Terra Foundation-supported Events

Terra Collection Initiative: Our Souls are by Nature Equal to Yours: The Life and Legacy of Judith Sargent Murray

From the Terra Foundation Collection, Portrait of Mrs. John Stevens (Judith Sargent, later Mrs. John Murray) from 1770–72, by John Singleton Copley is exhibited at the Cape Ann Museum.  Co-organized by the Terra Foundation for American Art, the Cape Ann Museum, and The Sargent House Museum, the exhibition Our Souls are by Nature Equal to Yours: The Life and Legacy of Judith Sargent Murray  focuses on the contributions and legacy of writer, philosopher, and woman’s rights advocate Judith Sargent Murray (1751–1820).  The portrait of Judith Sargent Murray is featured alongside manuscripts, letters, and personal artifacts.

The exhibition coincides with the 100th anniversary of the founding of The Sargent House Museum in Gloucester, Massachusetts. Our Souls are by Nature Equal to Yours: The Life and Legacy of Judith Sargent Murray  is on display at the Cape Ann Museum Gloucester, Massachusetts  September 28, 2019–November 8, 2020.  (This exhibition has been extended from an original closing date March 31, 2020)

For more information visit: https://www.capeannmuseum.org/exhibitions/our-souls-are-nature-equal-yours-legacy-judith-sargent-murray/

John Singleton Copley, Portrait of Mrs. John Stevens (Judith Sargent, later Mrs. John Murray), 1770–1772, oil on canvas, 50 x 40 in. (127.0 x 101.6 cm), Terra Foundation for American Art, Daniel J. Terra Collection, 2000.6
Online Dialogue: “Walker Evans and Renewals of American Documentary”

In this dialogue organized by the Terra Foundation, Stephanie Schwartz (Associate Professor in American Art, University College London) and Quentin Bajac (Director, Jeu de Paume) will address the legacy of Walker Evans (1903–75) and the renewals of American documentary from the 1960s to the present.

Expanding from her recently published book Walker Evans: No Politics (University of Texas Press, 2020), Stephanie Schwartz will take up the issue of “remakes” as concerns both how the photographer revisited his work throughout his long career, as well as how Evans and documentary reemerged in the 1960s and 1970s through the work of Allan Sekula (1951–2013). Schwartz will address the multiple temporalities of documentary and influence.

Quentin Bajac, curator of the survey exhibition Stephen Shore (Museum of Modern Art, 2017–18), will focus on the fascination that Shore (b. 1947) has always had for Evans’s work. “If I were to say in the photographic world the one person whom I used as a springboard for ideas and a resource to learn from, it was Walker Evans,” Shore asserted in the New York Times in 2004. More than an influence, Shore prefers to characterize his relationship with Evans in another vein, closer to a sentiment (“a kinship”) or a way of being (“the same constitutional type”). Bajac will address the many different facets that this relationship has taken throughout Shore’s career.

Together, the speakers will address and trouble the issue of “influence,” querying what it means for photography and its histories and thinking about the larger question of what Evans and American documentary might mean today.

This event will be held online in English. It is scheduled for 6–7:15 p.m. in Paris (GMT +1), including time for a Q&A with the speakers after their presentations. Reservation is required: https://us02web.zoom.us/webinar/register/4516021673826/WN_KdNDlgC8Qp6IYIlM8oqGhA.

Walker Evans, Houses. Atlanta, Georgia, March 1936. Nitrate negative, 8 x 10 in. (20.3 x 25.4 cm), Library of Congress, Prints & Photographs Division, Farm Security Administration/Office of War Information Black-and-White Negatives, LC-USF342- 008057-A [P&P] LOT 1538
Terra Collection Initiative: Gallery Installation

A major painting by Thomas Moran from the Terra Foundation for American Art Collection is on loan  to the Ashmolean Museum of Art & Archaeology at the University of Oxford. Autumn Afternoon, the Wissahickon is exhibited in the permanent collection galleries devoted to British landscape painting of the 19th century. In the galleries, works by J. M. W. Turner, John Constable, and Samuel Palmer provide historical and artistic context for Moran’s painting, which was created just two years after the American artist’s visit to the UK.

This painting is on loan in conjunction with the Terra Foundation Visiting Professorships at the University of Oxford. This work will be on view from March 2019 through 2020.

For more information visit: http://www.ashmolean.org/

Thomas Moran, Autumn Afternoon, the Wissahickon, 1864, oil on canvas, 30 1/4 x 45 1/4 in. (76.8 x 114.9 cm), Terra Foundation for American Art, Daniel J. Terra Collection, 1999.99
Terra Collection Initiative: 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.
This installation is ongoing, January 2020 to December 2020.

For more information, please visit: http://www.artic.edu/

Fitz Henry Lane, Brace’s Rock, Brace’s Cove, 1864, oil on canvas, 10 1/4 x 15 1/4 in. (26.0 x 38.7 cm), Terra Foundation for American Art, Daniel J. Terra Collection, 1999.83
Collection Loan: Edward Hopper and the American Hotel

Edward Hopper and the American Hotel organized by the Virginia Museum of Fine Arts, Richmond, Virginia, exhibits paintings and works on paper by Edward Hopper alongside rarely seen diaries and postcards.

From the Terra Foundation Collection, two works are exhibited, Edward Hopper, Sierra Madre at Monterrey and Charles Demuth, Rue du Singe qui Pêche.  This exhibition is on view at the Virginia Museum of Fine Arts, Richmond, Virginia, October 26, 2019–February 23, 2020 and Newfields, Indianapolis Museum of Art, Indianapolis, Indiana, June 7–October 25, 2020.

For more information, please visit:

https://discovernewfields.org/exhibitions

Edward Hopper, Sierra Madre at Monterrey, 1943, watercolor with touches of wiping, over a charcoal underdrawing, on heavyweight textured ivory wove watercolor paper, 21 1/4 x 29 3/4 in. (54.0 x 75.6 cm), Terra Foundation for American Art, Daniel J. Terra Collection, 1994.18
Roundtable: “Art vidéo californien”

This roundtable will consider the work of Ilene Segalove and Susan Mogul, two lesser-known artists working in California in the 1970s who renewed the relationship between contemporary art and the entertainment industry. Stand-up comedy, whether on radio or television, offered a model to these artists who, in the wake of their participation in the Feminist Art Program at the California Institute of the Arts, adapted the medium to the concerns of their time.

This event is organized and moderated by Morgan Labar, 2019–20 Terra Foundation Postdoctoral Research Fellow at the Institut national d’histoire de l’art. It will be held in French.

Speakers:

  • Adrienne Boutang (Université de Bourgogne-Franche Comté)
  • Larisa Dryansky (Sorbonne Université)
  • Nelly Quemener (Université Sorbonne Nouvelle)

For more information, please visit: https://agenda.inha.fr/events/art-video-californien-susan-mogul-et-ilene-segalove-en-stand-up-comediennes?nc=eyJpbmRleCI6NiwidG90YWwiOjU3fQ%3D%3D

Exhibition: Mapping the Collection

The exhibition Mapping the Collection takes a new look at two influential decades in the history of US art: the 1960s and 1970s. Through a selection of artworks from the Museum Ludwig’s permanent collection as well as several key loans, the exhibition explores issues of equality, indigenous self-determination, women’s rights, and Black Power. The political and social context of these two decades form the background against which individual artistic response is studied. In turn, the exhibition questions a Western European conception and reception of American art.

This exhibition is the result of the Terra Foundation Research Fellowship in American Art at the Museum Ludwig.

For more information, please visit: https://www.museum-ludwig.de/en/exhibitions/mapping-the-collection.html.

Terra Collection Initiative: 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.
This installation is ongoing, January 2020 to December 2020.

For more information, please visit: http://www.artic.edu/

Max Weber, Construction, 1915, oil on canvas, 22 7/8 x 27 7/8 in. (58.1 x 70.8 cm), Terra Foundation for American Art, Daniel J. Terra Collection, 1987.31
Terra Collection Initiative: Gallery Installation

A major painting by Thomas Moran from the Terra Foundation for American Art Collection is on loan to the Ashmolean Museum of Art & Archaeology at the University of Oxford. Autumn Afternoon, the Wissahickon is exhibited in the permanent collection galleries devoted to British landscape painting of the 19th century. In the galleries, works by J. M. W. Turner, John Constable, and Samuel Palmer provide historical and artistic context for Moran’s painting, which was created just two years after the American artist’s visit to the UK.

This painting is on loan in conjunction with the Terra Foundation Visiting Professorships at the University of Oxford. This work will be on view from March 2019 through 2020.

For more information visit: http://www.ashmolean.org/

Thomas Moran, Autumn Afternoon, the Wissahickon, 1864, oil on canvas, 30 1/4 x 45 1/4 in. (76.8 x 114.9 cm), Terra Foundation for American Art, Daniel J. Terra Collection, 1999.99
Collection Loan: Duro Olowu: Seeing Chicago

From the Terra Collection for American Art, Marsden Hartley’s, Painting No. 50 is exhibited in Duro Olowu: Seeing Chicago organized by the Museum of Contemporary Art, Chicago.  Curated by Olowu, the exhibition reimagines relationships between artists and objects across time, media, and geography.  This exhibition has been extended to September 27, 2020.

For more information, please visit:

https://mcachicago.org/Exhibitions/2020/Duro-Olowu-Seeing-Chicago

 

Marsden Hartley, Painting No. 50, 1914–15, oil on canvas, 47 x 47 in. (119.4 x 119.4 cm), Terra Foundation for American Art, Daniel J. Terra Collection, 1999.61