To support the University of Wyoming Art Museum’s fiftieth-anniversary exhibition, which explores the museum’s place in the American West. Selections from the museum’s collection of Western art are presented in ways that enhance representation of Indigenous and women artists and highlight notable omissions and nuances in the interpretation of works from the region. A publication accompanies the exhibition.
Tampa Museum of Art
To support Purvis Young: Redux at the Tampa Museum of Art upon completion of a major building renovation. Comprising the museum’s complete holdings of ninety-one works by Purvis Young, the exhibition explores themes significant to the artist’s practice—social justice, immigration, systemic racism, hope, spirituality, and survival—and examines his visual language and symbols.
Friends of the Elisabet Ney Museum
To support the collection reinstallation at Formosa, the historic home and studio of Elisabet Ney, a groundbreaking radical Progressive, gender nonconformist, and celebrity sculptor who left Germany as a political refugee and settled in Southeast Texas. Reopening after extensive renovations, the museum is reframing its 110-year-old storytelling narrative to focus on Ney’s remarkable life.
David and Alfred Smart Museum of Art
To support Monochrome Multitudes, a temporary exhibition examining the uses of monochromy in American art that will be on view from September 22, 2022, to January 8, 2023. The exhibition will be accompanied by educational programming and a smartphone app featuring audio in which students, lenders of art for the exhibition, and community members provide commentary on works in the exhibition.
Winterthur Museum, Garden and Library
To support the two-day symposium “Shifting Tides: Art in the 18th-Century Caribbean” at Winterthur Museum, Garden, and Library October 27–28, 2022. The symposium focuses on centering the significance of the greater Caribbean region in the eighteenth century, rethinking the existing narratives of colonial American art both North and South, and reimagining the relationship between historical collections in public institutions and the communities they serve.
Washington Project for the Arts
To support the three-day, research-based convening “How can we gather now?,” which explores how and why we gather, and how we can do it better in a time of lingering health and societal divides. A website and publication will accompany the convening.
University of Delaware
To support an October 2022 convening in Chicago presented as part of “Conduit: Black Art Preservation Project,” an initiative aimed at the preservation of Black art found in Midwestern communities outside of museum contexts in Chicago, Detroit, Columbus, and Minneapolis/St. Paul. Twenty conservation and preservation professionals, artists, collectors, and graduate students will convene to discuss strategies for alliance formation, new methods for documenting and preserving cultural heritage in communities, cooperative structures for resource sharing, and plans for continued dialogue.
University of California, Los Angeles
To support “The Forgotten Canopy,” a series of three conferences and three related Native American community-based meetings/workshops in Southern California throughout 2022–23. The series aims to share and amplify the critical contributions of Native Americans and Black Americans to the architecture of the Americas.
Smithsonian American Art Museum
To support “Discussing the Shape of Power,” a series of four hybrid in-person/virtual convenings at Howard University and the Smithsonian American Art Museum (SAAM). The convenings engage community members at Howard University, the exhibition’s scholarly Advisory Council, and additional potential partners who are collaborating with SAAM curators and educators in developing interpretive strategies and content for the forthcoming exhibition The Shape of Power.
To support the Photography Network’s symposium “Intersecting Photographies” in fall 2022 at Howard University, the first of what will be an annual series. The event aims to contribute to art history’s ongoing interrogation of photography as a colonizing technology and to explore the medium’s ability to promote social justice.