2011 Annual Report - National Gallery of Art

18
� Fr ancis Picabia,
Front cover of 391,
no. 3 (Barcelona, 1917),
David K. E. Bruce
Fund, National Gallery
of Art Library
Collecting
The Gallery now has one of the finest and most
comprehensive collections of Callahan’s work in
the world.
Gary S. Davis gave thirty-five photographs
by the American beat author Allen Ginsberg,
including works from the early 1950s through
the late 1980s. The gift is particularly rich in
portraits of his photographic mentors, such as
Robert Frank and Berenice Abbott, his close
friend William Burroughs, and his companion
Peter Orlovsky.
Fifty-three photographs by the social documentary
photographer Milton Rogovin, were
donated by Pierre Cremieux and Denise
Jarvinen. This gift includes several examples
from his series of the residents of the Lower West
Side of Buffalo, as well as his Working People
series. These are the first works by Rogovin to
enter the collection.
Eileen and Michael Cohen gave thirty-
nine photographs by twenty-eight artists,
including Vito Acconci’s Passes, 1971; Gordon
Matta-Clark’s Anarchitecture: World Trade
Towers, 1974; Bruce Nauman’s Self-Portrait as
Fountain, 1966; and Dennis Oppenheim’s
Reading Position for Second Degree Burn, 1970.
Together with photographs acquired earlier
from the Cohens, this gift enhances holdings
of work by conceptual, performance, and arte
povera artists.
Other important acquisitions include
William Henry Fox Talbot’s A Scene in York:
York Minster from Lop Lane, 1845, purchased
with funds donated by Edward J. Lenkin,
Melvin and Thelma Lenkin, and Stephen G.
Stein, and Charles Clifford’s Puerta de Santa
Cruz, Toledo, 1860, and Linnaeus Tripe’s
Amerapoora: Palace of the White Elephant and
Amerapoora: Another part of the Balcony of
Kyoung No. 86, 1855, purchased with the New
Century Fund. The Vital Projects Fund
enabled the Gallery to acquire Statue of Clovis,
Church of Sainte-Clotilde, Paris, 1856, a salted
paper print by Charles Marville; Baalbeck,
1859, an albumen print by Louis De Clercq;
Wild Life on a Tidal Water, 1890, an album of
thirty photogravures by Peter Henry Emerson;
and Self-Portrait, 1898–1899, a platinum print
by Alfred Stieglitz. In addition, the Gallery
acquired Marville’s Portrait of Charles Delahaye,
c. 1855, with funds donated by Diana and
Mallory Walker; William Henry Jackson’s
Central City, Colorado, c. 1881, with funds
from the Amon G. Carter Foundation Fund
and Buffy and William Cafritz Fund; and
Frederick Evans’ York Minster, North Transept:
“In Sure and Certain Hope,” 1902, with funds
provided by Carolyn Brody and the Milmore
Memorial Fund.
The R. K. Mellon Family Foundation
enabled the Gallery to acquire its first work
by Clara E. Sipprell, Sixth Avenue, New York,
1920s, and Germaine Krull’s André Malraux,
1933. The Charina Foundation enabled the
Gallery to acquire Philip-Lorca diCorcia’s
Head # 22, 2001, the first work by this artist
to enter the collection, and Nicholas Nixon’s
View East from Pi Alley, Boston, 2008, while
funds from Robert and Elizabeth Fisher made
it possible for the Gallery to acquire Nixon’s
The Brown Sisters, Truro, Massachusetts, 2010.
The Veverka Family Foundation provided
funds for the acquisition of Edward Burtynsky’s
Silver Lake Operations #16, Lake Lefroy, Western
Australia, 2007, and Mary and Dan Solomon