$20,000 for a catalogue raisonné of prints by the artist, organized by scholars Robert Conway, David Acton, Kathleen Howe and Belverd Needles, Jr. As a founding member of the Tamarind Lithography Workshop and later as director of the Tamarind Institute, Adams revitalized the art of lithography during the last half of the 20th century. Both a painter and printmaker, Adams’ experimental techniques in lithography expanded the range of the medium through his exploration of figurative and geometric abstraction.
Grant Recipients in 2003
$10,000 toward the costs associated with traveling Louis Carlos Bernal: Barrios, a retrospective exhibition on the photographer with accompanying catalogue, organized by faculty member Ann Simmons-Myers. A native to Arizona, Bernal received his Master of Fine Arts from Arizona State University and later taught at Pima Community College. His richly composed portraits of family and friends living in the barrio, are informed by Bernal’s experience as a Chicano artist and exploration of issues related to the cultural and spiritual dualities faced by Mexican-Americans.
$10,000 toward the catalogue that will accompany the exhibition Arnold Bittleman: A Drawing Retrospective, organized by museum curator Brian Young. Born in New York City, Bittleman was principally a draftsman who studied on the East Coast and with Josef Albers. His drawings, which are based on “visual memories,” are comprised of complex, delicately marked surfaces that reference old master sketches while his more robust colorful pastels echo swirling compositions found in the cosmos.
$10,000 to catalogue the artist’s work in preparation for a publication, organized by the artist’s estate. Blanchon was born in Boston, studied at the Art Institute of Chicago, and exhibited his work throughout the United States. Primarily a photographer, Blanchon also worked with other mediums such as sculpture, video, and public art, and explored, with both humor and sensitivity, themes of loss, memory, love, mortality, and identity.
$10,000 toward acquiring an early 1960s painting by the artist for the museum’s permanent collection, overseen by museum curator David Acton. Bluhm served as a pilot during World War II, after which he abandoned his studies of architecture to pursue painting in both Paris and New York. Inspired by the work of the New York School, Bluhm created abstract paintings which evolved into work that, symetrically composed with volumous shapes and colors, references internal caverns and organs of the body.
$10,000 toward the Juan Boza portion of the catalogue and teachers guide that will accompany the group exhibition Caras de lo Lecumi: A Tribute to Juan Boza and The Afro-Latino, organized by director Marc Zuver. Born in Camaquey, Cuba, Boza was an Afro-Cubano artist who came to the United States in 1980 as part of a mass exodus of over 100,000 Cubans. His vibrant prints, paintings and shrine-like installations address Boza’s cultural heritage and participation in the Santeria religion.
$10,000 toward Hans Burkhardt, a retrospective exhibition on the painter with accompanying catalogue and educational programs, organized by museum curator Sarah Vure. Born in Basel, Switzerland, Burkhardt immigrated to New York in 1924 where he studied painting with Arshile Gorky before moving to the West Coast in 1937. Distant from the New York art scene, Burkhardt focused his concerns on social injustice and the atrocities of war by creating figuratively abstract paintings that incorporated biomorphic forms and sometimes included images of human skulls.
$20,000 for the catalogue that will accompany an exhibition on the artist, organized by museum curator Sandy Harthorn. Castle was a self-taught artist who was born deaf and lived his entire life with family members in Idaho. Rejecting common art materials in favor of sharpened sticks, soot, saliva, and found paper, Castle created drawings and sculptural objects that served not only as a representation of his world but as a means to communicate his inner experience and perception.
$20,000 toward acquiring the 1993 outdoor sculpture Fortissimo for the museum’s permanent collection, overseen by museum curator Nicholas Capasso. Dehner was a student of Stanley William Hayter at his renowned printmaking center and workshop, Atelier 17 in New York. She created paintings, works on paper, small and large sculptures, which are noted for their lyrical and architectonic approaches to abstraction.
$5,000 in support of the costs associated with hosting the traveling exhibition Beauford Delaney: The Color Yellow, organized by guest-curator Richard J. Powell and the High Museum of Art and overseen by Fogg curator Harry Cooper. Delaney was born in Tennessee and trained as an artist in Boston during the 1920s. He painted portraits and urban scenes primarily in New York during the later years of the Harlem Renaissance, and beginning in the early 1960s painted abstractions in Paris where he resided for the rest of his life.
$5,000 toward the acquisition of the 1926 painting Holiday with Wife to Be for the museum’s permanent collection, overseen by museum curator Martha R. Severens. Dickinson was an academic realist and portraitist who taught at the Art Students League and spent a portion of his early career in the South. He made paintings that reflected his experiences in Alabama and explored issues connected with race relations, education, and the transformation of an agrarian based economy.
$30,000 to catalogue, preserve, and document the painter’s work, overseen by Co-Trustees Peggy Gillespie and Robin Freedenfeld. Gillespie did not participate in the New York art scene but lived and worked in both Italy and the countryside of Massachusetts. Not associated with any particular school or movement, Gillespie created enigmatic portraits, landscapes, and still lifes that were painted with a deep conviction and attention to detail.
$5,000 toward A Pioneer Modernist: Dorothy Hood, an exhibition on the painter with accompanying catalogue and related programs, organized by director William G. Otton. Before settling in Houston, Texas in 1962, Hood studied on the East Coast and lived in Mexico. Considered by some to be one of the first leaders of modernist abstraction in Texas, Hood used both poured paint and collage to create work that references inner and outer space through its use of religious imagery and iconography from America’s space program.
$13,000 in support of the catalogue that will accompany a retrospective exhibition on the painter, organized by director Lynn Gamwell with an essay by art critic and historian Irving Sandler and chronology by Jon Ippolito. Born in St. Arsenio, Italy, Ippolito immigrated to New York at a young age and later participated with the second generation of abstract expressionism. Ippolito’s paintings are comprised of sweeping brilliant colors, punctuated by smaller segments of concentrated shapes, which reference landscapes and still-lifes.
$10,000 toward Mark Lombardi: Global Networks, a traveling retrospective exhibition on the artist with accompanying catalogue, organized by guest curator Robert Hobbs. Lombardi created large diagramatic drawings that charted the flow of money in today’s international economy. He researched his work from newspaper accounts, books, television, and other media and used a complex system of lines, marks, and circles to represent people, places, and events.
$10,000 toward the acquisition of the 1962 painting Double Image for the museum’s permanent collection, overseen by museum curator April Kingsley. Marsicano received his training at the Pennsylvania Academy of Art as well as at the Barnes Foundation and later taught at various schools including Cooper Union and Yale University. Using the female nude as a source of both formal and conceptual inspiration, Marsicano’s paintings explode with colorful animated forms, defined by broad gestural brushstrokes.
$15,000 toward Costantino Nivola at Springs, an exhibition on the sculptor/muralist with accompanying catalogue, guest curated by Micaela Martegani, The Robert Lehman Curator. In 1939, Nivola immigrated from Italy to the United States and by the 1950s was a resident and member of the artistic community on Long Island. Using materials from the region, he made sand cast murals as well as sculptures and monuments, which combine Neolithic imagery with patterns that appear both archaic and urban.
$13,000 to catalogue work by the artist, 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 and sculptures made from rubber latex casts of architectural structures such as doors, cabinets and walls.
$15,000 to hire an archivist to organize, preserve, and make accessible the papers of Ben Benn (1884-1983), Jacob Kainen (1909-2001), and George Sugarman (1912-1999), overseen by Barbara D. Aikens. The Archives of American Art serves as an art historical resource for thousands of scholars, collectors. critics, dealers, and artists. By making the diaries, letters, and scrapbooks of these recently deceased American artists available, the Archives bring their contributions on American art to light.
$12,000 to acquire three vintage photographs from the artist’s Light Abstraction series for the museum’s permanent collection, overseen by museum curator W. Douglass Paschall. A self-taught photographer, Quigley initially explored photography with a box camera. During the 1930s, he was one of the leading photographers in Philadelphia and the nation to experiment with shaping patterns of light through prisms and lenses and by doing so expanded the range of abstraction and photomontage.
$10,000 for the conservation costs associated with Miracle in the Scrapheap: The Sculpture of Richard Stankiewicz a traveling retrospective exhibition and catalogue on the sculptor, co-curated by Emmie Donadio and director Adam Weinberg. Born in Philadelphia and raised in Detroit, Stankiewicz drafted and designed production machinery before moving to New York in 1948 where he studied with Hans Hofmann. Using rusted motors, chains, and various machines parts found in junk yards, he created highly intricate sculptures that referenced surrealist figuration and large insects.
$10,500 for supplies needed to catalogue and preserve digital work by the photographer, organized by Melanie Walker. Walker was recognized in the 1960s for his innovations with historical forms of photography and printmaking through his research with various processes including solarization, collotype, serigraphy, and cyanotype. A pionneer in digital photography, in 1981 Walker used a computer and a hand scanner to learn machine language and programmed his computer to create images.