MFAH Annual Report 2022

The Museum of Fine Arts, Houston 

annual report 2021–2022

MFAH 

BY THE NUMBERS 

July 1, 2021–June 30, 2022 

• 794,411 visits to the Museum, the Lillie and Hugh 

Roy Cullen Sculpture Garden, Bayou Bend Collection 

and Gardens, Rienzi, and the Glassell School of Art 

• 222,499 visitors, teachers, and students reached 

through learning and interpretation programs on-site, 

off-site, and virtually 

• 48,476 youth visitors ages 18 and under received 

free or discounted access to the MFAH 

• 16,914 K-12 students and their chaperones received 

free or discounted tours of the MFAH 

Tuition 

Revenue 

$2.0 

2% 

Membership 

Revenue 

$3.3 

4% 

Operating 

Fund-raising 

$20.9 

27% 

Attendance 

$3.7 

5% 

FY 2022 

Operating Revenues 

(millions) 

Other 

$5.3 

7% 

Endowment 

Spending 

$42.9 

55% 

• 3,648 Houstonians were served through in-person 

community engagement programs off-site 

• 190,341 online visitors, teachers, and students 

accessed live-streamed and prerecorded virtual 

programs and digital resources 

• 137 community partners citywide collaborated 

with the MFAH 

• 2,943,622 visits recorded at mfah.org 

• 414,800 people followed the MFAH on Facebook, 

Instagram, and Twitter 

• 134,186 researchers and students accessed content 

on the ICAA’s Documents of Latin American and 

Latino Art website, icaa.mfah.org 

• 61,619 individuals identifi ed as members of the 

MFAH as of June 30, 2022 

• 1,976 volunteers and docents served the MFAH 

Fund-raising 

$5.2 

7% 

Auxiliary 

Activities 

$3.2 

5% 

Total Revenues: $78.1 million 

Exhibitions, Curatorial, 

and Collections 

$16 

23% 

FY 2022 

Operating Expenses 

(millions) 

Education, 

Libraries, 

and Visitor 

Engagment 

$14.2 

21% 

Management 

and General 

$9.8 

14% Buildings and 

Grounds 

and Security 

$20.4 

30% 

Total Expenses: $68.8 million 

• 601 permanent and temporary staff were employed 

by the MFAH

ANNUAL REPORT 

July 1, 2021–June 30, 2022 

CONTENTS 


4 Board of Trustees 

5 Committee Chairmen 

6 Report of the Director 

11 Resolutions of the Board of Trustees 

14 Accessions 

Illustrated works on the cover and on pages 15–75 

African Art, 76 

American Art, 76 

Art of the Indigenous Americas, 76 

Art of the Islamic Worlds, 76 

Asian Art, 76 

The Bayou Bend Collection, 77 

Decorative Arts, Craft, and Design, 77 

European Art, 80 

Hirsch Library, 80 

Latin American Art, 80 

Modern and Contemporary Art, 81 

Photography, 82 

Prints and Drawings, 89 

The Rienzi Collection, 95 

96 Exhibitions 

Major Loan and Permanent-Collection 

Exhibitions, 96 

Additional Displays from the Permanent 

Collection and Gallery Rotations, 116 

120 Departmental Highlights 

122 Learning and Interpretation 

124 Membership and Guest Services 

125 International Center for the Arts 

of the Americas 

126 Sarah Campbell Blaffer Foundation 

127 The Glassell School of Art 

128 Bayou Bend Collection and Gardens 

129 Rienzi 

130 Development 

143 Report of the Chief Financial Officer 

150 Staff

BOARD OF TRUSTEES 

OFFICERS 

Mr. Richard D. Kinder 

Chairman 

Mrs. Anne S. Duncan 

Vice-Chairman and Secretary 

Mr. Frank J. Hevrdejs 

Treasurer 

Mrs. Cornelia Cullen Long 

Chairman Emerita 

LIFE TRUSTEES 

Mr. Isaac Arnold, Jr. 

Dr. Anne S. Chao 


Mrs. Clare Attwell Glassell 


Mr. E. J. Hudson 


Mrs. Cornelia Cullen Long 

Mrs. Sara Scholes Morgan 

Mrs. Nancy Brown Negley 

Ms. Anne Schlumberger 

Ms. Alice C. Simkins 

Mrs. Jeanie Kilroy Wilson 

Mr. R. W. Wortham III 

Mrs. Lynn Wyatt 

ELECTED TRUSTEES 

Mrs. Gail Adler 

Mrs. Sushila Agrawal 

Mr. Jack S. Blanton, Jr. 

Mrs. Ann Bookout 

Mrs. Polly Bowden 

Mr. Brad Bucher 

Mr. Rusty Burnett 

Mr. Frank N. Carroll 

Ms. Bettie Cartwright 

Mrs. Mary Cullen 

Mrs. Rosanette S. Cullen 

Mrs. Rania Daniel 

Mrs. Linnet Deily 

Ms. Sara Dodd-Denton 

Mr. Holbrook F. Dorn 

Mrs. Zeina Fares 

Mrs. Cherie Flores 

Mr. Gregory E. Fourticq, Jr. 

Mrs. Barbara G. Gamson 

Mrs. Sonia Garza-Monarchi 

Mrs. Lela W. Gibbs 

Mr. Thomas S. Glanville 

Mr. Alfred C. Glassell, III 

Mrs. Sandra S. Godfrey 

Ms. Carroll R. Goodman 

Mr. Martyn E. Goossen 

Mr. Samuel F. Gorman 

Mrs. Windi Grimes 

Ms. Cecily E. Horton 

Mr. Ronald E. Huebsch 

Mr. Jesse H. Jones II 

Mrs. Elise Elkins Joseph 

Mr. Evan H. Katz 

Mr. George B. Kelly 

Ms. Carla Knobloch 

Mr. Andrius Kontrimas 

Mrs. Colleen Kotts 

Mrs. Sima Ladjevardian 

Mrs. Rolanette Lawrence 

Mr. James E. Maloney 

Mrs. Judy Erlich Margolis 

Mr. William N. Mathis 

Mrs. Kirby Cohn McCool 

Mrs. Nidhika Oberoi Mehta 

Ms. Nancy Powell Moore 

Ms. Joan Morgenstern 

Mrs. Laurie Morian 

Ms. Franci Neely 

Ms. Mary Lawrence Porter 

Mrs. Tina Pyne 

Mrs. Macey Hodges Reasoner 

Mr. H. John Riley, Jr. 

Mr. Francisco Rivero 

Ms. Beth Robertson 

Mrs. Courtney Lanier Sarofim 

Mrs. Joan Schnitzer 

Dr. Ruth Simmons 

Mrs. Eliza Stedman 

Mrs. Aliyya Kombargi Stude 

Mrs. Judy Spence Tate 

Dr. Sarah A. Trotty 

Mrs. Phoebe Tudor 

Mrs. Martha Katherine Wade 

Ms. Merinda Watkins-Martin 

Mr. James D. Weaver 

Mrs. Margaret Alkek Williams 

Mrs. Cyvia G. Wolff 

Mrs. Nina O’Leary Zilkha 

HONORARY TRUSTEES 

AND TRUSTEES EMERITI 

Mrs. Nancy O’Connor Abendshein 

Mr. Hossein Afshar 

Mrs. Carol C. Ballard 

Mr. Raphael Bernstein 

Ms. Tanya Brillembourg 

Mrs. Gisele Chulack 

Mrs. Joyce Z. Greenberg 

Mrs. Mary Farish Johnston 

Mr. Adolpho Leirner 

Mr. Thomas V. McMahan 

Mrs. Janice McNair 

Mrs. Isla Reckling 

H. E. Sheikha Hussa Sabah 

al-Salem al-Sabah 

Mrs. Louisa Stude Sarofim 

Ms. Barbara Slifka 

Ms. Ann G. Trammell 

Mrs. Francita Stuart Koelsch Ulmer 

Dr. Alvia J. Wardlaw 

Mrs. W. Temple Webber, Jr. 

EX-OFFICIO TRUSTEES 

Mrs. Rosslyn F. Crawford 

Rienzi Committee, Chair 

Mrs. Emily Burguieres Dalicandro 

The Junior League of Houston, 

Representative 

Ms. Sharon G. Dies 

Bayou Bend Committee, Chair 

The Honorable Rodney Ellis 

Harris County Commissioner 

Dr. Carolyn Evans-Shabazz 

Houston City Council, 

Representative, District D 

Mrs. Necole Irvin 

Mayor’s Office of Cultural Affairs, 

Director 

Ms. Abbie Kamin 

Houston City Council, 

Representative, District C 

Mrs. Vicki Lange 

River Oaks Garden Club, 

President 

Mrs. Melva Martinez Meronek 

MFAH Volunteer Guild, President 

Mrs. Patricia C. Rosencranz 

Bayou Bend Docent Organization, 

General Chairman 

Mrs. Meg Tapp 

The Garden Club of Houston, 

President 

Mr. Gary Tinterow 

The Museum of Fine Arts, Houston, 

Director 

We mourn the loss of our former 

Trustees George N. Allen Jr. and 

Mrs. Jerry E. Finger. 

4

COMMITTEE CHAIRMEN 

MUSEUM 


Executive Committee 


Audit Committee 

Mr. R. W. Wortham III 

Operations and Facilities 

Committee 


Compensation Committee 

Mrs. Courtney Lanier Sarofim 

Development Committee 


Finance Committee 

Mr. H. John Riley, Jr. 

Investment Committee 


Collections Committee 


Arts of Africa, and the Indigenous 

Pacific Islands, Australia, and 

the Americas Subcommittee 


American Painting and 

Sculpture Subcommittee 

Mrs. Sima Ladjevardian 

and Ms. Franci Neely 

(Co-Chairs) 

Art of the Islamic Worlds 

Subcommittee 

Mrs. Phoebe Tudor 

Arts of Europe and the 

Mediterranean Subcommittee 


Latin American Art 

Subcommittee 


and Mr. Jesse H. Jones II 

(Co-Chairs) 

Modern and Contemporary 

Art Subcommittee 

Mr. James Edward Maloney 

and Ms. Joan Morgenstern 

(Co-Chairs) 

Photography Subcommittee 

Ms. Franci Neely and 

Mr. Michael S. Zilkha 

(Co-Chairs) 

Mrs. Lynn Wyatt 

(Founding Chair) 

Film Subcommittee 

BAYOU BEND COLLECTION 

AND GARDENS 

Ms. Sharon G. Dies 

Bayou Bend Committee 

Mrs. Carol Jean Moehlman 

Bayou Bend Collection 

Subcommittee 

THE GLASSELL SCHOOL 

OF ART 


Executive Committee 

Mrs. Jereann H. Chaney 

Glassell Core Subcommittee 

RIENZI 

Mrs. Rosslyn F. Crawford 

Rienzi Committee 


Long-Range Planning 

Committee 


Nominating Committee 

Dr. Anne S. Chao 

Mrs. Nidhika O. Mehta 

(Co-Chairs) 

Asian Art Subcommittee 


Decorative Arts Subcommittee 


Prints and Drawings 

Subcommittee 


and Ms. Alice C. Simkins 

(Co-Chairs) 

Conservation Committee 


Rienzi Collections 

Subcommittee 

Mrs. Laura Kelsey 

Rienzi Garden Subcommittee 


Exhibitions Committee 

Mrs. Macey Hodges Reasoner 

Learning and Interpretation 

Committee 

Ms. Terry A. Brown 

Library Committee 

5

REPORT OF THE DIRECTOR 

The year that ran from July 2021 through June 2022 

demonstrated a decided return to normalcy following 

the pandemic. Although patterns of visitation have 

changed, a new and youthful audience energized the 

Museum, with its memorable exhibitions, distinctive 

new acquisitions, and well-attended lectures, concerts, 

and films. On Thursday, March 17, 2022, more than 

7,800 visitors came to the Museum, the largest 

single-day attendance in the Museum’s history; the 

previous record was 6,189. The Nancy and Rich Kinder 

Building for modern and contemporary art continued to 

attract many first-time visitors to discover the immersive 

environments provided by artists El Anatsui, Carlos 

Cruz-Diez, Ólafur Elíasson, Gyula Kosice, Yayoi Kusama, 

and James Turrell. During this year, the intimate, 

walnut-paneled Lynn Wyatt Theater was inaugurated 

and the gastronomic restaurant Le Jardinier hit its stride; 

both brought new visitors to the Sarofim Campus. For 

the staff, our IDEA initiative, led with great sensitivity 

by Larry Stokes, Chief Human Resources and Diversity 

Officer, brought many insights and greatly enhanced 

mutual respect in our workplace culture. 

Deborah Roldán, associate director for exhibitions, 

skillfully managed the ambitious program of special 

exhibitions and installations of the permanent collection, 

as seen on pages 96–119. Houston was the exclusive 

venue for Virtual Realities: The Art of M.C. Escher from 

the Michael S. Sachs Collection, the largest and most 

comprehensive exhibition of Escher’s achievement ever 

presented. A monumental undertaking, led by Dena 

Woodall, curator of prints and drawings, the installation 

revealed the fascinating inner workings of the mind of 

one of the twentieth century’s most famous, but least 

understood, artists through prints, drawings, watercolors, 

sculptures, and woodblocks generously lent by Mr. Sachs, 

who has devoted much of his career to assembling this 

comprehensive collection. We are most grateful to 

Mr. Sachs for this unique opportunity. 

Among the most ambitious of our programs were 

two traveling exhibitions, Afro-Atlantic Histories and 

Calder-Picasso. Focusing on the cross-Atlantic trade 

of enslaved Africans to the New World, Afro-Atlantic 

Histories was conceived by Adriano Pedrosa and the 

Museu de Arte de São Paulo and brought to the United 

States by our Museum, where curator Kanitra Fletcher 

contributed a number of works, many from the MFAH 

collection, that highlight the experiences of the African 

diaspora of North America to complement the diasporic 

histories of the Caribbean and South America. After 

Houston, the exhibition traveled to the National Gallery 

of Art, the Los Angeles County Museum of Art, and, 

ultimately, the Dallas Museum of Art. In Houston, 

the exhibition was installed by curators Alison de Lima 

Greene and Anita Bateman with curatorial assistant 

Katie O’Hara in consultation with Ms. Fletcher. 

6

Calder-Picasso was conceived by the two grandsons of the 

artists, Alexander S. C. Rower and Bernard Ruiz-Picasso, 

to examine the fruitful admiration of two artists, one 

Spanish, one American, resident in France between the 

two world wars. The exhibition, a revelatory exploration 

of two very different modernists, was organized by the 

Musée National Picasso-Paris in collaboration with the 

Calder Foundation and the Fundación Almine y Bernard 

Ruiz-Picasso para el Arte. In Houston, curator Ann 

Dumas was responsible for the exquisite installation. 

Our Museum organized the U.S. tour to the de Young 

Museum in San Francisco and the High Museum in 

Atlanta. Incomparable Impressionism from the Museum of 

Fine Arts, Boston was a last-minute but most welcome 

addition to the program. Some one hundred masterworks 

from Boston’s exemplary collection of French 

Impressionism were lent in an exceptional gesture. I am 

personally indebted to Director Matthew Teitelbaum for 

making this exhibition available to our appreciative audiences, 

and to curator Helga Aurisch for the installation. 

We are proud to have shown a number of smaller, 

but no less important, exhibitions. Associate curator 

Lisa Volpe conceived and realized Georgia O’Keeffe, 

Photographer, surprisingly the first exhibition ever 

devoted to the impact of O’Keeffe’s photographic 

practice on her better-known paintings. This exhibition, 

with a prize-winning catalogue, traveled to the Denver 

Art Museum, the Cincinnati Art Museum, and the 

Addison Gallery of American Art at Andover. We were 

fortunate to host Dawoud Bey: An American Project, 

a retrospective organized by the San Francisco Museum 

of Modern Art and the Whitney Museum of American 

Art. As an early and consistent collector of Mr. Bey’s 

photographs, our museum was a logical host for this 

compelling presentation. We were equally proud to 

show the unique textile sculptures of Olga de Amaral 

in To Weave a Rock, organized by Anna Walker in 

collaboration with the Cranbrook Art Museum, as well as 

the fascinating multimedia works by the Pakistani-born 

artist Shahzia Sikander, a former Glassell School of Art 

Core Fellow whom we welcomed back to Houston with 

the exhibition Extraordinary Realities, organized by the 

RISD Museum and installed by Alison de Lima Greene. 

Mari Carmen Ramírez coordinated and installed the 

intriguing exhibition devoted to Leandro Erlich’s 

legerdemain Seeing Is Believing. We thank the National 

Portrait Gallery for sending the portraits of President 

Barack Obama and Michelle Obama to Houston as part of 

a whistle-stop tour of American museums. Anita Bateman 

was responsible for that installation in Cullinan Hall. 

Several international collectors have made long-term 

loans that enrich our holdings enormously. We remain 

indebted to our friends and supporters in Kuwait: the 

nearly three hundred masterpieces of Islamic art on 

loan from the al-Sabah Collection of Kuwait, graciously 

extended by Sheikha Hussa Sabah al-Salem al-Sabah, are 

widely consulted by students and appreciated by visitors. 

And for much of this past year we have been preparing 

galleries in the Caroline Wiess Law Building to house 

the Hossein Afshar Galleries for Art of the Islamic 

Worlds. Generously endowed by Mr. Afshar of Kuwait, 

the galleries will feature loans from his unparalleled 

collection of Iranian art, from pre-Islamic to Qajar Iran. 

The galleries will open in early 2023, doubling the space 

available to Islamic art. We are grateful to the Thoma 

family for extending their loan, Spanish Colonial 

Paintings from the Thoma Collection. This important group 

of paintings prompted the purchase of a magnificent set of 

7


eighteenth-century lacquer screens, made by Indigenous 

artists in Mexico, that depict Mexico City and its citizens, 

a landmark in our ongoing priority to display the art of 

the Americas south of the border. Equally important are 

the loans from the Xuzhou Collection of Buddhist Art, 

displayed in the galleries of Asian art. With one stroke, 

these objects greatly amplify the representation of 

Buddhist visual culture at the Museum. We are most 

appreciative of the collectors, who wish to remain anonymous, 

and to their adviser, curator Hao Sheng. 

The Museum’s collections grew substantially. Donors 

gave six hundred works of art, valued at $10,008,696, 

and the Museum purchased 266 works of art, spending 

$15,542,400. They are listed on pages 76–95, and I regret 

that there is insufficient space here to mention more 

than a few. Among the many distinguished acquisitions 

this year, two rise above the rest, both made in Mexico: 

the biombos mentioned above and a masterpiece by Diego 

Rivera, a newly rediscovered canvas painted in Mexico 

City two hundred years later. Saddened by the loss of our 

great benefactor Meredith Long in 2020, we welcomed 

the beautiful painting by Lee Krasner given by his widow, 

Cornelia Cullen Long, in his memory. The addition of a 

group of works by Giuseppe Penone and several Latin 

American artists from the estate of our dear friend Gary 

Mercer is another bittersweet acquisition. Jereann and 

Holland Chaney and John MacMahon continue to enrich 

our holdings of contemporary art and photography with 

great gifts. Francita Stuart Koelsch Ulmer has found 

several more exquisite British watercolors to add to her 

burgeoning collection at the Museum. And Frank Carroll 

once again bestowed fine examples of African art. 

which stood sentinel at the American Pavilion of the 

Venice Biennale. Lenore Tawney’s Dove, Minol Araki’s 

Lotus Pond, Marilyn Minter’s Smash, Pipilotti Rist’s 

Peeping Freedom Shutters for Olga Shapir, Adriana 

Corral and Vincent Valdez’s Requiem, and Ron Mueck’s 

Woman with Shopping testify to the global range of 

modern and contemporary acquisitions. We purchased 

several additional examples of midcentury Italian design 

from Dennis Freedman, creating the most important 

corpus of such work in North America. The photography 

department added a number of key works from 

the nineteenth century, most notably Édouard Baldus’s 

album Chemin de fer du Nord. A magnificent silver 

Torah crown, made in eighteenth-century Venice, was 

the debut purchase for the much-anticipated Albert and 

Ethel Herzstein Gallery for Judaica, which should open 

in late 2023. When that gallery is completed, it will be the 

only one in a major U.S. encyclopedic museum dedicated 

to art created for Jewish homes and synagogues. 

The department of learning and interpretation, headed 

by Caroline Goeser, revived in-person programming 

at the Museum. Dr. Goeser outlines their achievements 

in her report, but here I wish to congratulate the department 

for its extensive reach throughout the community. 

The department collaborated with more than a hundred 

community partners to offer performances and activities 

on and off campus; these collaborations, maintained by 

Lourdes Remond, manager of community engagement, 

are essential to our success. We are grateful to our partners 

at Houston Community College, Rice University, 

University of St. Thomas, Texas Southern University, 

and the University of Houston. 

Among the purchases, works by African American 

artists take pride of place: Jack Whitten’s Natural 

Selection and Simone Leigh’s monumental Satellite, 

The free admission that was extended to nearly 

one-third of the 794,411 visits across our facilities was 

supported by $20.9 million in grants and donations for 

8

operations, a fund-raising program brilliantly overseen 

by Chief Development Officer Amy Purvis and her staff. 

The federal COVID relief grant of $6.14 million through 

the Shuttered Venue Operators Grant greatly lifted 

our revenues this year, thanks to this unique federal 

program. We are especially grateful for this muchneeded 

support to stabilize our operations following 

the pandemic. 

The MFAH house museums, Rienzi and Bayou Bend 

Collection and Gardens, flourished in the postpandemic 

environment, although Christmas Village 

was suspended for the second time in December 2021; 

we look forward to resuming this tradition in 2022. 

The staff and volunteers of both house museums 

created a number of online programs for our public, 

and many continued even after we instituted in-person 

tours and activities. Attendance is growing, and the 

gardens at both houses are resplendent after the shock 

of the February 2021 freeze. I am especially grateful to 

the docents at Rienzi and Bayou Bend for resuming 

their essential roles as interpreters for the general public. 

The crucial $6 million restoration of the Buffalo Bayou 

stream bank at Bayou Bend was largely completed by 

summer 2022, on time and according to budget, thanks 

to the conscientious oversight of Chief Operating Officer 

Christian Schörnich. 

The Glassell School of Art continued its post-pandemic 

rebound, with enrollment at the Junior School especially 

robust. At the close of the year, Joseph Havel retired after 

thirty years at the helm. He had made the school into 

Houston’s essential laboratory for creativity, seeding 

the city with generations of artists who now illuminate 

the region. A colleague of consummate professionalism 

and an artist remarkable for a practice composed of 

unforgettable sculptures and images both delicate and 

ambitious, Mr. Havel is returning full time to his studio. 

We are happy to welcome his distinguished successor, 

Paul Coffey, vice provost of the School of the Art 

Institute of Chicago. In addition, we welcomed curators 

Anita Bateman and Elizabeth Essner, Todd Lacy, head of 

security and safety, and Toni Wood, head of marketing 

and sales. 

During fiscal year 2021–2022, the staff of 601 

professionals was enhanced and supported by 1,976 

docents and volunteers. Our operations required an 

expenditure of $68.8 million, of which $42.9 million 

(55 percent of the $78.1 million revenue total) was 

provided by the Museum’s endowment, and $20.9 

million (27 percent of revenue) by fund-raising and 

gifts, and $14.3 million (18 percent of revenue) was 

earned income. The City of Houston allocated $716,731 

(less than 1 percent of revenue) in Hotel Occupancy 

Tax funds to the Museum. As always, our financial 

operations are guaranteed by our extraordinary Chief 

Financial Officer Eric Anyah, who also oversees all the 

revenue-producing departments. 

In June 2022, we lost Fayez S. Sarofim, a giant in our 

community. For almost fifty years, his firm Fayez Sarofim 

& Co. had managed a significant share of the Museum’s 

endowment, attaining an impressive annualized return 

just shy of 12 percent over those five decades, while 

overseeing the growth of the endowment into the third 

largest held by a U.S. museum. Over that same period, he 

assembled the greatest private collection of American 

art in Houston, and one of the most extensive in the 

country, all the while generously supporting the Museum 

with gifts of art and donations throughout the years; his 

was the largest single gift to the Museum’s recent capital 

campaign. Mr. Sarofim was an important adviser to my 

predecessor, Peter C. Marzio, and to myself. His impact 

9


on the city of Houston and on charitable institutions such 

as the Brown Foundation, Inc., the Houston Endowment, 

M.D. Anderson Cancer Center, the Menil Collection, 

and Rice University cannot be overstated, nor can our 

gratitude. We extend our profound condolences to his 

widow and his family. 

This year also marked the final term of Rich Kinder’s 

chairmanship of the Board of Trustees. For nine years, 

he has steadfastly led the institution through the most 

important transformation in its history—four new 

buildings were erected during his tenure, increasing the 

galleries by 50 percent, and some ten thousand works 

of art valued at more than $270 million were acquired— 

insuring all the while that the Museum ran on a balanced 

budget, ultimately accumulating a rainy-day fund of 

surpluses amounting to nearly $19 million, while the 

endowment grew from $1.1 billion to more than $1.6 

billion. The generosity of Nancy and Rich Kinder and 

the Kinder Foundation is now legendary in their adopted 

city of Houston, which they have transformed with an 

extensive network of parks and green spaces. Our recent 

campus expansion was funded through a $476 million 

capital campaign, of which $75 million was donated by 

the Kinder Foundation. Less well known is Rich Kinder’s 

extraordinary generosity with his time and expertise. The 

Museum could not have accomplished what it did without 

him. Personally, I am immensely grateful to him for his 

guidance and leadership as Chairman, and, on behalf of 

the entire institution, I am honored to express our most 

profound thanks for his selfless service. 

As always, my final appreciation goes to the Trustees, 

staff, volunteers, and visitors who make the Museum of 

Fine Arts, Houston, such an exciting place for all people. 

Thank you. 

—Gary Tinterow 

Director 

The Margaret Alkek Williams Chair 


10

RESOLUTIONS OF THE BOARD OF TRUSTEES 

WHEREAS, 

WHEREAS, 

WHEREAS, 

WHEREAS, 

WHEREAS, 

WHEREAS, 

WHEREAS, 

WHEREAS, 

RICHARD D. KINDER has been a member of the Board of Trustees of the 

Museum of Fine Arts, Houston, since 1989, serving honorably as a Life Trustee 

from 2006, and with great distinction as Chairman from 2013 until 2022; and 

Richard D. Kinder has served on the Finance Committee from 1997 to present; 

the Long-Range Planning Committee, from 1998 to the present; the Nominating 

Committee, from 2005 to the present; and has chaired the Executive Committee 

since 2013; and 

as Chairman, Richard D. Kinder has provided immense strength to the Board 

and Staff, setting a superb example of leadership and providing invaluable 

counsel in countless matters, great and small; and 

as Chairman, Richard D. Kinder presided over the most extensive expansion in 

the Museum’s history, for which nearly $500 million was donated to fund the 

largest cultural construction project in North America; and 

as Chairman, Richard D. Kinder presided over an unparalleled growth in the 

Museum’s endowment, from $1.1 billion to more than $1.6 billion, and an 

equivalent growth of the permanent collection, adding nearly 10,000 works 

of art; and 

Richard D. Kinder and his wife, Nancy Kinder, provided the lead gift that 

initiated the Capital Campaign and enabled the construction of the Nancy and 

Rich Kinder Building for modern and contemporary art; and 

Richard D. Kinder and Nancy Kinder provided the Kinder Challenge Grant, 

which guaranteed the fulfillment of the Capital Campaign; and 

Richard D. Kinder and Nancy Kinder have demonstrated remarkable dedication 

through their transformative support of nearly every Museum fundraising 

initiative, including capital projects, traveling exhibitions, educational 

programming, and fundraising events; 

THEREFORE, BE IT RESOLVED: 

THAT, We, the Trustees and Staff of the Museum of Fine Arts, Houston, recognize Richard D. 

Kinder’s extraordinary achievements and hereby express our immense gratitude for his 

service to the Museum and to the citizens of Houston; and 

THAT, accordingly, RICHARD D. KINDER is hereby appointed CHAIRMAN EMERITUS of the 

Museum of Fine Arts, Houston, and it is our fervent wish that in this appointed capacity 

he will continue to support the Museum with his wise counsel. 

IN WITNESS WHEREOF, I have hereunto set my hand and the seal of this Corporation 

this 21 day of June, 2022. 

Anne S. Duncan 

Secretary to the Board of Trustees 

11


OPENING OF THE LYNN WYATT THEATER 

Lynn Wyatt 

The debut of the Lynn Wyatt Theater inside the 

Museum’s new Nancy and Rich Kinder Building 

was as grand as the Houston icon herself. After a 

greeting of champagne and popcorn—Mrs. Wyatt’s 

favorite movie snack—Rich Kinder, chairman of 

the Board of Trustees, welcomed a hundred guests 

inside the refined new space. Three short films were 

presented, including an interview with Mrs. Wyatt, 

a lifelong cinema lover, discussing the Museum’s film 

program; a short directed by the acclaimed filmmaker 

Lisa Immordino Vreeland featuring Lynn Wyatt; and 

a special film created by the Museum featuring images 

and footage of Wyatt throughout the years alongside 

appearances from Museum Director Gary Tinterow, 

Mayor Sylvester Turner, filmmaker Richard Linklater, 

Patrick Summers, artistic and music director of 

Houston Grand Opera, Stanton Welch, artistic director 

of the Houston Ballet, and Todd Waite, resident acting 

company member of the Alley Theatre. Following 

the screenings, Tinterow thanked Mrs. Wyatt for 

her decades of tireless leadership and invited her 

to take the dais to officially open the new theater. 

12

Rich Kinder; Lynn Wyatt; Nancy Kinder 

Mayor Sylvester Turner; Lynn Wyatt 

Lynn Wyatt; Gary Tinterow 

13

ACCESSIONS 

GUERCINO (GIOVANNI FRANCESCO 

BARBIERI), Italian, 1591–1666 

Mars Brandishing a Sword, c. 1640 

Pen and brown iron gall ink on laid paper 

Sheet: 10 x 7 3/4 in. (25.4 x 19.7 cm) 

Museum purchase funded by 

the Director’s Accessions Endowment 

and the Buddy Taub Foundation, 

Dennis A. Roach and Jill Roach, 

Directors 

2022.10 

Giovanni Francesco Barbieri was called 

Guercino because of his pronounced 

squint. He was largely self-taught but was 

influenced by the Carracci family in Bologna, 

who promoted naturalism and stressed 

the importance of drawing. Guercino made 

this animated study of Mars, the god of 

war, using a goose-feather pen dunked 

in ink, his favorite medium. Through the 

vigorous use of the pen, the artist rapidly 

rendered Mars’s sense of movement and 

gave expression to the god’s rage. The 

masterful swirling strokes that describe 

Mars’s cloak and the denser concentrations 

of ink reveal the energy and speed 

with which Guercino executed this drawing. 

DMW 

14

15

SIMON VOUET, French, 1688–1754 

Portrait of a Woman Wearing Pearls 

and a Crown of Flowers, c. 1632–35 

Pastel on beige laid paper 

Sheet: 10 13/16 x 8 5/16 in. 

(27.4 x 21.1 cm) 


the Alice Pratt Brown Endowment 

2021.726 

The French artist Simon Vouet rose to 

prominence in Italy before serving in 1627 

as premier painter to King Louis XIII in 

France. Known for introducing the Italian 

Baroque painting style to France, Vouet was 

also one of the leading seventeenth-century 

draftsmen. Rendered from life, this pastel 

portrait is of an aristocratic woman, possibly 

one of the ladies-in-waiting to Anne of 

Austria, Queen of France, and a member 

of King Louis XIII’s court. It was part of 

an acclaimed group of portrait drawings, 

rediscovered in the late twentieth century, 

made for the king’s amusement and to 

teach him how to draw. 

DMW 

16

Robe à la française (dress and petticoat) 

France, 1765–80 

Silk brocade with silver floss and fluting 

65 3/4 x 118 7/8 in. (167 x 302 cm) 

Gift of Cecily E. Horton 


The robe à la française, a style of formal 

court dress in eighteenth-century Europe, 

was the product of an age that wanted, at 

any cost, to convey grace and aesthetic 

perfection. The style incorporated large 

pleats from the back of the neckline, 

which allowed for expansive amounts of 

textiles. In this example, the expense of 

the silver-flossed silk and the generous 

amount of fabric used to create the flowing 

back signal that this dress was intended 

for an event of some distinction. Period 

candlelight would have sparkled across 

its silvered surface, adding to the wearer’s 

sumptuous display. 

CG 

17

ALBRECHT DÜRER, German, 1471–1528 

Martyrdom of the Ten Thousand, 

c. 1496–97 

Woodcut on laid paper 

15 3/8 x 11 1/4 in. (39 x 28.5 cm) 

Gift of Laurie Taylor Mitchell 

in honor of Diane Wolfthal 


Brutal methods of torture and execution 

are on full display in this early woodcut by 

Albrecht Dürer. The scene derives from 

a popular medieval legend in Jacobus 

de Voragine’s Legenda Aurea, in which 

ten thousand Roman soldiers, who had 

converted to Christianity and refused to 

sacrifi ce to the Roman gods after battle, 

were sent to their death by the king of 

Persia on the orders of the emperor. Saint 

Acacius, who had encouraged the soldiers, 

has a drill bored into one eye socket. Dürer 

later made a painting after the print for 

Frederick the Wise, who owned relics from 

the massacre. 

DMW 

18

ADRIAEN VAN OSTADE, 

Dutch, 1610–1685 

The Family, 1647 

Etching on laid paper, state II/VII 

Sheet: 7 5/16 x 6 7/16 in. (18.5 x 16.3 cm) 


Art + Paper, Dr. and Mrs. Craig S. 

Calvert, Linda and David Dillahunty 

at Art + Paper 2022, and the Alvin S. 

Romansky Prints and Drawings 

Accessions Endowment Fund 


Adriaen van Ostade became the Netherlands’ 

foremost painter of peasant and “low” life 

genre paintings, and was second only 

to Rembrandt van Rijn as the leading 

seventeenth-century Dutch printmaker. 

This superb impression demonstrates Van 

Ostade’s consummate technical skill. He 

used meticulous hatching and crosshatching 

to create a sense of depth and atmosphere, 

casting the recesses of the room into shadow 

and drawing the viewer’s attention to the 

brightly lit fi gures of the mother, father, 

and three children in the foreground. 

Rembrandt’s influence can be seen in the 

intimacy of the figures amid their cluttered 

surroundings, echoing his Holy Family 

imagery. 

DMW 

19

Design by WILLIAM KENT, 

English, 1685–1748 

Hall Chair, c. 1730–40 

Mahogany 

35 1/16 x 22 7/16 x 20 1/2 in. 

(89 x 57 x 52 cm) 


the Rienzi Accessions Endowment 


This mahogany chair is one of sixteen 

designed for Chiswick House, a neo- 

Palladian villa near London, which was 

the creation of Richard Boyle, the 3rd Earl 

of Burlington. Lord Burlington was an 

accomplished architect and, with renowned 

designer William Kent, endeavored to 

express his personal vision of antiquity at 

Chiswick. Sized to complement the house’s 

small scale, the chair’s design echoes the 

classical pediments over the principal interior 

doors as well as the massive outdoor portico 

of the front elevation. Although classical in 

inspiration, the design is idiosyncratic, individual, 

and unexpectedly animate. It is unique 

among eighteenth-century chair designs. 

CG 

JOHANN CHRISTOPH HEYNE, 

American, born Germany, 1715–1781 

Flagon, c. 1754–80 

Pewter 

11 3/16 x 7 1/2 x 6 3/16 in. 

(28.4 x 19.1 x 15.7 cm) 


Susan Neptune 

B.2022.7 

The pewterer Johann Christoph Heyne 

was born in Saxony in 1715 and served 

his apprenticeship there. He worked as a 

journeyman in Sweden before settling in 

the Moravian community of Bethlehem, 

Pennsylvania. He later moved to Lancaster, 

where he remained until his death in 

1781. His work was unknown until 1928. 

Heyne’s flagon, with its elegant, tapering 

form, represents a combination of German 

and Scandinavian elements, along with 

components that had become common on 

Anglo-American pewter, closely reflecting 

both his heritage and the trajectory of his 

career and travels. 

BCB 

20

Torah Crown 

Venice, mid-18th century 

Silver and silver-gilt 

8 7/8 x 10 1/4 in. (22.5 x 27 x 28.5 cm) 

Museum purchase funded by the 

Brown Foundation Accessions 

Endowment Fund 


Jewish ceremonial art, or Judaica, carries 

the stories of Jewish culture across its 

millennia of existence. Among these works 

of art are items made to adorn the Torah 

scroll, protecting and glorifying the sacred 

text. Exuberant, highly decorated Torah 

crowns are among the trademarks of 

Venetian synagogue Judaica. The small, 

gilt, cast motifs on this crown include 

ritual references such as a handwashing 

laver, a menorah, and the Temple in 

Jerusalem. The rich decoration is indicative 

of the wealth and influential status of the 

Jewish congregation in the Venetian citystate 

in the eighteenth century. 

CG 

21

Manufactured by WORCESTER 

PORCELAIN MANUFACTORY 

(Flight, Barr & Barr Period), 

English, active 1813–1840 

Painted by THOMAS BAXTER, 

English, 1782–1821 

Cabinet Cup and Stand, c. 1814–16 

Porcelain and gilding 

Cup: 3 1/4 x 3 7/8 x 3 5/16 in. 

(8.3 x 9.9 x 8.4 cm) 

Stand: 1 1/8 x 5 5/16 in. (2.8 x 13.5 cm) 

The Rienzi Collection, museum 

purchase funded by the Rienzi 

Accessions Endowment, and 

Gary and Marion Glober 

2021.386 

The portrait on this cup is of Mirza Abul 

Hassan Khan (1776–1845), a diplomat who 

was sent to England in 1809 to negotiate a 

treaty between Great Britain and Persia on 

behalf of Fath-Ali Shah Qajar, the second 

Shah of Qajar Iran. Abul Hassan became 

a fi gure of much fascination and was the 

popular subject of English portraits, prints, 

poetry, and even painted ceramics. This 

cup was painted by Thomas Baxter, the 

head of the painting workshop at Worcester 

from 1814 to 1816 and one of the most 

highly regarded porcelain painters of the 

nineteenth century. 

MF 

22

Banner 

Ottoman Turkey, late 17th century 

or later 

Silk; woven with metallic thread 

115 7/8 x 91 3/4 in. (294.3 x 233 cm) 

Museum purchase funded by Rania 

and Jamal H. Daniel; Lily and Hamid 

Kooros; Dr. Aziz Shaibani; and the 

Director’s Accessions Endowment 

2021.317 

This shield-shaped banner, or sançak in 

Turkish, follows the characteristic format 

for these Ottoman banners. The prominent, 

centrally located bifurcated sword 

with a dragon-headed hilt is known as 

Dhu’l Fiqar. This sword represents military 

victory and is thought to have belonged 

to Ali, the cousin and son-in-law of the 

Prophet Muhammad. The surrounding 

roundels are inscribed with the names of 

Allah and the Prophet, as well as Abu Bakr, 

Umar, Uthman, and Ali, the first four leaders 

of the Muslim community. Banners such as 

this one may have been carried on military 

campaigns and on pilgrimages to Mecca. 

AF 

Musket 

‘Alawid Morocco, 18th century 

Silver and brass with niello 

and glass jewels 

8 3/4 x 3 1/4 x 61 3/8 in. 

(22.2 x 8.3 x 155.9 cm) 

Gift of the Honorable and 

Mrs. Edward P. Djerejian 


This armament belongs to a category of 

musket once referred to as a moukahla or 

Kabyle musket, named after the Kabyle 

Berbers indigenous to Kabylia in northern 

Algeria. Its engravings and inlays form 

swirling vegetal, floral, and geometric 

patterns, all of which are typical of Islamic 

design. Firearms reached Islamic lands in 

the sixteenth and seventeenth centuries 

due to trade and conflict with Europe. 

AF 

23

24

- 

Biombo with Views of Mexico City 

Viceregal Mexico, 18th century 

Twelve-panel folding screen; oil on red 

maki-e lacquer on panel, with gilt wood 

mounts and linen backing 

Open: 67 x 150 3/4 x 1 1/8 in. 

(170.2 x 382.9 x 2.9 cm) 


the Agnes Cullen Arnold 


2021.537 

Japanese folding screens were fi rst 

introduced to Viceregal Mexico as exports 

by way of the Manila galleon trade and by 

Japanese embassies that brought them 

to Mexico as gifts in the early decades 

of the seventeenth century. The Spanish 

word biombo is a transliteration of the 

Japanese word for folding screen, byobu. 

The Mexican art form was inspired by its 

Japanese prototype. This biombo, created 

in Mexico City by Mexican artists, presents 

views of eighteenth-century Mexico City, 

including architectural monuments, natural 

landmarks, and its diverse population. 

JA 

25

Page from a Botanical Album: 

Garcenia gutta 

Calcutta, India, c. 1812–14 

Commissioned by William Roxburgh 

Graphite, ink, and watercolor 

on wove paper 

Sheet: 9 1/4 x 6 11/16 in. (23.5 x 17 cm) 

Gift of Edward and Kendall Ondarza 

2021.534 

Garcenia gutta is the botanical name 

for the Malabar tamarind plant native to 

Tamil Nadu in South India. An unnamed 

Indian artist has produced this idiosyncratic 

image, unique to Indian botanical studies, 

providing a super-realistic image shown 

from multiple vantage points and at the 

same time including small sketches of the 

typical pumpkin-like fruit and its flower. 

This work is part of a group of fi fteen 

botanical studies commissioned by the 

Scottish researcher William Roxburgh. 

AGP 

26

Pair of Beaded and Quilled Moccasins 

with Horse-Track Design 

Lakota people, c. 1870–1900 

Hide, softened and dyed porcupine 

quills, beads, cotton cloth, thread, 

and tin cones 

Shoes (each): 11 in. (28 cm) length 


the Alfred C. Glassell, Jr. 



Quilled moccasins are traditionally made 

by women, bringing honor to their families 

and lending them prestige for their skill. 

Quill work is considered connected to 

the supernatural. The artist is believed 

to commune with higher powers during 

its creation. The designs and colors are 

a visual language conveying signifi cant, 

multifaceted meanings. Yellow, white, 

black, and red are traditional colors, 

although Europeans introduced new 

colors and materials, like the blue beads 

seen here. The differently colored U shapes 

on the heels represent horse tracks and 

can be read many ways—as symbols of 

success, speed, or strength. 

CD 

27

AMMI PHILLIPS, American, 1788–1865 

Man with Ruffled Jabot, c. 1825 

Woman with Lace Collar, c. 1825 

Oil on canvas 

Each: 32 1/16 x 25 1/2 in. (81.5 x 64.8 cm) 

Museum purchases funded by 

Friends of American Arts 

2021.535, 2021.536 

Born in Connecticut in 1788, Ammi Phillips 

was a prolific portrait painter whose career 

spanned more than fi fty years. Very little 

is known about his artistic training, yet 

through his paintings of wealthy sitters 

throughout Connecticut, upstate New York, 

and Massachusetts, historians have been 

able to trace his career and maturing style. 

Phillips’s fi nest works are characterized 

by their radical simplicity and saturated 

colors, and by the individualized, though 

formulaic, features of the sitters. In this 

pair of portraits, the sitters’ penetrating 

gazes and taut linear silhouettes exemplify 

Phillips’s signature style. 

KHW 

28

FPO 

29

JOHN CONSTABLE, British, 1776–1837 

Illustration to Stanza III of Grey’s Elegy, 

“Save that, from yonder ivy-mantled 

tower / The moping owl doth to the 

moon complain,” 1833–35 

Watercolor on wove paper 

Sheet (approx.): 4 7/8 x 7 1/2 in. 

(12.4 x 19 cm) 

The Stuart Collection, museum 

purchase funded by Francita Stuart 

Koelsch Ulmer in honor of The 

Honorable Anne and Terence Mallinson 



Illustration to Stanza V of Grey’s Elegy, 

“The breezy call of incense-breathing 

Morn / The swallow twitt’ring from 

the straw-built shed,” 1833–35 


Sheet (approx.): 5 3/8 x 7 in. 

(13.6 x 17.8 cm) 



Koelsch Ulmer in memory of Pauline 

Ella Smith and in honor of Mollie 

Harlow Zumwalt 


30


Illustration to Stanza XI of Grey’s 

Elegy, “Can storied urn or animated 

bust / Back to its mansion call the 

fleeting breath?” 1883–85 



(12 x 16.6 cm) 



Koelsch Ulmer in honor of Halbert 

Stuart Koelsch 



A letter addressed to John Martin, 

dated 9th July 1835, containing 

a drawing of Stoke Poges church, 1835 

Ink on wove paper 


(22.5 x 18.5 cm) 



Koelsch Ulmer in honor of Jon Evans 


John Constable is one of Britain’s most 

signifi cant landscape painters and a key 

fi gure in British Romantic art of the early 

nineteenth century. These three watercolors 

and a related letter were preserved in an 

album completed by 1835. The artist made 

them for his friend and collaborator John 

Martin, who encouraged Constable to 

produce images to accompany thirty-three 

stanzas of Thomas Grey’s Elegy Written in a 

Country Church-Yard, an inspiration for many 

landscape painters of the day. The letter 

reveals Constable’s eagerness to participate 

in the project and includes a pen-and-ink 

sketch of Stoke Poges church, where Grey 

was entombed. 

DMW 

31

HENRY P. MOORE, 

American, 1835–1911 

Slaves of Rebel Gen. T. F. Drayton, 

Hilton Head, S.C., 1861–62 

Albumen silver print from glass negative 

5 1/8 x 8 1/4 in. (13 x 21 cm) 

Museum purchase, funded by 

the Buddy Taub Foundation, 

Dennis A. Roach and Jill Roach, 

Directors 

2021.314 

When Union troops landed on Hilton 

Head Island, South Carolina, in late 1861, 

they found that Confederate General 

Thomas Fenwick Drayton—like all the 

island’s White inhabitants—had fled, 

leaving behind his 700-acre plantation and 

the 102 men, women, and children whom 

he had enslaved there. This photograph 

by the New Hampshire photographer 

Henry P. Moore depicts people not yet 

free, who continued to work the fields now 

held by Union soldiers. The Emancipation 

Proclamation was still a year away. 

MD 

32

JOHN BEVAN HAZARD, 

English, 1831–1892 

[Work Horse and Hay Cart, Bristol, 

England], 1850s 

Salted paper print from glass negative 

5 1/16 x 7 5/16 in. (12.8 x 18.5 cm) 


Carl Niendorff, Jean L. Karotkin, 

Joan Morgenstern, James Edward 

Maloney, and Leslie Blanton 


Although little is known about John Bevan 

Hazard, this photograph speaks lovingly 

of disappearing traditions in the 1850s, as 

rural life in England was transformed by 

the railroads, steam power, and mechanical 

agricultural equipment. Adjusting his lens 

to position the sturdy workhorse and heavily 

burdened wagon against a softly blurred 

background, Hazard granted them a starring 

role, while two dogs alongside might easily 

be missed by all but the most careful 

observer. Beyond this print’s physical 

beauty, the photograph is an expression of 

moral worth in tradition, nature, and rural 

life and labor—considered a vanishing 

set of values. 

MD 

33

Oshele (Currency Blade) 

Nkutshu or Ndengese people, 

Congo Free State, c. 1875–1925 

Iron 

23 3/4 x 20 1/2 x 3/8 in. 

(60.3 x 52 x 1 cm) 

Gift of Frank Carroll 


Modeled on a multibladed throwing knife, 

this oshele, or currency blade, functions 

as a prestigious currency for important 

exchanges and the purchase of luxury 

items. It takes an incredible amount of 

skill to create the thin, elongated forms 

on this oshele, requiring a combination 

of great force and meticulous hammering. 

Iron as a medium holds high cultural value 

throughout Africa due to its abundance, 

versatility, and the ritualistic symbolism 

associated with it. Blacksmiths are held 

in high esteem for their specialized knowledge 

and close relationship with iron. 

Their ability to forge ironworks is likened 

to giving birth and creating life. 

CD 

34

Mvwala (Staff) Finial 

Kongo Yombe people, 

Kingdom of Kongo, 19th century 

Wood 

8 7/8 x 1 3/4 x 1 1/2 in. 

(22.6 x 4.4 x 3.8 cm) 



This finial comes from a mvwala, a scepter 

that was a symbol of rank carried by Kongo 

chiefs and kings. The ornament highlights 

the masterful carving of the Kongo peoples, 

reflecting the great care dedicated to detail. 

Staffs were associated with the Kongo 

foundation myth and were believed to be 

bridges between chiefs and their ancestors. 

The female fi gure refers to the role of 

women in the support and continuation 

of the community. The pair below consists 

of a herald, announcing an important 

event, and a prisoner, whose arms and legs 

are bound. 

CD 

Chief’s Stool 

Babanki people, German Kamerun or 

British Cameroon, early 20th century 

Wood, beads, and string 

16 3/8 x 15 1/4 in. diam. 

(41.6 x 38.7 cm) 



This chief’s stool belonged to Chief 

Vugha II of Babanki Kijem, Bamenda 

Province, in the Cameroon Grassfi elds. 

These stools are carved with symbols 

reserved for noble offi ce and equate 

roughly to thrones in European traditions. 

The carved standing fi gures supporting 

this stool’s seat may represent the chief’s 

subjects or ancestors and thus literally 

support the chief seated upon them, 

integrating form and function. Kings, 

chiefs, and nobles have a stool carved at 

the beginning of their reign with symbols 

important to their family lineage, but 

they typically have multiple stools in their 

possession for different purposes. 

CD 

35

MARCEL BREUER, American, 

born Hungary, 1902–1981 

Manufactured by Isokon Furniture 

Company, British, active 1932–1939 

Short Chair, designed 1937, 

made 1937–39 

Birch and plywood 

30 13/16 x 23 5/8 x 37 13/16 in. 

(78.2 x 60 x 96 cm) 


the Design Council, 2022 


Although closely associated with the 

Bauhaus, Marcel Breuer had a long career 

afterward as a visionary architect and 

furniture designer in the 20th century. In 

1935 Breuer immigrated to England, where 

he was asked by his Bauhaus associate 

Walter Gropius to design plywood furniture 

for the British firm Isokon. For the next year, 

Breuer worked on a bent plywood version of 

his well-known aluminum Short Chair. He 

found that he needed to alter the shape and 

curves of the plywood seat and back as well 

as add supports for strength. Short Chair 

was in production for two years, making this 

example quite rare. 

CS 

36

CASSIO M’BOY (DA ROCHA MATOS), 

Brazilian, 1896–1986 

Tapestry, c. 1935 

Wool 

27 3/16 x 54 7/8 x 9/16 in. 

(69 x 139.4 x 1.5 cm) 

Gift of Adolpho Leirner in 

honor of Richard Wortham III 


CASSIO M’BOY (DA ROCHA MATOS), 


Chair, c. 1933 

Madeira wood and upholstery 

39 x 17 5/8 x 20 1/2 in. 

(99 x 44.7 x 52.1 cm) 

Gift of Adolpho Leirner 

in honor of Sam Gorman 


Cassio M’Boy’s Tapestry follows the tenets 

of French and English Art Deco carpet design 

in its bold use of color, radiating and overlapping 

geometric shapes, and clear linear 

composition. In addition, the thick pile of 

the wool, determined for comfort, signals its 

use as a functional, rather than ornamental, 

work. Aesthetically, this design is closer in 

comparison to Art Deco textile and carpet 

designs by the French artist Sonia Delaunay 

and the American Edward McKnight-Kauffer 

than to examples by his Brazilian compatriots 

of the period. 

CS 

In the mid-1920s, Brazilian artists like 

Cassio M’Boy learned about the Art Deco 

style through personal connections with 

Paris. In response, he began to design 

Art Deco–influenced furniture, decorative 

objects, and fabrics in the 1930s. This 

chair, one of an original set of four by 

M’Boy, demonstrates a preference for 

geometric abstraction. With its geometric 

inlay providing a strong graphic image, 

its decoration is more solid, elemental, 

and constructivist than European 

examples. Although Art Deco was an 

international style in the truest sense, 

Latin American versions, as seen in this 

chair by M’Boy, are mostly unknown outside 

of the region. 

CS 

37

FRANCISCO MATTO, Uruguayan, 

1911–1995 

Pintura constructiva (bodegón) 

(Constructive Painting [Still Life]), 

c. 1946 

Oil on board 

31 1/2 x 40 in. (80 x 101.6 cm) 

Gift of Billie W. Mercer 

in memory of Gary Mercer 


Depicting everyday items (like a teakettle, 

knife, and bottle) as flat objects in a limited 

palette of black, white, and the primary 

colors, Francisco Matto offers an example 

of the basic lessons that Joaquín Torres-García 

used to teach his students the principles 

of constructive art. Returning to representational 

painting by reducing objects 

to their essential qualities while avoiding 

naturalistic imitation was one such principle. 

Currently displayed alongside the 

decorative arts within the Latin American 

art galleries, this still life also traces the 

Taller Torres-García’s interest in daily life. 

VSG 

38

SANDÚ DARIÉ, Romanian, 

active Cuba, 1906–1991 

Sin título (Untitled), 1950s 

Mixed media on wood 

46 1/2 x 46 x 2 in. (118.1 x 116.8 x 5.1 cm) 




Originally from Romania, Sandú Darié 

moved to Havana in 1941 and is credited 

with having introduced geometric 

abstraction in Cuba. In his innovative 

wood constructions, which he developed 

in dialogue with the Argentinean Madí 

group, Darié challenged the rigidity of the 

grid by extending form and color beyond the 

frame. The artist used syncopated rhythms 

of squares and lines to suggest movement 

across the work’s surface. He also included 

physically protruding wooden planes while 

superimposing circles and triangles onto 

the orthogonal structure. These strategies 

create virtual depth and push the composition 

further into the viewer’s space. 

VSG 

AUGUSTO TORRES, Uruguayan, 

1913–1992 

Estructura en blanco 

(Structure in White), c. 1965 

Oil on canvas 

37 3/4 x 27 1/8 in. (95.9 x 68.9 cm) 




Estructura en blanco belongs to Augusto 

Torres’s most mature period and exquisitely 

demonstrates the young painter’s 

assimilation and transformation of Joaquín 

Torres-García’s system of Universalismo 

Constructivo (Constructive Universalism) 

into his own artistic concerns. In this 

work, Torres emphasized the structural 

organization and the positioning of 

signs and objects within the gridlike 

compartments. This painting relates to 

Constructivo (1963), a wood construction 

by Augusto Torres in the Museum’s 

collection, as well as many of the other 

works of School of the South artists. 

VSG 

39

BETTY PARSONS, American, 

1900–1982 

Maine 2, 1957 

Acrylic on canvas 

66 x 148 x 68 in. 

(167.6 x 375.9 x 172.7 cm) 


contemporary@mfah, 2022 


From 1946 to 1982, Betty Parsons was 

among New York’s most acclaimed art 

dealers. She championed numerous 

painters, including Jackson Pollock, Mark 

Rothko, Forrest Bess, and Agnes Martin. 

However, her fi rst and most enduring 

commitment was to her own artistic 

practice. Her lyrical abstractions reflect 

both her surroundings and her deeply 

held mystical beliefs, and Maine 2 typifies 

her mature style. The organic palette and 

staccato brushwork evoke Maine’s coastal 

landscape, where Parsons had spent many 

summers. “The abstract world was considered 

cold,” she stated. “But it had fire, 

energy, nature, light, space—it concentrated 

on all those values.” 

ALG 

40

LEE KRASNER, American, 1908–1984 

Bird’s Parasol, 1964 

Oil on canvas 

61 1/8 x 46 in. (155.3 x 116.8 cm) 

Gift of Cornelia Cullen Long 

in memory of Meredith 

2021.755 

A pioneer among the Abstract Expressionists, 

Lee Krasner tackled Cubism’s structured 

spaces with a gestural freedom, developing 

an autographic painterliness that earned her 

a place at the forefront of her generation. 

Bird’s Parasol is among her signature works, 

typifying the exuberance of her mid-1960s 

paintings. The overall composition thrusts 

upward like a bird in flight, and Krasner 

commented, “For me, it is a matter of 

whether the canvas allows me to breathe 

or not—if the canvas soars into space or if 

it is earthbound . . . I would like to soar in 

a canvas.” 

ALG 

41

JAY DEFEO, American, 1929–1989 

Untitled [E2728], from the series Still Life 

(Delaware Street, Berkeley), 1953 


Sheet: 36 x 27 in. (91.4 x 68.6 cm) 

Museum purchase funded 

by the Caroline Wiess Law 


2021.724 

Jay DeFeo was celebrated in the 1950s 

as part of the energetic San Francisco 

community of Beat artists, musicians, 

and poets. This drawing was made after 

her return to San Francisco from her 

fellowship-funded travels through Europe 

and North Africa, in 1951–52, and before 

she produced her iconic one-ton, elevenfoot-tall 

monumental painting The Rose 

(1958–66, Whitney Museum of American 

Art). Untitled, from her Still Life series, 

features a still life atop a three-legged 

table. This delicate pen-and-ink drawing 

on a large sheet of paper, like others in the 

series, was made in tandem with smallscale 

sculptures. 

DMW 

JAY DEFEO, American, 1929–1989 

Untitled [E1029], from the series 

Tripod, 1976 

Acrylic and graphite with collage on 

wove paper 

Sheet: 28 x 23 1/4 in. (71.1 x 59.1 cm) 




2021.725 

Jay DeFeo was among the emerging artists 

whose work was included in the landmark 

1959 exhibition Sixteen Americans at the 

Museum of Modern Art in New York that 

showcased eclecticism and experimentation 

from several geographical regions. 

Sixteen years later, DeFeo produced a series 

of drawings that gave life to inanimate 

objects in her studio, such as this drawing 

resembling a tripod. She treated the threelegged 

mechanical object as a dressed 

human model. The artist gave the drawing 

textured nuances, making additions and 

erasures as she built up the surface with 

various materials. 

DMW 

42

EDWARD KIENHOLZ, American, 

1927–1994 

The Mort Soul Searcher, 1960 

Mixed media, power drill, 

and electric lights 

27 1/2 x 52 1/2 x 18 in. 

(69.9 x 133.4 x 45.7 cm) 

Gift of Ruth and Ted Baum 

2021.310 

The Mort Soul Searcher is a rare, early 

example of Edward Kienholz’s junk-aesthetic 

approach to assemblage and his wry political 

humor. Like a mad dog wandering down 

a quiet street, the sculpture disrupts the 

hushed precincts of an art gallery with its 

glowing eyes, hunched pose, and the hum 

of a drill bit embedded in the front limb. The 

title pays homage to the antiestablishment 

comedian Mort Sahl, whose features are 

eerily echoed in the Union Shield mask, as 

this unruly creature searches for the soul of 

America at a time when the battle for civil 

rights divided the nation. 

ALG 

43

GIUSEPPE PENONE, Italian, born 1947 

Il peso del soffio, il peso del corpo 

(The Weight of Breath, the Weight 

of the Body), 1979 

Ink and watercolor on wove paper 

Sheet: 22 x 29 1/2 in. (55.9 x 74.9 cm) 




The Italian artist Giuseppe Penone has 

worked tirelessly over the past five decades 

with conceptual and performative works 

as well as with monumental sculpture and 

works on paper, connecting nature with 

culture as symbiotic, reciprocally defi ned 

entities. In 1979 Penone produced Soffio 

di foglio (Breath of Leaves), using his body 

and breath to blow and impress his form 

into a massive pile of dried myrtle leaves. 

This ink drawing from the same year 

captures the experience; swaths of dark 

brown ink delineate the artist’s body amid 

the leaf pile, suggested by wide, curvilinear 

brushstrokes. 

DMW 


Senza titolo (Untitled), 1977 

Watercolor and ink on wove paper 

Sheet: 12 3/4 x 9 3/8 in. (32.4 x 23.8 cm) 




As an important leader of the Italian Arte 

Povera movement that emerged about 

1967–71, Giuseppe Penone explored the 

interplay among humankind, nature, and 

art. Inspired by the mountains and forests 

of northern Italy, the artist scrutinized 

nature’s cycles. This 1977 drawing is consistent 

with Penone’s early work, which 

explores the processes of respiration, 

growth, and aging that are common to 

both humans and trees. It relates to Soffio 

(Breath), a 1978 bronze that shows a new 

twig growing from a sapling, suggesting 

the delicate balance between humans and 

trees, carbon dioxide and oxygen. 

DMW 

44


Spoglia d’oro (Stripped of Gold), 2001 

Gold and plaster 

Base: 5 1/4 x 9 5/8 x 9 1/4 in. 

(13.3 x 24.4 x 23.5 cm) 

Object: 5 1/2 x 5 1/8 x 3 1/2 in. 

(14 x 13 x 8.9 cm) 




Giuseppe Penone makes works of art from 

ephemeral acts—such as his silhouette 

in a pile of leaves—in order to record his 

presence in the world at large. Spoglia 

d’oro enshrines the imprint of the artist’s 

palm, pressed into a sheet of gold, which 

he then shaped into a loose cone balanced 

on a plaster base. The contrast between 

the warm reflections of the gold and the 

matte surface of the plaster, as well as 

the contrast between the precious and 

the mundane, can be understood as a 

celebration of the animating spirit of life 

and creation. 

ALG 

45

NACHO CARBONELL, Spanish, 

born 1980 

One Man Chair, from the Evolution 

series, designed 2008, 

made 2009 

Recycled paper, iron, and chicken wire 

45 1/4 x 33 7/16 x 60 1/4 in. 

(115 x 85 x 153 cm) 

The Dennis Freedman Collection, 

museum purchase funded by the 

Caroline Wiess Law Accessions 



In 2008 the gallerist Rossana Orlandi 

commissioned the designer Nacho 

Carbonell to create a series of furniture. 

Carbonell decided to make communicative 

forms using experimental technology and 

materials to address issues related to the 

human condition and the environment. 

The resulting three forms, called the Evolution 

Collection, utilized recycled paper and chicken 

wire as their primary materials. For Carbonell, 

paper is a source of information, and chicken 

wire conveys being “cooped up.” One Man 

Chair provides a personal space for refuge 

and thinking, whereas the other two designs 

in the collection engage the public more 

directly through the user’s seated positions. 

CS 

46

PAOLO SANTINI, Italian, 1929–2020 

Chair, 1967 

Steel 

29 1/2 x 32 3/4 x 28 1/8 in. 

(74.9 x 83.2 x 71.4 cm) 






Paolo Santini had a diverse artistic career 

as a sculptor, furniture and jewelry 

designer, interior architect and draftsman, 

and painter. In the early to mid-1960s, he 

learned to cast aluminum, which became 

a signature material for him. By the end 

of the decade, Santini was designing 

aluminum and steel furniture forms 

made in small editions, including this 

chair. With its suspended, ribbed, and 

curved seat and architectonic base, the 

design, while functional, has a distinctive 

sculptural presence. Santini made it by 

hand, drawing on his material knowledge. 

He ultimately made four of these chairs in 

three different patinas. 

CS 

JURGEN BEY, Dutch, born 1965 

JAN KONINGS, Dutch, born 1966 

STUDIO KONINGS & BEY, Dutch, 

active 1991–2001 

For DROOG DESIGN, Dutch, 

established 1993 

Kokon Table-Chair, 1997/1999 

PVC and wood (or plastic) 

31 5/16 x 30 5/16 x 44 1/8 in. 

(79.5 x 77 x 112 cm) 






The Dutch designers Jurgen Bey and 

Jan Konings first received international 

attention in 1997 when they were 

invited to take part in a Droog Design 

project called Dry Tech II. The curatorial 

premise of the show espoused using 

low-tech materials in minimal but 

functional designs. Bey and Konings 

submitted a series of furniture called 

Kokon, including this Table-Chair, that 

consisted of familiar forms grafted 

together and wrapped in an elastic 

skin. The result is a new hybrid form 

that challenges preconceived notions 

of function and is both approachable 

and off-putting in its mutation. 

CS 

47

SHEILA PINKEL, American, born 1941 

Folded Paper, 1974–82 

Gelatin silver print 

51 7/8 x 108 1/2 in. (131.8 x 275.6 cm) 


the S. I. and Suzie Morris 

Photography Endowment 


To make Folded Paper, Sheila Pinkel 

exposed a folded sheet of photographic 

paper to a brief flash of light. She then 

unfolded and processed the paper in the 

darkroom, revealing the dramatic shading 

and sense of volume this simple method 

produced. By distilling her process to 

the very essentials of photography—light 

and paper—Pinkel teased out one of the 

medium’s great contradictions: its endless 

ability to reproduce the world and its 

endless capacity to defamiliarize it. 

LV 

48

OMAR RAYO, Colombian, 1928–2010 

TiiiT, 1974 


17 x 17 in. (43.2 x 43.2 cm) 

Fundación Privada Allegro Collection, 

gift of Fundación Privada Allegro 

2021.565 

TiiiT is an exceptional painting by the 

renowned Colombian artist Omar Rayo. 

An important fi gure in the development 

of geometric abstraction, Rayo is known 

for distorting and overlapping black and 

white ribbons associated with Indigenous 

cultures to create a sense of optical movement 

and volumetric shape. Featuring 

a crisp pattern of a thick blue line on a 

red background, TiiiT creates an optical 

illusion of three-dimensional movement 

in which the canvas appears to fold onto 

itself and overlap in the middle. 

VSG 

49

ZILIA SÁNCHEZ, Cuban, born 1926 

Lunar con tatuaje (Moon with Tattoo), 

c. 1968–69 

Acrylic and ink on canvas 

71 5/8 x 72 1/16 x 11 5/8 in. 

(182 x 183 x 29.5 cm) 


2022 Latin American Experience 

Gala and Auction 


Lunar con tatuaje is one of Zilia Sánchez’s 

largest and most complex works from her 

innovative series of tattooed, shaped canvases. 

The painting combines her gestural 

topological drawings with astronomical 

references to create a larger unit with cosmic 

symbolism. Sánchez began exploring 

the shaped canvas during the late 1950s 

while living in Cuba. By stretching painted 

canvases over hand-molded wooden 

armatures, she produced three-dimensional, 

undulating silhouettes imbued with sensuous 

undertones. The curved protrusions 

from the canvas resemble breasts and 

female genitalia, as well as mountains, 

rivers, and valleys. 

RM 

50

CÉSAR PATERNOSTO, Argentinean, 

born 1931 

I Wonder Why, 1971 


48 1/4 x 48 1/16 x 3 1/16 in. 

(122.5 x 122 x 7.7 cm) 


the Latin Maecenas 


I Wonder Why is an early painting by César 

Paternosto that he described as “lateral or 

oblique.” The front of the canvas is painted 

white, and the vertical sides serve as the 

site for experimentation. Here, the artist 

relies on a limited color palette of orange, 

purple, and pink to create horizontal bands 

that accentuate the thickness of the canvas. 

By shifting the attention to the sides of the 

canvas, Paternosto innovatively questioned 

the traditional frontal format of paintings, 

highlighting the three-dimensionality of 

the support and turning his paintings 

into objects. 

VSG 

51

CÉSAR PATERNOSTO, Argentinean, 

born 1931 

Adobe Gate II, 1992 

Mixed media on canvas 

72 1/16 x 58 1/8 x 2 5/16 in. 

(183.1 x 147.6 x 5.9 cm) 

Gift of Fundación Privada Allegro 

2021.564 

Adobe Gate II, by the Argentinean artist 

César Paternosto, exemplifi es his interest 

in Inca artifacts and architecture. Here, the 

artist manipulated the canvas to resemble 

a facade. Painted in a matte, monochromatic 

bronze, this work draws on Andean 

and Greek architecture. Specifi cally, the 

opening in the middle refers to the “sun 

gate,” a monolithic carved arch or gateway. 

An avid traveler and archaeology enthusiast, 

Paternosto visited numerous porticos 

and sun gates throughout Europe and 

South America in the 1980s and 1990s. 

VSG 

52

LIKA MUTAL, Peruvian, 

born the Netherlands, 1939–2016 

Sanctuary of Opposites: I Am One Stone, 

1992 

Travertine 

38 x 29 x 23 in. (96.5 x 73.7 x 58.4 cm) 

Gift of the Nohra Haime Gallery 

2021.569 

In this sculpture, Lika Mutal presents 

two rough, organic, mountainous shapes 

made of travertine, connected by a pair of 

smooth, interlocking rings carved from 

the same stone. The artist’s intervention 

into the stone and its natural state coexist 

in a respectful and powerful harmony. 

Sanctuary of Opposites is one of a kind, 

yet it exemplifi es Mutal’s overall practice, 

characterized by a repetition of motifs and 

shared attributes. The subtle differences 

in each work emphasize Mutal’s intimate 

relationship with stone and her interest 

in using a single block to create a work 

that highlights the specific qualities of 

the medium. 

VSG 

53

LENORE TAWNEY, American, 

1907–2007 

Médecins Anciens, 1966 

Paper, newsprint, glass, spices, cork, 

and ink 

2 1/2 x 8 1/2 x 5 1/4 in. 

(6.4 x 21.6 x 13.3 cm) 


the Caroline Wiess Law Accessions 



Lenore Tawney’s assemblage sculptures 

often feature mixed media culled from her 

studio archive of diverse found and saved 

materials. Indebted to and often compared 

with Surrealist examples and specifi cally 

Joseph Cornell’s boxes, Tawney’s assemblages 

are less about creating a world and 

more about engaging cherished materials 

in multiple ways. Médecins Anciens was 

inspired by Tawney’s visit to a homeopathic 

doctor during the 1960s. The cork vials filled 

with potions in his offi ce caught her eye 

and sparked her imagination. Here, Tawney 

incorporated similar vials filled with spices 

and set them into a collaged box, conjuring 

a connection to the past. 

CS 

54


1907–2007 

Dove, 1974 

Linen 

118 x 108 in. (299.7 x 274.3 cm) 





Lenore Tawney was a dominant fi gure in 

American fi ber art from the 1950s to mid- 

1980s. Dove is part of a series of large-scale 

woven forms that Tawney made in 1974 

in response to issues of form, light, and 

structure. It featured a new technique—the 

slit weave—that allowed light to penetrate 

the form. For Dove, Tawney distilled her 

aesthetic vocabulary to a cross, which for her 

represented transcendence and the eternal. 

The title, inspired by Carl Jung, is a nod to 

Tawney’s spiritual and meditation practice, 

promoting peace and harmony within one’s 

personal being and environment. 

CS 


1907–2007 

Distilla, 1967 

Paper and watercolor 

Sheet: 10 1/4 x 8 1/4 in. (26 x 21 cm) 

Gift of the Lenore G. Tawney Foundation 


The collages that Lenore Tawney began 

making in the 1960s grew out of her 

practice of making small-scale mail art 

with painted and collaged elements drawn 

from her studio archive. Tawney’s collages 

owe a debt to Dada and Surrealism. 

Distilla, French for distilled, alludes to the 

filtering of matter from a liquid base. Here, 

Tawney is using it possibly as a metaphor 

for language and nature (the collaged text) 

emerging from the earth’s atmosphere 

(the painted sky). Distilla represents the 

best of Tawney’s collage—bold and intimate, 

abstract but pictorial, vibrant with 

movement, and distinctive in its image 

and personality. 

CS 

55

ROBERT RAUSCHENBERG, American, 

2025–2008 

Printed by Bill Goldston 

Published by Universal Limited Art 

Editions, Ltd., Bayshore, New York 

Kitty Hawk, 1974 

Lithograph on Kraft brown wrapping 

paper, edition 26/28 

Sheet: 79 x 40 in. (200.7 x 101.6 cm) 


Art + Paper 2022 


Throughout his six-decade career, Robert 

Rauschenberg embraced technical 

experimentation and material eclecticism. 

This lithograph is impressive for its size 

and use of a photomechanical camera. It 

was printed on a single sheet of brown, 

asphalted paper, a commercial, waterproof 

paper typically used for wrapping shipments 

by United Limited Art Editions (ULAE), in 

keeping with Rauschenberg’s utilization of 

everyday materials. The print incorporates 

images of a scarf belonging to ULAE’s 

founder, Tatyana Grosman, and a bicycle, 

referencing the Wright brothers, who had 

owned a bicycle shop and conducted their 

initial flight experiments in Kitty Hawk, 

North Carolina. 

DMW 

56

BRUCE CONNER, American, 

1933–2008 

PRINTS, 1974 

Steel lockbox, paper envelopes with 

typewritten text, photocopies on paper, 

gelatin silver prints with typewritten 

text, metal keys, plastic bags, clear 

plastic folders with plastic binding clips, 

paper folders, fingerprint form, and ink 

fingerprints 

2 5/16 x 15 1/4 x 10 7/16 in. 

(5.8 x 38.8 x 26.5 cm) 


Morris Weiner 

2021.757 

As an incoming lecturer at San José State 

University, Bruce Conner was fingerprinted 

as part of the school’s policy. Conner 

requested the return of his fi ngerprints 

after processing, arguing that they were a 

work of art, as he had previously sold work 

bearing only his fi ngerprint. The school 

objected. Conner fought for twelve years— 

documenting the conflict through letters, 

transcripts, photocopies, fingerprints, and 

photographs—until the return of his fingerprints. 

PRINTS combines conceptual art, 

performance, and humor while provoking 

questions about the very idea of personal 

identity and what kind of value can and 

cannot be placed upon it. 

LV 

PHILIP-LORCA DICORCIA, 

American, born 1953 

Eddie Anderson, 21 years old, 

Houston, Texas, $20, from the series 

Hustlers, 1991 

Chromogenic print 

26 1/4 x 38 1/4 in. (66.7 x 97.2 cm) 

Gift of John A. MacMahon 

in memory of Clinton T. Willour 

2021.628 

Having received a National Endowment 

for the Arts fellowship that required a 

pledge not to make “obscene” work, 

Philip-Lorca diCorcia set out to reveal the 

bleak underside of Hollywood and respond 

to the self-righteous, anti-gay bigotry of 

certain politicians. Only after scouting 

locations and planning each photograph 

with meticulous detail did he search for 

models among the hustlers, drug addicts, 

and drifters of Santa Monica. Almost as 

a defi ant poke in the government’s eye, 

diCorcia paid his subjects (with NEA funds) 

the amount each would have charged for 

sex—$20 in this case of this young man 

from Houston. 

MD 

57

MARTA MINUJÍN, Argentinean, 

born 1943 

Payment of the Argentine Foreign Debt 

to Andy Warhol with Corn, the Latin 

American Gold, 1985, printed 2010 

Series of digital C-prints, edition of 3/3 

Each: 53 1/8 x 49 5/8 in. (135 x 126 cm) 

Gift of the Institute for Studies 

on Latin American Art (ISLAA) 

2022.192.1–.3 

These photographs capture the moment 

when Marta Minujín handed Andy Warhol 

bushels of corn as symbolic payment for 

Argentina’s foreign debt. Corn is central 

to Indigenous cultures and has been 

associated with the natural wealth of the 

Americas since colonial times. Here, 

it subtly links Argentina’s fi nancial 

difficulties of the 1980s to a long history 

of colonization in which it, like other Latin 

American countries, fi gured as a mere 

source of raw materials to be harnessed 

by foreign powers. Within an Argentinean 

context, the corn stands in for fi nancial 

loans that threatened to destabilize 

the country’s precarious economy in 

the 1980s. 

VSG 

58

MINOL ARAKI, Japanese, born China, 

1928–2010 

Lotus Pond, 1987 

Set of 12 continuous panels; 

ink and color on Japanese paper, 

mounted on Dibond panel 

34 3/4 x 834 x 1 1/4 in. 

(88.3 x 2118.4 x 3.2 cm) 

Museum purchase funded by Anne 

and Albert Chao, Chitra Kumar and 

Kumar Bashyam, and Friends of Asian 

Art; and made possible by a gift of 

David Frank and Sugiyama Kazukuni 


Minol Araki’s Lotus Pond stretches across 

twelve panels that allow for modular 

display, reflecting Araki’s previous work as 

an industrial designer in Japan. Lotus Pond 

is one of five monumental artworks painted 

by Araki during the 1980s in memoriam 

to his teacher and friend, Zhang Daqian 

(1898–1983), the famed Chinese ink painter. 

The lotus is a ubiquitous form in Asian art 

and especially in the Buddhist practice as a 

metaphor for enlightenment, as the radiant 

blossom grows from murky waters. Shown 

in various stages of its life cycle, the lotus 

also represents the ephemeral transience 

of human existence. 

BB 

59

JACK WHITTEN, American, 

1939–2018 

Natural Selection, 1995 

Acrylic and sumi ink on 

unstretched canvas 

96 x 83 3/4 x 1/4 in. 

(243.8 x 212.7 x 0.6 cm) 




2021.544 

Jack Whitten was among the vanguard of 

New York artists whose innovative approach 

to painting in the 1970s and 1980s emphasized 

the physicality of their canvases 

and materials. Whitten’s work stands out 

among his contemporaries, however, as 

he reconciled his formal explorations with 

nuanced meditations on history, science, 

and the nature of Black identity. Natural 

Selection features his autographic mosaic 

technique, with handmade blocks of acrylic 

paint creating a shimmering grid. At the 

same time, the shadowy fi gure gives the 

composition an emotive anchor, further 

buttressed by the title’s reference to the 

Darwinian struggle for existence. 

ALG 

60

CALLUM INNES, Scottish, born 1962 

Exposed Painting Charcoal Black 

on Black, 2004 

Oil on canvas 

68 3/4 x 64 x 1 1/2 in. 

(174.6 x 162.6 x 3.8 cm) 

Gift of Peter and Linda Zweig 

2021.318 

Exposed Painting Charcoal Black on Black 

demonstrates the conceptual rigor and a 

delicacy of touch that Callum Innes brings 

to his process-based abstractions. Innes 

began this canvas by laying down a white 

primer and then bisecting the canvas with 

a single, broad, black band of paint. He 

then “unpainted” the left half of the black 

band, brushing on a layer of turpentine 

that dissolved the top coat of pigment, 

which then flowed down. As a result, Innes 

reveals the warmer charcoal-toned hues 

buried within the seemingly monochromatic 

palette, imbuing the overall composition 

with an inner light. 

ALG 

61

THOMAS HOUSEAGO, British, 

born 1972 

Reclining Figure (For Rome), 2013 

Bronze, edition 2/3 

66 x 148 x 68 in. 

(167.6 x 375.9 x 172.7 cm) 

Gift of the Abush Family 

2021.558 

Thomas Houseago modeled Reclining 

Figure (For Rome) on Dying Gaul, one 

of classical antiquity’s most famous 

sculptures. Houseago evokes mortality 

in a visceral manner, flaying flesh from 

bone, revealing a hollowed-out body 

and the supports that hold the patently 

artificial construction together. He stated, 

“I am fascinated by the act . . . of making 

art. And in a broad sense, by how an artist 

responds to the world and the action that 

occurs from that interaction . . . I wanted 

to get rid of the readymade and figure out 

what I looked like and how I reacted to 

the world.” 

KAO 

62

RON MUECK, Australian, born 1958 

Woman with Shopping, 2014 

Mixed media 

44 1/2 x 18 1/8 x 11 13/16 in. 

(113 x 46 x 30 cm) 




2021.596 

Ron Mueck draws upon memories, 

reveries, and everyday experience as he 

approaches his subjects with extraordinary 

empathy. Typically spending more than a 

year conceiving and making each fi gure, 

Mueck captures every physical detail with 

an astonishing degree of verisimilitude. 

This naturalism, however, is undercut by 

his calculated play with scale. Woman with 

Shopping, which stands only forty-four 

inches high, was inspired by a woman 

and child Mueck spotted on a London 

street; he meticulously translated this 

fleeting encounter into a compassionate 

testament to motherhood, and the loving 

and exhausting care it demands. 

ALG 

63

MARILYN MINTER, American, 

born 1948 

Smash, 2014 

Single-channel video, sound 

7 minutes, 18 seconds 





For more than four decades, Marilyn 

Minter has explored the intersection of the 

glamorous and the grotesque through a 

feminist lens in photography, painting, and 

video. Her embrace of the visual language 

of both the fashion and porn industries and 

her unabashed depiction of the female body 

were controversial in the 1980s and remain 

intentionally unsettling—simultaneously 

seductive and repulsive. In her mesmerizing 

slow-motion video Smash, a dancer 

in jeweled anklets and silver stilettos, seen 

only from her calves down, sloshes through 

puddles of silver liquid and kicks through 

a pane of glass, sending liquid and glass 

shards toward the camera. 

MD 

64

ZANA BRISKI, American and British, 

born 1966 

Bearogram #2, August 1, 2019 

Gelatin silver print, photogram 

52 1/2 x 84 3/8 in. (133.3 x 214.3 cm) 




On moonless nights in the woods of 

upstate New York, Zana Briski often hiked 

to a place she knew nocturnal creatures 

might pass. There, she would unroll an 

enormous sheet of photographic paper, 

stretch it between supports alongside the 

trail, and wait in the darkness. Often she 

waited in vain, but sometimes luck blessed 

her endeavor: a black bear strolled along 

the trail, and as it walked between Briski 

and her photographic paper, she fired an 

electronic flash—so instantaneous that the 

bear hardly noticed, but powerful enough to 

record its shadow as a one-of-a-kind, lifesized 

photogram. 

MD 

65

RAVEN HALFMOON, Caddo Nation, 

born 1991 

Nut’tehtsi (Red River Girl), 2021 

Stoneware 

53 1/2 x 34 x 48 in. 

(134.6 x 86.4 x 121.9 cm) 





Building on her study of ancient Caddo 

vessels, Raven Halfmoon pinched, 

pressed, and sculpted thick coils of clay 

into two commanding female fi gures 

that melt into one. Bah’hatteno Nut’tehtsi 

(Red River Girl in Caddo) refers to the 

Red River, a center of the artist’s Caddo 

heritage that winds between East Texas, 

Arkansas, Louisiana, and southeastern 

Oklahoma. The red glaze that encircles 

each figure’s cheeks refers to both modern 

cosmetics and traditional Caddo tattoos. 

By entwining ancestral influences with 

contemporary touchpoints, the sculpture 

counters notions of Indigenous artistry as 

something that lives only in the past. 

EE 

66

SONIA GOMES, Brazilian, born 1948 

Untitled, from the series Raíz 

(Root), 2018 

Fabric, thread, and wood 

20 9/16 x 12 3/4 x 6 3/16 in. 

(52.3 x 32.4 x 15.7 cm) 




The contemporary artist Sonia Gomes 

began her art career in her forties, developing 

a practice that combines found and 

gifted materials and objects to create winding, 

entangled forms that evoke sacred 

artifacts. The hybrid, mysterious character 

of her works recalls Afro-Brazilian religious 

rituals, such as those Gomes witnessed 

when she was a child. Gomes incorporates 

tree trunks and branches into these pieces, 

binding patchworks of fabric to the wood, 

as seen in Untitled, a compact work with 

an alchemical presence. 

VSG 

67

PAULO NAZARETH, Brazilian, 

born 1977 

Untitled, from the series Objetos para 

tampar o sol de seus olhos (Objects to 

Keep the Sun Out of Your Eyes), 2010 



(59.7 x 89.5 cm) 

Gift of Billie W. Mercer in memory 

of Gary Mercer 


Paulo Nazareth’s work often relies on precise 

and simple gestures to raise awareness 

of pressing issues such as immigration, 

globalization, and colonization. This work 

pertains to a series of self-portraits in which 

the artist wears various hats made out of 

woven palm leaves. The title Objects to Keep 

the Sun Out of Your Eyes suggests the protective 

measures taken by enslaved Africans 

forced to labor in Brazil’s sugar fields and 

also underscores Nazareth’s vulnerability 

as he undertook extended journeys on foot 

across Brazil. Through this work, Nazareth 

explores the exoticization and commercialization 

of his own Afro-Brazilian and 

Indigenous identity. 

VSG 

68

VINCENT VALDEZ, American, 

born 1977 

ADRIANA CORRAL, American, 

born 1983 

Requiem, 2019 

Eagle: clay, cast bronze, and ash 

32 x 72 x 58 in. (81.3 x 182.9 x 147.3 cm) 

Wall: dates hand-carved into drywall 

216 x 420 in. (548.6 x 1066.8 cm) 



Endowment 


The first large-scale collaboration between 

Vincent Valdez and Adriana Corral, 

Requiem presents a larger-than-life fallen 

eagle, made by Valdez from clay and cast 

in bronze. Behind the sculpture, Corral 

laboriously carved 243 dates into individual 

drywall squares, representing the number 

of years the American Republic has been 

in existence. Each date was chosen by a 

different, anonymous person from across 

the country; participants were asked to 

collaborate and contribute a written text 

about their date’s signifi cance. Corral 

ritualistically burned these papers in an 

act of mourning, and Valdez then used the 

ashes to create a patina for the bronze bird. 

RM 

69

DAVID HOCKNEY, British, born 1937 

Ink Test, 19th to 21st March, 2019 

Inkjet print on wove paper, 

edition 26/35 

Sheet: 33 7/8 x 43 in. (86 x 109.2 cm) 




2021.435 

Throughout his more than sixty-year 

career, the British artist David Hockney 

has been a restless draftsman, embracing 

mark making while also utilizing technologies 

such as Polaroid photographs, fax 

machines, and digital tools. Made at his 

home in the countryside of Normandy, 

in northern France, this print portrays 

an intimate view of objects and collected 

specimens inside and outside his studio. 

Here, Hockney tests out the capabilities 

of various ink colors, inscribed with notations 

and numbers. A contour drawing 

of a dog is visible on the back wall. 

DMW 

ELLEN LESPERANCE, American, 

born 1971 

Printed by Valpuri Remling and 

Alyssa Ebinger 

Published by Tamarind Institute, 

Albuquerque, New Mexico 

The Final Path of Feminye, 2020 

Lithograph in 9 colors, printed chine 

collé, on wove paper, edition 4/20 

42 x 29 13/16 in. (106.7 x 75.7 cm) 

Museum purchase funded by the Alvin 

S. Romansky Prints and Drawings 


2021.541 

The Portland-based artist Ellen Lesperance 

addresses the aesthetics of protest, making 

visible feminist narratives across generations, 

causes, and cultures. In 2020 she 

created three prints at Tamarind Institute 

about twentieth-century female activists 

through their garments. This lithograph 

simulates and translates the gridded yarn 

pattern of a variegated-color sweater. The 

pattern of the labrys (double-sided ax) symbolizes 

the women’s liberation movement 

and feminism. The image is based on a 

monochromatic photograph of a woman 

wearing a striped sweater from the 1980s 

Greenham Common Women’s Peace 

Camp, a protest against nuclear weapons. 

DMW 

70

PIPILOTTI RIST, Swiss, born 1962 

Peeping Freedom Shutters for 

Olga Shapir, 2020 

Silent single-channel video installation 

with vertical flatscreen, in wooden 

painted window frame with shutters, 

integrated video player; unique 

Overall (open shutters): 

77 x 85 7/16 x 7 7/8 in. 

(195.6 x 217 x 20 cm) 

23 minutes, 11 seconds 





Pipilotti Rist’s Peeping Freedom Shutters for 

Olga Shapir frames the infinite and ecstatic 

world we inhabit within the confi nes of 

domestic architecture. The title cites an 

overlooked feminist author—Olga Shapir, 

who championed women’s rights in Tsarist 

Russia—and the embedded video tracks 

how the body and nature are united in a 

seamless flow. In contrast, the shutters 

provide a rigid and ambiguous portal. Rist 

has commented, “There is this saying that 

our eyes are the windows to our soul. I 

love this about windows and eyes: they 

let us look outside while allowing a view 

inside too.” 

ALG 

71

BILLIE ZANGEWA, Malawian, 

born 1973 

The Pleasure of a Child, 2021 

Hand-stitched silk collage 

45 1/8 x 61 7/8 in. (114.6 x 157.2 cm) 


the Caroline Wiess Law 



Attuned to depicting mundane visual 

anecdotes in her domestic life, Billie 

Zangewa stitches together silk collages 

to flesh out narratives of what she calls 

“daily feminism.” The Pleasure of a Child 

distills with extraordinary tenderness a 

rare moment of connection during the first 

year of the COVID-19 pandemic. Zangewa 

recounted, “Although we didn’t feel like 

celebrating Christmas 2020, we did it 

anyway in a very small way to bring pleasure 

to my son. . . . The act also brought reprieve 

to us the adults, as we could just bask in the 

pure joy of a child.” 

AB 

LORETTA PETTWAY, American, 

born 1942 

Printed by Alexander Groshong 

Published by Paulson Fontaine Press, 

Berkeley, California 

Remember Me, 2006 

Softground in colors and hardground 

etching with aquatint and spitbite 

aquatint on Somerset white textured 

wove paper, edition 28/50 

Plate: 28 9/16 x 28 5/8 in. (72.5 x 72.7 cm) 

Sheet: 39 1/2 x 38 3/4 in. (100.3 x 98.4 cm) 


Ann S. Jackson and Virginia R. 

Jackson at Art + Paper 2022 


Begun in the nineteenth century by enslaved 

people on what was then the cotton plantation 

of Joseph Gee, the unique patchwork quilting 

tradition of Gee’s Bend, Alabama, has been 

carried forward by multiple generations of 

Black women from this rural community. 

master printer Pam Paulson of Paulson 

Fontaine Press realized the graphic potential 

of Gee’s Bend quilts and collaborated with 

five artists to translate their three-dimensional 

textiles into two dimensions. Loretta Pettway’s 

Remember Me, with its lively asymmetrical 

design and equally bold palette, demonstrates 

the formal qualities that have garnered Gee’s 

Bend quilts comparisons to Modernist painting 

and improvisational jazz. 

DMW 

72

DEBORAH ROBERTS, American, 

born 1962 

The Inconvenient citizen, 2021 

Collage of acrylic, graphite, pastel, 

and inkjet prints 

52 x 38 in. (132.1 x 96.5 cm) 




2021.395 

In this collaged and painted work, a preteen 

boy lays his head in his right hand as if 

at rest; yet, his left hand and wandering 

eyes convey a tension or danger. “At the 

base of everything that I’m trying to say 

is that we’re starting off with an innocent 

kid,” Deborah Roberts explains, “and I’m 

dealing with what society has drawn on.” 

This work’s title, The Inconvenient citizen, 

references the complex politics that Black 

children are forced to navigate. Though 

Roberts’s collages are meant to reflect 

present inequalities, they also celebrate 

Blackness, beauty, and innocence. 

LV 

73

QUALEASHA WOOD, American, 

born 1996 

Foreva by Cardi B, 2021 

Cotton jacquard weave and glass beads 

Overall (with fringe): 

87 13/16 x 62 3/8 in. (223 x 158.5 cm) 


Bryn Larsen, Jean L. Karotkin, 

Nena Marsh, Jeffrey A. Magid, 

Emily Todd, Lester Marks, the African 

American Art Advisory Association, 

and Cyvia Wolff 


“[I played] the Sims when I was younger, 

and assuming this God-like position of, 

‘I control these people. I’ve built these 

universes’ . . . that’s what inspired me to 

start thinking differently,” notes Qualeasha 

Wood. Through gestures, languages, and 

iconography, Wood exposes the parallels 

between the religion and technology fi rst 

revealed to her through online gaming. 

In this dual realm, she positions herself 

as both creator and created, heckler and 

martyr, stereotype and icon—a realm of 

existence Wood describes as free of any 

“notions and stereotypes of what Blackness 

is supposed to look like and be.” 

LV 

74

DEREK FORDJOUR, American, 

born 1974 

Cotillion, 2022 

Acrylic, charcoal, cardboard, oil pastel, 

foil on newspaper, and canvas 

96 x 72 in. (243.8 x 182.9 cm) 


the Robert H. N. Ho Family 

Foundation Global 


Derek Fordjour’s Cotillion represents a 

formative cultural event in Black debutante 

culture. Using his signature collage technique, 

Fordjour imbued the canvas with 

references to the first Black cotillion in Los 

Angeles, held on October 20, 1952, as the 

African American community turned out 

to celebrate the presentation of eighteen 

eligible ladies of marrying age to society. 

Fordjour depicts a progression of eighteen 

sumptuously dressed couples across the 

ballroom floor. In the foreground, the table 

numbers “19” and “52” refer to the year of 

the original ball. This phenomenon became 

synonymous with racial uplift among the 

Black upper class. 

AB 

75

ACCESSIONS | African Art | American Art | Art of the Indigenous Americas | Art of the Islamic Worlds | Asian Art 

Whenever possible, the nationality 

and lifespan dates of the artist or 

maker are provided. 

AFRICAN ART 

GIFTS 

Gifts of Frank Carroll: 

Oshele (Currency Blade) 

Nkutshu or Ndengese people, 

Congo Free State, c. 1875–1925 

Iron 


Sogoni Koun (Headdress) 

Bamana people, French Sudan, 

20th century 

Wood and fiber with waterbuck hair 


Mvwala (Staff) Finial 

Kongo Yombe people, 

Kingdom of Kongo, 19th century 

Wood 


Chief’s Stool 

Babanki people, German Kamerun or 

British Cameroon, early 20th century 

Wood, beads, and string 


AMERICAN ART 

PURCHASES 

Ammi Phillips, American, 1788–1865 

Man with Ruffled Jabot, c. 1825 

Woman with Lace Collar, c. 1825 

Oil on canvas 


Friends of American Arts 

2021.535, 2021.536 

ART OF THE 

INDIGENOUS 

AMERICAS 

PURCHASES 

Rhonda Holy Bear, Cheyenne River Sioux, 

born 1959 

Pair of Blackfoot Warriors, 1997 

Mixed media 


Kay and Doug Wilson 


Purchases funded by the 

Alfred C. Glassell, Jr. Accessions 

Endowment Fund: 

Pair of Beaded and Quilled Moccasins with 

Horse-Track Design 


ART OF THE 

ISLAMIC WORLDS 

GIFTS 

Musket 

‘Alawid Morocco, 18th century 

Silver and brass with niello 

and glass jewels 

Gift of the Honorable and 

Mrs. Edward P. Djerejian 


PURCHASES 

Banner 

Ottoman Turkey, late 17th century or later 

Silk; woven with metallic thread 

Museum purchase funded by Rania and 

Jamal H. Daniel; Lily and Hamid Kooros; 

Dr. Aziz Shaibani; and the Director’s 

Accessions Endowment 

2021.317 

ASIAN ART 

GIFTS 

Seated Entertainer 

China, Han dynasty, 206 BC–AD 220 

Earthenware 

Gift of Jane and Leopold Swergold 

2021.429 

PURCHASES 

Hayashi Kodenji, Japanese, 1831–1915 

Hydrangea Vase, c. 1900 

Wired and wireless (musen) cloisonné 

enamels on dark blue ground 

Museum purchase funded by Nanako and 

Dale Tingleaf; Friends of Asian Art; and 

gift of the Orientation Gallery 

2021.323 

Kobayashi Kiyochika, Japanese, 1847–1915 

Published by Matsuki Heikichi, Japanese, 

1836–1891 

Hunter Spying a Hawk, c. 1880 

Woodblock printed diptych; ink and color 

on kozo paper 

Museum purchase funded by Peter and 

Erika Aron and the Japanese Business 

Association 


Pair of Lions 

Rajasthan, probably Udaipur, c. 1880 

Silver over wood 


Manmeet and Paul Likhari 


Toyohara Chikanobu, Japanese, 1838–1912 

A Collection of Pictures of Chignon Wigs 

to Put On, 1887 

Woodblock prints on paper 

Museum purchase funded by Usha and 

Kalyeem (Beaded Headdress) 

Kuba Bushoong people, 

Congo Free State, c. 1900 

Raffia, cotton cloth, cowry shells, 

and glass beads 


Hide, softened and dyed porcupine quills, 

beads, cotton cloth, thread, and tin cones 


Pair of Beaded Possible Bags 


Hide, beads, tin cones, dyed horsehair, 

Gifts of Edward and Kendall Ondarza: 

Pages from an Album 

Tamil Nadu, India, c. 1815–28 

Graphite and watercolor on laid paper 

2021.503–2021.519 

Kumara Peddamathan, Leslie and Brad 

Bucher, Diane and H. John Riley Jr. in 

honor of Anne and Albert Chao, Raymond 

D. Brochstein, and Lenora Montgomery 


Minol Araki, Japanese, born China, 

pigment, thread, and sinew 


Spontoon-Type Pipe Tomahawk 

Western Plains Tribe, c. 1790–1880 

Wood, iron, and brass tacks 


Pages from an Album 

Calcutta, India, c. 1812–14 

Commissioned by William Roxburgh 

Graphite, ink, and watercolor 

on wove paper 

2021.520–2021.534 

1928–2010 

Lotus Pond, 1987 

Set of 12 continuous panels; ink and 

color on Japanese paper, mounted 

on Dibond panel 

Museum purchase funded by Anne and 

Albert Chao, Chitra Kumar and Kumar 

Bashyam, and Friends of Asian Art; 

and partial gift of David Frank and 

Sugiyama Kazukuni 


76

Asian Art | The Bayou Bend Collection | Decorative Arts, Craft, and Design 

Purchases funded by 

Friends of Asian Art, and Usha 

and Kumara Peddamatham: 

Betel Box with Scenes from 

the Sama Jataka 

Burma (present-day Myanmar), 1909 

Silver 


Storage Box with Scenes from 

the Sama Jataka and the Ramayana 

Burma (present-day Myanmar), 1925 

Silver 


Maung Kywet Ni, Burmese, 

dates unknown 

Cup with Scenes of Mahajanaka Jataka, 

c. 1880 

Silver 


• • • 

Sanju Saku, Japanese, active 1880–1920 

The “Brown Sherman” Tea and Coffee Service, 

c. 1900–1902 

Jungin silver and cloisonné enamel 

with ivory 


Mr. and Mrs. Laurence C. Burns 


– 

Takahiro Kondo, Japanese, born 1958 

Nami (Wave), 2021 

Marbleized porcelain, “silver mist” overglaze, 

cast glass, removable stainless base 

Museum purchase funded by Ms. Miwa S. 

Sakashita and Dr. John R. Stroehlein, and 

Nanako and Dale Tingleaf 


Chintz Textile 

Coromandel, East Deccan 

(present-day India), c. 1800 




Unknown Company School artist, Bengali 

View of Pudu Mandapa opposite the 

Meenakshi Temple at Madurai, c. 1854 

Pencil and watercolor on paper 


Elizabeth S. and Marjorie G. Horning 

Asian Art Endowment 


THE BAYOU BEND 

COLLECTION 

GIFTS 

Child’s Mug 

England, probably Staffordshire, c. 1820 

Earthenware (pearlware) with transfer print 

The Bayou Bend Collection, gift of 

Carol Jean and Michael Moehlman 

B.2021.7 

Tucker China Factory, American, 

1826–1838 

Teacup and Saucer, c. 1837 

Philadelphia 

Hard-paste porcelain with enamel 

and gilding 


Jesse Goldberg, Artemis Gallery 

B.2021.8 

Attributed to Moses Williams, 

American, 1777–c. 1825 

Revealed Silhouette of George Washington, 

after 1803 

Philadelphia 

Wove paper and black textile 

The Bayou Bend Collection, 

gift of Pam Diehl 

B.2021.9 

Retailed by J. G. & D. Bell, American, 

1851–1860 

Dinner Fork, c. 1851–60 

Retailed in San Antonio, Texas 

Silver 


Lynn Hamilton, Carol A. Crawford, 

Sally Luna, Jeannie Osborne, and 

Patsy Holmes, the first five presidents 

of the Silver Study Society 


PURCHASES 

David Elers, English, 1656–1742 

John Philip Elers, English, 1664–1738 

Teapot, c. 1690–98 

Burslem, Staffordshire, England 

Red stoneware and silver 

The Bayou Bend Collection, museum 

purchase funded by Patti Mullendore, 

and Carol Jean and Michael Moehlman 

B.2021.6 

Thomas Fletcher, American, 1787–1866 

Sauceboat, c. 1830 

Philadelphia 

Silver 


purchase funded by the Bayou Bend 

Provisional Class of 2012 in honor of 

Tricia Rosencranz and Jennifer Hammond 

B.2021.10 

Purchases funded by Susan Neptune: 

Unknown artist, English 

Tit for Tat or Wm. Hogarth Esqr. Principal 

Pannel Painter to His Majesty, 1763 

Etching with engraving on laid paper 

The Bayou Bend Collection 


Johann Christoph Heyne, American, 

born Germany, 1715–1781 

Flagon, c. 1754–80 

Lancaster, Pennsylvania 

Pewter 

The Bayou Bend Collection 


• • • 

Henry Dawkins, American, born England, 

active 1753–c. 1786 

After William Williams, American, 

born England, 1727–1791 

Benjamin Lay, c. 1760 



purchase funded by the Theta Charity 

Antiques Show 


Josiah Wedgwood & Sons, English, 

founded 1759 

Modeled by William Hackwood, 

English, c. 1753–1836 

Abolitionist Medallion, c. 1787 

Etruria, Staffordshire, England 

Stoneware (jasperware) 


purchase funded by the Toni and 

Ralph Wallingford Endowment Fund 


Eliza Carolina Dagen, American, 1807–1875 

Painted elements attributed to Peter Lehn 

Grosh, American, 1758–1859 

Made at the Lititz Moravian Girls’ School 

(now Linden Hall School for Girls), 

American, established 1746 

Memorial Embroidered Picture, c. 1822 

Lititz, Pennsylvania 

Silk thread, silk chenille, metallic threads, 

metallic spangles, ink, and watercolor 

on twill woven silk ground fabric 


purchase funded by the Houston Junior 

Woman’s Club Charitable Fund 


Andrew Ellicott Warner, American, 

1786–1870 

Pair of Candlesticks, 1815 

Baltimore 

Silver 


purchase funded by the Michael K. Brown 

Metals Endowment Fund 


DECORATIVE ARTS, 

CRAFT, AND DESIGN 

GIFTS 

Reinhold Reiling, German, 1922–1984 

Brooch, 1970 

Silver and gold 

Helen Williams Drutt Collection, 

gift of the Helen Williams Drutt 

Family Collection 

2021.388 

Garth Clark and Mark Del Vecchio 

Collection, gifts of Garth Clark and 

Mark Del Vecchio: 

Del Harrow, American, born 1977 

breath, 2013–16 

Ceramic with lit wood display case 

breath, 2013–16 

Graphite on paper, edition 2/5 

breath, 2013 

Single-channel video 

2021.425.1–.3 

• • • 

77

ACCESSIONS | Decorative Arts, Craft, and Design 

Nancy Worden, American, 1954–2021 

Conjugal Bushwhacking Necklace, 2000 

Copper, silver, glass taxidermy eyes, 

lava, and mother-of-pearl 

Overprotective Impulse Brooch, 1993 

Silver, brass, glass, onyx, and paper 

Gifts of the estate of Nancy Worden 

2021.426, 2021.427 

Manufactured by Tiffany & Co., 

New York, established 1837 

Creamer and Sugar Bowl, c. 1873–74 

Sterling silver and gilt 

Gift of Martin K. Webb and Charles L. 

Venable in honor of Steven and 

Karen Chambless 

2021.568 

Gifts of Anne Wilkes Tucker: 

Suzan Rezac, Swiss, 

born Czechoslovakia, 1958 

Necklace, 1981 

Brass, soapstone, and silver 

2021.570 

Sandra Zilker, American, born 1950 

Necklace and Ring 

Silver and shell 

2021.571 

Alice H. Klein, American, born 1956 

Pair of Earrings, 1982 

Acrylic, gold, and pearls 

2021.572 

• • • 

Eva Zeisel, American, born Hungary, 

1906–2011 

Manufactured by Shenango Pottery 

Company, American, active 1901–1991 

For Castleton China Company, American, 

active 1940–c. 1970s 

Place Setting from the “Museum” pattern, 

designed c. 1942–43, made 1949–c. 1972 

Porcelain 

Gift of David Jameson 

2021.573.1–.8 

John Millward Banks, English, 1845–1911 

Anointing Spoon, 1901 

Silver 

Gift of Jane Gillies 


78 

Attributed to Marius Hammer, 

Norwegian, 1847–1927 

Dragon Spoon, c. 1900 

Silver-gilt and plique-à-jour enamel 

Gift of Franci Neely 


Althea McNish, Trinidadian, 

active England, 1924–2020 

Manufactured by Hull Traders, Ltd., 

British, active 1958–1971 

Golden Harvest furnishing fabric, designed 

c. 1958, made 1959–c. 1970s 

Screen-printed cotton 

Gift of Cindi Strauss and Chris Ballou 

in honor of Sarah Horne 


Gifts of Adolpho Leirner: 

Cassio M’Boy (da Rocha Matos), 


Chair, c. 1933 

Madeira wood and upholstery 

In honor of Sam Gorman 


Cassio M’Boy (da Rocha Matos), 


Tapestry, c. 1935 

Wool 

In honor of Richard Wortham III 


• • • 

Barbara Nanning, Dutch, born 1957 

Nautilus, 2008 

Glass 

Gift of Dominique Lévy 


Gifts of Cecily E. Horton: 

Robe à la française (dress and petticoat) 

France, 1765–80 

Silk brocade with silver floss and fluting 


Pocketbook 

Great Britain or France, c. 1790 

Silk satin with needlework, metal purl, 

steel beads, and flannel 


Panel (dress fabric) 

France, 1770s 

Silk brocade 


Panels (furnishing fabric) 

Italy, 1600–1650 

Silk satin damask 


Panel (furnishing fabric), 

France or Italy, 1600–1650 

Silk satin damask 


• • • 

Lenore Tawney, American, 1907–2007 

Distilla, 1967 

Paper and watercolor 

Gift of the Lenore G. Tawney Foundation 



gifts of Dennis Freedman: 

Giorgio Ceretti, Italian, born 1932 

Pietro Derossi, Italian, born 1933 

Riccardo Rosso, Italian, born 1941 

Manufactured by Gufram, Italian, 


Puffo Stool, designed 1968, made c. 1970–78 

Polyurethane foam and Guflac ® 


Gaetano Pesce, Italian, born 1939 

Manufactured by Bernini, Italian, 


Model 901 Shelves, from the series 

Luigi or Mi amate voi, 1982 

Wood and paint 


Marco Zanuso, Italian, 1916–2001 

Richard Sapper, German, 1932–2015 

Manufactured by Brionvega S.p.A., 

Italian, established 1945 

Black 201 Television Set, designed 1969, 

made 1969–74 

Acrylic, metal, and electronic parts 


Arne Jacobsen, Danish, 1902–1971 

Manufactured by Louis Poulsen & Co., 

Danish, established 1874 

Ceiling or Wall Lamp, designed 1955 

Brass, Plexiglas, paint, and bulb 


Marcel Breuer, American, born Hungary, 

1902–1981 

Manufactured by Gebrüder Thonet, 

Austrian, established 1853 

Side Chair, Model B33, designed 1927–28 

Chrome-plated tubular steel and cloth 


PURCHASES 


John R. Eckel, Jr. Foundation: 

Superstudio, Italian, active 1966–78 

Manufactured by Poltronova, Italian, 


For Design Centre, Italian, active possibly 

1967–79 

O-Look Hanging Lamp, designed 1968, 

made 1968–75 

Chrome-plated metal, glass, lacquered 

aluminum, plastic, and 60-watt 

incandescent candle bulb 

2021.424 

Samuel Ross, British, born 1991 

Trauma Chair Prototype, 2020 

Fired OSB, burnished steel, and 

molasses lacquer 

2021.548 

Norman Teague, American, born 1968 

Made by Norman Teague Studios, 

American 

Leather made by Yohance Lacour, 


Sinmi Stool, designed 2015, made 2022 

Walnut and leather 


• • • 

Joe Colombo, Italian, 1930–1971 

Manufactured by OLuce, Milan, 


Spider Table Lamp, designed 1965, 

made 1969 

Metal, chrome-plated metal, enamel, 

melamine, and 75-watt Cornalux 

incandescent bulb 

Museum purchase funded by Joan 

Morgenstern in honor of Anna Walker 

2021.428 

Sonya Clark, American, born 1967 

Noorotco (Reverse Octoroon), 2021 

Canvas and thread 

Museum purchase funded by the Caroline 

Wiess Law Accessions Endowment Fund, 

the African American Art Advisory 

Association, and Judy and Scott Nyquist 

2021.547

Decorative Arts, Craft, and Design 

Patti Warashina, American, born 1940 

Metamorphosis of a Car Kiln, 1971 

Earthenware and acrylic 

Museum purchase funded by Sara and 

Bill Morgan in memory of Clint Willour 

and in honor of Cindi Strauss; the GRITS 

Foundation; Nina Zilkha; the Decorative 

Arts Endowment Fund; Cecily Horton; 

and Joan Morgenstern 

2021.549 




Giampaolo Bertozzi, Italian, born 1957 

Stefano Dal Monte Casoni, Italian, 

born 1961 

Bertozzi & Casoni S.r.l., Italian, 


Mercurio, 2019 

Ceramic 

2021.550 

Raven Halfmoon, Caddo Nation, born 1991 

Bah’hatteno Nut’tehtsi (Red River Girl), 2021 

Stoneware 


Lenore Tawney, American, 1907–2007 

Dove, 1974 

Linen 

Médecins Anciens, 1966 

Paper, newsprint, glass, spices, cork, and ink 

2022.181, 2022.182 

• • • 

Gio Ponti, Italian, 1891–1979 

Manufactured by Manifattura Jsa, 

Italian, active 1949–1979 

Legge Mediterranea (Mediterranean Law), 

1954 

Screen-printed cotton sateen 


Morgenstern in honor of Nancy Daily 


Richard Riemerschmid, 

German, 1868–1957 

Manufactured by Vereinigte Werkstätten 

für Kunst im Handwerk, German, 


Chair, Model 4059, 1898–99 

Walnut, leather, and metal 

Museum purchase funded by the Design 

Council, 2022, the American Institute 

of Architects Design Collection, Cecily E. 

Horton, and Leo and Karin Shipman 


Jutta Sika, Austrian, 1877–1964 

Manufactured by Wiener 

Porzellanmanufaktur Josef Böck, 

Austrian, active 1898–1960 

Mocha Pot and Cup and Saucer, 1901 

Porcelain 

Museum purchase funded by the Mary 

Kathryn Lynch Kurtz Charitable Lead 

Trust Fund 


Purchases funded by Michael W. Dale: 

Peter Behrens, German, 1868–1940 

Made by Simon Peter Gerz, G.m.b.H., 

German, active 1857–1999 

Wine Jug, Model 1146, 1903 

Salt-glazed stoneware and pewter 


Gretl Wollner, Austrian, 1920–2006 

Leo Wollner, Austrian, 1926–1995 

For Knoll, Inc., American, 


Manufactured by Pausa AG, 

German, active 1919–2003 

Roads, designed 1971, made 1972–78 

Screen-printed cotton viscose sateen 


• • • 

Maria Likarz, Austrian, 1893–1971 

Manufactured by Flammersheim & 

Steinmann, German, active c. 1919–1960 

Tapeten der Wiener Werkstätte (Wallpaper 

of the Wiener Werkstätte), 1925 

Paper 

Museum purchase funded by the Mary 

Kathryn Lynch Kurtz Charitable Lead 

Trust Fund and Joan Morgenstern 


Marcel Breuer, American, 

born Hungary, 1902–1981 

Manufactured by Isokon Furniture 

Company, British, active 1932–1939 

Short Chair, designed 1937, made 1937–39 

Birch and plywood 


Design Council, 2022 


Maija Grotell, American, 

born Finland, 1899–1973 

Vase, 1940–49 

Stoneware 

Museum purchase funded by the Art 

Colony Association, Inc., the Marjorie and 

Evan Horning Endowment for Decorative 

Arts, and Sara Sant’Ambrogio 


Toini Muona, Finnish, 1904–1987 

Made at Arabia Porcelain Company, 

Finnish, established 1874 

Bowl, c. 1940–49 

Stoneware 

Museum purchase funded by Judy and 

Henry Sauer in honor of Cindi Strauss 



museum purchases funded by the 



Archizoom Associati, Italian, 

active 1966–1974 

Panel, c. 1969 

Paint on panel 


Humberto Campana, Brazilian, born 1953 

Fernando Campana, Brazilian, born 1961 

Bubble Wrap Chair, designed 1995, 

made 1998 

Bubble wrap and chromed iron 


Jurgen Bey, Dutch, born 1965 

Jan Konings, Dutch, born 1966 

Studio Konings & Bey, Dutch, 

active 1991–2001 

For Droog Design, Dutch, 


Kokon Table-Chair, 1997/99 

Kokon Chair, 1997/99 

PVC and wood (or plastic) 


Patrick Jouin, French, born 1967 

Manufactured by Materialise, Belgian, 


C1 Chair, from the series SOLID, 

designed 2004, made 2006 

Resin 


Nacho Carbonell, Spanish, born 1980 

One Man Chair, from the Evolution series, 

designed 2008, made 2009 

Recycled paper, iron, and chicken wire 


Paolo Santini, Italian, 1929–2020 

Chair, 1967 

Steel 


• • • 

Coffee Pot with Cover 

Japan, 1650–75 

Porcelain with underglaze blue 

(Arita ware); mounted with metal 





the Brown Foundation Accessions 


Charles Hougham, English, 1748–1793 

Pair of Torah Finials, 1790 

Sterling silver and silver-gilt 


Torah Crown 

Venice, mid-18th century 

Silver and silver-gilt 


Torah Mantle Panel 

Germany, 1797 

Velvet with metallic thread 


79

ACCESSIONS | European Art | Hirsch Library | Latin American Art 

EUROPEAN ART 

GIFTS 

Unknown artist, French 

Crucifixion, c. 1890 

Oil on canvas 

Gift of Will L. McLendon in memory of 

Norbert Choucroun 

2021.560 

Isaack Luttichuijs, Dutch, 1616–1673 

Jan Hendrik Lestevenon, c. 1653 

Esther de Bary, c. 1653 

Oil on wood 

Gifts of Linda and Ronny Finger 

2021.721, 2021.722 

Francesco Guarino da Solofra, 

Italian, 1611–1654 

Saint Barbara, c. 1635 

Oil on canvas 

Gift of Anne Morey 


PURCHASES 

Thomas Gainsborough, British, 

1727–1788 

Landscape with Trees and a Field, 

a Church Tower in the Distance, 1746–47 

Oil on canvas, laid on panel 

The Stuart Collection, museum purchase 

funded by Francita Stuart Koelsch Ulmer, 

in honor of Sybilla Eliza Juliet Yarker 

2021.390 

Biombo with Views of Mexico City 

Viceregal Mexico, 18th century 

Twelve-panel folding screen; oil on red 

maki-e lacquer on panel, with gilt wood 

mounts and linen backing 


Agnes Cullen Arnold Endowment Fund 

2021.537 

HIRSCH LIBRARY 

PURCHASES 

Alejandro Cartagena, Mexican, 

born Dominican Republic, 1977 

Group of Maquettes, 2011–21 

87 maquettes and 8 posters from 

25 book projects 

Museum purchase funded by the Caroline 

Wiess Law Accessions Endowment Fund 

LIB.692 

Anton Koberger, German, 1445–1513 

Liber Chronicarum, 1493 

1st edition; 327 leaves 



LIB.711 

LATIN AMERICAN ART 

GIFTS 

Margarita Paksa, Argentinean, 1933–2020 

Toma del Batallón 601 (Taking of the 

Batallion 601), 1975 

Tucumán Vietnam Argentino, 1975 

Ink on Arches paper 

Gifts of the Institute for Studies on 

Latin American Art (ISLAA) 

2021.431, 2021.432 

Gifts of Fundación Privada Allegro: 

Omar Rayo, Colombian, 1928–2010 

TiiiT, 1974 


2021.565 

César Paternosto, Argentinian, born 1931 

Adobe Gate II, 1992 

Mixed media on canvas 

2021.564 

• • • 

Ana Mendieta, American, 

born Cuba, 1948–1985 

Untitled: Silueta (Silhouette) Series, 1979 

Single-channel video, color, silent, 

1/8 + 3 AP 

Gift of the estate of Ana Mendieta 

2021.566 

Gifts of Martin and Rebecca Eisenberg: 

Ernesto Neto, Brazilian, born 1964 

Cópula (Copulation), 1989/1995 

Nylon stocking and lead beads 

2021.567 

Ernesto Neto, Brazilian, born 1964 

Ring, 2001 

Stocking, Styrofoam, and lavender, 

edition 3 of 5 

2021.574 

• • • 

Lika Mutal, Peruvian, 

born the Netherlands, 1939–2016 

Sanctuary of Opposites: I Am One Stone, 

1992 

Travertine 

Gift of the Nohra Haime Gallery 

2021.569 

Jaime Davidovich, American, 

born Argentina, 1936–2016 

Cola del Kerosén (Kerosene Line), 1954 

Watercolor on paper 

Gift of the Jaime Davidovich Foundation 

2021.575 

Julián Álvarez Márquez, Uruguayan 

Formas (Forms), 1935 

Oil on Masonite 

Gift of Martin Cerruti 

2021.659 

Fabian Marcaccio, Argentinean, born 1963 

Private Contractor, 2006 

Pigmented based inks, oil, acrylic, 

silicone, and canvas on pliable mesh 

Gift of Jereann and Holland Chaney 

2021.709 

Gego (Gertrud Goldschmidt), Venezuelan, 


Untitled, 1955 

Ink and caseina on matboard 

Gift of the Fundación Gego 


Thomas Glassford, American, born 1963 

Locus Classicus, 2018 

Stone and gold leaf 

Gift of Leslie and Brad Bucher 


Gifts of Billie W. Mercer in memory 

of Gary Mercer: 

Francisco Matto, Uruguayan, 1911–1995 

Pintura constructiva (bodegón) 

(Constructive Painting [Still Life]), c. 1946 

Oil on board 


Sandú Darié, Romanian, active Cuba, 

1906–1991 

Sin título (Untitled), 1950s 

Mixed media on wood 


Feliza Burzstyn, Colombian, 1933–1982 

Cachumbos, 1969 

Metal 


Narciso Debourg, Venezuelan, 1925–2022 

Lumière à 4 faces (4-Sided Light), 1968 

Mirrored Mylar sheet inside painted 

plastic tubes, with a wood backing 


Eduardo Ramírez Villamizar, 

Colombian, 1923–2004 

Composición con grises 

(Composition in Grey), 1956 

Oil on paper mounted on board 


Rogelio Polesello, 

Argentinean, 1939–2014 


Acrylic 


Omar Rayo, Colombian, 1928–2010 

Asmodius, 1968 

Acrylic and wood on canvas 


Carlos Rojas, Colombian, 1933–1997 

Untitled, from the series America, 1976 

Oil on canvas 


David Zink Yi, Peruvian, born 1973 


Stainless steel, edition 3/5 + 2 APs 


Augusto Torres, Uruguayan, 1913–1992 

Formas con fondo blanco 

(Forms with White Background), 1936 

Oil on paperboard 


Luis Caballero, Colombian, 1943–1995 


Charcoal and ink on paper 


Gabriel de la Mora, Mexican, born 1968 

A.N., 2007 

Human hair on paper 

Radio, 2011 

3,348 Post-it Notes on paper 


Sonia Gomes, Brazilian, born 1948 

Untitled, from the series Raíz (Root), 2018 

Fabric, thread, and wood 


80

Latin American Art | Modern and Contemporary Art 

Alfredo Hlito, Argentinean, 1923–1993 

Sin título (Untitled), 1953–54 

Gouache and ink on paper 


Gerd Leufert, Venezuelan, 

born Prussia, 1914–1998 

Amor (Love), 1964 

Ink on paper 


Paulo Nazareth, Brazilian, born 1977 

Untitled, from the series Noticias de 

America (News from the Americas), 2012 


Untitled, from the series Objetos para tampar 

o sol de seus olhos (Objects to Keep the Sun 

Out of Your Eyes), 2010 


CA—produtos de genocídio—Lajita y Azteca 

(CA—Genocide Products—Lajita and 

Azteca), 2017 

Found materials cast in resin with artist’s 

wooden and metal stand 

2022.170–2022.172 

Adriano Costa, Brazilian, born 1975 

BigBangPsychedelicCheese, 2016 

Powder-coated steel 


Augusto Torres, Uruguayan, 1913–1992 

Estructura en blanco (Structure in White), 

c. 1965 

Oil on canvas 


• • • 

Marta Minujín, Argentinean, born 1943 

Payment of the Argentine Foreign Debt 

to Andy Warhol with Corn, the Latin 

American Gold, 1985, printed 2010 

Series of three digital C-prints, edition 3/3 

Gift of the Institute for Studies on Latin 

American Art (ISLAA) 


PURCHASES 


Latin Maecenas: 

César Paternosto, Argentinean, born 1931 

I Wonder Why, 1971 



• • • 

Manuel Pailós, Spanish, 1918–2005 

Cara (Face), 1959 

Oil on wood 

Museum purchase funded by the Myron B. 

and Linnet F. Deily Endowment for Latin 

American Art and the 2019 Latin American 

Experience Gala and Auction 

2021.419 

Museum purchases funded by the 



Diego Rivera, Mexican, 1886–1957 

La bordadora (The Embroiderer), 1928 

Oil on canvas 


Vincent Valdez, American, born 1977 

Adriana Corral, American, born 1983 

Requiem, 2019 

Clay, cast bronze, and ash; dates 

hand-carved into drywall 


• • • 

Zilia Sánchez, Cuban, born 1926 

Lunar con tatuaje (Moon with Tattoo), 

c. 1968–69 

Acrylic and ink on canvas 


2022 Latin American Experience Gala 

and Auction 


Daniel González, Venezuelan, born 1934 

Muerte en el asfalto, una lectura de la calle 

(Death on the Asphalt, a Street Reading), 

1979/2012 

Sixteen Cibachrome prints 


Caribbean Art Fund 

2022.236.1–.16 

MODERN AND 

CONTEMPORARY ART 

GIFTS 

Edward Kienholz, American, 1927–1994 

The Mort Soul Searcher, 1960 

Mixed media, power drill, and 

electric lights 

Gift of Ruth and Ted Baum 

2021.310 

Callum Innes, Scottish, born 1962 

Exposed Painting Charcoal Black on Black, 

2004 

Oil on canvas 

Gift of Peter and Linda Zweig 

2021.318 

Christian Eckart, Canadian, born 1959 

Sacra Conversazione Painting – 

Versione Follia, 2014 

Acrylic urethane on aluminum 

Gift of Franci Neely 

2021.389 

Daniel Gorski, American, 1939–2017 

Fourth Down, 1966 

Painted plywood, Masonite, and chipboard 

Gift of Bebe Woolley 

2021.557 

Thomas Houseago, British, born 1972 

Reclining Figure (For Rome), 2013 

Bronze, edition 2/3 

Gift of the Abush Family 

2021.558 

Gifts of Claire Creatore: 

Vicky Colombet, American, 

born France, 1953 

River Series #1216-06, 2006 

Pigment, oil, alkyd, and wax on canvas 

From the Floating World Series #1431, 2020 

Pigment, oil, and alkyd on canvas 

2021.576, 2021.577 

Philip Smith, American, born 1952 

Untitled (Night Sky No. 2), 2022 

Oil pastel on canvas 


Lucas Johnson, American, 1940–2002 

Los Desamparados (The Helpless), 1966 

Oil on panel 

Gift of Jeffrey Wahba Family 

2021.578 

Charles J. Umlauf, American, 1910–1994 

Reclining Nude, 1958 

Bronze 

Gift of Brenda Duncan 

2021.579 

Kate Shepherd, American, born 1961 

Bazooka Joe Red Yellow Blue, 

Frayed Carpet, 2004 

Enamel on wood, in two parts 

Gift of John A. MacMahon 

2021.634 

Lee Krasner, American, 1908–1984 

Bird’s Parasol, 1964 

Oil on canvas 

Gift of Cornelia Cullen Long in memory 

of Meredith 

2021.755 

Jimmy Lee Sudduth, American, 

1910–2007 

Crucifixion, c. 1989 

Oil on panel 

Gibson House, 1989 

Mud and paint on plywood 

Jim at Age 9 Playing a Harp, c. 1989 


US Capitol Building, c. 1989 


The Gitter-Yelen Collection, gifts of 

Dr. Kurt Gitter and Alice Yelen Gitter 


Cleve Gray, American, 1918–2004 

Hera, No. 2, 1968 

Roman Walls, 1980 



Gifts of the Cleve Gray Foundation 


Juan Francisco Elso Padilla, 

Cuban, 1956–1988 

Corazon de America (America’s Heart), 1987 

Mixed media 

2021.379 

• • • 

81

ACCESSIONS | Modern and Contemporary Art | Photography 

Gifts of Billie W. Mercer in memory 

of Gary Mercer: 

Giuseppe Penone, Italian, born 1947 

Spoglia d’oro (Stripped of Gold), 2001 

Gold and plaster 


Henry Taylor, American, born 1958 

I had to get rid of two, 2017 

Acrylic on cereal box 


PURCHASES 

Rachel Jones, British, born 1991 

lick your teeth, they so clutch, 2021 

Oil pastel and oil stick on canvas 


the Green Family Art Foundation, 

courtesy Adam Green 

2021.433 


the Caroline Wiess Law Accessions 


Jack Whitten, American, 1939–2018 

Natural Selection, 1995 

Acrylic and sumi ink on 

unstretched canvas 

2021.544 

Ron Mueck, Australian, born 1958 

Woman with Shopping, 2014 

Mixed media 

2021.596 

Nicolas Abdallah Moufarrege, 

Lebanese, 1947–1985 

Mission Impossible, 1983 

Thread, pigment, glitter, and brooches 

on needlepoint on canvas 


Pipilotti Rist, Swiss, born 1962 

Peeping Freedom Shutters for Olga Shapir, 

2020 

Silent single-channel video installation 

with vertical flatscreen, in wooden painted 

window frame with shutters, integrated 

video player; unique 


Simone Leigh, American, born 1968 

Satellite, 2022 

Bronze, edition 2 


• • • 

Carl Palazzolo, American, born 1945 

Erasing Days #17, 2021 

Acrylic, gesso, graphite, drawing inks, 

crayon, and oil on panel 

Museum purchase funded by Franci Neely 

2021.597 

Charisse Pearlina Weston, American, 

born 1988 

I am moored along the soft, shored unity 

of impatient ruin, 2021 

Enfolded glass etched with text 

Museum purchase funded anonymously 


Genevieve Gaignard, American, born 1981 

Family Tree, 2022 

Mixed media, vintage wallpaper 

Museum funded by the Director’s 



Betty Parsons, American, 1900–1982 

Maine 2, 1957 

Acrylic on linen 


contemporary@mfah, 2022 


PHOTOGRAPHY 

GIFTS 

André Ramos-Woodard, American, 

born 1994 

melodrama, 2020 

Mixed media with artist’s frame 

Gift of the artist 

2021.161 

George Platt Lynes, American, 1907–1955 

Tanaquil Le Clercq and Jerome Robbins in 

“Bourée Fantastique,” 1949 


Gift of Kay Bearman 

2021.202 

Noelle Mason, American, born 1977 

Backscatter Blueprint (Los Bananos), 2020 

Cyanotype 


2021.387 

Gifts of Charles Dee Mitchell: 

Dominic Bracco II, American, born 1986 

Manny and Alejandro jump across the newly 

lit section of Camino, 2012 

The remains of a car where three undercover 

federal police officers were executed. Two died 

inside a car and the other fled but was unable 

to escape gunmen and died nearby, 2010 

The scene of a murdered couple. The woman 

was far into her pregnancy. The couple’s 

heads touched in a last embrace. A single 

bullet entered the man’s skull and took all 

three lives, 2010 

A guard dog stretches the length of his chain 

in front of a family of factory worker’s home 

in Juarez, Mexico, 2010 

Inkjet prints 

2021.393, 2021.439–2021.441 

Debi Cornwall, American, born 1973 

Fidel Bobblehead ($20), Guantanamo Bay, 

Cuba, 2015 

Prayer Rug with Arrow to Mecca, Camp 

Echo, U.S. Naval Station Guantanamo Bay, 

Cuba, 2015 

Compliant Detainee Media Room, Camp 5, 

Guantanamo Bay, Cuba, 2014 

Inkjet prints 

2021.442–2021.444 

Scott Dalton, American, born 1968 

Funeral Procession, Ciudad Juárez, 

Mexico, 2010 

Halloween, Ciudad Juárez, Mexico, 2012 

Friend’s Wake, Ciudad Juárez, Mexico, 2012 

Federal Police in Pursuit, Ciudad Juárez, 

Mexico, 2012 

Inkjet prints 

2021.445–2021.448 

Yuri Kozyrev, Russian, born 1963 

Libyan rebels celebrate on top of a Gaddafi 

loyalist tank outside of Ajdabiyah, 

March 26, 2011 

Opposition troops shoot at a portrait of 

Colonel Gaddafi as they celebrated taking 

Ben Jawad, Libya, March 3, 2011 

Ras Lanuf, Libya, March 11, 2011 

A Libyan man inside of his ruined apartment 

as the result of heavy shelling, 2012 

Volunteers sprinkle chemical powder on two 

corpses in the al-Intisar neighborhood of 

Tripoli, August 27, 2011 

Inkjet prints 

2021.449–2021.453 

Paolo Pellegrin, Italian, born 1964 

Looking west from the Paso del Norte bridge, 

with the Rio Grande trickling between Juárez 

on the left and El Paso on the right, 2011 

Border, 2011 

Inkjet prints 

2021.456, 2021.457 

Ibrahim Mahama, Ghanaian, born 1987 

MTN MTN RA, 2017 

Tarpaulin cloths, metal tags, and charcoal 

on jute sacking 


Billie Zangewa, Malawian, born 1973 

The Pleasure of a Child, 2021 

Hand-stitched silk collage 


Derek Fordjour, American, born 1974 

Cotillion, 2022 

Acrylic, charcoal, cardboard, oil pastel, and 

foil on newspaper mounted on canvas 

Museum purchase funded by the Robert 

H. N. Ho Family Foundation Global 


Anthony Suau, American, born 1956 

US/Mexican border, Naco, Arizona, 

May 4, 2008 

US/Mexican border, San Luis, Arizona, 

May 1, 2008 

California-Mexican Border, San Diego, 

California, May 15, 2008 

Gelatin silver prints 

2021.394, 2021.458, 2021.459 

Teun Voeten, Dutch, born 1961 

Ciudad Juárez, Mexico, June 2009 

Culiacán, Mexico, June 2009 

Ciudad Juárez, Mexico, June 2009 

Ciudad Juárez, Mexico, October 2009 

Inkjet prints 

2021.460–2021.463 

82

Photography 

Gifts of Diane and 

Norman Blumenthal: 

John Goodman, American, born 1947 

The Other Side / Bay Village, 1978 

No Minors / Washington Street, 1975 

Jim Goldberg / Tuscany, August 1999 

Henry Finder + Anthony Appiah/Boston, 

1998 

Dominos / Havana, 2000 

Davana Olympia / Las Vegas, 2006 


2021.437, 2021.438, 2021.561, 2021.562, 

2021.580, 2021.581 

John Goodman, American, born 1947 

Tim Conroy / Nantucket, June 1993 

Inkjet print 

2021.563 

• • • 

Auguste Salzmann, French, 1824–1872 

Jérusalem, Saint Sépulcre (Church of the 

Holy Sepulcher, Jerusalem), 1854 

Salted paper print from paper negative 

Gift of Michael S. Sachs 

2021.454 

Richard Misrach, American, born 1949 

Sally’s Camera, 1998, printed 2021 

Inkjet print 


2021.455 

Gifts of Betty Moody: 

Keith Carter, American, born 1948 

White Dove, 2004 


In memory of Clinton T. Willour 

and in honor of Reid Mitchell 

2021.464 

Al Souza, American, born 1944 

Joseph Beuys, 1973 


In honor of Al Souza 

2021.465 

Bill Owens, American, born 1938 

The Soroptimists started fifty-four years ago in 

Oakland, California. We are now a worldwide 

organization interested in worldwide service 

and citizenship. Our yearly luncheon is 

our biggest fundraiser. The money goes to 

preschool programs, Senior Citizens and 

scholarships for high school students, c. 1972 


In honor of Al Souza 

2021.466 

• • • 

Unknown artist, American 

[Clinton T. Willour at Event], 1981 


Gift of Reid Mitchell in honor of 

Betty Moody 

2021.467 

Gifts of Clinton T. Willour and 

Reid Mitchell: 

Matsue Taiji, Japanese, born 1963 

Wyoming, 2000 


2021.468 

Paul Vincent Kuntz, American, 1961–2021 

Poolside, Hampton Inn, Harlingen, TX, 2016 

Inkjet print 

2021.469 

Pelle Cass, American, born 1954 

Everything in Nature, 2004 


2021.470 

´ 

Rachel Papo, Israeli/American, born 1970 

Waiting for Hand Grenade Practice, 

Southern Israel, 2005 

Nastya before Class, St. Petersburg, 

Russia, 2007 

Inkjet prints 

2021.471, 2021.472 

Robert Bruce Langham III, 


Fallen Stacked Dogwoods, 2019 

Dicenado, 2018 

Cyanotypes 

2021.473, 2021.474 

John Chervinsky, American, 1961–2015 

Untitled, c. 2006 

Inkjet print 

2021.475 

Iain Stewart, Scottish, born 1967 

Bereft, 2006 


2021.760 

• • • 

Fazal Sheikh, American, born 1965 

Traditional birthing attendant, Nyirabahire 

Esteri, holding newborns Nsabimana (“I beg 

something from God”) and Mukanzabonimpa 

(“God will grant me, but I don’t know when”), 

flanked by mothers Kanyange, Mukabatazi, 

and Mukabatazi’s mother, Rwandan refugee 

camp, Lumasi, Tanzania, 1994 

Abdul Rahman, Afghan refugee village, 

Khairabad, North Pakistan, 1997 

Inkjet prints 

Gifts of Jane P. Watkins 

2021.476, 2021.477 

Gifts of Richard and Ronay Menschel: 

Aaron Siskind, American, 1903–1991 

Rome: The Arch of Constantine 10, 1963 

Cusco 11, 1975 

Jalapa 35 (Homage to Franz Kline), 1973 

Martha’s Vineyard, 1954 

New York 2, 1951 

Olive Tree, Corfu 127, 1970 

Vera Cruz 288, 1973 

Gelatin silver prints, printed 1977–87 

2021.480–2021.486 

Harry Callahan, American, 1912–1999 

Untitled, mid-1970s 

Detroit, 1943 

Eleanor and Barbara, Chicago, 1953 

Detroit, 1941 

Siena, 1968 

Cuzco 528, 1974 

Cuzco, Peru, 1974 

Eleanor and Barbara, Chicago, 1954 

Cape Cod, 1972 

Gelatin silver prints, printed 1977–87 

2021.487–2021.495 

• • • 

Dennis Farber, American, 1946–2017 

Nurturing Doubt, 1989 


Untitled, 1988–92 

Dye diffusion transfer prints 

Gifts of the Dennis Farber Trust 

2021.496–2021.498 

Chris Iduma, Nigerian, born 1993 

Love and Hate, 2018 

Inkjet print 


2021.553 

Keystone View Company, American, 

active 1892–1949 

Underwood & Underwood, American, 

active 1882–1940s 

Changing Fixation from 7 to 4 requires 11 1/2 

prism diopters of Positive Convergence. The 

Keystone Eye Comfort and Depth-Perception 

Series, about 1930 

Gelatin silver print, stereograph 

Gift of Malcolm Daniel and 

Darryl Morrison 

2021.555 

Joyce Tenneson, American, born 1945 

Luminous Being (Larissa in Gold), 1990s, 

printed 2021 

Dye sublimation print 

Gift of Michelle and Frank J. Hevrdejs, 

and Joe and Tina Pyne 

2021.559 

Jan Henle, American, born 1948 

La Jíbarita II, 1991–92 

Silver dye bleach print 

Gift of Pierre Apraxine 

2021.582 

83

ACCESSIONS | Photography 

Gifts of Joan Morgenstern: 

Anderson & Low, British, active since 1990 

Jonathan Anderson, British, born 1961 

Edwin Hock Low, British, born 1957 

Untitled, from the series Sacred Earth, 2018 

Untitled, from the series Sacred Earth, 2018 

Untitled, from the series Voyages, 2016 

Inkjet prints 

2021.583–2021.585 

Adrián Fernández, Cuban, born 1984 

Untitled No. 7, 2017 

Untitled No. 12, 2017 

Inkjet prints 

2021.660, 2021.661 

Lee Friedlander, American, born 1934 



2021.662 

Ray K. Metzker, American, 1931–2014 

Gumball, 1966, printed 1990 

Pictus Interruptus: Philadelphia, 1977 


2021.663, 2021.664 

• • • 

Anderson & Low, British, active since 1990 

Jonathan Anderson, British, born 1961 

Edwin Hock Low, British, born 1957 

Metamorphoses, 2019–2020 

12 salted paper prints 

Gift of Anderson & Low in honor of 

Joan Morgenstern 

2021.586 

Gifts of Peter J. Cohen: 


[Family and Friends, Chautauqua, 

New York], 1911–14 

Album of gelatin silver prints 

2021.587 

Unknown artists 

[Vernacular Photographs], 20th century 

110 gelatin silver prints, chromogenic prints, 

cyanotypes, internal dye diffusion transfer 

prints, and halftone prints 

2021.588 

• • • 

Jan Henle, American, born 1948 

Con el Mismo Amor IV, 1999–2007 

Gelatin silver print, toned 

Gift of Dee Vitale Henle 

2021.589 

Marsha Burns, American, born 1945 

Tyson, Warm Springs, 1991 

Photogravure 

Gift of Gail Gibson and Claudia Vernia 

in honor of Clinton T. Willour 

2021.598 

Earlie Hudnall, Jr., American, born 1946 

My Thinking Time, 1980 


Gift of Margaret Culbertson 

2021.599 

Gifts of John A. MacMahon: 

Philip-Lorca diCorcia, American, 

born 1953 

Eddie Anderson, 21 years old, 

Houston, Texas, $20, from the series 

Hustlers, 1991 



2021.628 

Elad Lassry, Israeli, born 1977 

Angela Ledgerwood, 2009 

Michael, 2008 

Chromogenic prints 

2021.629, 2021.630 

Sara VanDerBeek, American, born 1976 

The Principle of Superimposition 3, 2008 


2021.631 

James Welling, American, born 1951 

D-40, 1980s 

Cascade, 1980 

Bushing, 1980 


2021.632, 2021.633, 2021.644 

Sandy Skoglund, American, 

born 1946 

Coat Hangers, 1979 

A Breeze at Work, 1987 

Gathering Paradise, 1991 

Silver dye bleach prints 

2021.635–2021.637 

Roe Ethridge, American, born 1969 

Ford Model Kathryn Neale, 1999 

Thanksgiving 1984 (Table), 2009 


2021.638, 2021.639 

Gabriel Orozco, Mexican, born 1962 

Castillo en el aire o el leon de la plusvalia 

(Castle in the Air or the Lion of Surplus 

Value), 1998 

Tree through Leaves, 2001 

Building and Birds, 1998 

Lluvia en Tokio (Rain in Tokyo), 2001 

Silver dye bleach prints 

2021.640–2021.643 

Ed Ruscha, American, born 1937 

Standard, Figueroa, 1962, printed 2012 


2021.645 

David Levinthal, American, born 1949 

Untitled, from the series Blackface, 

1995–98 

Dye diffusion transfer print 

2021.646 

Vanessa Beecroft, Italian, born 1969 

Untitled (Performance Detail, 1999, 

The New York Times Shoot), 1999 


2021.647 

Uta Barth, American, 

born Germany, 1958 

nowhere near (Untitled 99.14), 1999 


2021.648 

Adam Fuss, British, born 1961 

Wish, 1992 

Silver dye bleach print, photogram 

Untitled (Smoke), 2005 


2021.649, 2021.650 

Gifts of Ralph Gibson: 

Ray Mortenson, American, born 1944 

South Kearny Terminal, Kearny, 1980 

Aim Industries, Jersey City, 1982 

Marshes Dock, Linden, 1979 

Conrail Spur, Harrison, 1980 

Morses Creek, Linden, 1979 






From the series Meadowland 


2021.665–2021.674 

Gifts of Mike and Mickey Marvins: 


[Photographic Jewelry], 1840s–1910s 

14 gelatin silver prints, ambrotype, 

tintype, and daguerreotype jewelry 

2021.679 


[Portraits], 1860s–1870s 

3 albums of tintypes 

2021.680 

Unknown artist, German 

[Girl with Two Dolls], 1920s 

[Boy with Spinning Wheel], 1920s 

[Man with Telephone], 1920s 

3 lenticular prints 

2021.681 


[Portraits], 19th century 

8 tintypes 

2021.682 


[Portraits], 19th century 

2 tintypes 

2021.683 

Moses S. Quivey, American, 1830–1900 

[Portraits], c. 1865 

2 albumen silver prints from glass negatives 

2021.684 

84

Photography 


[Virginia Washington Monument], c. 1870 

[People and Horse in Front of Building], 

c. 1870 

[Boy Seated in a Chair with Fringe], 

c. 1865 


2021.685–2021.687 

A. W. Harwood, American 

[Photographer Seated with Camera 

Surrounded by Images], c. 1865 


2021.688 

Brady’s National Portrait Gallery, 


Andrew Johnson, c. 1865 


2021.689 

Unknown artist 

Playing Tourist, early 20th century 

Halftone print 

2021.690 

Osborne Marley, British 

[Four Boys with Guns], early 20th century 


2021.691 

G. H. Bronner, American, 

active Alvin, Texas 

[Man Holding Hat with Hand on Tree 

Stump], after 1895 


2021.692 

William Henry Jackson, American, 

1843–1942 

Siamese Twins, c. 1895 


2021.693 

Detroit Publishing Company, American 

Developing and Printing, 1904 

Halftone print 

2021.694 

Arthur Rothstein, American, 1915–1985 

[Parallax Panoramagram by LOOK 

magazine], February 25, 1964 

Lenticular print 

2021.695 

Mathew B. Brady, American, 1823–1896 

General Robert E. Lee and Staff, 

April 16, 1865 


2021.696 


[World War I Military Portraits from 

the United States Army, 105th Infantry, 

Machine Gun Company], 1914–18 

4 gelatin silver prints 

2021.697 


[Man with Dog], 1860s–70s 

Ambrotype 

2021.698 


[Woman with Patterned Dress], c. 1855 

Daguerreotype 

2021.700 

Hugo Brehme, Mexican, 


Taxco Gilo, 1920s 


2021.701 


[Sunlight through Trees], 

early 20th century 

Orotone 

2021.702 

Robo Kocan, Slovak, born 1968 

Middle of the Europe, 1995 


2021.703 

Pavel Pecha, Slovak, born 1962 

Untitled, from the series 

My Intuitive Theatre, 1990 


2021.704 

• • • 

Julius Kricheldorff, German, 1830–1910 

3rd Squadron, 3rd Guards Uhlans 

Regiment, 1899 

Albumen silver print, photomontage 

Gift of Jacques Preis 

2021.706 

Gifts of Renée and Stanford Wallace: 

MANUAL, American, active since 1974 

Suzanne Bloom, American, born 1943 

Ed Hill, American, born 1935 

Hokusai: Two Beautiful Women, 2010 

Inkjet print 

Broken Frame, 1996 

Chromogenic print face-mounted on 

acrylic with constructed wood 

2021.713, 2021.714 

Duane Michals, American, born 1932 

Oviri, 1991 


2021.715 

Laurent Millet, French, born 1968 

Petite Machine Littorale, 1997 

Gelatin silver print with toning 

2021.716 

Luis González Palma, Guatemalan, 

born 1957 

Destinos, 2001 

Ambrotype in black case 

2021.717 

George Rousse, French, born 1947 

Mezy, 2001 

Silver dye bleach print on aluminum 

2021.718 

Zofia Rydet, Polish, 1911–1997 

Annihilation II, c. 1970 


2021.719 

Marcia Xavier, Brazilian, born 1967 

Rotatoria, 2006 

Transparency, light box 

2021.720 

Gifts of Phaedra Harbaugh and 

Boris Sepesi: 

ˆ 

Patrick Nagatani, American, 1945–2017 

Lorentz Transformations, 2007 

Mr. Yoshitomi and Toki, 1978, printed 2004 

Bald Eagle—National Wildlife Research 

Center, Fort Collins, Colorado, 2004 

Transmogrification—Biology Animal 

Research Facility (BARF), 2004 

Esoteric Science—Sandoa National 

Laboratory, New Mexico, 2004 

Claire—Crown Chakra Decompression— 

Spectro Chrome Institute Research 

Labarato, 1978 

Chromascape—Desert Hot Springs, 

California, 1980, printed 2004 

Harmonizing Marcus, 1978–2004 

Tap Water, Distilled H20, Vodka—Absorbing 

Chroma Rays, 2004 

Emergent Behavior Modification—Simulated 

Natural Environment Laboratory, 2005 

Ramon—Unintended Consequences, 

1979–2004 

Transmission, 1980, printed 2004 

El Nadador/Nacimiento, 1993 

Los Besos/Como Mantenar Amor, 1994 

Trinity Site, Jornada Del Muerto, 

New Mexico, 1989 

Ground Zero, “Operation Gnome” 

(Dec 10, 1961), New Mexico, 1990 

“Lysistratus,” National Atomic Museum, 

Albuquerque, New Mexico, 1989–93 

Rocket Lounge, Alamogordo, 

New Mexico, 1989 


2021.727–2021.738, 2021.747, 2021.748, 

2021.751–2021.754 


Andrée Tracey, American, born 1948 

Unlikely Earthquake (Right Panel of 

Diptych), 1984 

Old Black Magic 1984, 1984 

34th & Chambers (Detail Right Panel) 

(Patrick Nagatani), 1985 


2021.739–2021.741 



Alamogordo Blues Variant, 1986 

Silver dye bleach print 

2021.742 

85




Amarillo Angst, c. 1987 


2021.743 


Casey Crime Photographer (Unfinished 

Novella), 1994 

Boy Scout Camera Club, Confessions of a 

Photograph (Unfinished Novella), 1994 

Captain Kodak, A Camera Story 

(Unfinished Novella), 1994 

Amazing Image, 1994 


2021.744–2021.746, 2021.749 


Kairos, 1992 

Waterless lithograph 

2021.750 

Gifts of an anonymous donor: 

Joel Meyerowitz, American, born 1938 

Dallas, Texas, 1969 

New York, 1968–72 

California, 1968–72 

New Mexico, 1970–74 

Jeffersonville, New York, 1970–74 

Jeffersonville, New York, 1970–74 

Texas, 1970–74 

Texas, 1970–74 

Schwangau, Germany, 1967 

Turkey, 1967 

Crossing the Atlantic Ocean, 1967 

New York City, 1963 

The Catskills, New York, 1963 


John McClash, New York City, 1964–66 

Smithtown, Long Island, New York, 1964 

New York City, 1965–66 


New Mexico, 1970–74 

New York City (Kiss Me, Stupid), 1965 

World’s Fair, New York City, 1964 

Spain, 1967 

Ireland, 1967 

Malaga, Spain, 1966 

Morocco, 1967 

France, 1967 

Paris, France, 1967 


2021.761–2021.777, 2021.785–2021.794 


Esquire—Donald Barthelme, 1986 



Italy—Switzerland, 1988–1989 

Italy—Switzerland, 1988–1989 

Gettysburg, Pennsylvania, 1986 

Mount Fuji, Japan, 1991 

World Trade Center, New York City, 1988 

St. Petersburg, Russia, June 29, 1988 

Young Trees in Winter, Tuscany, Italy, 2002 

Vineyard, Passing Storm, 

Tuscany, Italy, 2002 

Bright Green Landscape, Tuscany, Italy, 

September 27, 2002 

Tree and Building, Tuscany, Italy, 2002 

The Linden Tree, Tuscany, Italy, 2002 

Cape Cod, Massachusetts, July 18, 1984 

Cape Cod, Massachusetts, August 30, 1984 

Cape Cod, Massachusetts, 


Atlanta, Georgia, October 28, 1988 

Cape Cod, Massachusetts, October 10, 1989 

Atlanta, Georgia, December 12, 1988 

Atlanta, Georgia, April 7, 1989 








2021.778–2021.784, 2021.795–2021.814 



France, 1967 


Orleans, France, 1967 


France, 1967 


Jeu de Paume, Paris, 1967 


Chenonceau, France, 1967 



Dye imbibition prints, printed later 

2021.815–2021.826 


Provincetown, Massachusetts, July 13, 1983 

Fruit, Provincetown, Massachusetts, 

August 27, 1983 

Cape Cod, Massachusetts, August 28, 1985 

Bay/Sky, Provincetown, Massachusetts, 


Bay/Sky, Cape Cod, Massachusetts, 

October 10, 1989 

Atlanta, Georgia, October 29, 1988 

New York City, January 1st, 1983 

Hartwig House, Truro, Massachusetts, 

July 2, 1976 

Chromogenic prints, printed later 

2021.827–2021.834 

Gifts of John S. and Nancy 

Nolan Parsley: 

Dawoud Bey, American, born 1953 

Marcia & Waynette, 1996 


In honor of Skyler Rae Bryan 


Dawoud Bey, American, born 1953 

Sol and Carol Lewitt, 1997 


In memory of Frederick C. Baldwin 


• • • 

Alfredo Sarabia, Cuban, born 1986 

Untitled, from the series I know it but I 

can’t say it, I can say it but I don’t know how, 

2006, printed 2022 

Inkjet print 

Gift of the artist in honor of Madeleine 

Plonsker and Malcolm Daniel 


Christian K. Lee, American, born 1991 

Alisa Coleman, 25, background, embraces 

Sharise Campbell, 26, after their date at a 

local gun range, 2021 

Inkjet print 

Gift of Scott and Judy Nyquist 


Christian K. Lee, American, born 1991 

Aaron Banks Jr and Sr, 

Cedar Park, TX, 2021 

Inkjet print 



Gifts of Lewis Koch: 

Lewis Koch, American, born 1949 

Along Old US Highway 51, Tomahawk, 

Wisconsin, USA, 1990 

Café window, Ladysmith, 


Canning factory, Juneau, 


Young monks math practice, Upper 

Dharamsala, Himachal Pradesh, India, 1995 

Soda advertisement, Udaipur, 

Rajasthan, India, 1996 

Madison, Wisconsin, USA, 1986 

Roadside tea stall, Ken River Gorge, 

Madhya Pradesh, India, 1996 

Minocqua Lake, Minocqua, 


Floating Elvis, Nashville, Tennessee, 

USA, 1994 

Near Baijnath, Himachal Pradesh, 

India, 1996 


2022.133–2021.139, 2021.141–2021.143 


Storefront window, Marfa, Texas, USA, 1992 

Rear view of a RV, Yellowstone National 

Park, Wyoming, USA, 2012 

Inkjet prints 

2022.140, 2021.144 


8 Wisconsin Images, a postcard portfolio, 1977 

Duotone prints 


• • • 

Caleb Cole, American, born 1981 

Trace (gray backdrop), 2016, printed 2022 

Inkjet print 



86

Photography 

PURCHASES 

Alfredo Sarabia, Cuban, born 1986 







From the series The Round House 

Inkjet prints, printed 2022 


Madeleine Plonsker 

2021.4–2021.9 


Photography Subcommittee 2021: 

Shaw, American 

Pima Baskets and Artifacts, 1887 

Platinum print 

2021.313 

Bob Gomel, American, born 1933 

Boxing champion Muhammad Ali posing in 

front of the Alvin Theater during production 

of play “The Great White Hope,” NY, 1968, 

printed 2021 

American tennis player Arthur Ashe 

(1943–1993) (right) is interviewed by reporters 

at the US National Championships, Forest 

Hills, Queens, New York, September 1965, 

printed 2021 

The Beatles, Miami, 1964, printed 2021 

Mysterious object tracked in sky, 

September 1, 1960, printed 2021 

Inkjet prints 

2021.319–2021.322 

Russell Lee, American, 1903–1986 

Light Gallery 

Jim Norris and Wife, Homesteaders, 

Pie Town, New Mexico, 1940, printed later 

Dye imbibition print 

2021.326 


[War Widow], c. 1890 


2021.392 

Richard Dykes Alexander, English, 

1788–1865 

John B. and Anna Alexander 

and Their Ten Children, c. 1854 




[Blind Man], 1850s 

Daguerreotype 


Purchases funded by the Buddy Taub 

Foundation, Dennis A. Roach and 

Jill Roach, Directors: 

Henry P. Moore, American, 1835–1911 

Slaves of Rebel Gen. T. F. Drayton, Hilton 

Head, S.C., 1861–62 


2021.314 

Samuel Montague Fassett, American, 

born Canada, 1825–1910 

Frederick Douglass, February 1864 



Pierre Ambroise Richebourg, 

French, 1810–1875 

Jacques Mandé Daguerre, c. 1844, 

printed c. 1860 

Albumen silver print copy of 

a daguerreotype 


Édouard Hermagis, French, 1822–1868 

Inauguration du boulevard Prince-Eugène, 

place de la Nation à Paris. Fête du 7 

décembre 1862, December 7, 1862 

Albumen silver print from glass negative, 

collodion emulsion transferred from glass 

to paper, modern salted paper print 


Purchases funded by Carl Niendorff: 

John Vachon, American, 1914–1975 

Rehabilitation client with canned goods, 

Chippewa County, Wisconsin, 

September 1939 

Bunkhouse of migrant fruit pickers, 

Berrien County, Michigan, July 1940 

House of a pneumonia patient in west 

Aliquippa, Pennsylvania, January 1941 

Couple from Arkansas picking cherries in 

Berrien County, Michigan, July 1940 

Doctor visits a sick child at home, Scott 

County, Missouri, February 1942 

Gelatin silver prints, printed 1970s 

2021.327–2021.331 

André Ramos Woodard, American, 

born 1994 

buds, 2020 


2021.384 

Go Nakamura, American, 

born Japan, 1977 

Minneapolis, May/June 2020, 

May 30, 2020 

Minneapolis, May/June 2020, 

May 30, 2020 

Inkjet prints 

2021.710, 2021.711 

Rashod Taylor, American, born 1985 

Cowboys, 2021 



Will Michels, American, born 1968 

Leandro Erlich in His Pool, 1999 



Purchases funded by the Director’s 

Accessions Endowment: 

Georgia O’Keeffe, American, 1887–1986 

[Jimsonweed (Datura stramonium)], 

July 1959 

[Ladder against Adobe Wall], July 1955 

[Cathedral in the Desert, Glen Canyon], 

September 1964 

[Landscape], July 1956 

[Bo II (Bo-Bo)], 1961 

[Chama River], July 1959 

[Fence and Clouds], 1963 

[Todd Webb in the Salita Door], 1956 

Inkjet prints, printed 2020–21 

2021.333–2021.340 

Todd Webb, American, 1905–2000 

[Georgia O’Keeffe in Doorway], 1956, 

printed 2020 

Inkjet print 

2021.341 

Todd Webb, American, 1905–2000 

Georgia O’Keeffe with Camera, 1959 

O’Keeffe at Ghost Ranch, 1959 


2021.342, 2021.343 

Unknown artist, British 

Julia Margaret Cameron and 

Her Daughter Julia, 1858 


2021.657 

Zana Briski, American and British, 

born 1966 

Bearogram #2, August 1, 2019 



• • • 

Laura Aguilar, American, 1959–2018 

In Sandy’s Room, 1990, printed 2017 

Inkjet print 


Joan Morgenstern, Mary O’Hearn, 

and Kerry Inman and Denby Auble 

2021.344 

Aida Silvestri, British, born Eritrea, 1978 

Aman (Eritrea to London on foot, by lorry, 

boat and train), 2013 

Inkjet print with handstitched thread 

Museum purchase funded by Photo 

Forum 2021, and Sharon and Del Zogg 

2021.376 

Dawit L. Petros, Eritrean, born 1972 

Untitled (Prologue), Yamoussoukro, 

Côte d’Ivoire, 2016 

Inkjet print 

Purchase funded by Photo Forum 2021 

2021.377 

Purchases funded by the S. I. and 

Susie Morris Photography Endowment: 

Martin d’Orgeval, French, born 1973 

Témoin (Matilde #1), 2021 

Daguerreotype 

2021.378 

Sheila Pinkel, American, born 1941 

Folded Paper, 1974–82 



87


Purchases funded by the Anne Tucker 

and Clint Willour Young Photographers 

Endowment: 

André Ramos-Woodard, American, 

born 1994 

BL!NG, 2020 


2021.385 

David Alekhuogie, American, born 1986 

Inglewood, CA 33.9582° N, 118.3419° W, 

2018 

Inkjet print on canvas with artist’s frame 

2021.396 

Purchases funded by the Caroline 

Wiess Law Accessions Endowment 

Fund: 

Deborah Roberts, American, born 1962 

The Inconvenient citizen, 2021 

Collage of acrylic, graphite, pastel, and 

inkjet prints 

2021.395 

Bruce Conner, American, 1933–2008 

THE LATE NIGHT MOVIE ON TV: JUNE 

10, 1978 @ 1:20 TO 1:27 AM: STERNS 

MOTEL IN VENICE, CA, 1978, printed 

1986 


2021.758 

Marilyn Minter, American, born 1948 

Smash, 2014 

Single-channel video 



James Edward Maloney: 


Harvard Pole Vault, 2019 

Inkjet print 

2021.478 

Charles Marville, French, 1813–1879 

Porte Dauphine, Château de Fontainebleau, 

1854 

Salted paper print from paper negative 



Joan Morgenstern: 


Basketball at Boston College 

(Uncrowded Fields), 2020 

Inkjet print 

In honor of James Edward Maloney 

2021.479 

Gary Burnley, American, born 1950 

Self-Portrait, 2016 

Inkjet print and mixed-media collage 

In honor of Sara Terry 


Geoffroy de Ruillé, Belgian, 1842–1922 

[Man Posing as if on Horseback in the 

Studio of the Sculptor Geoffroy de Ruillé], 

1865 




Hold On, 2020 



• • • 


Untitled (Sister of Charity), 2020 

Inkjet print 


Jean Karotkin in honor of Edna Robins 

2021.552 

Purchases funded by Dan and 

Mary Solomon: 

Unknown artists, British 

[MacCorquodale Family Album], 

1860s–1870s 

Album of albumen silver prints from 

glass negatives, with applied color 

2021.658 

Unknown artists, American 

[African American Soldiers, Sweethearts, 

and Family, World War II], 1940s–1950s 

Album of gelatin silver prints and 13 

gelatin silver prints in paper mats 



[Young Girl Seated with Hand on Table], 

c. 1860 

Ambrotype 


Judy Nyquist 

2021.712 

Édouard Baldus, French, born Prussia, 

1813–1889 

Auguste-Hippolyte Collard, French, 

1812–c. 1897 

Furne Fils & H. Tournier, French, 

active, 1858–1863 


Chemin de fer du Nord – Ligne de Paris à 

Boulogne – Vues photographiques, 1855–59, 

assembled c. 1860 

Album of 50 albumen silver prints 

Museum purchase 

2021.723.1–.50 

Purchases funded by Morris Weiner: 


PRINTS, 1974 

Steel lockbox, paper envelopes with typewritten 

text, photocopies on paper, gelatin 

silver prints with typewritten text, metal 

keys, plastic bags, clear plastic folders 

with plastic binding clips, paper folders, 

fingerprint form, and ink fingerprints 

2021.757 


Untitled (Woman with Painted Face), 

from the series Self-Portraits, 2021 

Inkjet print 


• • • 

Vernon Heath, British, 1819–1895 

The Vale of Festiniog, 1870s 

Marscow, Isle of Skye, 1870s 

Carbon prints 


W. Burt Nelson in memory of 

Phyllis Ann Chancellor Nelson 


Daniel Gonçalves, American, born Canada 

Letters to Elvis, 2017–18 

Inkjet prints 


Morgenstern, Bryn K. Larsen, Geoffrey 

and Barbara Koslov, Anne Wilkes Tucker, 

Edward Osowski, H. Rashed Haq, and 

Photo Forum 2022 

2022.8.1–.10 

Go Nakamura, American, born Japan, 1977 

Minneapolis, May/June 2020, June 2, 2020 

Inkjet print 

Museum purchase funded by H. Rashed 

Haq in honor of Mohammad Ekramul 

Haque and Farida Begum 


Star Montana, Mexican American, 

born 1987 

Sarah, 2016, printed 2021 

Inkjet print 


Joan Morgenstern, and Kerry Inman and 

Denby Auble 


Star Montana, Mexican American, 

born 1987 

Felipe, 2013, printed 2021 

Inkjet print 

Museum purchase funded by the Mundy 

Photography Accessions Endowment 


Rabéa Ballin, American, 


F Is For FRESH, 2009 

5 dye sublimation prints on aluminum 

Museum purchase funded by Nena Marsh 


David Alekhuogie, American, born 1986 

washington and oak 34.0368° N, 118.2774° W, 

2018 

Inkjet print on canvas with artist’s frame 


Morgenstern, and by James Edward 

Maloney in honor of Joan Morgenstern 


Unknown artists, American 

[Family Album], 1935–1954 

Album of gelatin silver prints 


• • • 

88

Photography | Prints and Drawings 

Inbal Abergil, Israeli, born 1976 

N.O.K.—Next of Kin, 2017 

18 chromogenic prints and 

accompanying text 


Nena Marsh, W. Temple Webber III, 

and Morris Weiner 


Nicholas Nixon, American, born 1947 

The Brown Sisters, Jamaica Plain, 

Massachusetts, 2021 



Nina and Michael Zilkha 


John Bevan Hazard, British, 1831–1892 

[Work Horse and Hay Cart, Bristol, 

England], 1850s 



Carl Niendorff, Jean L. Karotkin, 

Joan Morgenstern, James Edward Maloney, 

and Leslie Blanton 


Janice Guy, British, born 1953 



Museum purchase funded by S. I. and 

Susie Morris Photography Endowment, 

Jereann Chaney, Sharon Lederer, John A. 

MacMahon, and Joan Morgenstern 


Qualeasha Wood, American, born 1996 

Foreva by Cardi B, 2021 

Cotton jacquard weave and glass beads 

Museum purchase funded by Bryn 

Larsen, Jean L. Karotkin, Nena Marsh, 

Jeffrey A. Magid, Emily Todd, Lester 

Marks, the African American Art 

Advisory Association, and Cyvia Wolff 


Probably Charles Delahaye, French, 

1837–1878 

[Charles Delahaye, Seated], c. 1860 



Michael S. Sachs 


Lissa Rivera, American, born 1984 

Shelburne, Nova Scotia, from the series 

Absence Portraits, 2011, printed 2022 

Inkjet print 


Photo Forum 2022 and Marian Blake 


Jason Andrew, American, born 1976 

Defaced Bust of Zachary Taylor, 

January 7, 2021 

Inkjet print 


Julie Brook Alexander 


Kennedi Carter, American, born 1998 

When Hands Touch, from the series 

East Durham Love, 2018 

Inkjet print 


Mary O’Hearn, Jereann Chaney, Shelley 

Anne Calton and Stuart Chancellor 

Nelson, Peter Morris, Aimee McCrory, 

and H. Rashed Haq 


Purchases funded by Lynn and Marcel 

Mason Photography Endowment: 

Kennedi Carter, American, born 1998 

Silas, from the series 

Ridin Sucka Free, 2020 

Inkjet print 


Nancy Newberry, American, born 1968 

Night Fall, 2013 

Inkjet print 


• • • 

John K. Rose, American, born Canada, 

1849–1932 

Benjamin S. Hopkins, American, 

born Canada, 1859–1915 

Tachiar and Ce-Gee-Che, Ute Squaws, 1899 

Heebe-Tee-Tse, Shoshone, 1899 

Platinum prints 


Forum 2022, and Barbara and 

James Hemphill 



Photo Forum 2022: 

William Notman, Canadian, 1826–1891 

Niagara Falls, with Remnants of the 

Lewiston Suspension Bridge, 1868 

Albumen print from glass negative 


Larry Clark, American, born 1943 

Billy Mann, Tulsa, 1968, printed 2010 



Nancy Newberry, American, born 1968 

Open Carry, 2020 

Untitled Scene 06, 2018 

Inkjet prints 


• • • 

Unknown artist, British 

[Two British Children with an Indian Man], 

c. 1860 



Forum 2022 and T. Fuller Pentecost 



Easter Sunday, 2021 



Sharon and Del Zogg 


Grant Mudford, Australian, born 1944 

El Paso, 1976 


Museum purchase funded by Photo Forum 

2022 and John and Nancy Parsley 


Dionne Lee, American, born 1988 

Lapse, 2022 

Gelatin silver print, collage 


the Francis L. Lederer Foundation, 

courtesy of Sharon Lederer 


Enrique Metinides, Mexican, 1934–2022 

Car Crash, Mexico City, 

late 1960s–early 1970s 



W. Temple Webber III 



[Father and Two Daughters in 

Front of a 42-Star American Flag], 1890 

Tintype 


the Photography Subcommittee 2022 


PRINTS AND 

DRAWINGS 

GIFTS 

Gifts of Kay Bearman: 

Frank Stella, American, born 1936 

The Green Hornet Goes to L.A., 1962 

Colored pencil and graphite on wove 

paper in painted artist’s frame 

In memory of Henry Geldzahler 

2021.186 


Sketch for unpublished print [Over the 

Wave], 1966 

Black fiber-tipped pen with graphite on 

wove graph paper 

2021.187 


Printed by Kenneth Tyler, Octavio Pereira, 

Robert de la Rocha, and James Webb 

Published by Gemini G.E.L., Los Angeles 

Star of Persia II, from the series Star of 

Persia, 1967 

Lithograph in colors on wove paper, 

from the edition of 92 

2021.188 


Sketch for Abra, 1967 

Colored fiber-tipped pen with graphite on 

wove graph paper 

2021.189 

89

ACCESSIONS | Prints and Drawings 


Sketch for Odelsk, c. 1970 

Cut-and-pasted color wove paper, oil 

pastel, fiber-tipped pen, and graphite on 

color wove paper 

2021.190 


Printed by Valerie Pedlar and Bill Law 

Published by Propyläen-Verlag, Berlin, 

and Pantheon Presse, S.A., Agno, 

Switzerland 

Sidi Ifni, 1973 

Offset lithograph in colors on wove paper, 

artist’s proof 3/15 

2021.191 


Union, from the series 

Eccentric Polygons, 1973 

Lithograph in colors and screenprint 

in colors on wove paper, trial proof 

2021.192 


Published by Tyler Graphics Ltd., 

Bedford Village, NY 

Lunna Wola (V), 1975 

Cotton-pulp relief with dyes and dry 

pigments, from the edition of 26 

2021.193 

Jasper Johns, American, born 1930 


Editions, Bay Shore, New York 

Target, 1967 


artist’s proof 5/5 

2021.194 


Published by Tanglewood Press, Inc., 

New York 

The Critic Sees, from the series Ten from 

Leo Castelli, 1967 

Collage of screenprint on acetate, textile, 

and cut-and-pasted embossment on wove 

paper, artist’s proof, aside from the edition 

of 200 

2021.195 


Printed by Jasper Johns for the benefit of 

Merce Cunningham Dance Company and 

Aetna Silkscreen, Inc. 

Target with Four Faces, 1968 

Screenprint in seven colors on wove 

paper, artist’s proof 10/10 

2021.196 



Number 7, 1968 


edition 66/70 

2021.197 



0 through 9, 1970 

Embossed lead relief with polystyrene 

and wood backing in aluminum frame, 

edition 20/60 

2021.198 



Target, 1971 

Lithograph and rubber stamp with paintbrush 

and three watercolor pads on wove 

paper in a wooden box with brass hinges 

and clasp, artist’s proof III/VI, aside from 

the offset lithograph edition of 22,500 

2021.199 


Printed by John Lund 

Published by Low Road Studio, 

Sharon, CT 

Flag on Orange, 1998 

Etching and aquatint in colors on wove 

paper, artist’s proof 11/11 

2021.200 




Number 9, 2012 

Lithograph on wove paper, edition 34/40 

2021.201 


Corona Collage 44, 2020 

Collage of photo-offset lithograph, 

letterpress, halftone print, color paper, 

ink stamp, and black ink on wove paper 

and paper board, encapsulated in thermal 

laminating films 

2021.203 



4 offset lithographs on wove paper, 

edition of 90 

Gifts of Fredericka Hunter and 

Ian Glennie 

2021.278–2021.281 

James Rizzi, American, 1950–2011 

[Title unknown], c. 1970 

Etching on wove paper, edition 2/72 

Gift of Eileen B. Glaser 

2021.398 

Francisco Toledo, Mexican, 1940–2019 

Printed by Mario Reyes and Litoarte, 

Mexico City 

Published by Avril Gráfica, Mexico City 

Sahagun, 1974 

Eight-print portfolio with etching, aquatint, 

drypoint, and mezzotint in colors on wove 


Gift of Patricia Covo Johnson and the 

estate of Lucas Johnson 

2021.399 

Carroll Dunham, American, born 1949 

Printed and published by Universal Limited 

Art Editions, Bay Shore, New York 


14 lithographs on wove paper, printer’s 

proof, 4/4, aside from the edition of 5 

Gift of Hiram Butler, Andrew Spindler, 

Josh Pazda and Chris Goins in honor of 

Theodore J. Lee and Marc A. Sekula 

2021.400 

Curtis Gannon, American, born 1974 

The Trouble Next Door, 2019 

Acrylic on wove paper 

Gift of the artist in memory of 

Clinton T. Willour 

2021.401 

Winsor & Newton, founded London, 1832 

Watercolor Box, c. 1841–55 

Watercolor pigments, wood, and 

ceramic components 

The Stuart Collection, gift of Lowell Libson 

and Jonny Yarker in honor of Francita 

Stuart Koelsch Ulmer on the occasion of 

her 90th birthday 

2021.402 

Christiane Baumgartner, German, 

born 1967 

Think positive Stay negative!, 2020 

Woodcut on wove paper, edition 98/100 


2021.403 

Gift of Grace Phillips and 

Eugene Nosal: 

Fereydoun Ave, Iranian, born 1945 

Lal Dahlias I, from the series 

Lal Dahlias, 2010 

Screenprint on wove paper, edition 60/125 

Untitled, from the series Lal Dahlias, 2016 

Screenprint on wove paper, edition 20/20 

2021.404, 2021.405 

Gifts of Michael S. Sachs: 

Maurits Cornelis Escher, Dutch, 1898–1972 

Printed and published by C.A.J. 

van Dishoeck, Bussum, Belgium 

Handwijzer (Signpost), from 

XXIV Emblemata, 1931, published 1932 

Bijenkorf (Beehive), from 


Dobbelsteenen (Dice), from 


Schuilnest (Retreat), from 


Woodcut on wove paper, from the edition 

of 300 

2021.406–2021.409 

Erik Desmazières, French, 

born Morocco, 1948 

La Tentation de Saint Antoine 

(The Temptation of Saint Anthony), 1993 

Etching, aquatint, and roulette on wove 

paper, state I/II, edition 2/75 

2021.556 

Gifts of Michael W. Dale: 

Alexander Calder, American, 1898–1976 

Petit Stabile, c. 1962–63 


edition 13/90 

2021.410 

Anna Elizabeth Keener, American, 

1895–1982 

Untitled (Madonna and Child), 

early to mid-20th century 

Watercolor and graphite on wove paper 

2021.411 

• • • 

90


Rockwell Kent, American, 1882–1971 

Girl on Cliff (The Abyss), 1930 

Wood engraving on wove paper, from the 

edition of 1700, plus 50 for the artist 

In honor of Dr. Dena M. Woodall 

2021.412 

Gene Kloss, American, 1903–1996 

Desert Drama, 1977 

Drypoint and aquatint on wove paper, 

edition 34/35 

2021.413 

Navarre Scott Momaday, American, 

Kiowa, born 1934 

Published by the Rydal Press, Santa Fe 

In the Presence of the Sun: A Gathering 

of Shields, 1992 

Artist’s book with letterpress and hand 

coloring, deluxe edition 0/26 

2021.414 

Earl Stroh, American, 1924–2005 

Possibly printed with Johnny Friedlaender 

at Atelier Friedlaender, Paris 

St. Martin de la Place, c. 1959 

Etching and drypoint on wove paper, 

edition 19/75 

2021.415 

Robin Utterback, American, 1949–2007 

Unnamed, 1978 

Acrylic and charcoal on wove paper 

In honor and memory of 

Clinton T. Willour 

2021.416 

Emmi Whitehorse, American, Diné 

(Navajo), born 1957 

Kin Nah Zin II, 1982 

Oil and pastel with collage on wove paper 

In honor of Dr. Dena M. Woodall 

2021.422 

• • • 

Linda Ridgway, American, born 1947 

Thank You Alison, 2006 

Photogravure on wove paper 

Gift of the artist in honor of 

Alison de Lima Greene 

2021.417 

Félicien Rops, Belgian, 1833–1898 

La Presse (The Press), c. 1870 

Etching and drypoint on tan wove paper 

Gift of Malcolm Daniel in honor of Jay 

McKean Fisher 

2021.418 

Stanton Macdonald Wright, American, 

1890–1973 

Printed by Clifton Karhu, American, 

active Japan, 1927–2007 

Haiga Portfolio, 1966–67 

Portfolio of 20 woodcuts in colors on 

Japanese paper, edition 44/50 

Bequest of the estate of Stanton and 

Jean Macdonald Wright 

2021.420 

Robert Nava, American, born 1985 

Sun Walk, 2019 

Crayon, grease pencil, and graphite on 

wove paper 

Gift of Dr. Joseph Nguyen and Tamie Tong 

2021.421 

Toni LaSelle, American, 1901–2002 

Sketchbook (Provincetown), c. 1948 

Ink and graphite on 12 sheets of wove paper 

in a spiral-bound sketchbook 

Gift of the Dorothy Antoinette 

LaSelle Foundation 

2021.600 

Rufino Tamayo, Mexican, 1899–1991 

Printed and published by Taller de Gráfica 

Mexicana, Mexico City 

El Nino Bailando, 1974 

Mixografia © in colors on wove paper, 

hors commerce/17, besides the edition 

of 100 

Gift of Maria Merrill and 

Dr. Joseph M. Merrill 

2021.601 

Mary Cassatt, American, 1844–1926, 

active France 

Afternoon Promenade, 1881 

Soft ground etching with aquatint on laid 

paper, state II/II 

Standing Woman, Study for the Etching 

Afternoon Promenade, 1881 

Graphite on wove paper 

Gifts of Dr. and Mrs. Craig Calvert 

2021.602, 2021.835 

Gifts of Jeffrey Wahba Family: 

Lucas Johnson, American, 1940–2002 

Carnival, c. 1960s 


Los espectadores (The Spectators), 1968 

Lithograph on wove paper 

Retrato de Don Quixote y Sancho Panza #2, 

1969 

Offset lithograph on paper 

La Gorda (The Fat Girl), 1968 

Graphite with pen and ink on wove paper 

2021.603–2021.606 

José Luis Cuevas, Mexican, 1934–2017 

Manifestantes (Protestors), May 17, 1968 

Pen and ink on wove paper 

2021.607 

• • • 

Elizabeth McBride, American, 1943–2009 


Ink on plastic film 

Gift of Clinton T. Willour and Reid 

Mitchell 

2021.608 

Eric Avery, American, born 1948 

Malinda Beeman, American, born 1949 

James Bettison, American, 1957–1997 

Derek Boshier, English, born 1937 

Karin Broker, American, born 1950 

Chuck Dugan, American, 1947–2007 

Gail Siptak, American, born 1944 

Gael Stack, American, born 1941 

William Steen, American, 1949–2008 

Michael Tracy, American, born 1949 

Printed by Penny Cerling 

Published by Little Egypt 

Enterprises, Houston 

Art Against AIDS, 1988 

10-print portfolio of woodcuts, etchings, 

and lithographs on wove paper, 

edition 47/50 

Gift of Gail Siptak 

2021.609 

Gifts of Penny Cerling: 

Luis Jiménez, American, 1940–2006 

Printed at Tembo/Cerling Print Studio, 

Houston, TX 

Portrait of Artist’s Mother, 2002–4 

Etching, drypoint, and aquatint on wove 

paper, state II/II, proof 

In honor of Laura Jane Cerling 

2021.610 

Beth Secor, American, born 1956 

Printed by Penny Cerling and 

Marco Villegas 

Metaphors of Adolescence: 9:15, 1993 



Etching and aquatint on wove paper, 

bon à tirer 


2021.611–2021.613 

Eleanore Mikus, American, 1927–2017 

Printed by David Folkman 

Published by Tamarind Lithography 

Workshop, Inc., Los Angeles 

Tablet 3, 1968 

Lithograph on wove paper, bon à tirer, 

aside from the edition of 10 

In memory of Eileen Montgomery in 

recognition of her collaborative work at 

Little Egypt Enterprises 

2021.653 

Hedda Sterne, American, born Romania, 

1910–2011 

Printed by Clifford Smith with 

David Folkman 

Published by Tamarind Lithography 

Workshop, Inc., Los Angeles 

Untitled, from the series The Vertical 

Horizontals, 1967 

Lithograph on wove paper, bon à tirer, 

aside from the edition of 20 

In memory of Eileen Montgomery in 

recognition of her collaborative work at 

Little Egypt Enterprises 

2021.654 

• • • 

Do Ho Suh, Korean, born 1962 

Who Am We?, 2006 

Offset Iris print in four colors on 

coated paper 

Gift of Jereann and Holland Chaney 

2021.614 

Ruth Pastine, American, born 1964 

Blue 12, 2020 

Oil on wove paper 

Gift of the artist, courtesy of 

Gallery Sonja Roesch 

2021.615 

91


James Abbott McNeill Whistler, 


Longshore Men, 1859 

Etching with drypoint on wove paper, 

state III/IV 

La vieille aux loques (The old woman 

with rags), 1858 

Etching with drypoint on laid paper, 

state IV/IV 

The Rag Gatherers (Rag Pickers, Quartier 

Mouffetard, Paris), 1858 

Etching with drypoint on laid paper, 

state V/V 

Gifts of Frank J. Hevrdejs 

2021.616–2021.618 

Gifts of Will L. McLendon: 

Jacques Villon, French, 1875–1963 

Standing Nude Woman, in Profile, 

early 20th century 


In memory of Arthur Tafolla 

2021.619 

Jacques Villon, French, 1875–1963 

Published by Editions Sagot, Paris 

Minne étendue dans un rocking-chair 

(Le Repos) (Minne Reclining in a Rocking 

Chair [The Repose]), from the portfolio 

Le Bain de Minne (Minne’s Bath), 1907 

Etching, aquatint, and drypoint on laid 

Japan paper, edition 32/50 

In memory of Norbert Choucroun 

2021.620 

• • • 

Robin Utterback, American, 1949–2007 

Untitled, STR #67, 2004 

Collage and acrylic on butcher paper 


Collage and acrylic on silk 


Paint on cardboard 


Acrylic on cardboard 

Untitled, Strasbourg #12, 2004 

Acrylic on cut cardboard 

Untitled, #1109 a, 2005 

Paint on newsprint, burlap, and fabric 

Untitled, #1109 b, 2005 

White paint on red burlap, with collage 

Gifts of the Robin Utterback Trust 

2021.621–2021.627 

Henry Wolf, American, 1852–1916 

After Sarah Choate Sears, American, 

1858–1935 

Romola, 1896 

Wood engraving on wove paper, 

artist’s proof 

Gift of Devin Borden in memory of 

Joan Clark Borden 

2021.651 

Julião Sarmento, Portuguese, born 1948 

Curiosity’s Eye Portfolio, 2013 

6-print portfolio of Mixografia © 

prints in colors on handmade paper 

Gift of McClain Gallery in honor of 

Dr. Dena M. Woodall 

2021.652 

Lucinda Cobley, British, born 1963 

Intervals 12, from the series Intervals, 2018 

Monoprint of Charbonnel ink on cut and 

torn Dura-Lar polyester film 

Gift of Wade H. Wilson in honor of 

Dr. Malcolm and Jackie Wolens Mazow 

2021.655 

Jake Berthot, American, 1939–2014 


Etching on Arches Hot Press watercolor 



Etching and aquatint on Somerset Satin 




































Etching and aquatint on Arches Hot Press 

watercolor paper, edition 16/35 




















Etching and drypoint on Somerset Satin 






Etching and drypoint on Somerset Satin 



Etching, aquatint, and drypoint on Somerset 

Satin paper, edition 10/20 

Gifts of Betty Cuningham Gallery 

2021.656, 2021.836–2021.858 

Joseph Havel, American, born 1954 

Rope Drawing, 1992 

Charcoal on wove paper 

Gift of Dr. and Mrs. Clive Fields 

2021.705 

Various artists 

Published by Verlag Pan, Berlin 

Pan, vol. 1, no. 3, 1895 

Book with letterpress text and 

lithograph, etching, collotype, and 

heliogravure illustrations 

Gift of Eileen B. Glaser and 

Jay R. Schachner 

2021.707 

Domenico Maria Canuti, Italian, 1625–1684 

Lot and His Daughters, 17th century 

Red chalk on laid paper 

Gift of William Elliott Doyle 

2021.708 

Eric Avery, American, born 1948 

Malinda Beeman, American, born 1949 

James Bettison, American, 1957–1997 

Derek Boshier, English, born 1937 

Karin Broker, American, born 1950 

Gail Siptak, American, born 1944 

Gael Stack, American, born 1941 

William Steen, American, 1949–2008 

Michael Tracy, American, born 1949 

Published by Little Egypt 

Enterprises, Houston 

Art Against AIDS Portfolio, 1988 

10-print portfolio of woodcut, etching, 

and lithographs on wove paper 

Gift of Robert Rosenberg in honor of 

Penny Cerling 

2021.759 

Gifts of Julie Peak: 

Sir Francis Seymour Haden, British, 

1818–1910 

After Joseph Mallord William Turner, 

British, 1775–1851 

Calais Pier, after Turner, 1874 

Etching and drypoint on J. Whatman 1864 

paper, state V/XII 


Alfredo Müller, French, 

born Italy, 1869–1939 

Le Massage (After the Bath), 1908 

Aquatint in colors on laid paper, 

from the edition of approx. 50 


92


Alfredo Müller, French, 

born Italy, 1869–1939 

Flotille de Bateaux de Pecheurs 

(Flotilla of Fishing Boats), 1902 

Aquatint in color on Arches wove paper, 

edition 47/50 


• • • 

Albrecht Dürer, German, 1471–1528 

Martyrdom of the Ten Thousand, 

c. 1496–97 

Woodcut on laid paper 

Gift of Laurie Taylor Mitchell 

in honor of Diane Wolfthal 


George Grosz, German, 1893–1959 

Menschen in der Strasse (People in the 

Street), from the portfolio Im Schatten 

(In the Shadows), 1920–21 

Lithograph on handmade paper 

Gift of Dr. Bruce Patsner 


Jay DeFeo, American, 1929–1989 

Untitled [E1891], from the series 

Compass, 1979 

Charcoal and acrylic on wove paper 

Gift of the Jay DeFeo Foundation 


Gifts of the estate of 

Mary Susan Lewis: 

Terry Allen, American, born 1943 

Printed by Jack Lemon, American, 

born 1936 

Published by Landfall Press, Chicago 

Yellow Man’s Revenge, from the 

Juarez Series, 1971 

Lithograph, printed chine collé, 

on wove paper with punch holes 


Terry Allen, American, born 1943 

[PS to a personal letter], 

mid- to late 20th century 

Fiber-tipped pen on wove paper 

Study for Route (Study for Writing on Rocks 

Across the USA), from the Juarez Series, 

c. 1965–72 

Gouache, color pencil, and ink with 

collage of papers on paper 


Horst Antes, German, born 1936 

Jorge Castillo, Spanish, born 1933 

Renato Guttuso, Italian, 1912–1987 

David Hockney, British, born 1937 

Jean Ipoustéguy, French, 1920–2006 

Marino Marini, Italian, 1901–1980 

André Masson, French, 1896–1987 

Henry Moore, British, 1898–1986 

Sir Eduardo Paolozzi, British, 1924–2005 

Fritz Wotruba, Austrian, 1907–1975 

Paul Wunderlich, German, 1927–2010 

Emilio Greco, Italian, 1913–1995 

Giacomo Manzù, Italian, 1908–1991 

Printed by Aldo Crommelynck, Paris 

Omaggio a Michelangelo (Homage to 

Michelangelo), 1975 

11 prints (lithograph in colors; etching; 

etching and aquatint) on wove paper from 

a portfolio of 13, edition 182/200 

Gift of Sue and Rusty Burnett 


Gifts of Billie W. Mercer 

in memory of Gary Mercer: 

Giuseppe Penone, Italian, born 1947 

Il peso del soffio, il peso del corpo (The Weight 

of the Breath, the Weight of the Body), 1979 


Senza titolo (Untitled), 1977 

Watercolor and ink on wove paper 

Suture (Sutures), 1989 

Wine vinegar, Chinese ink on wove paper 

Una pelle di spine d’acacia (The Skin of 

Acacia Thorns), 2001 

Chinese ink, charcoal, crayon, and tape 

Senza titolo [Terra verticale] (Untitled 

[Vertical Earth]), 1984 



Gifts of Carroll Dunham: 




Full Spectrum, 1985–87 

Lithograph in 14 colors on J.B. Green 


Analysis, 1991 

Wood engraving in 4 colors on 

Saunders wove paper, edition 29/38 

Cold and Dark, 1992–93 

Intaglio in one color with drypoint on 

handmade Richard de Bas black wove 



Lithograph in 15 colors on Arches Cover 

buff wove paper, edition 27/29 

The Sun, 2000–2001 

Pigmented inkjet with intaglio on 

Concorde Rag paper, edition 21/23 



Published by Pace Editions, Inc. 

Interior A, B, C, 2006 

Suite of 3 screenprints in color, 

on laminated archival book board paper, 

edition 20/35 


PURCHASES 

Vilhelm Hammershøi, Danish, 

1864–1916 

Composition de formes géométriques 

(Composition of Geometric Forms), 1879 

Graphite and charcoal, heightened with 

white chalk on laid paper 

Museum purchase funded by the Buddy 

Taub Foundation, Dennis A. Roach and 

Jill Roach, Directors 

2021.381 

Morimura Ray, Japanese, born 1948 

Portland Japanese Garden—Spring, 2014 

Woodblock print in colors on Kozo paper, 

edition 36/100 

Museum purchase funded by Michael W. 

Dale in memory of Janice K. McCollough 

2021.382 


the Alvin S. Romansky Prints 

and Drawings Accessions 


Albert Eugene Gallatin, 


Collage No. 15, 1940 

Collage, oil, and graphite on card stock 

2021.383 

Ursula von Rydingsvard, American, 


Published by Dieu Donné, New York 

Kasia, 2016 

Silk, pigment, linen, and handmade paper, 

edition 2/20 

2021.397 

June Wayne, American, 1918–2011 

Printed by Sarah Amos 



Ostend/Hollywood, 1992 


short edition II/V, aside from edition of 15 

2021.500 

June Wayne, American, 1918–2011 

Printed by Edward Hamilton 



Visa/Sunday, 1976 

Lithograph in colors on wove paper, short 

edition V/VII, aside from edition of 20 

2021.501 

Jim Hodges, American, born 1957 

Printed by Cole Rogers at Highpoint Center 

for Printmaking, Minneapolis 

Published by Highpoint Editions and 

Walker Art Center, Minneapolis 

Winter Speaks, 2015 

Etching, aquatint, sugar lift, spit bite, 

and drypoint in colors with scraping and 

burnishing on wove paper and brown 

Gampi paper; screenprint in white ink on 

white Gampi paper, and hand-cut Beva film, 

printer’s proof 1/4 

2021.502 

• • • 

93


Masami Teraoka, Japanese, born 1936 

Printed by Tadakatsu Takamizawa, Hanpei 

Okura, and Kanjiro Sato, Ukiyo e Research 

Center, Tokyo 

Published by Space Gallery, Los Angeles 

31 Flavors Invades Japan / Today’s Special, 

1982 

Woodcut in colors with watercolor on Kozo 


2021.538 

Masami Teraoka, Japanese, born 1936 

Printed by Satoshi Hishimura, Tokyo, 

and Keizo Sato, assisted by 

Makoto Nakayama, Kyoto 

McDonald’s Hamburgers Invading Japan / 

Tattooed Woman and Geisha III, 2018 

Woodcut in colors on Kozo paper, 

edition 22/85 

2021.539 

Ellen Lesperance, American, born 1971 

Printed by Valpuri Remling and 

Alyssa Ebinger 



The Final Path of Feminye, 2020 

Lithograph in colors printed chine 

collé on wove paper, edition 4/20 

LIFE, 2020 

Lithograph in 9 colors, printed chine collé 

on wove paper with Kozo paper and silver 

leaf with ribbons, edition 4/15 

Who Killed Karen Silkwood?, 2020 

Lithograph in colors, printed chine collé 

and hand-knitted element with silk wool 

and silver leaf safety pin on wove paper, 

edition 4/15 

2021.541–2021.543 

Terran Last Gun, American, Piikani 

(Blackfoot), born 1989 

Constructing Earthbeams for the Sun, 2021 

Ink and colored pencil on antique ledger 

paper (dated 1927) 

Observing the Calendar Rings, 2021 

Ink and colored pencil on antique ledger 

paper (dated 1926) 


• • • 

Sam Messenger, British, born 1980 

HR.25.17, from the series Houston, 2017 


Museum purchase funded by the Alvin S. 

Romansky Prints and Drawings Accessions 

Endowment Fund and Kelly R. and 

Nicholas A. Silvers 

2021.391 




David Hockney, British, born 1937 

Autour de la Maison, Hiver, 2019 

Inkjet print on wove paper, edition 15/15 

Ink Test, 19th to 21st March, 2019 

Inkjet print on wove paper, edition 26/35 

A Bigger Fire, 2020 

Inkjet print [from iPad drawing] printed 

on wove paper, edition 26/35 

2021.434–2021.436 

Jay DeFeo, American, 1929–1989 

Untitled [E2728], from the series Still Life 

(Delaware Street, Berkeley), 1953 


Untitled [E1029], from the series Tripod, 

1976 

Acrylic and graphite with collage 

on wove paper 

2021.724, 2021.725 

• • • 

Sasha Gordon, American, born 1998 

Mirror, 2021 

Colored pencil on wove paper 


Dr. Joseph Nguyen and Tamie Tong 

2021.499 

Anna Park, American, born Korea, 1996 

First Wedding, 2021 

Charcoal on wove paper on panel 


Jeffrey A. Magid 

2021.540 


purchases funded by Francita Stuart 

Koelsch Ulmer: 

Edward Dayes, British, 1763–1804 

A Waterfall at Cynwyd, near Corwen, 

North Wales, c. mid-1790s 

Blue and gray wash over graphite 

on wove paper 

In honor of Jack Mallinson Smith 

2021.551 

David Cox, English, 1783—1859 

The River Llugwy from Pont-y-Kyfyn, 

near Capel Curig, mid-1840s 

Watercolor over colored pencil heightened 

with gouache on oatmeal paper 

In honor of Philip and Melissa Koelsch 


John Constable, British, 1776–1837 

The Tomb of James Gubbins, 

Epsom Churchyard, 1816 


In memory of Margaret Cooke Skidmore 



Illustration to Stanza III of Grey’s Elegy, 

“Save that, from yonder ivy-mantled tower / 

The moping owl doth to the moon complain,” 

1833–35 


In honor of The Honorable Anne and 

Terence Mallinson 



Illustration to Stanza V of Grey’s Elegy, 

“The breezy call of incense-breathing Morn / 

The swallow twitt’ring from the strawbuilt 

shed,” 1833–35 


In memory of Pauline Ella Smith, and 

in honor of Mollie Harlow Zumwalt 



Illustration to Stanza XI of Grey’s Elegy, 

“Can storied urn or animated bust / Back to 

its mansion call the fleeting breath?,” 1883–85 


In honor of Halbert Stuart Koelsch 



A letter addressed to John Martin, dated 9th 

July 1835, containing a drawing of Stoke Poges 

church, 1835 


In honor of Jon Evans 


• • • 

Simon Vouet, French, 1590–1649 

Portrait of a Woman Wearing Pearls 

and a Crown of Flowers, c. 1632–35 

Pastel on beige laid paper 


Alice Pratt Brown Museum Endowment 

2021.726 

Guercino (Giovanni Francesco Barbieri), 

Italian (Bolognese), 1591–1666 

Mars Brandishing a Sword, c. 1640 

Pen and brown iron gall ink on laid paper 


Director’s Accessions Endowment and the 

Buddy Taub Foundation, Dennis A. Roach 

and Jill Roach, Directors 


Liz Ward, American, born 1959 

Large Cascade, 2002 

Silverpoint and tinted gesso on wove paper 

Museum purchase funded by Leslie and 

Jack S. Blanton, Jr., Wynne H. Phelan, 

Betty Moody, the Francis L. Lederer 

Foundation, courtesy of Sharon Lederer, 

Dr. and Mrs. Craig S. Calvert, Eleanor D. 

McMurtrey, Linda and David Dillahunty, 

Martha and Richard Finger, Bari and 

David Fishel, Flo Crady, Sharon and 

Del Zogg, and Guy and Darla Comeaux, 

in memory of Clinton T. Willour 


Alice Leora Briggs, American, born 1953 

Printed by Tracy Mayrello with Cordelia 

Blanchard and Brittney Madalore at 

Flatbed Press, Austin, Texas 

Published by Alice Leora Briggs and 

Flatbed Press, Austin, Texas 

La Ventana, 2013 

Woodcut, printed chine collé on Kitkata 

on wove paper, edition 7/10 

Museum purchase funded by Carol Lynne 

Werner in honor of Karen Ann Hughes 


Brittney Leeanne Williams, 


Reach 1, 2021 

Pastel, acrylic, gouache, and watercolor 

on paper 


Carol Lynne Werner at Art + Paper 2022 


94

Prints and Drawings | Rienzi 

Essie Bendolph Pettway, American, 

born 1956 




Equal Justice, 2020 

Soft ground etching in colors with 

aquatint on Rives BFK White wove paper, 

edition 16/50 

Museum purchase funded by Christy and 

Mark K. Craig in honor of their daughters 

Katie and Claire Craig at Art + Paper 2022 


Loretta Pettway, American, born 1942 




Remember Me, 2006 

Softground etching in colors and 

hardground etching with aquatint and 

spitbite aquatint on Somerset white 

textured wove paper, edition 28/50 

Museum purchase funded by Ann S. 

Jackson and Virginia R. Jackson at 



Robert Rauschenberg, American, 

1925–2008 

Printed by Bill Goldston 


Editions, Ltd., Bay Shore, New York 

Kitty Hawk, 1974 

Lithograph on Kraft brown wrapping 





Adriaen van Ostade, Dutch, 1610–1685 

The Family, 1647 

Etching on laid paper, state II/VIII 

Museum purchase funded by Art + Paper, 

Dr. and Mrs. Craig S. Calvert, Linda and 

David Dillahunty at Art + Paper 2022, 

and the Alvin S. Romansky Prints and 

Drawings Accessions Endowment Fund 



Marjorie G. and Evan C. Horning 

Print Endowment: 

Johan Adolph Kittendorff, 1820–1902 

After Wilhelm Ferdinand Bendz, Danish, 

1804–1832 

Konstnere Forsamlede om Aftenen I 

Fincks Kaffehuus I München (An Evening 

Gathering of Artists at the Coffee House 

Finck, Munich), after 1850 

Lithotint printed in two shades of brown 

ink on wove paper 


French 

[Biblia Latina], fragment from The Saint 

Albans Bible (for English use), c. 1330 

Illuminated manuscript on parchment 


Robert Nanteuil, French, 1623–1678 

François Mallier du Houssay, 

Bishop of Troyes, c. 1656 

Engraving on laid paper, state II/III 


Robert Nanteuil, French, 1623–1678 

After Philippe de Champaigne, 

French, 1602–1674 

Michel IV Le Tellier, 1653 



Thomas de Leu, French, 1555–1612 

Gabrielle d’Estrées, Marquise de 

Monceaux, c. 1596 

Engraving on laid paper 


Thomas de Leu, French, 1555–1612 

After François Quesnel, French, 

1543–1619 

Jeanne-Françoise de Coësme, 

Princess of Conti, 1572–1601 

Engraving on laid paper 


Michel Dorigny, French, 1617–1665 

Bacchanal (Plate 5), from 

Autres bacchanals, 1650s 



Joseph François Parrocel, French, 

1704–1781 

Le Bivouac (The Encampment), 1675 

Etching on laid paper, state I/II 


Purchases funded by Leslie and 

Jack Blanton, Jr., in honor of 

Dr. Dena M. Woodall: 

Jacques Callot, French, 1592–1635 

L’hôpital (The Hospital) (plate 15), from 

Les grandes misères et malheurs de la guerre 

(The Grand Miseries of War), 1633 

Etching on laid paper, state II/III 


Claude Mellan, French, 1598–1688 

François-Théodore de Nesmond, c. 1661 



Ludolph Büsing, 

German, 1599/1602–1669 

After Georges Lallemand, French, 

c. 1575/1598–1636/1640 

Aeneas Saving His Father Anchises from 

Troy, c. 1628–30 

Chiaroscuro woodcut from one line block 

printed in black ink and one tone block 

printed in brown ink on laid paper 


• • • 

Written by Sebastian Münster, 

German, 1489—1552 

Published by Johann Froben, 

Swiss, born Germany, 1460—1527 

Hokhmat ha-Mazzalot (Kalendarium 

Hebraicum), 1527 

Book with woodcuts and text 

Museum purchase funded by the Brown 

Foundation Accessions Endowment Fund 


THE RIENZI 

COLLECTION 

GIFTS 

Gillows, Lancaster, English, 

active c. 1727–74 

Writing Table, c. 1810 

Mahogany, brass, and leather 

Gift of Samuel Lehrman 

2021.380 

Gifts of Mr. and Mrs. Harris 

Masterson III: 


Breviary Pages of the Gospel of Matthew, 

c. 1350 

Tempera and ink on parchment 

2021.545 

Ladle 

South America, possibly Ecuador, 

late 19th–early 20th century 

Silver, wood, and tagua nut 

2021.546 

PURCHASES 

Manufactured by Worcester Porcelain 

Manufactory (Flight, Barr & Barr Period), 

English, active 1813–40 

Painted by Thomas Baxter, 

English, 1782–1821 

Cabinet Cup and Stand, c. 1814–16 

Porcelain and gilding 

The Rienzi Collection, museum purchase 

funded by the Rienzi Accessions 

Endowment, and Gary and Marion Glober 

2021.386 

William Kent, English, 1685–1748 

Hall Chair, 1730–40 

Mahogany 

The Rienzi Collection, museum 

purchase funded by the Rienzi 



95

MAJOR LOAN AND PERMANENT-COLLECTION EXHIBITIONS 

Except where noted, all exhibitions noted on pp. 96–115 were 

organized exclusively by the Museum of Fine Arts, Houston. 

The al-Sabah Collection at the Museum of Fine Arts, Houston 

Gallery 102M 

The Caroline Wiess Law Building 

In 2012 the Museum signed a landmark partnership 

with the al-Sabah Collection of Kuwait, one of the greatest 

privately held collections of Islamic art in the world, assembled 

by the late Sheikh Nasser Sabah al-Ahmad al-Sabah 

and Sheikha Hussa Sabah al-Salem al-Sabah. Two exclusive 

galleries in the Museum’s Caroline Wiess Law Building 

showcased more than two hundred works of art from this 

collection, ranging from carpets and architectural fragments 

to exquisite ceramics, intricate metalwork, precious jeweled 

objects, scientific instruments, and illustrated manuscripts 

from the eighth century to the eighteenth century and from 

across all Islamic lands. This dedicated space, along with the 

permanent collection galleries of Islamic art, comprised one 

of the largest displays of art from Islamic lands on view in 

the southeastern United States. 

96

The Hossein Afshar Collection at 

the Museum of Fine Arts, Houston 

Galleries 111A and 111B 


In 2017 the Museum began to showcase objects on long-term loan 

from one of the greatest collections of the arts of Iran in private 

hands, built over the last fifty years by Mr. Hossein Afshar. More 

than seven hundred works of art from his extraordinary collection 

are now in the Museum’s care. These works span the sixth to the 

nineteenth century and diverse media, including exquisite paintings, 

rare Qur’an pages, precious inlaid metalwork, an impressive 

range of ceramics, sumptuous velvet embroideries, and monumental 

silk carpets. Many of these outstanding works will be on 

view in early 2023 in the new Hossein Afshar Galleries for Art 

of the Islamic Worlds. 

97


Spanish Viceregal Paintings from the Thoma Collection 

Reopened June 8, 2022–October 15, 2023 

Gallery 212 

The Audrey Jones Beck Building 

Since 2017 the Museum has presented a selection of Spanish 

Viceregal paintings from the celebrated collection of Carl and 

Marilynn Thoma. The Spanish colonization of Latin America 

began with the creation in 1535 of the Viceroyalty of New Spain, 

which comprised present-day Mexico, Central America, and 

parts of the southern United States. The Viceroyalty of Peru— 

made up of present-day South America, except for Brazil and 

the far south—followed in 1542. Peru would later be subdivided 

by the formation of the viceroyalties of New Granada and the Rio 

de la Plata. In the sixteenth century, European artists traveled to 

Latin America to meet the huge demand for artistic creations in 

newly established religious institutions. Sometimes, family workshops 

were founded that lasted generations. By the seventeenth 

century, artists born in Latin America began to dominate, and 

new styles and idioms emerged that had less and less to do with 

European origins. The eighteenth century saw the full flowering 

of Spanish colonial art, as regional schools and academies developed 

and influential patrons demanded both religious and secular 

paintings of the highest quality. 

98

Olga de Amaral: To Weave a Rock 

July 25–September 19, 2021 

Brown Foundation, Inc., Galleries 


This exhibition was organized by the Museum of Fine Arts, 

Houston, and the Cranbrook Art Museum. 

Major support was provided by: Sara and Bill Morgan, in 

honor of Anna Walker 

Additional generous funding was provided by: 

Anne Lamkin Kinder 

Lenore G. Tawney Foundation 

Michael W. Dale 

Leatrice and Melvin Eagle 


Olga de Amaral has pioneered her own visual language within the 

fiber arts movement. Her radical experimentation with color, form, 

material, composition, and space transforms weaving from a flat 

design element into an architectural component that defies the 

confines of any genre or medium. The Museum of Fine Arts, 

Houston, was the debut venue for Olga de Amaral: To Weave a Rock. 

This major touring retrospective spotlighted the Colombian artist 

(born 1932) and her prolific, six-decade career through some fifty 

works that trace Amaral’s architectural investigations of the woven 

form. Four thematic sections told the story of Amaral’s creative 

spirit: “Radical Materialism,” “The Rebel Warp,” “Alchemy,” and “The 

Line.” Also included were two galleries devoted to her immersive 

Brumas (Mists) and Estelas (Stelae) series. 

99


New Light on Old Masters: 

European Art from Houston Collections, 1300–1700 

October 2, 2021–February 6, 2022 

Millennium Gallery 


The term “Old Masters” denotes the artists working in Europe 

from the thirteenth through eighteenth century. The works 

of art they produced, including paintings, sculpture, textiles, 

metalwork, stained glass, and works on paper, express the broad 

range of artistic treasures desired by wealthy patrons, royal 

courts, and the Roman Catholic Church. In the Medieval period, 

gold-ground paintings, stained glass, and illuminated manuscripts 

gave material form to the transcendent hope of salvation. 

The Renaissance bore witness to an emergent sense of individualism 

expressed by the advent of portraiture and to increasingly 

naturalistic depictions of the divine and earthly realms. The 

Baroque period was characterized by an increased drama in 

painting and sculpture as well as illuminated manuscripts and 

exuberant creations in silverwork. The works in this exhibition 

were drawn from the Museum’s collections and from generous 

loans by private collectors in Houston. These masterpieces 

presented a diversity of objects, encompassing the richness 

of European art and shedding new light on Old Masters. 

100

Georgia O’Keeffe, Photographer 

October 17, 2021–January 17, 2022 

Upper Brown Pavilion East 



Houston, with the collaboration of the Georgia O’Keeffe 

Museum, Santa Fe. 

Generous support was provided by: 

PHILLIPS 

Rand Group 

Fannie and Peter Morris 

Alice C. Simkins 

Celia and Jay Munisteri 

Official promotional partner: Houston Public Media 

Georgia O’Keeffe (1887–1986) forged a career as one of the most 

significant artists of the twentieth century. Captured on film 

throughout her life—in early family photos, travel snapshots, 

and portraits by a cavalcade of photographic artists, including her 

husband, Alfred Stieglitz (1864–1946)—O’Keeffe was no stranger 

to the medium. She expressed her unique perspective through 

all aspects of her life, and by the time she began her photographic 

practice in the mid-1950s, her singular identity and artistry were 

well established. She became famous for her paintings of flowers, 

skyscrapers, and landscapes, yet her lifelong connection to photography 

had not been explored previously in depth. Premiering at the 

Museum of Fine Arts, Houston, Georgia O’Keeffe, Photographer was 

the first exhibition devoted to O’Keeffe’s work as a photographer. 

Nearly a hundred photographs from a newly examined archive 

revealed the American icon’s Modernist approach to the medium. 

The exhibition was organized around key tenets of O’Keeffe’s 

photographic approach: reframing, the rendering of light, and 

seasonal change. Complementing the photographs were paintings 

and drawings to represent the full scope of her career. 

101


Afro-Atlantic Histories 


Upper Brown Pavilion West 


This exhibition was co-organized by the Museum of Fine Arts, 

Houston, and the Museu de Arte de São Paulo in collaboration 

with the National Gallery of Art, Washington, D.C. 

Major support was provided by: Ford Foundation and 

The Andrew W. Mellon Foundation. 

The Museum of Fine Arts, Houston, presented the U.S. tour of 

Afro-Atlantic Histories, an unprecedented exhibition that explored 

the history and legacy of the transatlantic slave trade. The exhibition 

comprised more than 130 works of art and documents made 

in Africa, the Americas, the Caribbean, and Europe across five 

hundred years, from the seventeenth century to the twenty-first 

century. It dynamically juxtaposed works by artists from twenty-four 

countries, representing evolving perspectives across time and 

geography through major paintings, drawings, prints, sculptures, 

photographs, time-based media art, and ephemera. The range 

extended from historical paintings by Jean-Baptiste Debret, 

Frans Post, and Dirk Valkenburg to contemporary art by Melvin 

Edwards, Ibrahim Mahama, and Kara Walker. The exhibition 

premiered at the Museu de Arte de São Paulo (MASP) in Brazil, 

and the U.S. tour built on the presentation through the overarching 

theme of histórias—a Portuguese term that can encompass 

both fictional and nonfictional narratives of cultural, economic, 

personal, or political character. The term is plural, diverse, and 

inclusive, offering viewpoints that have been marginalized or 

forgotten. Afro-Atlantic Histories unfolded through six thematic 

sections that explore the varied histories of the diaspora. 

102

103


Calder-Picasso 





Houston, in partnership with the Calder Foundation, New York; 

Musée National Picasso-Paris (MNPP); and the Fundación Almine 

y Bernard Ruiz-Picasso para el Arte (FABA). 

This exhibition was supported by an indemnity from 

the Federal Council on the Arts and the Humanities. 

This exhibition was made possible in part by a grant from: 

Texas Commission on the Arts 

Major support was provided by: 

Bobbie Nau 

Additional generous support was provided by: 

M. D. Anderson Foundation 

PHILLIPS 

Giorgio Armani Corporation 

Sara Dodd-Denton and William S. Denton, III 

Virginia and Lee Lahourcade 

John and Kathy Orton 

Minnette Robinson 

Works by Alexander Calder and Pablo Picasso—two of the foremost 

figures in twentieth-century art—came together for a fascinating 

encounter in this presentation. The internationally traveling 

exhibition featured paintings, sculptures, mobiles, and works on 

paper spanning the artists’ careers. Calder-Picasso explored their 

prolific affinities as it revealed the radical innovation and enduring 

influence of their art. Conceived by the artists’ grandsons, the exhibition 

focused on Calder’s and Picasso’s exploration of the void, 

or absence of space. Calder explored the absence of mass in his 

sculptures, and Picasso expressed contortions of time in his figurative 

work. The American artist Calder (1898–1976) and Spanish 

artist Picasso (1881–1973) both headed to Paris as young artists: 

Picasso in 1900 and Calder in 1926. Though their lives and work 

shared many parallels, the two men were not close and were known 

to have met on only four occasions. Calder and Picasso were both 

engaged by the relationship of volume to space, and they pursued 

simplification to arrive at the essence of a subject. 

104

105


Incomparable Impressionism 

from the Museum of Fine Arts, Boston 

November 14, 2021–March 27, 2022 

Galleries 201–207 


This exhibition was organized by the Museum of Fine Arts, Boston. 

Lead foundation underwriting was provided by: Kinder Foundation 

Lead Corporate Sponsor: PNC 

Major support was provided by: Anne and Charles Duncan 

Additional generous support was provided by: 

1661 Tanglewood 

Melza and Ted Barr 

Polly and Murry Bowden 

Linnet F. Deily 

Samuel F. Gorman 

Cecily E. Horton 

Ann G. Trammell 

Jeanie Kilroy Wilson 

Mr. and Mrs. Rodney H. Margolis 

The Cyvia and Melvyn Wolff Endowment for Exhibitions 

Jonathan Blackwood and Dean Maddalena 

Bettie Cartwright 

Rosanette S. Cullen 

Joyce Z. Greenberg 

Francita Stuart Koelsch Ulmer in memory of Frances Wells Stuart 

For the first time, the Museum of Fine Arts, Boston, lent about 

a hundred of the most significant paintings and works on paper 

from its renowned Impressionist collection for an exhibition 

that opened at the Museum of Fine Arts, Houston, its only U.S. 

venue. Incomparable Impressionism from the Museum of Fine Arts, 

Boston was curated exclusively for the Houston presentation. 

The extraordinary collection of French Impressionist and Post- 

Impressionist work traced the evolution of the radical movement, 

from its roots in the novel, naturalistic landscapes of Jean- 

Baptiste-Camille Corot, Charles François Daubigny, and other 

painters of the Barbizon School; to the early “optical color” 

experimentations in plein-air landscape painting by Claude 

Monet, Camille Pissarro, and Alfred Sisley; to the frank depictions 

of modern urban life by Mary Cassatt, Edgar Degas, Edouard 

Manet, and Henri de Toulouse-Lautrec. The exhibition brought 

together paintings from the nineteenth and early twentieth 

centuries, assembled in nine thematic groupings. Among the 

highlights was a breathtaking display of sixteen canvases by 

Monet, including his luminous Grainstack (Snow Effect); 

Pierre-Auguste Renoir’s life-size Dance at Bougival; and Degas’s 

double portrait of his sister, Thérèse, and her husband, Edmondo 

Morbilli. In addition, a fascinating selection of works on paper 

showcased the artists’ working methods. 

106

107


Virtual Realities: The Art of M.C. Escher 

from the Michael S. Sachs Collection 

March 13–September 5, 2022 

Upper Brown Pavilion 



Luther King Capital Management 

Vivian L. Smith Foundation 

Marty and Kathy Goossen 

Martha and Richard Finger 

Marc Grossberg 

The Francis L. Lederer Foundation, 

courtesy of Sharon Lederer and Ellis Mills IV 

Elizabeth and George Passela 

Grace Phillips and Eugene Nosal 

The Scurlock Foundation 

This program was supported as part of the Dutch Culture 

USA program by the Consulate General of the Netherlands 

in New York. 

The Museum hosted the largest and most comprehensive exhibition 

of works by M.C. Escher ever presented. Virtual Realities featured 

more than four hundred prints, drawings, watercolors, printed 

fabrics, constructed objects, wood and linoleum blocks, lithographic 

stones, sketchbooks, and the artist’s working tools. Maurits 

Cornelis Escher (1898–1972), popularly referred to as M.C. Escher, 

was born in the Netherlands and is known internationally for his 

self-described “mental images,” which connect to mathematics and 

various branches of science. Considered a “one-man art movement,” 

he remained outside of the art establishment. Escher was heralded 

in the psychedelic era of the 1960s and 1970s and is treasured today 

for his mind-bending works. Spanning Escher’s entire career, Virtual 

Realities was drawn from the most extensive Escher collection in 

the world, held by Michael S. Sachs, who acquired 90 percent of the 

Escher estate in 1980. The artist’s singular, sometimes unsettling 

works, with their orchestration of multidimensional alternate realities, 

have become icons of the twentieth century. Escher’s imagery 

evolved from realistic observations of the world to inventions from 

his imagination that explore the relationships between art and 

science, order and disorder, and logic and irrationality. Interactive 

auxiliary rooms, where visitors could play with optical illusions, 

accompanied the exhibition. 

108

109


Dawoud Bey: An American Project 

March 6–May 30, 2022 



This exhibition was co-organized by the San Francisco Museum of 

Modern Art and the Whitney Museum of American Art, New York. 

Generous support provided by: 

The African American Art Advisory Association (5A) at the MFAH 

Krista and Michael Dumas 

Merinda Watkins-Martin and Reginald Martin 

Nancy Powell Moore 


The photographer Dawoud Bey portrays communities and 

histories that have been underrepresented or even unseen. From 

portraits in Harlem to nocturnal landscapes, classic street photography 

to large-scale studio portraits, his images combine an ethical 

imperative with an unparalleled mastery of his medium. Dawoud 

Bey: An American Project spanned the breadth of Bey’s career 

through nearly ninety works, from the 1970s to the present. Photographs 

in this retrospective ranged from his earliest street portraits 

in Harlem (1975–78) to his most recent historical explorations: the 

Underground Railroad (2017) and Louisiana plantations (2020). 

Born in New York City in 1953, Bey received his first camera as a 

gift when he was fifteen. The following year, he saw the landmark, 

highly divisive exhibition Harlem on My Mind at the Metropolitan 

Museum of Art in New York. Widely criticized for its failure to 

include significant numbers of artworks by African Americans, the 

exhibition nonetheless made an impression on Bey and inspired 

him to take up his own documentary project about Harlem in 1975. 

Since then, Bey has worked primarily in portraiture, making 

tender, psychologically rich and direct portrayals of Black subjects 

and rendering African American history in a form that is poetic, 

poignant, and immediate. Dawoud Bey: An American Project 

introduced Bey’s deeply humanistic photographs into a longrunning 

conversation about what it means to represent America 

with a camera. 

110

Shahzia Sikander: Extraordinary Realities 

March 20–June 5, 2022 

Millennium Gallery 


This exhibition was organized by the RISD Museum and 

presented in collaboration with the Museum of Fine Arts, 

Houston. This exhibition originated at the RISD Museum 

thanks to generous federal, private, and endowment support. 


Leslie and Brad Bucher 

Additional generous funding was provided by: 

E. Rhodes and Leona B. Carpenter Foundation 

The Margaret Cooke Skidmore Exhibition Endowment 


Jereann and Holland Chaney 

Alice Kleberg Reynolds Foundation 

Extraordinary Realities examined the career of Shahzia Sikander 

during her prolific first fifteen years. Paintings, drawings, and 

video animations showed how the Pakistani American artist 

explores contemporary issues by transforming and subverting 

South and Central Asian illustrated manuscript painting. 

Born in Lahore, Pakistan, in 1969, Sikander was an artist in 

the Core Residency Program at the Museum’s Glassell School 

of Art from 1995 to 1997. She is now internationally celebrated 

for bringing manuscript painting traditions into dialogue with 

contemporary art practice. Shahzia Sikander: Extraordinary 

Realities brought together nearly sixty of Sikander’s works, 

from public and private collections. The presentation tracked 

her groundbreaking deconstruction of manuscript painting 

in Pakistan; development of a new personal vocabulary in 

her graduate years at the Rhode Island School of Design; 

expanded explorations around identity at the Glassell School; 

and global approach during her first years in New York. 

Throughout that time, she richly interrogated gender, sexuality, 

race, class, and history, creating open-ended narratives that have 

sustained her as one of the most significant artists working 

today. Sikander’s vibrant synthesis of traditional and contemporary 

art has played a critical role in recognizing a wider 

range of perspectives, including those of women, people of 

color, Muslims, and artists working outside the United States 

and Europe. 

111


The Obama Portraits Tour 

April 3–May 30, 2022 

Cullinan Hall and North Foyer 


This tour was organized by the Smithsonian’s National Portrait 

Gallery, Washington, D.C. Support for the national tour was 

generously provided by Bank of America. 


Susan and Fayez Sarofim 

H-E-B 

Tony Chase and Dina al Sowayel 


Ellen S. Susman 

Jay Jones and Terry Wayne Jones 

Merinda Watkins-Martin and Reginald Martin 

Reginald and Paula DesRoches; Al and Kim Odom; 

and Barron and Lisa Wallace 

From the moment of their unveiling at the Smithsonian’s National 

Portrait Gallery in February 2018, the official portraits of President 

Barack Obama and First Lady Michelle Obama have become iconic. 

Kehinde Wiley’s portrait of Barack Obama and Amy Sherald’s portrait 

of Michelle Obama have inspired unprecedented responses from the 

public. The Obama Portraits Tour came to the Museum of Fine Arts, 

Houston, after premiering at the Art Institute of Chicago in June 

2021 and traveling to the Brooklyn Museum, the Los Angeles County 

Museum of Art (LACMA), and the High Museum of Art in Atlanta. 

Following the Houston presentation, the tour continued to the 

de Young Museum in San Francisco and the Museum of Fine Arts, 

Boston. The two paintings present a striking contrast to the formality 

of earlier portraits of presidents and first ladies. Through the 

presentation of these now-iconic works by Wiley and Sherald, the 

exhibition contemplated how portraiture has given visual form 

to ideas of power, identity, status, and legacy throughout history. 

The Obama Portraits Tour reached millions of people who might not 

otherwise have had an opportunity to view these remarkable paintings. 

In addition to the paintings themselves, the exhibition featured 

audio-visual elements and educational programs. This special presentation 

enhanced conversations surrounding the power of portraiture 

and its potential to engage communities. 

112

The Xuzhou Collection of Buddhist Art 

Reopened May 28, 2022 

Gallery 106M 


In 2021 thirty master works of Buddhist sculpture from an 

exceptional private collection were placed on long-term loan at 

the Museum. Shown in public for the first time, a selection was 

displayed in the Arts of Asia Galleries of the Caroline Wiess Law 

Building. Among the highlights were a spectacular Tang Chinese 

dry-lacquer Buddha head, two infant Buddhas from Korea and 

Japan, and an Indonesian seated Buddha cast in pure gold. The 

exhibition revealed the great heights of Asian devotional art inspired 

by the teaching of Buddhism over a millennium. Representing 

major Buddhist cultures across the Asian continent, the loan has 

been transformative to the Museum’s capacity to exhibit Asian art 

and encourage cross-cultural dialogue. Through the lens of a shared 

religious tradition, the exhibition demonstrated the deep interconnectedness 

as well as the great diversity and inventiveness of Asian 

art and civilizations. 

113


The New Galleries for European Art 

Opened June 8, 2022 

Galleries 201–208, 210–212 


The Museum’s major new reinstallation of eleven galleries for 

European art spans the Middle Ages through the eighteenth 

century, with art from northern and southern Europe as well 

as Mexico, Central, and South America. This interdisciplinary 

presentation of more than two hundred works features paintings, 

tapestries, sculpture, and liturgical objects across 

six hundred years of cultural and artistic production. The 

galleries’ overarching narrative tells a comprehensive story 

of European art, with works of varied media throughout that 

illustrate how textiles, sculpture, decorative arts, books, works 

on paper, and paintings functioned together within their 

original contexts. Several galleries highlight specific areas 

of achievement in early modern Europe and the Viceroyalty 

of New Spain, including sixteenth-century Netherlands and 

Venice, and seventeenth-century Spain and its colonies in 

Mexico, Central, and South America. Notably, three galleries 

trace the relationship between seventeenth-century Spanish art 

and the art of the Viceroyalty of New Spain in the seventeenth 

and eighteenth centuries, exploring the relationship between 

European art and the art of the Americas. The installation 

included several exceptional loans, as well as some major 

recent acquisitions, including a recently acquired eighteenthcentury 

lacquered folding screen, or biombo, from Mexico; 

a singular portrait miniature of Henri III, King of France, by 

the renowned sixteenth-century court artist Jean de Court; and 

a long-case clock attributed to the seventeenth-century French 

cabinet maker to King Louis XIV, André Charles Boulle. 

114

Leandro Erlich: 

Seeing Is Not Believing 

June 29–September 5, 2022 

Cullinan Hall and North Foyer 


This exhibition was organized by 

the Museum of Fine Arts, Houston 




Baker McKenzie 

Silvia Salle and Peter T. Wood 

The conceptual artist Leandro Erlich creates visual paradoxes 

and optical illusions that question viewers’ perception of reality. 

He renders everyday situations confounding—a staircase leads 

nowhere; an elevator appears partially stuck below ground; 

a swimming pool reflects one group of onlookers above the 

water’s surface and a different group below. Seeing Is Not 

Believing featured two of Erlich’s most iconic installations. 

Bâtiment (2004) juxtaposed a reproduction of a building facade 

with a monumental mirror; by lying on the floor between the 

two, visitors appeared suspended across the facade. In Le cabinet 

du psy (The Psychoanalyst’s Office) (2005), viewers entered one 

of two rooms separated by a large glass panel through which 

they could see their reflections projected within a psychoanalyst’s 

office. These immersive, room-size environments and a 

selection of additional works span the career of this acclaimed 

Argentinean artist, whose psychological subversion of the 

everyday seems to defy the laws of physics. Born in 1973, Erlich 

lives and works in Buenos Aires, Argentina, and Montevideo, 

Uruguay. He was a resident in the Glassell School of Art’s Core 

Program at the Museum of Fine Arts, Houston, from 1997 to 

1999. This exhibition served as both a homecoming for him 

and a revelation for Museum visitors. 

115

ADDITIONAL DISPLAYS FROM THE PERMANENT COLLECTION 

AND GALLERY ROTATIONS 

1 

Bookbinding Uncovered: 

Materials, Techniques, 

and Artistic Expression 

July 14–October 30, 2021 

Hirsch Library 

The Caroline Wiess 

Law Building 

1. The Geometric Landscape: 

Selections from the 

Museum’s Collection 

July 24–August 8, 2021 

Millennium Corridor 

The Audrey Jones 

Beck Building 

116

2 

2. Mungo Thomson: American 

Desert (for Chuck Jones) 

October 13–November 21, 2021 

Cullinan Hall 


Law Building 

Not Playing Around: 

The Unconventional Use 

of the Card in Modern and 

Contemporary Art 

November 3, 2021– 

March 12, 2022 



Law Building 

Jennifer Steinkamp: 

The Seasons 

November 24, 2021– 

January 2, 2022 

Cullinan Hall 


Law Building 

Native American Gallery 

Reopened December 16, 2021 

Wiess Gallery, East 


Law Building 

117

ADDITIONAL DISPLAYS FROM THE PERMANENT COLLECTION 

AND GALLERY ROTATIONS 

3 

4 5 

3. William Kentridge: City Deep 

January 5–March 18, 2022 

Cullinan Hall 


Law Building 

Arts of Korea Gallery 


Galleries 103M–104M 


Law Building 

Arts of India Gallery 


Gallery 106M 


Law Building 

118

6 7 

8 

9 

RIENZI EXHIBITIONS 

4. Hidden Hands: Invisible Workers 

in Industrial England 

September 1, 2021–January 9, 2022 

Isla’s Gallery 

5. Materials of Empire: 

Colonial Narratives 1700–1860 

January 15–July 31, 2022 

Isla’s Gallery 

THE GLASSELL SCHOOL OF ART EXHIBITIONS 

Levant Foundation Gallery: 

Student Exhibition 

July 9–September 5, 2021 

BLOCK XXI 

September 17–December 3, 2021 

6. Figurative Art in Houston: 2000–2021 

The Glassell Connection 

December 20, 2021–February 9, 2022 

Leslie and Brad Bucher Gallery: 

Glassell Figurative Students Past & 

Present Artists: 2000–2021 

September 17, 2021–February 9, 2022 

Certificate of Achievement Recipients Exhibition 

May 28–September 5, 2022 

Orton Gallery: 

Suzanne Manns: 

Decades of Wandering and Wondering 

September 17–November 7, 2021 

Painting 1 & 2 

November 15, 2021–January 16, 2022 

7. 2022 Core Exhibition 

March 10–April 22, 2022 

Printmaking Students 

May 16–June 17, 2022 

Junior School: 

Richard Williams: A Retrospect of a Lifetime 

Art Teacher 

August 27–October 15, 2021 

Annual Junior School Holiday Exhibition 

November 19, 2021–January 3, 2022 

Glassell Junior School Faculty Exhibition 

January 24–February 18, 2022 

Presbyterian School: Community Connections 

March 1–March 22, 2022 

Advanced Portfolio Preparation Student Exhibition 

March 31–April 30, 2022 

8. State VASE (Visual Art Scholastic Event) 

Gold Seal Exhibition 

June 6–August 12, 2022 

The following Glassell School of Art exhibitions 

were presented in the Kinder Morgan Building 

in Houston: 

9. Emotions 

September 3–November 19, 2021 

Urban 

November 19, 2021–February 18, 2022 

Suburban 

February 18–May 13, 2022 

Wilderness 

May 28–September 3, 2021 

119

DEPARTMENTAL HIGHLIGHTS 

Conservator Tina Tan helps to install the exhibition 

Virtual Realities: The Art of M.C. Escher from the Michael S. 

Sachs Collection. 

CONSERVATION 

This fiscal year was dedicated to catching 

up on projects that temporarily had 

been placed on hold due to the pandemic. 

Large-scale conservation efforts, such as 

the conservation of Anish Kapoor’s Cloud 

Column, is still ongoing due to scale and 

complexity. Exhibition schedules were 

also impacted by the worldwide rescheduling 

of traveling exhibitions. With the 

postponement of the Philip Guston 

show, a vacancy in our exhibition 

schedule allowed the Museum to mount 

a very large exhibition, Virtual Realities: 

The Art of M.C. Escher from the Michael S. 

Sachs Collection. 

team worked to find appropriate frames 

for all of the works. The focused dedication 

of the conservation, registration, and 

installation staff to meet world-class standards 

helped bring this exhibition to life. 

Scholarship is a cornerstone of the 

Conservation Department. The Museum’s 

Andrew W. Mellon Research Scientist, Dr. 

Corina Rogge, worked toward publishing 

her findings in the forthcoming book 

Franz Kline: The Artist’s Materials, which 

will include contributions by Dr. Zahira 

Véliz Bomford. The book, to be published 

in August 2022, is a comprehensive 

investigation of the materials and working 

methodologies of Franz Kline, an 

American Abstract Expressionist who 

worked alongside Jackson Pollock and 

Willem de Kooning. The information 

gathered will be an instrumental tool for 

conservators and scholars when examining 

and studying works by Franz Kline. 

—Per Knutås 

HEAD OF CONSERVATION 

legendary Italian filmmaker in honor 

of the centennial of his birth. 

December brought a transformative 

moment with the opening of the Lynn 

Wyatt Theater in the Kinder Building. 

At Mrs. Wyatt’s request, some of her 

favorites were shown, including the film 

noir Laura and Alfred Hitchcock’s Rear 

Window. The Japanese drama Drive My 

Car, winner of the 2021 Academy Award 

for Best International Feature, drew 

capacity crowds to multiple screenings. 

The return of popular series, including 

Oscar-Nominated Shorts, Festival of Films 

from Iran, Latin Wave: New Films from 

Latin America, Five Funny French Films, 

and Jazz on Film, attracted steadily 

increasing attendance throughout 

the spring. 

—Marian Luntz 

CURATOR, FILM 

Tina Tan, conservator for works of art 

on paper, spent time at Michael Sachs’s 

home to prepare the artworks to travel to 

Houston. The work associated with large 

exhibitions like this one usually require 

careful orchestration of multiple departments, 

and this process can take years. 

The Conservation Department was 

deeply involved in incoming assessment 

of the collection, and Patrick Turk and 

Sara Wright prepared mats for almost 

every single artwork on view during a 

very compressed timeline. To ensure 

a cohesive appearance, the conservation 

120 

Film still from Federico Fellini’s La Strada 

FILM 

Following eighteen months of virtual 

cinema programming, during which the 

Museum’s films were available to watch 

from home on streaming platforms, 

in-person screenings resumed in Brown 

Auditorium Theater in September. 

The very first film shown was Federico 

Fellini’s iconic La Strada, heralding 

a rescheduled retrospective of the 

Keliy Anderson-Staley speaking to an audience about 

her photographically based books as part of a program 

coordinated by the Hirsch Library 

LIBRARIES AND ARCHIVES 

Planning for the Hirsch Library’s future 

reading room was a primary activity 

throughout much of the year. This 

culminated in the move out of our longtime 

facility in the Caroline Wiess Law 

Building in April of 2022. Purpose built 

by the legendary architect Mies van der 

Rohe in 1973 and then expanded in 2001, 

the space served us well for nearly five 

decades. We look forward to welcoming

our staff and the public to our expanded 

reading room in the Audrey Jones Beck 

Building in the fall of 2022. 

In anticipation of this move, we worked 

to ensure ongoing access to our resources 

for both internal researchers and the 

public. Notably, we supported curatorial 

initiatives by providing objects from 

our rare collections for sixteen different 

installations, ranging from the exhibitions 

Afro-Atlantic Histories and Rienzi’s 

Hidden Hands: Invisible Workers in 

Industrial England to rotations in 

the photography galleries featuring 

Alexander Rodchenko. In terms of collection 

building, the Hirsch Library added 

two significant acquisitions to its holdings. 

The first, the Liber Chronicarum 

(1493), better known as the Nuremberg 

Chronicle, sought to synthesize the history 

of the world through visual and textual 

means. Today, it stands as one of the 

monuments of early book-making for its 

beautiful execution, staggering number 

of woodcuts, and ingenious integration 

of text and image. The other noteworthy 

addition was the complete maquette 

holdings of Alejandro Cartagena, a 

Mexican photographer and photobook 

maker who is widely recognized for 

his explorations of social, urban, and 

environmental issues. The collection 

comprises eighty-seven maquettes and 

eight posters produced between 2011 

and 2021, providing insights into the 

mindset and creative process of the 

photographer. On the programming 

front, the Hirsch Library hosted a wellattended 

public program featuring the 

latest body of work by the local photographer 

and University of Houston professor 

Keliy Anderson-Staley, who addressed 

her photographically based books in 

the context of photobooks from the 

Hirsch Library and the Manfred Heiting 

Book Collection. 

The Museum Archives returned to its 

pre-pandemic service levels and enhanced 

its database of photographs in order to 

provide better access to this content for 

future researchers. 

The William J. Hill Texas Artisans 

and Artists Archive expanded its freely 

accessible database to 133,000 records. 

During the year, it was acknowledged 

by two different entities as an exemplary 

resource: first as a finalist for the 2021 

Decorative Arts Trust prize and second 

as the recipient of the 2022 Texas 

Digital Library Excellence Award, which 

recognizes the finest digital initiative in 

the state. 

—Jon Evans 

CHIEF, LIBRARIES AND ARCHIVES 

The award-winning exhibition catalogue 

Georgia O’Keeffe, Photographer 

PUBLICATIONS 

In fiscal year 2021–2022, the Museum 

published Georgia O’Keeffe, Photographer 

to accompany the exhibition of the same 

name. The catalogue, copublished with 

Yale University Press, included essays by 

Lisa Volpe, associate curator of photography, 

and Ariel Plotek, curator of fine art at 

the Georgia O’Keeffe Museum, Santa Fe. 

Of the more than five hundred images 

included in the book, many had never 

been published before, and Volpe’s 

revelatory essay sheds light on this 

little-known aspect of O’Keeffe’s 

creative process. The book was awarded 

a Mitchell A. Wilder Publication Design 

Award, earning first place in the Books 

and Catalogues category, at the annual 

conference of the Texas Association 

of Museums. 

In celebration of the new Nancy and Rich 

Kinder Building for modern and contemporary 

art, the publications department 

produced the booklet The First Century, 

which includes an essay by Director Gary 

Tinterow that tells the story of the collectors, 

directors, patrons, and curators 

who have shaped the Museum from 

its founding to the present day. Ronnie 

Self, professor at the Gerald D. Hines 

College of Architecture and Design at 

the University of Houston, contributed 

an insightful essay on the architecture of 

the building as well. The department also 

produced The Museum Collectors: Enriching 

the Collection over 42 Years to honor the 

contributions of that patron group. 

The beginning of fiscal year 2021–2022 

saw the launch of the Museum’s first 

online scholarly catalogue, The Straus 

Collection. This resource, made available 

for free on the Museum’s website, 

includes an introduction by Helga K. 

Aurisch, curator of the arts of Europe 

and the Mediterranean, about the history 

of this foundational collection as well as 

detailed entries on the seventy-four works 

in the collection, written by Dr. Aurisch; 

Dena M. Woodall, curator of prints and 

drawings; Jeremy Warren, honorary 

curator of sculpture at the Ashmolean 

Museum, Oxford, and sculpture research 

curator at the National Trust, UK; and 

independent scholar Michelle Packer. The 

template upon which the catalogue was 

based will provide the technical framework 

for future online catalogues. 

—Heather Brand 

PUBLISHER IN CHIEF 

121

LEARNING AND INTERPRETATION 

Texas Southern University Marching Band at the Sunday Best opening celebration of The Obama Portraits Tour 

During the 2021–2022 fiscal year, the 

Learning and Interpretation Department 

continued to offer programs and resources 

online. As the year progressed and the 

pandemic waned, in-person programs 

gradually returned at the Museum of 

Fine Arts, Houston, and in the community. 

In total, the department served 

222,499 visitors, students, teachers, and 

community members throughout the year. 

Learning and Interpretation staff joyfully 

welcomed back 16,914 students, teachers, 

and chaperones to the Fayez S. Sarofim 

Campus for in-person school tours during 

the 2021–2022 academic year. Students 

and chaperones from Galena Park and 

Spring Branch Independent School 

Districts experienced in-person tours 

guided by the Museum’s devoted docent 

volunteers, and students and chaperones 

from schools across the region came for 

in-person self-guided tours. In addition, 

1,206 elementary, middle, and high 

school students and their teachers from 

Houston ISD attended docent- and 

staff-led tours of the national exhibition 

The Obama Portraits Tour during the 

spring. Through a prestigious multiyear 

grant from the Institute of Museum and 

Library Services, From Classroom to 

Home: Promoting Equitable Art Access 

at the MFAH, object-based-learning staff 

collaborated with eighteen paid teacher 

fellows to develop culturally responsive 

digital resources to integrate art from 

the Museum’s collections into school 

curriculum at Houston ISD. These new 

resources reached 1,203 teachers and 

138,851 students in three tranches during 

the academic year. 

Studio and gallery programs staff were 

delighted to discover that families 

yearned to return to the Museum for 

in-person art making. For spring break, 

art-making activities took place outside in 

the Cullen Sculpture Garden, serving a 

group of 410 over five days in March. In 

collaboration with the Houston Islamic 

Arts Society, staff teaching artists organized 

the Islamic Arts Family Experience 

on Sunday, March 13, also in the sculpture 

garden, where 150 family members 

experimented with paper marbling, 

Arabic calligraphy, and much more. For 

the first month of summer break in June, 

art-making tables were set up in the 

lower-level Kinder Building arrivals hall, 

serving 1,196 family members over five 

Thursdays in June. This was a welcoming 

space for families to engage in artist-led 

activities, with Visitation, the beautiful 

aluminum and copper-wire tapestry by 

El Anatsui, providing inspiration on the 

surrounding walls. Following the school 

year, for one week in June, studio and 

gallery programs staff welcomed fifty 

students from the City of Houston Parks 

and Recreation Department Summer 

Camp at Emancipation Park. They experienced 

an array of activities, including 

gallery tours, studio art making, behindthe-scenes 

exploration of the Museum, 

and the creation of a final mural celebrating 

Juneteenth, which was gifted to 

Emancipation Park. 

Public programs staff organized a wide 

array of lectures, conversations, and events 

during the year, beginning with livestream 

programs online, gradually shifting to 

in-person venues at the Museum. The 

distinctive Conversations with Artists, 

a continuation of the Ruth K. Shartle 

Lecture Series from the previous fiscal 

year, celebrated contemporary art on view 

in the Kinder Building. Conversations 

with artists, including Trenton Doyle 

Hancock, Julie Mehretu, Amalia 

Mesa-Bains, and David Taylor, were presented 

by livestream via Zoom during the 

summer and fall, with the final two conversations 

between artists César Augusto 

Martinez and Vincent Valdez, and Jason 

Salavon and Norbert Viviano, staged in 

person in the Brown Auditorium Theater 

in November and December. During the 

spring, the popular exhibition The Obama 

Portraits Tour opened on April 3 with the 

Sunday Best celebration on The Brown 

Foundation, Inc. Plaza and the Cullen 

122

HISD students view Kehinde Wiley’s portrait of President Obama. 

A free art-making activity during summer break in 

the Kinder Building arrivals hall 

MFAH art-making activity at MECA’s Day of the 

Dead Festival, October 2021 

Sculpture Garden, conceived by Associate 

Curator Anita Bateman and Marketing 

Manager Mahogany Johnson, and 

sponsored by H-E-B. An estimated 3,500 

visitors attended the stellar performances 

by Texas Southern University’s Ocean of 

Soul Marching Band, New Bethlehem 

Missionary Baptist Church of Houston 

Choir, and the National Convention of 

Gospel Choirs and Choruses; drop-in art 

activities with Houston artists Melissa 

Aytenfisu, Mark Francis, Bria Lauren, 

Marc Furi, and Irene Antonia Diane 

Reece; and free general admission to 

the Museum, where visitors lingered 

in Cullinan Hall to appreciate the portraits 

of the Obamas by Kehinde Wiley and 

Amy Sherald. Additional programs 

during the run of the exhibition included 

POETRAITS, a solo performance by 

Houston Poet Laureate Outspoken Bean 

in response to the Obama portraits, as 

well as Houston Public Library’s adult 

reading circle and family story time 

at the Museum, focusing on Michelle 

Obama’s memoir, Becoming, and Jessica 

and Parker Curry’s children’s book, Parker 

Looks Up, retelling the young author’s 

experience viewing the portrait of Michelle 

Obama for the first time. 

During the 2021–2022 fiscal year, 

interpretation staff created resources 

to deepen visitors’ experiences with art on 

view at the Museum. The Conversations 

with an Artist audio guide investigates 

selected objects in the permanent collection, 

with artist Dario Robleto asking 

curators, conservators, and historians 

questions about their relationships with 

works of art. As Robleto remarks, “I am a 

huge advocate for a curiosity that is broad 

and not afraid of asking the wrong or 

silly question.” He is the perfect liaison 

for visitors who want to take a deep-dive 

exploration into unique works from 

across the Museum’s collections. For 

seven special exhibitions, the interpretation 

team created multivoiced audio 

guides to enhance visitors’ experiences in 

the galleries. For example, the guide for 

Afro-Atlantic Histories included commentary 

from artists including Jamal Cyrus, 

Nona Faustine, and Kehinde Wiley; poet 

Joy Priest; and scholars and museum 

curators. The audio guides are available 

to access through visitors’ own devices 

on the Culture Connect platform. 

The community engagement team 

was very active bringing art-making 

opportunities to communities throughout 

Houston, as, for example, at the Day 

of the Dead celebration at Houston’s 

Multicultural Education and Counseling 

through the Arts (MECA) in October, 

and at the BakerRipley Gulfton 

Sharpstown Campus, celebrating 

International Women’s Day. The team 

also brought community members to 

the Museum throughout the year, such 

as students and staff from Third Ward’s 

SHAPE Community Center to see the 

exhibition Dawoud Bey: An American 

Project during spring break in March. 

They also celebrated Black History Month 

with a beautiful video, Quilts, A Mosaic 

of Art and Community, commemorating 

the work of the Jubilee Quilt Circle at the 

Community Artists Collective (CAC), led 

by Executive Director Michelle Barnes, 

and Lutisha Pettway’s Quilt, Bars, made 

in Gee’s Bend, Alabama, now part of 

the Museum’s collection. The MFAH 

Speakers Bureau, a dedicated group of 

volunteer presenters, reached seniors at 

community centers throughout Houston: 

750 in person and 474 through online 

livestream platforms. With community 

engagement a critical focus going 

forward, the Learning and Interpretation 

Department’s school and community 

initiatives are core to the work of the 

Museum of Fine Arts, Houston. 

—Caroline Goeser, PhD 

THE W. T. AND LOUISE J. MORAN CHAIR 

OF THE DEPARTMENT OF LEARNING 

AND INTERPRETATION 

123

MEMBERSHIP AND GUEST SERVICES 

Members attended a preview of The Obama Portraits Tour. 

The Membership and Guest Services 

team entered fiscal year 2021–2022 with 

the goals of rebuilding the membership 

program after a year of the pandemic, 

evolving protocols and staffing considerations 

with the expansion of the campus 

in mind, and considering innovative ways 

to deliver positive guest experiences. Like 

many cultural organizations across the 

United States, the Museum experienced 

a decline in members because of 

the pandemic. 

The team developed strategies to retain as 

many members as possible through visit 

satisfaction, frequent Museum updates, 

and retention efforts. We employed four 

multichannel campaigns to acquire new 

members. Letters, emails, and digital 

advertising featured the Museum’s newly 

expanded campus and touted membersonly 

opportunities, such as exclusive 

previews to a fantastic slate of exhibitions, 

including Three Centuries of American 

Art – Antiquities, European and American 

Masterpieces from The Fayez S. Sarofim 

Collection; Monet to Matisse: Impressionism 

to Modernism from the Bemberg Foundation; 

Ernesto Neto: SunForceOceanLife; 

Afro-Atlantic Histories; Georgia O’Keeffe, 

Photographer; Calder-Picasso; Dawoud Bey: 

An American Project; Incomparable 

Impressionism from the Museum of Fine 

Arts, Boston; The Obama Portraits Tour; 

124 

Shahzia Sikander: Extraordinary Realities; 

Virtual Realities: The Art of M.C. Escher 

from the Michael S. Sachs Collection; and 

Leandro Erlich: Seeing Is Not Believing. 

We also hosted a number of intimate, 

insider opportunities for top membership 

levels, such as behind-the-scenes events 

with Joseph Havel, the retiring director 

of the Glassell School of Art, and with 

Jon Evans, chief of libraries and archives, 

who discussed the construction of the 

new Hirsch Library. Furthermore, we 

continued to engage young members 

through Art Crowd events, featuring 

evening access to the Museum and lively 

music spun by a DJ. We were encouraged 

by the overall support of members, 

despite the fact that events in fiscal year 

2021–2022 did not yet include food or 

beverages because of pandemic safety 

protocols. Through these efforts, we 

grew the number of general member 

households to 26,762. We also realized 

an increase in students participating in 

the University Partnership Program, from 

4,900 Houston-area college students in 

fiscal year 2020–2021 to 8,800 in fiscal 

year 2021–2022. This made for a grand 

total of 35,562 member households 

(approximately 61,619 individual 

members). We exceeded $3 million in 

membership revenue, an amount that 

is comparable to fiscal years 2016–2017 

and 2017–2018. 

Additional entrances into the Nancy and 

Rich Kinder Building required new 

staffing considerations for greeting 

guests, providing information and 

wayfinding, scanning tickets, and selling 

tickets and memberships. The Guest 

Services team experimented with different 

staffing locations, with ease of entry 

and hospitality in mind. We also supported 

the return of in-person programs and 

films in the auditoriums. 

The Guest Services team introduced 

contactless ticket scanning with selfscanning 

towers at the entries of 

Brown Auditorium Theater and Wyatt 

Theater. Later in the year, the department 

launched a new Guest Experience 

Volunteer Program to assist guests as 

they navigated through the tunnels of the 

expanded campus. You can now find these 

volunteers at stationed desks Thursdays 

through Sundays. We are grateful for their 

friendly assistance with guests. 

The Membership and Guest Services 

team has continued to build upon the 

successful launch in September 2020 of 

the Museum’s new customer-relationship 

management platform, Tessitura. Behind 

the scenes, we are realizing successes, 

such as reduced time for members to 

receive their membership cards, from 

forty to seventeen days, and solutions 

to allow for better testing of offers, such 

as fourteen months of membership for 

the price of twelve—an offer that would 

not have been possible to implement last 

year because of the complexity of delivering 

the extra months of memberships. 

We reinstated on-site survey collection 

by iPad and by volunteers at the exits 

of ticketed exhibitions and are tracking 

guest satisfaction to improve the visit 

experience. We continue to try new tactics 

and consider innovative ways to serve 

our constituents. We are energized and 

motivated by our community and look 

forward to serving guests and members 

in the coming year. 

—Jennifer Garza 

CHIEF ADMINISTRATOR OF MEMBERSHIP 

AND GUEST SERVICES

INTERNATIONAL CENTER FOR THE ARTS OF THE AMERICAS 

The fiscal year 2021–2022 was one of 

continued expansion for the International 

Center for the Arts of the Americas 

(ICAA). The ICAA completed the 

Critical Documents of Chilean Art 

project in partnership with Fundación 

AMA in Santiago, which resulted in 

the online publication of more than five 

hundred documents related to contemporary 

Chilean art. Through its partnership 

with the Cruz-Diez Foundation, 

the ICAA team also has been working 

to process more than ninety documents 

drawn from the artist’s archive in Paris. 

By the end of this fiscal year, over 9,200 

documents had been made available 

online, free of charge, to more than 

691,989 users from around the world. 

In addition, ICAA staff, fellows, and 

researchers have published articles on 

the Papelitos blog space. In April 2022, 

the ICAA welcomed Lillian Michel as the 

new ICAA digital experience specialist. 

The ICAA continued to partner with 

the Institute for Latin American Art 

(ISLAA), New York. This long-term 

collaboration supports research by 

postgraduate art history students and 

professional researchers while making 

primary sources in ISLAA’s archival 

collections accessible via the ICAA’s 

Documents Project. The first initiative 

has entailed the researching and 

processing of more than nine hundred 

gacetillas, or newsletters, produced by 

the Centro de Arte y Comunicación 

(CAYC) in Buenos Aires in the late 

1960s and 1970s. 

In this fiscal year, the ICAA made 

meaningful progress toward completing 

the initial phase of the Latinx Papers 

Project, which aims to identify and 

highlight critical primary documents 

related to Latinx art for inclusion in 

the ICAA Documents Project Digital 

Archive. With the support of a planning 

Participants from the ICAA/University of Houston NEH Summer Institute in a session devoted to Latin American 

and Latinx art on view in the Kinder Building 

grant from the Terra Foundation for 

American Art, ICAA staff traveled to 

several key repositories at the University 

of Texas at El Paso, UT San Antonio, UT 

Austin, and Stanford University to survey 

their holdings and establish contact 

with potential stakeholders. 

The ICAA’s partnership with the 

University of Houston (UH) continued 

to grow. In June 2022, the ICAA and 

UH hosted a two-week Summer Institute 

funded by the National Endowment for 

the Humanities on the topic Engaging 

Latinx Art. The institute sponsored 

twenty-five college and university 

professors from humanities programs 

across the United States who traveled 

to Houston to study the cultural and 

artistic movement known as Latinx 

art through readings, documents, lectures, 

and objects from the Museum’s 

collections. Focused workshops were 

led by ICAA staff, UH faculty, and more 

than ten leading scholars and experts in 

this field. The participants also worked 

to develop course curricula centered 

on Latinx art to be implemented at 

their home institutions. The annual 

Object-Based Learning Seminar resumed 

in the fall of 2021 with the participation 

of thirteen graduate and undergraduate 

students in art and art history. Participants 

performed in-person analyses 

of objects from the Latin American 

and Latinx collections on view in the 

Kinder Building, including painting, 

sculpture, works on paper, archival holdings, 

and rare books. Weekly sessions 

were facilitated by UH faculty, ICAA 

staff, and members of the Museum’s 

learning and interpretation and conservation 

departments. The course exposed 

students to a variety of departmental 

practices and the collaboration required 

to research, preserve, and exhibit 

works of art within a museum context. 

Additionally, UH graduate fellows have 

been working since August 2021 at the 

ICAA on a number of research and 

digital initiatives. 

—Mari Carmen Ramírez, PhD 

WORTHAM CURATOR OF LATIN 

AMERICAN ART AND DIRECTOR, 

INTERNATIONAL CENTER FOR 

THE ARTS OF THE AMERICAS 

125

SARAH CAMPBELL BLAFFER FOUNDATION 

Gainsborough, was featured in the exhibition In 

the Light of Cuyp: Aelbert Cuyp & Gainsborough – 

Constable – Turner at the Dordrechts Museum 

in the Netherlands. Jean-Siméon Chardin’s Still 

Life with a Leg of Lamb traveled to the exhibition 

Through Vincent’s Eyes: Van Gogh and His Sources 

at the Columbus Museum of Art in Ohio and the 

Santa Barbara Museum of Art in California. The 

Kiss on the Shore and Kneeling Female Nude, by 

Edvard Munch, were on display in the exhibition 

Munch: In Dialogue at the Albertina Museum in 

Vienna, Austria. 

CHRISTIAN LUYCKS, 

Flemish, 1623–c. 1677 

A Vanitas Still Life with Musical 

Instruments, Sheet Music, Books, 

a Skeleton, Skulls, and Armor, c. 1655 

Oil on canvas 

29 3/8 x 36 3/4 in. (74.6 x 93.3 cm) 

Sarah Campbell Blaffer Foundation, 

Houston 


Sarah Campbell Blaffer 

Foundation Board of Trustees 

Mr. Charles W. Hall 

President 

Mr. Edward Joseph Hudson, Jr. 

Vice-President and Secretary 

Ms. Anne D. Owen 

Vice-President and Treasurer 

Mr. Robert Lee Hudson 

Vice-President 

Mr. James Owen Coleman 

Vice-President 

126 

In 1964 Sarah Campbell Blaffer established a 

foundation for religious, charitable, and educational 

purposes. Since that time, the Sarah 

Campbell Blaffer Foundation has supported 

a wide variety of institutions through monetary 

grants. In 1971 its trustees, including 

Mrs. Blaffer, decided to focus more of the 

foundation’s resources on acquiring works of 

art that would be made available to people in 

Texas through a “museum without walls.” 

The Sarah Campbell Blaffer Foundation now 

maintains, exhibits, and continues to develop 

a collection of more than 150 Old Master and 

modern paintings, approximately 500 works 

on paper, and a small collection of decorative 

arts. Prior to 2000, the foundation had never 

occupied its own permanent exhibition space. 

However, as the result of an agreement with 

the Museum of Fine Arts, Houston, the finest 

works in the Blaffer Foundation’s collection 

continue to be exhibited in five dedicated 

galleries in the Audrey Jones Beck Building. 

In the 2021–2022 fiscal year, the Blaffer 

Foundation pursued its ongoing program 

of exhibiting works of art at museums in 

Texas and outside the state. Coastal Scene 

with Shipping and Cattle, by Thomas 

In 2022 the foundation acquired A Vanitas Still 

Life with Musical Instruments, Sheet Music, Books, 

a Skeleton, Skulls, and Armor (c. 1655), by the 

Fleming Christian Luycks, who was a successful 

and skilled painter of still lifes of various types, 

including vanitas and memento mori. This lavish 

painting includes quintessential iconography 

of both these overlapping types: the vanity of 

worldly achievements and pursuits is indicated 

by the trappings of royalty, military valor, church 

hierarchy, music, gaming, theater, and a book 

open to a depiction of the misery of Job, while 

the viewer is reminded of inevitable death by 

the skulls, an hourglass with its sand run to the 

bottom, a timepiece, fading roses, a tomb on and 

around which these objects are displayed, a boy in 

the background blowing bubbles, and a skeleton 

snuffing out a candle with one hand and holding 

a sheet inscribed in Latin, “It is established for all 

men to die once,” in the other. Numerous other 

inscriptions—virtually a catalogue of relevant 

texts—support these admonitions. The painting 

is on permanent view in the Blaffer Foundation’s 

own cabinet of curiosity, installed in gallery 217 

at the Museum. 

The staff of the Blaffer Foundation is grateful 

to the foundation’s Board of Trustees for 

its continued guidance. We would also like to 

thank Museum staff members who lend their 

expertise to the advancement of the foundation’s 

art programs. 

—James Clifton, PhD 

DIRECTOR, SARAH CAMPBELL BLAFFER 

FOUNDATION

THE GLASSELL SCHOOL OF ART 

Glassell School of Art studio color class, spring 2022 

The Glassell School of Art serves as the 

teaching wing of the Museum by offering 

a variety of classes, workshops, and 

educational opportunities for students 

diverse in age, interests, experience, 

and needs through our Studio School, 

Junior School, and the internationally 

acclaimed Core Residency Program. 

The Glassell Studio School started its 

fourth year in the building with a return 

to full-capacity classes, predominantly 

meeting in person, and a handful of 

online classes and hybrid options. The 

Studio School began the fiscal year with 

the 2020–2021 Annual Student Exhibition 

and Certificate of Achievement Exhibition 

returning to the Levant Foundation 

Gallery and the Leslie and Brad Bucher 

Gallery. In September, Block XXI, featuring 

work from the 2020–2021 Block 

program students, was featured in the 

Levant Foundation Gallery. The popular 

annual Student Art Sale returned in 

December, with more than 150 students 

participating, selling just over 1,700 

works over a four-day period. Student 

participants retain 75 percent of the sales 

price, and the remaining funds transfer 

to a scholarship account, helping to fund 

Studio School scholarships for both fall 

and spring semesters. The school also 

continued its partnership with Kinder 

Morgan, hosting a series of exhibitions of 

student work in the lobby of the Kinder 

Morgan Building downtown. Enrollment 

for the year totaled 1,899. The school 

ended the fiscal year with the 2021–2022 

Annual Student and Certificate of Achievement 

Exhibition in the Levant Foundation 

Gallery and the Leslie and Brad Bucher 

Gallery, highlighting the works of 

sixty-eight students and ten Certificate 

of Achievement recipients. 

The Junior School continued to follow 

a more cautious safety approach in the 

classrooms for the July through August 

summer classes and the fall semester 

by continuing to limit classroom enrollment; 

it expanded back to full capacities 

in spring semester and June summer 

classes once COVID-19 vaccinations were 

more readily available for children. The 

Junior School hosted its annual holiday 

exhibition, featuring work from students 

in all classes. It also partnered with the 

Presbyterian School and hosted a spring 

exhibition of artworks by its middle 

school students, curated and installed 

by its fourth-grade students. The Junior 

School continued programming with 

several long-standing school partnerships, 

including the Presbyterian School and the 

Post Oak School, and added programming 

with several other local schools, 

including River Oaks Baptist School, St. 

Mark’s Episcopal School, the Fay School, 

and the Joy School. The spring semester 

concluded with an exhibition of work 

from the Advanced Portfolio Preparation 

classes, which featured work from students 

completing three years of classes in this 

scholarship-funded program. Portfolio 

Day and Sketch Day resulted in 71 

scholarship awards for the following year, 

and enrollment for the year totaled 4,023. 

The Core Residency Program is a ninemonth 

postgraduate program consisting 

of six artists and two critical writers. 

Participants are provided studio or office 

space at the Glassell School, along with a 

stipend and access to the school’s equipment 

and facilities. For the 2021–2022 

term, seven of the eight fellows participated 

in person, and one continued to 

participate remotely. The Core Program 

also welcomed Leslie Hewitt, a former 

Core Fellow (2005–2007), as a mentor 

artist in residence. She conducted studio 

visits, led a seminar, and consulted with 

the fellows individually throughout 

the program year. This year, the Core 

Program hosted a distinguished roster 

of artists, critics, curators, and scholars 

both in-person and virtually. Visitors 

for the year included Anahita 

Ghazvinizadeh, Meg Onli, Omar 

Berrada, Ylinka Barotto, Jamal Cyrus, 

Naeem Mohaiemen, and Elizabeth 

Povinelli. In March, the annual Core 

Exhibition returned to the building, with 

works on view in the Levant Foundation 

Gallery, the Leslie and Brad Bucher 

Gallery, and the Orton Gallery. The 

fellows organized a lecture and a 

screening during the run of the show. 

The Core yearbook was released in conjunction 

with the exhibition, featuring 

profiles of each artist as well as essays 

from the writers in residence. In May, 

the fellows closed out the year with an 

Open Studios event, giving visitors the 

opportunity to meet them, see their work, 

and learn more about the program. 

After thirty years at Glassell, I am retiring 

to focus on my artistic practice full 

time. I am grateful for the generous and 

enthusiastic support of individuals, foundations, 

and corporations to further the 

Glassell School of Art’s mission and programming. 

I would like to acknowledge 

Executive Committee Chair Brad Bucher 

and Core Program Subcommittee Chair 

Jereann Chaney for their leadership and 

efforts on behalf of the School. 

—Joseph Havel 

DIRECTOR, THE GLASSELL SCHOOL 

OF ART 

127

BAYOU BEND COLLECTION AND GARDENS 

Spring Break Week at Bayou Bend 

Bayou Bend enjoyed a successful fiscal 

year 2021–2022 while continuously 

adapting to two major challenges: the 

pandemic’s evolving effect on programming 

and the erosion mitigation project’s 

changing impact on overall operations, 

including a three-month closure. 

Innovative approaches developed during 

the height of the pandemic were put to 

good use this year. Programs such as 

July 4 and the September and October 

Family Days had to be conducted virtually 

due to protocols or closure, but often 

this proved to be the perfect format; the 

evening webinar series Fascinating Finds 

was able to reach a national audience. 

Families welcomed self-guided activities, 

including the second annual Holiday 

Discovery Days. Many popular on-site 

events were able to return: Sip and Stroll, 

Jazz and Juleps, the Children’s Texas Art 

Festival, and Spring Break Week, which 

welcomed more than two thousand people. 

Summer History Camp, supported 

for seventeen years by Houston Junior 

Woman’s Club, began the fiscal year 

in July 2021 as a virtual program, and 

ended it in June 2022 as an in-person 

experience once again. New programs 

included a free afternoon of performances 

and activities celebrating Juneteenth. 

Bayou Bend’s house tour program 

features guided tours by members of the 

Bayou Bend Docent Organization. This 

128 

was a challenging year for the docents: 

after a twenty-month pause, regular guided 

tours resumed in November, but group 

tours were not possible until March, with 

school tours returning in April. Changing 

protocols for masking, vaccinations, and 

testing added to the complications. We 

thanked our wonderful docents for their 

support with a springtime reception at 

Bayou Bend. Docents, staff, students, and 

the public all benefit from the impressive 

resources available at the Kitty King 

Powell Library and Study Center. The 

library’s online William J. Hill Texas 

Artisans and Artists Archive was a 

finalist for a national award and was 

honored by the Texas Digital Library with 

its 2022 Excellence Award. We appreciate 

the significant support of Leslie and Brad 

Bucher to the archive program this year. 

Bayou Bend comprises both a collection 

and gardens. The collection is cared for 

by our curatorial team, expertly guided 

by the collection subcommittee and its 

chair, Carol Jean Moehlman. Several 

seventeenth-century rarities were among 

the objects added to the collection thanks 

to generous donors and to accession 

endowment proceeds (see page 77 for a 

full list of the acquisitions). Protection 

of the collection is always a focus; it was 

especially so this year because of concerns 

that the erosion mitigation work along the 

bayou streambank might cause vibrations 

to the house foundation. For a period, 

fragile objects were removed from walls 

and shelving. Fortunately, the structure 

was not affected by the work, and nothing 

was damaged. The gardens experienced 

continuing aftereffects of the historic 

freeze of February 2021. Five historic 

red oaks died, two that graced the front 

entrance of the house for decades. Despite 

many weather challenges, the gardens 

team, joined by dedicated members of the 

River Oaks Garden Club, ensured that 

the gardens were beautiful for the 3,200 

guests who visited during Azalea Trail. 

All year, visitors crossing over Buffalo 

Bayou saw the progress being made 

on the $6.5 million, Hurricane Harvey– 

related erosion repairs. Special thanks 

to John L. Nau III for his $500,000 

challenge match to help fund the project. 

So many people played important roles 

in our success this year. Our fiftymember 

staff deserves special recognition 

for its commitment to overall excellence. 

We are fortunate to have many steadfast 

donors who once again made generous 

contributions, including The Galleria and 

1661 Tanglewood, principal underwriters 

of the Bayou Bend Fashion Show and 

Luncheon and the Bayou Bend Garden 

Party, respectively. The Bayou Bend 

Committee shared its valuable time and 

support, and I am grateful to chairman 

Sharon G. Dies for her calming guidance 

and wise counsel. 

This year marked the tenth anniversary 

of our biannual magazine, Inside|Out, 

which documents in more detail how we 

continue to preserve, enrich, and share 

Bayou Bend Collection and Gardens as 

a far-reaching cultural resource—and 

the legacy of a most singular woman, 

Ima Hogg. 

—Bonnie A. Campbell 

DIRECTOR, BAYOU BEND COLLECTION 

AND GARDENS

RIENZI 

Amazing Place, and popular recorded 

offerings, such as a discussion of 

nineteenth-century postcolonial culture 

in Mexico in celebration of Latino 

Heritage Month. 

Rienzi docent Bill Loper with guests, April 2022 

The past year found Rienzi navigating the 

slow return to normal life after uncertain 

times during the pandemic. Docent-led 

tours resumed in October 2021 on a 

diminished schedule and in alignment 

with health protocols. However, these 

in-person tours were paused again from 

January to April due to concerns over a 

surge in COVID-19 cases. Throughout 

these starts and stops, Rienzi docents 

have stayed committed, returning each 

time with enthusiasm and a true desire 

to connect with guests over the art and 

history found in the collection. Rienzi 

continued its strong exhibition program 

in the fall with Hidden Hands: Invisible 

Workers in Industrial England, which 

examined objects that illustrated the 

diverse, mostly unseen and nameless, 

workforce, including women and children, 

behind famous names such as Josiah 

Wedgwood and Worcester Porcelain. The 

Rienzi Fall Symposium, “Hidden Hands: 

Untold Stories of the Object,” held virtually, 

hosted papers considering similar contributions 

by workers often lost to history. 

Response to the call for papers was unexpected, 

with submissions from scholars 

around the globe. The spring exhibition, 

Materials of Empire: Colonial Narratives 

1700–1860, explored objects that shed 

light on the links between Europe, Africa, 

the Americas, and India, placing them 

in the context of entangled legacies and 

experiences of empire. 

The Sterling-Turner Foundation continued 

to support Rienzi’s educational 

programs and its engagement with 

audiences across Houston. Our longlived 

partnership with Houston Grand 

Opera Studio returned in the fall, again 

underwritten by a generous grant from 

Margaret Alkek Williams and Randa and 

Charles Williams. Although programs 

were canceled in January and February 

due to health concerns, the spring had a 

full roster of events. Main Street Theater 

and Ars Lyrica Houston gave performances 

at the house in April and June. 

The popular Drawing Salon, featuring 

live models in Regency dress, also 

returned in April. Rienzi Reels, in partnership 

with the French Consulate, was 

held with a French cinematic offering in 

honor of Europe Day in May. The annual 

Historic Alcohol Dinner, in collaboration 

with Goodnight Hospitality, also 

returned in May. The sold-out evening 

focused on Italian amari liqueurs and 

took inspiration from Italian objects in 

Rienzi’s collection. Some programs continued 

in a virtual format, including the 

History Book Club, collaborations with 

For more than twenty years, the care of 

Rienzi’s gardens has been a partnership 

between the Museum and the Garden 

Club of Houston (GCH). In a testament 

to the great work being done in our green 

spaces, the Rienzi Garden Endowment 

Valentine Campaign more than doubled 

this year’s fiscal goal. Along with Bart 

Brechter, the Museum’s head of gardens 

and landscape operations, the GCH 

worked hard to get the gardens in excellent 

shape for the return of Azalea Trail 

this March. 

In spite of the uncertain times, Rienzi 

still managed to host some marvelous 

parties. The Rienzi Society dinner, 

originally scheduled for January, was 

postponed due to the health concerns 

at the time. The joyous dinner, hosted 

with real grace by Nancy Guinee, was 

instead held on March 31, generously 

underwritten by Van Cleef & Arpels. 

Members voted to acquire an exquisite 

Meissen “Maiblumen” mounted vase 

(c. 1755–60), and another generous 

member purchased a French Neoclassical 

chenet, or andiron (c. 1785), for the collection. 

The always glamorous Spring Party 

returned on May 5. Several members of 

the Masterson family chaired the event 

and warmly greeted guests after a twoyear 

hiatus. My thanks go to the family 

for continuing Rienzi’s wonderful history 

of memorable parties. I remain so grateful 

to all who have supported Rienzi with 

their time, funds, and thoughtful acts 

throughout this past year. 

—Christine Gervais 

THE FREDRICKA CRAIN DIRECTOR, 

RIENZI 

129

DEVELOPMENT 

In the 2021–2022 fi scal year, the many successes in fund-raising were the result of 

commitment and work by members of the Board of Trustees, chaired by Richard D. 

Kinder, and the Development Committee, chaired by Mrs. Courtney Lanier Sarofi m. 

The generous support of individuals, foundations, corporations, and government 

agencies totaled $27.4 million as follows: $20.6 million in contributions in support 

of operations and restricted projects; $3.8 million in contributions designated for 

the capital campaign and endowment; and $3.0 million in contributions for acquisitions. 

On behalf of the Board of Trustees, we honor all those donors who made 

this achievement possible. 

ANNUAL DRIVES 

Funds raised through annual drives are an essential portion of the Museum’s operating 

budget. This year, four separate drives raised a total of $3,722,948 for the Museum, Bayou 

Bend Collection and Gardens, the Glassell School of Art, and Rienzi. The institution is 

indebted to the individuals who give their time and resources to help raise unrestricted 

funds for daily operations and critical programs. 

BENEFIT EVENTS 

Every year, special events at the Museum raise vital funds for operations and the Museum of 

fine Arts, Houston, organized six such events for the 2021–2022 fiscal year. The Grand Gala 

Ball raised $1,239,740 for the Museum’s operating budget. The Glassell School of Art Benefit 

and Auction raised $470,073. Three benefits at Bayou Bend Collection and Gardens collectively 

raised $1,068,239, and the Rienzi Spring Party raised $165,931. 

For a list of all MFAH annual drives and benefits, please see page 133. 

INDIVIDUAL GIFTS 

Individuals continue to provide the most significant support for Museum activities, including 

exhibitions; learning and interpretation programs; conservation projects; and accessions. For 

extraordinarily generous gifts we thank Leslie and Brad Bucher; Anne and Charles Duncan; the 

Glassell Family; Michelle and Frank Hevrdejs; Sara and Bill Morgan; Bobbie Nau; Susanne 

and Bill Pritchard; Judy and Charles Tate; Francita Stuart Koelsch Ulmer; and Cyvia G. Wolff. 

130

FOUNDATION SUPPORT 

This fiscal year, more than 50 foundations provided over $8 million in support of operations, 

accessions, and capital projects. Houston foundations are exceptional in their giving, and 

we extend a special thank-you to Stanford and Joan Alexander Foundation; Albert and 

Margaret Alkek Foundation; The Brown Foundation, Inc.; John R. Eckel, Jr. Foundation; 

the Fondren Foundation; Kinder Foundation; the Robert and Janice McNair Foundation; 

Stream of Change Foundation; the Weingarten Schnitzer Foundation, Inc.; and the Windgate 

Charitable Foundation. 

CORPORATE CONTRIBUTIONS 

The Museum is proud of the support received from the corporate community in Houston 

and far beyond. This fiscal year, corporate groups provided more than $2.8 million. Special 

thanks go to Amerant; Hines Interests; PNC Financial Services; Shell Oil Company; and 

the Tanglewood Corporation. 

CIVIC AND GOVERNMENT GRANTS 

The Museum could not exist without funds provided by various civic and government 

organizations. This fiscal year, the Museum received more than $7.5 million in grants from 

local, state, and national groups. Our deepest appreciation is extended to the Bayou Bend 

Gardens Endowment; City of Houston; the Garden Club of Houston; Institute of Museum 

and Library Services; River Oaks Garden Club; Texas Commission on the Arts; Theta Charity 

Antiques Club; and the U.S. Small Business Administration. 

131

DEVELOPMENT 

PLANNED GIVING 

The Museum’s Myrtle Wreath and Ima Hogg Societies continue to flourish, with 240 members 

to end the fiscal year. These societies allow the Museum to recognize donors who have indicated 

that they intend to provide important resources for future generations by including the Museum, 

the Glassell School of Art, Bayou Bend Collection and Gardens, or Rienzi in their estate plans. 

We extend our deep gratitude to the friends who have enrolled in these societies. 

NON-CASH CONTRIBUTIONS 

Every year the Museum receives valuable support from donors who provide indispensable 

in-kind services to the institution. We especially recognize Vinson & Elkins LLP for donating 

consistent and extraordinary legal service and Houston Public Media for generously supporting 

Museum exhibitions and programs through advertising. 

VOLUNTEERS 

Our volunteers are perhaps the most impressive endorsement of the Museum. They give 

their time and service to enable the institution to better serve the community. In fiscal year 

2021–2022, Museum volunteers provided support valued at more than $275,000, according 

to guidelines established by the Independent Sector. We wish to pay special tribute to the 

Guild, the Museum’s volunteer leadership organization. The Guild was 79 members strong 

and provided constant, immeasurable support. 

—Amy Purvis 

CHIEF DEVELOPMENT OFFICER 

132

Funds raised by the annual drives, benefi ts, and support organizations listed in this section are total gross proceeds. 

ANNUAL DRIVES 

Museum Annual Fund Drive 

Raised: $2,684,737 

Bayou Bend Annual Fund Drive 

Raised: $605,528 

Glassell School Annual Fund Drive 

Raised: $274,307 

Rienzi Annual Fund Drive 

Raised: $158,376 

PLANNED GIFTS 

The Myrtle Wreath Society 

Members: 245 

The Ima Hogg Society 

Members: 57 

BENEFITS 

Grand Gala Ball 

November 5, 2021 

Hosted by the Life Trustees of the MFAH 

Raised: $1,239,740 for operations 

Latin American Experience Gala 


Celebrating the 20th Anniversary 

of the Latin American Art Department 

Raised: $1,982,150 for operations 

and accessions 

Rienzi Society 


Chair: Nancy P. Guinee 

Raised: $225,600 for accessions 

Bayou Bend Fashion Show and Luncheon 

April 8, 2022 

Chairs: Anne Chao and Carolyn Chao Sabat 

Raised: $484,950 for operations 

Bayou Bend Children’s Party 


Chairs: Lauren Dies Brollier and 

Vivian VandenBout 


Bayou Bend Garden Party 


Chair: Sharon G. Dies 


Rienzi Spring Party 

May 6, 2022 

Chairs: Catherine and George Masterson; 

Kathy and Harry Masterson; Libbie 

Masterson and Mark Sullivan; Tiffany 

and Charles Masterson; and Wylie and 

Stewart Masterson, Jr. 


Glassell School of Art Benefit 

and Auction 

May 12, 2022 

Chairs: Leigh and Reggie Smith 


133

DEVELOPMENT 

1 

2 

3 

4 

5 

6 7 

9 

8 10 

1 Grand Gala Ball: Janie and Daniel Zilkha 

2 Grand Gala Ball: Susan and Fayez Sarofim 

3 Grand Gala Ball: Yvonne Cormier and Claire Cormier Thielke 

4 Latin American Experience Gala: Adolpho Leirner; Jac Leirner 

5 Latin American Experience Gala: Carlos Cruz Puga and 

Francisca Novoa 

6 Latin American Experience Gala: Judy and Charles Tate 

7 Latin American Experience Gala: Marc and Veronika Adler; 

Olya and Glen Bucher 

8 Rienzi Society: Gary Tinterow; Chair Nancy Guinee 

9 Rienzi Society: Carroll Goodman and John Wessels 

10 Rienzi Society: Isla and Tommy Reckling; Lauren Reckling 

134

11 12 

13 14 

16 

15 

17 18 

11 Bayou Bend Fashion Show and Luncheon: 

Chairs Anne Chao and Carolyn Chao Sabat 


Hilda Curran; Laurie Morian 


Polly Bowden; Sharyn Weaver 

14 Bayou Bend Children’s Party: 

Hallie and JJ McDermott and family 

15 Bayou Bend Children’s Party: 

Chairs John and Lauren Brollier and family 

16 Bayou Bend Children’s Party: Fishel and Dillard families 

17 Bayou Bend Garden Party: Chair Sharon Dies 

18 Bayou Bend Garden Party: Jim and Amy Miller 

135

DEVELOPMENT 

19 

20 21 22 

23 24 25 

26 

27 28 29 30 

19 Bayou Bend Garden Party: Wally Wilson and Jeanie Kilroy Wilson 

20 Bayou Bend Garden Party: Jay Jones and Terry Wayne Jones 

21 Rienzi Spring Party: Chairs Catherine and George Masterson 

22 Rienzi Spring Party: Geer and Libba Blalock 

23 Glassell School of Art Benefit and Auction: 

Alfred C. Glassell, III, and Marli Andrade 

24 Glassell School of Art Benefit and Auction: 

Chair Leigh Smith; Joe Havel; Chair Reggie Smith 

25 Georgia O’Keeffe, Photographer Opening Event: Demi and Ron Rand 

26 Afro-Atlantic Histories Opening Event: Ramon and Karen Manning 

27 Afro-Atlantic Histories Opening Event: Barron and Lisa Wallace 

28 Incomparable Impressionism from the Museum of Fine Arts, Boston 

Opening Dinner: Bill and Sara Morgan 

29 Incomparable Impressionism from the Museum of Fine Arts, Boston 

Opening Dinner: Margaret Alkek Williams and Jim Daniel 

30 Calder-Picasso Opening Dinner: Joan Schnitzer; Phoebe Tudor 

136

31 32 

33 

34 35 36 37 

38 39 40 

31 Calder-Picasso Opening Dinner: Tina Pyne; Michelle Hevrdejs 

32 Dawoud Bey: An American Project Opening Reception: Abbie Brothers; 

Merinda Watkins-Martin; Elizabeth Martin; Mei Leebron 

33 Dawoud Bey: An American Project Opening Reception: 

Sima Ladjevardian; Rania Daniel 

34 Virtual Realities: The Art of M.C. Escher from the Michael S. Sachs 

Collection Opening Dinner: Kathy and Marty Goossen 

35 Virtual Realities: The Art of M.C. Escher from the Michael S. Sachs 

Collection Opening Dinner: Richard and Martha Finger 

36 Shahzia Sikander: Extraordinary Realities Opening Reception: 

Heidi Gerger; Jereann Chaney 

37 The Obama Portraits Tour Opening Dinner: Reggie Martin; 

Levita and M.D. Marshall 

38 The Obama Portraits Tour Opening Dinner: 

Simin and Gaurdie Banister 

39 Leandro Erlich: Seeing Is Not Believing Opening Dinner: 

Leslie Bucher; Leandro Erlich; Brad Bucher 

40 Leandro Erlich: Seeing Is Not Believing Opening Dinner: 

Cyvia Wolff; Yolanda and Bill Knull 

137

DEVELOPMENT 

Contributions to the Museum 

of Fine Arts, Houston; Bayou Bend 

Collection and Gardens; the Glassell 

School of Art; and Rienzi 

$500,000 or More 

Stanford and Joan Alexander Foundation 

Albert and Margaret Alkek Foundation 

The Brown Foundation, Inc. 


Anne and Charles Duncan 

John R. Eckel, Jr. Foundation 

The Fondren Foundation 

The Glassell Family Foundation 

Houston Arts Alliance 

The Robert and Janice McNair Foundation 

PNC Foundation 

Francita Stuart Koelsch Ulmer 

U.S. Small Business Administration 

The Windgate Charitable Foundation 


$100,000–$499,999 

The Adler Foundation 

Mrs. Nancy C. Allen 

Amerant 

The Estate of Kirby Attwell 

Mr. and Mrs. J. Murry Bowden 

The Buddy Taub Foundation 

Sue and Rusty Burnett 

Ms. Betsy Burrows 

Mrs. Jereann H. Chaney 

The Cullen Foundation 

Sharon G. Dies 

Mr. and Mrs. Michael Gamson 

Mr. Samuel F. Gorman 

Mrs. Nancy P. Guinee 

Albert and Ethel Herzstein 

Charitable Foundation 

Mr. and Mrs. Frank J. Hevrdejs 

Hildebrand Fund 

Hines Interests Limited Partnership 

The Robert H.N. Ho Family Foundation 

The Houston Arts Combined 

Endowment Foundation 

Houston Public Media 

Ms. Victoria Goldstein and 

Mr. Randall H. Jamail 

Linda and George Kelly 

Kinder Foundation 

Jan and J.Venn Leeds Foundation 

Mrs. Cornelia Long 

Sara and Bill Morgan 

Morian Foundation 

Ms. Bobbie Nau 

Ms. Franci Neely 

PNC Financial Services 

Mr. Dan Pollock 

Mr. and Mrs. Ernesto Poma 

The Powell Foundation 

Mr. and Mrs. William E. Pritchard III 

River Oaks Garden Club 

Shell Oil Company 

Susan Sarofim Revocable Trust 

Mr. Fayez Sarofim 

Simon Property Group/Galleria Houston 

The Skiles Foundation 

The Joseph & Sylvia Slifka Foundation 

Stream of Change Foundation 

Tanglewood Corporation 

Judy and Charles Tate 

Texas Commission on the Arts 

Clark and Charlene Thompson Foundation 

Mr. and Mrs. John Toussaint 

The Weingarten Schnitzer Foundation, Inc. 


The Wortham Foundation, Inc. 

$50,000–$99,999 

The Sushila and Durga D. Agrawal 

Charitable Trust 

The Alkek and Williams Foundation 

Laura and John Arnold 

Melza and Ted Barr 

Bayou Bend Gardens Endowment 

Birch Park LP 

The Bookout Foundation 

Mr. Charles Butt 


CFP Foundation 

Anne and Albert Chao 


Laura and James DeMare 

Mrs. Jerry E. Finger 

Heidi and David Gerger 

Melbern G. & Susanne M. Glasscock 

Foundation 

Ms. Marli Andrade and 

Mr. Alfred C. Glassell, III 

Mr. and Mrs. John Glover 

Mr. and Mrs. Eric Green 

Houston Endowment Inc. 

Mickie and Ron Huebsch 

Institute of Museum and Library Services 

Mr. Jesse H. Jones II 

Elise E. and Russell C. Joseph Family Fund 

Ms. Hee Jung 

William S. and Lora Jean Kilroy Foundation 

Mary and Tom Lile 

Michael C. Linn Family Foundation 

Luther King Capital Management 

M. D. Anderson Foundation 

John P. McGovern Foundation 

Mr. and Mrs. David A. Modesett 

Ms. Joan Morgenstern 

Yolanda and William Parish 

Mr. and Mrs. Gary R. Petersen 

Mr. and Mrs. Thomas R. Reckling III 

W. E. Robertson Fund 

Rock Ridge Foundation 

Saudi Refining, Inc. 

Ms. Joanne M. Houck and 

Mr. Tim Singletary 

Ms. Miwa Sakashita and 

Dr. John R. Stroehlein 

Ms. Ann G. Trammell 

Mr. and Mrs. Sean Patrick Wade 

The Morris Weiner Charitable Fund 

$25,000–$49,999 

Mr. and Mrs. Edward R. Allen III 

Baker McKenzie 

The Joe Barnhart Foundation 

Judith Britton 

Mr. and Mrs. Laurence C. Burns, Jr. 

The Gordon A. Cain Foundation 

Ms. Karol Kreymer and Dr. Robert J. Card 

The E. Rhodes & Leona B. Carpenter 

Foundation 

The P. and C. Carroll Foundation 

Christie’s 

Citi 

The Consulate General of The Netherlands 

Mrs. Jerry Ann Woodfin-Costa and 

Mr. Victor Costa 

Mrs. Rosanette S. Cullen 

Mr. and Mrs. Jamal H. Daniel 

Mrs. Linnet F. Deily 

Mrs. Brenda P. Duncan 

The Favrot Fund 

The Marvy Finger Family Foundation 

H. Fort Flowers Foundation, Inc. 

Andrea Frank Foundation 

The Garden Club of Houston 

Mrs. Clare Attwell Glassell 

Goldman Sachs Gives 

Ms. Carroll R. Goodman 

Mrs. Joyce Z. Greenberg 

H-E-B 

Maria and Pablo Henning 

Ms. Cynthia G. Holliday 


Houston Junior Woman’s Club 

Houston Livestock Show and Rodeo 

Lynne and Joe Hudson 

Jago & Beal Revocable Trust 

The JBD Foundation 

The Joan and Marvin Kaplan Foundation 

Melissa and Steven Kean 

Kirkland & Ellis LLP 

Ms. Carla Knobloch 

Mr. and Mrs. John P. Kotts 

Samuel H. Kress Foundation 

Judy and Rodney Margolis 

D. Sterling Margolis Family Foundation 

The Marks Charitable Foundation 

Mr. and Mrs. William N. Mathis 

Memorial Hermann Foundation 

National Endowment for the Arts 

National Endowment for the Humanities 

Mr. John L. Nau III 

Katharine and John Orton 

Ms. Claire Padgett 

Mr. and Mrs. George W. Passela 

Mrs. Darlene Boytall and Mr. Jorge Pérez 

Frank & Carolyn Pichardo Family Fund 

Poltex Software, Inc. 

Pooja Goradia and Ravi Purohit 

The Rand Group, LLC 

Mr. and Mrs. H. John Riley, Jr. 

Dr. Ellen R. Gritz and 

Mr. Milton D. Rosenau, Jr. 

Mrs. Carolyn Rosenstock-Ellis 

The Sarofim Foundation 

Sidley 

Dr. Ruth Simmons 

The Ray and June Smith Charitable 

Foundation 

The Vivian L. Smith Foundation 

Mr. and Mrs. Reginald R. Smith 

Ms. Merrianne Timko 

The Tingleaf Family Fund 

Mr. and Mrs. Ignacio Torras 

TXAT LLC 

Van Cleef & Arpels 

Hallie and Michael Vanderhider 

Susan Vaughan Foundation 

The Vaughn Foundation 

Kay and Doug Wilson 

The Winston Charitable Foundation 

Nina and Michael Zilkha 

$10,000–$24,999 

Mr. and Mrs. Mark B. Abendshein 

Amegy Bank Foundation 

Anchorage Foundation of Texas 

Edward H. Andrews Foundation 

Automated Security I.S. 

Milton and Sally Avery Arts 

Foundation, Inc. 

Mr. and Mrs. James V. Baird 

Bank of America 

Dr. Chitra Kumar and 

Mr. Kumar Bashyam 

Ellen and David Berman 

Mrs. Thomas W. Blake 

Bloomberg 

Mr. Brad Blume 

Walt and Nancy Bratic Charitable Fund 

Mr. Leon Brener 

Dr. and Mrs. Luis T. Campos 

Cartier 

Chanel, Inc. 

Dr. Angela Chen and Mr. Mark Klitzke 

Ms. Janet F. Clark 

Ms. Sallie C. Morian and 

Mr. Michael H. Clark 

Mr. and Mrs. Joseph A. Cleary, Jr. 

The Cockrell Family Fund 

The Coneway Family Foundation 

138

James and Molly Crownover 

Family Foundation 

Mr. and Mrs. Greg Curran 

Decorative Arts Trust 

Mrs. Ellena P. Dickerson and 

Mr. Rudy Steary 

The Dickson-Allen Foundation 

Sara Dodd-Denton and 

William S. Denton III 

Doggett Family Foundation 

Mr. and Mrs. Stephen B. Donson 

Dumas Family Fund 

Mrs. James A. Elkins III 

Ms. Emily Ford Embrey 

Mr. and Mrs. Dan English III 

Clayton and Sheldon Erikson 

The Richard B. Finger Charitable Fund 

Frost Bank 

The Galtney Family Fund 

Catherine A. Gassman 

Dr. Cullen K. Geiselman 

Mr. and Mrs. Robin C. Gibbs 

Deborah and Gary Gibson 

Giorgio Armani Corporation 

The Estate of Nancy Hart Glanville 

Mr. and Mrs. Thomas S. Glanville 

Mr. and Mrs. Melbern G. Glasscock 

Godfrey Management Trust 

Mr. and Mrs. Martyn E. Goossen 

Mr. Marc Grossberg 

Cecilia and Tomás Gunz 

Linda and John Hague 

George and Mary Josephine 

Hamman Foundation 

Mrs. Rosemary Harrison 

Harry Winston 

William E. and Natoma Pyle Harvey 

Charitable Trust 

Ms. Deborah Brochstein and 

Mr. Steven A. Hecht 

Celina Hellmund 

Carola Herrin 

Mr. and Mrs. Marc Herzstein 

Mrs. Rosann F. Hooks 

Ima Hogg Ceramic Circle, Inc. 

The Jacobson Family Foundation 

Ms. Carolyn Frost Keenan and 

Mr. Charlie R. Gaines, Jr. 

Mr. and Mrs. William H. Knull III 

The Larsen Family Charitable Fund 

The Francis L. Lederer Foundation 

Mr. Adolpho Leirner 

Anne Levy Charitable Trust 

Lindley Family Foundation 

Mr. Ronald A. Logan 


Marilyn G. Lummis 

Mr. Dean Maddalena 

Mr. and Mrs. James Edward Maloney 

Merinda E. Watkins-Martin and 

Reginald Martin 

Mr. and Mrs. John T. McCauley 

Ralph H. and Ruth J. McCullough 

Foundation 

Dr. Alice R. McPherson 

Dr. and Mrs. G. Walter McReynolds 

McVey Family Charitable Gift Fund 

Mr. Richard J. Meisinger, Jr. 

Ms. Natalia Ramirez and 

Mr. Alberto Mercado 

Donna and Charles Meyer 

Steven and Sheila Miller Foundation 

Mr. and Mrs. Richard Mithoff, Jr. 

Mitsubishi International Corporation 

Mr. and Mrs. Michael S. Moehlman 

Mrs. Denise D. Monteleone 

Ms. Nancy Powell Moore 

Mr. and Mrs. Richard S. Moore 

Fannie and Peter Morris 

The Claire & Theodore Morse Foundation 

Mrs. Claude H. Mullendore 

W. B. Nelson 

Carol and David Neuberger 

Henry Nias Foundation, Inc. 

Mr. and Mrs. Charles G. Nickson 

Mr. Carl Niendorff 

Mr. and Mrs. Scott Nyquist 

Ms. Maria Ojeda 

Ott Charitable Foundation 

Carl M. Padgett Family 

Ms. Sue E. Payne 

The Peddamatham Family Fund 

Mary Lawrence Porter 

Mr. and Mrs. Irving Pozmantier 

Prithvipal and Manmeet Likhari 

Management Trust 

Ms. Amy Purvis 

Mr. and Mrs. Julian E. Pylant, Jr. 

Pyne Family Foundation 

Mrs. Shantha Raghuthaman 

Mr. and Mrs. Harry M. Reasoner 

Mr. and Mrs. Howard C. Robinson 

The Arch and Stella Rowan Foundation, Inc. 

Mr. and Mrs. Jason Sabat 

Mrs. Melissa Sandefer 

Mrs. Louisa Stude Sarofim 

Barbara and Paul Schwartz 

Scurlock Foundation 

Ms. María Inés Sicardi 

Mr. and Mrs. Nicholas Silvers 

R. E. Smith Foundation 

Mr. and Mrs. Stephen J. Smith 

Mr. and Mrs. Thomas S. Smith 

Stedman West Foundation 

Mr. and Mrs. Stuart W. Stedman 

Susman Family Foundation 

Tenaris 

Mr. Christopher Gardner and 

Mr. Gary Tinterow 

Sandra L. Tirey and Jan R. van Lohuizen 

Phoebe and Bobby Tudor 

Adrienne and Tim Unger 

K.C. & Randa Weiner Family Fund 

Wells Fargo Foundation 

Carol Lynne Werner Charitable Fund 

$5,000–$9,999 

Dr. and Mrs. George J. Abdo 

Accenture LLP 

Mr. and Mrs. Louis K. Adler 

Ms. Henrietta K. Alexander 

Joan Alexander 

Julie and Drew Alexander 

Lilly and Thurmon Andress 

Ms. Priscilla R. Angly and 

Mr. Miles Smith 

Mr. and Mrs. W. Douglas Ankenman, Jr. 

Arensdorf Family Charitable Fund 

Dr. and Mrs. Bernardino Arocha 

Mr. and Mrs. Gaurdie Banister 

Mary and Marcel Barone 

Mr. and Mrs. Arturo Barragan 

Patricia and José Luis Barragán 

Mr. and Mrs. Marcos J. Basso 

David J. and Judith Beck Foundation 

Mr. and Mrs. David J. Beck 

Dr. Patricia J. Eifel and Dr. James A. Belli 

Ms. Maria Toro and Mr. Luis Benshimol 

Ms. Lucia T. Benton 

Mrs. W. Tucker Blaine, Jr. 

Marian and Hugo Blake 

Leslie and Jack Blanton Jr. Fund 

Mr. and Mrs. Edward Britt 

The Bunchberry Foundation 

C2 Art Advisors, LLC 

Mr. and Mrs. Richard J. Campo 

Mr. Martin Cerruti 

Cristina Chacon and Diego Uribe 

Mr. and Mrs. Michael Chang 

Mrs. Elizabeth Dabney Charles 

The Consulate General of the 

Republic of Korea 

Cragg Family Foundation 

Mr. and Mrs. Mark K. Craig 

The Crain Foundation 

Mr. and Mrs. Rogers L. Crain 

Mr. and Mrs. Marshall Crawford 

Mr. and Mrs. Gary T. Crum 

Mr. and Mrs. Platt W. Davis III 

The James C. and Teresa K. Day Foundation 

Mr. and Mrs. Ken Delery 

Mrs. Carrin F. Patman and 

Mr. James V. Derrick, Jr. 

The Diehl Family Charitable Fund 

Linda and David Dillahunty 

Chandos Dodson Epley 

Mr. and Mrs. Ted Dohmen 

Mr. and Mrs. George Domolky 

Mr. and Mrs. Robert J. Dowdell 

Mrs. Mary Cain Driscoll 

Mr. and Mrs. S. Stacy Eastland 

The Ebel Family Foundation 

Mr. Jose Edery 

Mr. and Mrs. Tom L. Elsenbrook 

ExxonMobil 

Susan and Bill Finnegan 

Ms. Julia M. Flowers 

Aggie L. Foster and Steve Simon 

Franco Family Charitable Fund 

Mr. and Mrs. Edwin H. Frank III 

The Eleanor and Frank Freed Foundation 

Dr. Didi Garza and Dr. Peter McLaughlin 

Mr. and Mrs. Frederic Gautier-Winther 

The Gelb Family Foundation 

Ms. Eileen B. Glaser and 

Dr. Jay R. Schachner 

Dr. and Mrs. Gary Glober 

Kathy and Marty Goossen Charitable Fund 

Aron & Anaruth Gordon Foundation 

Ms. Cristina Gracia 

Mary A. & Thomas F. Grasselli 

Endowment Foundation 

The Green Tree Fund 

Merrill and Joe Hafner Fund 

Dr. Kathryn Hale 

The Jim and Pam Harris Charitable Fund 

Mr. and Mrs. Michael Hendryx 

Mrs. Howard W. Horne 

Katherine and George Howe 

Humanities Texas 

Huneycutt Family Foundation 

Kerry F. Inman and William D. Auble 

International Investors Group 

Istituto Italiano Di Cultura 

Ann S. Jackson 

Mary B. and James K. Jennings 

Charitable Foundation 

Mr. and Mrs. John F. Joity 

Mr. and Mrs. Raymond L. Kalmans 

Ms. Anne Lamkin Kinder 

David Kita 

Mr. and Mrs. Geoffrey C. Koslov 

Ms. Amy Rae Krasner 

Lahourcade Family Fund 

Lal Family Fund 

Helaine and David Lane 

Ms. Jennifer Canales and 

Mr. Albert G. Laverty 

Mr. Marc A. Sekula and Mr. Ted Lee 

Mr. and Mrs. Paul S. Likhari 

Mr. and Mrs. Steven J. Lindley 

Mr. Erik P. Littlejohn 

Luhring Augustine Gallery 

Tini Lulu Fund 

Candace and John MacMahon 

Penelope and Lester Marks 

Martin Gourmet, Inc. 

Catherine and George Masterson 

McClain Gallery 

139

DEVELOPMENT 

Christiana and Luke McConn Family 

Charitable Fund 

Mr. and Mrs. Hugh E. McGee III 

Mr. Will L. McLendon 

Susan and Thomas McMahan 

Microsoft Giving Campaign 

Arnold and Suzanne Miller 


Ms. Lainie Gordon and 

Mr. David M. Mincberg 

Karen J. Minich 

Jean and Saul A. Mintz Foundation 

Mr. and Mrs. Walter M. Mischer, Jr. 

David R. Montague 

Elizabeth C. Moody and Lee Steffy 

Cristina G. and William R. Moore 

The W. T. and Louise J. Moran Foundation 

Micheline and German Newall 

Ms. Grace Phillips and Mr. Eugene Nosal 

Mr. Dee S. Osborne 

Alvin and Lucy Owsley Foundation 

Ronald C. Pasadyn 

Mr. and Mrs. Melvin C. Payne 

Mr. and Mrs. John T. Peterkin 

Ms. Marti S. Peterson 

The Petrello Family Foundation 

Mrs. Wynne H. Phelan 

Mr. and Mrs. Robert Poster 

Francisca Novoa and Carlos Puga 

Edlyn and David Pursell 

Radoff Family Foundation 

Mr. and Mrs. James S. Reckling 

Mr. and Mrs. Stephen M. Reckling 

Mr. and Mrs. Jordan W. Reese III 

Rice University 

River Oaks District 

Mr. and Mrs. Steve Roach 

Barbara and Corbin J. Robertson, Jr. 

Leslie and Russ Robinson 

Mrs. Minnette Robinson 

Mr. Glen Rosenbaum 

Tricia and Steve Rosencranz 

Dr. Sara Sant’Ambrogio 

Dr. Lisa Santos and Mr. William Pugh 

Mr. and Mrs. Andrew Sarofim 

Judy and Henry Sauer 

Dr. Fernando Scaglia 

Mr. and Mrs. Douglas W. Schnitzer 

Mr. and Mrs. Edward J. Septimus 

Mary Eliza and Park Shaper 

The Marc and Jeri Shapiro 


Tim Sharma Foundation 

The Helmle Shaw Foundation 

Sicardi Ayers Bacino Gallery 

Simmons Canyon Foundation 

Dr. and Mrs. Terry Simon 

Michelle and Dmitri Sinenko 

Deepa and Preet Singh 

Mr. and Mrs. Shawn Skelton 

R. J. Stanton Jr. 

Mr. and Mrs. Bruce D. Stein 

Frances Carter Stephens and 

Nicholas C. Stephens 

Ms. Johanna Brassert and Mr. Bill Stewart 

Mr. and Mrs. William P. Swenson 

Jane and Leopold Swergold 

Mr. and Mrs. Winston M. Talbert 

Mrs. Barbara M. Tartt 

Lenore G. Tawney Foundation 

Texas Children’s Hospital 

Nanako and Dale Tingleaf 

Kelley and Harper Trammell Fund 

June and Pete Trammell 

Ms. Anne W. Tucker and 

Mr. Robert Morris 

Mr. and Mrs. Brad Tucker 

Ms. Laurence Unger 

Lynden Unger 

University of St. Thomas 

Bridget and Patrick Wade 

Lisa and Barron Wallace 

Ms. Linda R. Walls 

The Webber Foundation 

Mr. and Mrs. W. Temple Webber III 

The Diana and Conrad Weil, Jr. 


Lea Weingarten 

Mrs. Raye G. White 

Mrs. Sara E. White 

Mr. and Mrs. Michael Whitney 

Mr. Dave H. Williams 

Mr. and Mrs. Christopher D. Winters 

Bebe Woolley 

Mr. and Mrs. Scott Wulfe 

Robert and Edith Zinn Charitable Fund 

Erla and Harry Zuber Fund 

Erla and Harry Zuber 

$2,500–$4,999 

3811 Kempner Fund 

Nora and Robert Ackerley 

Susan and Michael Addy 

Neelofur and Sami Ahmad 

Mr. and Mrs. Kenneth Allsford 

American International Group, Inc. 

Ms. Jane Mooney and 

Mr. Francis X. Amsler 

Art Colony Association, Inc. 

Barbara and Bob Bailey 

Bajenski Family Charitable Fund 

Carol J. Baker 

Mr. and Mrs. Sundaresan Bala 

Mr. and Mrs. Saul Balagura 

Mr. and Mrs. George Barile 

Jacquelyn Barish 

Ms. Phoebe Barnard 

Mrs. Janice H. Barrow 

Garth C. Bates Jr. Memorial Fund 

R. Michelle Beale and 

Richard H. Anderson Charitable Fund 

Ms. Cathleen J. Trechter and 

Dr. Ed Biegert 

Mr. and Mrs. Myron G. Blalock III 

Rita and Jerred Blanchard 

Mr. and Mrs. Jorge E. Blanco 

Mr. and Mrs. Jack S. Blanton, Jr. 

Mr. and Mrs. Robert A. Blome 

Ms. Dana Robinson and Mr. Mike Bloom 

Ms. Meg L. Goodman and 

Mr. Michael Bonini 

Mr. and Mrs. James D. Bozeman 

Kristy and Chris Bradshaw 

Lauren and John Brollier 

Ms. Barbara A. Brooks 

Milton R. Brown Family Foundation 

Dr. Laura Sulak and Dr. Richard Brown 

Dr. Janet M. Bruner 

Gayle and Bruce Buhler 

Teresa Bulgheroni 

Dr. and Mrs. Craig S. Calvert 

Ms. Bonnie Campbell 


Mrs. Cathryn T. Chapman 

Chevron 

Mr. and Mrs. Robert L. Clarke 

Ms. Laura DeVries-Conely and 

Mr. Mark Conely 

The Conlon Family Trust 

Consolato Generale D’Italia Houston 

Consulate General of Brazil 

Council for Canadian American Relations 

Carolyn Covault Revocable Trust 

Mr. Steven L. Cowart 

Mr. and Mrs. David Crabtree 

Mr. and Mrs. Arturo Creixell 

Mr. Oscar Cuellar and 

Mr. William Bickford, Jr. 

Robin and Joseph Cunningham 

Isabel and Danny David 

O. Paul Decker Memorial Fund 

Dr. and Mrs. William L. Decker 

Denman/Newman Foundation 

Ms. Genevieve Déséglise 

Paula and Reginald DesRoches 

The Carl and Phyllis Detering Foundation 

Mr. and Mrs. Joseph C. Dilg 

Joell and Thomas Doneker 

Nancy S. Dunlap 

E.M. Bossin & Company, P.C. 

Mr. and Mrs. John Eads 

Jolene B. Friedman and Harold Eisenman 

Mr. and Mrs. Mark S. Elias 

Mrs. Martha H. Erwin 

Mrs. Nancy M. Fischer 

Mr. and Mrs. David D. Fitch 

Mr. and Mrs. John Fitzgerald 

Mr. and Mrs. Jon Fjeld-Hansen 

Mr. and Mrs. John Blake Fosseen 

Mr. and Mrs. Andrew M. Fossler 

Mr. and Mrs. Michael M. Fowler 

Mr. and Mrs. James T. Fox 

Mr. and Mrs. Russell Frankel 

Dr. and Mrs. H. Jerome Freiberg 

Jo Ann and Robert Fry 

Ms. Christine A. Galaty 

Prince and Princess Piotr Galitzine 

Elizabeth and William Galtney 

Galveston Arts Center, Inc. 

Gatti Family Fund 

Ms. Geraldine C. Gill 

Gitter-Yelen Foundation 

Ms. Donna S. Scott and 

Mr. Mitch Glassman 

Mrs. Yoshiko Glazzard and 

Mr. Charles Azar 

Glenwood Cemetery Inc 

Colleen and Andrew Gold 

Mr. and Mrs. Fred L. Gorman 

Mary and Anthony Gracely 

Mr. and Mrs. W. Garney Griggs 

Mr. and Mrs. Albert J. Grobmyer IV 

Patricia and Ira Gruber 

Eugenia and Eduardo Grüneisen 

Mr. and Mrs. Jeffrey Gunst 

Mr. and Mrs. Eric Gutierrez 

Mr. and Mrs. Mauricio Gutierrrez 

Mr. Charles W. Hall 

Mr. Rashed Haq 

Mr. and Mrs. Bradley Kent Harmes 

Mary and George Hawkins 

Mr. and Mrs. Michael J. Hay 

Mr. and Mrs. Frank C. Herzog 

Mr. and Mrs. Melvyn Hetzel 

Hewlett Packard Enterprise Foundation 

Mr. and Mrs. Frank Holcomb 

Mr. Richard W. Holley 

Mrs. Patricia Ford Holmes 

The Houston Exxonmobil Club 

Dr. Georgia R. Hsieh 

ILEX Foundation 

International Fine Print 

Dealers Association 

IRO 

Mrs. Nancy Fulmer Japhet 

Mr. and Mrs. Dunham Jewett 

The Chris and Leigh Joseph Family Fund 

The Shashank and Medha Karve 


The Donald W. and 

Gayle A. Keller Charitable Fund 

Mr. and Mrs. John Wilson Kelsey 

Mr. and Mrs. Thomas R. Kelsey 

Mr. and Mrs. David J. Kerr 

Mrs. Kathryn Ketelsen 

Ms. Ann B. Crider and Mr. David King 

Mr. and Mrs. Thomas C. Knudson 

Mr. and Mrs. Hamid Kooros 

Dr. and Mrs. Donald L. Kramer 

140

Ms. Emily Kuo and Mr. Michael Chu 

The Connie Kwan-Wong Foundation 

L’Alliance Française de Houston 

Mr. and Mrs. Duncan L. Lamme 

Ms. Beverly Buckingham and 

Mr. Michael C. Lange 

Ms. Aigul Kanatbayeva and 

Mr. Mark Langston 

Ms. Sally J. Langston 

Mrs. Susan Lapin 

Mr. and Mrs. C. Berdon Lawrence 

Ms. Catherine J. Leachman 

Ms. Sharon Lederer and Mr. Ellis Mills IV 

Rochelle and Max Levit Family Foundation 

Mrs. Carol Androccio LeWitt and 

Mr. Bruce Josephy 

Victoria H. Lightman 

Mr. and Mrs. Stan Lloyd 

Mr. and Mrs. Gabriel Lopez-Berestein 

Mrs. Sandy Lucas and Mrs. Sarah Eilers 

Mr. and Mrs. Anthony Lutkus 

Jeffrey Magid 

Mr. Todd E. Majeski 

Mr. and Mrs. Steve Malashock 

Manne McGregor Charitable Fund 

Ms. Marlene Marker 

LeVita and Mannaser Marshall 

Kim & Scott Martin Giving Fund 

Mr. and Mrs. Michael H. Marvins 

Mr. and Mrs. Marcel Mason 

Ms. Libbie J. Masterson 

Mrs. Chong-Ok Matthews 

Mr. and Mrs. William K. Matthews III 

Ms. Leigh A. McBurnett 

Peter McDonald, PhD 

Mr. and Mrs. William Wells McGee 

Mrs. Florence McGee 

Mr. and Mrs. John McGowan 

Mr. and Mrs. Michael McKeogh 

Mr. and Mrs. Alexander K. McLanahan 

Ms. Jennifer McLaughlin 

Karen B. McRae 

Cynthia Rosero and Stephen Mendoza 

Mrs. Pati Mengden-Eckhardt and 

Mr. Don Eckhardt 

Mrs. Suzanne Rainey Montague 

Ms. Kristen E. Moore 

Morenz Family Foundation 

Dr. Susan R. Morrison 

Mr. and Mrs. James G. Munisteri 

Ms. Judith Munzig 

Mr. Robert Muse 

Ms. Claudia J. Hackbarth and 

Mr. David L. Nelson 

Ms. Susan Neptune 

Tamie Tong and Joseph Nguyen 

Mr. and Mrs. Harold Odom 

Ms. Stacey L. Odom 

Mr. and Mrs. Patrick O’Donnell 

Ms. Mary J. O’Hearn 

The Omena Fund 

The Edward & Helen Oppenheimer 

Foundation 

Janice and Dan Palomino 

Mr. Daniel Parisian 

Ms. Cherrill Farnsworth and 

Mr. Peter J. Pavluk 

William E. and Susan S. Penland Fund 

David and Maria Perez Charitable Fund 

Ms. Alyson Poston 

Puffer-Sweiven Inc. 

Eric J. Pulaski Philanthropic Fund 

Racmar Foundation 

Rose H. Radoff 

The Edward and Ellen Randall Foundation 

Mr. and Mrs. Risher Randall 

Ms. Rajni Rao 

Leonor and Eric Ratliff 

Mr. and Mrs. William C. Reed 

Russell Reynolds Associates 

The Alice Kleberg Reynolds Foundation 

Katherine Reynolds and Robert Gay 

Vicky and Michael Richker 

Ms. Jeannette Burg and 

Mr. Anthony J. Riedel 

Ms. Nicole Rivera 

Mr. and Mrs. John A. Robins 

Rosemary Rodd Charitable Gift Fund 

Ann Roff 

SuSu Ross 

Mr. and Mrs. Jerry Rubenstein 

Brenda and Mansel Rubenstein 

Michael S. Sachs Foundation 

Michael S. Sachs 

Safeway Stores, Inc. 

Kim and Bill Sanchez 

Mr. and Mrs. L. Bentley Sanford 

Mr. John Sapp 

Marc Schindler Family Fund 

Mrs. Nancy Schissler 

Mr. Jerome Schultz 

Mrs. Mariana Servitje 

Ms. Gloria Sesana 

Catherine and Gary Sham 

Mr. and Mrs. Marc J. Shapiro 

Mr. and Mrs. George Sharkey 

Ms. Allison Shell and 

Mr. Martijn van Koolwijk 


Mrs. Ellen C. L. Simmons 

Dr. Victor A. Simms and Mr. Roger Epps 

Mr. Jose Antonio Simon 

Mr. and Mrs. Stuart M. Smith 

Mr. and Mrs. Thomas E. Smith 

Mr. and Mrs. George Sneed 

Mr. Richard S. Snell 

Mr. and Mrs. Dan Solomon 

Jeaneen and Timothy Stastny 

Mr. and Mrs. Michael O. Strode 

Mr. and Mrs. J. Taft Symonds 

Thomas W. Taylor 

The Nancy P. and 

Peter K. Thompson Fund 

Mr. Bryden Thompson 

Mr. and Mrs. Erik Thomsen 

Carol and Eric Timmreck 

Ms. Emily Leland Todd 

Cynthia Toles 

Fiona N. Toth 

Mr. and Mrs. Keller Towns 

UBS 

Mrs. David M. Underwood 

Ms. Vivian VandenBout 

Mr. and Mrs. M. C. Bill Walker III 

Mr. and Mrs. Randall Walker 

Ms. Suzanne D. Walstad 

Ms. Janie C. Lee and Mr. David B. Warren 

Ms. Katherine Warren 

Mr. and Mrs. Ralph Weaver 

Jeff and Dinah Weems 

Elizabeth and Jack Weingarten 

Mrs. Myra Whitten 

Dr. and Mrs. D. Robert Wiemer 

Mr. and Mrs. Michael C. Wilde 

Mrs. Margaret Alkek Williams 

Mr. and Mrs. Welcome W. Wilson, Sr. 

The William and Marie Wise 


Ms. Silvia Salle and Mr. Peter T. Wood 

Dan and Brenda Worden Giving Fund 

Dr. Leonard Yowell 

Chihyuan Yu 

Ms. Vickie Milazzo and 

Mr. Thomas Ziemba 

Walter P. Zivley Fund 

Myrtle Wreath Society 

Anonymous 

Dr. and Mrs. George J. Abdo 

Sandy and Russell Andorka 

Diane Arnold and Bill Frazier 

Lynne and John Averett 

Audrey Jones Beck* 

Jeanne L. Becker 

Margaret E. Biehl* 

Rick Bihner 

Dorothy B. Black 

Jack S. Blanton, Sr.* 

Gay S. Block 

Dr. Michael and Susan Bloome+ 

Michelle Bramblett 

Karen E. Bodner 

Jessie Carolyn Brown+* and 

Jack Harold Upton Brown+* 

Leslie Q. Brown 

Terry Ann Brown 

Leslie and Brad Bucher+ 

Rusty Burnett 

Douglas Burton and Christopher Ralston/ 

Apartment Zero 

Judi Burton 

Hiram Butler 

Rose Marie Byrne* 

Dr. and Mrs. Craig Calvert 

William T. Cannady and 

Angela H. Caughlin 

Frank N. Carroll+ 


Elizabeth H. Caselli* 

Duncan Wills Corbett 

Dr. Joan K. Bruchas* and 

Mr. H. Philip Cowdin* 

Fredricka Crain* 

Mrs. Patricia S. Cunningham* 


Malcolm Daniel and Darryl Morrison 

Daviee-Walters Family Trust 

John Blodgett Davis+* 

James J. Deegan+* 

Leonora De Grasse* 

Linnet F. Deily 

Ms. Ellena Dickerson 

Susan and David Diehl 

Diana do Carmo 

Mr. Stan Druck 

Shirley S. Druggan 

Mrs. Wayne B. Duddlesten 

Jeaneane Booth Duncan+* 

Deborah DeFord Dunkum 

John R. Eckel, Jr.* 

Charles Emrich+ 

John Eymann 

Marilyn Jane Fedder* 

Linda K. Finger+* 

Richard E. Fluhr and 

Rodolfo Hernandez, Jr. 

Aggie Foster 

H.J. (Joe) Foster* 

Gregory Fourticq 

Morgan Garwood* 

Nancy Hart Glanville+* 

Eileen B. Glaser 

Alfred C. Glassell, Jr.+* 

Clare Attwell Glassell+ 

Marc P. Gordon 

Samuel F. Gorman+ 


Valerie B. Greiner 

Dr. Ellen R. Gritz 

Nora Grossman* 

Nancy P. Guinee 

Jas A. Gundry+ 

Luis A. Gutierrez 

Anne Overton Haass and 

Bruce Haass* 

William C. Hauber* 

Sarah F. Hawes* 

Barbara* and Ernest Henley* 

Carola Herrin and John Herrin* 

Mr. and Mrs. Frank J. Hevrdejs 

141

DEVELOPMENT 

George S. Heyer, Jr.* 

Marjorie G. Horning+* 

Katherine and George Howe 

Greg Ingram 

Ira J. Jackson* 

Virginia Hartle Jackson* 

Dr. Lamar and Jane Jackson Charitable 

Remainder Trust+ 

Dodie and Richard S. Jackson 

A. Clark Johnson+* 

Dr. Blair Justice+* and Dr. Rita Justice+ 

James Ketelsen* and Kathryn Ketelsen 

Mr. Jarrod S. Klawinsky 

Andrius R. Kontrimas+ 

Mr. and Mrs. Vahid Kooros+ 

Mary Lynch Kurtz* 

Ms. Margo Lamb* 

Mr. William F. Lassiter* 

Caroline Wiess Law* 

Mark Lensky* 

Phillip Leonian* 

Richard D. Lester 

Mary Susan Lewis* 

Elsie Lieskovsky* 

Victoria Lightman and 

Marshal Lightman* 

Michael C. Linn+ 

Patricia G. Linn* 

Eric R. Liston 

Mrs. Cornelia Long+ and 

Mr. Meredith J. Long+* 

Christopher H. Loo, MD-PhD and 

Annie Phu 

Susan Lorence 

John Andrew MacMahon 

Dean Maddalena and 

Jonathan Blackwood* 

Mr. Michael D. Malbin+* and 

Mrs. Rosemary Malbin+ 

Mike and Mickey Marvins 

Mrs. Frances P. Marzio+ and 

Dr. Peter C. Marzio+* 

Lori Lynn and Marcel Mason+ 

June Mattingly* 

Kate Hilton McConnico 

Deirdre H. McKee 

Kay McKeough 

Will L. McLendon 

Laura Sue H. McMurrey* 

Allen D. McReynolds 

Gary Mercer* 

Melva and Richard Meronek 

Patti and Michael Morgan 

Sara and Bill Morgan 


Mrs. S.I. Morris* 

Charles Morse* 

Celia and James Munisteri 

Franci Neely 

Carl A. Niendorff 

Edward Oppenheimer, Jr.* 

Maria C. Osorio 

Dr. Bruce Patsner 

Linda Tarpley Peterson 

Mary Anne Holloman Phillips* 

Mary Lawrence Porter+ 

Amy and Robert Poster 

Amy M. Purvis 

Mr. Edward Randall III* and 

Mrs. Edward Randall III 

Minnette Robinson+ 

Arthur D. Robson, Jr.+* 

Shirley E. Rose 

Milton D. Rosenau, Jr. 

Carolyn Rosenstock-Ellis 

Diane and Ron Sandberg+ 

Linda A. Sarandrea 

Anne-Louise Schaffer 

Wanda Schaffner 

Marc Schindler+ 

Donald R. Schlotterbeck* 


Susan A. Simpson and 

Aldon W. Jenkins 

William J. Sloughter* 

Anita J. and William R. Snell 

Charlotte H. Stafford+* 

Levi Alvin Stark, Jr.+* 

William F. Stern* 

Catherine Stevenson 

Carol Ann Straus* 

Harold Jack Tausend, M.D.* 

Charlene Quitter Thompson* 

Merrianne Timko and Peter Lotz* 

Gary Tinterow 

Sandra L. Tirey and Jan R. van Lohuizen 

Mrs. Fiona Toth and Dr. Robert S. Toth* 

Ann G. Trammell+ 

Anne Wilkes Tucker+ 

Francita Stuart Koelsch Ulmer+ 

Dr. Carlos Vallbona* 

Jana Vander Lee 

Suneeta and Nanik Vaswani 

Margaret Waisman, M.D. 

Thomas Barry Walker* 

Renée G. Wallace 

Linda Rose Walls 

Michael Weller 

Dorothy S. and Robert D. Wells 

Herbert C. Wells* 

Lynne Werner 

Jane Day Westerfield+* 

Karen Wilkin and Don Clinton 

Eleanor L. Williams 

Isabel B. Wilson+* 

Jeanie Kilroy Wilson+ 

Shari and Gary Winston 

Diana and Gabriel Wisdom 

Daisy S. Wong* 

William Woodford* 

John C. Wynne* 

John L. Zipprich II 

Ima Hogg Society 

Anonymous 

Marie Sharpe Blaine+ 

Bonnie Campbell+ 

Evelyn Houstoun Chew+* 

Marie and John Houser Chiles 

Elinor M. Christian+ 

Harriet Sharpe Cochran and 

Larry F. Cochran* 

Mary Frances Couper* 

Mrs. Lacy Crain+ 

Carol A. Crawford and 

Weyman Crawford* 

Sharon G. Dies 

Martha Erwin+ 

Richard E. Fluhr and 

Rodolfo Hernandez, Jr. 

Cheri and Andy Fossler 

Lorraine and David Frazier 

Debbie and Gary Gibson+ 

Susanne M. Glasscock+ 

Jas A. Gundry+ 

Nancy Hart Glanville+* 

Kay Collins Handly 

Cynthia G. Holliday+ 

A. Clark Johnson+* 

Carolyn Frost Keenan+ 

Kathy Lee Kennedy 

Elsie Layton* 

Robert J. Lorio 

Mr. and Mrs. Gilbert Y. Marchand+ 

Nancy Thompson Martin 

Laura Sue H. McMurrey* 

Robin L. Michel and William M. Pillsbury 

Susan Morrison 

Patti Mullendore 

Mrs. Robert V. Nelson, Jr.+ 

Susan Neptune+* 

Sara M. Peterson+ 

Tricia and Steve Rosencranz 

Marc Schindler+ 

Mr. Morin Montagu Scott, Jr.+* and 

Mrs. Morin Montagu Scott, Jr.+ 


Katie Smith 

Carey and Michael Swan 

Phyllis and Charles Tucker 

Mrs. Dewitt Untermeyer+* 

Ralph Wallingford+* and 

Toni Wallingford+ 

David B. Warren+ 

Mrs. Sara E. White 

Barbara Graham Williams+ 

Jeanie Kilroy Wilson+ 

Sally and Denney Wright 

* gift matured 

+ charter member 

Every effort was made to ensure that 

the information published in this report 

is accurate and reflects the request of 

individual donors. If any errors or 

omissions have occurred, please notify 

the Museum’s development department. 

142

REPORT OF THE CHIEF FINANCIAL OFFICER 

In fiscal year 2021–2022, following two consecutive years of negative growth in revenue 

and expenses, primarily the result of depressed attendance due to the COVID-19 

pandemic, the Museum of Fine Arts, Houston, saw its operating revenues reach 

$78 million (an all-time high). Expenses also grew, but at a lower rate than revenues— 

the result of a full fiscal year of occupancy costs at the expanded Museum campus, 

investments in staff compensation, and inflation (fig. 1). The Museum finished the 

fiscal year with an operating surplus of $9.2 million on a Generally Accepted Accounting 

Principles (GAAP). 

Despite a period of significant market volatility, the Museum maintains a stellar balance 

sheet and on June 30, 2022, its net worth (fi nancial assets minus fi nancial liabilities) 

remained solid at $1.9 billion (fi g. 2). 

OPERATING RESULTS 

In spite of multiple COVID-19 variants that arose during the fiscal year, the widespread adoption 

of vaccines, together with an increased desire by a large swath of the United States population to 

return to a pre-COVID-19 way of life, meant that the Museum saw a substantial increase in guest 

visitation relative to fiscal year 2020–2021. In fiscal year 2021–2022, the Museum achieved on-site 

guest visitation in excess of 794,000 across all of its facilities. Prior to the pandemic, close to 

a million visitors were expected to visit the Museum annually; though attendance at exhibitions on 

the Sarofim Campus remained robust, the divergence in guests relative to pre-pandemic period 

was due to the lower number of school groups, education program participants, and guest visits 

to the two house museums, Bayou Bend and Rienzi. Attendance at the house museums trailed 

pre-pandemic estimates for other idiosyncratic reasons, including construction at Bayou Bend. We 

are hopeful that the resumption in school tour participation by the various partner school districts 

in Harris County, and the conclusion of certain construction activity in the house museums, will 

further amplify guest attendance in the coming fiscal year. Guest visitation substantially influences 

all aspects of earned income for the Museum, and with renewed momentum in the three exhibition 

buildings of the Sarofim Campus, earned income grew 31% relative to the previous fiscal year. 

All areas of earned revenue, including income from the Museum Shop, event income, revenue 

from tuition, and revenue from members, exceeded the previous fiscal year, and all but membership 

and tuition are trending at pre-pandemic levels. 

143


Museum memberships are more transactional than gift income and tend to move in tandem 

with popular ticketed exhibitions. The Museum had an average of 26,762 member households 

during the fiscal year, welcoming back some lapsed members but still trending below prepandemic 

levels. The Glassell School of Art, the Museum’s teaching institute, offers classes 

and workshops to students of all ages, from early childhood to postgraduate. Enrollment and 

income at the Glassell School was adversely affected in the first half of this fiscal year by the 

absence of vaccines for children under 12. That changed in the second half of the fiscal year, 

and we expect to revert to pre-pandemic enrollment levels, with the attendant increase in 

income, in fiscal year 2022–2023. 

Philanthropic support—past endowment gifts and present operating and campaign support—plays 

an important role in the Museum’s finances. In fiscal year 2021–2022, operating fundraising support 

increased 68% relative to fiscal year 2020–2021 (fig. 3). This change was primarily the result 

of the receipt by the Museum of a $6.1 million grant from the Small Business Administration in 

July 2021. The funds were earmarked from the Shuttered Venue Operating Grant (SVOG) 

program. Approved as part of the 2021 Consolidated Appropriations Act, the SVOG allocated up to 

$15 billion in grants to cultural applicants that met certain eligibility requirements. The funds were 

essentially a reimbursement to the Museum for salary expenses it previously had incurred. 

Relative to last fiscal year, the Museum’s operating expense base increased by almost 15%—less 

than the 23% growth in revenue. The fiscal year 2021–2022 marked the first full year of costs 

associated with the operation of an expanded campus. The Museum also made substantial investments 

in the compensation to entry-level personnel while adjusting the wages of several mid-level 

professionals, reflecting heightened labor shortages and increasing competition for talent in most 

industries. Outside of targeted investments, we continue to be vigilant with discretionary expenses 

across the organization, and the increase in operating costs for the expanded campus has been 

consistent with budget expectations. 

Fueled mostly by robust revenue growth, the Museum finished its 2021–2022 fiscal year with 

an operating surplus of approximately $9.2 million, accounted for in accordance with GAAP. 

For its internal decision-making, the Museum excludes certain non-recurring items and adjusts 

for non-cash items in its assessment of operations. This generally results in a more conservative 

Management View relative to GAAP. By that measure, the Museum ended its 2022 fiscal year with 

a Management View operating surplus of $6.5 million (table 3). 

144

INVESTMENT PERFORMANCE 

After twelve consecutive years of positive returns, the Museum’s pooled endowment sustained 

a small loss during fiscal year 2022. While lower returns and higher volatility were anticipated 

(versus the previous year), several factors amplified the reactions of the financial markets. Policy 

choices made during the pandemic caused unplanned side effects, including a damaged global 

supply chain that is rife with shortages of parts and labor. The endowment returned –4.2% during 

fiscal year 2021–2022 and was valued at $1.55 billion as of June 30, 2022 (fig. 4). 

The domestic equity allocation was the largest detractor from performance during the fiscal year, 

returning -10.9%, and with a portfolio weight of close to 50%, dragged down the overall endowment’s 

return. The largest positive contributors to performance were the energy, private equity, 

and real estate allocations. Energy investments, in particular, generated the best return because 

of large gains in the prices of crude oil and natural gas. Liquidity remains high, with a total of 

$223 million of fixed income and cash assets. 

While the loss for the fiscal year is disappointing, the performance of the Museum’s pooled 

endowment, as measured by Cambridge Associates, has generally exceeded the median of 

peer institutions with endowments of more than $1 billion, and the endowment has earned 

a rate of return substantially above that of a globally diversified passive portfolio represented 

by 70% stocks and 30% bonds. 

The Museum employs a spending formula that cushions the operating budget from short-term 

swings in the value of the endowment, with a primary emphasis on maintaining the purchasing 

power of the endowment. The objective is to achieve a long-term real return in excess of endowment 

spending. Over the past ten years, even with the recent increase in inflation, the pooled 

endowment’s trailing annualized real return has exceeded endowment spending by approximately 

120 basis points. 

As of June 30, 2022, approximately 61.7% of the pooled endowment was allocated to equity and 

equity mutual funds (fig. 5), followed by alternative investments (21.8%), money market mutual 

funds (11.8%), U.S. Treasuries and bonds (3.4%), and real assets and REITS (1.3%). 

145


CHANGE IN NET ASSETS 

The Museum had total assets of approximately $2.1 billion at the end of fiscal year 2021–2022. 

The largest asset categories are investments of $1.55 billion; land, buildings, and equipment 

of $429 million; and cash (cash equivalents) of $71 million (fig. 6). 

On an ongoing basis, the Museum’s net assets (assets minus debt) represent the most 

fundamental measure of its financial strength. This gauge of our net worth decreased by 

$163 million from fiscal year 2020–2021 (fig. 7). The reduction was principally due to the 

loss in the endowment (net of spending) of $149 million and higher depreciation and 

amortization on fixed assets (decrease in net assets of $21.4 million) offset by the superior 

operating performance. 

CONCLUSION 

In many ways, the fiscal year ended the way it began—with uncertainty. The uncertainty 

surrounding the COVID-19 pandemic has given way to global macroeconomic uncertainty 

about a possible recession, heightened market volatility, and crushing inflation. It is precisely 

at times like this when the Museum’s prudent financial management and budgetary planning 

prove invaluable. The Museum has been able to harness its superior financial performance 

over the last ten years into a “rainy day” fund that, if necessary, will provide a short-term 

cushion to a severe economic downturn. 

Spending from the Museum’s pooled endowment is based on a formula constructed to modulate 

vagaries in the year-to-year operating budget draw while preserving the endowment’s purchasing 

power. I feel certain that, with a solid donor base, dedicated colleagues, and the outstanding 

leadership and stewardship of the Trustees of the institution, the Museum is well positioned 

to meet its upcoming challenges, whatever they may entail. 

—Eric Anyah 

Chief Financial Officer 

The audited financial statements of the Museum of Fine Arts, Houston, for the year ended June 30, 2022, are available 

by contacting the Office of the Controller, 5100 Montrose Blvd., Houston, TX 77006. They are also available online at 

the Museum’s website, mfah.org. 

146

Fig. 1 

MFAH: Operating Revenue and Expenses (FY2018–FY2022) 

(thousands) 

Fig. 2 

MFAH: Net Assets: Total Financial Assets less Debt 

(millions) 

$90,000 

$2,300 

$80,000 

$70,000 

$60,000 

$50,000 

$40,000 

$68,651 

$64,165 

$78,070 

$74,589 

$67,508 $68,840 

$65,945 $65,178 $63,362 

$59,901 

$2,100 

$1,900 

$1,700 

$1,707 

$1,793 $1,776 

$2,100 

$1,938 

$30,000 

$1,500 

$20,000 

$10,000 

$1,300 

$0 

FY2018 

FY2019 FY2020 FY2021 FY2022 

$1,100 

FY2018 FY2019 FY2020 FY2021 FY2022 

Total Operating Support and Revenue 

Total Operating Expenses Before Depreciation and Amortization 

Fig. 3 

$21,000 

$19,000 

$17,000 

$15,000 

$13,000 

MFAH: Fundrainsing for Operations 

(thousands) 

$16,420 

$14,226 

$13,588 

$12,393 

$20,865 

Fig. 4 

$1,700 

$1,600 

$1,500 

$1,400 

$1,300 

$1,200 

MFAH: Market Value of Endowment 

(millions) 

$1,261.1 

$1,300.2 $1,282.3 

$1,617.7 

$1,553.6 

$11,000 

$9,000 

$7,000 

$1,100 

$1,000 

$900 

$800 

$5,000 


$700 


Fig. 5 MFAH: Composition of Pooled Investments at June 30, 2022 Fig. 6 MFAH: Composition of Assets at June 30, 2022 

(millions) 

Real Estate 

and REITS 

1.3% 

Money Market 

Mutual Funds 

11.9% 

Net Physical Assets 

$429 

Other Assests 

$3 

Investments 

$1,554 

Alternative 

Investments 

21.8% 

Pledges, Notes, and 

Accounts Receivable 

$28 

Equity and Equity 

Mutual Funds 

61.7% 

Cash 

$71 

U.S. Treasuries, 

Bonds, and Bond 

Mutual Funds 

3.4% 

Total Assets: $2,085 million 

147


Fig. 7 

FY 2022 Change in Total Net Assets 

(millions) 

FY2022 operating surplus (deficit) $9.2 

Contributions designated for capital and long-term investment 3.8 

Investment returns on long-term assets less amounts designated for current use (149.0) 

Depreciation, amortization, and interest (21.4) 

Net art acquisition activity (4.9) 

(excess of contributions and investment returns over purchases) 

All other net (0.1) 

Total increase (decrease) in net assets (162.5) 

Net assets at June 30, 2021 2,100.5 

Net assets at June 30, 2022 $1,938.0 

Table 1 


Statements of Financial Position as of June 30, 2022 

(thousands) 

6/30/2022 

Assets: 

Cash and cash equivalents $71,374 

Pledges, grants, accounts, and interest receivable 28,133 

Inventories 817 

Prepaid expenses and other assets 1,991 

Investments 1,553,639 

Property and equipment, net 428,681 

Total assets $2,084,635 

Liabilities and net assets: 

Liabilities: 

Accounts payable and other liabilities $31,890 

Deferred revenues 15,589 

Long-term debt 99,155 

Total liabilities $146,634 

Net assets: 

Without donor restriction $598,748 

With donor restriction 1,339,253 

Total net assets $1,938,001 

Total Liabilities and Net Assets $2,084,635 

148

Table 2 

The Museum of Fine Arts, Houston: FY 2022 Operating Statement (GAAP) 

(thousands) 

Operating Revenues 

Contributions and grants $17,828 

Investment returns designated for current use 42,829 

Membership revenue 3,309 

Admission revenue 3,692 

Tuition revenue 1,965 

Auxiliary revenue 3,123 

Other 1,986 

Net assets released from restriction 3,338 

Total Operating Support and Revenue $78,070 

Operating Expenses 

Program Services 

Curatorial and collections $8,781 

Exhibitions 6,672 

Education and public programs 9,750 

Glassell School 4,799 

Bayou Bend 3,924 

Rienzi 1,548 

Membership activities 1,276 

Buildings and grounds and security 16,355 

Subtotal program services $53,105 

Supporting Services 

Management and general $8,258 

Auxiliary activities 3,245 

Fund-raising 4,232 

Subtotal supporting services $15,735 

Total Operating Expenses Before Depreciation and Amortization $68,840 

Operating Surplus (Deficit) Before Depreciation and Amortization (GAAP) $9,230 

Table 3 

Reconciliation to Audited Financial Statements 

(thousands) 

FY 2022—Accounting (GAAP) Income (Deficit) $9,230 

Capital Leases and other capitalized projects—included in operating results (1,595) 

Direct Endowment Expenses—included in operating results (1,157) 

FY 2022—Management View Income (Deficit) $6,478 

149

STAFF 

As of June 30, 2022 

Gary Tinterow 

Director 

The Margaret Alkek 

Williams Chair 

Decorative Arts 

Steve Pine 

Senior Conservator 

Trevor Boyd 

American Painting and 

Sculpture 

Kaylin Haverstock Weber 

The Lora Jean Kilroy 

Latin American Art and the 

International Center for the 

Arts of the Americas (ICAA) 

Mari Carmen Ramírez 

Sarah Campbell Blaffer 

Foundation 

James Clifton 

Director 

Eric Anyah 


Amy Purvis 

Chief Development Officer 

Christian Schörnich 

Chief Operating Officer 

Larry Stokes 

Chief Human Resources 

and Diversity Officer 

OFFICE OF 

THE DIRECTOR 

Marukh Tarapor 

Senior Advisor for 

International Initiatives 

Deborah L. Roldán 

Associate Director 

for Exhibitions 

James Batt 

Assistant Director, 

Hospitality 

Cindi Strauss 


Programming 

Amy Poster 

Consultant for Indian Art 

Willard Holmes 

Consultant 

Carli van de Kerkhof 

Chief of Staff, 

Director’s Office 

Blanch Rodriguez 

Cybil Pallugna-Saenz 

Administrative Receptionists 

CONSERVATION 

Per Knutås 

Head of Conservation 

Brianna Vargas-Cortes 

Assistant to the Head 

Karen Willis 

Administrator 

John Forse 

Patrick Turk 

Sara Wright 

Framing Technicians 

Stephen Hanley 

Conservation Imaging 

Associate Conservator 

Ivan Reyes Garcia 

Associate Conservator 

Objects and Sculpture 

Jane Gillies 

Senior Conservator 

Alec Story 

Outdoor Sculpture 

Conservation Technician 

Paintings 

Maite Leal 

Conservator 

Bert Samples 

Senior Conservation 

Technician 

Photography 

Toshi Koseki 

The Carol Crow Senior 

Conservator of Photographs 

Research Science 

Corina Rogge 

The Andrew W. Mellon 

Research Scientist 

Works on Paper 

Tina Tan 

Conservator 

CURATORIAL 

Administration 

April Gutierrez 

Administrator 

Adrian Alejo 

Aisha Ali 

Sara Craig 

Ray Gomez 

Megan McIlwain 

Administrative Assistants 

Africa, Oceania, and 

the Americas 

Rex Koontz 

Consulting Curator 

Chelsea Dacus 

Assistant Curator 

Frances Marzio 

Curator Emerita 

Curator of American 

Painting and Sculpture 

Amanda Lett 

Curatorial Assistant 

Art of the Islamic Worlds 

Aimée Froom 

Curator 

Shireen Shah 


Asian Art 

Bradley Bailey 

The Ting Tsung and 

Wei Fong Chao Curator 

Beatrice Chan 


Decorative Arts, Craft, 

and Design 

Cindi Strauss 

The Sara and Bill Morgan 

Curator 

Christine Gervais 

Curator 

Elizabeth Essner 

Windgate Foundation 

Associate Curator of Craft 

Sarah Horne 


Arts of Europe and 

the Mediterranean 

Helga Kessler Aurisch 

Curator 

Ann Dumas 

Consulting Curator 


Curator 

James Anno 

Associate Curator 

Chelsea Dacus 


Film 

Marian Luntz 

Curator 

Tracy Stephenson 

Coordinator and Assistant 

Programmer 

Ray Gomez 

Assistant for Community 

Outreach and Administration 

The Wortham Curator and 

Director, International Center 

for the Arts of the Americas 

Arden Decker 

Associate Director, ICAA 

Rachel Mohl 


Veronica Sesana Grajales 


Elizabeth Donato 

Research and Publications 

Senior Specialist 

Junior Fernandez De Armas 

Digital Imaging Associate 

Lillian Michel 

ICAA Digital Experience 

Specialist 

Modern and Contemporary Art 


The Isabel Brown Wilson 

Curator 

Anita Bateman 


Katie O’Hara 


Photography 

Malcolm Daniel 

The Gus and Lyndall 

Wortham Curator 

Lisa Volpe 


Jason Dibley 

Collection Manager 

Selina Lamberti 

Senior Collection Cataloguer 

August DiStefano 

Senior Framing Technician 

Adrian Alejo 

Administrative Assistant 

Anne Wilkes Tucker 

Curator Emerita 


Dena Woodall 

Curator 

Jason Dibley 


Melinda Narro 


Marilyn Steinberger 

Administrator and 

Assistant Treasurer 

Josine Corstens 

Registrar and 


Sara Craig 


DESIGN 

Bill Cochrane 

Exhibition Designer 

Michael Langley 

Exhibition Design Specialist 

EXHIBITIONS 

Deborah L. Roldán 


Marcelina Guerrero 

Senior Coordinator 

Briana Gonzalez 

Coordinator 

LIBRARIES 

AND ARCHIVES 

Jon Evans 

Chief 


Alice Chambers 

Nikki Machacek 

Isaac San Miguel 

Library Assistants 

Sarah Long 

Digital Initiatives Librarian 

Joel Pelanne 

Technical Services Librarian 

Rebekah Scoggins 

Public Service and 

Instruction Librarian 

Sarah Stanhope 

Managing Catalog Librarian 

Specialist 

150

Kitty King Powell Library 

Margaret Culbertson 

Librarian 

Helen Lueders 

Library Assistant 

Michelle Johnson 

Project Manager, 

William J. Hill Texas 

Artisans and Artists Archive 

Leslie Rahuba 

Project Associate, 



Emily Stivison 

Project Assistant, 



Archives 

Marie Wise 

Managing Archivist 

Stratton Meyer 

Project Archivist 

LEARNING AND 

INTERPRETATION 

Caroline Goeser 

The W. T. and 

Louise J. Moran 

Chair 

Yvonne Casique 

Coordinator and 

Assistant to the Chair 

Community Engagement 

Lourdes Remond 

Manager 

Gracie Martinez 

Coordinator 

Interpretation 

Chelsea Shannon 

Manager 

Jessica Rosenthal 

Specialist 

Ana Girard 

Samuel H. Kress 

Interpretive Fellow 

Lectures and Concerts 

Margaret Mims 

Senior Manager 

Public Programs 

Becky Archer 

Temporary Public 

Programs Specialist 

Object-Based Learning 

Jennifer Beradino 

Senior Manager 

Stephanie Niemeyer 

Senior Specialist, 

Docent Programs 

Emee Hendrickson 

Specialist 

Faith Hillis 

Senior Specialist, University 

and Professional Learning 

Vera Fonteneaux 

Coordinator 

Diana Perez 

Tour Program Assistant 

Mike Beradino 

Rita Curran-Whiteman 

Kelley Magill 

LuAnn Turley 

On-Call Educators 

Studio and Gallery Programs 

Elizabeth Roath Garcia 

Manager 

Daniela Galindo 

Specialist 

Janine Delgado 

Assistant 

Melissa Aytenfisu 

Teaching Artist 

Zully Wisniewski 

Senior Guide 

Sarah Johnson 

Guide 

Frances Almendárez 

Sandra Jacobs 

On-Call Educators 

COMMUNICATIONS 

Mary Haus 

Head of Communications 

Alexandria Yancy 

Associate Publicist 

Melanie Fahey 

Senior Publicist 

MARKETING 

Toni Wood 

Head of Marketing 

and Sales 

Priya Mohindra 

Associate Head, 

Marketing and Promotions 

Kelly Erin Laskosky 

Managing Editor, mfah.org 

Mahogany Johnson 

Marketing Manager 

Justin Tysdal 

Marketing/Social Media 

Manager 

Aaron Castillo 

Email Marketing 

Associate 

Ariana Razavi 

Marketing Coordinator 

PUBLICATIONS 

Heather Brand 

Publisher in Chief 

Christine Waller Manca 

Megan Smith 

Senior Editors 

Michelle Dugan 

Associate Editor 

Kem Schultz 

Operations Coordinator 

GRAPHICS 

Phenon Finley-Smiley 

Manager 

Graciela Araujo 

Kristin Liu 

Senior Designers 

Shaun Dorris 

Graphic and Web Designer 

Radu Runcanu 

Production Specialist 

REGISTRATION 

Julie Bakke 

Chief Registrar 

Minerva Carmona 


Collections 

Kim Pashko 

Registrar 

Kacie Rice 

Senior Assistant Registrar, 

Outgoing Loans 

Rachel Robinson 

Flora Schaeffer 

Assistant Registrars, 

Incoming Loans 

Sarah Garrett 

Assistant Registrar 

Linda Wilhelm 

Associate Registrar 

Exhibitions 

John Obsta 

Registrar 

Monica Vidal 

Senior Assistant Registrar 

Emily Link 

Assistant Registrar 

PHOTOGRAPHIC AND 

IMAGING SERVICES 

Marty Stein 

Manager 

Tom DuBrock 

Senior Collection 

Photographer 

Will Michels 

Collection Photographer 

Cynthia Odell 

Image Projects 

and Rights Coordinator 

Shelby Rodriguez 

Imaging Services Associate 

Albert Sanchez 

Digital Imaging Specialist 

OFFICE OF THE CHIEF 

OPERATING OFFICER 

Christian Schörnich 

Chief Operating Officer 

Morgan Sizemore 

Executive Assistant, 

Project Management Specialist 

Carlotta Ramirez 

Museum Counsel 

ENGINEERING AND 

FACILITIES 

Vernon Wells III 

Head 

Chelsea Kucinski 

Operations Manager 

Gabriella Lopez 


Building Engineers 

Ken Doan 

Celestino Garcia 

Roger Vasquez 

Team Leaders 

Ricky Rodriguez 

Lead Mechanic 

Joshua Tapp 

HVAC Mechanic 

Leonard Chapa 

Anselmo Estrada 

Bernie Rodriguez 

Kyle Schuenemann 

Mohan Singh 

Lead Technicians 

Gilbert Apodaca 

Sorin Coman 

Technicians I 

Theodore Kucinski 

Mike Ngyuen 

Liviu Niculae 

Bob Pierce 

Gabriel Ramos 

Technicians II 

Mohammad Deljoy 

Lucio Espinal 

Paul Fatu 

Ralph Jaso 

Jack Kerby 

Nereo Sifuentes 

Jeff Smith 

Joseph Vasquez 

Miladin Vidojevic 

Vernon Wells, Jr. 

Technicians III 

John Garcia 

Carlos Sifuentes 

Gurpreet Singh 

Eder Zapata 

Apprentices 

Ronald Vasquez 

Electrical Technician 

Juan Garza 

Building Management 

Systems Supervisor 

David Hernandez 

Control Room Operator 

Matthew Sieger 

Fire Systems Manager 

151

STAFF 

152 

Lighting 

Wesley Jefferson 

Lighting Design Manager 

Harol Carrillo 

Sergio Cortez 

Lighting Technicians 

Building Services 

Mario Cuellar 

Deivy Gomez 

Jason Hernandez 

Claudette Johnson 

Hernan Medina 

Gabriel Orbai 

Building Services Assistants 

EXHIBIT PRODUCTION 

Lucian Salajan 

Manager 

Alfonso Cipriano 

Senior Production Technician 

Alberto Sanchez 

Lead Carpenter 

Sotero Dolormente 

Jesus Merino 

Painters/Carpenters 

Rodil Rivera 

Carpenter 

Jose Calderon Alvarado 

Painter 

Obel Rivera 

Drywall Finisher/Painter 

GARDENS AND 

LANDSCAPE 

Bart Brechter 

Head of Gardens and 

Landscape Operations 

Joe Calderon 

Rafael Ruiz 

Crew Leaders 

Eduardo Castaneda 

Raymundo Castaneda 

Alexander Chavez 

Gerardo Ruiz-Martinez 

Gardeners 

HOUSEKEEPING 

AND PARKING 

Andrew Spies 

Manager 

Housekeeping 

Liliana Gomez 

Housekeeping Manager 

Victoriano Perez 

Esmeralda Valdez 

Housekeeping Supervisors 

Ron Armfield 

Lead Custodian 

Isidro Salazar 

Custodian/Floor Technician 

Maria Alvarado 

Alma Cajas 

Carlos Castaneda 

Jose Davila 

Marta Granados 

Lauretta Lopez 

Cesar Lucero Perez 

Maria Mares 

Florina Nitu 

Maria Rangel 

Eliam Rojo 

Irene Romero 

Maria Rosales 

Maximina Salazar 

Custodians 

Parking 

Paula Waldon 

Coordinator 

Angel Marrero Martinez 

Weekend Supervisor/ 

Technician 

Jon Stegall-Dale 

Matthew Tucker 

Associates 

INFORMATION 

TECHNOLOGY 

Zac Haines 

Chief Technology Officer 

Jill Aremband 

Senior IT Special 

Projects Manager 

Ryan Hanna 

IT Application Manager 

Tom Howell 

Senior Infrastructure and 

Technical Services Manager 

Greg Abanto 

Security Manager 

Edward Brumbeloe 

Support Center Technician 

David Knickerbocker 

Security Infrastructure Analyst 

Tim Luu 

Network Operations 

Administrator 

Christina Martinez 

Purchasing and Inventory 

Manager 

Tausheli McClure 

Infrastructure Analyst 

Phillip Parks 

Application Administrator 

Carlos Perez 

Senior Support Center 

Technician 

Stephen Pipkin 

TMS Collections 

Administrator 

Chris Pratt 

Lead Application 

and Web Developer 

David Sourp 

Support Center Supervisor 

Edith Stone 

Software Trainer 

Dat Truong 

Web Developer 

Audio-Visual 

Kirston Otis 

Lead Technician 

Tish Stringer 

Specialist 

Trey Ferguson 

Alejandro Felker 

Technicians 

Office Services 

Patsy Gonzales 

Supervisor 

Laura Rodriguez 

Mail Room Coordinator 

PREPARATIONS 

Dale Benson 

Chief Preparator 

Michael Kennaugh 

Senior Preparator/ 

Administrator 

Ken Beasley 

Michael Crowder 

Curtis Gannon 

Jason Storrs 

Senior Preparators 

Juan Escoto 

Chris Huron 

Jeremy Johnson 

Associate Preparators 

Angela Gomez 

Sean Kirkland 

Thomas Walsh 

Preparators 

Frances Trahan 

Mountmaker 

SECURITY 

Todd Lacy 

Head of Security and Safety 

Franklin Collantes 

Andrew Perez 

Assistant Chiefs 

Mona Jones 

Office Manager 

Shawna Jones 


Lemuel Bulawin 

Mohammad Fardis 

Ivery Malveaux 

Carlos Morales-Pereira 

Emmanuel Tapia 

Cheryl Williams 

Daniel Williamson 

Security Supervisors 

Florymer Caesar 

Alice Carmona 

Gina Easterling 

Anastacia Ebarle 

Mariah Graham 

Sayed Hosseini 

Juvy Kelson 

Qasem Naseh 

Elena Rodriguez 

Julius Santos 

Miguel Sifuentes 

Wayne Wright 

Mary Wylie 

Console Monitors 

Andrea Agliam 

Victor Akpejunor 

Luis Arroyo Sanchez 

Lolita Battin 

Jay Bodeta 

Zaidreeck Bodeta 

Marlon Bonifacio 

Sandi Borinaga 

Beatrice Cadelinia 

Jose Casallo 

Manny Casio Jr. 

Paul Castro 

Karin Cole 

David Cook 

Christopher Corteza 

Elsie Corteza 

Carl Dequito 

Veronica Dickinson 

Alma Ebarle 

Maria Escobar 

Rodolfo Fornillos 

Kay French 

Ruben Garcia 

Andrew Gee 

Lea Genorga Boykai 

Lilia Gonzalez 

Eugene Gomez 

Regina Gomez 

Maria Granados 

Pedro Guerrero 

Dalvin Gunner 

Gregg Gustilo 

Laura Hernandez 

Randy Herrera 

Gabe James 

Morgan Jennings 

Connie Johnson 

Kelly Johnson 

Maricel Jularbal 

Sarita Loreto 

Michelle Louring 

Analie Maglantay 

Baltazar Malaran 

Billy-Paul Mante 

Jose Martinez 

Carlo Mendoza 

Cris Mendoza 

Emeteria Mendoza 

Julius Mendoza 

Michael Allan Mendoza 

Gerard Monroe 

Osvaldo Montes 

Blandina Narciso 

Vicente Natividad 

Dora Nunez 

Nilda Ortega 

Callie Parrott 

Javier Perez 

Genaro Pesodas 

Carmen Portocarrero 

Sylvia Ramirez 

Elizabeth Rodriguez 

Franklin Rodriguez 

Tony Rodriguez 

Juan Rosales 

Holly Ross 

Victor Saldon 

Jason Salinas 

Maria Santos 

Jedidiah Shepler 

Joselito Solis 

Vaska Stoeva 

Luz Tibus 

David Torres 

Destiny Vercher 

Samuel Williams 

Jeramiah Zeno 

Security Officers


HUMAN RESOURCES 

AND DIVERSITY 

OFFICER 

Larry Stokes 

Chief Human Resources 

and Diversity Officer 

Carolina Garza 

Coordinator 

Carole Pavlik 

Database Administrator 

Liz Reitz 

Senior Benefits Administrator 

Marisa Zuniga 

Representative 

VOLUNTEER SERVICES 

Alexandria Thomas 

Manager 

Melanie Webster 

Coordinator 


DEVELOPMENT OFFICER 

Amy Purvis 

Chief Development Officer 

Rebecca Little Hunt 

Executive Assistant 

Shane Platt 

Development Administrator 

Annual Campaigns 

Haley Horan 

Senior Development Officer 

Javi Mares 

Coordinator 

Corporate Relations 

Meghan Thrash 

Development Officer 

Curatorial Affairs 

Ashley Powell 


Development Special Events 

Kathryn Pelini 


Katie Netherton 

Event Specialist 

Michelle Schenck 

Event Coordinator 

Megan Tastan 

Nora Harrison 

Coordinators 

Emma Cullom 

Associate 

Development Operations 

Tammy Largent 

Deputy Chief 


JoAnne Herrington 

Donor Database Manager 

Jason Alber 

Donor Database Coordinator 

Tim Hsu 

Daniela Ramirez 

Data Processors 

Grants and Development 

Communications 

Lisa Powell 


Dorie Shellenbergar 


Matthew Ramirez 

Samantha Skelton 

Writers 

Michelle Verduzco 

Coordinator 

Special Gifts 


FINANCIAL OFFICER 

Eric Anyah 


Maggie Schutza 

Executive Assistant 

ACCOUNTING 

Julia Petty 

Controller 

Kristianne Baugh 

Business Analyst 

Sergio Britos 

Accounts Payable Specialist 

Kristopher Clark 

Accountant, General 

Kathy Dishman 

Accounting Assistant 

Mike Houck 

Payroll Manager 

Laura Howitt 

Cash Receipts Clerk 

Lonnie Lew 

Assistant Controller 

Stella Rivera 

Payroll Coordinator 

Jason Atkins 

Stephanie Rogers 

Senior Accountants 

Virginia St. Hilaire 

Accounts Payable Manager 

Slinda Ordogne 

Nan Sanders 

Accounts Payable Clerks II 

INVESTMENTS 

Darren Bartsch 

Managing Investment 

Director 

Bradford Smith 

Senior Investment Officer 

MEMBERSHIP AND 

GUEST SERVICES 

Jennifer Garza 

Chief Administrator 

Membership 

Andrew Edmonson 

Manager 

Rachel Stephens 

Coordinator 

Jeremy Hamilton-Arnold 

Member Experience Manager 

Joy Zhou 

Audience Research 

Manager 

Guest Services 

Neda Asgharzadeh 

Manager 

Rebecca Benitez 

Billy Short 

Assistant Managers 

Michelle Russell 

Ticketing Operations 

Coordinator 

Sheri Schrader 

Interim Group Tickets 

amd Tours Coordinator 

Kristen Fowler 

Lead Ambassador 

Matthew Becker 

Paula Denis Torres 

Yvette Garcia 

Julissa Hernandez 

Teresa Martinez 

Jason Mitchell 

Robert Newcomb 

Maureen Parnell 

Faith Pruneda 

Albert Rodriguez 

Jill Walley 

Ambassadors 

RETAIL 

Chris Goins 

General Manager 

Charlott Card 

Merchandising Manager, 

Books 

Jennifer Freeman 

Visual Merchandise Assistant 

Flor Gonzalez 

Manager, MFAH Stores 

Andrew Groocock 

Manager, Inventory 

and Receiving 

Susan Garcia 

Inventory Specialist 

Barbarah Viles 

Retail Administrator 

Mark Brock 

John George 

Lead Sales Assistants 

Francis Baltazar 

Lauren Berthelot 

Stephanie Luttrell-Gleizer 

Milton Parraga 

Ellen Patton 

Jennifer Sandoval 

Susan Soffer 

Sales Assistants 

SPECIAL EVENTS 

James Batt 


Hospitality 

Lindsey Stevens 

Administration and 

Sales Coordinator 

Errika Tellez 

Business Coordinator 

Ana Paula Pous 

Noura Zahra 

Coordinators 

Bradley Houston 

Annie Ardell 

Julia Smith 

Cassandria Bradley 

Senior Development 

Rosemarie Pesodas 

Officers 

Reginald Thomas 

Malia Gomez 

Attendants 

Associate, Planned Giving 

and Major Gifts 

153

STAFF 

BAYOU BEND 

COLLECTION 

AND GARDENS 

Bonnie A. Campbell 

Director 

Caryn Fulda 

Assistant to the Director 

Sue Canup 


Curatorial 

Bradley Brooks 

Curator 

Remi Dyll 


Heather Howard 


Education 

Jennifer Hammond 

Head of Education 

Joey Milillo 

Programs Manager 

Catherine Taraviras 

Docent Programs Manager 

Katherine Welch 

Programs Coordinator 

Engineering and Facilities 

Ruben Obregon 

Facilities Manager, 

Bayou Bend and Rienzi 

Ryan O’Toole 

Building Services Assistant 

Juana Zapata 

Custodian 

The Shop at Bayou Bend 

Carmen Rodesly 

Sales Assistant 

Security 

Nevelyn Williams 

Security Manager, 

Bayou Bend and Rienzi 

Victor Aguila 

Charlene Dinn 

Heather Henderson 

Kherwin Narvasa 

Console Monitors 

Ahmed Aldebashi 

Alex Ayala 

Irene Berry 

Rebecca Burgamy 

Eva Campbell 

Ellyn Hahn 

Kristopher Lara 

Juniorito Salaguban 

Sunshine Spiller 

Raymond Thomas 

Bridget Thompson-Mathis 

Security Officers 

Visitor Services 

Lavinia Ignat 

Manager 

Cyrus Kohanloo 

Events Coordinator 

Austin Bonilla 

Madison Gould 

Daniel Kiehnhoff 

Jessica West 

Attendants 

RIENZI 


The Fredricka Crain 

Director 

Misty Flores 


Janet Marshall 

Assistant 

Katherine S. Howe 

Director Emerita 

THE GLASSELL 

SCHOOL OF ART 

Joseph G. Havel 

Director 

Core Residency Program 

Mary Leclère 


Joe Eldredge 


Junior School 

Pam Perez 

Administrative Dean 

Charlee Brown 

Program Coordinator 

and Communications Liaison 

Vivian Moyeda 

Program Assistant 

Natalie Torres 

Registrar 

William Vega 

Office Assistant 

Marvin Mendoza 

Temporary Office Assistant 

Judi Burton 

David Fulton 

Donna Garoh 

Vehishta Kaikobad 

Ken Mazzu 

Valerie Nevarez 

Kealy Racca 

Rachelle Vasquez 

Junior School Instructors 

Cole Bonefas 

Tirza Chazaro 

Conor Devlin 

Anna Hethcox 

Kylie Hill 

Ariela Kluk 

Victoria May 

Abi Newell 

Joshua Ramirez 

Studio School Administration 

Jennifer Cronin 


Shelby O’Dell 

Program Coordinator 

Mathilde Bowen 

Registrar 

Studio School 

Patrick Palmer 

Dean 

Sandra Zilker 

Associate Dean of 

Student Activities 

Michael Bise 

Amy Blakemore 

Sharon Dennard 

Jeff Forster 

Francesca Fuchs 

James Hill 

Liv Johnson 

Arielle Masson 

Brian Portman 

Robert Ruello 

Anna Tahinci 

Studio School 

Instructors 

Security 

Dulce Aguila 

Rafael Alvarez 

Belma Arceneaux 

Camille Custodio 

Minerva Medrano Coello 

Alejandro Mendez Rangel 

Joseph Ryan Mendoza 

Abigail Perez Noyola 

Samuel Ramirez 

Flora Siaotong 

Candido Villasenor 


Learning and Interpretation 

Lauren Ramirez 

Nicole Randazzo 

David Figiel 

Manager 

Security 

Nelson Junsay 

Eliana Ruben 

Meredith Shoemaker 

Ava Yu 

Sophie Yu 

Junior Aides 

We mourn the loss of our 

present and former colleagues 

Mary Hancock Buxton Cain 

(museum administrator, March 

1968–August 1969), security 

Francisco Narvios 

officer Nonato S. Bayaua, 

Johnnie Mae Powell 

docent Dorothy Murphey, and 


building engineer Pete Salajan. 

154

CREDITS 

© 2023 The Museum of Fine Arts, Houston 

1001 Bissonnet Street 

Houston, Texas 77005 

www.mfah.org 

The authors of the texts accompanying 

the accessions highlights, which are 

illustrated on the cover and on pages 

14–75, are identified as follows: 

AB 

AF 

AGP 

ALG 

BB 

BCB 

CD 

CG 

CS 

DMW 

EE 

JA 

KAO 

KF 

KHW 

LV 

MD 

MF 

RM 

VSG 

Anita Bateman 

Aimée Froom 

Amy G. Poster 


Bradley Bailey 

Bradley C. Brooks 

Chelsea Dacus 


Cindi Strauss 

Dena M. Woodall 

Elizabeth Essner 

James Anno 

Katie A. O’Hara 

Kanitra Fletcher 

Kaylin Haverstock Weber 

Lisa Volpe 

Malcolm Daniel 

Misty Flores 

Rachel Mohl 

Veronica Sesana Grajales 

Photography Credits 

Cover and pp. 15, 18, 19, 28, 29–32, 

37 (right), 38–41, 44, 48–52, 55 (right), 

56–61, 68, 70 (bottom), 72, 73, 96–105, 

107–111, 112, 114, 116, 118 (top and 

bottom right), 126: Will Michels 

p. 6: © Richard Barnes 

pp. 12, 13, 134–137 (nos. 2, 3, 12, 17, 21, 

22): Wilson Parish 

pp. 16, 26, 108 (top): Albert Sanchez 

pp. 17, 20–25, 27, 34, 35–37 (left), 43, 

45–47, 53, 55 (left), 63, 66, 67, 70 (top), 

71, 74, 75, 96, 97, 99, 102–103, 115, 117, 

118 (bottom left): Thomas R. DuBrock 

pp. 33, 42: Stephen Hanley 

p. 102 (top): Image © National Gallery 

of Art, Washington, D.C. 

p. 105: © FABA Photo: Hugard & 

Vanoverschedle Photography 

p. 106: Photograph © Museum of Fine 

Arts, Boston 

p. 120 (right): Malcolm Daniel 

pp. 124, 129: Melissa Taylor 

p. 128: Jacob Power 

pp. 134–137 (nos. 11, 12, 13, 18, 19, 20): 

Jenny Antill Clifton 

pp. 134–137 (nos. 6, 7): Daniel Ortiz 

pp. 134–137 (nos. 14, 15, 16): 

Priscilla Dickson 

pp. 134–137 (no. 29): Jim Daniel 

Copyright Credits 

Cover and inside back cover: 

© Banco de Mexico Diego Rivera & 

Frida Kahlo Museum Trust, Mexico, 

D.F. / Artists Rights Society, New York 

p. 38: © Fundación Francisco Matto 

p. 39 (top): © Estate of Sandu Darié 

p. 39 (bottom): © Artists Rights Society 

(ARS), New York / AGADU, Uruguay 

p. 40: © 1957 Betty Parsons and 

William P. Rayner Foundation 

p. 41: © The Pollock-Krasner 

Foundation / Artists Rights Society 

(ARS), New York 

p. 42: © The Jay DeFeo Foundation / 

Artists Rights Society (ARS), New York 

p. 43: © Estate of Edward Kienholz, 

photograph Jeff McLane / courtesy LA 

Louvre Gallery, Venice, CA 

pp. 44, 45: © Artists Rights Society 

(ARS), New York / ADAGP, Paris 

pp. 46: © Nacho Carbonell 

pp. 47 (top ): © Estate of 

Paolo Santini 

pp. 47 (bottom): © Jurgen Bey 

p. 48: © Sheila Pinkel 

p. 49: © Estate of Omar Rayo 

p. 50: © Zilia Sánchez, courtesy 

Galerie Lelong & Co., New York 

p. 51: © 1971 César Paternosto 

p. 52: © César Paternosto 

p. 53: © 1992 Lika Mutal 

p. 54: © 1966 Lenore G. Tawney 

Foundation 

p. 55 (left): © 1974 Lenore G. Tawney 

Foundation 

p. 55 (right): © 1967 Lenore G. Tawney 

Foundation 

p. 56: © Robert Rauschenberg 

Foundation / Licensed by VAGA at 

Artists Rights Society (ARS), NY 

p. 57 (top): © Conner Family Trust, San 

Francisco / Artists Rights Society (ARS), 

New York 

p. 57 (bottom): © Philip-Lorca diCorcia. 

Courtesy the artist and David Zwirner 

p. 58 (top): © Archivo Marta Minujín / 

Marta Minujín Archive 

pp. 58–59: © 1987 Minol Araki 

p. 60: © Jack Whitten Estate 

p. 61: © Callum Innes, courtesy 

Sean Kelly 

p. 62: © Artists Rights Society (ARS), 

New York / ADAGP, Paris; photograph 

© Thomas Houseago Courtesy the 

artist and Gagosian 

p. 63: © 2014 Ron Mueck 

p. 64: © 2014 Marilyn Minter, image 

courtesy of the artist 

p. 65: © 2019 Zana Briski 

p. 66: © Raven Halfmoon 

p. 67: © Sonia Gomes 

p. 68: © Courtesy of the Artist and 

Mendes Wood DM São Paulo, Brussels, 

New York 

p. 69: © 2019 Vincent Valdez 

© Adriana Corral 

p. 70 (top): © David Hockney 

p. 70 (bottom): © Ellen Lesperance 

p. 72 (left): © Billie Zangewa 

p. 72 (right): © Loretta Pettway / 

Artists Rights Society (ARS), New York 

p. 73: © 2021 Deborah Roberts 

p. 74: © 2021 Qualeasha Wood 

p. 75: © 2022 Derek Fordjour 

p. 99: © Olga de Amaral 

p. 101 (top): © Todd Webb Archive, 

Portland, Maine, USA 

p. 102 (top): © 2021 Heirs of Aaron 

Douglas / Licensed by VAGA at Artists 

Rights Society (ARS), NY 

p. 104 (top): © 2022 Calder Foundation, 

New York / Artists Rights Society (ARS), 

New York 

p. 104 (bottom): © 2023 Estate of 

Pablo Picasso / Artists Rights Society 

(ARS), NY 

p. 105 (top left): © 2022 Estate of Pablo 

Picasso / Artists Rights Society (ARS), 

New York / © FABA 

p. 106: © Museum of Fine Arts, Boston / 

All rights reserved. 

p. 108 (top): © The M.C. Escher 

Company, The Netherlands. 


p. 110 (top): © Dawoud Bey 

p. 111 (top): © 2021 Shahzia Sikander / 

Courtesy of the artist; Sean Kelly, New 

York; and Pilar Corrias, London 

p. 112 (top): © Kehinde Wiley 

p. 112 (middle): © Amy Sherald 

p. 117: © Mungo Thomson 

p. 118 (top): © 2020 William Kentridge. 


Captions 

p. 96 (top to bottom, left to right): 

From the al-Sabah Collection, Dar 

al-Athar al Isalmiyyah, Kuwait: Folio 

from a Qur’an Manuscript, North Africa 

(probably Kairouan), 9th–10th century, 

ink, colors, and gold on vellum, LNS 

65 MS F11r; Pen Box and Inkwell, India, 

mid-17th century, nephrite jade, inlaid 

with gold and set with rubies and 

emeralds, LNS 84 HS; Turban Ornament 

(Sarpech), India, 17th century, gold; 

enameled and set with emeralds and 

diamonds, LNS 1767 J; Tile Panel, Iran, 

17th century, glazed fritware, LNS LNS 

1026 C a-c; Panel from a Ceiling, Syria, 

early 8th century, wood, carved and 

painted, LNS 10 W. 

p. 97 (top to bottom, left to right): 

From the Hossein Afshar Collection 

at the Museum of Fine Arts, Houston: 

“Rudaba’s Parents Converse about her 

Love for Zal,” folio 77v from the 

Shahnama of Shah Tahmasp, Iran, 

c. 1520–40, ink, opaque watercolor, 

gold, and silver on paper; Embroidered 

Panel, Iran, 17th century, velvet, cotton, 

and metal-wrapped thread; Female 

Tumbler, Iran, early 19th century, oil 

on canvas; Pendant, Iran, 19th century, 

gold, decorated with polychrome enamel, 

gemstones, and pearls; Kendi-shaped 

Qalyan (Hookah) Base, Iran, mid-17th 

century, stonepaste, painted in blue 

and black under transparent glaze. 

p. 98: Unknown artist, Peruvian, 

Annunciation, first half of the 17th 

century, oil on canvas, Collection of 

Carl & Marilynn Thoma. 

p. 99: Olga de Amaral, Columna en 

Pasteles (Column in Pastels), 1972, 

wool and horsehair, the Museum of 

Fine Arts, Houston, museum purchase 

funded by the Caroline Wiess Law 

Accessions Endowment Fund, 2019.162. 

p. 101: Todd Webb, Georgia O’Keeffe with 

Camera, 1959, printed later, inkjet print, 

Todd Webb Archive. 

p. 102: Aaron Douglas, Into Bondage, 

1936, oil on canvas, National Gallery 

of Art, Washington, D.C., Corcoran 

Collection (museum purchase and 

partial gift from Thurlow Evans Tibbs, 

Jr., the Evans-Tibbs Collection). 

p. 104: Alexander Calder, Acrobat, 1929, 

wire and wood, Calder Foundation, 

New York. 

p. 105: Pablo Picasso, Acrobat 

(Acrobate), 1930, oil on cavas, FABA 

(Fundación Almine y Bernard Ruiz- 

Picasso para el Arte, Madrid). 

p. 106: Pierre-Auguste Renoir, Dance at 

Bougival, 1883, oil on canvas, Museum 

of Fine Arts, Boston, Picture Fund. 

p. 108: M.C. Escher, Bond of Union, 

April 1956, lithograph, collection of 

Michael S. Sachs. 

p. 110: Dawoud Bey, A Girl with a Knife 

Nosepin, Brooklyn, NY, 1990, inkjet 

print (printed 2019), collection of the 

artist, courtesy of Sean Kelly Gallery, 

New York; Stephen Daiter Gallery, 

Chicago; and Rena Bransten Gallery, 

San Francisco. 

p. 111: Shahzia Sikander, Pleasure 

Pillars, 2001, vegetable color, dry 

pigment, and watercolor on tea-stained 

wasli paper, collection of Amita and 

Purnendu Chatterjee. 

155

CREDITS 

p. 112 (top): Kehinde Wiley, President 

Barack Obama, 2018, oil on canvas, 

National Portrait Gallery, Smithsonian 

Institution; Gift of Kate Capshaw and 

Steven Spielberg; Judith Kern and Kent 

Whealy; Tommie L. Pegues and Donald 

A. Capoccia; Clarence, DeLoise, and 

Brenda Gaines; The Stoneridge Fund 

of Amy and Marc Meadows; Robert E. 

Meyerhoff and Rheda Becker; Catherine 

and Michael Podell; Mark and Cindy 

Aron; Lyndon J. Barrois and Janine 

Sherman Barrois; The Honorable 

John and Louise Bryson; Paul and 

Rose Carter; Bob and Jane Clark; 

Lisa R. Davis; Shirley Ross Davis and 

Family; Alan and Lois Fern; Conrad 

and Constance Hipkins; Sharon and 

John Hoffman; Daniel and Kimberly 

Johnson; John Legend and Chrissy 

Teigen; Eileen Harris Norton; Helen 

Hilton Raiser; Philip and Elizabeth 

Ryan; Roselyne Chroman Swig; Josef 

Vascovitz and Lisa Goodman; Michele 

J. Hooper and Lemuel Seabrook III; 

The Skylark Foundation; Cleveland 

and Harriette Chambliss; Anna Chavez 

and Eugene Eidenberg; Carla Diggs & 

Stephen M. Smith; Danny First; Peggy 

Woodford Forbes and Harry Bremond; 

Stephen Friedman Gallery; Sean and 

Mary Kelly, Sean Kelly Gallery; Jamie 

Lunder; Joff Masukawa and Noëlle 

Kennedy Masukawa; Derek McGinty 

and Cheryl Cooper; Robert and Jan 

Newman; The Raymond L. Ocampo Jr. 

and Sandra O. Ocampo Family Trust; 

Julie and Bennett Roberts; Paul Sack; 

Gertrude Dixon Sherman; Michael 

and Mary Silver; V. Joy Simmons, MD; 

Andrea Lavin Solow and Alan P. Solow; 

John Sykes; Galerie Templon; Henry L. 

Thaggert III. 

p. 112 (middle): Amy Sherald, First Lady 

Michelle Obama, 2018, oil on linen, 

National Portrait Gallery, Smithsonian 

Institution; Gift of Kate Capshaw and 

Steven Spielberg; Judith Kern and Kent 

Whealy; Tommie L. Pegues and Donald 

A. Capoccia; Clarence, DeLoise, and 

Brenda Gaines; Jonathan and Nancy 

Lee Kemper; The Stoneridge Fund of 

Amy and Marc Meadows; Robert E. 

Meyerhoff and Rheda Becker; Catherine 

and Michael Podell; Mark and Cindy 

Aron; Lyndon J. Barrois and Janine 

Sherman Barrois; The Honorable 

John and Louise Bryson; Paul and Rose 

Carter; Bob and Jane Clark; Lisa R. 

Davis; Shirley Ross Davis and Family; 

Alan and Lois Fern; Conrad and 

Constance Hipkins; Sharon and John 

Hoffman; Audrey M. Irmas; John 

Legend and Chrissy Teigen; Eileen 

Harris Norton; Helen Hilton Raiser; 

Philip and Elizabeth Ryan; Roselyne 

Chroman Swig; Josef Vascovitz and 

Lisa Goodman; Eileen Baird; Dennis 

and Joyce Black Family Charitable 

Foundation; Shelley Brazier; Aryn 

Drake-Lee; Andy and Teri Goodman; 

Randi Charno Levine and Jeffrey E. 

Levine; Fred M. Levin and Nancy 

Livingston, The Shenson Foundation; 

Monique Meloche Gallery, Chicago; 

Arthur Lewis and Hau Nguyen; 

Sara and John Schram; Alyssa Taubman 

and Robert Rothman. 

p. 113 (clockwise from top): From 

the Xuzhou Collection: Seated 

Buddha, India, 10th–11th century, 

bronze with silver and obsidian inlay; 

Buddha Triumphing over Mara, 

Pakistan or Bangladesh, Gupta 

period, c. 320–550, terracotta; 

Seated Buddha, Afghanistan, 

Gandharan period, 4th–5th century, 

stucco. 

p. 117: Mungo Thomson, The 

American Desert (for Chuck Jones), 

2002, single-channel video, color 

and sound, the Museum of Fine Arts, 

Houston, museum purchase funded 

by members of the Modern and 

Contemporary Art Subcommittee, 

2004.1538. 

p. 118: William Kentridge, City Deep, 

2020, single-channel video with stereo 

audio, edition 5/9 + 3 AP, the Museum 

of Fine Arts, Houston, purchased 

jointly by the Museum of Fine Arts, 

Houston, with funds from the Caroline 

Wiess Law Accessions Endowment 

Fund; and by the National Gallery of 

Art, 2020.558. 

AT RIGHT AND COVER: 

DIEGO RIVERA, Mexican, 1886–1957 

La bordadora (The Embroiderer), 1928 

Oil on canvas 

31 3/16 x 39 1/16 in. (79.2 x 99.2 cm) 


the Caroline Wiess Law 



This painting depicts an Indigenous woman 

in a red and gold huipil seated on a wood 

and leather chair common in tropical 

Mexico and the Caribbean. She leans over 

an embroidery frame (or bastidor), stitching 

flowers onto a piece of red satin. A fi gure 

in the background, perhaps the woman’s 

daughter, watches attentively. La bordadora 

is a prime example of Diego Rivera’s work 

of the 1920s and 1930s, which focuses on 

scenes of everyday life from the Isthmus 

of Tehuantepec in southern Mexico. This 

painting is one of only a few to depict an 

artisan actively weaving a textile. 

RM 

156

THE MUSEUM OF FINE ARTS, HOUSTON, 

WARMLY THANKS THE 1,976 DOCENTS, VOLUNTEERS, 

AND MEMBERS OF THE MUSEUM’S GUILD FOR THEIR 

EXTRAORDINARY DEDICATION AND COMMITMENT.

MFAH Annual Report 2022

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