Terra Foundation-supported Events

Collection Loan: MOTHER!

From the Terra Collection for American Art, Mary Cassatt, Jenny and Her Sleepy Child, c. 1891–92 is on view in MOTHER!, at the Louisiana Museum of Modern Art, Humlebaek, Denmark,  January 27–May 30, 2021. The exhibition is organized by Louisiana Museum of Modern Art,  and travels to Kunsthalle Mannheim, Germany, July 2–November 7, 2021.

For more information, please visit:  https://louisiana.dk/en/

 

Mary Cassatt, Jenny and Her Sleepy Child, between 1891 and 1892, oil on canvas, 28 15/16 x 23 3/4 in. (73.5 x 60.3 cm), Terra Foundation for American Art, Daniel J. Terra Collection, 1988.24
Online Artist Conversation: “Addressing Sexuality, Gender, and the Decorative since the 1970s: Los Angeles-Based Artist Lari Pittman and Art Historian David J. Getsy”

American artist and influential teacher Lari Pittman discusses his paintings and his reflections on the Los Angeles art world in this conversation with art historian David J. Getsy. Pittman and Getsy discuss the struggles to address issues of sexuality, gender, and the decorative in the 1970s. They also explore the artistic and political legacies of this moment and Pittman’s ongoing investigation into these issues in his career as an artist.

Pittman is Emeritus Distinguished Professor, Painting and Drawing, at UCLA. Born 1952 in Glendale, California, to an American father and a Colombian mother, he spent part of his childhood in Colombia, before returning to California in 1963. Studying with Elizabeth Murray, Vija Celmins, and Miriam Schapiro at Cal Arts, Pittman emerged as an artist in the 1970s through an engagement with the history-making feminist art movement that developed in Southern California, and through his own work as an openly gay painter who drew inspiration from feminism’s critique of modernism and its exclusions.

Getsy is Goldabelle McComb Finn Distinguished Professor of Art History at the School of the Art Institute of Chicago, and he is the 2020–21 Terra Foundation Visiting Professor of American Art at the John F. Kennedy Institute for North American Studies at the Freie Universität Berlin.

This conversation is organized by the Terra Foundation for American Art. The event is held online in English. It is scheduled for 6–7:15 p.m., in Paris (CET), including time for a Q&A with the speakers after their conversation.

Reservation is required by following this link.

A recording will be available within two weeks of the event on our website.

Lari Pittman, How Sweet the Day After This and That, Deep Sleep is Truly Welcomed, 1988, acrylic, enamel, and 5 framed works on paper on panel, 96 x 192 in. (243.8 x 487.7 cm), © Lari Pittman, Courtesy Regen Projects, Los Angeles
Online Lecture Series: “Performing Innocence: US Artists in Paris, 1865–1914”

Between the end of the US Civil War and the start of World War I, thousands of American artists studied and worked in Paris. While popular thought holds that they went to imbibe culture and attain artistic maturity, in this four-part lecture series, Emily Burns, 2020–21 Terra Foundation Visiting Professor at the University of Oxford, explores the various ways that Americans in Paris performed instead a cultural immaturity that pandered to European expectations that the United States lacked history, tradition, and culture. The lectures chart knowing constructions of innocence that US artists and writers projected abroad in both art practice and social performance, linking them to ongoing conversations about race, gender, art making, modernity, physio-psychological experience, evolutionary theory, and national identity in France and in the United States. Interwoven myths in art and social practice that framed Puritanism; an ironically long-standing penchant for anything new and original; primitivism designed by white artists’ playing with ideas of Blackness and Indigeneity; childhood’s incisive perception; and originary sight operated in tandem to turn a liability of lacking culture into an asset. In analyzing the mechanisms of these constructions, the lectures return to the question about the cultural work these ideas enacted when performed abroad. What is obscured and repressed by mythical innocence and feigned forgetting?

February 17
“Belated”

February 24
“Puritan”

March 3
“Primitive / Incipient”

March 10
“Baby Nation”

Lectures begin at 5 p.m. in Oxford (GMT) and are livestreamed on YouTube. For more information about the Oxford series, please visit their website.

Online Dialogue: “Toward a Transnational Approach to American Art: Isamu Noguchi in India and Beyond”

In this online dialogue, Katy Siegel (Thaw Endowed Chair in Modern American Art, Stony Brook University and Senior Research Curator, Baltimore Museum of Art) and Devika Singh (Curator, International Art, Tate Modern) locate American artists within transnational art histories.

Through examining Japanese American artist Isamu Noguchi’s artworks made in India, Devika Singh reconsiders transnational narratives that have traditionally been told from a Western viewpoint and reasserted the power of established art centers as places of intermixing and transculturality. Singh will instead draw on the impact of mobility and circulation to foreground a transnationally reconfigured history of art in India.

Katy Siegel argues that “taking off the cold war lens,” a perspective central to the exhibition Postwar: Art Between the Pacific and the Atlantic, 1945-1965 (Haus der Kunst, 2016–17), has significant implications for the study of US art history. It renders visible artists who disdained a singular allegiance to America. In turn, attention to figures such as Noguchi—including Joan Mitchell, Ed Clark, Toshiko Takaezu, Melvin Edwards, and Alfonso Ossorio— has implication for the field, suggesting the significance for US art history of transnational, regional, and diasporic experience.

Together, the speakers seek to overcome conventional dialectics and point toward more complex and various allegiances, encounters, and histories, whether in considering the transnational art histories of India or the US.

This dialogue is organized by the Terra Foundation for American Art.

The event will be held online in English. It is scheduled for 6–7:15 p.m. in Paris (CET), including time for a Q&A with the speakers after their presentations.

Event recording available online.

Samrat Yantra, Jantar Mantar, New Delhi, India. Image Courtesy of The Noguchi Museum Archives (08447.3). Photo by Isamu Noguchi. © The Isamu Noguchi Foundation and Garden Museum, New York / ARS.
Exhibition: Bruce Nauman

Co-organized by Tate Modern and Stedelijk Museum Amsterdam, this exhibition presents the work of Bruce Nauman (b. 1941). Since the late 1960s, he has continually tested what an artwork can be by reshaping old forms and creating new ones. His works using sound, film, video, and neon have influenced generations of artists.

This is the first major exhibition of his work in London in more than 20 years. It allows visitors to engage with the artist’s universe through immersive installations with a strong emphasis on sound and moving image, as well as poetic sculptures and neon pieces.

For more information, please visit:

https://www.tate.org.uk/whats-on/tate-modern/exhibition/bruce-nauman

Exhibition/Collection Loan: Alexander von Humboldt and the United States: Art, Nature, and Culture

The exhibition positions Prussian naturalist Alexander von Humboldt’s ties to the United States as a crucial factor in the construction of American cultural identity and visual arts. Humboldt’s work influenced many American artists and thinkers in the 19th century. Through a careful selection of paintings, sculpture, works on paper, and selected maps, documents, and natural history artifacts, the exhibition examines Humboldt’s century-long influence on five spheres of American cultural development: the visual arts, sciences, literature, politics, and exploration. Works by many artists of the United States will be featured, including the Gallery of the Louvre by Samuel F.B. Morse from the TFAA collection.

For more information, including re-opening dates and times, please visit:

https://americanart.si.edu/exhibitions/humboldt

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
Exhibition/Terra Collection Initiative: The Studio of Nature, 1860-1910: The Terra Collection in Context

The Studio of Nature, 1860-1910: The Terra Collection in Context (L’atelier de la Nature, 1860-1910. Invitation à la Terra Collection) is co-organized by the Musée des impressionnisme Giverny and the Terra Foundation for American Art. The exhibition  assembles 89 paintings, prints and photographs, including 62 works from the Terra Foundation and works from the collections of the musée des impressionnisme Giverny, the Musée d’Orsay,  the Bibliothèque nationale de France and the Société de Géographie, Paris.

The Studio of Nature, 1860-1910: The Terra Collection in Context will be accompanied by public programming and an exhibition catalogue published in French.

For more information, please visit:

https://www.mdig.fr/en/studio-nature-1860-1910

Martin Johnson Heade, Newburyport Marshes: Approaching Storm, c. 1871, oil on canvas, 15 1/4 x 30 1/8 in. (38.7 x 76.5 cm), Terra Foundation for American Art, Daniel J. Terra Collection, 1999.68
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
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