Terra Foundation-supported Events

Exhibition: Bruce Davidson. Retrospective

This exhibition presents a survey of photographer Bruce Davidson’s career, which spans more than 60 years. It focuses on some of the artist’s best-known series, including “Brooklyn Gang” and “East 100th Street” and photographs from the Civil Rights movement. Davidson’s unique style of documentary photography and his interest in the struggles and triumphs of different groups allows for a unique perspective on life in the United States. The exhibition includes approximately 200 prints, presented in 16 thematic sections.

The exhibition is also on view at Fundación Mapfre, Madrid, Spain (September 12, 2016–January 15, 2017); Camera. Centro Italiano per la Fotografia, Turin, Italy (spring 2017); and Nederlands Fotomuseum, Rotterdam, The Netherlands (fall 2017).

Additional information is forthcoming.

Exhibition: The World of Charles and Ray Eames

This exhibition seeks to broaden the understanding of the influence of Ray and Charles Eames by surveying the designers’ careers, focusing specifically on the Eames Office, where the couple, their collaborators, and their staff produced an array of projects, including architecture, furniture, and product design; film; photography; multi-media installation; and exhibitions, as well as new models for education. Featured are objects from the professional archive of the Eames Office and the couple’s personal collection, alongside contextual information.

The exhibition is also being presented at the Museum of Art, Architecture and Technology, Lisbon, Portugal (October 4, 2016–January 8, 2017).

For more information, please visit:
http://www.bildmuseet.umu.se/en/exhibition/charles-and-ray-eames/23701

Collection Loan: Electric Paris

From the collection of the Terra Foundation for American Art, Theodore Butler’s Place de Rome at Night, Charles Courtney Curran’s Paris at Night, and Willard Metcalf’s  Au café are exhibited in Electric Paris.  This exhibition is on view at the Bruce Museum from May 14–September 4, 2016.

For more information, please see: brucemuseum.org.

Theodore Earl Butler, Place de Rome at Night, 1905, Oil on canvas, 23 1/2 x 28 3/4 in. (59.7 x 73.0 cm), Terra Foundation for American Art, Daniel J. Terra Collection, 1994.16
Theodore Earl Butler, Place de Rome at Night, 1905, Oil on canvas, 23 1/2 x 28 3/4 in. (59.7 x 73.0 cm), Terra Foundation for American Art, Daniel J. Terra Collection, 1994.16
Exhibition: Calder & Fischli/Weiss

This exhibition is the third and final installment of a collaboration between the Fondation Beyeler and the Calder Foundation. It pairs American sculptor Alexander Calder (1898–1976) with the Swiss art duo Peter Fischli (b. 1952) and David Weiss (1946–2012) in an effort to provide a new perspective on Calder’s work. By juxtaposing a range of sculptures, installations, and films by these artists, organizers hope to reveal “fragile balance,” or the quality of hovering between stasis and collapse, as the visual and conceptual thread linking the work. While Calder’s stabiles and mobiles treat balance in a very literal sense, work by Fischli and Weiss addresses it metaphorically by simultaneously suggesting opposite states, such as chaos and order or chance and precision.

For more information, please visit:
http://www.fondationbeyeler.ch/en/exhibitions/calder-amp-fischliweiss/introduction

Exhibition: Jacob A. Riis: Revealing New York’s Other Half

Jacob Riis (1849–1914) was a Danish-born newspaper reporter who, through his writing and photographs, publicized the crisis in housing, education, crime, and poverty at the height of late-nineteenth-century European immigration to New York City. By using photographs to reveal the inhumane conditions of the poor, Riis initiated the tradition of social documentary photography. On the occasion of the centenary of his death, the Museum of the City of New York is bringing together the Jacob A. Riis Papers from the Library of Congress and the Jacob A. Riis Collection of Photographs from the museum’s holdings. Riis’s images are being shown in multiple formats—negatives, lantern slides, and wood engravings or halftones in books—to show how they were seen by his public.

The exhibition is also on view at the Museum of the City of New York, New York (October 14, 2015–March 20, 2016); Gammelstrand, Copenhagen, Denmark (October 1–December 30, 2016); and Kunstmuseum Ribe, Ribe, Denmark (January 20–May 14, 2017).

Additional information is forthcoming.

Collection Loan: American Epics: Thomas Hart Benton and Hollywood

Thomas Hart Benton and Hollywood includes a thematic presentation of Benton’s paintings, drawings, and prints, with related ephemera, film clips and stills. As one of the fourteen panels of the mural American Historical Epic, Benton’s Slaves is presented as part of the complete mural, installed in a single gallery for the first time.

This exhibition is on view at:

For more information, please visit:

http://mam.org/exhibitions/details/Benton.php

Thomas Hart Benton, Slaves, 1925, oil on cotton duck mounted on board, 66 7/16 x 72 3/8 x 1 7/16in. (168.8 x 183.8 x 3.7cm), Terra Foundation for American Art, Daniel J. Terra Art Acquisition Endowment Fund, 2003.4
Thomas Hart Benton, Slaves, 1925, oil on cotton duck mounted on board, 66 7/16 x 72 3/8 x 1 7/16in. (168.8 x 183.8 x 3.7cm), Terra Foundation for American Art, Daniel J. Terra Art Acquisition Endowment Fund, 2003.4
Collection Loan: Coney Island: Visions of an American Dreamland, 1861-2008

From the Terra Foundation collection, Reginald Marsh’s painting Pip and Flip and Riders in A Mermaid Tunnel Boat, a double-sided drawing, are exhibited along with paintings, drawings, prints, photographs, film clips, ephemera, and artifacts depicting Coney Island attractions in the exhibition Coney Island: Visions of an American Dreamland, 1861-2008.

Riders in a Mermaid Tunnel Boat is one of two drawings Reginald Marsh made in 1946 on a single sheet of watercolor paper. At each venue for the exhibition Coney Island, one side of the work will displayed. The drawing on view will alternate for each venue of the tour.

This exhibition is on view at:

For more information, please visit:  http://www.mcnayart.org/exhibitions/upcoming/

Reginald Marsh, Riders in a Mermaid Tunnel Boat, 1946. Terra Foundation for American Art, Gift of Marjorie and Charles Benton, C1982.7a
Reginald Marsh, Riders in a Mermaid Tunnel Boat, 1946. Terra Foundation for American Art, Gift of Marjorie and Charles Benton, C1982.7a
Collection Loan: Impressionism: American Gardens on Canvas

From the collection of the Terra Foundation for American Art, Horticulture Building, World’s Columbian Exposition, Chicago by Childe Hassam and White Phlox, by Hugh Henry Breckenridge are exhibited in Impressionism: American Gardens on Canvas. This exhibition is on view at the New York Botanical Garden, New York, New York, May 14–September 11, 2016, and the Taubman Museum of Art, Roanoke, Virginia, February 3–May 16, 2017.

 

For more information, please see:

http://www.nybg.org/visit/exhibitions.php#ImpressionismAmericanGardensonCanvas

Childe Hassam, Horticulture Building, World's Columbian Exposition, Chicago, 1893, oil on canvas, 18 1/2 x 26 1/4 in. (47.0 x 66.7 cm), Terra Foundation for American Art, Daniel J. Terra Collection, 1999.67
Childe Hassam, Horticulture Building, World’s Columbian Exposition, Chicago, 1893, oil on canvas, 18 1/2 x 26 1/4 in. (47.0 x 66.7 cm), Terra Foundation for American Art, Daniel J. Terra Collection, 1999.67
Collection Loan: Mabel Dodge Luhan & Company: American Moderns and the West

From the collection of the Terra Foundation for American Art, Builders of the Desert by Walter Ufer is exhibited in Mabel Dodge Luhan & Company: American Moderns and the West.  This exhibition is on view at the Harwood Museum of Art, Taos, New Mexico, May 22–September 11, 2016; the Albuquerque Museum of Art and History, Albuquerque, New Mexico, October 9, 2016–January 22, 2017; and the Burchfield Penny Art Center, Buffalo, New York, March 10–May 28, 2017.

For more information, please visit:

http://www.harwoodmuseum.org/exhibitions/view/147

 

Walter Ufer, Builders of the Desert, 1923, oil on canvas laid down on aluminum, 50 1/8 x 50 1/8 in. (127.3 x 127.3 cm), Terra Foundation for American Art, Daniel J. Terra Collection, 1992.174
Walter Ufer, Builders of the Desert, 1923, oil on canvas laid down on aluminum, 50 1/8 x 50 1/8 in. (127.3 x 127.3 cm), Terra Foundation for American Art, Daniel J. Terra Collection, 1992.174
Exhibition/Terra Collection Initiative:William Merritt Chase: A Modern Master

A Terra Collection Initiative, William Merritt Chase is co-organized by The Phillips Collection; Museum of Fine Arts, Boston; Fondazione Musei Civici di Venezia; and the Terra Foundation.

The exhibition features six works from the Terra Foundation collection:

William Merritt Chase  is accompanied by an exhibition catalogue with texts in English and Italian.

This exhibition is on view as William Merritt Chase: A Modern Master at the The Phillips Collection, Washington, DC, (June 4–September 11, 2016) and as William Merritt Chase at the Museum of Fine Arts, Boston, (October 9, 2016–January 16, 2017) and Fondazione Musei Civici di Venezia, Venice, Italy (February 10–May 28, 2017).

For more information, please visit:
http://www.phillipscollection.org/events/2016-06-04-exhibition-william-merritt-chase

 

William Merritt Chase,  Spring Flowers (Peonies), by 1889, 48 x 48 in. (121.9 x 121.9 cm), Terra Foundation for American Art, Daniel J. Terra Collection, 1999.32
William Merritt Chase, Spring Flowers (Peonies), by 1889, 48 x 48 in. (121.9 x 121.9 cm), Terra Foundation for American Art, Daniel J. Terra Collection, 1999.32
Exhibition/Collection Loan: Mary Cassatt Retrospective

From the collection of the Terra Foundation for American Art, Summertime by Mary Cassatt, Jenny and Her Sleepy Child by Mary Cassaat, and The Breeze by Mary Fairchild MacMonnies (later Low) are exhibited in Mary Cassatt—Retrospective.  This exhibition is on view at Yokohama Museum of Art, June 25–September 11, 2016 and The National Museum of Modern Art, in Kyoto, September 27–December 4, 2016.

For more information, please visit:  http://yokohama.art.museum/eng/
exhibition/index/The Breeze

Mary Cassatt, Summertime, 1894, oil on canvas, 39 5/8 x 32 in. (100.6 x 81.3 cm), Terra Foundation for American Art, Daniel J. Terra Collection, 1988.25
Mary Cassatt, Summertime, 1894, oil on canvas, 39 5/8 x 32 in. (100.6 x 81.3 cm), Terra Foundation for American Art, Daniel J. Terra Collection, 1988.25
Exhibition: Carl Andre: Sculpture as Place, 1958–2010

This exhibition surveys all major historical and aesthetic shifts in the artistic practice of Carl Andre. Though his artistic importance—particularly in relation to Minimalism—has long been established in the United States, his work has been rarely addressed, and never shown in depth, by an American or international institution in more than 30 years. This exhibition draws on iconic pieces from Andre’s most productive period in the 1960s and 1970s, as well as more recent sculptural experiments. A comprehensive selection of the artist’s poems addresses the pivotal role of language in his practice. The unprecedented display of these two lines of aesthetic inquiry affords the rare opportunity to trace the full evolution of Andre’s thinking.

The exhibition will also travel to the Museé d’Art Moderne de la Ville de Paris (October 2016–February 2017) and Los Angeles County Museum of Art (March–July 2017) .

Exhibition: America After the Fall: Painting the in 1930s

During the Great Depression, American artists visualized national culture in the context of the economic depression at home, civil war in Spain, and rising fascism in Europe. This exhibition argues that the 1930s, bookended by the economic crash of 1929 and the US’s entry into World War II in 1941, was one of the most vital artistic periods for American artists in the whole of the twentieth century. Featuring approximately 50 paintings—drawn from the holdings of the Art Institute of Chicago, as well as from more than 25 public and private collections—it tells the story of this economically, politically, and aesthetically turbulent decade by surveying the varied works of artists such as Edward Hopper, Thomas Hart Benton, Ben Shahn, Philip Evergood, Stuart Davis, Charles Demuth, Charles Sheeler, Georgia O’Keeffe, and Grant Wood.

The exhibition is also on view at Musée de l’Orangerie, Paris, France (October 12, 2016– January 30, 2017); and the Royal Academy of Arts, London, England (spring 2017).

For more information, please visit:
http://www.artic.edu/exhibition/america-after-fall-painting-1930s

Exhibition/Terra Collection Initiative: Samuel F. B. Morse’s “Gallery of the Louvre” and the Art of Invention

Known today primarily for his role in the development of the electromagnetic telegraph and his namesake code, Samuel Morse began his career as a painter. Created between 1831 and 1833 in Paris and New York, Gallery of the Louvre was Morse’s masterwork and the culmination of his studies in Europe. Morse’s “gallery picture,” a form first popularized in the seventeenth century, is the only major example of such in the history of American art. For this canvas, Morse selected masterpieces from the Louvre’s collection and imaginatively “reinstalled” them in one of the museum’s grandest spaces, the Salon Carré.

The exhibition Samuel F. B. Morse’s “Gallery of the Louvre” and the Art of Invention, a Terra Collection Initiative, is accompanied by an anthology of the same title, published by the Terra Foundation for American Art and distributed by Yale University Press.

The exhibition is on view at:

For more information, please visit:
http://www.dia.org/calendar/exhibitions.aspx

 

Samuel F. B. Morse, Gallery of the Louvre, 1831‒1833, oil on canvas, 73 3/4 x 108 in. (187.3 x 274.3 cm), Terra Foundation for American Art, Daniel J. Terra Collection, 1992.51
Samuel F. B. Morse, Gallery of the Louvre, 1831‒1833, oil on canvas, 73 3/4 x 108 in. (187.3 x 274.3 cm), Terra Foundation for American Art, Daniel J. Terra Collection, 1992.51
Collection Loan: O’Keeffe, Stettheimer, Torr, Zorach: Women Modernists in New York

From the collection of the Terra Collection for American Art, Helen Torr’s Purple and Green Leaves is exhibited in O’Keeffe, Stettheimer, Torr, Zorach: Women Modernists in New York.  This exhibition is on view at the Norton Museum of Art, West Palm Beach, Florida, February 18–May 15, 2016 and the Portland Museum of Art, Portland, Maine, June 23–September 18, 2016.

For more information, please visit:  http://www.portlandmuseum.org/exhibitions/okeeffe-stettheimer-torr-zorach

Helen Torr,
Helen Torr, Purple and Green Leaves, 1927, Oil on copper, mounted on board, 20 1/4 x 15 1/4 in. (51.4 x 38.7 cm), Terra Foundation for American Art, Daniel J. Terra Collection, 1999.142
Exhibition/Collection Loan: Stuart Davis: In Full Swing

Co-organized by the Whitney Museum of American Art and the National Gallery of Art, this exhibition examines, with new detail and insights, how Stuart Davis (1892–1964) appropriated European avant-garde painting to convey the experience of contemporary American life. Over the course of his 60-year career, the artist invented a vocabulary in which bold colors and flat, jagged forms were compressed into dense, syncopated compositions that mimic the impact of abstract billboards. By emphasizing his mature work, created after he had assimilated the lessons of Fauvism and Cubism, this exhibition argues that Davis made the European modernist styles his own and thereby created an American modernism of equal vibrancy and complexity. Stuart Davis: In Full Swing features Davis’s Super Table, from the collection of the Terra Foundation for American Art. 

This exhibition is also on view at the National Gallery of Art, Washington, DC (November 20, 2016–March 5, 2017); the de Young Museum, San Francisco, California (April 8–August 6, 2017); and Crystal Bridges Museum of American Art, Bentonville, Arkansas (September 16, 2017–January 8, 2018).

For more information, please visit:
http://whitney.org/Exhibitions/StuartDavis

 

Stuart Davis,
Stuart Davis, Super Table, 1925, Oil on canvas, 48 x 34 1/8 in. (122.2 x 86.7 cm), Terra Foundation for American Art, Daniel J. Terra Collection, 1999.37
Exhibition: Johns + Munch

Organized by the Virginia Museum of Fine Arts (VMFA), this exhibition explores Jasper Johns’s interest in the work of Norwegian painter and printmaker Edvard Munch (1863–1944). The Munch Museum in Oslo is partnering with the VMFA by lending objects, including some of Munch’s best known pieces, as well as rare works never before seen in the United States. The exhibition provides insight into Johns’s creative process and how, at a crucial point midway through his career, he looked to Munch’s defining themes of love, sex, illness, and death, as well as his innovative working methods, as sources of inspiration. Johns routed Munch’s art through a process of quotation, repetition, displacement, substitution, and elision to create his own images while opening his work to new themes and meanings shared with Munch. Sequenced to explore the artist’s growing awareness of and interest in Munch, the exhibition demonstrates the great thematic and formal shifts that can be attributed in part to his predecessor’s influence.

The exhibition is also on view at the VMFA (November 19, 2016–February 20, 2017) under the title Jasper Johns and Edvard Munch: Love, Loss, and the Cycle of Life.

For more information, please visit:
http://munchmuseet.no/en/exhibitions/johns-munch

Collection Loan: Gallery Installation

Since April 2005, the Terra Foundation of American Art has loaned works for display to the Department of American Art at the Art Institute of Chicago (AIC). Works from the collection of the Terra Foundation and works from the Art Institute of Chicago are located together in a suite of galleries, together providing one of the nation’s most comprehensive presentations of American art.

For more information, please visit http://www.artic.edu/collections/art-institute-chicago-and-terra-foundation-american-art.

Winslow Homer, The Whittling Boy, 1873, Oil on canvas. Terra Foundation for American Art, Daniel J. Terra Collection, 1994.12
Winslow Homer, The Whittling Boy, 1873, Oil on canvas. Terra Foundation for American Art, Daniel J. Terra Collection, 1994.12
Exhibition/Terra Collection Initiative: Continental Shift: Nineteenth Century American and Australian Landscape Painting

From the collection of the Terra Collection for American Art, fifteen landscapes by American artists are exhibited with landscape works from the collection of the Art Gallery of Western Australia. This exhibition examines major themes that informed landscape representation during the long nineteenth century, enabling cross-cultural comparative study.

In conjunction with the exhibition Continental Shift university courses with visiting lecturers from the U. S. will be held at University of Western Australia and at the University of Melbourne.

The exhibition is on view at Art Gallery of Western Australia, Perth, Australia, July 30, 2016–February 5, 2017 and Ian Potter Museum of Art, Melbourne, Australia, March 14–June 11, 2017.

For more information, please visit: http://www.artgallery.wa.gov.au/exhibitions/continental-shift.asp

 

Alfred Thompson Bricher, Lake George from Bolton's Landing, 1867, oil on canvas, 27 x 50 1/4in. (68.6 x 127.6cm), Terra Foundation for American Art, Daniel J. Terra Collection, 1992.17
Alfred Thompson Bricher, Lake George from Bolton’s Landing, 1867, oil on canvas, 27 x 50 1/4in. (68.6 x 127.6cm), Terra Foundation for American Art, Daniel J. Terra Collection, 1992.17