$7,500 to acquire work by the painter for the museum’s permanent collection and the group exhibition Mexicanidad. Mexican-born, Almaraz worked in New York and in Los Angeles where he received recognition as a muralist in the early 1970s. Painted with fiery colors that depict turbulent urban landscapes, his work reflects social concerns of Mexican-Americans such as immigration, discrimination, and the farm workers’ movement.
Grant Recipients in 2001
$5,000 to reproduce his work for the publication Stones of the Sur: Poetry by Robinson Jeffers / Photographs by Morley Baer, with an introduction by scholar James Karman. After serving in the Navy during World War II, Baer settled in Carmel, CA, where he established himself as an architectural and landscape photographer. Verging on abstraction, Baer’s photographs of water-carved rocks and rolling hills of the Big Sur coastline reflect his deep interest in the poetry of Robinson Jeffers.
$7,500 to acquire a painting by the artist for the museum’s permanent collection. Beauchamp worked in New York City and Provincetown, MA, and was a member of the cooperative Long Point Gallery. Using a large repertoire of painting techniques with an expressive painterly style, Beauchamp created work that depicts fantastical bestiaries of baboons, horses, birds and insects as well as portraiture.
$10,000 toward the documentary video Man in the Woods: The Art of Rudy Burckhardt, directed by Vivien Bittencourt with artist interviews by Edgar Howard and Vincent Katz. Born in Basel, Switzerland, Burkhardt left medical school to pursue his interests in photography and filmmaking and in 1935 moved to New York. His signature photographs of the city’s architecture, barbershops, and crowds, as well as his portraits of seminal art figures, created a new perspective of New York and its artworld.
$7,500 toward the exhibition Scott Burton Furniture, organized by museum curator Jeffrey Kipnis. Orginally an art critic, Burton began his exploration of functional sculpture by arranging and combining furniture found on the street. His later and best known work was influenced by Russian Constructivism, De Stijl and the Bauhaus, and used materials such as stone, steel and acrylic to explore the intersection of design, furniture, architecture and sculpture.
$7,500 to conserve, photograph and frame seven mural study panels by the artist, organized by curators Ellen Buie Niewyk and Sam Ratcliffe of the Bywaters Special Collections at SMU’s Hamon Arts Library. Considered a master painter of 1930s regionalism, Bywaters received many commissions for public space murals and from 1943 taught at SMU while directing the Dallas Museum of Art. Bywater’s portraits and landscapes poignantly describe the lives of southwest rural workers with underlying wit and compassion.
$10,000 for The Dream of the Audience: Theresa Hak Kyung Cha (1951-1982), a traveling retrospective exhibition with accompanying catalogue, organized by museum curator Constance Lewallen. To escape military rule and repressive conditions in her native Korea, Cha and her family relocated many times before settling in San Francisco in the 1960s. Cha was multilingual and used language as a means of exploring issues of displacement and cultural identity and incorporated materials such as glass, burlap, ash and earth in her works on paper and in performance pieces.
$8,000 toward Southern Melodies: A Larry Connatser Retrospective, an exhibition with accompanying catalogue, organized by museum curator Hollis Koons McCullough and guest curator Joan Cobitz. Connatser gained recognition as a self-taught artist in Chicago during the 1960s before moving to Savannah in 1971 where he executed a number of public murals. His intricate figurative paintings are candied with thick brightly colored dots of acrylic paint that both challenge and energize the work’s religious and mythological themes.
$7,500 to acquire two works on paper, each from the artist’s Florence and Tripod series, for their permanent collection. DeFeo, an artist of the Beat era, worked among a close knit community of poets and avant-garde artists that thrived in San Francisco’s Bay Area. After completing her seminal 1958-65 work The Rose, Defeo returned to artmaking, after a four year hiatus, in the late 1960s by creating a series of semi-abstract works on paper that were drawn from everyday objects in her environment.
$10,000 to acquire the 1964 painting Self-Portrait for the museum’s permanent collection. 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.
$25,000 toward Edwin Dickinson: Dreams and Realities, a traveling retrospective exhibition with accompanying monograph, organized by gallery curator Douglas Dreishpoon, with essays by Dreishpoon, Francis O’Connor, and Mary Abell, as well as appreciations by John Ashbery, Elaine de Kooning, Norman Geske, and Michael Mazur. Considered by many to be a “painter’s painter,” Dickinson worked in both eastern Cape Cod and New York City. His personal exploration of historical conventions such as landscape, portraiture and still life produced work that was both enigmatic and veered towards abstraction.
$10,000 toward the catalogue that will accompany an exhibition on the artist, organized by museum curator Annegreth Nill with a catalogue essay by Ramona M. Austin. Originally from Philadelphia, Edwards moved to Columbus, OH in 1984 and later became a recipient of the Ohio Arts Council’s Individual Artist Fellowship. Inspired by her African heritage, Edwards created mixed-media work, such as life-size reliquaries made from baskets, to explore the relationship between African traditions and American culture.
$7,500 toward the acquisition of the 1967-70 painting Stroke for the museum’s permanent collection and for a brochure that will accompany an exhibition on the painter. After studying art in Chicago, Lozano moved to New York in 1960 and was close to artists such as Dan Graham, Carl Andre, and Sol LeWitt. In addition to exploring figurative work, Lozano created monochromatic paintings that investigated scientific phenomena as well as conceptual language-based drawings that served as instructions for performance pieces.
$7,500 to acquire for the museum’s permanent collection the 1978 photograph Untitled, (from the Silueta Series) as well as six photographs from Volcano Series No. 2, 1979. Born in Cuba and raised in the United States, Mendieta made sculptures and earthworks based on mythic female forms and influenced by Cuban and Mexican spiritual traditions. Her “interventions” into nature included materials such as rock formations, tree trunks, roots, leaves, debris, sand, and water.
$15,000 toward The Art of Sister Gertrude Morgan, a traveling retrospective exhibition and accompanying catalogue, organized by guest curator William Fagaly and museum curator Brooke Anderson. Morgan was a self-taught African-American artist whose work was inspired by her life as an evangelist. Employing materials such as plastic trays, scrapwood, and guitar cases painted with messages and figurative imagery, Morgan considered her work a vehicle for communicating her religious beliefs.
$15,000 toward an exhibition and accompanying catalogue on the artist, organized by museum curator Susan Rosenberg. Originally from a farming community in Lancaster County, PA, Rohrer studied with plein-air painter Hobson Pittman and at the Pennsylvania Academy of the Fine Arts. Using an all-over grid format, his abstract paintings are composed of repeated brushstrokes and patterns that suggest corn stalks, plowed fields and reference topographical views of landscape as well as the decorative patterns of Amish quilts.
$12,500 to acquire the 1957-58 painting Unemployment Agency for their permanent collection. During the early 1950s, Rosofsky was associated with a group of Chicago artists called the “Monster Roster” who challenged New York’s abstract styles by painting recognizable and disturbing imagery. Rosofsky worked in Chicago throughout his career and created expressive dream-like paintings that depict darker aspects of the city as well as fantastical and grotesque figures.
$25,000 toward a retrospective exhibition and catalogue on the sculptor, co-curated by gallery director Adam Weinberg and guest curator Emmie Donadio. 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.
$7,500 towards the acquisition of Untitled, an early 1950s drawing by the painter for the museum’s permanent collection. Stout created a small but highly influential body of meticulously executed abstract work that sometimes took years to complete. Through close attention to border and edge, the shapes depicted in his work reveal the interchangeable nature of positive and negative space.
$10,000 to acquire two 1974 photographs from the artist’s S.O.S-Starification Object Series, 1974-82 for the museum’s permanent collection. A New York based artist, Wilke created highly personal photographic self-portraits that explored issues of feminism, voyeurism and the ramifications of disease. Touching on these issues, the images in S.O.S.-Starification Object Series depict Wilke in stereotypical female poses, “scarred” by vaginally shaped pieces of masticated chewing gum.
$20,000 to acquire photographs by Carlotta Corpron (1901-1988), Ida Lansky (1910-1997), and Barbara Maples (1912-1999) for the museum’s permanent collection and the traveling exhibition Texas Bauhaus: The Photographs of Carlotta Corpron, Ida Lansky, and Barbara Maples. Maples and Lansky studied with Corpron at the Texas Woman’s University in Denton, after her teaching appointment in 1935. Through their experimentations with photographic techniques and light manipulation, these women artists contributed to the development of Modernist photography.
$7,500 to cover the costs of including works by Moira Dryer (1957-1992) in As Painting: Division and Displacement, a group exhibition and accompanying catalogue, organized by guest curators Stephen Melville, Laura Lisbon, and Philip Armstrong. Canadian-born, Dryer worked in New York in the 1980s and 1990s creating large abstract paintings that employed process-oriented techniques. By incorporating objects such as boxes, handles or auto parts into her work, Dryer challenged conventional expectations of abstraction while celebrating the versatile nature of paint.
$8,000 towards Double Check, a section in the arts and culture publication Trans>, which reconsiders the careers of under-recognized artists. This edition of Double Check, to be published in Trans>10, will be solely devoted to the following recently deceased American artists: Ernesto Deira (1928-1986), Juan Downey (1940-1993), Moira Dryer (1957-1992), Hannah Wilke (1940-1993), and Francesca Woodman (1958-1981).