2020–21 Annual Report: Collections
Acquisitions
ABOVE David Driskell's "Gate Leg Table" (far right) on view at the Portland Museum of Art, Portland, Maine, August 2021. Photo by Lauren Silverson.
Outgoing Loans
Detroit Style: Car Design in the Motor City, 1950–2020, Detroit Institute of Arts, Detroit Michigan, November 15, 2020–January 9, 2022.
P.976.281
Edward Joseph Ruscha, American, born 1937
Standard Station, Amarillo, Texas
Oil on canvas
The Dirty South: Contemporary Art, Material Culture, and the Sonic Impulse, Virginia Museum of Fine Arts, Richmond, Virginia, May 22–September 6, 2021; Contemporary Art Museum, Houston, Texas, October 23, 2021–January 30, 2022; Crystal Bridges Museum of American Art, Bentonville, Arkansas, March 12–July 25, 2022; Museum of Contemporary Art, Denver, Colorado, September 2022–February 2023.
First venue only:
W.976.204
Jacob Lawrence, American, 1917–2000
Flight II
Opaque watercolor and tempera over graphite on wove paper
All venues:
2007.51
Joyce J. Scott, American, born 1948
Mammy Under Undue Influence
Blown, cast, and lampworked glass, beadwork (peyote stitch)
David Driskoll, Icons of Nature and History, The High Museum of Art, Atlanta, Georgia, February 6–May 9, 2021; Portland Museum of Art, Portland, Maine, June 19–September 12, 2021; The Phillips Collection, Washington, DC, October 16, 2021–January 9, 2022; Cincinnati Art Museum, Cincinnati, Ohio, February 25–May 15, 2022.
2018.6
David Driskoll, American, 1931–2020
Gate Leg Table
Oil and found objects on canvas
Each/Other: Marie Watt and Cannupa Hanska Luger, Denver Art Museum, Denver, Colorado, May 23–August 22, 2021; Michael C. Carlos Museum, Emory University, Atlanta, Georgia, September 25–December 12, 2021; Peabody Essex Museum, Salem, Massachusetts, January 1–April 30, 2022.
2021.4
Marie Watt, Citizen of the Seneca Nation, born 1967
Companion Species (Is this a pipe?)
Reclaimed wool blankets, embroidery floss, thread
Supernatural America: The Paranormal in American Art, Toledo Museum of Art, Toledo, Ohio, June 12–September 5, 2021; Speed Museum of Art, University of Louisville, Louisville, Kentucky, October 7, 2021–January 2, 2022; Minneapolis Institute of Art, Minneapolis, Minnesota, February 19–May 15, 2022.
P.985.31
Ivan Albright, American, 1897-1983
The Vermonter (if life were life . . .)
Oil on Masonite
ABOVE José Clemente Orozco, Mexican, 1883–1949, "Study for Migration" (Panel 1) for "The Epic of American Civilization," gouache on paper.; W.988.52.8.
Loans Returned
Vida Americana: Mexican Muralists Remake American Art, 1925–1945, Whitney Museum of American Art, New York, New York, February 14–March 14, 2020, reopening at Whitney approximately August 1, 2020–January 31, 2021.
W.988.52.171
José Clemente Orozco, Mexican, 1883–1949
Study for Gods of the Modern World (Panel 15) for The Epic of American Civilization
Gouache on paper
W.988.52.8
José Clemente Orozco, Mexican, 1883–1949
Study for Migration (Panel 1) for The Epic of American Civilization
Gouache on paper
W.988.52.81
José Clemente Orozco, Mexican, 1883–1949
Study for The Departure of Quetzalcoatl (Panel 7) for The Epic of American Civilization
Gouache on paper
W.988.52.23
José Clemente Orozco, Mexican, 1883–1949
Study for Ancient Human Sacrifice (Panel 3) for The Epic of American Civilization
Gouache, watercolor on paper
2006.93
Jackson Pollock, American, 1912–1956
Untitled (Bald Woman with Skeleton)
Oil on smooth side of Masonite attached to stretcher
American Titans: The Art of Winslow Homer and Frederic Remington, Denver Art Museum, Denver, Colorado, June 26–September 7, 2020; Portland Art Museum, Portland, Maine, September 25–November 29, 2020; Amon Carter Museum of American Art, Fort Worth, Texas, December 19, 2020–February 28, 2021.
P.909.2
Frederic Remington, American, 1861–1909
Shotgun Hospitality
Oil on canvas
Weaving History into Art: The Enduring Legacy of Shan Goshorn, Gilcrease Museum, Tulsa, Oklahoma, January 15–April 11, 2021.
2018.1
Shan Goshorn, Cherokee/American, 1957–2018
Precious Holding
Arches watercolor paper, archival ink, acrylic paint, and buckskin
Lust, Love, and Loss in Renaissance Europe, Smart Museum of Art, The University of Chicago, Illinois, April 8–June 13, 2021.
PR.2003.10.1
After Gillis Coignet, Flemish, about 1538–1599
Hans I Collaert, Flemish, about 1530–1581
The Elders Trying to Seduce Susanna, plate 1 from the set The Story of Susanna
Engraving on laid paper
PR.2003.10.2
After Gillis Coignet, Flemish, about 1538–1599
Hans I Collaert, Flemish, about 1530–1581
The Elders Accusing Susanna of Adultery, plate 2 from the set The Story of Susanna
Engraving on laid paper
PR.2003.10.3
After Gillis Coignet, Flemish, about 1538–1599
Hans I Collaert, Flemish, about 1530–1581
Daniel Intervening on Behalf of Susanna, plate 3 from the set The Story of Susanna
Engraving on laid paper
PR.2003.10.4
After Gillis Coignet, Flemish, about 1538–1599
Hans I Collaert, Flemish, about 1530–1581
The Elders Stoned for Bearing False Witness, plate 4 from the set The Story of Susanna
Engraving on laid paper
Deaccessioned Objects
989.19.27036
R.A. Moog Company
Moog III Synthesizer
ABOVE Wendat (Huron) or Mi'kmaq (Micmac) | Wendat (Huron) | Mi'kmaq (Micmac) | Wabanaki | First Nation | Northeast Woodlands | Woodlands, "Card Case," collected about 1851–1902; 13.85.1211.
Objects Conserved
13.85.1211
Wendat (Huron) or Mi'kmaq (Micmac) | Wendat (Huron) | Mi'kmaq (Micmac) | Wabanaki | First Nation | Northeast Woodlands | Woodlands
Card Case
Collected about 1851–1902
Birch bark case, embroidered with dyed moosehair and thread Overall: 3 9/16 × 2 13/16 × 13/16 in. (9 × 7.2 × 2 cm)
Gift of Porter and Charles Tremain
2007.3.2
Boston and Sandwich Glass Company, American, active 1825–1888 | Sandwich, Massachusetts
Dolphin Candlestick
About 1860
Translucent white and translucent light green lead glass, pressed Overall: 10 1/2 × 3 11/16 × 3 5/8 in. (26.7 × 9.4 × 9.2 cm)
Purchased through the Katharine T. and Merrill G. Beede 1929 Fund and the Hood Museum of Art Acquisitions Fund
2007.3.3
Boston and Sandwich Glass Company, American, active 1825–1888 | Sandwich, Massachusetts
Dolphin Candlestick
About 1860
Translucent white and translucent light green lead glass, pressed Overall: 10 1/2 × 3 11/16 × 3 5/8 in. (26.7 × 9.4 × 9.2 cm)
Purchased through the Katharine T. and Merrill G. Beede 1929 Fund and the Hood Museum of Art Acquisitions Fund