Terra Foundation-supported Events

Study Day: “The Activist Poster in the United States (1960s & 1970s): Visual Imaginations to Rethink Art and Society”

In parallel to the political struggles of the 1960s and 1970s, a significant number of activists and artists in the United States took to poster-making to respond to the urgent necessity to reconsider both art and society. Their interest was based as much on the formal qualities of the poster as well as its potential impact in public spaces and quick and inexpensive reproducibility in large numbers. As an integral component of social movements, these posters contributed to redefining the notion of art, to rethinking its hierarchies, as well as to conversations around the increasing commodification of the artwork or the relationship between art and politics. This study day aims to explore protest posters through different interpretations and analyses of the medium, and to think about its interrelationships with cultural and social contexts in the United States and internationally, as well as its place in art historiography.

This event is organized by Emilie Blanc, 2018–19 Terra Foundation Postdoctoral Research Fellow at the Institut national d’histoire de l’art. It will be held in English and French.

The program is available in French.

For more information, please visit: https://www.inha.fr/fr/agenda/parcourir-par-annee/en-2020/janvier-2020/l-affiche-engagee-aux-etats-unis-annees-1960-1970.html

Collection Loan: Marsden Hartley

From the collection of the Terra Foundation for American Art, Painting No. 50 by Marsden Hartley is exhibited in Marsden Hartley, a retrospective of the artist’s work in many forms, with painting exhibited alongside his work as a poet and essayist.  This exhibition will be on view at the Louisiana Museum of Modern Art, Humlebaek, Denmark, September 19, 2019-January 19, 2020


For more details, please see:  https://www.louisiana.dk/en/exhibition/marsden-hartley

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
Exhibition: Marsden Hartley

This exhibition pays particular attention to Marsden Hartley’s works that have often been overlooked or lesser studied. Ultimately the exhibition frames these paintings, works on paper, and poetry not as “dead ends,” but rather as paths that led Hartley to his most iconic work. As a supplement to the exhibition, there are filmed interviews with living artists who discuss Hartley’s legacy.

For more information, please visit:


Seminar: The 1947–49 Chicago Printer’s Strike and the History of Typography

Designer and scholar J. Dakota Brown presents his research, titled “The 1947–49 Chicago Printer’s Strike and the History of Typography.”

This program is part of Chicago: City of Commerce and Design, 1890–1990 at the Newberry Library, a scholarly seminar series exploring Chicago’s rich design legacy by focusing on the many ways that designers responded to the city’s shifting trends in manufacturing and corporate culture, and presented as part of Art Design Chicago. To RSVP, visit https://www.newberry.org/01162020-j-dakota-brown-northwestern-university

Exhibition: Lee Krasner: Living Colour

Organized by The Barbican Centre, this retrospective of Lee Krasner’s (1908–1984) work shines light on the pioneering painter of the New York School. Featuring various media, including painting, drawing, and collage, this exhibition features many works that have never been shown in the United Kingdom.

For more information, please visit:


Exhibition: What Came After: Figurative Painting in Chicago 1978–1998

As a follow-up to the exhibition The Figure and the Chicago Imagists, which explored the highly original expressions of the human form created by a group of Chicago-based artists in the 1960s and 70s, the Elmhurst Art Museum now presents What Came After: Figurative Painting in Chicago 1978-1998.

After the rise of Imagism, many Chicago-based artists struggled with understanding and processing the term since it was first used in the early 1970s, including those that either built on the ideas of their peers or those who sought to break free from expectations of the Imagist legacy. What Came After better defines and celebrates this later generation of artists, often labelled third-generation Imagists, Post-Imagists, and/or the “Chicago School.”

Organized by artist and curator Phyllis Bramson, What Came After features 30 paintings by artists including Michiko Itatani, Paul Lamantia, Robert Lostutter, and many more.

Funding for exhibition programming is supported by the Terra Foundation for American Art. For more information, visit: https://www.elmhurstartmuseum.org/exhibitions/what-came-after-figurative-painting-chicago-1978-1998

Hollis Sigler, “Comes the Day of Reckoning,” 1985. Oil on canvas with painted frame, 50 x 62 in. The Collection of Victoria Granacki and Lee Wesley.
Exhibition: David Smith: Sculpture 1932–1965

This exhibition will present the work of David Smith (1906–1965) through sculptures drawn from four decades, beginning with Smith’s earliest experimental works from the 1930s and ending with his large-scale sculptures of the 1960s, along with a selection of drawings. A key figure in the history of 20th century sculpture, Smith was the first known American artist to work with welded metal. In addition to exploring Smith’s distinctive working of metal, the exhibition will demonstrate his unique fusion of industry and nature and will place a selection of his sculptures in the Yorkshire landscape.

Exhibition: Nancy Spero

Organized by Museum Folkwang, this retrospective of Nancy Spero (1926–2009) considers the artist’s use of the human figure to raise important questions about feminism, gender, and violence. The exhibition traces Spero’s career, starting with the Paris Black Paintings of the 1960s through her artistic responses to the Vietnam War and her mature work in 1990s and early 2000s. Throughout her career, Spero saw herself as a political artist that used art as a vehicle to engage with social and political issues. In order to capture the scale and scope of Spero’s oeuvre, the exhibition features approximately eighty works, including paintings, collages, and prints, and focuses in particular on her works on paper.

For more information, please visit:


Exhibition: The Making of Husbands: Christina Ramberg in Dialogue

This exhibition presents the work of artist and educator Christina Ramberg (1946–1995) in the first substantial monographic presentation of her paintings outside of the United States. Associated with the Chicago Imagists, Ramberg produced a body of comical, formally elegant, and erotically sinister paintings. The exhibition focuses in particular on a selection of Ramberg’s iconic torsi paintings from 1974–1981, a group of tightly cropped, crisply delineated pictures of female torsos bound by varieties of corsets and lingerie. Following Ramberg’s work, the exhibition explores the constructs that structure and shape people’s bodies, movements, minds, and expressions and the impact they have on identity development. To that end, the exhibition also includes a presentation of a few select artists to elaborate on the themes of Ramberg’s oeuvre.

For more information, please visit:


Terra Collection Initiative: Gallery Installation

A major painting by Thomas Moran from the Terra Foundation for American Art Collection is on loan for 18 months 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 to the Summer of 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