To support Elizabeth Catlett: A Revolutionary Black Artist and All that It Implies (working title), co-organized by the Brooklyn Museum and the National Gallery of Art, Washington, DC. The exhibition explores the contributions of Elizabeth Catlett through rarely seen early paintings, drawings, and ephemera, demonstrating her engagement with multiple artistic and political movements over the course of the twentieth century.
To support a three-year programming and publication project to establish an institutional archive documenting the first 25 years of the David C. Driskell Center’s history and legacy as the leading institution for the study and presentation of African American arts. The archive will also make accessible the papers of arts administrator Terrie S. Rouse-Rosario.
To support the official US presentation of Jeffrey Gibson: the space in which to place me at the 60th International Art Exhibition in Venice. Gibson transforms the US Pavilion with newly produced sculptures, mixed-media paintings, site-specific murals, a multi-channel video installation created in 2020, and an exterior installation that invites deep reflection on identity and advocates for a widening of access to democracy, freedom, and empathy for all. A fully illustrated catalogue from the US pavilion accompanies the show.
To support five years of operating costs, enabling Panorama to grow its networks, reach, and capacity to continue to advocate on behalf of an expanded narrative of American art. By ensuring and upgrading staffing, technical support, and outreach, as well as inaugurating a contributor compensation plan, the journal is taking an active stance toward diversifying its editorial board, contributors, and readership, and is pivoting away from traditional centers to promote equity in publishing.
To support a multi-year research and conservation project of the series of forty-one paintings by Jacob Lawrence devoted to Toussaint Louverture in the collection of the Amistad Research Center. The funding includes a three-year research fellow, conservation of the paintings, and planning for an exhibition. The grant is part of a larger Terra Foundation initiative devoted to institutions founded by or associated with the American Missionary Association.
To support the Artist-Run Chicago Fund, which awards unrestricted grants to artist-run spaces and collaboratives. The fund supports 25 artist-run groups with unrestricted grants and offers 15 project awards to engage the public through exhibitions and installations, talks, community events, and workshops. It also offers professional development and networking opportunities. The initiative takes place as part of the Terra Foundation initiative Art Design Chicago.
To support phase two of The Latinx Papers project undertaken by the International Center for the Arts of the Americas (ICAA) at the Museum of Fine Arts, Houston, working in collaboration with archival repositories and community researchers across the US. Thousands of new documents related to the history of Latinx art and artists are being recovered, digitized, and published on the ICAA’s Documents of Latin American and Latino Art Project portal, the premier digital repository for these art historical and curatorial fields, so that key intellectual source materials can be made freely accessible to students, researchers, and the general public. Documents sourced from partner repositories and individuals will be promoted via ICAA’s social media channels and its Papelitos blog space. Links to finding aids, when available, reinforce an emphasis on the physical location of documents and increase the visibility of partner collections.
To support Jaune Quick-to-See Smith: Memory Map (working title) at the Whitney Museum of American Art, the Modern Art Museum of Fort Worth, Texas, and the Seattle Art Museum. The Whitney Museum presents a retrospective of Jaune Quick-to-See Smith (b. 1940), an enrolled Salish member of the Confederated Salish and Kootenai Nation. Bringing together five decades of Smith’s work, the exhibition explores Smith’s recurring, recognizable motifs and how she has woven together symbols of American capitalism and environmental destruction to offer meaningful criticism of those structures. A catalogue accompanies the exhibition.
To fund Shelley Niro: 500 Year Itch, a retrospective of work by the New York–born member of the Turtle Clan of the Kanien’kehaka (Mohawk) Nation whose multidisciplinary body of work challenges stereotypical presentations of Indigenous women and girls. The exhibition is co-organized by the National Museum of the American Indian in New York and the Art Gallery of Hamilton (Ontario, Canada), where it will be displayed before travelling to two additional venues.
To support MONUMENTS, co-organized by LAXART and The Museum of Contemporary Art, Los Angeles (MOCA). The exhibition is made up of newly commissioned and existing contemporary artworks to be displayed alongside fifteen to twenty recently decommissioned monuments, most of which are monuments to the Confederacy. The exhibition’s goal is to show that each of these historical objects has its own life, specific to the community where it is—or was—situated. A scholarly catalogue accompanies the exhibition.
To support Toshiko Takaezu at the Noguchi Museum, the Cranbrook Museum of Art, and the Museum of Fine Arts, Houston. The exhibition offers a chronological retrospective that charts Takaezu’s student and teaching years, her environmental installations, and the years when she made self-contained glazed pot sculptures as microcosmic environments. A 300-page monograph accompanies the exhibition.
To support WAMPUM/OTGOÄ, an exhibition that traces the history and legacy of wampum. The exhibition is developed in partnership with Musée du Quai Branly (Paris, France), and is co-presented at the Seneca Art & Culture Center (Victor, NY), and McCord Museum (Montreal, Canada).
