu- nity for dialogue with and among our visitors. All of these changes which are detailed be- ginning on page 4 were in direct response to the question How can we best support the teaching that happens here at Smith and the interests of our students and how can we give all our visitors a window onto that work AT THE HEART OF THE ANSWER is the fact that people in our community cant really understand and utilize our collection if they dont see it on view. Much of what we have accomplished was done with this in mind and is particularly exemplied in the new Carol T. Christ Asian Art Gallery. As SCMA ex- panded its collection of Asian art it became increasingly clear we needed a dedicated space for these works. In order to display and interpret the visual culture of Asia in a scholarly and thoughtful way we understood the importance of having resources and expertise on staff to support this initiative and we are pleased to welcome Yao Wu as SCMAs rst Jane Chace Carroll Curator of Asian Art. Thanks to Jane and her sister Eliot 3 Nolen 54 Yaos work will be supported by the new Nolen Endowed Fund for Asian Art Initiatives and the Carroll and Nolen Asian Art Acquisition Fund. SCMAs Asian Art Task Force chaired by Joan Lebold Cohen 54 nurtured our efforts and provided crucial support every step of the way and the lead gift for the gallery from AATF member and former Smith College trustee Peggy Block Danziger 62 turned dreams into reality. We are tremendously grateful to all of our visionary donors and the many many others whose generosity has made it possible to study original works of Asian art at Smith. Synergy at its best. In conjunction with our inventory of whats not on view and should be we realized that this period of reinstal- lation was exactly the right time to capture space for the ongoing display of SCMAs African art collection. Mellon Five College Post-Doctoral Fellow Amanda Gilvin helped us conceptualize this new gallery build- ing a framework around several iconic sculptures that will be re-contextualized as other artworks rotate through the installation keeping the space dynamic. The result is exquisite Transformations in African Art a small gallery with a big role in expanding what our visitors see and experience. IN ALL THE FORWARD LOOKING WE HAVENT LOST SIGHT OF WHO WE ARE AND HOW WE BEGAN. SCMA started as a contemporary museum and is still very much committed to collecting the art of the day. The museums Contemporary Associates is a group of donors and members dedicated to the acquisition of photography and video and other digitally based worka growing area of importance for Smith faculty and their students. Since 2009 we have acquired one or more works a year and commandeered corners of the museum to show them but sound spill and light- ing challenges have long been an issue. As part of the recent renovation we made an effort to nd and cre- ate a dedicated space to properly serve this important and growing body of work. Our state-of-the-art Video New Media Gallery sits directly across from our con- temporary collection in the Targan Gallery and we are enormously grateful to the Contemporary Associates members for their investment and commitment to this aspect of our collection. Although much of the last year has focused on the sec- ond and nal phase of the reinstallation weve spent time reecting on the initial changes to our galleries which have all been incredibly well received. Our mo- bile cabinets for works on paper have enhanced our mission providing dimension as well as context for the collection see page 43. The museums two encoun- ter spaces bring different works of art and media into relationship with each other paving new avenues for study and interpretation. The entire gallery redesign has been educational and enriching and inspiring to our community in ways we never even imagined. SO MUCH OF WHAT WEVE ACCOMPLISHED during the last couple of years is the result of a thoughtful productively constructed road map adopted in 2009 and serves as real afrmation of what a careful and comprehensive process can yield. It also underscores the key role of annual giving by SCMAs generous members in particular signicant general operating support from our upper level donor groupsDirec- tors and Tryon Associatesenriches the museums day-to-day experience while enabling us to pursue our priority initiatives. I feel energized and inspired as we embark on our next strategic plan and look forward to collaborating with our exceptional community of supporters and to sharing in the museums forthcom- ing successes. Its no surprise that Ive been particularly attuned to the Asian perspective in recent months notably dur- ing the Chinese Zodiacs Year of the Sheepan auspi- cious time full of promise and prosperity. With utmost gratitude I say thank youone and allfor helping our museum thrive this past year and into the future. Jessica Nicoll 83 Director and Louise Ines Doyle 34 Chief Curator 4 T HE SCMA GALLERY REINSTALLATION IS COMPLETE creating much improved spaces throughout the museum as well as excit- ing new ways to engage with extraordinary works of art. This two-phase project represents ve years of thoughtful reection and collaboration with considerations ranging from conceptual to practical. We have shed new lightliterally and gurativelyon beloved aspects of the collection and made what has long been a vital educational resource even more ac- cessible to our many audiences. As museum director Jessica Nicoll notes this physical and philosophical realignment was a response to the evolving needs of the community We took a hard look at how the museum and its collection were being used and brought that to bear on rethinking ren- ing and renewing our programs and spaces. Todays beautifully renovated museum embodies its mission to provide meaningful memorable encounters with exceptional art. Since SCMAs work is rooted in education it seems tting that the Winslow Teaching Gallery on our low- er level underlies the rest of the museum. This ex- ible space is dedicated to the display of works of art used for study by a wide range of departments and programs at the college. Designed to accommodate multiple classes simultaneously this gallery features regularly changing installations of artworks requested by faculty for use in their classes. New Spaces New Themes A New Chapter MUSEUM REIMAGINED MUSEUM REIMAGINED 5 New glass doors offer increased visibil- ity into this gallery and invite a glimpse into the teaching activities of the col- lege. Locally made cabinets are attrac- tive and functional providing a much improved convenient display for sculp- ture and other objects. This together with more usable wall space supports increased use by the academic com- munity. Now as with other galleries throughout the museum the Teach- ing Gallery features labels explaining the function of the space and we have added temporary identiers for classes using the works on view. On any given day you may nd Chinese paintings alongside prints by Joan Mitchell and early 20th-century Ashcan artists and while these pieces have no relationship to one another they all tie into teaching and learning at Smith. These changes are part of our larger effort to help students and visitors de- velop a relationship with specic works of art and the collection in general. The museums new Talk Back Art in Con- versation spaceconceptualized and overseen by the museums Education departmentis one more way we are working to promote engagement and interaction. This newly dened area at the heart of the lower level features a selected work of art accompanied by a question inviting people of all ages to post a response on the adjacent wall. In many ways and through a variety of educational programs we encourage conversation about art this is a way to encourage conversation with the art itself. The central location is ideal for both formal and informal gatherings and practical ooring in this area lends itself to art-making activities as well. ONE OF THE MOST SIGNIFICANT ASPECTS OF THE REDESIGN is the cre- ation of the Carol T. Christ Asian Art Gal- lery fullling a vision to expand SCMAs collection in support of Smiths expand- ing global curriculum. THE ART OF LEARNING Its no surprise that the museum is a popular resource for arts and humanities students at Smith but less known are the many ways we serve other academic departments at the college. Throughout the year SCMA staff work closely with faculty across disciplines to create context perspective excitement and learning op- portunities through art. Two examples Sociology 327 Global Migration in the 21st Century taught by Payal Banerjee assistant professor of sociology looked at work related to theories of migration poli- cies shaping migration patterns and im- migrant identities. Core themes of border crossing transnationalism gender race and class were explored through works including La Bestias Guide to the Birth of the Cool by Enrique Chagoya the class also examined works by Dorothea Lange Jacob Lawrence Ana Mendieta Colectivo Cordyceps Munio Takahashi Makuuchi and Wu Tien-Chang. Computer Science 352 an upper level seminar worked on a project focused on distributed processing and used cloud computing to create a collage of about 3 million photos from Wikipedia to graphi- cally illustrate the number of times photos were being accessed by users. To inform their work class members studied the mu- seums collection and the spaces where it is stored and displayed to experience vari- ous ways that collections of images could be organized or aesthetically grouped. Students compared the impact of different visual choices from storage where works are arranged mostly by size and shape for the most efcient use of space to the galleries where works are displayed with much more curatorial intention to convey a specic interpretation or meaning to collages and photomontages in which artists organized images or shapes within a single frame. left to right Carol T. Christ Asian Art Gallery Talk Back Art in Conversation space Carol Christ gallery installation Winslow Teaching Gallery 6 We can anticipate installations that draw on a permanent collection of increasing depth and breadth present thoughtful research and new insights invite immersive and creative use by faculty and students and open a window for our community onto Asias diverse artistic cul- tures histories traditions and innovations says Jessica Nicoll. The inaugural exhibition Dislocation Urban Experience Contem- porary Photographs from East Asia was guest curated by Samuel C. Morse Howard M. and Martha P. Mitchell Professor at Amherst College and Edwin O. Reischauer Visiting Professor at Harvard Uni- versity together with Aprile Gallant Curator of Prints Drawings and Photographs at SCMA. In addition to the art itself many elements combine to shape the look and feel of the new gallery. A hand pol- ished river stone oor distinguishes the space and evokes eastern architecture and the essence of nature found in Zen gardens. The rice paper shades on the exible lighting system along with the r woodwork framing the entrance provide a distinctive aesthetic that adds to a sense of place. And all of it is designed to be as functional and practical as possible. Named in honor of Smiths 10th president the new gallery reects the museums commitment to keep pace withif not pave the way fora growing area of teaching and learning at the college. Stories shared by Smith students of meaningful encounters with Asian art at SCMA are a moving testament to its valuable role. Jiete Li 15 says that while she came to Smith unclear about her future at SCMA I discovered a deep interest in art history and especially East Asian art. I had found my passion. This is the power of the museum and an example of why MUSEUM REIMAGINED The Carol T. Christ Asian Art Gallery will provide new opportunities for curators to feature and contextualize artworks and for faculty to teach with these unique objectsfrom some of the oldest cultures on earth to the most recent innovators living on our most populous continentfor generations to come. Floyd Cheung Associate Professor of English Language and Literature and Director of the Sherrerd Center for Teaching and Learning 7 the creation of a permanent gallery for Asian art will have a profound impact on the education of generations of students to come. As the Asian art gallery plans took shape it was clear that in the process we would reduce the space available for contemporary paintings and sculpture. After many ideas and iterations the solution was to eliminate the stairway between the rst oor gallery and lower level no longer necessary thanks to the museums main and central stair- well. There were multiple benets since not only did the stairs limit our installations but issues with sound had at times made it difcult to run tours and programs in this part of the museum. Today with the additional wall space we are able to accommodate double-hung paint- ings and large-scale exhibitions. A new glass window on the rst oor overlooks the space and provides a new perspective. THERE IS MUCH TO CELEBRATE IN THE REFURBISHED GALLERIES including the reinstallation of Frank Stellas Damascus Gate Variation III of 1969 one of the land- mark post-war paintings in the collection and a gift from the artist himself. This 40-foot-wide iconic painting came down 15 years ago when the museum closed for reno- vations and getting it back on view was a priority. We are delighted to have it once again on display with other post1950 art in Targan Gallery. Across from this gallery is SCMAs new Video New Media Gallery the rst space of its kind among the Five Colleges. This gallery created to accommodate classes of varying size is equipped to display the museums growing collection of works that engage emerging technologies such as computer animation virtual reality and other interactive digital data tools and applications. As more contemporary artistsand Smith studentsexplore these new creative media having a dedicated space with optimal light and sound condi- tions became increasingly important. This initiative was spearheaded and supported by SCMAs Contempo- rary Associates donors united in their commitment to helping develop this aspect of the museums collection. The gallerys debut work A Beggar WomanCairo by Korean artist Kimsooja is detailed on page 39. left to right Yao Wu detail from new oor Samuel Morse consulting curator Video New Media Gallery dedication ceremony for opening of the Asian Art Gallery Targan Gallery featuring the Frank Stella painting Damascus Gate Variation III and the Helen Frankenthaler painting Blue Atmosphere II 8 AFRICAN ART IS ANOTHER RAPIDLY EVOLVING area of the collection and the reinstallation has al- lowed us to create the rst permanent gallery in the Five Colleges for the display of art from Africa. This gallery also connects to Smiths global curriculum enabling us to broaden the diversity of artistic per- spectives on view in the museum. In 2014 Amanda Gilvins African art history class created an explor- atory exhibition about the display and interpretation of the art of Africa. This effort supported the work of a project team including exhibition designer Alan Knezevich and consulting curator Gilvin for the redesign of the third oor Ketcham Gallery. En- titled Transformations in African Art the result is a dynamic space anchored by iconic works and fea- turing a regular rotation of art and themes with the ability to tell many compelling stories over time the rst years installation centers on women and power. ART IN A NEW LIGHT SCMA staff members were sorry to say farewell to William Bill Myers the museums chief preparator for the past 15 years who moved on to other projects during the summer of 2015. Bill founded the Frame Conservation Program and mentored numerous students who enrolled in this undergraduate volunteer training program that combined an introduction to conservation theory and practice with hands-on experience. Graduates of the program have gone on to opportunities at institutions such as the Metropolitan Museum of Art the de Young Museum and Bostons Museum of Fine Arts as well as to Guggenheim fellowships and masters degrees in art conservation from programs across the United States and Europe. Bill made many valuable contributions during his tenure at the museum and his naland perhaps most importantproject was to re-lamp our galleries with LED light xtures. For more than a dozen years Bill and Associate Director for Museum Services David Dempsey closely monitored the technology waiting for it to mature into a museum-quality alternative to costly incandescents. Patience paid off and ultimately they identied the most reliable high-quality lights and coordinated with Smiths Ofce of Campus Sustainability to secure grant money and nancing from electric companies. The benets to LEDs are many they are longer lasting which saves two to three hours each week in staff time spent changing bulbs they generate less heat which is not only better for the artwork but also saves on air conditioning costs and they draw less energy signicantly reducing the museums overall carbon footprint. Thanks to Bills vision and determination SCMA joins a small but growing list of arts institutions lighting the way literally to a more environ- mentally sound and responsible future. MUSEUM REIMAGINED 9 TO COMPLEMENT ALL OF THE EXCITING CHANGES associated with the reinstallation is our new waynd- ing system which makes it easy for visitors to navigate toand withinthe museum. Interior and exterior signs both xed and temporary create cohesiveness ease of use and a warm welcome. By standardizing what we communicate and how we have enhanced the visitor experience in an elegant and intentional way. Although the best navigation tools are intuitive natural and built landmarks clearly dened pathways light and soundsigns displays and maps provide additional direction. As SCMA evolves so too does the museum eld and we are pleased to play a role in educating the institu- tional leaders of tomorrow. The Brown Post-Baccalau- reate Fellowship program provides a mentored intro- ductory work experience to recent college graduates in advance of a career in the nonprot creative sec- tor. Generous funding from The Brown Foundation Inc. of Houston Texas allowed the museum to add a third fellowship in museum marketing and commu- nications this year in addition to ongoing opportuni- ties in both museum education and curatorial work. Jessica Nicoll notes that in addition to bringing fresh ideas and creative energy to our work at SCMA The Brown Post-Baccalaureate program grows directly out of the museums commitment to educating and pre- paring future generations of museum leaders for the important roles they will play in preserving interpret- ing and sharing past and present culture worldwide. top to bottom left to right Gina Hall leading an Open Eyes gallery conversation William Bill Myers in the conservation studio African art gallery Dave Andrews in refreshed lobby new waynding sign Brown Post-Baccalaureate Fellows Colleen McDermott Jessica Berube and Emma Cantrell new installation of art after 1950 Now that the museums two-phase ve-year Gallery Redesign Project is complete visitors will experience moving from the top oor down African American and European art after 1800 American Ancient and European art before 1800 the changing exhibition gallery and on the lower level Art after 1950 and Asian artincluding the three new spaces the Carol T. Christ Asian Art Gallery the Video New Media Gallery and a new Talk Back interactive space. The Museum Shop acclaimed artist- designed restrooms and handcrafted artist-designed gallery benches continue to be popular among visitors as well. 10 ON VIEW Exhibitions September 12 2014January 4 2015 Bow Down Queens in Art Curated by Margaret Kurkoski 12 Brown post-baccalaureate curatorial fellow October 3 2014January 4 2015 Tara Donovan Moir Curated by Linda Muehlig associate director for curatorial affairs and senior curator of painting and sculpture January 30May 24 2015 Mary Bauermeister The New York Decade Curated by Linda Muehlig February 6May 3 2015 Figure and Image The Selma Erving Collection Curated by Saraphina Masters 17 Smiths Student Research in Departments STRIDE Program October 2014April 2015 Student Picks Exhibitions For a complete list see smith.eduartmuseum Encounters Art in Conversation September 2 2014August 2 2015 Questions of Authenticity and Paths to the Museum Organized by Margaret Kurkoski 12 with Diana Wolfe Larkin independent art historian Egyptian art Maggie Lind associate director for academic programs and public education and Linda Muehlig On View JULY 1 2014JUNE 30 2015 top to bottom left to right Visitor with mobile cabinet for works on paper Encounters Art in Conversation Bow Down Tara Donovan Moir Tara Donovan Moir and works from the collection students viewing mobile cabinet for works on paper 11 September 12 2014July 26 2015 An American Artist Imagines Japan Organized by Taiga Ermansons associate educator with John Davis Alice Pratt Brown Professor of Art Art Department Smith College Samuel Morse Howard M. and Martha P. Mitchell Professor Department of Art and the History of Art and Asian Languages and Civilizations Amherst College and Linda Muehlig Mobile Cabinets for Works on Paper Fall 2014 Clarence Kennedy Photographs Curated by Aprile Gallant curator of prints drawings and photographs Postmortem Photography Curated by Henriette Kets de Vries Cunningham Center manager Drawings by Edgar Degas Curated by Aprile Gallant Spring 2015 Henry Moore and Prometheus Curated by Margaret Kurkoski 12 Works on Paper by Edwin Romanzo Elmer 18501923 Curated by Aprile Gallant Cities in Transition Curated by Aprile Gallant Summer 2015 Now You See Me The Relationship between the Printed and Painted Portrait Curated by Janna Singer-Baefsky 15 Museums Concentrator Local Land and Cityscapes Curated by Aprile Gallant NAME OF SECTION Hundreds of pebbles in graduated sizes and precisely stacked in 18 rows on a wall- hung panel. A small white box covered inside and out with tiny drawings and domed objects ja ja ja ja and no no no no argue in three-dimensional handwriting on its surface with the words Joie joy and Nuit night standing in calligraphic relief. A glass window offers a view of the inside where opti- cal lenses magnify the minute mark-making of the artist. Visitors to the museum have long been drawn to these captivating works by Mary Bauermeister whose work in this country in the 1960s was featured in Mary Bauermeister The New York Decade. above Mary Bauermeister. German born 1934. Eighteen Rows196268. Sculpture. Pebbles and epoxy on linen-covered board. Gift of Dorothy C. Miller Mrs. Holger Cahill class of 1925 Programs featuring visiting artist Mary Bauermeister during her residency clockwise from top left docu- mentarian Johann Camut Smith President Kathleen McCartney and her husband William Hagen Smith College Relations staff at media preview visitors in the gallery Kate Soper assistant professor of Music Jessica Nicoll visitor Dean Berry Frazer Ward Jessica Higgins Allison Knowles and Jessica Nicoll performance with Kate Soper Linda Muehlig students of Kate Soper mu- sician Christopher Bartz the artist dusting her artwork 13 The New York Decade MARY BAUERMEISTER T his provocative exhibition presented the work of Ger- man artist Mary Bauermeister born 1934 during the time she lived and worked in the United States prin- cipally in New York City from 1962 to 1972. Featuring ve works from the museums collection with loans from private and public East Coast collections the show highlighted Bau- ermeisters signature optical lens boxes assemblages stone reliefs drawings and other works from this prolic period in her career. Thanks to the vision and dedication of Senior Cura- tor and Associate Director for Curatorial Affairs Linda Muehlig curator of the exhibition this was the rst Bauermeister show in this country in over 50 years and the rst monographic exhibi- tion organized by an American museum. In addition to seeing the inuential exhibition on view mem- bers of the museum community had the opportunity to meet with the artist herself during a week-long residency at SCMA organized by Taiga Ermansons associate educator. In March 2015 Bauermeister met with faculty local educators students and supportersboth formally and informallyto share her history creative process and passion. For details on Bauer- meisters residency please see page 14. Bauermeisters story is a fascinating one. Before she moved to New York her studio in Cologne served as a meeting place and stage for events by avant-garde artists and musicians in- cluding American composer John Cage choreographer Merce Cunningham Korean-born artist Nam June Paik and Karlheinz Stockhausen a seminal gure in electronic and serial music of the 20th century. Her rst major museum exhibition in 1962 at the Stedelijk Museum in Amsterdam was a joint project with Stockhausen Bauermeisters future husband. It was on the road from Amsterdam in 1961 that the two stopped in a small village where Bauermeister bought boxes of optical lenses at an antique shop. She experimented using them to magnify and distort objects in a glass-topped box. Filled with drawings objects optical lenses and the artists handwritten intuitive and often humorous words these boxes developed during her New York years to become Bauermeisters most im- portant body of work. Bauermeisters move to the United States was inspired by Robert Rauschenbergs combine Monogram a now famous sculptural assemblage of a taxidermied goat that she saw in an exhibition of American contemporary artists at the Stedelijk Museum. Like Rauschenberg Bauermeisters work was shaped by experimentation and the use of found objects. She believed that the American art scene offered more artistic freedom and opportunity than her native Germany. Her decision to relocate was met with almost immediate suc- cess. Within a year after her arrival she was signed by Gale- ria Bonino on 57th Street which became her principal gallery. Critics were fascinated by Bauermeisters glittering lens boxes though they struggled to place the work of this unique artist within a particular movement or aesthetic. Her artistic roots were in Europe both in the vanguard as well as in earlier traditions of modernism. Her use of the box links her with other artists of the time who worked in similar format but more as a means of artistic production rather than in conceptual terms. And while she incorporated color in her work in the latter half of the 1960s Bauermeister rejected what she saw as Pops misogyny. The artists self-described scribblingsthe punning rifng and intuitive texts that line the inner surfaces of her boxesare word plays uniquely her own part narrative and part visual acrobatics. To offer greater insight into Bauermeisters work the museum installed a special computer monitor-based zoomify program created by RBH Multimedia enabling visitors to explore the lay- ers of objects and drawings inside selected lens boxes. A listen- ing station with excerpts of Stockhausens music as well as a video montage of images from Bauermeisters time in New York enhanced the viewing experience. A beautifully designed scholarly catalogue with essays by Bauermeister specialist Kerstin Skrobanek art historian Liz Kotz and musicologistStockhausen scholar Paul V. Miller was produced in conjunction with the exhibition. The museum is deeply grateful to the agencies donors and lenders who made this project possible. In particular we are indebted to Fernanda Bonino who with her late husband Alfredo was Bauermeisters gallerist in New York. She provided insight recollections and loans of important works that had not been publicly displayed for many years. The exhibition was funded in part by The Andy Warhol Foundation for Visual Arts the National Endowment for the Arts the Massachusetts Cultural Council the Carlyn Steiner 67 and George Steiner Endowed Fund in honor of Joan Smith Koch the Suzannah J. Fabing Programs Fund for SCMA and the Publications and Research Fund SCMA. The museum is also grateful to the Smith College Music Department the Festival of Sound Space and the Smith College Ofce of College Relations for their sustained support and expertise. 14 Another highlight of Mary Bauermeisters residency was her reunion at the museum with the renowned Fluxusperformance artist Alison Knowles. Ms. Knowless daughter Jessica Higgins and son-in-law Joshua Selman also artists reside in western Massachusetts and arranged to reunite the longtime friends and fellow artists who hadnt seen one another in more than 50 years. MARY BAUERMEISTER RESIDENCY March 2330 2015 Mary Bauermeisters one-week visit to campus included a full and varied schedule of programs in conjunction with her exhibition. Organizers included Taiga Ermansons Gina Hall associate educator for school and family programs Charlene Shang Miller associate educator for academic programs Emma Cantrell Brown Post-Baccalaureate Fellow for Museum Education Margi Caplan membership and marketing director and Louise Martindell membership and donor coordinator. Among the highlights MEETING WITH LOCAL EDUCATORS SMITH CLASSES AND FACULTY Local elementary and high school teachers along with Smith students in Professor Susan Etheredges course Historical and Philosophical Perspectives and the Educative Process joined Bauermeister for a private gallery tour and conversa- tion. Educators used this opportunity to prepare for class visits to the exhibition. Smith College German Studies faculty led by department chairperson Joseph McVeigh met informally with Bauer- meister over coffee. The group then spent an hour together in the gallery discussing Bauermeisters work and formative years in post-WWII Germany. Artist and lecturer Sue Huang brought her students studying digital media to meet with Bauermeister and learn of her pioneering work. Bauermeisters friendship and collaboration with John Cage and Merce Cunningham was of particular interest to Assistant Professor of Dance Angie Hausers students in their study of dance and aesthetics. After their discussion Bauermeister was treated toand transxed bya dance performance by students in the exhibition space. Noted soprano and Assistant Professor of Music Kate Soper invited Bauermeister to speak to students in her courses Vocal Music and Composition about her perfor- mance art and collaborative work with composer Karlheinz Stockhausen. MARY BAUERMEISTER RESIDENCY Conversation between two artists and friends Mary Bauermeister and Alison Knowles with Knowless daughter Jessica Higgins fourth image from top top right Music performance led by Joseph Baldwin 15 LIST OF RESIDENCY PROGRAMS BY CATEGORY GALLERY TALKS FOR SELECT GROUPS Smith German Studies Faculty Local elementary and high school teachers and Smith students in the senior colloquium Historical and Philosophical Perspectives and the Educative Process EDC 340 Professor Susan Etheredge Education and Child Study Introduction to Digital Media ARS 162 Lecturer Sue Huang History and Aesthetics of Dance DAN 377 Assistant Professor of Dance Angie Hauser COURSE VISITS Seminar in Composition MUS 341 Assistant Professor of Music Kate Soper Vocal Music MUS250 Assistant Professor of Music Kate Soper PRIVATE LUNCH WITH STUDENTS SCMA interns SMEs SMAC Museums Concentrators art majors CONCERTS Co-presented by the Festival of Sound Space Smith College Music Department and SCMA The Music of Karlheinz Stockhausen Choral 1950 Chre fr Doris 3. Angus Dei Chamber Choir Joseph Baldwin conductor Klavierstck V Werk 4 1954 Judith Gordon solo piano In Freundschaft In Friendship Christopher Bartz saxophone Klavierstck IX Werk 4 1961 Liza Stepanova piano Gesang der Jnglinge Song of the Youths for multi-track tapes Werk 8 1955-56 Original Improvisation Mary Bauermeister distinguished guest artist Kate Soper soprano Zyklus Werk 9 1959 Ayano Kataoka percussion Hymnen electroacoustic work by Karlheinz Stockhausen facilitated by Gregory Brown founder and director of the Festival of Sound Space at Smith FILM Mary Bauermeister by Johann Camut followed by discussion between the lmmaker the artist and curator Linda Muehlig Student Museum Educators SMEs members of the Student Museum Advisory Council SMAC interns volunteers and students in the Museums Concentration course joined Bauermeister for a pizza lunch. She spoke of her unwavering commitment to art and how after high school she walked door-to-door to sell her paintings. She explained her generations desire to create a new art free from the traditions of Europe and urged students to follow their passions. MUSICAL PERFORMANCE Bauermeisters musicianship was highlighted in an improvisational duet with Kate Soper during a concert of Karlheinz Stockhausens work. Concert performers included Associate Professor of Music Judith Gordon Hiatt Visiting Professor in Piano Liza Stepanova and UMass Amherst senior lecturer and percussionist Ayano Kataoka. A concert presenting Hymnen a major electroacous- tic work by Karlheinz Stockhausen was facilitated by Gregory Brown founder and director of the Festival of Sound Space at Smith. The concerts were part of Smith ArtsFest 2015 and co-presented by the Festival of Sound Space Smith College Music Department and SCMA. FILM PRESENTATION AND QA The documentary lm Mary Bauermeister was shown one evening to a public audience with reserved seating for members. The lm focused on Bauermeisters early career. After the screening Bauermeister and lmmaker Johann Camut took questions from the audience. GALLERY TOUR AND DINNER Smith President Kathleen McCartney hosted a private tour and dinner to acknowledge the generosity of the museums leading donors and members Bauermeister exhibition lenders and sponsors who made possible the exhibition artist residency and related programs. 16 MAKING MEANINGFUL CONNECTIONS WITH ART S CMAs Education team works throughout the year to create meaningful encounters with art and the museum for a wide range of visitors. Through on- going outreach efforts we establish and enrich col- laborations with our campus and community partners. We experiment with different program models and hone and develop our own teaching practice. Additionally we part- ner on planning teams with other museum staff to create permanent gallery installations and exhibitions that engage visitors in deep looking and learning. In all of this we strive to be reective practitionerspaus- ing often to consider the needs and expectations of our audiences. Through research and discussion our denition of transformational learning in the museum continues to evolve. As we wrap up another year it is useful to look back at the experiences we have created for museum visitors and to consider them through the lens of some of the shared values that guide our work Slow Sustained We strive to create formal and informal experiences during which our audiences spend time look- ing thinking and talking at a pace that allows for close analysis and the sharing of ideas. Active Engaged We encourage experiential and active learning through hands-on activities and behind-the-scenes opportunities. Welcoming Empowering We aim to support our audi- ences in experiencing SCMA as a space where participants feel comfortable condent and connected. Open-ended Interdisciplinary We encourage our audi- ences to form their own interpretations and bring personal points of view to encounters with works of art. MAKING MEANINGFUL CONNECTIONS WITH ART Academic Programs Public Education 17 Smith faculty from various disciplines work with museum staff to integrate art from the museums collections and exhibitions into their coursework. Class visits engage students in the many ways of experienc- ing art provide models for teaching and learning with art and strengthen students visual and museum literacy skills. A few examples Students had the opportunity to research objects and think deeply about the formation of Smiths collection of American art in Art 260 Stud- ies in American Art Collecting American Art at Smith The Seelye-Tryon Era taught by John Davis Alice Pratt Brown Professor of Art. Professor of Art Dana Leibsohns course Art 292 Collecting the Past Art Artifact and Ancient America also conducted research and contributed to scholarship about objects in the collection. In German Studies 299 Exhibiting the Visual Art of Interwar Germany 19241940 Education Entertainment and Politics for the Masses taught by Joseph McVeigh professor of German Studies students considered issues of exhibition curation interpretation and design in discussions led by museum staff. Senior students in Dance 377 Advanced Studies in History and Aesthetics Cunningham Technique and Context engaged with artist Mary Bauermeis- ter which informed their performance of a work choreographed by Angie Hauser assistant professor of dance in the museums corridors and stairwell. Many First-Year Seminars and courses across departments such as Religion English French Studies Spanish Portuguese Anthropology History Environmental Science Policy School of Social Work and East Asian Studies continue to utilize the museums collections in engaging ways. SCMAs new and improved Teaching Gallery is dedicated primarily to the display of works of art in connection with a wide range of courses and programs of study. This gallery along with the Mellon Classroom provided space to bring out works of art from storage for courses such as Education 342 Growing Up American Adolescents and Their Educational Institutions with Carol Berner Lecturer in Education Child Study Chemistry 100 Perspectives in Chemistry The Chemistry of Art Objects with David Dempsey Associate Director for Museum Services and Elizabeth Jamieson Associate Professor of Chemistry Sociology 327 Seminar Global Migration in the 21st Century with Payal Banarjee Assistant Professor of Sociology American Studies 253 Native Literacies to 1880 with Christen Mucher Assistant Professor of American Studies Philosophy 233 Aesthetics with Nalini Bhushan Professor of Philosophy The Teaching Gallery also was the site for an installation of works in the collection focused on the theme of Veiling and a gallery discussion with interested faculty and museum members on the occasion of 20142015 William Allan Neilson Professor Sahar Amers lecture Muslim Women Veiling and Human Rights. opposite page student dancers in Angie Hausers class performing at the museum above top to bottom Payal Banarjee visiting the Cunningham Center with her class updated Teaching Gallery Students in the redesigned Teaching Gallery Slow Sustained Academic Engagement with the Collection Visits to the museum are fully incorpo- rated in two of my classes the First-Year Seminar Bollywood Matinee and the Global Migration Seminar. The museum staff has been instrumental and brilliant curating specic pieces from SCMAs col- lection to augment certain coursework devoted to a social understanding of our visual worlds. My students have had the opportunity to examine a number of dif- ferent artworks and reect on represen- tations of race religion gender class and migration. Payal Banarjee Assistant Professor of Sociology Smith College 18 MAKING MEANINGFUL CONNECTIONS WITH ART In its sixth year the Museums Concentration continues to provide students a foundation in the history of museums and the critical issues they engage and supports the study of material culture within a broad range of scholarly dis- ciplines. This esteemed academic program founded and directed by SCMA Director Jessica Nicoll and assisted by Charlene Shang Miller associate educator for academic programs allows students to explore areas of professional practice through meaningful connections with museums locally regionally nationally and internationally. MUX 118 The History and Critical Issues of Museums gate- way course featured Joaneath Spicer 65 The James A. Murnaghan Curator of Renaissance and Baroque Art at the Walters Art Museum who presented the lecture Digital Hu- manities and the Museum Lessons from the Walters Cham- ber of Wonders. In MUX 300 Museums Concentration Re- search Capstone Seminar seniors focused on the Clark Art Institute as a case study for considering physical transforma- tion aligned with mission culminating in a visit to the Clark for dialogue with director Michael Conforti. Students went on to complete their own research projects and presented at Smiths annual Celebrating Collaborations event. Nine students in the class of 2015 graduated with a con- centration in Museums. The Advisory Committee admitted 13 new students to the program this past year 2 in the class of 2016 11 in the class of 2017 for a total of 22 students. Museums Concentration students come from a variety of majors including Art Environmental Science Policy Anthropology Government American Studies Medieval Studies and Biochemistry. They continue to obtain practi- cal experiences in museum work as required by the pro- gram in places such as El Museo del Barrio Plimoth Plan- tation Real Jardn Botnico Juan Carlos I Pollock-Krasner House Study Center Philadelphia Museum of Art the Cloisters at the Metropolitan Museum of Art the Library of Congress Smithsonian Museum of Natural History and the Via Consolare Project Pompeii. Jessica Bacal Director of the Wurtele Center for Work Life continues guiding students through the process of reection to analyze synthesize and express what was learned in academic and out-of-classroom experiences. Workshops provided social context for reection and writ- ing as preparation for real-world creative collaboration and leadership. In addition students were supported in de- veloping professional networks applying for museum op- portunities and considering graduate studies. A program organized by Emma Cantrell Brown Post-Baccalaureate Fellow for Museum Education and Janice Schell assistant director of the Lazarus Center for Career Development connected students with Smith alumnae at New York City art institutions. Active Engaged The Museums Concentration 19 When I applied to Smith I did so with the hopes of joining the Museums Concentration. I was enticed by the ways in which I could shape this experience around my interestswhich were many. I found myself enrolling in art history classes that utilized SCMA as part of the curriculum. Art History was inherently interdisciplinary and afforded me the opportunity to study all my interests through the lens of visual culture. In conjunction with the concentration I now had a practical application for my academic interests. As a sophomore I worked as both a student assistant in the Cunningham Center for Prints Drawings and Photographs and as a volunteer Student Museum Educator. I also enrolled in an art conservation class. I found the curatorial experi- ence at the Cunningham Center to be most exhilarating and sought out study abroad opportunities that would allow me to further this interest. I applied to Smiths Smithsonian Program for the fall semes- ter of my junior year and was placed with the Curator of Graphic Arts at the National Museum of American History. During the semester I catalogued more than 400 prints from a collection of 18th-century European engravings. I went on to spend my spring semester at Oxfords Centre for Me- dieval and Renaissance Studies where I was able to study British printmaking techniques rst-hand. When I returned to Smith I returned to work in the Cun- ningham Center and coupled that with a job in the market- ing department as the Student Museum Advisory Council student chair. Drafting print and online marketing materials for SCMA I quickly found that marketing was overlapping with curatingboth were forms of visual public outreach. With the deadline for senior capstone proposals approach- ing I wanted my project to reect the paths I had taken. I proposed curated installed and promoted an exhibition of English printed portraits in SCMAs American and English portraiture gallery. The exhibition was a genre comparison across media allowing viewers to experience close up the ways in which printmaking depicted the qualities of paint- ings. As a culmination of my experiences interests and growth within the concentration my exhibition about portraiture was itself a portrait of my four years at Smith. Janna Singer-Baefsky 15 will begin a masters program in the History of Art at University College London in the fall of 2016. STUDENT PERSPECTIVE MUSEUMS CONCENTRATOR JANNA SINGER-BAEFSKY 15 top to bottom left to right Director Jessica Nicoll introduces Museums Concentration capstone presentations at Celebrating Collaborations spring 2015 Museums Concentrators on a eld trip to the Clark Muse- ums Concentrators retreat Tom Branchick director and conservator of paintings Williamstown Art Conservation Center meets in his lab with MUX 300 students Concentrators with Jessica Nicoll at the Clark SMITH 2015 GRADUATES WITH A CONCENTRATION IN MUSEUMS AND THEIR CAPSTONE PROJECTS Niyati Dave The Interdisciplinary College Art Museum Tess Frydman Broadening the Historical Narrative Programming for Freedoms Frontiers Summer Youth Camp Minchi Hyun Discovering Geometry through Art Hands-on Activities for Elementary Students Candace Kang A Reconstruction of Albert Pinkham Ryders Perrette Jiete Li Collecting Chinese Art at the Smith College Museum of Art Alexandra McKeever The History of Modern Fencing An Exhibition Proposal Hope Mowry Language Accessibility Proposal for the Smith College Museum of Art Maris Schwarz The 1980s and the Art of Disintegration Janna Singer-Baefsky Now You See Me Printed Portraits and the Relationship between Mezzotints and Oil Paintings MUSEUMS CONCENTRATION ADVISORY COMMITTEE Jessica Nicoll Museums Concentration Director Director and Louise Ines Doyle 34 Chief Curator SCMA Martin Antonetti Curator of Rare Books Smith College Libraries Rosetta Marantz Cohen Sylvia Dlugasch Bauman Professor of Education Child Study Director Smithsonian Program Director Kahn Liberal Arts Institute John Davis Alice Pratt Brown Professor of Art David Dempsey Associate Director for Museum Services SCMA Aprile Gallant Curator of Prints Drawings and Photographs SCMA Barbara Kellum Professor of Art Dana Leibsohn Priscilla Paine Van der Poel Professor of Art Maggie Lind Associate Director for Academic Programs and Public Education SCMA Richard Millington Professor of American Studies and English Language and Literature Kiki Smith Professor of Theatre Fraser Stables Associate Professor of Art Frazer Ward Associate Professor of Art 20 MAKING MEANINGFUL CONNECTIONS WITH ART Throughout the year SCMA welcomes groups of all ages to the museum for interactive guided tours of our per- manent collection and changing exhibition galleries. These conversation-driven learning experiences serve two important functions they provide valuable teach- ing practice for our Student Museum Educators SMEs and engage young visitors from the community with SCMAs own collection and the signicance of museums in general. The K12 school visit program embraces an inquiry-based philosophy incorporating facilitation strategies that focus less on the content itself and more on how we construct meaning and interpret works of art. SMEs employ a va- riety of methods to engage students including observa- tional drawing gallery games movement and written text in addition to dynamic questioning tactics like Visual Thinking Strategies. Each tour is customized to meet the needs of each school group and aligned to State content and Common Core Standards. Teachers are asked to share their learning objectives and potential curriculum connections and to- gether we make sure the visit is as relevant educational and enjoyable as possible. Professional development is offered to schools and districts inviting educators to learn more about the important role of art in educa- tion and SCMA as a local resource for their teaching. The ongoing partnership with the neighboring Smith College Campus School continues to be strong with regular class visits throughout the school year. SCMA also served as the site for a new elective course as part of the schools June Program. This month-long course provided plenty of time to look and talk about art in the galleries as well as sustained art-making opportunities. As part of SCMAs efforts to increase accessibility to and appreciation for the museum and its many offerings we were pleased to host the rst parent program in coop- eration with the Fort Hill Early Childhood Education Cen- ter. More than 50 children and their grown-ups gathered for a playful learning experience led by two professional museum educators and moms SCMAs Gina Hall and Fort Hill parent Elizabeth Molina. The goal was to provide an introduction to the museum and to demystify it through hands-on minds-on activities such as movement games and read-alouds. Welcoming Empowering Our Youngest Audiences 21 Most of my students had never been to a museum. They were amazed at the variety of art and technique from sculptural gures to how skin and hair is rendered on oil portraits. Our students absorbed so much. In the larger lifelong picture we have exposed young minds to the real creativity and expressive thoughts of world-renowned artists. Holland Hoagland Department of English Pathnder Regional Vocational Technical High School Palmer MA left to right top to bottom Visitor studying reinstalled Diego Rivera fresco young visitors view art students draw- ing and relaxing in a gallery Gina Hall leads a Teacher Work- shop in the Bauermeister exhibition SME-led gallery tour Smith College Campus School students at work Art careful observation and conversations about art infuse life here at the Smith College Campus School. Our partner- ship with SCMA educators is a source of ongoing curriculum creativity as we de- velop projects that utilize the collection to advance the thinking and imagination of our students. Gina Hall and her staff work with our teachers so that when children arrive at SCMA the museum feels like an extension of our classrooms. Sam Intrator Head of School Smith College Campus School and Professor Department of Education Child Study Smith College 22 MAKING MEANINGFUL CONNECTIONS WITH ART Smith faculty members are key collaborators and advisors for our work at the museum. We strive to support them as teachers scholars and intellectually curious lifelong learn- ers. In our work with faculty we introduce opportunities for open investigation in the museum that cut across dis- ciplines. This year we offered several key programs for this specic audience. In September 2014 we welcomed colleagues from across the Smith campus for a rst look at SCMAs newly installed second and third oor galleries. Linda Muehlig associate director for curatorial affairs and senior curator of painting and sculpture introduced the new installation of paintings by Edgar Degas placing it in the context of the third oors overarching theme of Tradition and Transformation. Maggie Lind associate director for academic programs and public education shared the interpretive philosophy informing the new gallery layout and engaged attendees in their own close-looking encounter with a work of art. A Teaching Arts Luncheon Refreshed Revised and Re- interpreted The New Permanent Collection Galleries at SCMA created in conjunction with the Sherrerd Center for Teaching and Learning took place on November 14 2014. The event provided an introduction to the galler- ies as key resources for teaching across disciplines and identied basic conceptual and practical approaches to teaching with art. As part of this Maggie Lind engaged the faculty in an open dialogue about a work from the col- lection and demonstrated how object-based teaching can be integrated into course discussion. Excavating the Image is an annual collaboration between the Kahn Liberal Arts Institute and SCMA and focuses on a single work of art from the collection as the centerpiece for a two-day cross-disciplinary investigation. Faculty from a range of departments observe the work hear from experts who offer layers of contextual information and follow the conversation where it takes them. This years program featured the work of Martha Wilson and the artist herself joined the group as both participant and presenter. This popular colloquium is a wonderful demon- stration of the power of perspective when investigating art and how different points of view combine to inform and enrich exploration. Open-ended Interdisciplinary Faculty Programs What is the critical value of the Humanities in a liberal arts education Spend one day in an Excavating the Image project and you will un- derstand. Deep engagement with faculty across all three divisions around a single work of art can be truly transformative. You come away feeling moved and changed and inclined to look at all art there- after in new ways. The night after the project I dreamed I had painted the work myselfthats how intimately I came to know and love the image Rosetta Marantz Cohen Sylvia Dlugasch Bauman Professor of Education Child Study Director Smithsonian Program Director Kahn Liberal Arts Institute Smith College 23 From March to May 2015 I was invited to serve as the Metropolitan Museum of Arts annual fellow for museum education and public practice. I proposed to research and develop new models for connecting this large public museum more directly with college and university learning by introducing new strategies for faculty engagement. At the Met relationships certainly already exist with the academic community. But I saw the potential for growth in exploring how the museum could build deeper relationships rst with faculty as teachers and then with students as learners. While most public museums have structures in place to support K12 educators they typically dont have educa- tion staff whose role is to specically support university faculty in their teaching. Over the past several decades academic museums like SCMA have introduced a new professional role the academic liaison. This position is a dedicated entry-point for faculty to the museums resources. At SCMA it is a role currently held by Charlene Shang Miller under the title of associate educator for academic programs. Addition- ally other departments and staff members at the museum contribute in an ongoing way toward faculty outreach efforts. These activities served as a model for two pilot programs I offered at the Met I partnered with two Centers for Faculty Development The Academic Center for Excellence in Research and Teaching at Hunter College and The Center for Excellence in Teaching at the Fashion Institute of Technology to offer a focused workshop on teaching with art across disciplines. I hosted a Faculty Dialogue at the Met that brought together 14 faculty members from across a range of disciplines and institutions to spend an afternoon focused on deep conversation about a single work in the museums collection. Exploring the work we do at SCMA within a new context was really informative. I was pushed to re-articulate the value of cross-disciplinary faculty outreach concluding that these efforts are not just about break- ing down intellectual boundariesthey have the potential to empower full access to the museum for more diverse audiences by creating new entry points for experiencing art. Maggie Lind is Associate Director for Academic Programs and Public Education SCMA Spotlight The Tryon Prizes for Writing and Art In 1995 SCMA established a student prize for outstanding writing related to art seen at the museum. In 2007 a prize for studio art in new media was added. Both prizes were named for the painter Dwight W. Tryon who taught at Smith from 1886 to 1923. Tryons bequest established the Tryon Art Gallery which was the forerunner of todays museum. Each year an anonymous jury of faculty led by the SCMA director reviews the prize applicants. In 2015 the top prize in writ- ing was given to Candace Kang 15 who examined SCMAs inaugural collection of American art and an early episode of de- accessioning in her essay Formation of the Smith College Museum of Art Collec- tion and Its Relationship with Department Stores. Freda Epum 15 received the top prize in art for her video installation and perfor- mance piece Wet Cloud Series Diary of a Shy Girl and the Emancipation of the Wet Cloud. Freda addressed the ideas of self-perception collective memory and queering of archival material. STAFF PERSPECTIVE A FELLOWSHIP AT THE MET top to bottom left to right Amherst College Professor Rowland Abiodun in conversation at Fall Faculty Preview Linda Muehlig leads a Members program Smith Faculty Preview of redesigned African art gallery professors Barbara Kellum and Frazer Ward participated in the Excavating the Image colloquium winter 2015 artist Martha Wilson and Jessica Nicoll in conversation at the Excavating the Image colloquium Maggie Lind leads a faculty group discussion at the Met 24 COMMUNITY STUDENT PROGRAMS EVENTS T he museum offers a wide array of com- munity and student programs and events designed to engage educate inform and delight. These include Second Fridays a monthly event when the museum is free for all from 4 p.m. to 8 p.m. as part of Northamp- tons Arts Night Out visitors of all ages are invited to participate in hands-on art-making that relates to the current exhibitions and collection. Activities empha- size process over product and encourage personal exploration and creativity. Last years highlights in- cluded mask making based on Diego Riveras fresco of an Aztec Jaguar warrior and model drawing with students from Smiths dance department posing as Edgar Degass ballet dancers. Smith student volun- teers are essential partners in this monthly program serving as hands-on helpers as well as inspiration for our participants. Second Fridays also feature Open Eyes an infor- mal gallery conversation led by a museum educa- tor and focused on one work of art. Visitors are in- vited to expand their thinking and interpretation of art by closely observing and sharing what they see. Whether they come once or return on a regular ba- sis attendees enjoy the opportunity to deepen their connection to the collection. As one visitor said af- ter hearing several people speak about an abstract print by Richard Diebenkorn I cant believe how differently I now see this work. In addition to Second Fridays SCMA was pleased to host two free Family Days full and dynamic afternoons of programming featuring visual and performing arts activities facilitated by volunteer Student Museum Educators SMEs. In November 2014 attendees of all ages enjoyed a day of collaborative storytelling and bookmaking inspired by global tales and works of art on view the Wailing Banshees Smiths Celtic music ensemble provided a soundtrack for the fun. And in March 2015 participants were treated to a day of artistic expression and reection inspired by the experimental use of found and natural objects in the assemblages of Mary Bauermeister. COMMUNITY STUDENT PROGRAMS EVENTS 25 12th Annual Miller Lecture in Art and Art History October 21 2014 Smith was pleased to welcome Anne Pasternak president and artistic director of Creative Time to present the 2014 Miller Lecture Artists Creating Change. An innovative leader in the eld of pub- lic art Pasternak spoke of the evolution of Creative Timethe organization known for presenting major art commissions in unconventional spacesand the role of artists as agents for social change. Pasternaks day on campus including one-on-one studio critiques with senior art majors as well as a QA session with students. Pasternak a graduate of UMass Amherst became the new director of the Brooklyn Museum in 2015. Night at Your Museum February 20 2015 A record 1100 Smith students braved below- zero temperatures to attend this annual after-hours celebration of the museum nearly doubling last years attendance. Taking inspiration from the 1960s art world vibe of Mary Bauermeister The New York Decade students in vintage cocktail at- tire posed for Polaroids and enjoyed live music from the Smith College Jazz Ensemble and a cap- pella group The Smith College Smithereens. This event was made possible by tremendous support from Student Museum Advisory Council and SME volunteers who welcomed their peers from across campus for a festive evening of art and celebration. opposite page clockwise Visitors at Family Day and Second Friday programs and Smith students at Night at Your Museum this page clockwise Students at Night at Your Museum Miller Lecturer Anne Pasternak Gina Hall leading a Second Friday gallery con- versation Smithereens performing at the museum Night at Your Museum organizers Janna Singer-Baefsky15 Emma Cantrell and Madison Barker 15 Second Friday programs MEMBERS EXTRAS September 4 2014 Student Members Gathering September 12 2014 First Look at the Reinstalled Galleries with Jessica Nicoll and Linda Muehlig October 1 2014 Exhibition Preview of Tara Donovan Moir with Linda Muehlig November 8 2014 Bus trip to New York City and the IFPDA Print Fair part of Members Month November 2023 2014 Members Double Discount Days at the Museum Shop part of Members Month December 11 2014 Gallery Talk of Bow Down plus Cunningham Center visit with Margaret Kurkoski 12 January 29 2015 Exhibition Preview of Mary Bauermeister The New York Decade with Linda Muehlig February 26 2015 She Loves Me She Loves Me Not Love and Romance in the Museums Collection with Charlene Shang Miller April 23 2015 Drawing to Look Closely with Emma Cantrell ASSOCIATES PROGRAMS September 30 2014 Directors Associate Salon with Professor John Davis at the home of Janice Oresman 55 January 21 2015 The Metropolitan Museum of Art Exhibition Tour of Cubism The Leonard A. Lauder Collection with Rebecca Rabinow 88 June 1820 2015 Associates Trip to the Berkshires Museum members also receive reserved seating at select lectures and lms throughout the year. For a complete list of Members programs please visit smith.eduartmuseumMembership-Matters. MEMBERSHIP PROGRAM HIGHLIGHTS from the past year include 27 MEMBERSHIP MATTERS clockwise from top left Taiga Ermansons leads a Members program Associates Trip to Mass MoCA Members drawing program Janice Oresman 55 during Associates Trip to Mass MoCA Museum Shop visitors Associates Trip to the Williamstown Art Conservation Center Members exhibition preview T hanks to the dedication and generosity of our members who make all that we do possible SCMA offers a wide range of inspiring en- riching and engaging exhibitions and public programs. Each month members are invited to attend at least one programand often more than one created especially for them by the museums Member- ship department and led by a curator faculty member museum educator or membership staff member. Directors Associates fund the directors priority initiatives from pilot programs to art purchases. Among the many things made possible by this group this year was the completion of the gallery renova- tions and an inaugural acquisition. Montmartre Cab- aret rue St. Rustique by the French photographer Eugne Atget 18571927 was on view in the win- ter and spring of 2015 in one of the custom mobile cabinets for works on paper. Tryon Associates fund the museums core initiatives including exhibitions programs and special projects. This year they provided vital support in the areas of stafng administration acquisitions shipping and re- search. Contemporary Associates fund purchases of contemporary art for the museums permanent collection. This year they helped fund the purchase of Korean artist Kimsoojas A Beggar WomanCairo. This piece was the inaugural work shown in the mu- seums Video New Media Gallery. More about this art work can be found on pages 3839. Members at the StudentPatron Levels provide essential general operating support for programs such as free Second Fridays for school bus subsidies and for website maintenance. Generous annual giving support from members enabled us to successfully complete the Gallery Redesign Project. This transformation allows our visi- tors students faculty alumnae museum and com- munity members and K12 teachers and classesto see beloved works in a new light and offers innovative ways to experience and interact with SCMAs extraor- dinary collection. The 2015 Annual Appeal supported the renovation of the changing exhibition gallery on the rst oor a redesign of a gallery dedicated to the display of African art on the third oor a complete reorganization of the lower level space to accommo- date the new Asian art gallery and Video New Media Gallery reinstallation of the 40-foot Frank Stella painting Damascus Gate Variation III and completion of the comprehensive new waynding system. SCMA continues to see the value of our updated integrated membership program which places the emphasis on impact over perks and provides levels of engagement that reect the signicant ways our community of members supports and sustains the work of the museum. 28 MEMBERSHIP DIRECTORS ASSOCIATES Jane Carroll 53 and Leo Arnaboldi Joan Lebold Cohen 54 and Jerome A. Cohen Peggy Danziger 62 and Richard M. Danziger Valerie Diker 59 and Charles Diker Catherine Freedberg 64 Jan Golann 71 Susanne Grousbeck 58 Janet Ketcham 53 Peggy Liu 80 Eliot Nolen 54 and Wilson Nolen Janice Oresman 55 Betty Sams 57 Louisa Sarom 58 Sharmila Sinha 88 and Ravi Sinha Anita Wien 62 TRYON ASSOCIATES Elsie Aidinoff 53 and M. Bernard Aidinoff Elizabeth Anderson 84 and Joanne Anderson 53 Patricia Ashton 53 Elizabeth Cuthbert 64 Christina Eldridge 53 Georgianna Erskine 54 Elizabeth Eveillard 69 and Jean-Marie Eveillard Nancy Fessenden 50 and Hart Fessenden Margot Freedman 62 Rebecca Humphrey 48 Eileen Jachym 75 and Peter Jachym Ann Kaplan 67 Elizabeth Kelsey 55 and Thomas Kelsey Sarah Leahy 54 and Richard Leahy Margot Linton 52 and Robert Linton Marilyn Lummis 54 Ann Mandel 53 Mary Newman 61 and Fredric S. Newman Diane Nixon 57 Susan Rose 63 Bonnie Sacerdote 64 Joan Schuman 62 Ann Solomon 59 and Richard Solomon Roberta Sommers 64 and Jeffrey Sommers Carlyn Steiner 67 Ellen Strickler 57 and Daniel Strickler Judith Targan 53 Judy Tenney 49 Joyce Thurmer 52 Jane Timken 64 Ann Wales 57 Roberta Weinstein 67 and David Weinstein Melissa Wells 93 Elsie Wheeler 54 Martha Wright 60 Margaret Wurtele 67 CONTEMPORARY ASSOCIATES Cathy Carron 79 and Andrew Carron Julie Cho 94 Susan Cohen 62 Ann Collier 55 and Marvin Collier Sara Crawley Wendy Cromwell 86 Nancy de La Selle 69 Emily Marks 59 and Burton Marks Lisa Marks 84 Joan and Lucio Noto Janice Oresman 55 Carol Sirot 54 Amy Weinberg 82 MEMBERS Contributor and above AnnaMaria Abernathy 50 and Frederick Abernathy Megan Adamson 75 in memory of Victoria McCarthy 75 and Margaret Walsh 75 Joe Ambessi Mary Anderson and Harry Anderson Evangelia Antonakos 97 Alison Awes 95 Susan Baker 79 Kathleen Balun 72 Susan Barr 94 Dee Bates Mary Beck 56 Sarah Bellrichard 94 Maria Benet 79 Louise Bessire 58 Edith Bingham 55 Nancy Bissell 61 Barbara Blumenthal 75 Andrea Bonn 73 and John Bonn Lane Boswell-Franz 65 Nancy Bradbury 74 and Scott Bradbury Erika Brewer 86 and William Brewer Anne Brown 62 Linda Bruemmer 73 Lle Burk 64 and Carl Burk Janet Bush and Booker Bush Brookes Byrd 65 Edith Byron and Frederick Byron Elizabeth Caine and Thomas Caine Ann Caplan and Jeffrey Caplan Judith Carroll 74 Eunice Chambers 77 Ailyna Chen and Brian Yarrington Carol Christ DeeDee Clendenning 97 Jennifer Connolly 73 Alethea Cono 98 Priscilla Cunningham 58 Deborah Cushman 77 Mary Dangremond 76 Mary Davis 64 Robert Delaney in memory of M. Quinn Delaney 50 Karen Desrosiers and Greg Desrosiers Edith Dinneen 69 in memory of Edith Dinneen 27 Donna Donaghy 59 Patricia Dube 49 Deborah Duncan 77 Elizabeth Enders Erika Enger 86 Rebecca Evans and Richard Evans Suzannah Fabing and James Muspratt Heather Finan 90 Jane Fogg 54 Carol Franklin 75 Ruth Friendly 45 Helen Gabriel 48 Nancy Gage-Lindner 80 Martha Galley 79 Vanessa Gates-Elston 02 Barbara Gervais 66 Sarah Given 48 Thelma Golden 87 Alice Goldman 62 Margery Goldman 71 Kathy Goos and Barry Werth Elizabeth Graham 79 and George Graham Natalie Graham 49 Autumn Green 03 Janet Grifn 73 Sally Griggs and Alfred Griggs Barbara Grossman 69 in honor of Shirley Grossman 43 Elizabeth Guthman 60 Margaret Guyer 90 Laurel Haarlow 88 Timi Hallem 68 Eszter Hargittai 96 Nancy Harvin 80 Gail Hecht 58 and Harvey Hecht Yoohee Heo Sarah Hill in memory of Charlotte Martin 33 Susan Hill 63 and Max Hill Ann Hilliard 59 Mary Hinds 76 Ann Hirschhorn 55 Anna Hogan 66 in memory of Jeanne Shearer 66 Barbara Jakobson 54 Marianne Jasmine 85 Catherine Jenkins 96 Susan John 89 MUSEUM MEMBERS Members support and sustain excellence in teaching and learning with art. We thank those who connect with the museum in meaningful ways and provide essential support. All gifts were received July 1 2014June 30 2015. 29 Ann Jones and Peter Stallybrass Barbara Judge 46 in memory of Lyn Corbett 74 Wendy Kaminer 71 Alice Kaplan 58 Nancy Kelly 56 Eleanor King 40 in memory of Edith Dinneen 27 Elizabeth Kinney 57 Ruth Kohler 63 Alison Kriviskey 67 and Bruce Kriviskey Sherry La Macchia 65 Rosemary Laporte 03 Phyllis Lavine 87 and Jeffrey Lavine Louise Lazare 57 and Aaron Lazare Jennifer Levy 76 in honor of Ruth Gold 49 Susan Lindenauer 61 and Arthur Lindenauer Wendy Loges 65 Christopher Loring Amy Louie 85 Heather Macchi 93 Sarah MacCullough 80 and Glenn MacCullough Susan Mace 60 in memory of Sybil Baris and Ruth Wanger 60 Patricia Mail 65 in memory of Constance Mail 30 Claire Mansur 76 Gwen Mattleman 77 Sally Mayer 79 Elizabeth Mayor 57 Kathleen McCartney Suzanne McCullagh 73 and Grant McCullagh Aileen Meyer 70 Rachel Moore and Harry Dodson in honor of Jessica Nicoll 83 Stephanie Mudick 76 Megan Mulvihill 90 Joanne Murphy 82 Sybil Nadel 57 Mary Newman 50 Lisa Novick 89 Judy Oberlander 78 Nancy OBoyle 52 Kate OBrian 80 Maureen OBrien 54 Deidre OFlaherty 70 Francis Osborn Marcia Osborn 53 Alison Overseth 80 Pamela Paddock 82 Elizabeth Parker 76 Elisabeth Pendleton 62 Ellen Perl 77 Mary Pinney 58 in memory of Helen Damiano 32 Patricia Pratt 51 Paola Prins 86 Susan Proctor 68 Barbara Quilty 75 Beth Raffeld and Philip Khoury Elizabeth Rajam Sally Rand 47 Janet Rassweiler 80 Nicole Rendahl 93 Carolyn Richmond 60 and Chris Ellis Alice Robbins and Walter Denny Letitia Roberts 64 Mary Roberts 60 and Donald Roberts Sophia Romeu and Warren Savage Elisabeth Roos 80 Phyllis Rosser 56 Elizabeth Rowe 59 Rita Saltz 60 Samuel Samuels Ann Sanford 75 Dorothy Sawyer 55 Ann Schaechner 52 Cathy Schoen 70 Susan Seamans 70 Jane Shang 82 and Paul Shang Adrian Shelby 55 and Edward Bindel Mary Siano and Alfred Siano Susan Small 48 Ann Solomon 59 and Richard Solomon Cynthia Sommer 75 and Andrew Balder Julia Sone 86 Estelle Sosland 46 and Morton Sosland Joy Spill 80 Joanna Sternberg 91 Gretchen Swibold and Richard Swibold Audrey Tanner 91 Lois Thompson 66 Lucy Tittmann 53 Barbara Townsend 74 in memory of Lyn Corbett 74 Regina Tracy Lee Traub 47 Sally Troyer 56 Sandra Tullius 84 Ruth Turner 46 Abigail Van Slyck 81 and Mitchell Favreau Anne Vernon 53 and Jack Vernon Barbara Waite 56 Leah Walker 99 in memory of Roselle Hoffmaster 98 and in honor of Alice Smith Janet Wallstein 71 Kalle Weeks 67 Vera Weintraub 65 in memory of Harriet Tarkiainen 65 C. Ann Welsh 76 Noreen White 79 Susan Whitman 93 Kathryn Wiener 50 Lisa Wiese 78 Anne Williams 65 Heather Winters 81 Marsha Wiseheart 60 in memory of Patricia Jefferies 60 Andrea Wolfman 75 Toni Wolfman 64 Kathryn Wood 86 Martha Wood 69 Amy Worthen 67 Jennifer Yen 95 Karen Zens 71 MATCHING GIFTS Boeing Company Gift Match Program Silicon Valley Community Foundation Wells Fargo Foundation Additional information on membership opportunities is available online smith.eduartmuseumMembership-Matters. top to bottom left to right Drawing in the gallery Directors Associates Salon Gallery Redesign Project Preview hosted by Jessica Nicoll Cunningham Center talk 30 ADVISORY GROUPSGIFTS TO THE MUSEUM MUSEUM VISITING COMMITTEE as of June 30 2015 The Museum Visiting Committee is an advisory body whose members appointed to three-year terms by the president of the college provide leadership in strengthening the museums base of nancial support and its collections estab- lishing museum policies and representing the interests of SCMA to the broader community. Jan Golann 71 Chair Susan Brundage 71 Nominations Chair Jane Carroll 53 Victoria Chan-Palay 65 Joan Lebold Cohen 54 Marilyn Cohen 68 Wendy Cromwell 86 Nancy de La Selle 69 Thelma Golden 87 Susanne Grousbeck 58 Janet Ketcham 53 Sarah Leahy 54 Ellen Lee 71 Julia Meech 63 Eliot Nolen 54 Janice Oresman 55 Rebecca Rabinow 88 Acquisitions Committee Chair Betty Sams 57 Louisa Sarom 58 Mona Sinha 88 Ann Solomon 59 Judith Targan 53 Jane Timken 64 Melissa Wells 93 Associates Chair Anita Wien 62 Amy Worthen 67 Martha Wright 60 ASIAN ART TASK FORCE as of June 30 2015 The museums Asian Art Task Force is an advisory body whose members include alum- nae and faculty with expertise in Asian art and studies who are instrumental in nurturing a strong program in Asian art at SCMA by building nancial support and advising on exhibitions acquisitions and programming. Joan Lebold Cohen 54 Chair Patricia Beckwith 68 Stephen Beckwith Nancy Blume 61 Jane Carroll 53 Victoria Chan-Palay 65 Ying Chua 95 Peggy Danziger 62 Nancy Fessenden 50 Joan Jacobson 47 Jean Kim 90 Wan Kim 60 Alix Laager 80 Sally Leahy 54 Julia Meech 63 Yamini Mehta 93 Samuel Morse Professor History of Art and Asian Languages and Civilizations Amherst College Jessica Nicoll 83 Ann Niehoff 75 Eliot Nolen 54 Janice Oresman 55 Tom Rohlich Professor Emeritus East Asian Languages and Literatures Smith College Betty Sams 57 Louisa Sarom 58 Mona Sinha 88 Ann Solomon 59 Carlyn Steiner 67 Hilary Tolman 87 Martha Wright 60 Sujane Wu Associate Professor East Asian Languages and Literatures Smith College ADVISORY GROUPS clockwise from top left Previous SCMA Director Suzannah Fabing with eighth Smith President Mary Maples Dunn Susan Brundage 71 and Judith Targan 53 Betty Eveillard 69 and Janice Oresman 55 William Hagen and Richard Danziger guests at Christ Gallery dedication festivities Mona Sinha 88 and Joan Lebold Cohen 54 Jane Harmon 66 and Carol Christ 31 All gifts were made during the 2015 scal year July 1 2014June 30 2015. Grants listed were awarded or supported current projects during that period. Every effort has been made to ac- curately report donors. ANNUAL APPEAL SCMAS COLLECTION GALLERY REDESIGN PHASE II The museum thanks the following donors who gave gifts of 1000 or more to support rein- stalled and reimagined galleries that will allow our visitors to see beloved works in a new light and offer innovative ways to experience and interact with the extraordinary art treasured by so many. Elizabeth Boeckman 54 Cathy Carron 79 Joan Lebold Cohen 54 Elizabeth Ireland 79 and George Ireland Sarah Leahy 54 Peggy Liu 80 Alison Rooney 87 Bonnie Sacerdote 64 Carol Sirot 54 ASIAN ART INITIATIVES The museum thanks the following donors who made contributions of 500 or more to support the museums Asian Art Initiatives including strengthening its Asian art collection mount- ing exhibitions and educational programs and establishing the Jane Chace Carroll Curator of Asian Art position and Carol T. Christ Gallery for Asian Art in honor of Carol Christ the 10th president of Smith College Jung Koo An Jane Carroll 53 Peggy Danziger 62 in honor of Sam Morse Nancy Fessenden 50 in honor of Sam Morse Ae Young Han Korea Foundation Youngse Kwon Sarah Leahy 54 in honor of Sam Morse Ann Niehoff 75 Eliot Nolen 54 Jeehye Yu MATCHING GIFT ExxonMobil Foundation GIFTS OF FUNDS FOR OTHER PURPOSES The museum thanks donors of gifts of 500 or more who support SCMA mission-centered activities including academic programs and collections care and development Laura Brounstein 84 in memory of Jacqueline Proner 83 Joan Curhan 59 in memory of Muriel Pokross 34 Jan Golann 71 Margot Linton 52 Herbert Lust Bonnie Sacerdote 64 Betty Sams 57 Dorothy Sumner 57 GRANT SUPPORT The Andrew W. Mellon Foundation The Andy Warhol Foundation for the Visual Arts Inc. Art Mentor Foundation Lucerne The Brown Foundation Inc. of Houston E. Rhodes and Leona B. Carpenter Foundation Institute of Museum and Library Services International Fine Print Dealers Association Massachusetts Cultural Council a State Agency National Endowment for the Arts The Sumitomo Foundation BEQUESTS Susan Cumming 67 Estate of Margo Lamb 56 GIFTS TO THE MUSEUM clockwise from top left Betty Eveillard 69 with Diane Nixon 57 Peggy Danziger 62 and Richard Danziger Eliot Nolen 54 and Jane Carroll 53 with Yao Wu and Jessica Nicoll 83 Joan Lebold Cohen 54 Julia Meech 63 and Richard Danziger Richard and Sarah Leahy 54 Christ Gallery dedication ceremony 32 ACQUISITIONS American painter and businessman Lockwood de Forest was widely traveled in this country and abroad. And like the artist his Ramesseum at Thebes had a remarkable journey as well. Ramesseum at Thebes was painted following de Forests rst trip to Egypt in 18751876 and was one of several works created in his studio using oil sketches drawings and profes- sional and personal photographs from his travels. It features the hypostyle of the mortuary temple of Ramesses II 13th century B.C.E with the fallen colossus of the pharaoh in the background an example of orientalist art developed in the 19th century and characterized by Westerners depicting exotic scenes from the East and Middle East. This genre had been missing from Smiths holdings and lling that gap in the col- lection has been a longstanding goal. In an interesting twist SCMAs acquisition represents a home- coming for the painting Ramesseum at Thebes was one of several works originally purchased in 1879 by Smiths founding president L. Clark Seelye and installed in College Hall. In the 1940s however some 100 paintings from Smiths collection including this onewere deemed unimportant and deacces- sioned leaving the fate of de Forests work of art unknown. In fall 2013 Jessica Nicoll and Alice Pratt Brown Profes- sor John Davis together with research assistant Samantha Page 17 began a two-year research project to track down those works. Page discovered a document in the archives about a 1942 sale of 15 paintings to a dealer in Pittsburgh for 150. When Davis looked at the list de Forests name caught his eye as he knew the artist was among Seelyes earliest ac- quisitions he also knew that one of de Forests large canvases was for sale at a New York City gallery. When it was conrmed SCMAs collection rooted in original works of American and European art features works of high quality while recognizing the instructional value of preparatory studies and unnished pieces that reveal an art- ists process. During the last decade the museums collecting plan has signicantly expanded to include African Islamic and Asian art to support the colleges global curriculum. We are pleased to highlight here some of our most recent acquisitions. Lockwood de Forest A Homecoming ACQUISITIONS 33 that the painting was the one once owned by Smith the museum immediately moved to acquire it. No single photograph had been associated with de Forests painting of the Ramesseum until the museum initiated a purchase review of the canvas. In the course of her research Cunningham Center man- ager Henriette Kets de Vries discovered an image by French photog- rapher Henri Bchard that except for a few minor details was the same composition. At the time of de Forests visit to Egypt Bchard was operating a photographic studio in Cairo from which he sold standard tourist views. De Forests painting differs from the Bchard photograph only in the number of gures two in the painting three in the photograph and in the elimination of a leaning column visible in the photograph in the far background. In virtually every other as- pect the painting matches the photograph including the cast shad- ows on the ground and the shapes made by the sunlit columns on the left. Following this discovery the museum worked to acquire the photograph in addition to the painting. Recovering these works allows us to represent a little bit more of what the original comprehensive collection of American art was like says Davis. Ramesseum at Thebes will remain on view through July 2016 on the third oor of the museum in a changing installation of related works to place it in historical and aesthetic context. The installation was co-curated by Diana Wolfe Larkin an independent art historian specializing in ancient Egyptian art and Alex Dika Seg- german Five College Mellon Post-Doctoral fellow teaching courses on Islamic art and architecture at Smith this year. For more on this paintings fascinating history and homecoming please visit www.smith.eduinsightstoriesramesseum.php. STUDENT PERSPECTIVE STRIDE SCHOLAR SAMANTHA PAGE 17 The summer before my rst year of college is when I began to consider working in a museum as a potential career path. Now two years later a diverse array of experiences working and studying in museums allow me to continue considering the eld of museum work in light of more nuanced and personal understandings. I entered Smith as a STRIDE Scholar fortunate to receive the opportunity to begin my college career with two years of undergraduate research. My assignment was to work with Jessica Nicoll and that September we embarked on a project focused on the de- accessioning of works of art from SCMAs American collec- tion in the 1940s. This project opened my eyes to a world of research history and art deepening my appreciation of SCMA and art museums in general. My research on paintings by Childe Hassam Thomas Wilmer Dewing and William Merritt Chase inspired me to take Professor John Daviss class on American Art History from the Civil War to the Modern Era which provided me with the academic background that further enhanced my research. This combination of class work and project work helped me come to understand arts power to reveal deep com- plicated histories and I was inspired to declare a major in American Studies with a minor in Art History. I also am part of Smiths Museums Concentration another avenue to marry academics with practical experience. Aside from my object-based research at SCMA I have begun exploring the role of education in museums. During the summer of 2014 I interned at the Zimmer Childrens Museum in Los Angeles and I spent last summer in the Education Depart- ment at the Philadelphia Museum of Art. I am looking forward to my junior year interning at the National Portrait Gallery in Washington D.C. as part of the Smithsonian Program and studying abroad in Crdoba Spain where I plan to take advantage of the local and regional historical and cultural resources. As I embark on these new experiences I am well aware that my time at SCMA working independently discussing aspects of the museum and its collection in classes and learning from students and staff who share this space has prepared me to make the most of my new settings and surroundings. I am excited to take the tools I have gained from my time at SCMA and apply them to new projects knowing that when I return to Smith for my senior year my opportunities to synthesize my new knowledge and experiences will be boundless. Henri Bchard. French active 1869late 1880s Thebes Temple of the Ramesseum Interior of the Hypostyle Hall 1870s Albumen print from wet collodion negative mounted on paperboard Purchased with the fund in honor of Charles Chet- ham the Elizabeth Halsey Dock class of 1933 Fund and the Eva W. Nair class of 1928 Fund SCMA opposite page Lockwood de Forest. American 18501932. Ramesseum at Thebes ca. 187679. Oil on canvas. Purchased with the Hillyer-Mather-Tryon Fund Samantha Page 17 is an American Studies major and Art History minor and former STRIDE Scholar 201315. 34 ACQUISITIONS In June 2014 SCMA was pleased to receive an impor- tant gift of 1446 prints and drawings from the collec- tion of Gladys Engel Lang and Kurt Lang emeriti pro- fessors of sociology at the University of Washington Seattle. The core of the Lang collection is focused on prints by British and American artists active from the mid-19th century through the mid-20th century and is tied closely to the material discussed in their co- authored book Etched In Memory The Building and Survival of Artistic Reputation 1990. This past year the Langs completed the gift of 735 works with the remaining 711 being held as promised gifts for future donation. Ninety percent of the collec- tion is now catalogued and available through SCMAs online database and ve percent has been digitized. Works from the collection have been on view as part of installations in both the Nixon Gallery and the mobile cabinets for works on paper in the second and third oor permanent collection galleries and were the subject of six posts on the Cunningham Center blog Paper People. This dynamic collection has also provided valu- able hands-on research opportunities for students. Three notable projects involving the Lang collec- tion during the past year included cataloguing of the collection by Brittany Rubin UMass M.A. 15 research writing and curating projects from the collection by International Fine Print Dealers As- sociation IFPDA Intern Nicole Viglini Smith 04 and the creation of digital resources connected to the Lang collection by Institute for Curatorial Prac- tice intern Jacob Edwards who will graduate from Hampshire College in 2016. Brittany Rubin was hired as the Lang Collection Print Cataloguer when the collection arrived and worked steadily processing works from the collection until her graduation from UMass. During my year at the Cun- ningham Center I had the great fortune to experience rst-hand the scope and breadth of the Langs print expertise. I am excited that the museums visitors will be able to study and enjoy the Lang Collection for generations to come. Generously funded by the IFPDA Nicole Viglinis 10- week internship allowed her to dig deeply into the col- lection. Nicole wrote three blog posts and added sig- nicant research to SCMAs les. She also curated two mobile cabinet installations. Rural Nostalgia Women Etchers of the Late Nineteenth Century showcased etchings by ve women artists whose prints evoked nostalgia for an agrarian past in the wake of the Sec- ond Industrial Revolution. It was the Best of Times American Prints of the Great Depression posited the idea that printmakers addressed both the hardship and the social cohesion that resulted from Americas economic struggles in their work of the 1930s. Jacob Edwardss ve-week internship followed his participation in Hampshire Colleges Institute for Cu- ratorial Practice an intensive summer program fo- cused on curatorial issues and the development of digital exhibitions. Edwards built a WordPress website to host digital projects and resources focused on the Lang Collection and curated the rst exhibition Print- ing a Modern World. Of his experience Edwards said I learned not only about creating a digital exhibition platform but how to do art research and work with prints hands on. I had never worked so closely with a single collection before so I feel like I really got to hone my writing and research skills which I will un- doubtedly take with me as I continue my studies in art and curation. I look forward to seeing what other interns and fellows will do with the Lang Collection. The Gladys Engel Lang and Kurt Lang Collection 1 Elizabeth Olds. American 18961991. Black Jack at the Transient Home 1934. Lithograph printed in black on medium weight smooth beige paper 2 Charles Wheeler Locke. American 18991983. The Hole in the Wall ca. 1938. Lithograph printed in black on medium slightly textured cream-colored paper 3 Martin Lewis. American 18811962. Street Booth Tokyo New Years Eve 1927. Drypoint printed in black on medium thick smooth cream- colored paper 4 Irwin D. Hoffman. American 19011989. Soup Kitchen1929 1934. Lithograph printed in black on medium weight slightly textured beige paper 5 Blanche Dillaye. American 18511931. A Winding Stream. n.d. Drypoint printed in black on medium thick slightly textured beige paper. Promised gift 6 Edith Loring Peirce Getchell. American 18551940. SolitudeSix Miles South of Atlantic City 188384. Etching printed in black on medium thick moderately textured cream-colored paper 7 Mortimer Bourne. American born Poland 190287. Rainy Night New York 1939. Drypoint printed in black on medium weight slightly textured beige paper From The Gladys Engel Lang and Kurt Lang Collection opposite page Brittany Rubin Lang Collection Print Cataloguer 1 2 7 6 5 3 4 36 ACQUISITIONS Barry Moser walked into my bookstore in 1974 and thus began a friendship and col- laborative business relationship that has lasted more than 40 years. I began as his art dealer then morphed into his business and publishing partner. We formed the Hamp- shire Typothetae with our friend Harold P. McGrath. Barry did the creative part and I managed the business end of our ventures. We created limited edition prints and ne private press books. We bought real estate in order to have a place for those printing operations and I watched Barrys skills and creative imagination expand. Eventually after I closed my bookstore and art gallery our relationship matured into that of artist and illustration agent. Through Dwyer OGrady Inc. my wife Elizabeth OGrady and I found projects for Barry to illustrate in the childrens picture book publishing world. That role continued until our retire- ment a few years ago. Since wed made an earlier donation of our Pennyroyal Press and Hampshire Typothetae collection to the Mortimer Rare Book Room at Smith College Elizabeth and I felt that the Smith College Museum of Art was the logical place for our collection of Barrys artwork. Barry Elizabeth and I have been deeply in- volved with the college for many years so it seemed like the perfect t. Jeff Dwyer The Elizabeth OGrady and Jeff P. Dwyer Collection Works by Barry Moser The 91 prints and drawings in Elizabeth OGrady and Jeff Dwyers 2014 gift to SCMA include original illustrations and rare proofs from all facets of Mosers career. From an impression of his rst wood en- graving Une Ecraseuse Bug Crush- er 1967 to an illustration of King Lear made for a 2003 publication Tales of Shakespeare these works capture the artists fascination with and mastery of two notoriously dif- cult media wood engraving and watercolor. Moser has served as the Irwin Pauline Alpers Glass Professor of Art and Printer to the College since 2002. In that capacity he teaches courses on all aspects of bookmaking from typography to printing. 3 1 King Lear with Flowers 2004. Watercolor on thick rough white paper 2 Une Ecraseuse Bug Crusher 1967. Wood engraving printed in black on medium weight smooth white paper 3 Archy 1988. Watercolor on thick rough white paper 4 The White Knight from Through the Looking Glass and What Alice Found There 1983. Wood engraving printed in black on medium weight slightly textured cream-colored paper 5 Self Portrait with Burin 1985. Wood engraving printed in black on thin very smooth cream-colored paper All artworks by Barry Moser. American born 1940. Gifts of Elizabeth OGrady and Jeffrey P. Dwyer opposite page top to bottom Barry Moser and poet Paul Muldoon at R. Michelson Galleries Northampton MA October 18 2015. Photograph courtesy R. Michelson Galleries Elizabeth OGrady and Jeff Dwyer 1 2 4 5 38 ACQUISITIONS The Video New Media Gallery is an important addition to the museum and campus. Studio art students are increasingly interested in creating time-based and new media work and this gallery provides them with an opportunity to directly engage media works in a manner where the image audio and space parameters are structured in relationship to the artists intentions. The museums collection in this area is growing and already contains many signicant works. This gallery represents a valuable opportunity for faculty to collaborate with the museum staff towards the development of curricular relationships with the media collection and gallery programming. Fraser Stables Associate Professor of Art Smith College 39 Kimsooja was born in 1957 in Daegu Korea. She trained as a painter in the 1980s but began to work with artisanal materials and fabrics in particular the ybulbo a traditional Korean fabric with many uses as bedcovers birthing cloths and wrappers for objects. She gathered them in colorful bundles called bottari which she used in installations and performances. As a further development of her practice Kimsooja used her body as the needle in interventions in pub- lic spaces. Commissioned in 1999 by a contemporary art center in Japan to create a performance piece she at rst envisioned a walking performance in Tokyo but by the time she reached the busy shopping district of Shibuya she became overwhelmed by the thousands of people on the streets. She halted standing still to allow the crowds to ow by and around her. As she said I decided to continue this performance literally to meet everyone in the world choosing to perform in eight metropolises in different continents around the world. In each city I stood still as a symbolic needle to reveal the human conditions in existential geo-cultur- al and socio-political dimensions as an axis of both space and time. The museums recently acquired A Beggar Woman Cairo is one of three videos in the Beggar Woman series that followed in 20002001 including perfor- mances on the streets of Mexico City and Lagos. Kimsooja relates that the inspiration for the Beggar Woman performances was an elderly woman beg- ging on the streets of Mexico City. She was struck by her posture her tiny motionless form and the way in which she was totally wrapped within herself. In lowering to a seated position and extending her hand the artist recalls feeling exceptionally vulner- able as if she were actually begging. The Cairo performance opens with several minutes of a tightly packed crowd of mostly men with women walking by. The crowd is parted by a man in a ma- roon sweater and khaki pants who opens a view of the artist sitting on the pavement with her hand out- stretched. The perimeter of male observers is drawn closely around her shoulder to shoulder with little personal space accorded the artist. The effect is in- tensely claustrophobic and unsettling. One man - nally steps forward and places his cupped hand under hers lifting her hand very slightly he then turns and walks away. Describing this series and the related Needle Woman videos critic Oliva Mara Rubio wrote in 2006 The common denominator to this series of videos is the female form a motionless woman with her back to the cameraWherever she may be the gure of the artist is always inaccessible her face hidden from the viewer. The viewer is thus refused what the crowds are permitted. The woman who will not let us see her face who obliges us to ask uncomfortable questions of our- selves becomes an abstraction...Kimsooja is simulta- neously subject and object of our gaze an individual and an abstraction a specic woman and all women instrument and actress immobile and resolute. This piece was purchased with the gift of Jungkoo An and Ae Young Han in honor of their daughter Sabina An class of 2016 an anony- mous gift and funds from the Contemporary Associates. opposite page A Beggar WomanCairo 20002001. Single-channel video. Duration 8 minutes 52 seconds. Purchased with the gift of Jungkoo An and Ae Young Han in honor of their daughter Sabina An class of 2016 an anonymous gift and funds from the Contemporary Associates Kimsooja A Beggar WomanCairo 40 ACQUISITIONSACQUISITIONS COLLAGE POZZI Lucio. American born Milan Italy 1935 The Feast on the Air 1978 IMAGE 1 Collage Anonymous gift ROCKBURNE Dorothea. Canadian born 1932 Small Trumpeting Angel for Robin 1981 Collage Anonymous gift WILSON Fred. American born 1954 Black WhiteSF MoMA 2002 Nine postcards mounted on white board Gift of Anne Donovan Bodnar class of 1978 DRAWINGS BARTLETT Jennifer Losch. American born 1941 Earth Bedtime 199395 IMAGE 2 Gouache on thick slightly textured cream- colored Waterford watercolor paper Gift of Elaine H. Finkelstein class of 1951 Gifts Purchases of Art BENGLIS Lynda. American born 1941 Drawing of a Sculptural Knot n.d. IMAGE 3 Ink graphite and watercolor on medium thick moderately textured white paper Gift of Anne Donovan Bodnar class of 1978 BERKELEY Edith. English 18591909 Untitled landscape with cows and horses ca. 1900 Watercolor and gouache on paperboard The Gladys Engel Lang and Kurt Lang Collection BERKOWITZ Leon. American 191987 Untitled 1979 Pastel on thick rough cream-colored paper Gift of Adlyn Shannon Cook class of 1949 BIRCH Samuel John Lamorna. English 18691955 Untitled tranquil landscape with blooming trees and river n.d. Watercolor and graphite on thick rough cream- colored watercolor paper The Gladys Engel Lang and Kurt Lang Collection. Promised gift BRANDARD Robert. English 180562 Untitled landscape 1832 Watercolor and gouache on medium weight moderately textured cream-colored paper mounted on board The Gladys Engel Lang and Kurt Lang Collection 1 2 3 ACQUISITIONS 41 CAMARGO Manuel. Colombian born 1956 My Father 1972 IMAGE 4 Charcoal and pastel on board Gift of Adlyn Shannon Cook class of 1949 CHINN Andrew. American 191596 Telephone Poles late 1930s Black ink on thin slightly textured cream- colored paper The Gladys Engel Lang and Kurt Lang Collection COTMAN John Sell. English 17821842 Untitled interior of Norman church ca. 1820 Watercolor and graphite on medium weight slightly textured paper mounted on board The Gladys Engel Lang and Kurt Lang Collection COWHAM Hilda. English 18731964 Childrens Toy Room 1920s Watercolor and ink over pencil on rough brown paper mounted to board The Gladys Engel Lang and Kurt Lang Collection DOVE Arthur Gareld. American 18801946 Sand Pits II 1931 Telegraph Poles 1931 IMAGE 5 Watercolors on medium thick smooth cream- colored paper Gift of the estate of Arthur Dove ELMER Edwin Romanzo. American 18501923 Echo Lake and Middle Moat Mountain 1905 Pastel on paper Purchased with the Kathleen Compton Sherrerd class of 1954 Acquisition Fund for American Art Still Life with Pears ca. 1905 Pastel on paper Purchased with the Rita Rich Fraad class of 1937 Fund for American Art FISHER Jonathan. Irish active 1763 died 1809 Untitled river landscape with bridge and church ca. 1809 Ink wash and watercolor on thin discolored blue paper mounted on paper The Gladys Engel Lang and Kurt Lang Collection FROOD Hester. English 18821971 Grange Bridge 1933 Watercolor on medium thick slightly textured cream-colored paper The Gladys Engel Lang and Kurt Lang Collection GALLAGHER Sears. American 18691955 Untitled seashore with rocky inlet n.d. Watercolor on thick rough beige paper The Gladys Engel Lang and Kurt Lang Collection GRUPPE Charles P. American 18601940 Untitled docks with sailboats ca. 1920 Watercolor and gouache over graphite on thick rough cream-colored paper The Gladys Engel Lang and Kurt Lang Collection HALE Lilian Westcott. American 18811963 Jeffy n.d. Cont crayon and pastel on medium weight slightly textured cream-colored paper Self-Portrait n.d. IMAGE 6 Cont crayon and pink pastel on medium weight slightly textured brown paper Self-Portrait n.d. Cont crayon and pastel on paper mounted on board Untitled bust length portrait of a young woman n.d. Cont crayon and pastel on medium weight slightly textured beige paper Untitled nude n.d. Graphite on medium weight smooth beige paper Untitled seated woman n.d. Cont crayon and graphite on thick smooth beige paper Untitled standing woman facing left n.d. Cont crayon on medium thick moderately textured dark gray paper Untitled woman in prole n.d. Cont crayon on medium weight moderately textured beige paper Untitled woman in prole n.d. Cont crayon on thick smooth beige paper Untitled woman looking over her shoulder n.d. Cont crayon on medium weight moderately textured beige paper 4 5 6 ACQUISITIONSIndicates selected listing of this acquisition. For a complete listing see smith.eduartmuseumMembership-MattersAnnual-Report 42 ACQUISITIONS HALE Philip Leslie. American 18651931 Portrait of Lilian n.d. Pastel on tan paperboard Gift of Nancy Hale HOFFMANN Tom. American born 1948 PikePine Seattle 2005 Watercolor on paper The Gladys Engel Lang and Kurt Lang Collection JENSEN Dorothy Dolph. American 18951977 Mount Rainier n.d. Watercolor on medium thick rough white paper The Gladys Engel Lang and Kurt Lang Collection KRATOHVIL Christel. American born 1958 Downtown Bench 1990 Charcoal on medium weight moderately textured blued white paper The Gladys Engel Lang and Kurt Lang Collection LEWITT Sol. American 19282007 Layout of MoMA show for Robin 1978 Ink on medium weight smooth cream- colored paper Anonymous gift LOBDELL Frank. American 19212013 Figure Drawing Series No. 30 1963 Figure Drawing Series No. 45 1964 IMAGE 7 Figure Drawing Series No. 24 1965 Figure Drawing Series No. 59 1967 Ink wash and crayon on medium weight smooth white paper Figure Drawing Series No. 1 1972 Graphite green ink gouache and ink wash on medium weight smooth white paper Gift of The Frank Lobdell Trust MARSH Reginald. American 18981954 Downtown Manhattan 1938 IMAGE 8 Watercolor gouache and graphite on thick moderately textured cream-colored paper Gift of Janice Carlson Oresman class of 1955 MARSHALL May Warner. American 190298 Shuksan n.d. Watercolor and graphite on thick rough cream- colored paper The Gladys Engel Lang and Kurt Lang Collection MOSER Barry. American born 1940 Kay in lace bra 1967 Pen and ink and white chalk on dark gray paperboard Nine illustrations for Flowering Plants of Massachusetts 1969 Aralia Nudicaulis Calluna Vulgaris Carex Lurida Epiphegus Virginiana Habenaria Fimbriata Hudsonia Tomentosa Maianthemum Canadense Mollugo Verticillata Scirjus Atrovirens Pen and ink on medium thick moderately textured cream-colored paper Gift of Elizabeth OGrady and Jeffrey P. Dwyer MOSER James Henry. Canadian 18541913 Scattering Shadows 1904 Watercolor on paperboard The Gladys Engel Lang and Kurt Lang Collection MUNN Paul Sandby. English 17731845 At Langollen August 1 1832 Grey ink and wash over graphite on medium weight slightly textured cream-colored paper The Gladys Engel Lang and Kurt Lang Collection OLDS Elizabeth. American 18961991 Firing Squad ca. 1946 Ink and gouache on thick smooth tan paper The Gladys Engel Lang and Kurt Lang Collection RICH Frances L. American 19102007 Untitled nude study n.d. Red chalk on thin slightly textured tan paper Gift of John Marian and Julia Bolz class of 1983 in memory of Eugenie Stever Friedman class of 1947 ROUAULT Georges Dominic. French 19042002 Paris near le Pont Neuf ca. 1970 Watercolor and gouache on medium weight slightly textured cream-colored paper The Gladys Engel Lang and Kurt Lang Collection RUDGE Bradford. English 180585 Bedford n.d. Brown ink wash and graphite on medium thick slightly textured cream-colored paper The Gladys Engel Lang and Kurt Lang Collection RYAN Anne. American 18971954 Yacht Club ca. 1945 IMAGE 9 Pastel crayon and ink on medium thick slightly textured cream-colored paper Gift of Janice Carlson Oresman class of 1955 SHARP Joseph. American 18591953 Koko Crater Coast Near Honolulu Pacic Coast Landscape 1940s Watercolor on thick rough white paper The Gladys Engel Lang and Kurt Lang Collection SHERLOCK Marjorie. English 18971973 Untitled sketch of large trees n.d. Ink over graphite on medium weight smooth beige paper The Gladys Engel Lang and Kurt Lang Collection SMART Douglas I. English 18791970 Study for Veere 1929 Watercolor and wash on medium thick moderately textured cream-colored paper The Gladys Engel Lang and Kurt Lang Collection 9 7 8 ACQUISITIONSIndicates selected listing of this acquisition. For a complete listing see smith.eduartmuseumMembership-MattersAnnual-Report 43 SMITH BRACKETT Prilla. American born 1942 Remnants Communion 9 1997 Acrylic wash graphite charcoal Cont crayon and pastel on Somerset paper Gift of Prilla Smith Brackett SORMAN Steven. American born 1948 wind losing ground 1976 Beeswax collage color pencil and china marker on Kochi paper at river 1991 Pastel and charcoal on Richard de Bas paper January 29 1996 1996 Mixed media on Indian watercolor paper July 12 1996 1996 Mixed media on Indian watercolor paper otherwise remembered 2001 Mixed media on fabric and various joined papers Untitled 2002 Silverpoint on Magnani Incisioni paper a practical unbelief 2006 IMAGE 10 Rust copper oxide gesso gouache and acrylic on TGL handmade paper Gift of Steven Sorman in memory of Shelley Ross class of 1968 and in honor of Sally Brody class of 1954 and Janice Oresman class of 1955 STARK James. English 17941859 Country Landscape n.d. Watercolor on thick smooth cream- colored paper The Gladys Engel Lang and Kurt Lang Collection Mobile Cabinets for Works on Paper Part of the 20142015 reinstallation plan was the development of alternate exhibition strategies for SCMAs 20000 works of art on paper. SCMAs holdings of prints drawings photographs and illustrated books date from the 15th century to the present day and comprise 80 percent of the entire collection. Works on paper can only be on view for short periods of time because they are subject to damage from exposure to light. To address these conditions SCMA developed a system of mobile cabinets that can accommodate miniature installations of between ve and ten works on paper. These cabinets which may be moved througout the galleries provide opportunities for visitors to see works on paper in relation to paintings and sculpture in the permanent collection. They also provide exibility for student- curated projects such as Now You See Me The Relationship between the Printed and Painted Portrait a capstone exhibition organized by Museums Concentrator Janna Singer-Baefsky 15 see page 19. This cabinet installed in the second oor permanent collection galleries juxtaposed painted and mezzotint portraits to demonstrate how English artists used printmaking to accurately reproduce and circulate images of original oil paintings to a wide audience. bottom Allen Jones. Irish 174097. After Sir Joshua Reynolds. English 172392. Miss Kemble 1780s. Engraving and mez- zotint on paper. Purchased top Sir Joshua Reynolds. English 172392. Mrs. Nesbitt as Circe 1781. Oil on canvas. Gift of Dwight W. Morrow Jr. Anne Morrow Lindbergh class of 1928 and Constance Morrow Morgan class of 1935 10 43 44 ACQUISITIONS STERNE Maurice. American 18771957 Sketch for the painting Bali Girl 191114 Graphite on thin brown paper The Gladys Engel Lang and Kurt Lang Collection UNKNOWN. Japanese Meiji period 18681912 Amorous couple n.d. Pen ink and watercolor on silk mounted on paper Gift of Adlyn Shannon Cook class of 1949 UNKNOWN Monk. Chinese 20th century Mandala 2007 IMAGE 11 Gouache and gold ink on paper mounted on fabric Gift of Joan Lebold Cohen class of 1954 and Jerome A. Cohen in honor of Joans 60th reunion May 2014 VARLEY John. English 18501933 Isle at Vilaume n.d. Watercolor on medium weight smooth cream- colored paper mounted on board The Gladys Engel Lang and Kurt Lang Collection VELDE Charles W. Meredith van de. Dutch 181898 Untitled mountains and evergreens n.d. Watercolor over graphite on lightweight smooth cream-colored paper The Gladys Engel Lang and Kurt Lang Collection WARHANIK Elizabeth. American 18801968 Untitled Flowers in Vase n.d. Watercolor on thick rough white paper The Gladys Engel Lang and Kurt Lang Collection WILLEY Edith Maring. American 18911984 Reections n.d. Watercolor on medium thick rough white paper The Gladys Engel Lang and Kurt Lang Collection WOODWARD Eudoxia. American 19192008 Daylilies n.d. Watercolor on thick moderately textured cream- colored watercolor paper Gift of Mary Shaw Newman class of 1950 XIANG Guohua. Chinese born 1984 Finity and InnityStructure of Apperceive No.1 2007 Pyrography incised rice paper Gift of Sean Zhang and Anna Zhu in honor of their daughter Helen Zhang class of 2015 PAINTINGS BAUERMEISTER Mary. German born 1934 Punkte Ausgeglichen 1958 IMAGE 12 Distemper on cloth Purchased with the Dorothy C. Miller class of 1925 Fund DE FOREST Lockwood. American 18501932 Ramesseum at Thebes ca. 187679 Oil on canvas Purchased with the Hillyer-Mather-Tryon Fund ESQUIVEL Alexis. Cuban born 1968 Beijing World Park 2014 IMAGE 13 Acrylic on linen Purchased KAPPES Alfred. American 185094 Is This Life Worth Living 1882 Oil on canvas Purchased with the Kathleen Compton Sherrerd class of 1954 Acquisition Fund for American Art LOVERIDGE Clinton. American 18241915 After CROPSEY Jasper Francis. American 18231900 Landscape after Cropseys American Harvesting print ca. 1851 Gift of Lisa Bush Hankin class of 1982 and Steven M. Hankin 11 13 ACQUISITIONS 12 45 MOUNT Shepard Alonzo. American 180468 Elizabeth Reeves Ford Mount 1864 Oil on canvas Gift of Lisa Bush Hankin class of 1982 and Steven M. Hankin NEEL Elizabeth. American born 1975 The People The Park The Ornament 2013 IMAGE 14 Mixed media on canvas Gift of Anne Donovan Bodnar class of 1978 PORTER Faireld. American 190775 Still Life with Red Tablecloth 1968 Oil on Masonite panel Gift of Susan S. Small Susan Spencer class of 1948 SLOBODKINA Esphyr. American born Russia 19082002 Hinged Planes 1942 IMAGE 15 Oil on board Gift of Elaine H. Finkelstein class of 1951 STELLA Joseph. American born Italy 18771946 Still Life with Putto and Figurines 1943 Oil on canvas Gift of Doug Woodham and Dalya Inhaber PHOTOGRAPHS ABRAMOVIC Marina. Serbian born 1946 The Lovers 1988 printed 1996 C-print and ink Gift of Rena G. Bransten class of 1954 ATGET Eugne. French 18571927 Montmartre Cabaret rue St. Rustique ca. 1902 IMAGE 16 Gold-toned albumen print Purchased with funds from the Directors Associates BACK Seung Woo. Korean born 1973 Real World I 47 2006 Lambda print Museum purchase with the Carroll and Nolen Asian Art Acquisition Fund Real World I 55 2006 Lambda print Purchased with the gift of Wan Kyun Rha Kim class of 1960 and Andrew Byongsoo Kim BALTERMANTS Dmitri. Russian 191990 Eighteen gelatin silver prints printed 2003 Battle for Kamenka Village Near Moscow 1941 The Battle Awaits 194145 In the Foxholes 194145 In the Trenches 194145 From a Day of Grief Kerch Crimea 1942 Agfa Berlin 1945 Downed German Plane Breslau 1945 Fun Break at the Front on the March Toward Berlin 1945 Watching the Parade of German POWs Moscow 1945 Chinese Army Assembles for Voroshilov and Mao China 1957 Gift of Nicole Moretti Ungar class of 1982 and Jon Ungar BCHARD Henri. French active 1860s80s Thbes. Themple de Ramesseum. Intrieure de la Salle Hypostile 1870s Albumen print from wet collodion negative mounted on paperboard Purchased with the fund in honor of Charles Chet- ham the Elizabeth Halsey Dock class of 1933 Fund and the Eva W. Nair class of 1928 Fund BING Ilse. German 18991998 Belle Vue 1935 Col de Vara 1935 Apartment Buildings Seen from Central Park variation 1936 Central Park Bridge 1936 Ice Angel with Reection 1952 Leaves on Street 1952 Window Balcony 1952 Trees and Lamp 1953 New York Washington Heights Lonely Man 1954 Snow in Spring 1956 Vintage gelatin silver prints Gift of Nicole Moretti Ungar class of 1982 and Jon Ungar BRIDGES Marilyn. American born 1948 Temple 33 and Temple 20 Yaxchilan 1982 Huanchaco Peru 1989 Teichos Dymaion Greece 2004 Gelatin silver prints Gift of Nicole Moretti Ungar class of 1982 and Jon Ungar CARTER Keith. American born 1948 Wax Boy with Turban 1995 Raven 1996 Bird Cage 1997 Cordes Roses 1997 Straw Hat 1997 Ship in the Sky 1997 IMAGE 17 Gelatin silver prints Gift of Douglas M. Woodham and Dalya Inhaber 14 15 16 17 ACQUISITIONSIndicates selected listing of this acquisition. For a complete listing see smith.eduartmuseumMembership-MattersAnnual-Report 46 ACQUISITIONS 46 In 2014 the museum acquired 67 works made by the Guerrilla Girls between 1985 and 2012. These works use bold graphics biting humor and statistics to confront the variety of barriers faced by wom- en in creative elds. This acquisition responded to Smith faculty and students who expressed the desire for increased representation of the work of feminist artists in the museums collection. There are now over 100 works on paper by the Guerrilla Girls in SCMAs collection and they are regularly used for classes in topics ranging from writing to the study of women and gender. The founding of the group known as the Guerrilla Girls was prompted by the under-representation of women and artists of color in a 1985 Museum of Modern Art exhibition titled An International Survey of Painting and Sculpture. Group members assumed the names of dead women artists and wore gorilla masks in public concealing their identities and focusing on issues of racism sexism and prejudice in the art world. With a rotating active membership of more than 100 women the Guerrilla Girls have produced posters billboards public actions books and other projects highlighting the ongoing battle for equality in the art world and other creative elds such as lm. In addition they tackle issues including reproductive rights rape poverty and war. The Guerrilla Girls ACQUISITIONS 1 4747 1 Do Women Have to be Naked to Get Into the Met. Museum 2012 2 Bronx Museum Unfair to Men 2008 3 Whats the Difference Between a Prisoner of War and a Homeless Person 1991 4 Oh The Joys of Being a Woman Playwright 1999 5 Women in America Earn only 23 of What Men Do. 1985 All artworks by Guerrilla Girls. American 20th21st centuries. Offset lithographs and inkjet prints printed in black on medium weight smooth white paper. Purchased with the Josephine A Stein class of 1927 Fund in honor of the class of 1927 2 3 4 5 48 ACQUISITIONS 48 CARTIER-BRESSON Henri. French 19082004 Four tuxedoed men with heads bowed in prayer USA ca. 1950 Untitled Older Ladies in Park USA ca. 1955 USA Texas 1957 IMAGE 18 Photography exhibition opening USA ca. 1960 Men reading paper in park Quebec 1965 Mother straightening sons sailor outt Quebec 1967 Vintage ferrotyped gelatin silver prints Gift of Nicole Moretti Ungar class of 1982 and Jon Ungar FINK Larry. American born 1941 Ten images printed 1983 Peter Beard and Friends East Hampton August 1976 Russian Ball New York City November 1976 Two images from Studio 54 New York City May 1977 Oslins Graduation Party PA June 1977 New York City Regines May 1977 Dance American Legion Bangor March 1979 Allentown PA Fair 1980 IMAGE 19 Three images from Pat Sabatines Eleventh Birthday Party April 1980 Gelatin silver prints Gift of Nicole Moretti Ungar class of 1982 and Jon Ungar FREED Leonard. American 19292006 Worker blows horn as telephone lines are xed underground Amsterdam Holland 1958 Bedouin children reading sisters mind sheep Negev Israel 1962 Bridge construction outside of Tel Aviv Israel 1968 Gay man playing the piano with sign that says Gay is Good New York City 1970 Men resting and embracing at a gay pride demonstration New York City 1970 Youth is arrested by police during a draft protest New York City 1970 Transvestite couple at artists party in Soho New York City 1971 Religious Marshav political meeting Jerusalem Israel 1972 Woman used to free speech once out of Bangladesh villages London England 1973 Mostly small town teenage runaways 1976 Vintage gelatin silver prints Gift of Nicole Moretti Ungar class of 1982 and Jon Ungar HARA Mikiko. Japanese born 1976 Untitled from Primary Speaking 1999 Still from These Are Days 2009 IMAGE 20 C-prints Museum purchase with the Carroll and Nolen Asian Art Acquisition Fund KIMBALL Justin. American born 1961 Circle Street Kingston 2013 Federal Street 2013 Mount View Road 2013 IMAGE 21 Warner Avenue 2013 C-prints Gift of Jeanne and Richard S. Press LYON Danny. American born 1942 Six images from Bikeriders printed 2008 Route 90 Alabama 1964 Jack Chicago 1965 Corky and Funny Sonny Chicago 1966 Dave and Rawhide Columbus Outlaws Elkhorn Wisconsin 1966 Memorial Day Run Milwaukee 1966 Zipco Elkhorn Wisconsin 1966 Twenty-three images from Conversations with the Dead 196869 printed 2011 Aaron Evert Jones Jr. Age 18 six years theft... Billy McClune at the Wynne Treatment Center Boss Gelatin silver prints Gift of Nicole Moretti Ungar class of 1982 and Jon Ungar MARKOV-GRINBERG Mark. Russian 19072006 Biplanes First Aviation Parade Tushina Airbase 1933 printed later Ferrotyped gelatin silver print Gift of Nicole Moretti Ungar class of 1982 and Jon Ungar MARVILLE Charles Charles-Franois Bossu. French 181379 Rue du clos-Bruneau de la rue des Ecoles percement de la rue des Ecoles 186569 Albumen print from wet collodion negative Purchased with the Elizabeth Halsey Dock class of 1933 Fund MEYEROWITZ Joel. American born 1938 Dorsch Electric St. Louis 1978 Two untitled images from Bay Sky Series 1984 19 20 ACQUISITIONS 18 21 ACQUISITIONSIndicates selected listing of this acquisition. For a complete listing see smith.eduartmuseumMembership-MattersAnnual-Report 4949 NYC Easter 1984 Pittsburgh 1984 Three untitled images from Bay Sky Series 1985 Provincetown Bay Sky Series 1985 Porch Rockport MA 1986 Vintage chromogenic contact prints Gift of Nicole Moretti Ungar class of 1982 and Jon Ungar NISHINO Sohei. Japanese born 1982 Diorama Map Tokyo 2014 Light jet print Purchased with gifts in honor of Samuel C. Morse Curatorial Consultant for Asian Art 200015 NORMAN Dorothy. American 190597 Church Falmouth Cape Cod 1933 Crowded saint 1933 Climbing vine ca. 1936 Cloud formations and tree branches at sunset 1936 Roses Woods Hole 1936 Telephone wires trees and clouds 1936 Gravestones Cape Cod 1937 Gelatin silver prints Gift of Nicole Moretti Ungar class of 1982 and Jon Ungar OGRADY Lorraine. American born 1934 4 photographs from Art Is 1983 printed 2009 Art IsCop Framed Art IsStar East Monuments Art IsTroupe with Mlle. Bourgeoise Noire Art IsWomen in Crowd Framed IMAGE 22 C-prints Purchased with the Dorothy C. Miller class of 1925 Fund PARKER Ann. American born 1934 Seven Scarecrows from Four Cultures ca. 1978 C-prints Gift of Elaine H. Finkelstein class of 1951 PURCELL Rosamond. American born 1942 The Field of the Cloth of Gold from Landscapes of the Passing Strange 2010 Inkjet printed on thick slightly textured white paper Transferred from Smith College Ruth Mortimer Rare Book Room SANDER August. German 18761964 The Dadaist Raoul Hausmann posing 1930 printed 1974 Gelatin silver print Gift of Nicole Moretti Ungar class of 1982 and Jon Ungar STRUSS Karl. American 18661981 Untitled Grand Canyon and tree shadows n.d. Untitled Pines and canyon n.d Untitled Stone gateway n.d. Untitled Sunbeam on Grand Canyon n.d. Vintage gelatin silver prints Five Islands Maine 1910 Vintage platinum print Tree with three branches 1911 Paget Shoreline 1912 Vintage gelatin silver prints Nude draped in gauze plate 32 from the series Series The Female Figure 1917 Hess-Ives color print tipped to mount Gift of Nicole Moretti Ungar class of 1982 and Jon Ungar UNKNOWN known as Giraudons Artist French 19th century Female peasant holding a small animal late 1870s IMAGE 23 Shepherdess resting on a fallen bush late 1870s Shepherdess under a tree with two sheep late 1870s Two female peasants one riding a donkey late 1870s Two women standing with baskets and dog late 1870s Albumen prints from wet collodion negatives Gift of Charles Isaacs and Carol Nigro WEBB Todd. American born 1958 2nd Avenue at 51st Street New York 1946 Vintage gelatin silver print Purchased with the Katharine S. Pearce class of 1915 Fund Fulton and Front Street New York 1946 Pearl Street South from Fulton Street 1959 Vintage gelatin silver prints Purchased with the fund in honor of Charles Chetham Washington Street NY Blue Star Luncheon 1959 IMAGE 24 Vintage gelatin silver print Gift of Elizabeth Evans Hunt WILLIS John. American born 1958 The Mass Gravesite at Wounded Knee from The Massacre of 1890 2002 Vern Sitting Bear and His Nieces Pet Wolf Pine Ridge Reservation SD 2004 Allen Housing Pine Ridge Reservation SD 2005 Victoria Chipps of the Horn Chipps lineage of Medicine Men on her nineteenth birthday with her great-granddaughter Wanblee Housing Pine Ridge Reservation SD 2005 IMAGE 25 Gelatin silver prints Gift of Jeanne and Richard S. Press 22 23 24 25 50 ACQUISITIONS YOUNG Tom. American born 1958 Four images from Timeline History Lesson 2009 Shadows 2009 When I Close My Eyes 2009 Holding Tight 2010 Archival inkjet prints Gift of Jeanne and Richard S. Press PRINTS AVERY Eric. American born 1948 Escape 199293 printed 2013 Woodcut and linocut printed in red and black on medium weight slightly textured white paper Gift of the artist BASKIN Leonard. American 19222000 Jacques Gamelin from Laus Pictorum Portraits of Nineteenth Century Artists 1969 Wood engraving printed in black on medium thick moderately textured cream-colored Strathmore paper Gift of Judith Elizabeth Gessner class of 1982 BECKMANN Max. American born Germany 18841950 Kinder am Fenster 1922 Drypoint printed in black on moderately thick slightly textured beige-colored paper Gift of Celia Gilbert class of 1954 and Walter Gilbert BEERMAN Miriam. American born 1923 Untitled from Faces n.d. Drypoint printed in black on medium thick moderately textured cream-colored paper Gift of William B. Jaffe BEWICK Thomas. British 17531828 The Remarkable Kyloe Ox 1790 Engraving printed in black on thin slightly textured cream-colored paper Gift of Celia Gilbert class of 1954 and Walter Gilbert CELMINS Vija. American born 1939 Black and White Diptych 2010 Mezzotint and aquatint printed in black on Magnani Pescia Satinato bright white paper Purchased in honor of Jane Chace Carroll class of 1953 for her service as Chair of the Museum Visiting Committee 201214 CHAGOYA Enrique. American born Mexico 1953 La Bestias Guide to the Birth of the Cool 2014 Ten-color lithograph with chine coll and gold metallic powder on handmade Amate paper Purchased with the Elizabeth Halsey Dock class of 1933 Fund COLE Willie. American born 1955 Man Spirit Mask 1999 Man Photo etching embossing and hand coloring on medium thick moderately textured cream-colored paper Spirit Screenprint with lemon juice and scorching with hand-applied heat gun on medium thick moderately textured white paper Mask Photo etching and woodcut on medium thick moderately textured cream-colored paper Purchased with the Dorothy C. Miller class of 1925 Fund CORNELL Joseph. American 190372 Htel du Nord 1972 Screenprint in color on thick slightly textured beige paper Gift of Janice Carlson Oresman class of 1955 DIEBENKORN Richard. American 192293 Colored Landscape 1969 IMAGE 26 Six-color lithograph on German etching paper Gift of Donna Kargman Donaghy class of 1959 and Walter E. Donaghy EISEN Keisai. Japanese 17901848 Gentle LookingBoats of the River at Tsukuda Shinchi from Twelve Views of Modern Beauties ca. 1822 Woodcut printed in color on lightweight slightly textured cream-colored Asian paper Gift of Adlyn Shannon Cook class of 1949 FERRIS Edythe. American 18971995 City Hall Night 1940s Woodcut printed in color on thin moderately textured white Asian paper Gift of Janice Carlson Oresman class of 1955 FORD Walton. Born 1960 Benjamins Emblem 2000 IMAGE 27 Hard- and soft-ground etching aquatint spitbite and drypoint printed in color on Somerset Satin paper Printed by Peter Pettengill Wingate Press Hinsdale NH Purchased with the Carol Ramsay Chandler Fund GARCIA-PONCE Fernando. Mexican 193387 Composicin 14 1972 Lithograph printed in color on medium thick slightly textured beige paper Gift of Anna Hanchett GERICAULT Thodore. French 17911824 The French Farrier 1821 IMAGE 28 26 27 28 51 Lithograph printed in black on medium thick slightly textured cream-colored paper Gift of Celia Gilbert class of 1954 and Walter Gilbert GRAVES Nancy. American 193995 Explicate Unfolded Order 1989 Eight-color screenprint on Stonehenge warm white paper with hand applied glitter Gift of Elaine H. Finkelstein class of 1951 GREENBAUM Joanne. American born 1953 Untitled 2004 Liftground aquatint printed in color on thick moderately textured white paper Purchased with the Carol Ramsay Chandler Fund GUERRILLA GIRLS. American 20th21st centuries How Many Women Artists Had One Person Exhibitions in NYC Art Museum Last Year1985 John Russell Thinks Things Are Getting Better For Women Artists 1985 These Critics Dont Write Enough About Women Artists 1985 These Galleries Show No More Than 10 Women Artists or None at All 1985 Women in America Earn only 23 of What Men Do 1985 Guerrilla Girls Hits List 1986 Hidden AgenderPassing the Bucks 1986 IMAGE 29 Its Even Worse in Europe 1986 Only 4 Commercial Galleries in N.Y. Show Black Women 1986 Supreme Court Justice Supports Right to Privacy for Gays and Lesbians 1986 Offset lithographs and inkjet prints 19852012 Purchased with the Josephine A. Stein class of 1927 Fund in honor of the class of 1927 JACKSON Alexander Brooks. American 192581 Sky Watchers 1962 Woodcut printed in black on thin cream- colored Asian paper Gift of Adlyn Shannon Cook class of 1949 KATZ Alex. American born 1927 Brisk Day I 1990 IMAGE 30 Aquatint printed in color on paper Purchased in honor of Jane Chace Carroll class of 1953 for her service as Chair of the Museum Visiting Committee 201214 KRUGER Barbara. American born 1945 Image World 1989 Screenprint in black and red on medium weight smooth white paper Anonymous gift in honor of Grai St. Claire Rice KUSHNER Robert. American born 1949 O Aloe XXIV Hogarth II 2014 IMAGE 31 Sugarlift aquatint monoprint on antique collaged paper mounted on Rives BFK Gift of Robert Kushner through the Smith College Print Workshop LEPAPE Georges. French 18871971 Les Chose de Paul PoiretThe Parrot 1911 Le Mirror Rouge 1919 Pochoirs in nine colors on lightweight smooth cream-colored paper Gift of Celia Gilbert class of 1954 and Walter Gilbert LOBDELL Frank. American 19212013 3EP No. 2 1981 Hard-ground etching and aquatint printed in black on medium thick moderately textured white paper Kelso No. 17 1987 Hard- and soft-ground etching with aquatint spit bite and burnishing on BFK Rives paper Kelso No. 27 1989 Hard-ground etching with aquatint and burnishing on BFK Rives paper Kelso No. 46 1992 Hard-ground etching with aquatint sugar lift and burnishing on BFK Rives paper Kelso No. 50 1992 Aquatint soft-ground etching sugar lift and burnishing on BFK Rives paper Gift of The Frank Lobdell Trust MANET douard. French 183283 Portrait of the Writer Charles Baudelaire en prol au Chapeau ca. 1867 Etching printed in black on medium-weight slightly textured light blue paper Gift of Celia Gilbert class of 1954 and Walter Gilbert MANGOLD Robert. American born 1937 CurvedPlane Figure I 1994 Diptych of etching soft ground and aquatint printed in grey and black on thick rough cream-colored paper Gift of Peggy McNeil Boyer class of 1958 and John Boyer MANGOLD Sylvia Plimack. American born 1938 Hazel Boyd Eureka 1997 Color intaglio on thick moderately textured white paper Gift of the Mount Holyoke College Printmaking Workshop MARISOL Marisol Escobar. American born 1930 Chief Joseph 1980 Lithograph printed in color on thick slightly textured cream-colored paper Printed and published by Styria Studio New York Gift of Janice Carlson Oresman class of 1955 31 30 29 ACQUISITIONSIndicates selected listing of this acquisition. For a complete listing see smith.eduartmuseumMembership-MattersAnnual-Report 52 ACQUISITIONS Sohei Nishino Sohei Nishinos Diorama MapTokyo rep- resents Tokyo with a collage of thousands of images he took as he explored the city. Some were shot at street level others look down on the citys avenues alleyways and train lines from high-rise buildings. Recently the artist expanded his project to include other major urban centers around the globe. In Diorama MapTokyo the physical fea- tures of the city appear in close approxima- tion to their actual location however the effect is extremely disconcerting as Nishino fractures the topography and adds radical shifts in scale. He provides his viewers with clear images of many recognizable monu- mentsTokyo Sky Tree Meiji Shrine Tokyo Tower and Rainbow Bridge at the mouth of the Sumida Riverbut the overall effect is of a series of fragmented views not unlike what one experiences moving through the citys urban spaces. The single image is a record of days of photographing. In some places high-rise buildings merge together in rows while elsewhere street signs are easily readable. The diorama also collapses time night and day are both present simultane- ously. Diorama MapTokyo was featured in the Fall 2015 exhibition Dislocation Urban Experience Contemporary Photographs from East Asia and was purchased for the collection with gifts honoring Samuel C. Morse. Morse the Howard M. and Martha P. Mitchell Professor of the History of Art and Asian Languages and Civilizations at Am- herst College served as SCMAs Curatorial Consultant for Asian Art from 2000 to 2015 and in this capacity he curated exhibitions and installations on Asian art and shepherd- ed the gifts of many outstanding works into the museums permanent collection. top Sohei Nishino. Japanese born 1982. Diorama MapTokyo 2014. Light jet print. Purchased with gifts in honor of Samuel C. Morse Curatorial Consultant for Asian Art 200015. Sohei Nishino bottom two images Sohei Nishino. Japanese born 1982. Diorama MapTokyo details 2014 52 ACQUISITIONS 53 MOSER Barry. American born 1940 Une Ecraseuse Bug Crusher 1967 Wood engraving printed in black on medium weight smooth white paper Une Ecraseuse Bug Crusher 1969 Monotype on thin lightly textured yellow paper Raven 1969 Wood engraving printed in black on medium thick slightly textured cream-colored Asian paper William Morris 1969 Etching printed in black on medium thick rough cream-colored paper Ben Shahn 1971 Wood engraving on medium weight smooth off-white paper Demonic Head 1971 Wood engraving printed in black on medium thick smooth cream-colored paper Self-Portrait as a Jew 1971 IMAGE 32 Wood engraving printed in black on Eijyo paper Homage to Mondrian 1972 Wood engraving printed in black on thin slightly textured cream-colored paper Madelines Bouquet 1972 Wood engraving printed in green black and yellow on Japanese etching paper Rutting Satyr 1973 Wood engraving printed in redbrown on medium thick slightly textured off-white paper Gift of Elizabeth OGrady and Jeffrey P. Dwyer MOTHERWELL Robert. American 191591 Rite of Passage II 1980 IMAGE 33 Lithograph printed in black on red TGL hand- made paper Printed and published by Tyler Graphics Mount Kisco NY Gift of Peggy McNeil Boyer class of 1958 and John Boyer MUTU Wangechi. Kenyan born 1972 Second Born 2013 IMAGE 34 24 karat gold collagraph relief digital printing collage and hand coloring on thick smooth white paper Printed and published by Pace Editions New York Purchased NEGRET Edgar. Colombian 19202012 Untitled 1970s Screenprint in color on thick slightly textured beige paper Gift of Anna Hanchett OPPENHEIM Dennis. American 19382011 A Device for Converting a Chilling Underground Wind into a Memory 1980 Lithograph printed in color on medium thick smooth white paper Gift of Anne Donovan Bodnar class of 1978 PITTERI Marco Alvise. Italian 170286 Two images from Receuil destampes daprs les plus clbres tableaux de la Galerie Royale de Dresde 1753 The Apostle Peter being freed from prison by the Angel Saint Francis and the Angel Copperplate engravings printed in black on thick slightly textured white paper Gift of James A. Bergquist in honor of his daughter Echo Bray Bergquist class of 2008 PURYEAR Martin. American born 1941 Diallo 2013 IMAGE 35 Open-bite etching aquatint drypoint and soft- ground etching printed on Rives BFK paper Printed and published by Paulson Bott Press Berkeley CA Purchased with the gift of Rena G. Bransten class of 1954 and the gift of the Fred Bergfors and Margaret Sandberg Foundation 33 5353 32 34 35 ACQUISITIONSIndicates selected listing of this acquisition. For a complete listing see smith.eduartmuseumMembership-MattersAnnual-Report 54 ACQUISITIONS SINGH Arpita. Indian born 1947 I Could See London Through Clouds 2007 IMAGE 36 This Could be Us You or Anybody Else 2007 Etching and aquatints printed in color on heavy- weight slightly textured white paper Gift of Bridget Moore class of 1979 SMITH Kiki. American born Germany 1954 Untitled 2004 Inkjet print on medium weight slightly textured white paper Gift of Anne Donovan Bodnar class of 1978 Me and the Ear 1997 Linocut printed in color on thin slightly textured beige paper Gift of Janice Carlson Oresman class of 1955 SORMAN Steven. American born 1948 sandstone 1976 Drypoint woodcut and watercolor on Uwa paper according to what plan 1978 Mezzotint and drypoint on Rives paper the rst buildings project according to what plan 1978 Etching lithograph and collage on Sekishi Japan dyed and Kochi papers diptych inside outside a difference in ages 1980 Lithograph woodcut and collage on various joined papers what this is come in 1980 Etching aquatint watercolor and color pencil on Bodleian paper a letter from Matisse 1982 Lithograph collage monotype and wood stamping on Japanese etching paper my brother and his problems 1983 Lithograph and collage on Japan paper right about here 1984 Monoprint lithograph collage and oil pastel on John Koller papers trees blowing and blowing like arms akimbo 1984 Linocut etching woodcut collage and hand painting on TGL handmade paper wherein you are outside of which 1986 Lithograph collage and oil stick on Chiri paper Gift of Steven Sorman in memory of Shelley Ross class of 1968 and in honor of Sally Brody class of 1954 and Janice Oresman class of 1955 UNKNOWN. Japanese 20th century Amorous Couple ca. 1910 Woodcut printed in color on lightweight smooth cream-colored Asian paper Gift of Adlyn Shannon Cook class of 1949 UNKNOWN. Japanese 19th century Anatomical design ca. 1850s Woodcut printed in color on lightweight smooth cream-colored Asian paper Gift of Adlyn Shannon Cook class of 1949 UNKNOWN. Japanese 20th century Untitled Young woman reading Shunga ca. 1920 Woodcut printed in color with mica on light- weight smooth cream-colored Asian paper Gift of Adlyn Shannon Cook class of 1949 VARIOUS ARTISTS 701 prints in all media by American Austrian Australian Canadian Chinese Czechoslovakian Danish Dutch English French German Russian Scottish Swedish Swiss and Welsh art- ists made between the 17th and 21st centuries. The Gladys Engel Lang and Kurt Lang Collection see p. 34 WANTANABE Sadao. Japanese 191396 Untitled six gures with halos 1960 Christ Carrying the Cross 1971 Stencils printed in color on Kozo paper Gift of Dr. Bonita Franklin class of 1969 and Stephen P. Kramer WHISTLER James Abbott McNeill. American 18341903 The Little Nude Model Reading 188990 Lithograph printed in black on thin cream- colored laid paper Gift of Adlyn Shannon Cook class of 1949 SCULPTURE BANERJEE Rina. Indian lives and works in New York born 1963 Untitled ca. 2000 IMAGE 37 Mixed media with feathers fur and fabric Gift of Louise Eliasof class of 1987 and James Sollins BROCKMANN Ruth. American 19552013 Mask n.d. Kiln-formed glass Gift of Elaine H. Finkelstein class of 1951 CLIBANOFF Lynne. American born 1944 Middle Age 1984 Painted wood Gift of Elaine H. Finkelstein class of 1951 COHEN Carol. American born 1939 The Pitcher Dreams of Pouring 1990 Thirty-three pieces of painted glass Gift of Elaine H. Finkelstein class of 1951 37 54 ACQUISITIONSACQUISITIONSIndicates selected listing of this acquisition. For a complete listing see smith.eduartmuseumMembership-MattersAnnual-Report 36 5555 FRANK Mary. American born 1933 Arches and Figures n.d. IMAGE 38 Ceramic Gift of Elaine H. Finkelstein class of 1951 HELD Nancy. American born 1945 Untitled n.d. Polychrome ceramic Gift of Elaine H. Finkelstein class of 1951 LASCH Pat. American born 1944 Cake n.d. IMAGE 39 Acrylic and wood glass mirror and Plexiglas Gift of Elaine H. Finkelstein class of 1951 LUTZ Winifred. American born 1942 Each Takes Its Shape from What It Stands Between 1982 Paper bark and wood Gift of Elaine H. Finkelstein class of 1951 McCOY Ann. American born 1946 Lion Goddess Procession ca. 1985 Polychrome bronze Gift of Elaine H. Finkelstein class of 1951 SCHECHET Arlene. American born 1951 Buddha 1999 Polychrome plaster Gift of Elaine H. Finkelstein class of 1951 SEIDEN Katie. American 20th century Recall The Drunk Drivers n.d. Mixed media assemblage in ceramic cake form Gift of Elaine H. Finkelstein class of 1951 UNKNOWN. Chinese Tang dynasty 618907 C.E. Standing Tomb Figure n.d. IMAGE 40 Ceramic with traces of polychrome Gift of Christine von Goeben Curtis class of 1951 and John R. Curtis Jr. VIDEO NEW MEDIA KIMSOOJA. Korean born 1957 A Beggar WomanCairo 20002001 Single-channel video Duration 8 minutes 52 seconds Purchased with the gift of Jungkoo An and Ae Young Han in honor of their daughter Sabina An class of 2016 an anonymous gift and funds from the Contemporary Associates 38 39 40 56 MUSEUM STAFF MUSEUM ASSISTANTS MUSEUM STAFF Jessica Nicoll 83 Director and Louise Ines Doyle 34 Chief Curator Stacey Anasazi Financial and Systems Coordinator David Andrews Admissions Assistant Nikolas Asikis Acting Assistant Preparator Jessica Berube Brown Post-Baccalaureate Fellow in Museum Marketing and Communications Ashley Brickhouse 11 Interim Assistant Educator Emma Cantrell Brown Post-Baccalaureate Fellow for Museum Education Margi Caplan Membership and Marketing Director David Dempsey Associate Director for Museum Services Tim Donahue Matting Assistant Martha Ebner Communications Coordinator Taiga Ermansons AC 03 Associate Educator Nan Fleming Museum Store Manager Aprile Gallant Curator of Prints Drawings and Photographs Susan Gelotte Assistant Museum Store Manager Justin Griswold Installation Technician Gina Hall Associate Educator for School and Family Programs Kelly Holbert Exhibition Coordinator Henriette Kets de Vries Cunningham Center Manager Louise Krieger 84 Assistant to the Director Margaret Kurkoski 12 Brown Post-Baccalaureate Curatorial Fellow Louise Laplante Collections ManagerRegistrar Maggie Lind Associate Director for Academic Programs and Public Education Louise Martindell 02 Membership and Donor Coordinator Ann Mayo 83 Manager of Security and Guest Services Colleen McDermott Brown Post-Baccalaureate Curatorial Fellow Charlene Shang Miller Associate Educator for Academic Programs Linda Muehlig Associate Director for Curatorial Affairs and Senior Curator of Painting and Sculpture William Myers Chief Preparator Stephanie Sullivan Assistant Preparator Richard Turschman Assistant Manager for Security Yao Wu Jane Chace Carroll Curator of Asian Art MUSEUM GUARDS Elizabeth Bannish Nellie Brahms Larry Carlson Ryan Duffy Donna Edgarton Nancy Elwell Pamela Ferrechio Jonathan Gerhardson Dave Hart Carlotta Hoffman Dustin Kelleher Donna Kurkul John LaChapelle Bryan Larkin Julia Max Jason Mazzotta Brendan McCauley Lourdes Morales Jolis Ortiz Yulin San Ben Shohan Kim Spence Wendy Stayman Jenni Sussman Christie Svane Kasha Toone Diane Westman SECURITY SYSTEM SPECIALISTS Jim Adamski Michelle Cotugno 02 Tamma Fairbrother Sue Farrell Keith Gamage Patrick Gaudet Kate Kearns 01 Deb Kowal Jack Martin Jordan So Yung Morris Mike Patenaude Richard Samuelson Fran Taylor 56 below left to right Emma Cantrell Louise Martindell with members Henriette Kets de Vries and Dance Professor Emerita Susan Waltner Dave Andrews installation crew Gina Hall Charlene Shang Miller and Second Friday participants 57 MUSEUM ASSISTANTS CONSERVATION Volunteers Madeleine Goldstein 16 Madeleine Greaves 18 Candace Kang 15 Sarah Kilfoyle 18 Emily Kim 15 Tatiana Shannon Hampshire College 13 Hui Yan 17 CUNNINGHAM CENTER STRIDE Scholar Saraphina Masters 17 Student Assistants Shengjie Dai 17 Kayla Gaskin 17 Anya Gruber 16 Maggie Hoot 16 Janna Singer-Baefsky 15 Anna Weston 17 Lang Collection Print Cataloguer Brittany Rubin UMass M.A. 15 IFPDA Intern Nicole Viglini 04 DIRECTORS OFFICE STRIDE Scholar Samantha Page 17 EDUCATION Student Assistants Madison Barker 15 Rebecca Firkser 15 Jiete Li 15 OCIP Intern Hope Mowry 15 Student Museum Educators SMEs Madison Barker 15 Bouchra Bouziane UMass Ph.D. candidate Alicia Bowling 17 Catherine Bradley 17 Lily Clark 17 Rebecca Firkser 15 Beryl Ford 17 Elizabeth Hoffmeyer 17 Sarah Kilfoyle 18 Dorie Klein 17 Saraphina Masters 17 Hope Mowry 15 Gabrielle Peterson 16 Clara Rosebrock 16 Raphaela Tayvah 16 Sri Wahyuni 17 Hui Yan 17 Family Program Volunteers Holly Carabbio 18 Laura Grant 17 Laura Green 18 Samantha Page 17 GUEST SERVICES Student Assistant Virginia Litovich 17 MEMBERSHIP AND MARKETING Student Assistants Amanda Click 17 Jessie Cole 17 Caryn Moon 15 Sukanya Datta Ray 16 Lena Wilson 16 Student Museum Advisory Council SMAC Janna Singer-Baefsky 15 Chair June Ahn 18 Antonia DaSilva 18 Julia Franchi 18 Suma Haque 18 Samantha Linder 18 Alice Matthews 18 MUSEUM SHOP Student Assistants Sabrina Brier 17 Nicole Croke 15 Maya Rivera 16 Volunteer Gillian Morbey REGISTRARS OFFICE Student Assistant Xuan Wen 15 Summer Assistant Misa Kobayashi 16 57 SCHEMA 201415 Managing editorcreative director Margi Caplan Writereditor Jennifer Gottlieb Photography editor Martha Ebner Co-editor Louise Martindell 02 Copy editorproofreader Andrea E. Reynolds Publication assistant Jessica Berube Contributors Stacey Anasazi Emma Cantrell Jeff Dwyer Taiga Ermansons AC 03 Aprile Gallant Gina Hall Kelly Holbert Henriette Kets de Vries Louise Laplante Maggie Lind Louise Martindell 02 Charlene Shang Miller Linda Muehlig William Myers Jessica Nicoll 83 Samantha Page 17 Janna Singer-Baefsky 15 Designer Laura Radwell Assistant Designer John Harrison Printer Hadley Printing Photographers Petegorsky Gipe art object Derek Fowles Lynne Graves event portrait Sam Samuels Associates Trip BACK COVER left to right David Dempsey and installation crew stretching the Stella painting SMEs at Family Day artist Mary Bauermeister SME and young visitor in a gallery top to bottom guests at Christ Gallery dedication festivi- ties young visitor in a gallery Emma Cantrell presenting a Members gallery talk Cover and text pages printed on FSC certied and recycled paper using vegetable-based inks. 58 ACQUISITIONS I N S P I R A T I O N E V E R Y W H E R E 20 Elm Street at Bedford Terrace Northampton Massachusetts 01063 Non-prot Org US Postage Paid Five Maples smith.eduartmuseum