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THE JUDITH ROTHSCHILD FOUNDATION 2000 GRANT RECIPIENTS

Charles H. Alston
1907-1977
Cinque Gallery, Inc.
New York, New York

$20,000 toward the exhibition and accompanying catalogue Charles Alston and the "306" Legacy, organized by guest curator Julia Hotton. In 1935, Alston established the WPA-funded "306" group, which served as a supportive network for artists such as Romare Bearden, Jacob Lawrence and Norman Lewis. Through a rich vocabulary of abstraction and realism, Alston's paintings and sculpture explore themes of both everyday life in Harlem and the American landscape.

Hannelore Baron
1926-1987
Smithsonian Institution
Traveling Exhibition Service
Washington, D.C.

$20,000 toward the catalogue that will accompany the traveling exhibition Hannelore Baron: Works from 1967 to 1987, with a lead essay by independent curator and art critic Ingrid Schaffner. Born in Dillingen, Germany, Baron and her family escaped Nazi persecution and settled in New York in 1941. Constructed with everyday materials such as torn cloth, paper and string, Baron's collages explore human fragility and the passage of time through her personal iconography of figures, birds, and letters.

Leland Bell
1922-1991
List Gallery
Swarthmore College
Swarthmore, Pennsylvania

$14,000 toward the catalogue that will accompany a touring exhibition on the painter, curated by gallery director Andrea Packard. Bell was influenced by early visits to the Phillips Collection, his working relationship with Karl Knaths, and time spent in Paris among the artistic community. His figurative painting, which pursues the tradition of French modernism, explores mythological themes through the use of bold, colorful shapes, clearly defined by black lines.

Elmer Bischoff
1916-1991
Oakland Museum of California
Oakland, California

$25,000 toward the monograph that will accompany the traveling retrospective exhibition The Art of Elmer Bischoff, organized by art historian Susan Landauer with an introduction by Bill Berkson. Bischoff taught at the San Francisco Art Institute and was a central figure in the development of West Coast abstract and figurative art. His paintings combine abstract expressionist scale with the intimacy of portraiture, and are infused with a luminous sense of color.

Joe Brainard
1942-1994
Berkeley Art Museum
University of California, Berkeley
Berkeley, California

$20,000 toward the traveling exhibition and accompanying catalogue Joe Brainard: A Retrospective, organized by museum curator Constance Lewallen with additional essays by Carter Ratcliff and John Ashbery. Working in New York City, Brainard designed and illustrated book and magazine covers, while also exploring collage, painting and assemblage. Patterned with images of flowers, dogs and pop culture, his work is realized through a detailed awareness of color and texture.

Joan Brown
1938-1990
San Francisco Museum of Modern Art
San Francisco, California

$10,000 toward the acquisition of the 1957-60 assemblage sculpture Untitled (Bird) for the museum's collection. Brown was a painter and sculptor in the Bay Area beginning in the 1950's who worked in figurative and expressionistic styles. Wrapped stoically in a mummification style using cardboard, gauze and string, Untitled (Bird) reflects Brown's interest in the religious imagery of ancient Egypt.

Sam Doyle
1906-1985
High Museum of Art
Atlanta, Georgia

$10,000 toward the exhibition Local Heroes: Painted Portraits and Sculptures by Sam Doyle, and its accompanying catalogue, organized by museum curator Lynne Spriggs. A self-taught artist, Doyle spent his entire life on St. Helena Island, South Carolina, displaying his paintings and sculptures in his backyard. Doyle was part of a community known as "Gullah," which developed a unique mingling of languages, beliefs and customs. Considered a storyteller for this community, Doyle portrayed local people and island lore, incorporating such unconventional materials as house paint, tar, roofing tins and wood doors.

Ralph Fasanella
1914-1997
Fenimore Art Museum
New York State Historical Association
Cooperstown, New York

$20,000 toward the catalogue that will accompany the exhibition Ralph Fasanella's America, organized by museum curator Paul S. D'Ambrosio. Fasanella discovered his interest in painting years after being politically active with the New York labor movements. Faithful to his ties with the unions, Fasanella created complex paintings that depict interior and exterior space simultaneously, reflecting both the concerns and the environments of the working class.

Ida Kohlmeyer
1912-1997
Newcomb Art Gallery
Tulane University
New Orleans, Louisiana

$10,000 toward the exhibition and accompanying catalogue Signs and Symbols: The Abstract Language of Ida Kohlmeyer, curated by Tulane art history professor Michael Plante. Kohlmeyer began painting in her thirties after a trip to Mexico where she was inspired by ceramic folk art. After studying in New York with Hans Hofmann, Kohlmeyer returned to New Orleans where she taught painting at the Newcomb Art Department of Tulane University. Her paintings and sculpture represent a complex system of hieroglyphs and abstract symbols, all expressed through a vivid use of color.

Robert Overby
1935-1993
Armand Hammer Museum of Art and Cultural Center
University of California, Los Angeles
Los Angeles, California

$25,000 toward the exhibition and accompanying catalogue, Robert Overby: Parallel, 1978-1969, organized by art critic Terry Myers. Trained as a graphic designer and based primarily in California, Overby began his career as an abstract painter. His later work evolved into monumental wall hangings made from rubber latex casts of architectural structures such as doors, cabinets and walls.

Peter Takal
1905-1995
Arkansas Arts Center
Little Rock, Arkansas

$10,000 toward the exhibition and accompanying catalogue, Peter Takal: Draftsman, co-curated by Brian Young and Townsend Wolfe of the Arkansas Arts Center. Born in Bucharest, Romania, Takal moved to the United States in 1939 after exhibiting in Chicago in a two-person show with Picasso. Principally a draftsman, Takal made complex and delicate drawings that explore both landscape and figuration and reflect his belief that subject matter is a "point of departure for a network of lines."

Al Taylor
1948-1999
New York, New York

$6,000 to the artist's estate for documentation and cataloguing of drawings by the sculptor. Taylor was a New York-based artist who exhibited predominately in Europe. His imaginative and playful style is exemplified in work that explores fictive narratives, such as his 1991 drawing Hanging Puddles (Left to Dry). Taylor viewed his sculptures as three-dimensional drawings and used industrial materials such as inner tubes, plexi-glass and rolled metal in his work.

Adja Yunkers
1900-1984
Bayly Art Museum
University of Virginia
Charlottesville, Virginia

$10,000 toward the traveling retrospective exhibition Adja Yunkers: To Invent a Garden, and its accompanying monograph, organized and written by art critic and historian Marek Bartelik. Yunkers, both a painter and a printmaker, was born in Latvia and immigrated to America in 1947. Known primarily for his abstract expressionist style, Yunkers also participated in the development of other artistic movements such as surrealism and Mexican social realism.

Group Exhibition
Worcester Art Museum
Worcester, Massachusetts

$15,000 toward the traveling exhibition and accompanying catalogue The Stamp of Impulse: Abstract Expressionist Prints, organized by museum curator David Acton with additional essays by David Lehman and David Amram. Drawn from the museum's collection, this exhibition of prints, many rarely before viewed by the public, explores the impact of abstract expressionism on the graphic arts through the work of one hundred artists, many of whom are lesser-known.