After years of delay due to the global pandemic, Roy Lichtenstein: History in the Making, 1948 – 1960 debuted at the Nasher Museum during the summer of 2022. We opened our doors to the exhibition with free admission and live-streamed our press preview tour for our online fans. Photo by J Caldwell.
In this report, spanning July 1, 2021, through June 30, 2022, the museum opened to the public with free admission as pandemic restrictions lifted. Words, pictures and numbers tell stories of a lively, productive year. The museum acquired a number of amazing works of art. Of these, 33 works are by artists new to the collection. American Dance Festival, our partner for the past 10 years, activated our Great Hall with two live dance performances. Nine artists gave gallery talks and eight artists took part in a museum podcast. Nearly 40,000 people visited the galleries between September and June. Of those, about 3,275 Duke students and faculty visited by appointment to study art and visit the galleries. Eight Duke students earned credit for museum internships. We welcomed back the first guided K-12 tour in two years and hosted the first teacher workshop in two years.
From the Director
Nasher Museum Director Trevor Schoonmaker poses with MamaRay, a bronze sculpture by Wangechi Mutu, with (from left) Joan Kahn, Stefanie and Douglas Kahn (P’11, P’13). Photo by J Caldwell.
I am very pleased to present our 2022 online Annual Report (July 1, 2021, through June 30, 2022) — a year of new inspiration, and even greater inclusion and accessibility as the museum reopened to the public with free admission.
Free Admission for All
Our biggest news of the year was the gift of $1 million by New York art collectors and Duke graduates Jennifer McCracken New and her husband Jason New to grant free general admission to all visitors. Their enormously generous gift allows us to continue to create a place of welcome and belonging for everyone. Now more than ever, we must remove barriers to our collections, exhibitions and programs. Through art, we can build the inclusive, diverse community that we want to see, one that is truly reflective of society. This extraordinary gift embodies that goal!
First Commissioned Sculpture
We were excited to welcome into our space a monumental bronze sculpture, MamaRay by Wangechi Mutu—our first sculptural commission. MamaRay is a triumphant goddess figure, a protective guardian who further connects our building to the surrounding green landscape and the sky above our glass-and-steel roof. We are so grateful to Joan Kahn, who provided funds that made the commission possible.
Acquisitions The Nasher Museum continues to build its holdings based on a collection strategy that emphasizes works by diverse artists who have been historically underrepresented, and even excluded, by mainstream arts institutions. Over the last year, the museum’s national Board of Advisors approved the acquisition of several hundred works, from paintings and sculptures to photography and works on paper. A few highlights include several significant gifts of historical photography; a global mix of painters, printmakers and those working in mixed media; and the acquisition of works by a number of North Carolina based artists.
Roy Lichtenstein, at Last
After a two-year delay we were thrilled to present Roy Lichtenstein: History in the Making, 1948 – 1960, the first major museum exhibition to investigate the early work of one of the most celebrated American artists of the 20th century. This exhibition allowed for two teaching institutions—Duke and Colby College—to join together in a common goal of expanding the study of art history.
Reckoning & Resilience
We were proud to present Reckoning and Resilience: North Carolina Art Now, a survey of work made by many of the outstanding artists who live in our state. The exhibition reflected the collective work and energy of the artists and our curatorial team over many months. I’m especially grateful for their ability to think creatively during challenging times. Nine of the artists gave inspiring gallery talks. Julia Gartrell led visitors to explore the process of repair and transformation through her Radical Repair Workshop, housed in a vintage camper trailer outside in our Sculpture Garden.
Community Engagement
The museum produced a podcast to support Reckoning and Resilience, pairing eight of the artists with members of the community who have special areas of expertise. The conversations were delightful and unexpected, a fresh take on “meet the artist.”
Duke Students and Faculty
While we celebrated the reopening of the museum, we knew our virtual exhibitions had attracted a bit of a following during the global pandemic. We created two new virtual exhibitions under the guidance of Mark Olson, Associate Professor of the Practice of Visual & Media Studies, who led a team of students and museum staff. These are impressive online resources for visitors planning and revisiting their experiences in our galleries.
Our Academic Initiatives team expertly and thoughtfully guided two student-curated exhibitions this year. Three undergraduate Duke students co-organized a gem of an exhibition, Jean Charlot: Visions of Mexico, 1933 in our Modern & Contemporary Gallery. Four Duke students co-organized Helen Frankenthaler: Un Poco Más, featuring the first works by Frankenthaler to enter the Nasher Museum’s collection.
The Art Minute
This year we launched The Art Minute, a series of 1-minute videos featuring a work of art told through a personal story. These video stories were told by museum security ambassadors and gallery guides, whose dedication and thoughtfulness help ensure that all visitors have a wonderful experience here, every day.
Remembering Katharine Caecilia Lee Reid
We were very sad to lose Katharine Caecilia Lee Reid, a longtime supporter and friend of the Nasher Museum, who died on September 22, 2022, in Chapel Hill. She was 80. Katharine was a dear friend and a brilliant advisor to the museum. As a former museum director, she brought incredible experience to the Board of Advisors and staff, and whenever challenges arose we could count on her wise, calm voice of reason. She was an enthusiastic supporter of the museum’s vision, with a warm heart and tremendous sense of humor. We will not forget her wonderful spirit.
Thank you!
It is a great privilege to lead this museum, which serves our university and community. I want to thank our national Board of Advisors, Faculty Advisory Committee, Friends Board, Nasher MUSE, Nasher Teen Council and all of supporters for joining our staff in this important work.
Trevor Schoonmaker
Mary D.B.T. and James H. Semans Director
Nasher Museum of Art at Duke University
A YEAR IN PHOTOS
Several billboards popped up around Durham during the run of Spirit in the Land.
To the four directions, to the earth and sky, everything as witness. It is a gesture of being in the world, and the world becoming part of us, activating our relationship to the environment. This connection with and reverence for the natural world has always been with me.”
–Meryl McMaster, excerpt from her exhibition catalogue essay
Photo by J Caldwell.
A glorious view of the museum and the sculpture garden piazza. In the foreground is artist Radcliffe Bailey's work of art, Vessel. Photo by J Caldwell.
A particularly studious visitor is quietly lost in their sketchbook. Photo by J Caldwell.
Student gallery guide Pooja Lalwani leads a tour during Duke Family Weekend 2022. Photo by J Caldwell.
Ellen C. Raimond, Ph.D., Associate Curator of Academic Initiatives at the Nasher Museum, talks with first-year Duke University football players. Photo by J Caldwell.
After many years on the café lawn, we said goodbye to Corridor Pin, Blue by artists Claes Oldenburg and Coosje van Brugge. Collection of Nancy A. Nasher (L'79, P'18, P'22) and David J. Haemisegger (P'18, P'22). Photo by J Caldwell.
WUNC's Leoneda Inge, co-host of the new show Due South, takes a selfie with MamaRay. Photo by J Caldwell.
Many of the Members of the Nasher Museum's board of advisors recently visited the museum. Photo by J Caldwell.
Visitors admire our glass-and-steel ceiling. The design allows for a view of the Durham sky and also pours outstretched shadows all across the Great Hall. Photo by J Caldwell.
Mindy Solie (center) leads a Reflections tour in the Great Hall. Reflections: The Nasher Museum Alzheimer’s Program provides engaging and interactive museum tours to visitors with Alzheimer’s disease and related dementia, their families, and their care partners. Photo by J Caldwell.
A particularly unique Reflections tour "For The Birds." with The Piedmont Wildlife Center. Maple, the red-shouldered hawk, is a great winged ambassador and was delighted to see Reflections visitors.
The Nasher Museum Alzheimer’s Program provides engaging and interactive museum tours to visitors with Alzheimer’s disease and related dementia, their families, and their care partners. Photo by J Caldwell.
Nasher intern Kourtney Diggs and friend brought some great energy to the annual Nasher Community Celebration. Photo by Wendy Hower.
Our Friends Board paid a visit for a day of art, tours and laughs. Photo by J Caldwell.
Security and Visitor Services Manager, Jon Carpenter and his family, pose for a photobooth snapshot at the annual end-of-year holiday party. Photo by J Caldwell.
Duke students fill the Great Hall for one our bi-annual study hall events. Our study halls draw hundreds of students to the museum with promises of snacks, art breaks and surge protectors. Photo by J Caldwell.
Roarke Horstmeyer (left), Assistant Professor of Biomedical Engineering, leads Julie McHugh (right), Trent A. Carmichael Director of Academic Initiatives, and Curator of Arts of the Americas, and Brian Hilley (center), Associate Registrar, through his 3D imaging space. Horstmeyer and team have been working with the Nasher to image select works. Photo by J Caldwell.
Julia McHugh (right), Trent A. Carmichael Director of Academic Initiatives, and Curator of Arts of the Americas, and Brian Hilley, Associate Registrar, carefully place an object from the museum's collection into a box so it can be CT Scanned at Duke Hospital, potentially lead to new insights into the piece that were previously unseen by the naked eye. Photo by J Caldwell.
University of Alabama scholars Jennifer Feltman and Alexandre Tokovinine paid a visit to document sculptures from Notre-Dame de Paris with plans to “digitally reincorporate them in a model of the cathedral, to test hypotheses of their location, and also to preserve knowledge of the building for future generations.”
Their challenge: visualizing the once-colored portals on the cathedral in the 13th century.
This means looking closely at tiny particles of Medieval pigments under a microscope. Nasher staff along with Mark Olson, Associate Professor of the Practice of Visual & Media Studies here at Duke enjoyed hearing about their work and helping out in our photo lab. Photo by J Caldwell.
Nasher Museum/Duke University interns visit the museum's paper storage with Associate Registrar Bryan Hilley. Photo by J Caldwell.
The Nasher Museum was the venue for four performances of "BIG BEATS" by New York-based, “Bessie” award-winning choreographer and dancer Joanna Kotze.
Danced to a driving sonic rhythm, "BIG BEATS" is the force of 20 local performers doing complex, synchronized movement.
Photo by J Caldwell
After nearly a decade to the day, the museum held a new set of performances of Mark Haim's "This Land is Your Land." “[F]lashy movers on a serpentine catwalk execute a slow pan across a landscape of mindless consumerism in Mark Haim’s roast, ‘This Land Is Your Land.'" –Byron Woods, INDYweek
Photo by J Caldwell.
Members enjoy an exclusive tour of the exhibition Beyond the Surface before the museum is open to the public. Photo by J Caldwell.
The museum hosts thousands of k-12 student tours of the exhibitions. Photo by J Caldwell.
During our annual Community Celebration event, Alberto Barrantes, an author visiting from Costa Rica, read from his new bilingual book "Arts for Diversity." Photo by J Caldwell.
In our second annual Nasher Community Celebration, visitors danced the day away at an outdoor party featuring GRAMMY Award-winning producer 9th Wonder and friends.
There were many other happenings that you will see in this gallery. Photo by J Caldwell.
Visitors dancing in the sculpture garden during our outdoor community party featuring GRAMMY Award-winning producer 9th Wonder and friends (not pictured) on the ones and twos. Photo by J Caldwell.
Artist/Cultural Practitionerr william cordova (center, facing) speaks with Duke Students in the exhibition, Beyond the Surface. Photo by J Caldwell.
A group of Nasher Teens explore the museum's study storage. The Nasher Teen program, now nearly 10 years old, brings Durham high school students together monthly to talk about works of art and contemporary social issues related to the Nasher Museum’s collection. The program connects high school students with artists and museum professionals, and provides opportunities for the students to work on collaborative projects with each other and the Durham community. Photo by J Caldwell.
The Nasher Teens with Museum Educator for Student Engagement, Gabrielle Tenedero (far right), on an exclusive tour with artist/cultural practitioner william cordova (crouching; foreground). Photo by J Caldwell.
Jenny Leinbach (home plate) leads a Reflections tour of David Leventhal: Baseball.
Baseball is installation of large-format Polaroid photographs that capture some of the most iconic moments in the history of baseball through Levinthal’s signature use of lifelike figurines. Photo by J Caldwell.
The Poetry Fox shares a hand-typed poem with a Reflections visitor. Burt gave one word to the fox as the prompt for the poem that was typed, as per fox's rules, without stopping and under 90 seconds. Photo by J Caldwell.
We do "unboxing" a little different than they do on YouTube. Here's an early look at a painting by Roy Lichtenstein as it taken from its crate and just before it is hung on the gallery walls. Photo by J Caldwell.
We do "unboxing" a little different than they do on YouTube. Here's an early look at a painting by Roy Lichtenstein as it taken from its crate and just before it is hung on the gallery walls. Photo by J Caldwell.
The Nasher Museum prep crew install Roy Lichtenstein: History in the Making, 1948 - 1960. Photo by J Caldwell.
Even MamaRay is excited to preview Roy Lichtenstein: History in the Making, 1948 – 1960. Photo by J Caldwell.
Co-curator Marshall N. Price, PhD, Nancy A. Nasher and David J. Haemisegger Curator of Modern and Contemporary Art at the Nasher Museum, leads an exclusive preview tour of Roy Lichtenstein: History in the Making, 1948 – 1960 for our Brummer members. Photo by J Caldwell.
Co-curator Elizabeth Finch, Lunder Curator of American Art at the Colby College Museum of Art, leads a tour of Roy Lichtenstein: History in the Making, 1948 – 1960. Photo by J Caldwell.
It is always a delight to hear from local artist Stacy Lynn Waddell. Here she talks about Roy Lichtenstein's early works.
You can hear more from Waddell and several other voices in our mini-documentary filmed in Durham and two boroughs of New York.
Photo by J Caldwell.
Throngs of Duke Students joined local R&B/hip-hop ensemble Yung Bull during the annual Block Party. Photo by J Caldwell.
Before all the light was blocked in the room, Experimental Drawing in the Dark attendees get a brief intro to the same experimental techniques that Roy Lichtenstein learned while he was a student at the Ohio State University in the early 1940s. Photo by J Caldwell.
Jody Patterson, an art historian and author at Ohio State University, where she is Roy Lichtenstein Foundation Chair of Art History and Chair of Graduate Studies delivered the Annual Semans Lecture “Roy Lichtenstein: A Bigger Picture.” Photo by J Caldwell.
Brooklyn-based artist Allison Zuckerman delivers a talk about the influence of Roy Lichtenstein.
"Lichtenstein has been a major influence on my artistic life journey. I loved his work as a child, and I love it as an adult. It is an iconic representation of American culture."
–Allison Zuckerman, in her gallery talk within Roy Lichtenstein: History in the Making, 1948 - 1960
Photo by J Caldwell
Duke Professor Richard J. Powell and Glenda Elizabeth Gilmore discuss her new book "Romare Bearden in the Homeland of His Imagination An Artist’s Reckoning with the South." Photo by J Caldwell.
Lichtenstein Foundation President Dorothy Lichtenstein stands in front of Roy Lichtenstein's painting from the 1950s Self-Portrait at an Easel. Photo by J Caldwell.
During the Final Days of Roy Lichtenstein: History in the Making, 1948 – 1960 a guest spends time with Lichtenstein's paintings from the 1950s, his "pre-dot" works. Photo by J Caldwell.
Our "album cover" for the latest exhibition Spirit in the Land. From left: artist Mel Chin, Susan Hendricks, artist Stacy Lynn Waddell, Director Trevor Schoonmaker and artists Renée Stout, Monique Verdin, Alexa Kleinbard and Jim Roche.
Billboards and bus wraps popped up all around Durham to tantalize folks to take in the exhibition Spirit in the Land and also to consider the environment and the relationship we all have with the natural world.
Billboards and bus wraps popped up all around Durham to tantalize folks to take in the exhibition Spirit in the Land and also to consider the environment and the relationship we all have with the natural world. Photo by J Caldwell.
Local press and influencers got a private tour of Spirit in the Land before the exhibition opened to the public. Photo by J Caldwell.
Local press and influencers got a private tour of Spirit in the Land before the exhibition opened to the public. Photo by J Caldwell.
Nasher Museum staff and café staff donned special Spirit int the Land tees for the Directors preview. The front design features one of artist María Berrío's hummingbirds. In other photos from this preview evening you can spot the other 99. All 100 were created for this exhibition. Photos by J Caldwell.
Duke Students celebrated our latest exhibition Spirit in the Land during a private, in-person party. In the background you can see 100 hummingbirds that were created for the exhibition by artist María Berrío. Photo by J Caldwell.
View from the Great Hall during the Director's Preview of Spirit in the Land was quite a sight to see. Photo by J Caldwell.
A local, budding lifestyle group pay the museum a visit for inspiration. Photo by J Caldwell.
The Spirit in the Land pavilion was rather packed during our Director's preview. Thank you to all who came out to show your support! Photo by J Caldwell.
Visitors take in the Spirit in the Land exhibition.
Several chapters of LINKS visited the museum and were treated to a tour of Spirit in the Land with Director Trevor Schoonmaker. Photo by J Caldwell.
The Nasher Museum and the Sarah P. Duke Gardens co-present an afternoon of activities for all ages, inspired by the exhibition Spirit in the Land.
The afternoon was filled with self-guided tours at the museum and hands-on activities at the gardens.
Spirit in the Land artist Monique Verdin (left) joined Modern Art Notes Podcast host Tyler Green for a live recording at the Nasher Museum. Photo by J Caldwell.
Spirit in the Land artist Monique Verdin (right) joined Modern Art Notes Podcast host Tyler Green for a live recording at the Nasher Museum. Photo by J Caldwell.
Director Trevor Schoonmaker (right) leads a tour of Spirit in the Land with Duke Student interns.
From left: Stacy Lynn Waddell, Gia Peebles, Mavis Gragg and Shorlette Ammons.
Inspired by the exhibition Spirit in the Land, the group led a conversation about accessibility, ownership and our relationship with the natural world.
Photo by J Caldwell.
Two of the very first visitors to our latest exhibition Love & Anarchy take in Liên Trương's My mother, she fell from the sky, a work from 2021. Photo by J Caldwell.
Romare Bearden and Unknown Amish Quilter, Untitled (detail), 1976. Screenprint on quilt, 94 x 76 inches (238.76 x 193.04 cm). Collection of the Nasher Museum of Art at Duke University. Gift of Susie Powell.
Artist Joel Gaitan poses with his work Pobre Diabla. Photo by Rodrigo Gaya.
Untitled, c. 1959. Oil on canvas, 72 1/8 × 50 3/8 × 2 7/8 inches (183.2 × 127.95 × 7.3 cm). Gift of the Roy Lichtenstein Foundation in Celebration of the Centennial of Roy Lichtenstein, 2023.4.2.
The Outlaw, 1956. Oil with sgraffito on canvas, 36 × 32 × 2 1/4 inches (91.44 × 81.28 × 5.72 cm). Gift of the Roy Lichtenstein Foundation in Celebration of the Centennial of Roy Lichtenstein, 2023.4.3.
Untitled, 1960. Oil on canvas, 56 3/8 × 42 1/2 × 2 1/2 inches (143.19 × 107.95 × 6.35 cm). Gift of the Roy Lichtenstein Foundation in Celebration of the Centennial of Roy Lichtenstein, 2023.4.4.
Washington Crossing the Delaware II, 1951. Oil on canvas, 24 × 30 inches (60.96 × 76.2 cm). Gift of the Roy Lichtenstein Foundation in Celebration of the Centennial of Roy Lichtenstein, 2023.4.8.
Weatherford Surrenders to Jackson, 1953. Oil on canvas, 44 5/8 × 52 5/8 × 2 1/2 inches (113.35 × 133.67 × 6.35 cm). Gift of the Roy Lichtenstein Foundation in Celebration of the Centennial of Roy Lichtenstein, 2023.4.9.
Maximilien Luce, Le Casse-croûte sur les quais, 1933. Oil on canvas, Sight: 21 × 23 inches (53.34 × 58.42 cm). Anonymous gift, 2022.15.1.
Ravelle Pillay, The Invitation, 2022, Oil on canvas, 47 ¼ x 47 ¼ in. (120 x 120 cm). Museum purchase, 2023.12.1.
Honor Titus, Portable Prince, 2022. Oil on canvas, 72 × 60 inches (182.88 × 152.4 cm). Gift of Claudia and Edward Rose, T’02, 2023.1.1.
Liên Trương, My mother, she fell from the sky, 2021. Oil, silk, acrylic, copper pigment, and enamel on canvas, 72 × 96 inches (182.88 × 243.84 cm). Museum purchase with funds provided by Christine and Jeffery Weller, 2022.12.1.
Charles Edward Williams, Infinity, 2021. Oil on mylar with etched glass, 36 × 44 inches (91.44 × 111.76 cm). Museum purchase, 2022.18.1.
Kimberley Pierce Cartwright, Shirley for President, 2019. Assorted fabrics, embellishments, and beads, 22 x 16 inches (55.8 x 40.6 cm). Museum purchase, 2022.14.1.
Rico Gatson, Toni #2, 2021. Color pencil and photograph collage on paper, 22 × 30 inches (55.88 × 76.2 cm). Museum purchase with funds provided by Marjorie (P’16, P’19, P’19) and Michael Levine (B.S.’84, P’16, P’19, P’19), 2022.16.1.
Peter Jemison, Halley’s Cardinal Comet, 1986. Mixed media on paper bag, 12 × 6 3/4 × 17 inches (30.48 × 17.15 × 43.18 cm). Museum purchase, 2022.23.1.
Reginald Sylvester II, Offering IV, 2021. Acrylic and studio debris on rubber, 72 × 60 inches (182.88 × 152.4 cm). Museum purchase with additional funds provided by the Rodney M. Miller Collection and David Ryan, 2022.31.1.
Ouattara Watts, Sigui, 2002. Mixed media and collage on canvas, 107 5/8 × 119 7/8 × 3 1/2 inches (273.37 × 304.48 × 8.89 cm). Museum purchase with funds provided by Ziad & Monique Ghandour and Mia and Steven Lee, 2022.19.1.
Antoine Williams
Untitled from the series There Will Be No Miracles Here, 2021. Collage on wood panel, 12 x 9 inches (30.48 x 22.86 cm). Anonymous gift in honor of Marshall N. Price, 2022.13.1
Untitled from the series There Will Be No Miracles Here, 2021. Collage on wood panel, 12 x 9 inches (30.48 x 22.86 cm). Anonymous gift in honor of Marshall N. Price, 2022.13.2.
Untitled from the series There Will Be No Miracles Here, 2021. Collage on wood panel, 12 x 9 inches (30.48 x 22.86 cm). Anonymous gift in honor of Marshall N. Price, 2022.13.3.
Untitled from the series There Will Be No Miracles Here, 2021. Collage on wood panel, 12 x 9 inches (30.48 x 22.86 cm). Anonymous gift in honor of Marshall N. Price, 2022.13.4.
Untitled from the series There Will Be No Miracles Here, 2021. Collage on wood panel, 12 x 9 inches (30.48 x 22.86 cm). Anonymous gift in honor of Marshall N. Price, 2022.13.5.
Untitled from the series There Will Be No Miracles Here, 2021. Collage on wood panel, 12 x 9 inches (30.48 x 22.86 cm). Anonymous gift in honor of Marshall N. Price, 2022.13.6.
Esso Gasoline Station, 10th Avenue and 29th Street, New York, 1935. Gelatin silver print, 34 7/16 × 28 inches (87.47 × 71.12 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.1.
Theoline, Pier 11, East River, Manhattan, 1936. Gelatin silver print, 34 7/16 × 28 inches (87.47 × 71.12 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.2.
Yuban Warehouse, New York, 1936. Gelatin silver print, 18 3/8 x 23 3/8 inches (46.6725 x 59.3725 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.3.
Edward Hopper, Greenwich Village, New York, 1947. Gelatin silver print, 22 7/8 x 18 1/8 inches (58.1025 x 46.0375 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.4.
American Shops, Lodi, NJ, 1954. Gelatin silver print, 18 1/8 x 23 inches (46.0375 x 58.42 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.5.
Fifth Avenue Houses, Numbers 4, 6, and 8, New York, 1936. Gelatin silver print, 18 1/8 x 23 inches (46.0375 x 58.42 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.6.
Hayley Millar Baker
Even if the race is fated to disappear 2 (Peeneeyt Meerreeng/ Before, Now, Tomorrow), 2017. Inkjet print on cotton rag paper, 59 1/16 × 31 1/2 inches (150 × 80 cm). Museum purchase, 2022.24.1.
Even if the race is fated to disappear 7 (Peeneeyt Meereeng/ Before, Now, Tomorrow), 2017. Inkjet print on cotton rag paper, 59 x 31 ½ inches (149.86 x 80.01 cm). Museum purchase, 2022.24.2.
María Magdalena Campos-Pons, Nesting III, 2000. Installation of four Polaroid Polacolor Pro photographs, 32 1/4 × 56 inches (81.92 × 142.24 cm) each. Museum purchase, 2022.21.1.
Keith Carter
Skye Ponies, 1998. Gelatin silver print, 15 × 15 inches (38.1 × 38.1 cm). Gift of the Frisch family, 2022.25.3.
Appaloosa, 1998. Gelatin silver print, 15 × 15 inches (38.1 × 38.1 cm). Gift of the Frisch family, 2022.25.3.
Guatemala (street scene, woman carrying food on head), c. 1943-45. Gelatin silver print, 7 3/4 x 8 3/8 inches (19.685 x 21.2725 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.8.
Guatemala, c. 1945. Gelatin silver print, 10 3/4 x 9 1/2 inches (27.305 x 24.13 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.10.
Mulberry Street (cross), c. 1948. Gelatin silver print, 12 3/4 x 8 5/8 inches (32.385 x 21.9075 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.26.
Untitled (Oklahoma), c. 1940. Gelatin silver print, 4 x 5 inches (10.16 x 12.7 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.33.
Helen Levitt, Untitled, New York, c. 1942, printed 1980s. Gelatin silver print, 9 × 6 1/2 inches (22.86 × 16.51 cm). Gift of the Frisch family, 2022.25.1.
Franklin Jay Haynes, Great Falls of the Yellowstone, 1880s. Albumen print, 28 × 23 inches (71.12 × 58.42 cm). Gift of Dr. James (H.S.’84-’85) and Jane Finch, 2022.32.1.
Arthur Leipzig
Museum of Natural History, 1958. Gelatin silver print, 9 1/2 x 6 3/8 inches (24.13 x 16.1925 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.7.
Dodge Ball, 1950. Gelatin silver print, 10 x 9 7/8 inches (25.4 x 25.0825 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.11.
Calisthenics, Beacon, NY, 1944. Gelatin silver print, 13 1/2 x 11 3/4 inches (34.29 x 29.845 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.35.
Couple on Subway, c. 1949. Gelatin silver print, 5 x 4 inches (12.7 x 10.16 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.36.
Leap Frog, Brooklyn, 1943. Gelatin silver print, 16 x 20 inches (40.64 x 50.8 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.37.
Rome 65, 1967. Gelatin silver print, 16 x 20 inches (40.64 x 50.8 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.38.
Barranco 12, 1980. Gelatin silver print, 16 x 20 inches (40.64 x 50.8 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.39.
Leon Levinstein
Untitled (conversation on street), 1950’s. Gelatin silver print, 10 5/8 x 11 1/2 inches (26.9875 x 29.21 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.12.
Untitled (woman in front of hotel doorway), 1950’s. Gelatin silver print, 10 3/4 x 12 inches (27.305 x 30.48 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.13.
Untitled (man standing in park), n.d.. Gelatin silver print, 13 3/4 x 9 5/8 inches (34.925 x 24.4475 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.14.
New York (faces of three black men, hat, glasses), 1973. Gelatin silver print, 13 1/8 x 10 5/8 inches (33.3375 x 26.9875 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.15.
Untitled (profile of man with hat), 1950’s. Gelatin silver print, 14 x 11 inches (35.56 x 27.94 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.27.
Central Park (man in hat resting on lawn), 1980. Gelatin silver print, 11 x 14 inches (27.94 x 35.56 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.28.
Coney Island (couple on beach, under boardwalk), c. 1965. Gelatin silver print, 11 x 14 inches (27.94 x 35.56 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.29.
NY (man and bus), 1978. Gelatin silver print, 14 x 11 inches (35.56 x 27.94 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.30.
Untitled (couple walking, New York, street fashion, liquor store), 1970’s. Gelatin silver print, 13 3/4 x 10 3/4 inches (34.925 x 27.305 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.31.
Untitled (man with knitted tie and mustache), n.d. Gelatin silver print, 14 x 11 inches (35.56 x 27.94 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.32.
Untitled (man in short sleeved shirt and buildings), c. 1968. Gelatin silver print, 12 1/2 x 10 inches (31.75 x 25.4 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.34.
Coney Island (man and boat), n.d.. Gelatin silver print, 11 x 14 inches (27.94 x 35.56 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.51.
Nathan Lyons
After 9/11, 2001–2002. Gelatin silver print, 5 x 7 inches (12.7 x 17.78 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.54.
After 9/11, 2001–2002. Gelatin silver print, 5 x 7 inches (12.7 x 17.78 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.55.
After 9/11, 2001–2002. Gelatin silver print, 5 x 7 inches (12.7 x 17.78 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.56.
Return Your Mind to Its Upright Position, 1999–2009. Gelatin silver print, 5 x 7 inches (12.7 x 17.78 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.57.
Return Your Mind to Its Upright Position, 1999–2009. Gelatin silver print, 5 x 7 inches (12.7 x 17.78 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.58.
Return Your Mind to Its Upright Position, 1999–2009. Gelatin silver print, 5 x 7 inches (12.7 x 17.78 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.59.
Return Your Mind to Its Upright Position, 1999–2009. Gelatin silver print, 5 x 7 inches (12.7 x 17.78 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.60.
Return Your Mind to Its Upright Position, 1999–2009. Gelatin silver print, 5 x 7 inches (12.7 x 17.78 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.61.
Return Your Mind to Its Upright Position, 1999–2009. Gelatin silver print, 5 x 7 inches (12.7 x 17.78 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.62.
Mexico City, 2001–2003. Gelatin silver print, 5 x 7 inches (12.7 x 17.78 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.63.
Mexico City, 2001–2003. Gelatin silver print, 5 x 7 inches (12.7 x 17.78 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.64.
After 9/11, 2001–2002. Gelatin silver print, 5 x 7 inches (12.7 x 17.78 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.65.
After 9/11, 2001–2002. Gelatin silver print, 5 x 7 inches (12.7 x 17.78 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.66.
Mary Ellen Mark
Grand Wizard Dobermanns & Gun, Aryan Nations, 1986 (printed later). Gelatin silver print, 14 x 11 inches (35.56 x 27.94 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.40.
Portrait 2 Girls by Clam Bar, Coney Island, 1983 (printed later). Gelatin silver print, 14 x 11 inches (35.56 x 27.94 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.41.
Woody Allen on Four Poster Bed, Woody Allen, 1979 (printed c. 1979). Vintage gelatin silver print, 11 x 14 inches (27.94 x 35.56 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.42.
Children Play Police Arrest, Poverty South Dallas, 1988 (printed c. 1988). Vintage gelatin silver print, 14 x 11 inches (35.56 x 27.94 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.43.
Youth Wearing Hooded Jacket, Poverty South Dallas, 1988 (printed c. 1988). Vintage gelatin silver print, 14 x 11 inches (35.56 x 27.94 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.44.
Hippopotamus & Girl, Indian Circus, 1989 (printed later). Gelatin silver print, 20 x 16 inches (50.8 x 40.64 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.45.
Christina Getting Hair Done Reflection in Mirror, Sleepy Hollow, 1999 (printed later). Gelatin silver print, 20 x 16 inches (50.8 x 40.64 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.46.
Girl in Doorway with Lamb, Rajasthan, 1996 (printed later). Gelatin silver print, 20 x 16 inches (50.8 x 40.64 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.47.
Boy and Girl Taking Nap, Help Portraits, 1993 (printed later). Gelatin silver print, 16 x 20 inches (40.64 x 50.8 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.48.
Nancy Spungen Portrait, Bars, 1977 (printed later). Gelatin silver print, 20 x 16 inches (50.8 x 40.64 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.49.
James Cagney in Old Car, Ragtime, 1981 (printed later). Gelatin silver print, 16 x 20 inches (40.64 x 50.8 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.50.
Coppola Aiming Gun at Head, Apocalypse Now, 1976 (printed later). Gelatin silver print, 20 x 24 inches (50.8 x 60.96 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.52.
Miguel Angel and Marco Antonio Peralta, Twinsburg, Ohio, 2002. Polaroid, 28 1/4 x 22 inches (71.755 x 55.88 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.53.
Frank A. Rinehart, In Summer, Kiowa, 1898. Platinum print, 11 × 14 inches (27.94 × 35.56 cm). Gift of Dr. James (H.S.’84-’85) and Jane Finch, 2022.32.3.
Aaron Siskind
Veracruz 274, 1973. Gelatin silver print, 8 x 10 inches (20.32 x 25.4 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.9.
Veracruz 211, 1973. Gelatin silver print, 11 x 14 inches (27.94 x 35.56 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.16.
Rome 59, 1977. Gelatin silver print, 11 x 14 inches (27.94 x 35.56 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.17.
Rome 163, 1977. Gelatin silver print, 11 x 14 inches (27.94 x 35.56 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.18.
Iquitos 65, 1980. Gelatin silver print, 11 x 14 inches (27.94 x 35.56 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.19.
Lima (Homage to Franz Kline) 98, 1975. Gelatin silver print, 11 x 14 inches (27.94 x 35.56 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.20.
Peru 22, 1983. Gelatin silver print, 11 x 14 inches (27.94 x 35.56 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.21.
Jalapa 122, 1985. Gelatin silver print, 11 x 14 inches (27.94 x 35.56 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.22.
Jalapa (Homage to Franz Kline) 11, 1973. Gelatin silver print, 11 x 14 inches (27.94 x 35.56 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.23.
Mexico 84, 1978. Gelatin silver print, 11 x 14 inches (27.94 x 35.56 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.24.
Bocci, 1946. Gelatin silver print, 14 x 11 inches (35.56 x 27.94 cm). Gift of Peter Daniel Ocko and Kathryn Axelrod in memory of Professor Jonathan K. Ocko, 2022.30.25.
Eve Sonneman, Buttons, Athens, Greece, 1977. Cibachrome prints, Frame: 20 × 30 inches (50.8 × 76.2 cm). Gift of Dr. James (H.S.’84-’85) and Jane Finch, 2022.32.2.
Renée Stout, Lost in Her Thoughts, 2007. Archival pigment print, 18 3/4 × 24 inches (47.63 × 60.96 cm). Museum purchase, 2023.3.1.
Josef Albers, Oestlich (Easterly), 1933, Cork relief print, 8 ¼ x 12 in. (21 x 30 ½ cm). Gift of Ruth Rider (T’53), 2023.10.1
Willie Birch, Blacknuss, 1995. Lithograph on paper, Frame: 36 x 28 x 1 1/4 inches (91.4 x 71.1 x 3.2 cm). Gift of Bruce Lineker, A.B.’86, 2022.9.1.
Ion Bitzan, Atlas Page, 1992. Handmade paper, Sheet: 27 1/4 × 34 3/4 inches (69.22 × 88.27 cm). Gift of Kristine Stiles, 2022.27.25.
Georges Braque, Dance, 1934, Etching with aquatint on paper, 11 x 8 ¾ in. (28 x 22 cm). Gift of Ruth Rider (T’53), 2023.10.2
Sam Francis, Toward Disappearance, 1972, Screenprint on paper, 37 x 31 in. (94 x 78 ¾ cm). Gift of Ruth Rider (T’53), 2023.10.3
Helen Frankenthaler, Southern Exposure, 2005, Screenprint, 30 ½ x 37 in. (77 ½ x 94 cm). Gift of Ruth Rider (T’53), 2023.10.4
Alberto Giacometti, Studio with two pails, 1955, Etching, 19 ¾ × 14 ¾ in. (50 x 37 ½ cm). Gift of Ruth Rider (T’53), 2023.10.5
Bruce Glück
Eat the Dead: Fight Visual Numbness, 1980. Etching, 22 × 29 inches (55.88 × 73.66 cm). Gift of Kristine Stiles, 2022.27.20.
High Energy Physics As Art, 1977. Pen, ink, and watercolor, 22 × 17 1/2 inches (55.88 × 44.45 cm). Gift of Kristine Stiles, 2022.27.21.
Shot to Death Moscone, Milk, Shot to Death, 1979-1980. Newspaper, tape, and collage, 27 3/4 × 33 inches (70.49 × 83.82 cm). Gift of Kristine Stiles, 2022.27.22.
Paul Klee, Die Hexe Mit Dem Kamm (Witch with a Comb), 1922, Lithograph, 22 ¼ x 18 ¼ in. (56 ½ x 46 ¼ cm.). Gift of Ruth Rider (T’53), 2023.10.6
Lee Krasner, Free Space, 1975, Screenprint, 19 x 26 in. (48 ¼ x 66 cm). Gift of Ruth Rider (T’53), 2023.10.7
Joseph Kosuth
Untitled (Ludwig Wittgenstein), 1995. Silkscreen on vellum, 35 1/2 × 23 inches (90.17 × 58.42 cm). Gift of Kristine Stiles, 2022.27.24.
Old Document of Ownership (IV), 1992. Handmade paper, watercolor, Romanian text, 46 3/4 × 31 1/4 inches (118.75 × 79.38 cm). Gift of Kristine Stiles, 2022.27.26.
J.C. Garrett
The Splinter in Your Eye Is the Best Magnifying Glass, 1980. Screenprint, 21 1/2 × 15 1/2 × 3/4 inches (54.61 × 39.37 × 1.91 cm). Gift of Kristine Stiles, 2022.27.12.
Dawn of the Dead Reagans, 2004. Digital print in two sizes, 21 1/2 × 15 1/2 × 3/4 inches (54.61 × 39.37 × 1.91 cm). Gift of Kristine Stiles, 2022.27.13.
If You See a Mule Run Away With the World, 2016. Lithograph, 8 1/2 × 5 1/2 inches (21.59 × 13.97 cm). Gift of Kristine Stiles, 2022.27.14.
Dust Tracks On A Road, 2017. Lithograph, 8 1/2 × 5 1/2 inches (21.59 × 13.97 cm). Gift of Kristine Stiles, 2022.27.15.
Moby Dick, 2018. Lithograph, 8 1/2 × 5 1/2 inches (21.59 × 13.97 cm). Gift of Kristine Stiles, 2022.27.16.
For There Is No Folly Of The Beast Of The Earth, 2019. Lithograph, 8 1/2 × 5 1/2 inches (21.59 × 13.97 cm). Gift of Kristine Stiles, 2022.27.17.
I Will Lose The Habit Of Stars, 2020. Lithograph, 8 1/2 × 5 1/2 inches (21.59 × 13.97 cm). Gift of Kristine Stiles, 2022.27.18.
The Monkey Speaks His Mind, 2020. Lithograph, 8 1/2 × 5 1/2 inches (21.59 × 13.97 cm). Gift of Kristine Stiles, 2022.27.19.
My father was a slave…, 2022. Lithograph, 8 1/2 × 5 1/2 inches (21.59 × 13.97 cm). Gift of Kristine Stiles, 2022.27.28.
Barkley L. Hendricks
Magnolia #5, 1978. Watercolor on paper, Sheet: 14 7/8 × 22 inches (37.78 × 55.88 cm). Gift of Susan Hendricks in memory of Barkley L. Hendricks, 2022.20.1.
Magnolia #1, 1978. Watercolor on paper, Sheet: 14 7/8 × 22 inches (37.78 × 55.88 cm). Gift of Susan Hendricks in memory of Barkley L. Hendricks, 2022.20.2.
Randy Hussong
Plate as Target II, 1977. Intaglio printed on grey BFK, Sheet: 14 × 12 inches (35.56 × 30.48 cm). Gift of Kristine Stiles, 2022.27.1.
X-Pectorate, 1982. Intaglio printed on white BFK, 11 × 8 1/2 inches (27.94 × 21.59 cm). Gift of Kristine Stiles, 2022.27.2.
Tooth Decay, 1983. Aquatint printed on black BFK, Sheet: 17 × 14 inches (43.18 × 35.56 cm). Gift of Kristine Stiles, 2022.27.3.
Smoke Inhalation, 1983. Viscosity printed found plate with Chine-colle on grey BFK, Sheet: 12 × 16 inches (30.48 × 40.64 cm). Gift of Kristine Stiles, 2022.27.4.
Bi-Partisan Person, 1983. Intaglio, embossed surgical tape, intentionally torn, printed on tan BFK, Sheet: 18 1/2 × 13 1/2 inches (46.99 × 34.29 cm). Gift of Kristine Stiles, 2022.27.5.
Hard of Hearing/Art of Earing, 1983. Hard ground line etching, open bite with color xerox transfer on grey BFK, 18 1/2 × 13 1/2 inches (46.99 × 34.29 cm). Gift of Kristine Stiles, 2022.27.6.
Mind, Body and Soul, 1983. Hard ground line etching, open bite with color xerox transfer on grey BFK, 18 × 16 inches (45.72 × 40.64 cm). Gift of Kristine Stiles, 2022.27.7.
Do da Luge, 1984. Screenprint, Sheet: 24 3/4 × 13 inches (62.87 × 33.02 cm). Gift of Kristine Stiles, 2022.27.8.
Weep, Wednesday, November 5, 1980, n.d.. Newspaper print with white paint, 23 × 13 3/4 inches (58.42 × 34.93 cm). Gift of Kristine Stiles, 2022.27.9.
Diablo, Wednesday, September 16, 1981, n.d.. Newsprint with white paint, 22 3/4 × 13 3/4 inches (57.79 × 34.93 cm). Gift of Kristine Stiles, 2022.27.10.
Super, Monday, January 11, 1982, n.d.. Newsprint with white paint, 23 × 13 3/4 inches (58.42 × 34.93 cm). Gift of Kristine Stiles, 2022.27.11.
Target, 1977. Aquatint printed on black BFK with bullet holes, 7 × 7 inches (17.78 × 17.78 cm). Gift of Kristine Stiles, 2022.27.27.
Roy Lichtenstein
Untitled, c. 1959. Opaque watercolor on paper, 28 3/4 × 34 3/4 × 1 3/4 inches (73.03 × 88.27 × 4.45 cm). Gift of the Roy Lichtenstein Foundation in Celebration of the Centennial of Roy Lichtenstein, 2023.4.5.
The Cannon, 1948. Pastel on colored paper, 13 × 20 inches (33.02 × 50.8 cm). Gift of the Roy Lichtenstein Foundation in Celebration of the Centennial of Roy Lichtenstein, 2023.4.7.
Hung Liu
Mailbox, 2015. Two-color lithograph, Sheet: 21 × 20 inches (53.34 × 50.8 cm). Gift of Turner Carroll Gallery and Hung Liu Studio, 2022.28.1.
Fortune, 2015. Two-color lithograph with gold leaf, Sheet: 14 × 16 inches (35.56 × 40.64 cm). Gift of Turner Carroll Gallery and Hung Liu Studio, 2022.28.2.
Parachute, 2015. Two color lithograph, Sheet: 22 3/8 × 14 inches (56.83 × 35.56 cm). Gift of Turner Carroll Gallery and Hung Liu Studio, 2022.28.3.
Father’s Arms, 2015. Six color lithograph, Sheet: 35 × 27 3/4 inches (88.9 × 70.49 cm). Gift of Turner Carroll Gallery and Hung Liu Studio, 2022.28.4.
Grandfather’s Mountain: The Stone Table, 2013. Single-color lithograph with chine colle and hand-coloring, Sheet: 24 × 20 inches (60.96 × 50.8 cm). Gift of Turner Carroll Gallery and Hung Liu Studio, 2022.28.5.
Grandfather’s Mountain: The Rock, 2013. Single-color lithograph with chine colle, Sheet: 24 × 20 inches (60.96 × 50.8 cm). Gift of Turner Carroll Gallery and Hung Liu Studio, 2022.28.6.
The Martyr, 2001. Color lithograph with collage, Sheet: 30 × 30 inches (76.2 × 76.2 cm). Gift of Turner Carroll Gallery and Hung Liu Studio, 2022.28.7.
Crossing the River, Chasing, 2003. Color lithograph, Sheet: 30 × 30 inches (76.2 × 76.2 cm). Gift of Turner Carroll Gallery and Hung Liu Studio, 2022.28.8.
Official Portraits, 2006. Color lithograph. collage with chine colle, Sheet: 30 1/4 × 30 inches (76.84 × 76.2 cm). Gift of Turner Carroll Gallery and Hung Liu Studio, 2022.28.9.
Golden Autumn, 2019. Archival pigment print on paper with gold leaf, Sheet: 25 3/4 × 26 inches (65.41 × 66.04 cm). Gift of Turner Carroll Gallery and Hung Liu Studio, 2022.28.10.
Foshou, n.d.. Unsigned working proof, Sheet: 30 1/4 × 31 inches (76.84 × 78.74 cm). Gift of Turner Carroll Gallery and Hung Liu Studio, 2022.28.11.
Plow, 1990. Etching, Sheet: 11 1/2 × 19 inches (29.21 × 48.26 cm). Gift of Turner Carroll Gallery and Hung Liu Studio, 2022.28.12.
Happy and Gay – Flag, 2012. Color aquatint etching, somerset white paper, Sheet: 15 × 12 inches (38.1 × 30.48 cm). Gift of Turner Carroll Gallery and Hung Liu Studio, 2022.28.13.
Happy and Gay – Kite, 2012. Color aquatint etching, somerset white paper, Sheet: 24 × 20 inches (60.96 × 50.8 cm). Gift of Turner Carroll Gallery and Hung Liu Studio, 2022.28.14.
Happy and Gay – Thanks Mama, 2012. Color aquatint etching, somerset white paper, Sheet: 24 × 20 inches (60.96 × 50.8 cm). Gift of Turner Carroll Gallery and Hung Liu Studio, 2022.28.15.
Say My Name, 2013. Three-color lithograph, Sheet: 22 1/4 × 23 1/2 inches (56.52 × 59.69 cm). Gift of Turner Carroll Gallery and Hung Liu Studio, 2022.28.16.
Fruit Bat Color, . Monotype, Sheet: 12 1/4 × 12 1/4 inches (31.12 × 31.12 cm). Gift of Turner Carroll Gallery and Hung Liu Studio, 2022.28.17.
Peking Opera, 1997. , Sheet: 20 1/2 × 30 inches (52.07 × 76.2 cm). Gift of Turner Carroll Gallery and Hung Liu Studio, 2022.28.18.
Trademark, 1992. Process, Sheet: 16 1/2 × 26 inches (41.91 × 66.04 cm). Gift of Turner Carroll Gallery and Hung Liu Studio, 2022.28.19.
Women Off Color, 1994. Screenprint, metallic ink, grey paper, Sheet: 22 1/4 × 30 inches (56.52 × 76.2 cm). Gift of Turner Carroll Gallery and Hung Liu Studio, 2022.28.20.
Voyager II, . Screenprint, Sheet: 30 1/4 × 44 1/4 inches (76.84 × 112.4 cm). Gift of Turner Carroll Gallery and Hung Liu Studio, 2022.28.21.
War and Peace, 1993. Unique pulp painting, Sheet: 30 1/2 × 40 1/2 inches (77.47 × 102.87 cm). Gift of Turner Carroll Gallery and Hung Liu Studio, 2022.28.22.
Scattered Seed II, 2015. Color lithograph with aluminum leaf, Sheet: 22 1/4 × 44 1/2 inches (56.52 × 113.03 cm). Gift of Turner Carroll Gallery and Hung Liu Studio, 2022.28.23.
Clarence Weems, 2018. Pigment print with aluminum leaf, Sheet: 30 × 30 inches (76.2 × 76.2 cm). Gift of Turner Carroll Gallery and Hung Liu Studio, 2022.28.24.
End of the Day to Weight, . Color lithograph, Sheet: 18 × 26 inches (45.72 × 66.04 cm). Gift of Turner Carroll Gallery and Hung Liu Studio, 2022.28.25.
Henri Matisse, Circé for James Joyce’s Ulysses, 1935, Etching, 11 ¾ x 8 ¼ in. (30 x 21 cm). Gift of Ruth Rider (T’53), 2023.10.9
Joan Mitchell, Poems, 1992, Portfolio of 8 color lithographs, 18 ¾ × 14 ¼ in. (47 ½ x 36 ¼ cm.). Gift of Ruth Rider (T’53), 2023.10.12
Paula Modersohn-Becker, Blinde Frau im Walde (Blind Woman in the Woods), c. 1899-1902, Etching with aquatint on paper, Plate: 6 ½ x 5 ½ in. (16 ½ x 14 cm), Sheet: 17 ½ x 12 ½ in. (44 ½ x 31 ¾ cm). Gift of Ruth Rider (T’53), 2023.10.10
Vik Muniz. Live Cash: Floresta Brasileria, after Johnson Heade, 2022. Archival inkjet print, 77 5/8 × 63 inches (197.1 × 160.02 cm). Museum purchase with funds provided by Nancy A. Nasher (J.D.’79, P’18, P’22) and David J. Haemisegger (P’18, P’22), 2023.2.1.
Ademola Olugebefola, Family, 1971. Lithograph, Sheet: 27 × 20 inches (68.58 × 50.8 cm). Gift of Robert G. Rosenthal, J.D. and Beth R. Friedland, M.D., 2022.11.1.
Kambui Olujimi, Late Stage Love Affairs, 2021. Watercolor on paper, 40 3/4 × 44 1/2 inches (103.51 × 113.03 cm). Gift of Rahul M. Sabhnani, 2022.17.1.
Emmanuel Radnitzky (called Man Ray), Personage, 1979, Color lithograph, 24 x 19 in. (61 x 48 ¼ cm). Gift of Ruth Rider (T’53), 2023.10.8
Ben Shahn, For the Sake of a Single Verse…, c. 1968, Portfolio of 24 lithographs, 24 x 18 in. (61 x 45 ¾ cm.). Gift of Ruth Rider (T’53), 2023.10.13
Rufino Tamayo, Hombre Negro (Man in Black), c. 1976, Mixograph, 29 x 21 in. (73 ½ x 53 ¼ cm). Gift of Ruth Rider (T’53), 2023.10.11
Romare Bearden, Untitled, 1976. Screenprint on quilt, 94 × 76 inches (238.76 × 193.04 cm). Gift of Susie Ruth Powell in honor of Dr. H. Keith H. Brodie, President of Duke University, 1985 – 1993, 2022.29.1.
Suchitra Mattai, the light we know and the dark we keep, 2022. Vintage saris, fabric and tassels, 122 × 115 inches (309.88 × 292.1 cm). Museum purchase with additional funds provided by Jennifer McCracken New (A.B.’90, J.D.’94) and Jason G. New (J.D.’94) and Stefanie (P’11, P’13, P’20) and Douglas Kahn (P’11, P’13, P’20), 2023.7.1.
This exhibition includes approximately 40 works, primarily from the Nasher Museum’s collection. With a focus on collage, mixed media and textile works, Beyond the Surface explores how artists bring together dispar...
The concentric squares that form a familiar quilt pattern called “Housetop” in a 1970 quilt by Nettie Pettway Young exemplifies the abstracted style that sets Gee’s Bend quilts apart from others. The quilt is currently hel...
For African Americans, the practice of quilting not only preserves memory through the use of repurposed fabrics, but also plays a vital role in protest, as artists have used—and continue to use—the medium to assert their voice to claim identity, tackle racism, and confront sexism
David Levinthal: Baseball is an installation of large-format Polaroid photographs that capture some of the most iconic moments in the history of baseball through Levinthal’s signature use of lifelike figurines. Ba...
The Reflections tour offers benefits for caregivers as well. Not only do they get to see their loved ones animated and interacting with art, but they also can find a sense of relief in simply being present. For at least a ...
I think museumgoers sometimes mistakenly assume that you have to find the ‘right answer’ or hidden meaning in art by digging into hidden details on the canvas. But fundamentally, reflecting on art simply means paying attention to your immediate, present reaction to the work in front of you.
Newly supported projects include an exhibition at the Nasher Museum "that uses contemporary artworks to examine climate crisis from cultural and identity standpoints."
Roy Lichtenstein: History in the Making, 1948 – 1960 is the first major museum exhibition to investigate the early work of one of the most celebrated American artists of the 20th century. The exhibition tells the ...
Artist Allison Zuckerman on Roy Lichtenstein
"Lichtenstein has been a major influence on my artistic life journey. I loved his work as a child, and I love it as an adult. It is an iconic representation of American culture."
—Allison Zuckerman, in her gallery talk within Roy Lichtenstein: History in the Making, 1948 - 1960
"Roy Lichtenstein: History in the Making, 1948 – 1960" is a 12-minute mini documentary video about the first major museum exhibition to reintroduce a beloved Pop artist to U.S. audiences. Most Americans know Lichtenstein for his comics-inspired Pop imagery. In this new video, the camera sweeps across Lichtenstein’s early paintings, sculptures and works on paper rarely seen, while co-curators Elizabeth Finch and Marshall N. Price offer scholarly insights and art historical context. Viewers catch glimpses of the late artist’s paint jars and canvases in his well-preserved West Greenwich Village studio, where Jack Cowart, founding executive director of the Roy Lichtenstein Foundation, shares personal memories of the artist’s humor, ambivalence and loyalty about preserving his own early work. Surprise and amazement registers on the faces of young artists Nina Chanel Abney, Pedro Lasch, Stacy Lynn Waddell and Allison Zuckerman, who see examples of Lichtenstein’s early paintings and drawings for the first time. The contemporary artists, who studied Lichtenstein in art school, share feelings about their own “cringey” early work. The video Roy Lichtenstein: History in the Making examines the period before the dot; that is, Lichtenstein’s signature use of Benday dots in his Pop paintings. Viewers will gain an understanding of the crucial role this work played in his maturation into one of the masters of Pop art. A human story emerges, relatable to any viewer who grew into a profession over the course of many years.
Portraiture has long been an effective mode of artistic expression. A portrait is more than a mere rendering of an individual or group of people, and often serves as a revealing window onto the sitters’ individuality. Port...
Three new hires in key positions at the Nasher Museum will strengthen community outreach, develop programs that support the museum’s mission and engage in research and interpretation of its fast-growing art collection.
Jad...
Kehinde Wiley, whose vibrant portrait of President Barack Obama hangs in Washington’s National Portrait Gallery, is helping several other museums rebuild their audiences. His Saint John the Baptist II, a huge canv...
Emily Normand likes to ask student visitors what they think about the layout of the Nasher Museum’s building. What about the lack of a grand marble staircase? What about galleries spread out in three separate pavilions?
“I...
Spirit in the Land is a contemporary art exhibition that examines today’s urgent ecological concerns from a cultural perspective, demonstrating how intricately our identities and natural environments are intertwin...
Artist Interview series: "Spirit in the Land"
We invite you to watch four interviews with artists whose works were part of Spirit in the Land. Filmed on location at the artists' studios.
Discussions about the future of our planet are often framed as either/or scenarios: either we’re going to make progress mitigating climate and environmental challenges, or doomsday is already here.
It is difficult to be optimistic about the health of our planet. The contemporary works presented [in the exhibition "Spirit in the Land"] don’t suggest it isn’t. Rather, they provide a deep dive into interconnections and highlight the existing supportive web of practices, Indigenous cosmologies, plant medicine, and folkloric remedies.
Pamir Kiciman, INDYWEEK
Artist Artist Monique Verdin on the Modern Art Notes Podcast
"We have been pushed to the ends of the bayous and are now facing some of the most rapid land loss. Every 100 minutes a football field is lost from our shores."
—Artist Monique Verdin, Houma Nation
Artist Monique Verdin, Houma Nation, joins host Tyler Green to discuss her work on a live taping of The Modern Art Notes podcast at the Nasher Museum. Verdin’s work is on view in Spirit in the Land.
Artist Sheldon Scott on the Modern Art Notes Podcast
Artist Sheldon Scott joins host Tyler Green to discuss his work on The Modern Art Notes podcast. Scott’s work is part of the Nasher Museum’s collection and also on view in Spirit in the Land.
This gallery features ceramics, textiles, metalwork and carvings produced by ancient cultures across what is known as present-day Peru. Many on view for the first time, these objects reveal the diverse and sophisticated ar...
This interview of artist Renzo Ortega was conducted by Julia McHugh, PhD, Trent A. Carmichael Curator of Academic Initiatives at the Nasher Museum.
Corn is a repeated motif throughout your art. Why?
Corn is a recu...
For Andy Warhol, the camera was a device through which he saw the world. The artist was rarely without one, whether it was his beloved portable Polaroid SX-70 instant, a conventional 35mm single lens reflex, or the movie c...
The Nasher itself encourages visitor photos: “We love selfies best!” a sign in the lobby reads. It echoes Warhol’s credo that every face is capable of iconicity—if you shoot it right.
The intimacy, the joyful wit of many of the photos, how [Andy] Warhol took many of them in rapid-fire fashion, without looking into the viewfinder. How, for better or worse, he helped pioneer a visual culture of proliferation, of status achieved by widespread media presence.
Harris Wheless, INDYweek
Education Department at a glance, July 1, 2022 – June 30, 2023
On the surface, love and anarchy may seem like unrelated or even conflicting notions. Love is synonymous with care, compassion, and affection, while anarchy is generally accepted as an absence of authority, a state of diso...
Titus’s work is now in the collections of Museum of Contemporary Art, Los Angeles, and the Nasher Museum of Art at Duke University, where his painting “Portable Prince,” acquired in May, is currently on view in the show “L...
$100,000 – $499,999 Trent Carmichael
Fidelity Foundation
Joan Kahn
Stefanie and Doug Kahn
William R. Kenan, Jr. Charitable Trust
Thomas S. Kenan, III
Steven and Mia Lee
Mary Duke Biddle Foundation
Jennifer McCracken New and Jason G. New
The Andy Warhol Foundation for the Visual Arts
Christen and Derek Wilson
Gary Lee Wilson
$50,000 – $99,999 Ziad Ghandour
Patricia and Thruston Morton
Nancy A. Nasher and David J. Haemisegger
Ron and Beth Ostrow
$25,000 – $49,999 Stuart Alan Barr
Christopher Maddox Bass
Fox Family Foundation
Susan and David Goode
Susan Hendricks
Susan B. Hershfield and Michael S. Hershfield
Katie Thorpe Kerr and Terrance I. R. Kerr
Patricia Lansing and Gerrit Livingston Lansing, Jr.
Sahm Family Foundation
$10,000 – $24,999 Robert David Arthur, II
Bank of America
Michelle and David Beischer
Cynthia and Richard Brodhead
JoAnn and Ronald Busuttil
Ruth and John Caccavale
Elizabeth* and Thomas Caine
Ann Beth Chanler and Andrew Scheman
Deborah DeMott
Robert and Linn Feidelson
Andrew and Deborah Gordon
Erin and Andrew Heiskell
Mami Hidaka
Lyn Means and James Zimpritch
Lorrie Meyercord
Rodney Miller
Ann Pelham and Robert Cullen
Doren Madey Pinnell
Lisa Lowenthal Pruzan and Jonathan Pruzan
Karen M. Rabenau and David H. Harpole, MD.
Mark and Stephanie Robinson
Sarah Schroth
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$2,500 – $4,999 Mary Eileen and Mark Anderson
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Memorial Gifts
In Memory of Marilyn M. Arthur and William R. Arthur
Lori Arthur Stroud and Thomas K. Stroud
In Memory of Gladys Goodwin Moore Brown
Stacey Maya Gray
In Memory of John Burness
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In Honor of Thomas M. Burr
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In Memory of Blake Byrne
Wilmot Losee
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Lance Haworth
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Susan Hendricks
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In Memory of Jamie Hysjulien
Julia G. Mack
In Memory of Thaddeus and Grace James
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In Memory of Caroline Keenum, T’07
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Norman G. Owen
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Doren Madey Pinnell
In Memory of Katherine Lee Reid
Stefanie and Doug Kahn
In Memory of Anne Schroder
Kirstin Fowler-Liu
Christine Mitchell
Randall M. Roden
In Memory of William Vance Singletary, T’71
Richard and Cora Cabaniss
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Michael and Annette Spanel
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Steven Wunder and Rod Hastie
Matching Gifts
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New York Life Insurance Company
PricewaterhouseCoopers International
United Way Worldwide
Exhibition Sponsors
Roy Lichtenstein: History in the Making, 1948 – 1960
Support for this exhibition and its national tour was provided by the Roy Lichtenstein Foundation.
Additional catalogue support was provided by the Wyeth Foundation for American Art.
At the Nasher Museum, this exhibition was made possible by the Mary Duke Biddle Foundation; the Nancy A. Nasher and David J. Haemisegger Family Fund for Exhibitions; the J. Horst and Ruth Mary Meyer Fund for the Nasher Museum; the Neely Family Fund; the Lenore and Victor Behar Endowment Fund; Christine and Jeff Weller; Katherine Thorpe Kerr and Terrance Kerr; Lisa Lowenthal Pruzan and Jonathan Pruzan; Karen M. Rabenau and David H. Harpole; and Parker & Otis.
The Power of Portraiture
This exhibition was generously supported by Ruth (A.B.’81, P’11) and John Caccavale (A.B.’81, P’11).
Spirit in the Land
Lead support for this exhibition was provided by the Ford Foundation.
Major support for this exhibition was provided by The Andy Warhol Foundation for the Visual Arts.
At the Nasher, this exhibition was supported by the Mary Duke Biddle Foundation; The Duke Endowment; the Nancy A. Nasher and David J. Haemisegger Family Fund for Exhibitions; the Frank Edward Hanscom Endowment Fund; the Janine and J. Tomilson Hill Family Fund; Katie Thorpe Kerr and Terrance I. R. Kerr; Alexandria and Kevin Marchetti; Parker & Otis; Lisa Lowenthal Pruzan and Jonathan Pruzan; and Caroline and Arthur Rogers.
Longtime Nasher colleague and friend Amanda Kuruc Koelling died after a brief illness on March 8, 2023, in Durham, N.C. She was 46.
Amanda was the museum’s chief grant writer, bringing more than $2.7 million in funding fro...
Katharine Caecilia Lee Reid, longtime supporter and friend of the Nasher Museum, died on September 22, 2022, in Chapel Hill, North Carolina, from complications after heart surgery. She was 80.
Katharine worked in art museu...
Viñoly's works for the world of art and culture include the Kimmel Center for Performing Arts, Philadelphia (completed 2001, a vast barrel-vaulted statement in steel and glass, housing two auditoriums); the Nasher Museum o...