Transparent: Peter Alexander. Subhankar Banerjee. Uta Barth. Thomas Joshua Cooper. et al
Transparent: Peter Alexander. Subhankar Banerjee. Uta Barth. Thomas Joshua Cooper. Gloria Graham. Morris Louis. Robert Moskowitz. Fred Sandback. Kate Shepherd. Iain Stewart. James Turrell.
Opening Reception: Saturday 28 April 2012, 5:00 - 7:00 pm
Lannan Foundation Gallery
28 April – 15 July 2012
Saturdays and Sundays from noon to 5pm (weekends only)
309 Read Street, Santa Fe, NM
Tel. 505-954-5149
Transparent presents painting, photography, sculpture and works on paper spanning over fifty years from the Lannan Collection. Each artwork embodies an aspect of the word transparent, from transmitting light so that what lies beyond is seen clearly, or being fine or sheer enough to be seen through, to work that is free from pretense or deceit, or that seems to allow the passage of X-ray or ultraviolet light.
The various forms transparency takes are exemplified throughout the exhibition as in Morris Louis’s Veil series painting from 1954, in which thin layers of paint are applied to create a veil-like surface. In Peter Alexander’s 1968 untitled resin sculpture, light passes through the wedged tower, creating a similarly hued smoky shadow beyond. In Subhankar Banerjee’s Sky: Often I Look Up and Wish for Rain, 2009, one barely sees through clouds while in the photographs of Thomas Joshua Cooper and Iain Stewart it is fog that provides the filter. Conversely, the geometry of a form becomes clear in the sculptural relief work of Fred Sandback and the empty box paintings of Kate Shepherd. Robert Moskowitz’s grand 1972 painting Yellow Circle evokes a see-through layering of space similar to collage while James Turrell’s aquatints from his Deep Sky series radiate X-ray-like light from an undetectable source. The textures of Salt/Granite/Nickel by Gloria Graham are conveyed through layers of paper while the sparse photographs of Uta Barth capture light through domestic scenes of windows and draperies.
The work assembled for the exhibition Transparent is an homage to the practice of operating in such a way that it is easy for others to see what actions are performed, implying openness, communication, and accountability.
This is a Lannan Art Event.
Peter Alexander, Untitled, 1966-1968, Cast polyester resin, 69 ¼ x 6 ½ x 6 ½ inches, Collection Lannan Foundation
Subhankar Banerjee, Sky; Often I Look Up and Wish for Rain, 2009, Digital dye coupler print with face-mounted Plexiglas, 30 x 40 inches, Collection of the Artist
Uta Barth, Ground #78, 1997, Color photograph on panel, 41 x 39 inches, Collection Lannan Foundation
Uta Barth, Untitled (98.8), 1998, (left side of diptych), Color photograph on panel, 30 x 38 inches each, Edition 4 of 6, Collection Lannan Foundation
Uta Barth, Untitled (98.8), 1998, (right side of diptych), Color photograph on panel, 30 x 38 inches each, Edition 4 of 6, Collection Lannan Foundation
Thomas Joshua Cooper, Sea Fog – Looking West, The Mouth of the River Guadalquivir – The Mid North Atlantic Ocean, San Lucer de Barrameda, Spain, 2003/2004, Selenium and gold chloride toned silver gelatin print, 40 x 54 inches, Edition 1 of 3, Collection Lannan Foundation
Thomas Joshua Cooper, Soaking Wet Snowfall , The South Atlantic Ocean and Mar Argentino - The Argentinian Sea, Cabo Espiritu Santo, Isla Grande Tierra del Fuego ,On the border between Chile and Argentina, 2006, The Northeast-most point of the Island, Selenium and gold chloride toned silver gelatin print, 40 x 54 inches, Edition 1 of 3, Collection Lannan Foundation
Gloria Graham, Salt/Garnet/Nickel, Graphite on 3 sheets of vellum, 33 ¾ x 35 ¾ inches, Collection Lannan Foundation
Morris Louis, Untitled, 1954, Acrylic on canvas, 95 5/8 x 77 5/8 inches, Collection Lannan Foundation
Robert Moskowitz, Yellow Circle, 1972, Acrylic on canvas, 90 1/8 x 75 1/8 inches, Collection Lannan Foundation
Fred Sandback, Untitled (Sculptural Study, Black Wall Relief), 2003/2006, Acrylic on wood, 36 x 68 ¼ inches, Edition 1 of 8, Collection Lannan Foundation
Fred Sandback, Untitled (Sculptural Study, White Wall Relief), 2003/2006, Acrylic on wood, 36 x 68 ¼ inches, Edition 1 of 8, Collection Lannan Foundation
Fred Sandback, Untitled (Sculptural Study, Terra-cotta Wall Relief), 2003/2006, Acrylic on wood, 36 x 68 ¼ inches, Edition 1 of 8, Collection Lannan Foundation
Kate Shepherd, Whites, Standing Open Box, Blue Line, 1999, Oil on wood panel, 44 ¾ x 36 ½ inches, Collection Lannan Foundation
Kate Shepherd, Sole Line on Top, Thin Standing Box, Browns, 1999, Oil on wood panels, Collection Lannan Foundation
Iain Stewart, Rythum I, II, III, Chromogenic prints, 20 x 16 inches each, Collection Lannan Foundation
James Turrell, Deep Sky Portfolio, 1987, Aquatint on paper, 22 x 30 inches, Collection Lannan Foundation
James Turrell, Deep Sky Portfolio, 1987, Aquatint on paper, 22 x 30 inches, Collection Lannan Foundation
Bruce Nauman: South America Circle
Bruce Nauman: South America Circle
9 October to 4 December 1999
South America Circle, 1981
steel, cast iron, cable
168 inch diameter
Kate Shepherd
Kate Shepherd
1999
Doug Aitken: Diamond Sea
Doug Aitken: Diamond Sea
1999
Diamond Sea is a thought-provoking and stunning work created by Mr. Aitken in 1997. After a year of sorting through bureaucratic red tape, Mr. Aitken succeeded in gaining access to film in a guarded region in the Namib desert in southwestern Africa known as Diamond Area 1 and 2. The territory, estimated over 40,000 square miles, has been sealed off since 1908. Within its borders exists the world’s largest and richest computer-controlled diamond mine.
Mr. Aitken’s work reveals an environment comprised of maximum security devices, patrolling helicopters, flashing computer graphics, undulating sand dunes, abandoned sun-bleached mansions, areas of land gutted and stripped bare, and a band of wild, black horses moving freely through this mysterious landscape. Incorporating the ambient sounds taped by Mr. Aitken during the video’s production, musical groups such as Aphex Twins, Gastr Del Sol, Nine Inch Nails and uzig have contributed meditative musical compositions to the soundtrack.
Diamond Sea includes two video projections, one suspended video monitor, and one full-color, illuminated duratrans image in a dimly lit space. Four speakers create a surround sound experience. Each projection shows the video at different sequence, while the monitor presents a fourth in a smaller format. In the installation Diamond Sea Mr. Aitken brings viewers into the center of a forbidden zone.
Mark Sheinkman
Mark Sheinkman
April - June 2000
Uta Barth: nowhere near
Uta Barth: nowhere near
31 September to 3 November 2000
Ground #30, 1994
22 x 18 inches
Color photograph on panel
untitled, from nowhere near (nw 12), 1999
35 x 44 inches
Color photograph on panel
untitled, from nowhere near (nw 13), 1999
35 x 90 inches (overall) diptych
Color photograph on panel
untitled, from nowhere near (nw 19), 1999
35 x 164 inches (overall) triptych
Color photograph on panel
Morris Louis: Veil Paintings, 1954
J. Patrick Lannan, Sr., founder of Lannan Foundation, was introduced to the work of Morris Louis by art critic Clement Greenberg in 1958 and immediately purchased two paintings. He went on to acquire six additional pieces that he later gifted to Lannan Foundation.
Morris Louis
Magna acrylic paint on canvas
95 5/8 x 77 5/8 inches
Photo Credit: Daniel Barsotti
Morris Louis
Magna acrylic paint on canvas
96 x 72 inches red black lav
Photo Credit: Daniel Barsotti
Morris Louis
Magna acrylic paint on canvas
103 7/8 x 77 1/8 inches tan back vertical pastels
Photo Credit: Daniel Barsotti
Morris Louis
Magna acrylic paint on canvas
77 7/8 x 103 7/8 inches
Collection: Lannan Foundation
Photo Credit: Daniel Barsotti
Installation Photographs
Morris Louis
Veil Paintings, 1954
Photo Credit: Daniel Barsotti
Morris Louis
Veil Paintings, 1954
Photo Credit: Daniel Barsotti
Nancy Holt: Sightlines Publication
Image: Nancy Holt shooting the film Sun Tunnels (1978), 1976.
Photo by Lee Deffebach.
Providence Productions International, Inc., Brooklyn, New York, 2010
Providence Productions International, a non-profit founded in 1978 to support the work of experimental art in all disciplines, received a grant in support of the publication Nancy Holt: Sightlines. This is the first monograph on the important postwar artist Nancy Holt (b. 1938), whose far-reaching body of work from the late 1960s to the present includes land art, films, videos, installations and major sculpture commissions. Edited by curator Alena Williams, the book includes essays by Lucy Lippard, Matthew Coolidge, Pamela M. Lee, Julie Alderson, and James Meyer.
The 256-page, full color catalogue is co-published with the University of California Press and was presented in conjunction with the opening of the first international touring exhibition of Nancy Holt, organized by Columbia University for the fall of 2010.
Land Arts of the American West course
Image: Sunny measuring the Milky Way at Point Sublime, north rim of the Grand Canyon, AZ, 2010.
Photo Link.
University of New Mexico, Albuquerque, New Mexico, 2010
General Operating Support
The Land Arts of the American West program at the University of New Mexico received a grant in support of general operating costs. Land Arts of the American West is an ongoing experiment in an interdisciplinary model for an arts pedagogy based in place. The Land Arts program provides students with direct, physical engagement with a full range of human interventions in the landscape, from pre contact Native America architecture, pictographs and petrogylphs to contemporary Earthworks, federal infrastructure, and the constructions of the US Military. Land art includes gestures both grand and small, directing attention from potshard, cigarette butt, and track in the sand to human settlements, monumental artworks, and military/industrial projects such as hydroelectric dams and decommissioned airfields.
Each year the Land Arts program travels extensively throughout the southwestern United States and north central Mexico to live and work for over fifty days on the land. Time is divided between investigating cultural sites http://landarts.unm.edu/sites.html such as Chaco Canyon, Roden Crater http://www.rodencrater.com/ , Hoover Dam, Wendover Complex of the Center for Land Use Interpretation, Juan Mata Ortiz, Spiral Jetty, and, for the first time this year, Michael Heizer’s City Complex, and working in the variety of eco-niches provided by campsites at places such as the Grand Canyon, Grand Gulch, Gila Wilderness, Bosque del Apache, and Otero Mesa Grasslands.
The current focus is on the issues of sustainability with a particular interest in food production and water use in the southwest. Building on ten years of experience in field programming at Acoma Pueblo and Juan Mata Ortiz, Mexico, Bill Gilbert started the Land Arts program in 2000 with a grant from Lannan Foundation.
Vija Celmins: Television and Disaster, 1964-1966 Exhibition and Catalogue
Image: Vija Celmins, Burning Man, 1966. Oil on canvas. 20 x 22.5 inches. Private Collection, New York.
Photo Link.
The Menil Collection received a grant in support of the exhibition Vija Celmins: Television and Disaster, 1964-1966, on view from November 18, 2010 to February 20, 2011. Co-organized with the Los Angeles County Museum of Art, the exhibition was the first to concentrate on an important segment of Celmins’ art dictated by a specific time period and subject matter.
The work in this exhibition concentrated on images of war and the power (or lack thereof) of mediated representations. The exhibition, which included fifteen paintings and two sculptures, was accompanied by a 64-page hardcover catalogue featuring original essays. After its presentation in Houston, the exhibition traveled to LACMA, where it was showcased from March 13 to June 5, 2011.
2010
The Menil Collection
Houston, Texas
Guy Tillim: Avenue Patrice Lumumba Exhibition and Tour
Image: Guy Tillim, Court records, Lubumbashi, DR Congo, 2007. Archival pigment ink on cotton rag paper. 91.5 x 131.5 cm.
Photo Link.
Museum of Contemporary Photography, Columbia College, Chicago, Illinois, 2010
The Museum of Contemporary Photography received a grant in support of presenting and touring the exhibition Guy Tillim: Avenue Patrice Lumumba, on view in Chicago from January 10 to March 7, 2011. This series records the architecture of colonial and post-colonial Africa, looking at the many city streets named after Patrice Lumumba, one of the first elected African leaders of modern times. Lumumba became the first Prime Minister of the Democratic Republic of Congo in 1960 after he helped his country gain independence from Belgium.
In many African cities, there are streets, avenues and squares named after Patrice Lumumba. His speech at the independence celebrations in Lopoldville, in the presence of the Belgian King, Baudouin, unequivocally signaled his opposition to the West’s idea of neo-colonial order that would replace overt domination with indirect control. He was assassinated in January 1961 by Belgian agents after UN complicity in the secession of the provinces of Katanga and South Kasai, and a Western power-supported military coup led by Mobutu Sese Seko.
Guy Tillim embarked on this project as the recipient of the first Robert Gardner Fellowship in Photography granted by the Peabody Museum at Harvard University. This exhibition has toured widely in Europe in cities such as Rome, Paris, Amsterdam and will tour in Canada and the United States through 2013.
Santa Fe Art Institute, Santa Fe, NM 2010
Image: Work by (clockwise from top left): Jennifer Levonian, Patrcia Johanson, Mierle Ukeles, The Yes Men, Will Wilson, and Victoria Sambunaris.
Photo Link.
General Operating Support, 2010
The Santa Fe Art Institute received a grant in support of general operating expenses to carry out its exhibition, residency, lecture, education and community programs. The 2010 program, Elemental: Earth Air Fire Water Art and Environment, featured several artists whose work addresses environmental concerns and promotes local and global awareness.
SFAI offers a robust schedule of events and has featured world-class artists such as Rackstraw Downes, James Drake, Susan York, Tom Joyce, Laurie Anderson, and Victoria Sambunaris.
Subhankar Banerjee: Where I Live I Hope to Know Exhibition
Amon Carter Museum of American Art, Fort Worth, Texas, 2010
Image: Subhankar Banerjee, Dead Piñon Where Birds Gather in Autumn; On My Way to the Powerline, 2009. Digital dye coupler print. Courtesy of the artist.
Photo Link.
The Amon Carter Museum of American Art received a grant in support of its exhibition and catalogue, Subhankar Banerjee: Where I Live I Hope to Know, on view from May 14 to August 28, 2011. Over the past four years, Banerjee has created an archive of photographs made within a five-mile perimeter of his home in El Dorado, New Mexico. He began the project with the cholla plant, a cactus that plays an essential role in the ecology of the high desert, then moved on to piñon trees, mostly dead, which create habitats for a vibrant bird culture, and completed the series with images of the New Mexico skies.
This project was born from Banerjee’s curiosity about the range of biodiversity in his immediate surroundings. Where I Live I Hope to Know features fifteen never-before-seen, large color photographs and covers the decimation of old growth piñon trees due to an explosion in the population of bark beetles, a direct result of global warming. In response to his concerns about global warming, Banerjee founded ClimateStoryTellers: A Gathering Place for All Things Global Warming.
View Subhankar Banerjee’s bio and crosslinks on Lannan.org.
Guy Tillim: Avenue Patrice Lumumba Exhibit
Apartment building, Avenue Bagamoyo, Beira, Mozambique, 2008. Archival pigment ink print on cotton rag paper. 36 x 52 inches. Edition 5 of 9. Collection Lannan Foundation.
Exhibition on view July 23 through September 4, 2011
Gallery Hours: Saturdays & Sundays, 12-5pm (weekends only)
Lannan Foundation Gallery
309 Read Street
Santa Fe, NM
Reception for Artist:
Saturday, July 30th from 5:30 - 7:30pm at the Lannan Gallery
Artist Slide Lecture and Discussion with Adam Hochschild:
Sunday, July 31st at 4pm
Lensic Performing Arts Center
Read Guy Tillim’s bio on Lannan.org.
Read Adam Hochschild’s bio on Lannan.org.
Watch the video of Guy Tillim’s Presentation on Podcast.lannan.org
Watch the video of Guy Tillim in Conversation with Adam Hochchild on Podcast.lannan.org
Photos of Guy Tillim’s work on Flickr
“In many African cities, there are streets, avenues, and squares named after Patrice Lumumba, one of the first elected African leaders of modern times, winning the Congo election after independence from Belgium in 1960… Today his image as a nationalist visionary necessarily remains unmolested by the accusations of abuse of power that became synonymous with later African heads of state.”- Guy Tillim
In May of 1960, Patrice Lumumba, of the Mouvement National Congolais, became the first legally elected Prime Minister of the Democratic Republic of the Congo. Less than one month after his election, at celebrations designed to showcase the country’s independence from Belgium, he delivered a passionate and uncompromising denunciation of continued colonial presence in The Congo. In January of the following year, he was assassinated by firing squad under Belgian orders. His name, carried today by countless African streets, avenues, and squares, has come to represent both the idealism and deterioration of a post-colonial African dream for national unity.
In Avenue Patrice Lumumba, Guy Tillim’s photographs bring into focus the inheritance of colonialism on both a grand and minute scale. Public institutionsor the ruins of themsuch as post offices, schools, administration buildings and, government offices are presented in Tillim’s muted palette. Delicate details come into view through Tillim’s lens: a faded poster promoting HIV/AIDS awareness, long untouched and dusty files, or a local mayor’s handwritten note to himself, “In Life One Must” listing ethical and moral must do’s. Formerly glorious modernist structures, such as the Grande Hotel in Beira, Mozambique, now serve as tenement housing, and a swimming pool at a once posh high school is now empty.
City Hall, Lumumbashi, DR Congo, 2007. Archival pigment ink print on cotton rag paper. 36 x 52 inches. AP 1 of 2. Collection Lannan Foundation.
Though one is tempted to grasp for the “what could have been” in Tillim’s images, he explains,
These photographs are not collapsed histories of post colonial African states or a meditation on aspects of late-modernist era colonial structures, but a walk through avenues of dreams. Patrice Lumumba’s dream, his nationalism, is discernible in the structures, if one reads certain clues, as is the death of his dream, in these de facto monuments. How strange that modernism, which eschewed monument and past for nature and future, should carry such memory so well.
Originally a photojournalist, Guy Tillim has spent a large part of his career documenting social conflict in Africa for media agencies including Reuters and Agence France-Presse. While continuing to focus on the social and natural challenges on the African continent, his working style has evolved into a much more subtle and enigmatic approach. He has photographed child soldiers in the Democratic Republic of the Congo, refugees in Angola, and people who live in the high rises of Johannesburg.
As the recipient of the first Robert Gardner Fellowship in Photography granted by the Peabody Museum at Harvard University in 2007, Tillim traveled through Angola, Mozambique, the DR Congo, and Madagascar. He sought not only the action and drama typical of a journalistic approach, but also quieter scenes, allowing his work to straddle the media and fine art worlds. Of his project Avenue Patrice Lumumba Tillim explains, “Modernist architecture was the hook on which I hung the project, but it is not about that architecture &emdash; it’s not a survey. Rather, these were the places that I had got to know while working as a photojournalist; I had always been struck by the bizarre stage that they provided.”
The History of the Future Travel and Advertising for Exhibition
Photo: Julián Cardona, Untitled © Julián Cardona. Photo Link.
For over 30 years these artists have focused on the wild places in the desert southwest and the people crossing the lands where Mexico and the United States come together. The exhibition unfolds their multiple collaborations over the last seven years. Cardona’s photographs are of people while Berman’s are of the land in Arizona and New Mexico. Together these images tell a haunting story of life on the border. Both artists are currently represented in Lannan’s art collection. The exhibition was on view in Santa Fe from November 15 to December 31, 2008.
The Santa Fe Art Institute received a grant in support of travel expenses for artists/speakers and for advertising in conjunction with the exhibition The History of the Future: Photographs by Michael Berman and Julián Cardona and Writing by Charles Bowden.
Santa Fe Art Institute
Santa Fe NM
Roni Horn aka Roni Horn Exhibition
© Roni Horn, detail of You are the Weather. Photo Link.
Whitney Museum of American Art
New York, NY
Ms. Horn’s body of work represents one of the most impressive achievements of any artist to come of age in the wake of Minimalism and Conceptual Art. For nearly 30 years, Horn has developed a body of work in innovative and diverse mediums. This was the most significant overview of Horn’s work to date. The exhibition was created by the Whitney in partnership with the Tate Modern in London, where it debuted on February 25, 2009. Currently Roni Horn is represented in the Lannan Collection by her series of photographs called Still Water (The River Thames for Example), 1999.
The Whitney Museum of American Art received a grant in support of a major exhibition surveying the career of artist Roni Horn, scheduled to open in the fall of 2009.
Reimagining Space: The Park Place Gallery Group in 1960s New York Exhibition
Photo: Mark di Suvero, The “A” Train, 1965-67. Hirshhorn Museum and Sculpture Garden, Washington, D.C. Photo Link.
The Park Place Group consisted of five sculptors (Mark di Suvero, Peter Forakis, Robert Grosvenor, Anthony Magar, and Forrest “Frosty” Myers) and five painters (Dean Fleming, Tamara Melcher, David Novros, Edwin Ruda, and Leo Valledor.) The exhibition is an assemblage of these artists’ major works, which have not been seen together since that era. This exhibition is particularly relevant for Lannan Foundation because J. Patrick Lannan, Sr. was close to the group, collected the work of these artists, and hosted them in his home in Palm Beach. Many of the works featured in this exhibition were gifted to the Blanton from the Lannan Collection.
The Blanton Museum of Art at the University of Texas at Austin received a grant in support of the exhibition Reimagining Space: The Park Place Gallery Group in 1960s New York, on view from September 28, 2008 to January 18, 2009.
Blanton Museum of Art
University of Texas at Austin
Austin, TX
Dismantling Cultural Apartheid Conference
Photo: The Santa Fe Art Institute.
Photo Link.
Santa Fe Art Institute
Santa Fe, New Mexico
The first gathering, sponsored in a previous grant by Lannan, provided a forum for a discussion about how cultural institutions allow, preserve, and promote apartheid in the cultural and arts sectors in order to maintain market control of the values and placement of minority creativity. SFAI sought support to continue this discussion in hopes of creating a new paradigm for creative institutions and practices that can counter the marketplace forces.
The Santa Fe Art Institute received support to convene a second meeting of artists, scholars, and cultural leaders on the theme of Dismantling Cultural Apartheid.
The History of the Future Exhibition
Photo: Michael Berman, Fallen Ordnance, Mohawk Valley, Arizona, 2007. Collection Lannan Foundation. Photo Link.
This exhibition featured the work of photographers Michael Berman and Julián Cardona with an essay by writer Charles Bowden, and served as an important part of the Santa Fe Art Institute’s 2008-2009 programming theme, OUTSIDER: Tourism, Migration, Exile. For over 30 years these artists have focused on the wild places in the desert southwest and the people crossing the lands where Mexico and the United States come together. The exhibition unfolds their multiple collaborations over the last seven years. Cardona’s photographs are of people while Berman’s are of the land in Arizona and New Mexico. Together these images tell a haunting story of life on the border. Both artists are currently represented in Lannan’s art collection.
The Santa Fe Art Institute received support to present the exhibition, The History of the Future, on view November 8 through December 23, 2008.
Santa Fe Art Institute
Santa Fe, New Mexico
Jenny Holzer: Protect Protect Exhibition
Jenny Holzer, Thorax, 2008. Text: U.S. government documents. The Broad Art Foundation, Santa Monica. Jenny Holzer, member Artists Rights Society (ARS), NY. Photo: Christopher Burke. Photo Link.
Holzer is considered one of the most significant and pioneering contemporary American artists, both for her use of language and the written word as a carrier of content, and for her use of non-traditional media in public settings as vehicles for that content. On view from October 21, 2008 to February 1, 2009, the exhibition featured graphic works, electronic signs, and light projections made from 1990 to the present. The exhibition, which was organized by MCA Chief Curator Elizabeth Smith, was presented first in Chicago and toured subsequently to the Whitney Museum of American Art, New York and the Fondation Beyeler, Basel, in addition to other American and European venues.
MCA Chicago received a grant in support of the exhibition Jenny Holzer: Protect Protect, the artist’s first American survey in nearly 20 years.
Museum of Contemporary Art
Chicago, IL
The Disappeared/Los Desaparecidos—Supplemental Programming
Photo: The Disappeared/Los Desaparecidos Exhibition at The Rubin Center, UTEP. Photo Link.
The grant provided support to concurrent exhibitions and cultural programming in El Paso and neighboring Juárez, Mexico. The El Paso Museum of Art exhibited Niño Perdido (Lost Child), a series of drawings by Han Lieberman based on photographs of missing children whose disappearances were reported in local Mexican newspapers. The Universidad Autónoma de Ciudad Juárez with the VIA Galeria in Juárez organized an exhibition of art focusing on Granjas Lomas del Poleo. This community is on the northwestern edge of Ciudad Juárez and is actively resisting a resettlement imposed on them by a coalition of American and Mexican government interests. With the assistance of this grant, the Rubin Center created and printed 50,000 copies of a publication listing all events associated with Los Desaparecidos, hosted a film screening, printed exhibition announcements and assisted with exhibition expenses for partnering organizations.
The Rubin Center at UTEP received a grant in support of supplemental programming for The Disappeared/Los Desaparecidos, on view in El Paso June 18 - September 11, 2009.
Stanlee & Gerald Rubin Center
University of Texas at El Paso
El Paso, Texas
Explosions, Fires and Public Order: Photographs by Sarah Pickering
Photo: Sarah Pickering, Explosions, Fires and Public Order, Aperture 2010. Photo Link.
The book combines three of the artist’s series that offer a visually-arresting glimpse into the secret world of civil defense: Public Order (2002-2005), a project exploring the Metropolitan Police Public Order Training Centre, where officers rehearse responses to imagined scenarios of civic unrest in a simulated urban environment near London; Explosions (2004-2005) documents the tactical use of pyrotechnics by the British military, recording detonations on remote test sites in the English countryside; and Fire Scene (2006-2007), produced at the UK Fire Training College, where forensic teams and crime scene investigators are trained to determine the cause of crime-related fires. Together, Pickering’s projects reflect an aspect of the current zeitgeist: global terrorism matched with omnipresent anxiety. Pickering, still considered an emerging artist, has noted that she is interested in recording the current mania of “preparing for disaster.” Lannan Foundation acquired three of Pickering’s photographs in 2007.
Aperture Foundation received a grant in support of its publication, Explosions, Fires and Public Order: Photographs by Sarah Pickering, released in fall 2009.
Aperture Foundation
New York, NY
Texas Oil: Landscape of an Industry Exhibition
Photo: 42 gallons of oil (in a clear plastic barrel), a physical representation of the unit of volume used as the basis for the global commodity of oil. Courtesy: CLUI Photographic Archive.
Photo Link.
Blaffer Gallery
University of Houston
Houston,TX
The exhibition and publication were produced in conjunction with the Center for Land Use Interpretation (CLUI), a widely acclaimed research organization that uncovers and examines human interaction with the land through focused projects in the form of exhibitions, guided tours, and online databases of exemplary and unusual sites in the United States. The exhibition featured up to 50 Texas sites that demonstrate how oil has sculpted the state’s terrain, with the exhibition being organized according to the oil industry’s “upstream” and “downstream” functions, phases of production before and after the refining process. “Upstream” displayed oil fields, off-shore oil pipelines (crude oil and natural gas), terminals, tankers, and crude storage. “Downstream” featured refineries, petrochemical plants, and distribution (finished product pipelines, storage, and shipping.) Texas Oil served as the culmination of CLUI’s year-long residency at the University of Houston.
The Blaffer Gallery at the University of Houston received a grant in support of the exhibition Texas Oil: Landscape of an Industry on view from January 17 to March 28, 2009.
Cy Twombly: The Natural World, Selected Works 2000-2007 Exhibition
Photo: Cy Twombly. Untitled (detail), 2007. Collection of Mr. and Mrs. Donald B. Marron, New York. Courtesy Gagosian Gallery.
Photo Link.
The Art Institute of Chicago
Chicago, IL
The exhibition features 30 new and recent works—much of it not shown previously in the United States and none of it in a U.S. museum—including paintings on canvas, paintings on paper, and sculpture. The Art Institute’s show was Twombly’s first in Chicago since his earliest solo exhibition occurred there in 1951. Much of Twombly’s new work interprets the natural world, often through references to garden, landscape, and place. The exhibition, accompanied by a 96 page catalogue, was organized for the Art Institute by Curator of Modern and Contemporary Art, James Rondeau.
The Art Institute of Chicago received a grant in support of the exhibition Cy Twombly: The Natural World, Selected Works 2000-2007, which opened for the debut of the Institute’s new Modern Wing Abbott Galleries in May 2009.
Terry Allen: Ghost Ship Rodez Exhibition
Photo: Terry Allen, Installation View, SITE Santa Fe. Photo Link.
Artist, playwright, and musician Terry Allen examines an episode in the life of the similarly polymathic artist, Antonin Artaud. Throughout his life, Artaud suffered a number of psychological crises, resulting in his repeated and lengthy institutionalization. In 1937, Artaud went to Ireland to return to the Irish people what he believed was the staff of St. George. He was involved in an altercation with the Dublin police and was subsequently deported. Because of his deteriorating psychological state, he was chained to a cot in the hull of the ship Washington for the seventeen-day journey back to France. This journey serves as the inspiration for Allen’s Ghost Ship Rodez. Taking its title from the French mental institution “Rodez,” where Artaud spent a number of years after his deportation from Ireland, this exhibition consists of room-sized multimedia works blending sculpture and video. A portion of the exhibition invokes the physical environment of the Washington. Another will include a larger-than-life-size figure that refers to Artaud and the “Daughter of the Heart to be Born,” an archetype representing all the women in Artaud’s life. Although these works allude to the physical realities of Artaud’s life, their video components explore Artaud’s mindscape, giving form to psychological space. Allen invites us to take a journey into the depths of Artaud’s mind as he sees it.
SITE Santa Fe received support for the exhibition Terry Allen: Ghost Ship Rodez, on view in Santa Fe from February 4 through May 9, 2010.
SITE Santa Fe
Santa Fe, NM
Thomas Joshua Cooper: Shoshone Falls Catalogue
Photo: Thomas Joshua Cooper, Bridal Falls—High Noon Shoshone Falls From The Floor of The Snake River Basin, The Jerome and Twin Falls County Borderline, Idaho, USA. Photo Link.
In the summer of 2003, Thomas Joshua Cooper traveled to Shoshone Falls in southern Idaho to photograph where the Snake River had tumbled across a 212 foot precipice, once one of the most sublime and inspiring landscapes in the American West. Cooper’s images were a response to the work of Timothy O’Sullivan, photographer on the nineteenth-century geographic surveys led by Clarence King and Lieutenant George M. Wheeler. Cooper’s photographs simultaneously engage the work of his predecessor while expanding his own formal vocabulary in a project that creates a dialogue about history, geography, and the process of photographic image making. Of the 1,000 printed, Radius Books will donate at least 300 copies to libraries and schools across the United States. Thomas Joshua Cooper is represented extensively in the Lannan art collection.
Radius Books, a non-profit publishing company based in Santa Fe, received a grant in support of the book, Thomas Joshua Cooper: Shoshone Falls.
Radius Books
Santa Fe, New Mexico
Sarah Pickering: Explosions, Fires, and Public Order
Sarah Pickering, Abduction, 2007, C-Print, 48 x 39 inches © Collection Lannan Foundation.
“My work explores the idea of imagined threat and response, and looks at fear and planning for the unexpected, merging fact and fiction, fantasy and reality,” Pickering says. While appearing to exist between reality and illusion, Pickering’s images are actually documents of simulation. The exhibition will present a total of 36 photographs from four recent series of Pickering’s work, spanning from 2002 to the 2009: Explosions, Fire Scene, Incident, and Public Order. Within each of Pickering’s series, the photographs seem to belong to the magical space that exists between reality and illusion. Yet, they each serve as documents of a simulation, alluding to the unreliability of photographic information. A catalogue was co-published with Aperture Foundation in conjunction with the exhibition on view at MoCP from April 9 through June 20, 2010. Six of the images in the exhibition are on loan from the Lannan art collection.
The Museum of Contemporary Photography received a grant to present a monographic exhibition featuring the work of London based, British artist Sarah Pickering.
Museum of Contemporary Photography
Columbia College
Chicago, IL
Manmade: Notions of Landscape from the Lannan Foundation
Photo: Victoria Sambunaris, Untitled, 2001 (Train with tall grass, North Platte, NE, C-Print. 39 x 55 inches, Ed. 1/5 © Collection Lannan Foundation.
Curator Laura Addison was given access to the Lannan collection and noted one of the threads that runs through the Santa Fe-based Lannan Foundation collection is an exploration of man and the landscape—not landscape in its most literal sense, but landscape as a construction of meanings and relationships that are always morphing, growing, decaying, and exploding. These various facets of landscape include the natural, the cultural, the social, and the political. The resulting exhibition she created includes post-Katrina photographs of a ravaged landscape by Debbie Fleming Caffery; images of the meeting of land and sea that have been witness to historic moments by Thomas Joshua Cooper; a typological grid of lighthouse photographs by Olafur Eliasson; the confessional water images of Roni Horn; nighttime photographs of wars acted out in the desert by An-My Lê; “portraits” of explosions in the landscape by Sarah Pickering; and photographs of the contemporary industrial landscape by Victoria Sambunaris. Two well-known Earthwork artists—James Turrell and Robert Smithson—are also represented in the exhibition. The Lannan Collection has rich holdings of Turrell’s work, including hand-worked aerial views of Roden Crater, an extinct volcano outside of Flagstaff, Arizona, that the artist has been “sculpting” into a monumental earthwork since 1979. Also on view in the New Mexico Museum of Art’s galleries will be Smithson’s 1969 sculptural masterwork Map of Broken Glass (Atlantis), an example both of his early work with earth and glass or mirrors and of his reconsideration of the nature of sculpture. Funding was provided for public lectures in Santa Fe by Thomas Joshua Cooper and Victoria Sambunaris with Bill Gilbert.
The New Mexico Museum of Art received a grant for public programming in conjunction with its exhibition Manmade: Notions of Landscape from the Lannan Foundation, on view from October 8, 2009 through January 3, 2010.
New Mexico Museum of Art, NM
Rackstraw Downes: Onsite Paintings, 1974-2009 Exhibition and Catalogue
Photo: Rackstraw Downes, Snug Harbor, Metal Ductwork in G Attic, 2001, Oil on canvas, 16 x 33 inhces, Part 3 of a 4 part painting. Collection Lannan Foundation. Photo Link.
The exhibition consists of approximately 32 works, many of them multiple-part paintings, created between 1972 and 2008. It begins with two of Downes’s earliest plein air paintings, The Pupmills at Madison and The Dam at Fairfield (both from 1974), and traces the artist’s career through major examples of his work executed during the following three decades: paintings done in Maine, Texas, New Jersey, and New York, including two haunting and foreboding depictions of untenanted interior spaces at the World Trade Center from 1998. Downes’s panoramic paintings, which he developed by studying seventeenth-century Dutch panoramic landscape painting, especially those of Hercules Segers and Jacob van Ruisdael, and are informed by his training as an abstract painter at the Yale School of Art, posses a unique balance between realism and abstraction, timelessness and history. Unlike the Dutch landscape paintings, which were essentially studio constructions and spatial fictions, Downes paints exclusively from direct observation over a period of several weeks to several months, outdoors or indoors, onsite using a portable easel.
Downes’s paintings are based on meticulous studies yet they are not truthful depictions in a photographic sense, like the works by the American photorealist painters that became prominent in the 1970s, such as Richard Estes and Robert Bechtle. Downes’s paintings are expanded in terms of space but condensed in terms of time, not unlike a nineteenth-century photograph that had to be exposed for several hours. Downes takes creative liberties that a photorealist painter would never allow himself, and because the works are painted from observation, they are not “snapshots” of a scene recreated in the studio. Rather, they are chronicles of the human existence—records of social history as it evolves. For this exhibition, Lannan will loan a piece by Downes, a four-part painting entitled Snug Harbor, Metal Ductwork in G Attic, 2001.
The Parrish Art Museum received a grant in support of the catalogue and exhibition, Rackstraw Downes: Onsite Paintings, 1974-2009, on view June 20 through August 8, 2010.
Parrish Art Museum
New York
General Operating Support (2009) Santa Fe Art Institute
Photo: Robert Diago, Utopia, 2009. Photo Link.
The exhibition series explores the role art plays in the formation and preservation of societal or individual memory through the work of many outstanding visiting lecturers and workshop leaders including photographer Gay Block, realist painter Rackstraw Downes, photographer David Maisel, draftsman & sculptor James Drake, musician/artist Laurie Anderson, art critic Blake Gopnik, blacksmith Tom Joyce, sculptor Susan York, photographer Susan Meiselas, and filmmaker Godfrey Reggio. In addition, the SFAI hosted an installation work, “Utopia,” by Cuban artist Roberto Diago. Artists Downes and York are both represented in Lannan’s art collection.
The Santa Fe Art Institute received a grant in support of general operating costs for its 2009-2010 programming and exhibition series, Memory: Shadow and Light—Art as individual/collective memory.
Santa Fe Art Institute
Santa Fe, NM
Collecting Collections Exhibition and Publication
Photo: Installation view of Collecting Collections: Highlights from the Permanent Collection of The Museum of Contemporary Art, Los Angeles at MOCA Grand Avenue, 2008, photo by Brian Forrest. Photo Link
This was the first survey of the internationally-renowned permanent collection of MOCA, featuring approximately 300 works of art and spanning the entire gallery space at MOCA. Several pieces from the Lannan Collection were highlighted including major works by Wallace Berman, Robert Irwin, Mike Kelley, Kenneth Price, Charles Ray, and Kiki Smith.
The Museum of Contemporary Art received funding in support of an exhibition and publication entitled Collecting Collections, presented from February 10 through May 26, 2008.
The Museum of Contemporary Art
Los Angeles, CA
Susan Rothenberg: Moving in Place Exhibition
Susan Rothenberg, Red, 2008. Oil on Canvas, 55 x 57 1/2 inches. Private Collection. Courtesy: Sperone Westwater, NY. Photo Link.
The Georgia O’Keeffe Museum has collaborated with the Fort Worth Museum to include this exhibition in its Living Artists of Distinction series, a program that honors living artists whose works have made distinctive contributions to the history of American modern art. After being on view at the Georgia O’Keeffe Museum, the exhibition traveled to the Miami Art Museum. Moving in Place is Rothenberg’s first solo museum show in more than a decade. The artist and curator Michael Auping, who has known Rothenberg for over three decades, has selected works that span her career from her early horse paintings of the mid-1970s to those from her most recent body of work. Each painting highlights key compositional strategies in a formal narrative in which perceived movement, fragmentation and painterly gesture establish a dynamic interaction with the edges and frames of the canvases. Since the mid-1970s, Rothenberg has been widely recognized as one of the most innovative and independent artists of the contemporary period. From her early years in SoHo through her move to the New Mexico desert landscape, Rothenberg has remained as influenced and challenged by her physical surroundings as she is by artistic issues and her own personal experiences.
The Georgia O’Keeffe Museum received support for its exhibition, Susan Rothenberg: Moving in Place, on view in Santa Fe from January 22 through May 16, 2010.
Georgia O’Keeffe Museum
Santa Fe, New Mexico
Topologies: Photographs by Edgar Martins Publication
Photo: Edgar Martins, Untitled, Topographies, Aperture 2007. Photo Link.
Through artful composition and controlled framing Martins’ work features sublimely beautiful views of often un-beautiful sites, with no digital manipulations. John Beardsley writes, “Some images are what we habitually expect photography to be—evidence of the world as we think we know it—while others obscure their subjects through an illusionism that borders on magic.”
Aperture Foundation received funding in support of publication of photographs by Edgar Martins entitled Topographies.
Aperture Foundation
New York, New York
Land Arts of the American West, General Operating Support
Photo: Ben Tremper, Untitled, 2004. Land Arts Program, UNM. Photo Link.
Land Arts of the American West is an ongoing experiment in an interdisciplinary model for an Arts pedagogy based in place. The Land Arts program provides students with direct, physical engagement with a full range of human interventions in the landscape, from pre contact Native American architecture, pictographs and petrogylphs to contemporary Earthworks, federal infrastructure, and the constructions of the U.S. Military. Land art includes gestures both grand and small, directing attention from potsherd, cigarette butt, and track in the sand to human settlements, monumental artworks, and military/industrial projects such as hydroelectric dams and decommissioned airfields.
Each year the Land Arts program travels extensively throughout the southwestern United States and north central Mexico to live and work for over fifty days on the land. Time is divided between investigating cultural sites such as Chaco Canyon, Roden Crater, Hoover Dam, Wendover Complex of the Center for Land Use Interpretation, Juan Mata Ortiz, Spiral Jetty and the Very Large Array and working in the variety of eco-niches provided by campsites at places such as the Grand Canyon, Grand Gulch, Gila Wilderness, Bosque del Apache and Otero Mesa Grasslands. The current focus is on the issues of sustainability with a particular interest in food production and water use in the southwest. Building on ten years of experience in field programming at Acoma Pueblo and Juan Mata Ortiz, Mexico, Bill Gilbert started the Land Arts program in 2000 with a grant from Lannan Foundation.
The Land Arts of the American West program at the University of New Mexico received a grant in support of general operating costs.
Land Arts of the American West
University of New Mexico
Albuquerque, NM
Kara Walker My Complement, My Enemy, My Oppressor, My Love Exhibition
Photo: Kara Walker, Cut paper and projection on wall. 14 x 37 ft. (4.3 x 11.3 m). Collection Musée d’Art Moderne Grand-Duc Jean, Luxembourg. Photo Link.
The exhibition features works ranging from her signature black cut-paper silhouettes to film animations to more than 100 works on paper. Set in the American South before the Civil War, Walker’s compositions play off stereotypes to portray—often grotesquely—life on the plantation, where masters, mistresses, slave men, women, and children enact a subverted version of the past in an attempt to reconfigure their status and representation. The Hammer was the sole West Coast venue for the exhibition, which has been hosted in Minneapolis, Paris, and New York. Earlier in 2008, Lannan Foundation made a grant to the Walker Art Center in Minneapolis in support of the creation of the exhibition and its related publication.
The Hammer Museum at the University of California at Los Angeles received support for the presentation of the exhibition, Kara Walker: My Complement, My Enemy, My Oppressor, My Love, on view from March 2-June 8, 2008.
Hammer Museum
University of California at Los Angeles
Los Angeles, CA
Michael Kimmelman: The Accidental Masterpiece Lecture
Photo: Frank Hurley, a member of Shackleton’s Antarctic expedition, ‘‘14 January 1915.’’ Courtesy: Royal Geographical Society, London/From ‘‘The Accidental Masterpiece’‘. Photo Link.
Kimmelman is an author and the chief art critic for the New York Times. In 2007 he moved to Berlin where he now writes as the Times Abroad columnist on culture and society in Europe. His most recent book, and theme of his lecture, The Accidental Masterpiece received widespread acclaim and became a national bestseller. Rather than purveying one particular theoretical view or advocating a rigid set of criteria for art, Kimmelman takes a broad approach which seems to place both art and art viewers into a cultural context and in communication with each other. Kimmelman presented this sold out lecture in Santa Fe on July 25, 2009.
Each year Art Santa Fe Presents brings a featured speaker to Santa Fe, selecting Michael Kimmelman for 2009.
Art Santa Fe Presents
Santa Fe, New Mexico
An-My Lê Small Wars and 29 Palms Exhibition
Photo: 29 Palms: Captain Folsom, 2003-04, gelatin silver print, 26 1/2 x 38 inches. Collection: Lannan Foundation. Photo Link.
Though An-My Lê‘s petition to be an embedded photographer in Iraq was denied, in 2003 she was granted permission to photograph U.S. military training exercises in preparation for deployment to Afghanistan and Iraq. The series 29 Palms takes its name from the Marine base in southern California’s Mojave Desert where Lê photographed American soldiers both rehearsing their own roles and playing the parts of their adversaries. As seen in Stability Operations (Iraqi Police), their practice includes dressing as Iraqi police (complete with home-made armbands) and tagging former military housing with mock anti-American graffiti. Lê works with a large-format camera to capture these images of staged war, in compositions that give equal weight to the landscape in which the theater occurs. Her equipment and working method are reminiscent of those employed by the Civil War photographers, though Lê‘s pictures address issues of war by looking at the preparation for combat instead of its aftermath. 29 Palms follows Lê‘s 1999 to 2002 Small Wars series, a study of Vietnam War reenactments in the United States. The exhibition features approximately 50 photographs from the artist’s Small Wars and 29 Palms series (on loan from the Lannan collection). This was a matching grant, representing 50% of the associated costs of loaning the exhibition. The Contemporary Arts Center in Cincinnati and the Boise Art Museum were added to the tour which included New York, Santa Fe, Chicago, San Francisco, Berlin, London, and Houston.
The Museum of Contemporary Photography received a grant in support of extending the tour and presenting their exhibition of the work of An-My Lê.
Museum of Contemporary Photography
Illinois
Evri Kwong: Just Pretend Everything is OK Exhibition and Catalogue
Photo: Evri Kwong, Big Red, 2005, oil and Sharpie permanent marker on canvas, 84 x 96 in., Collection of the San Jose Museum of Art. Photo Link.
Featuring stories culled from current events, Kwong’s narrative work confronts society’s deliberate ignorance by combining idealized representations of communities with tragic, often brutal, realities. “I want people to come away with something that gets under their skin—something that will get them thinking,” says Kwong. “Things are happening in our society that are unacceptable. The big problem is that they keep on happening.” The exhibition and publication marked a significant opportunity for Kwong, who is represented in Lannan’s collection.
The de Saisset Museum at Santa Clara University received support for a publication in conjunction with a mid-career survey of San Francisco based painter and printmaker Evri Kwong, on view September 27-December 13, 2008.
The de Saisset Museum
Santa Clara University
Santa Clara, CA
Weather Report: Art and Climate Change Exhibition and Catalogue
Photo: Grand Unification Theory by Agnes Denes, 2002. Courtesy: Boulder Museum of Contemporary Art. Photo Link.
This exhibition and catalogue partner the scientific and art communities to create a visual dialogue surrounding climate change and move audiences in a way to empower them with a vision for a sustainable future. Artists in the exhibition and programs included several past grantees and Lannan collection artists such as: Bill Gilbert; Subhankar Banerjee; Helen and Newton Harris; and Iñigo Manglano-Ovalle.
The Boulder Museum of Contemporary Art received funding in support of the exhibition Weather Report: Art and Climate Change, curated by Lucy R. Lippard, September 14 through December 21, 2007.
Boulder Museum of Contemporary Art
Boulder, CO
Los Desaparacidos/The Disappeared Exhibition Stanlee & Gerald Rubin Center for Visual Arts
Photo: Echavarria, Juan Manuel (b. 1947, resides in Columbia), detail from NN (No Name), 2005. Photo Link.
This venue was of particular importance due to its focus on work by artists of Hispanic heritage and its proximity to the U.S.-Mexico border. Eighty-percent of UTEP’s student body is Mexican or Mexican-American.
The Stanlee & Gerald Rubin Center for Visual Arts at the University of Texas at El Paso received a grant in support of presenting the exhibition Los Desaparacidos/The Disappeared, on view from May through September 2009.
Stanlee & Gerald Rubin Center for Visual Arts
University of Texas at El Paso
El Paso, TX
Beate Gütschow Catalogue Museum of Contemporary Photography
Photo: Beate Gütschow, S number 2, 2007, 83 1/2 x 69 5/8 inches, Light Jet Print Courtesy of Produzentengalerie Hamburg, Barbara Gross Galerie Munich, Collection of Louise and Eric Franck. Photo Link.
The catalogue was co-published with Aperture Foundation in conjunction with an international traveling exhibition of the artist’s work. The exhibition and catalogue feature two major projects completed by Gütschow in the last ten years. In the first, the artist draws consciously on the history of landscape painting, creating color photographs of pastoral scenes. Her landscapes, however, do not exist in reality but are digital assemblages from the artist’s archive of images of trees, fields, knolls, clouds, etc. In contrast, Gütschow’s second project features barren urban wastelands in shades of grey, featuring architectural elements taken from buildings across Europe, Japan, and the U.S. The exhibition was on view in Chicago October 25, 2007 through January 12, 2008.
The Museum of Contemporary Photography received funding in support of the publication of a catalogue on the work of German photographer, Beate Gütschow.
Columbia College
Chicago, Il
General Operating Support (2007) Center for Contemporary Arts
Photo: The Center for Contemporary Arts, Santa Fe, NM. Photo Link.
Dedicated to exposing multi- and interdisciplinary contemporary art, CCA provides emerging and established artists with opportunities to explore new ideas and take creative risks. The grant supported the establishment of the region’s first state-of-the-art Digital Media Lab. Opened in May 2007, CCA’s Digital Media Lab is an arts facility focused on arts education in digital media programming, and is specifically designed to impact middle and high school students, working artists and community members. It aims to provide workshops and opportunities to create original works in electronic media, including digital documentaries, video art projects, and animation together with an exploration of media literacy.
The Center for Contemporary Arts received general operating support for its inter-disciplinary arts programming and organizational development.
Center for Contemporary Arts
Santa Fe, NM
Nicolás Guagnini: Installation of outdoor sculpture 30,000, Disappeared Collaborative Project
It was installed outside of the museum, at the corner of Paseo de Peralta and Guadalupe Street. The sculpture featured a fragmented black and white photo of the artist’s father, who was a journalist and covered national politics in Argentina. He disappeared on December 12, 1977. As the spectator moves around the sculpture, Guagnini’s face appears and disappears. It is named 30,000 in honor of the total number of Argentinians who disappeared after the military’s coup of 1976.
SITE Santa Fe received support for the installation of a large outdoor sculpture by Nicolás Guagnini.
SITE Santa Fe
Santa Fe, NM
General Operating Support 2007 Santa Fe Art Institute
From the Comfort Zone Exhibition. Courtesy: Santa Fe Art Institute.
Photo Link.
Santa Fe Art Institute
Santa Fe, New Mexico
SFAI’s programs include a lecture series featuring artists and writers, an artists’ residency program, exhibitions, studio workshops, and a writers’ residency program. Participating artists in the 2007 series, entitled Comfort Zone, include Hans Haacke, Davis Maisel, Coco Fusco, Mel Chin, Siah Armajani, and Dyanna Taylor.
The Santa Fe Art Institute received a multi-year grant in support of general operations.
Dismantling Creative Apartheid Workshop Series
Photo: Past Exhibitions at Santa Fe Art Institute, courtesy: Santa Fe Art Institute.
Photo Link.
Santa Fe Art Institute
Santa Fe, New Mexico
The Santa Fe Art Institute, in collaboration with the Institute for American Indian Arts Museum, received support to initiate a series of intensive workshops, involving a variety of leaders in the art field, to articulate alternative ways of understanding and valuing art, decoupled from the Eurocentric commercialization that today largely informs the making, exhibition, and interpretation of art and creativity.
Workshops, presented under the overall theme Dismantling Creative Apartheid: Fostering Individual Empowerment and Cultural Self-Determination, will occur in Santa Fe two times each year for three years. Each workshop will invite 12 individuals including artists, art writers, art historians, policy makers, museum directors, curators, and funders.
Richard Ross Architecture of Authority Exhibition and Publication
Photo: Architecture of Authority by Richard Ross published by Aperture Foundation, 2007. Photo Link.
This project was the result of a five-year study of international architectural spaces that houses varying degrees of political, military, educational and spiritual authority. His work is both insightful and harrowing in its portrayal of institutions that often serve to intimidate and interrogate those who inhabit them. Though visually cool, the photographs in Architecture of Authority deal with hot issues: the surveillance that increasingly intrudes on post 9/11 life, the abuse of power in multiple guises, and the erosion of individual liberty. The similarities between the seemingly unrelated structures are striking; as Ross pointed out: “The Santa Barbara Mission confessional and the LAPD Robbery Homicide Interrogation rooms are the same intimate proportions. Both are made to solicit a confession in exchange for some form of redemption or mitigation of consequences—secular and non-secular.”
Aperture Foundation received a grant in support of an exhibition and publication on the work of photographer Richard Ross, entitled Architecture of Authority.
Aperture Foundation
New York, NY
Enrique Chagoya: Borderlandia Exhibition and Catalogue
Photo: Enrique Chagoya: When Paradise Arrived, 1988; charcoal and pastel on paper; 80 x 80 in.; di Rosa Preserve, Napa, California; photo: Wolfgang Dietze, courtesy of Gallery Paule Anglim; © Enrique Chagoya. Photo Link.
Entitled Enrique Chagoya: Borderlandia, this internationally significant project was a comprehensive 25 year survey of his work on view at the Des Moines Art Center September 21, 2007 to January 6, 2008. Borderlandia closely examined the parallels and dichotomies of world cultures, particularly those of Mexican and American cultures, ultimately, uniting the two in fantastical alternative narrative histories. Chagoya taps Mexico’s complex history, international politics, various religions, and universal popular culture in witty narratives that satirize and, at times, celebrate the cultural and psychological consequences of more than 500 years of contact and influence between Mexico and the U.S.
The Des Moines Art Center received support for an exhibition and bilingual catalogue of the work of Mexican-born, American artist Enrique Chagoya.
Des Moines Art Center
Des Moines, Iowa
Kara Walker: My Complement, My Enemy, My Oppressor, My Love Exhibition
Photo: Installation view of Kara Walker: My Complement, My Enemy, My Oppressor, My Love (Whitney Museum of American Art, New York, October 11, 2007-February 3, 2008). Photograph by Sheldan C. Collins Photo Link
The exhibition, Kara Walker: My Complement, My Enemy, My Oppressor, My Love features works ranging from her signature black cut-paper silhouettes to film animations to more than 100 works on paper. Set in the American South before the Civil War, Walker’s compositions play off stereotypes to portray—often grotesquely—life on the plantation, where masters, mistresses, slave men, women, and children enact a subverted version of the past in an attempt to reconfigure their status and representation. After its presentation at the Walker, the exhibition traveled to the Whitney Museum of American Art, New York (October 11, 2007-February 3, 2008), and the Hammer Museum, Los Angeles (February 17-May 11, 2008).
The Walker Art Center received funding in support for the first full-scale American museum survey of the work of artist Kara Walker, on view February 17 to May 13, 2007.
Walker Art Center, MN
Sherrie Levine, Abstraction
The Georgia O’Keeffe Museum received support for the exhibition Living Artists of Distinction: Sherrie Levine, Abstraction on view January 26, 2007 through May 13, 2007. The exhibition will feature sculptures, painting, and Iris photo prints directly or indirectly evoking the imagery of Georgia O’Keeffe and Alfred Stieglitz, while exploring an approach to art-making that was fundamental to both earlier artists: abstraction. Levine has been well known since the early 1980s, when she began making groundbreaking, highly innovative works deriving from those of such well known earlier artists as Marcel Duchamp, Walker Evans, Henri Matisse, and Claude Monet.
Photo: Georgia O’Keeffe Museum, Santa Fe, New Mexico.
2006
Georgia O’Keeffe Museum, Santa Fe, New Mexico
Sherrie Levine, Abstraction Exhibition
Jean-Luc Mylayne Monograph
The Blaffer Gallery received a grant in support of the creation of a monograph that will function as a free-standing compendium of Mylayne’s entire career focus, opening out from the current work to address the growth and development of his themes and concepts over a thirty year period. With 100 images and scholarly texts by curators Terrie Sultan and Lynne Cooke, this publication will make a significant contribution to contemporary discourse concerning the changing nature of photography in the 21st century. The monograph was published by Twin Palms Publishers of Santa Fe, New Mexico.
Photo: Jean Luc Mylayne published by Twin Palms Publishers, 2007.
2006
Blaffer Gallery, University of Houston, Houston, Texas
Jean-Luc Mylayne Monograph
Jean-Luc Mylayne Exhibition
The Blaffer Gallery at the University of Houston received support for an exhibition of new work by the innovative French photographer, known as Jean-Luc Mylayne, on view in Houston September 8 through November 10, 2007. While highly regarded and extensively exhibited in Europe, this will be the artist’s first solo show in the United States. For more than 30 years Mylayne has explored the intimate bond between photographer and subject, in his case, common birds such as sparrows, starlings and bluebirds. While not a traditional wildlife photographer, intimate proximity to his subjects is paramount: he eschews telephoto lenses in favor of some 100 personally designed special lenses that allow him to explore multiple focal point perspectives on a single exposure. After locating birds in the field, he then spends days, weeks, even months, crafting an intimate bond between himself and his avian subjects. Because of his engrossing methodology, the artist has realized less than 150 images since beginning his work in 1976. The exhibition will feature 25 to 30 large-to-medium scale, framed color photographs. This is the culmination of three years worth of work created in and around Ft. Davis, Texas, all during Lannan Foundation sponsored residencies. The grant also included matching funds to tour the exhibition to the following additional institutions: Henry Art Gallery, University of Washington, Seattle; the Museum of Contemporary Art, Cleveland; and the Krannart Art Museum, University of Illinois, Urbana-Champagne.
Photo: Jean Luc Mylayne , No. 300, March April 2005, C-print , 48 x 40 inches. Courtesy the artist and Barbara Gladstone Gallery.
2006
Blaffer Gallery, University of Houston, Houston,Texas
Jean-Luc Mylayne Exhibition
Juan Manuel Echavarria: Mouths of Ash/Bocas de Ceniza
Santa Fe Art Institute received support for the presentation of the exhibition Mouths of Ash/Bocas de Ceniza featuring the work of Colombian artist Juan Manuel Echavarria. Since 1995, Echavarria’s work has been concerned with finding compelling and insightful ways to document his country’s grotesquely violent conditions. His work employs metaphor and narrative to address the frightening ‘normality’ of violence in Colombia after fifty years of civil war. Mouths of Ash was curated by Laurel Reuter of the North Dakota Museum of Art and was featured in the Latin American Pavilion of the 2005 Venice Biennale. The exhibition is presented in Santa Fe as part of The Disappeared Collaborative Project and will be on view from December 1, 2007 through January 18, 2008.
Photo: Juan Manuel Echavarria, Bocas de Ceniza/Mouths of Ash, video, 15 mins, 2000.
2006
Santa Fe Art Institute, Santa Fe, New Mexico
Juan Manuel Echavarria: Mouths of Ash/Bocas de Ceniza Exhibition for The Disappeared Collaborative Project
Antonio Frasconi Exhibition
The Institute of American Indian Arts Museum received support for an exhibition of two suites of prints by artist Antonio Frasconi: Los Desaparecidos—The Disappeared, 1981 (suite of 18 prints) and In Memoriam, 1981-88 (suite of 56 prints.) Completed over the course of a decade, the extended series of woodblocks and monotypes push the viewer into recognizing a collective culpability, and into remembering. Frasconi’s art successfully portrays the horrors of torture, incarceration, and killing while preserving the memory of specific people. Frasconi’s work will be on view November 2007 through February 2008.
Photo: Antonio Frasconi, In Memoriam/En Memoria, 1981-1988, 56 monotypes.
2006
Institute of American Indian Arts Museum, Santa Fe, New Mexico
Antonio Frasconi Exhibition for The Disappeared Collaborative Project
Visiting Artists Fernando Traverso and Lourdes Portillo
The Marion Center for Photographic Arts at the College of Santa Fe received support to bring Argentine artist Fernando Traverso and American documentary filmmaker, Lourdes Portillo to Santa Fe. Growing up in Rosario, Argentina in the 1970s and 1980s, Traverso’s art was initially art of the streets, made as he witnessed the brutality of disappearance firsthand. As his friends in the resistance were taken one by one, it was only their bicycles that remained behind. Abandoned bicycles littering the streets of Rosario stood as memorials to those who vanished. Traverso began making more permanent memorials by painting images of bicycles on walls throughout the city. Today, he continues to use the bicycle as his theme and now works in communities openly to raise awareness for the men and women who continue to disappear today. While in residence at the College, Traverso will work with students and community members to create their own bicycle memorials throughout Santa Fe. The second visiting artist, Lourdes Portillo, is a documentary filmmaker whose work in the disappeared has gained international attention. Portillo is the maker of the academy award nominated Las Madres: Mothers of the Plaza Mayo, which will be screened at the College during her visit. Programming will take place October 12, 2007 through January 20, 2008.
Photo: Film still, Las Madres: The Mothers of the Plaza de Mayo, directed by Lourdes Portillo, 1985.
2006
Marion Center for Photographic Arts, College of Santa Fe, Santa Fe, New Mexico
Visiting Artists Fernando Traverso and Lourdes Portillo for The Disappeared Collaborative Project
Oscar Muñoz Exhibition
The Center for Contemporary Art was granted support for an exhibition of work by Colombian artist Oscar Muñoz. His work addresses themes of violence, death, self-reflection, identity, and the way the world sees through filters, fragmentation and decomposition. His images often come from the obituary columns of his hometown Cali newspapers. In his solo exhibition at CCA, Muñoz will further his exploration of themes of Los Desaparecidos/The Disappeared. The Muñoz exhibit will be on view from November 10, 2007 through January 18, 2008.
Photo: Oscar Muñoz, Retrato, video, 2003.
2006
Center for Contemporary Arts, Santa Fe, New Mexico
Oscar Muñoz Exhibition for The Disappeared Collaborative Project
Restless Cinema: Latin American Film and Video After Los Desaparecidos
The Center for Contemporary Arts Cinematheque received funding in support of a film series concurrent with The Disappeared Collaborative Project. Restless Cinema explored how Latin America’s recent history of political upheaval continues to resonate through the works of Latin American filmmakers. Featured films in the series include La Ciénega by Lucrecia Martel (Argentina); Salvadore Allende by Patricio Guzmán (Chile); The Kidnapping of Ingrid Betancourt by Victoria Bruce and Karin Hayes (US/Colombia); and El General by Natalia Almada (Mexico).
Photo: Film still from The Kidnapping of Ingrid Betancourt directed by Victoria Bruce and Karin Hayes, 2003.
2006
Center for Contemporary Arts Cinematheque, Santa Fe, New Mexico
Restless Cinema: Latin American Film and Video After Los Desaparecidos
The Disappeared Collaborative Project
In conjunction with The Disappeared exhibition, SITE Santa Fe was granted support to coordinate the marketing and publicity for a larger collaboration between six leading contemporary arts organizations in Santa Fe. Center for Contemporary Arts (CCA); College of Santa Fe/Center for Documentary Film Studies (CSF); Institute of American Indian Arts (IAIA); the Santa Fe Art Institute (SFAI) and SITE Santa Fe (SITE) joined forces, with the assistance of the Lannan Foundation, to present a series of collaborative exhibitions, lectures, and programming in the city-wide Disappeared Collaborative Project held in Santa Fe between October 2007-January 2008. The PR/Marketing activities include a comprehensive advertising plan for both print and radio media, a public relations campaign, press release distribution, production and distribution of press kits, printed materials, signage, graphic design, a part-time promotional coordinator, and a website: www.thedisappearedsantafe.org.
2006
SITE Santa Fe, Santa Fe, New Mexico
Public Relations/Marketing for The Disappeared Collaborative Project
The Disappeared Exhibition at SITE Santa Fe (2006)
SITE Santa Fe received support for the presentation of the exhibition The Disappeared on loan from the North Dakota Museum of Art. The Disappeared features 23 works by living artists from South America who, over the course of the last thirty years, have made art about Los Desaparecidos, or the disappeared. In conjunction with the exhibition, SITE has invited artists Luis Camnitzer (Uruguay) and Nicolás Guagnini (Argentina) to participate in community dialogues about their work and curator Mari-Carmen Ramirez to give a lecture on 20th century Latin American political art. This exhibition is the anchor of a citywide presentation on themes from The Disappeared and will be on view from October 11, 2007 to January 20, 2008.
Photo: Nicolás Guagnini, 30,000, 1998-2005, Vinyl decal on armature, 10 x 10 x 10 ft. Courtesy of the artist. Installation in front of SITE Santa Fe.
2006
SITE Santa Fe, Santa Fe, New Mexico
The Disappeared Exhibition
Writers Residency Program
Santa Fe Art Institute received support for the writer’s portion of its residency program. This program allows writers, poets, and translators to pursue creative projects without the intrusions of the daily workaday world in an environment that is culturally and socially rich.
Photo: Lounge for residents at the Santa Fe Art Institute.
2006
Santa Fe Art Institute, Santa Fe, New Mexico
Writers Residency Program
Robert Bechtle: A Retrospective
The Corcoran Gallery of Art was granted support for a retrospective exhibition of the work of San Francisco Bay area painter Robert Bechtle. Bechtle’s work focuses on the subtle beauty of daily life, utilizing the photorealist style that was born in the 1960s. The exhibition featured 91 paintings and drawings from the 1960s to the present, including several of his best known works, many of which portray the residential neighborhoods of Northern California, replete with their signature stucco houses, repetitive rows of palm trees, and ubiquitous parked cars. This exhibition marks the first major survey of the artist’s work since 1973. The exhibition will be on view at the Corcoran from March 4 through June 4, 2006.
Photo: Robert Bechtle, Alameda Gran Torino, 1974, Oil on canvas, Collection SFMOMA.
2006
Cocoran Gallery of Art, Washington, D.C.
Robert Bechtle: A Retrospective Exhibition
Chuck Close: A Couple of Ways of Doing Something
Aperture Foundation received a grant in support of a publication featuring acclaimed painter, printmaker, and photographer Chuck Close’s daguerreotype portraits of himself and his artist-friends, each accompanied by a lyrical praise poem by New York School poet, Bob Holman. Artists featured in the book include Laurie Anderson, Lyle Ashton-Harris, Cecily Brown, Gregory Crewdson, Carroll Dunham, Ellen Gallagher, Philip Glass, Bob Holman, Elizabeth Murray, Elizabeth Peyton, Andres Serrano, Cindy Sherman, James Siena, Lorna Simpson, Kiki Smith, James Turrell, Robert Wilson, Terry Winters, Lisa Yuskavage, and himself.
Photo: Chuck Close: A Couple of Ways of Doing Something published by Aperture, 2006.
2006
Aperture Foundation, New York, New York
Chuck Close: A Couple of Ways of Doing Something Publication
Focus: Mel Bochner
The Art Institute of Chicago received funding for the publication of a catalogue in conjunction with the exhibition Focus: Mel Bochner, on view October 5, 2006-January 7, 2007. A leading practitioner of conceptual art, Mel Bochner was one of the first artists in the 1960s to introduce language into the visual field. Including works on paper, painting, sculpture, photography, and installation, the exhibition will bring together, for the first time, an overview of the artist’s language-based works created over four decades: 1966-2006.
Photo: Mel Bochner: Language 1966-2006 Monograph published by the Art Institute of Chicago, 2007.
2006
Art Institute of Chicago, Chicago, Illinois
Focus: Mel Bochner Exhibition Catalogue
Miroslaw Balka Installation
SITE Santa Fe received support for an installation by Polish artist Miroslaw Balka for its Sixth International Biennial, Still Points of the Turning World, on view from July 9, 2006 to January 7, 2007. The Biennial will consist of 13 one-person installations, one of which will be by Balka. His work has been largely influenced by his upbringing in Otwock, in the outskirts of Warsaw, where 8,000 Jews were dispatched in cattle cars to the death camp of Treblinka in 1942. Over the years the artist’s work has shifted from a realist representation of the human body to a more minimalist conception. His recent installations have featured video footage filmed by the artist at the Majdanek concentration camp, often combined with salt or soap, indicating rites of passage and renewal.
Photo: Installation view from Still Points of the Turning World, SITE Santa Fe’s Sixth International Biennial, 2006: Miroslaw Balka, SZA (Shh), 2006, Newspaper, Dimensions variable.
2006
SITE Santa Fe, Santa Fe, New Mexico
Miroslaw Balka Installation in 2006 SITE Santa Fe Biennial, Still Points of the Turning World
Warehouse Gallery Renovation Project
The Center for Contemporary Arts received a grant in support of the renovation of its Warehouse Gallery. The remodeled gallery, a 5,800 sq.ft. space, will enable CCA to enhance programming through a significantly larger exhibition capacity.
Photo: Chopped, Chromed and Customed, the inaugural exhibition in CCA’s renovated Warehouse Gallery (now the Munoz-Waxman Gallery), fall 2007.
2006
Center for Contemporary Arts, Santa Fe, New Mexico
Warehouse Gallery Renovation Project, Challenge Grant
General Operating Support (2006) Center for Contemporary Arts
Center for Contemporary Arts received general operating support for its inter-disciplinary arts programming and organizational development. For its next fiscal year, CCA has planned between 12-16 exhibitions, including Land Minds, which features the work of students from the University of New Mexico’s Land Arts of the American West, a course currently supported by Lannan. They will screen over 100 different films as part of their Cinematheque program, including the Native Cinema Showcase and Africa Effect. In addition, they will also host several performances and sponsor six arts education projects. Funds will also support the organization’s development staff, enabling them to pursue funding for the organization’s Capital Campaign, Endowment Campaign, and general program fund raising campaigns.
Photo: Work from CCA’s exhibition Land Minds, spring 2006.
2006
Center for Contemporary Arts, Santa Fe, New Mexico
General Operating Support
The Disappeared Exhibition South American Tour
The North Dakota Museum of Art received support to tour the exhibition The Disappeared to five South American countries. The exhibition brings together the work of twenty-five living artists from South America who, over the course of the last thirty years, have made art about Los Desaparecidos, or the disappeared. These artists have lived through the horrors of the military dictatorships that rocked their countries in the mid-decades of the twentieth century. This grant will enable the exhibition to tour to Argentina, Uruguay, Chile, Brazil, and Colombia.
Photo: Fernando Traverso, Intervention on the Streets of Rosario, 2001.
2006
North Dakota Museum of Art, Grand Forks, North Dakota
The Disappeared Exhibition South American Tour
Artist Residency: Chris Jordan
The College of Santa Fe received a grant for a four day residency by photographer Chris Jordan, whose work explores the phenomenon of American consumerism. Jordan will give a photography lecture to the public, teach and lead discussions in the Documentary Studies program, and conduct portfolio reviews. Lannan Foundation will present an exhibition of Jordan’s In Katrina’s Wake series in conjunction with his visit.
Photo: Chris Jordan, Remains of a Business, St. Bernard Parish, from In Karina’s Wake, 2005.
2006
Marion Center for Photographic Arts, College of Santa Fe, Santa Fe, New Mexico
Artist Residency: Chris Jordan
Chinati Foundation: General Operating Support (2005)
Chinati Foundation received funds in support of general operations. Activities include art and education programs that establish close links to the local community and other cultural institutions and universities in the United States and abroad. Chinati’s Artists in Residence Program, started by Judd, provides artists from around the world an opportunity to develop and exhibit their work in a stimulating environment. Chinati’s Internship Program offers students from a variety of disciplines hands-on museum experience. Each summer the museum hosts art classes for local students. Chinati produces an annual newsletter in English and Spanish, and every October Chinati, in collaboration with Judd Foundation, hosts a weekend-long Open House, which features concerts, readings, and art exhibitions celebrating the museum’s rich history and vibrant present.
Photo: Art class students at Chinati Foundation.
2005
The Chinati Foundation, Marfa, Texas
General Operating Support
Memory Under Construction
The North Dakota Museum of Art received funds in support of the publication of a bilingual English/Spanish edition of the book Memory Under Construction by Marcello Brodsky. The book consists of artwork and writing from 65 artists, 7 authors, and several human rights organizations in response to the upcoming Museum of Memory and Space for Human Rights that is being built in the location of a former major concentration camp for the “disappeared” during the Argentine dictatorship. This book serves as a companion piece to the exhibition catalogue for The Disappeared by the North Dakota Museum of Art.
2005
North Dakota Museum of Art, Grand Forks, North Dakota
Memory Under Construction, Bilingual Publication
An-my Lê: Small Wars Exhibition, Marion Center
The Marion Center for Photographic Arts at the College of Santa Fe received a grant in support of hosting the An-My Lê exhibition created by the Museum of Contemporary Photography, Columbia College. Programming around the exhibition included bringing the artist, An-My Lê, and the show’s curator, Karen Irvine, to the College for a gallery talk and lecture for photography students, invited students and faculty from neighboring institutions, and the public.
Photo: An-My Lê, Stability Operations (Iraqi Police), 2003-04, Collection Lannan Foundation.
2005
Marion Center for Photographic Arts
College of Santa Fe, New Mexico
An-My Lê: Small Wars Exhibition
An-my Lê: Small Wars Exhibition
The Museum of Contemporary Photography received a grant in support of the creation and touring of a solo exhibition of the work of An-My Lê. This exhibition comprises two photographic series by An-My Lê that explore the military conflicts that have framed the last half-century of American history: the war in Vietnam and the current wars in Iraq and Afghanistan. The artist approaches these events obliquely. Instead of addressing her subject by creating reportage images of actual shocking events, she photographs places where war is psychologically anticipated, processed, and relived. Her series Small Wars (1999-2002) depicts men who spend their weekends re-enacting battles from the Vietnam War in the forests of Virginia. Lê‘s current series, 29 Palms (2003-present), documents a military base of the same name; located in the California desert, it is where soldiers train before being deployed to Iraq or Afghanistan. These dramatizations of war—one a re-enactment, one a rehearsal—allow her to create a unique kind of war imagery—one that is unexpected, removed, and revelatory. A portion of the grant was marked as a matching grant, providing exhibition mounting costs for four venues. The exhibition tour includes the Rhode Island School of Design Museum, 2006; Marion Center for Photographic Arts, College of Santa Fe, 2006; National Media Museum, Bradford, UK 2007; Fotogallery, Cardiff, Wales, UK 2007; Henry Art Gallery, Seattle, 2007; San Francisco Museum of Modern Art, 2008; Johnson Museum, Cornell University, 2008; Contemporary Arts Center, Cincinnati, 2008; and the Boise Museum of Art, 2009.
Photo: An-My Lê, Night Operations #7, 2003-04, Collection Lannan Foundation.
2005
Museum of Contemporary Photography, Columbia College, Chicago, Illinois
An-my Lê: Small Wars Exhibition
The Disappeared Exhibition
A grant was approved to the North Dakota Museum of Art for the exhibition The Disappeared. “To disappear” was newly defined during the twentieth century military dictatorships in Latin America. “Disappear” evolved into a transitive verb describing those considered threats to the State who were kidnapped, tortured, and killed by their own military, especially in the 1970s in Argentina, Brazil, Chile, and Uruguay.
The Disappeared brings together the work of twenty-seven living artists from South America who, over the course of the last thirty years, have made art about los desaparecidos or the disappeared. These artists have lived through the horrors of the military dictatorships that rocked their countries in the mid-decades of the twentieth century. Some worked in the resistance; some had parents or siblings who were disappeared; others were forced into exile. The youngest were born into the aftermath of those dictatorships. And still others live in countries maimed by endless civil war. Disappearance was inevitably linked to torture. Laurel Reuter, curator of the exhibition and director of the North Dakota Museum of Art, was struck by the timelessness and truthfulness of the art. For example, when Identidad, a collaborative installation made by thirteen Argentinean artists, opened in Buenos Aires, three people discovered their long-hidden identities. They had been taken at birth from those who opposed the government and adopted into military families. Through their art, these artists fight amnesia in their own countries as a stay against such atrocities happening again.
Photo: Identity/Identidad, collaboration by Carlos Alonso, Nora Astán, Mireya Baglietto, Remo Bianchedi, Diana Dowek, León Ferrari, Rosana Fuertes, Carlos Gorrarena, Adolfo Nigro, Luís Félipe Noé, Daniel Ontiveros, Juan Carlos Romero and Marcia Schwartz, 132 mirrors, 224 photographs, and 24 epigraphs, 12” x 12” each.
2005
North Dakota Museum of Art, Grand Forks, North Dakota
The Disappeared Exhibition and Catalog
In Katrina’s Wake
Pamphlet Architecture, the non-profit publishing arm of Princeton University’s Architectural Press, received a grant in support of Chris Jordan’s book, In Katrina’s Wake: Portraits of Loss From An Unnatural Disaster. Chris Jordan, an internationally acclaimed photographer, is primarily known for his work examining American consumerism and waste. In Katrina’s Wake, featuring photographs taken in New Orleans in late 2005, portrays the social and environmental costs of the hurricane on a personal scale and reflects the artist’s concerns about the deeper issues of the disaster, from global warming to economic, racial, and governmental causes. In addition to the photographs, the book will feature an essay by Bill McKibben, author of ten books on environmental issues and Lannan Literary Award winner in 2000, about Katrina and global warming. A second essay by Susan Zakin, former investigative reporter for the Los Angeles Times, discusses the governmental, racial, social, and environmental factors that contributed to Katrina’s aftermath.
Photo: In Katrina’s Wake: Portraits of Loss from an Unnatural Disaster published by Pamphlet Architecture.
2006
Pamphlet Architecture, Princeton Architectural Press, New York, New York
In Katrina’s Wake: Portraits of Loss from an Unnatural Disaster Photographs by Chris Jordan, Essays by Bill McKibben and Susan Zakin Publication
Lannan Art Grants
Since 1986 the foundation’s Art Program has supported more than 400 projects by over 200 arts organizations across the country.
In order to support the creativity of contemporary artists, foster serious discussion of contemporary art, and bring new and sometimes experimental works of art to a wide audience, funding has been provided to organizations for exhibitions, scholarly publications, residency programs, and special projects.
Chinati Foundation Endowment Challenge Grant
Lannan Foundation issued a challenge grant to Chinati Foundation to significantly increase the corpus of their existing endowment. The Chinati Foundation/La Fundación Chinati is a contemporary art museum based upon the ideas of its founder, Donald Judd. The specific intention of Chinati is to preserve and present to the public permanent large-scale installations by a limited number of artists. The emphasis is on works in which art and the surrounding landscape are inextricably linked.
Photo: Donald Judd, 15 untitled works in concrete, 1980-1984, Chinati Foundation.
2005
Chinati Foundation, Marfa, Texas
Endowment Challenge Grant
I not I: Samuel Beckett, Philip Guston, Bruce Nauman Exhibition
A grant was awarded to the Royal Hibernian Academy, Gallagher Gallery, for the exhibition I not I, presented from March 24 to May 1, 2006, in conjunction with the celebration of the centenary of the birth of Samuel Beckett (1906-1989). The exhibition combines two of America’s most outstanding artists of the twentieth century together with three recent films of Beckett’s shorter plays. The exhibition is curated by RHA Director, Patrick T. Murphy, who says of the project, “This exhibition celebrates the existential truths of human existence and the rigor that each of these artists brought to creating work that offers some companionship within the bleakness of that vision. Each is bound by the human condition’s ability for suffering, humor and an unremitting resolve ‘to go on’.”
Photo: Bruce Nauman, Clown Torture, 1987, 4 color video monitors, 4 speakers, 4 videotape players, 2 video projectors, 4 videotapes, dimensions variable. Collection The Art Institute of Chicago; gift of Lannan Foundation, 1997.
2005
Royal Hibernian Academy, Dublin, Ireland
I not I: Samuel Beckett, Philip Guston, Bruce Nauman Exhibition
An-my Lê: Small Wars Monograph
Aperture Foundation, a non-profit organization dedicated to promoting fine art photography, received funding in support of the publication of the first monograph on the work of Vietnamese-American photographer An-my Lê. The book includes images from her series Small Wars, 1999-2002, when she worked with re-enactors in Virginia and North Carolina to stage battles from the Vietnam War, and images from her latest, ongoing project, 29 Palms, 2003, where Lê has been photographing a large swath of California’s Mojave desert that has been designated a combat-training zone for Marines headed to Iraq and Afghanistan. Shifting from Vietnam to the Middle East–from re-enactment to rehearsal–Lê engages both the history of war photography and media coverage of current conflicts, getting close to the action without placing herself in the compromised position of the embedded reporter.
Photo: Small Wars: An-My Lê publication by Aperture Foundation.
2005
Aperture Foundation, New York, New York
An-my Lê: Small Wars Monograph
Center for Contemporary Arts/Visual Arts Program and Development Staff
The Center for Contemporary Arts received a grant in support of the Visual Arts Program and Development Department. The goal of CCA’s Visual Arts Program is to encourage artistic experimentation, critical discourse, and continued dialogue between artists and community through exhibitions, events and symposia. Support was also provided to help establish a Development Department, a first in the organization’s 25-year history, which will aid the organization in obtaining long-term financial stability.
2005
Center for Contemporary Arts, Santa Fe, New Mexico
Visual Arts Program and Development Staff
Philippe de Montebello Lecture
Art Santa Fe Presents, an organization dedicated to bringing top-level art world speakers to Santa Fe, received support for costs associated with bringing Philippe de Montebello, Director of the Metropolitan Museum of Art, to Santa Fe in July 2005. This was one of only three lectures given by Mr. de Montebello that year. His talk addressed the topic “Museums: Why Should We Care?”, an impassioned argument for the enduring value of art.
Photo: Philipe de Montebello, Director Metropolitan Museum of Art
2005
Art Santa Fe Presents, Inc., Santa Fe, New Mexico
Philippe de Montebello Lecture
Dan Flavin: A Retrospective Exhibition (2005)
The Museum of Contemporary Art Chicago was granted support for the Chicago presentation of Dan Flavin: A Retrospective, the first comprehensive retrospective devoted to Flavin’s achievement as a major proponent of Minimalism. The MCA has a long history of presenting the work of Flavin, beginning with the museum’s inauguration in 1967.
Photo: Dan Flavin, The Nominal Three (To William of Ockham), 1963. Cool white fluorescent light, 8 feet high, ed. 2/3, Collection Lannan Foundation, long-term loan to Dia Art Foundation, New York.
2005
Museum of Contemporary Art Chicago, Chicago, Illinois
Dan Flavin: A Retrospective Exhibition
Land Arts of the American West
Students in the seminar Land Arts of the American West were granted support to travel to New York and visit Dia: Beacon, a museum for Dia Foundation’s renowned collection from the 1960s to the present. This trip presented an incredible opportunity for students to see major works of art in a museum setting and provided them with a context in which to understand the various earthworks projects the class visited during the course.
Photo: Dia: Beacon Galeries
2005
Land Arts of the American West, University of New Mexico, Albuquerque, New Mexico
Student Visit to Dia: Beacon Museum