Terra Foundation-supported Events

Collection Loan: Gallery Installation

This focused installation of works by James McNeill Whistler combines Whistler prints from the Williams College Museum of Art with four oil paintings from the Terra Foundation Collection. Following the exhibition, the works from the Terra Foundation will be integrated into a reinstallation of the permanent collection galleries, where they will remain on view through May 2016. The exhibition features five works from the Terra Foundation collection:

For more information, please visit:
http://wcma.williams.edu/exhibitions/current/

 

James McNeill Whistler, Note in Red: The Siesta, by 1884. Terra Foundation for American Art, Daniel J. Terra Collection, 1999.149
James McNeill Whistler, Note in Red: The Siesta, by 1884. Terra Foundation for American Art, Daniel J. Terra Collection, 1999.149
Exhibition: The Monster Roster: Existentialist Art in Postwar Chicago

In 1959 artist and critic Franz Schulze dubbed a group of Chicago-based artists “the Monster Roster,” inspired by Leon Golub’s late 1940s images of distended, encrusted figures. The Monster Roster’s overtly psychological paintings, sculpture, and prints drew on classical mythology and art, as well as German Expressionism, to offer a biting critique of human nature. Despite being one of the most important Midwestern contributions to the development of American art, the significance of the Monster Roster has been largely overlooked. This exhibition brings together paintings, sculpture, and works on paper from the Smart Museum to examine the aesthetics of Golub and his compatriots—including Dominick DiMeo, Cosmo Campoli, June Leaf, Seymour Rosofsky, and Nancy Spero. It also sheds light on the group’s relationships with preceding generations of Chicago artists, as well as its influences on the well-known Chicago Imagists, who followed.

For more information, please visit:
http://smartmuseum.uchicago.edu/exhibitions/monster-roster-existentialist-art-in-postwar-chicago/

 

Exhibition: A Feast of Astonishments: Charlotte Moorman and the Avant-Garde, 1960s–1980s

This exhibition examines the creative activities and legacy of Charlotte Moorman, whose contributions as a visual artist, performance artist, musician, and advocate for the artistic avant-garde of the 1960s and ’70s in the United States and Europe have yet to find their place in scholarship or popular history. The exhibition features approximately 100 objects, ranging from original sculptures, photographs, video art works, recreated installation and performance art works, to annotated music scores, archival materials, film clips, and audio recordings.

The exhibition is also on view at Grey Art Gallery, New York University (fall 2016), and the Museum der Moderne Salzburg (spring 2017).

For more information, please visit:
http://www.blockmuseum.northwestern.edu/view/exhibitions/upcoming-exhibitions/a-feast-of-astonishments-charlotte-moorman-and-the-avant-garde,-1960s1980s.html

Exhibition: William N. Copley: The World According to CPLY

William Nelson Copley was both an outsider and an insider in the art world. Known by his signature moniker, CPLY, he created a body of largely figurative paintings, drawings, and installations. His work resisted prevailing trends towards abstraction in post-World War II art and provided the foreground for his lifelong preoccupations with Americana. Preferring no one particular style, Copley’s experimentation with form, style, color, and material continued throughout his career. He was also a collector, patron, and connector of some of the most important artists of the twentieth century, including European Surrealists and American Pop artists such as Marcel Duchamp, Man Ray, Max Ernst, René Magritte, and Andy Warhol. Co-organized by the Menil Collection and Fondazione Prada, this exhibition of 120 works traces Copley’s stylistic and thematic development, examining the full arc of his career from the late 1940s to the 1990s. Many of the objects from Copley’s personal collection are now owned by the Menil and will be presented as a coda section to the exhibition.

This exhibition is also on view at the Fondazione Prada, in Milan, Italy (Fall 2016).

For more information, please visit:
https://www.menil.org/exhibitions/236-william-n-copley-the-world-according-to-cply

Exhibition: Three Centuries of American Prints from the National Gallery of Art

This exhibition presents a survey of American printmaking from its beginnings in the early eighteenth century to the present. Drawing on approximately 140 prints of various types from the National Gallery of Art’s holdings, it covers a wide range of movements, from the colonial period and the Revolution to the emergence of Pop art and prints of the twenty-first century. The exhibition includes work by James John Audubon, James McNeill Whistler, Winslow Homer, Mary Cassatt, Andy Warhol, and Glenn Ligon, among many other artists.

This exhibition is also on view at the National Gallery, Prague (October 4, 2016–January 5, 2017) and Antiguo Colegio de San Ildefonso, Mexico City (February 7–April 30, 2017).

For more information, please visit:
http://www.nga.gov/content/ngaweb/exhibitions/2016/three-centuries-of-american-prints-from-the-national-gallery-of-art.html

Exhibition: Partners in Design: Alfred H. Barr Jr. and Philip Johnson

Organized by the Liliane and David M. Stewart Program for Modern Design, this exhibition focuses on how the Museum of Modern Art’s (MoMA) first director, Alfred Barr, and curator of architecture, Philip Johnson, introduced modern design to North America. The exhibition’s narrative begins with Barr and Johnson’s travels in Europe in the late 1920s and early 1930s. What they saw there was a revelation: the rejection of ornament, practiced by leading European architects—such as Le Corbusier, J. J. P. Oud, and Ludwig Mies van der Rohe–had  given rise to a purity of form that Barr and Johnson would dub the ‘International Style’. The exhibition traces the development of modern design from its origins at the Bauhaus in Dessau to Barr and Johnson’s radical experiments in their homes to MoMA’s nationally influential exhibitions in the 1930s and beyond. It includes more than 100objects—including furniture, photographs, and industrial and graphic design—drawn from private and public collections.

This exhibition is also on view at the Davis Museum at Wellesley College (autumn 2016), Kunsthalle Bielefeld (spring/summer 2017) and the Grey Art Gallery at New York University (autumn 2017).

For more information, please visit: https://www.mbam.qc.ca/en/exhibitions/upcoming/partenaires-en-design-alfred-h-barr-jr-et-philip-johnson/

 

Exhibition: Robert Mapplethorpe: The Perfect Medium

This exhibition explores the life, work, and legacy of Robert Mapplethorpe (1946–1989), presenting the artist’s best-known photographs alongside work that has never been published. The exhibition covers Mapplethorpe’s origins in the downtown New York scene in the 1970s, through his rise to fame as a photographer in the early 1980s, to his centrality in the so-called Culture Wars in 1989, the year of his death. It will draw on the acquisition of The Robert Mapplethorpe Archive by the Los Angeles County Museum of Art (LACMA), the J. Paul Getty Museum, and the Getty Research Institute. The exhibition is conceived in two parts to reflect this collaboration and will be presented concurrently at LACMA and the Getty Museum before traveling to two international venues.

Through drawings, collages, sculptures, photographs, and two video works, LACMA’s presentation focuses primarily on Mapplethorpe’s working methods, sources and creative processes—the experimental and performative aspects of his work.

The exhibition is also on view at the Montreal Museum of Fine Arts (August 2016–January 2017) and Art Gallery of New South Wales (September–November 2017).

For more information, please visit:
http://www.lacma.org/art/exhibition/robert-mapplethorpe-perfect-medium

Exhibition: Robert Mapplethorpe: The Perfect Medium

This exhibition explores the life, work and legacy of Robert Mapplethorpe (1946–1989), presenting the artist’s best-known photographs alongside work that has never been published. The exhibition covers Mapplethorpe’s origins in the downtown New York scene in the 1970s, through his rise to fame as a photographer in the early 1980s, to his centrality in the so-called Culture Wars in 1989, the year of his death. It draws on the acquisition of The Robert Mapplethorpe Archive by the Los Angeles County Museum of Art (LACMA), the J. Paul Getty Museum, and the Getty Research Institute. The exhibition is conceived in two parts to reflect this collaboration and will be presented concurrently at LACMA and the Getty Museum before traveling to two international venues.

The Getty Museum’s installation highlights Mapplethorpe’s controlled studio practice and his fascination with classical form and the fine photographic print. More than 120 works covering his classically proportioned nudes, insightful portraits and self-portraits, elegant floral still lifes, as well as erotic photographs of the gay S&M community, are distributed thematically and chronologically throughout the galleries, with an emphasis on the Apollonian aspects of the artist’s personality. Materials from the artist’s archive at the Getty Research Institute are included to contextualize the photographs in both presentations.

The exhibition is also on view at the Montreal Museum of Fine Arts (August 2016–January 2017) and Art Gallery of New South Wales (September–November 2017).

For more information, please visit:
http://www.getty.edu/art/exhibitions/mapplethorpe/

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: 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: 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) .

Additional information is forthcoming.

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