Terra Foundation-supported Events

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.

This installation is ongoing, January 2019 to December 2019.

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

George Bellows, The Palisades, 1909, oil on canvas, 30 x 38 1/8 in. (76.2 x 96.8 cm), Terra Foundation for American Art, Daniel J. Terra Collection, 1999.10
Collection Loan: William J. Glackens and Pierre-August Renoir: Affinities and Distinctions

From the collection of the Terra Foundation for American Art, Julia’s Sister  by William Glackens is exhibited in William J. Glackens and Pierre-August Renoir: Affinities and Distinctions.  This work is exhibited alongside works by Renoir,  situated in themes of American and European modernism.

This exhibition will be on view at the NSU Art Museum, Fort Lauderdale, Florida, October 21, 2018–May 5, 2019; and the Hunter Museum of American Art, Chattanooga, TN, June 21–September 21, 2019.

 

For more details, please see:  http://www.huntermuseum.org/exhibitions

 

William Glackens, Julia’s Sister, c. 1915, oil on canvas, 32 1/8 x 26 1/8 in. (81.6 x 66.4 cm), Terra Foundation for American Art, Daniel J. Terra Collection, 1999.58
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
Exhibition: WRIGHT MORRIS – L’ESSENCE DU VISIBLE

For the first time in France, this exhibition presents the work of artist Wright Morris (1910–1998). Best known for his novels, Morris also had a distinctive approach to photography, juxtaposing photos (especially of the rural American Midwest) with fictional prose to create “photo-texts”. The complexity and diversity of Morris’s artistic practice will be explored through prints, documents, and books.

For more information, please visit:

https://www.henricartierbresson.org/en/expositions/wright-morris-lessence-visible/

 

 

Exhibition: Dan Flavin. Espacio y luz (Dan Flavin. Space and light)

For the first time in Colombia, this exhibition presents 18 fluorescent-tube artworks by Dan Flavin (1933–1996) that were made between 1963 and 1974, which together trace the artist’s developing interests in this unique medium. From 1963 through the remainder of his career, Flavin’s work was composed almost entirely of light in the form of commercially available fluorescent tubes that existed in ten colors and five shapes. Highlighting all of the medium’s various colors and shapes, the exhibition includes pieces such as Untitled (to you Heiner, with admiration and affection) from 1973, which were selected from Dia Art Foundation’s deep holdings of Flavin’s works. Didactic materials and the catalogue also connect Flavin’s fluorescent-tube constructions to the radical changes that took place in Colombian art during the same period. In the 1960s, artists in Medellín in particular sought to depart from the Escuela Antioqueña and its idyllic notion of the countryside in order to focus on the city as both a place for artistic production and a subject in its own right; and like Flavin, they began to explore the use of luminescent materials.

For more information, please visit:

http://elmamm.org/Exposiciones/Detalle/Id/1432

Collection Loan: Histórias das mulheres: Artistas até 1900 (Women’s Histories: Artists before 1900)

From the collection of the Terra Foundation for American Art, Summertime by Mary Cassatt is exhibited in Women’s Histories: Artists before 1900.  This exhibition will be on view at Museu de Arte São Paulo (MASP) São Paulo, Brazil, August 23–November 17, 2019.

For more information visit:  https://masp.org.br/en/exhibitions/histories-of-women

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: AfriCOBRA: Nation Time

AfriCOBRA: Nation Time celebrates the founding of AfriCOBRA, the Black artist collective that helped define the visual style of the Black Arts Movements of the 1960s and 70s.

AfriCOBRA (which stands for the African Commune of Bad Relevant Artists) was founded in 1968 by Chicago-based artists Jeff Donaldson, Jae Jarrell, Wadsworth Jarrell, Barbara Jones-Hogu, and Gerald Williams, each of whom used their work to present uplifting portraits of African Americans. The founders, like many activists of the 1960s and 1970s, understood that their artistic voices could contribute to the liberation and unification of the Black community as a whole.

The project grew out of an exhibition first presented at the Museum of Contemporary Art (MOCA) North Miami from November 27, 2018–March 24, 2019, honoring of the collective’s fiftieth anniversary. It brings together works by the founding artists with additional works by five early members—including Sherman Beck, Napoleon Jones-Henderson, Omar Lama, Carolyn Lawrence and Nelson Stevens—to look back at their early contributions, the evolution of AfriCOBRA, and the artists’ contemporary work.

AfriCOBRA: Nation Time, organized by MOCA North Miami and curated by Jeffreen M. Hayes (Executive Director of Threewalls in Chicago), is on view at Ca’ Faccanon in Venice, Italy, as part of the 2019 Venice Biennale’s program of Collateral Events.

The exhibition is presented as part of Art Design Chicago. For more information:

https://www.bardola.org/africobra-nation-time

Collection Loan: Homer at the Beach: A Marine Painter’s Journey, 1869–1880

From the Terra Foundation Collection, Three Boys on the Shore by Winslow Homer is exhibited at the Cape Ann Museum.  The exhibition Homer at the Beach: A Marine Painter’s Journey, 18691880 coincides with the 150th anniversary of the artist’s first known visit to Cape Ann. Organized by the Cape Ann Museum, Gloucester, Massachusetts, this exhibition is on view August 3–December 1, 2019.

For more information, please visit:

https://www.capeannmuseum.org/exhibitions/

Winslow Homer, Three Boys on the Shore, 1873. Gouache and watercolor on paper mounted on board, Image: 8 5/8 x 13 5/8 in. (21.9 x 34.6 cm), Terra Foundation for American Art, Daniel J. Terra Collection, 1999.75
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:

https://www.akvarellmuseet.org/en/exhibition/nancy-spero

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:

https://www.kw-berlin.de/en/making-husbands-christina-ramberg-dialogue/

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.
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:

https://www.louisiana.dk/en/exhibition/marsden-hartley

Exhibition: Peter Saul: Pop, Funk, Bad Painting and More

Consistently attentive to the chaos of the world, Peter Saul has engaged with some of the most sensitive issues of the 20th and 21st centuries. Covering his career since the late 1950s to the present day, the exhibition brings together more than 70 paintings, many previously unseen, as well as a collection of archival material. Despite the fact that Saul’s work reflects major movements of the 20th century, including Pop, Funk, and Bad Painting, the artist resists such categorizations of his work. Instead, Saul’s defiant style established a new form of historical painting that revolted against standards and served as a model for a generation of painters.

For more information, please visit:

https://www.lesabattoirs.org/expositions/peter-saul

Exhibition: Modern by Design: Chicago Streamlines America

Modern by Design: Chicago Streamlines America reveals how Chicago brought cutting-edge modern design to the American marketplace on a scale unmatched by any other city. The exhibition focuses on 1930s–50s, a critical period in American history. It presents issues of design and aesthetics within the larger social, economic and cultural context of the time and explores how the city’s hosting of the 1933-34 World’s Fair, its industries, advertising firms and mail order companies advanced modern design on local, regional and national levels. Innovative designs coupled with the might of Chicago’s manufacturing and distribution infrastructure led to the mass production of affordable state-of-the-art products featuring a new urban-inspired aesthetic that furnished public and private spaces across the country.

The exhibition includes more than 200 objects, photographs and documents, many on view for the first time. The works of many celebrated designers, such as Alfonso Iannelli, Otis Shephard and Wolfgang Hoffmann will be featured. Modern by Design: Chicago Streamlines America is curated by Olivia Mahoney, senior curator at the Chicago History Museum.

This exhibition is presented as part of Art Design Chicago. For more information:

https://www.chicagohistory.org/modern

Exhibition: Eternal Light: The Sacred Stained-Glass of Louis Comfort Tiffany

This exhibition examines ecclesiastical windows created by Louis Comfort Tiffany and his workshops between 1880 and 1920. Commissioned by churches across the United States, these works—varying from intimate portraits to monumental triptychs—feature imagery drawn from the Christian religious tradition, illustrated in figurative styles contemporary to the time. In addition to the ecclesiastical windows, the exhibition presents associated objects and ephemera that relate Tiffany’s marketing practices to his artistic innovations.

For more information, please visit:

http://driehausmuseum.org/exhibitions

 

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 21, 2019–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), 1770–72. Terra Foundation for American Art, Daniel J. Terra Art Acquisition Endowment Fund, 2000.6