The Block Museum of Art - Annual Report 2024-2025 (Spreads)

ANNUAL REPORT

September 1, 2024 – August 31, 2025

INTRODUCTION

TABLE OF CONTENTS

MESSAGE FROM THE DIRECTOR

MISSION & VISION

GUIDING QUESTIONS

PEOPLE

STAFF & STUDENTS

BOARD OF ADVISORS

STAFF STORIES

STUDENT ASSOCIATES

BY THE NUMBERS

OUR WORK ATTENDANCE

DIGITAL REACH

TEACHING IMPACT

EXHIBITIONS 2024-2025

DISSIDENT SISTERS

THE GREAT FARCE

THE BLOCK COLLECTS

LOOKING 101

WOVEN BEING

JORDAN ANN CRAIG

MFA THESIS EXHIBITION

EXHIBITION TOURS

PROGRAMS & CINEMA 2024-2025

PROGRAM CALENDAR

PROGRAMS BY THE NUMBERS

CINEMA CALENDAR

CINEMA SPEAKER LIST

CINEMA BY THE NUMBERS

CINEMA STORIES

CINEMA PARTNER ORGANIZATIONS

STORIES & INITIATIVES

ONE BOOK ONE NORTHWESTERN

REFRAME 2025

STUDENT ART ACQUISITION

COLLECTION COUNCIL ACQUISITION

PRESERVATION WORK

COLLECTION SPOTLIGHTS

ACQUISITIONS 2024-2025

ACQUISITION LIST

ACQUISITION BY THE NUMBERS LOANS FROM THE COLLECTION

& SUPPORT

MESSAGE FROM THE DIRECTOR

Collaboration has always been at the heart of The Block's identity. It is how we express our commitment to listening, to generosity, and to reciprocity.

In 2024–2025, the exhibition Woven Being: Art for Zhegagoynak/Chicagoland embodied this commitment. A landmark project five years in the making, Woven Being centered the voices of contemporary Native artists with ties to the Chicagoland region. With more than 80 works by 33 artists, including newly commissioned pieces, the project was collaborative, place-based, and rooted in building relationships with the communities whose histories and lands we share. It fostered new connections among artists, scholars, and students, and was recognized in the Terra Foundation's Art Design Chicago report as a national model for community-engaged exhibition practice. We are especially proud that more than 20 works entered the collection in conjunction with the exhibition, ensuring that its themes and voices will continue to shape teaching and research at Northwestern for years to come.

Three additional exhibitions offered distinct views of American history. it takes a long time to stay here: Paintings by Jordan Ann Craig presented seven large-scale abstract paintings by the Northern Cheyenne artist, whose work translates research into Indigenous beadwork, pottery, and textiles into a contemporary vocabulary of color, line, and geometric form. Dissident Sisters: Bev Grant and Feminist Activism, 1968–72 paired original scholarship with loans from Northwestern Libraries to contextualize Grant's photographs of a pivotal moment in the women's movement.

Federico Solmi: The Great Farce, the most technically ambitious media installation the museum has ever presented, offered a provocative meditation on the origin myths of the founding of the United States.

Beyond the galleries, The Block continued its work as a laboratory for teaching across Northwestern. 140 faculty members from 22 academic departments brought their classes to introduce students to our exhibitions and collection. 3,800 primarily undergraduate students participated in dedicated sessions in the Eloise Martin Study Center and in the galleries.

Across campus, several signature programs deepened The Block's reach.

Block Museum Student Associates, drawn from disciplines across the humanities, sciences, engineering, and journalism, served as connectors between The Block and the wider student body, leading public tours, hosting peer dialogue, and contributing to a collaborative acquisition of works by artist Chitra Ganesh.

A third year of partnership with Northwestern Athletics brought more than 100 student-athletes and coaches into conversation with the Block’s collection, which served as a tool for self-reflection and dialogue.

And Block Cinema earned national recognition in a new area: the recovery of films believed lost. It also continued to deepen its Climate Crisis and Media Arts Initiative, strengthening ties with School of Communications faculty and integrating film into courses now taught annually by Block staff.

The capstone of our year was the repurposing of the Ellen Philips Katz and Howard C. Katz Classroom for Art Object Study to become the museum's first classroom dedicated exclusively to object study. We look forward to welcoming faculty and students there in Fall 2025, and inspiring their collection-based pedagogy through collaboration with our staff.

None of this work would be possible without the belief of our supporters, and especially of the Block Board of Advisors. We are also grateful to the Northwestern Office of the Provost for its continued investment in the University’s art museum. We are proud that the Block is a beloved campus and community resource, integral to the University’s belief in the role of the arts in the Northwestern experience. With gratitude,

– Lisa Graziose Corrin

Ellen Philips Katz Executive Director, The Block Museum of Art

OUR MISSION

OUR VISION

The Block has a sustained impact on its diverse audiences who join us in asking bold questions and who find meaning in ongoing engagement with the museum.

The Block is integral to Northwestern's commitments to academic excellence, dialogue across differences, public discourse, and student sense of belonging.

The Block is considered fundamental to teaching, learning, and research by faculty, students, and staff across all of Northwestern’s twelve schools.

The Block consistently embodies Northwestern values within decision-making, in organizational culture, and in all aspects of its work.

The Block propels the work of academic art museums forward, contributing to their potential, deepening their relevance, and expanding their value.

OUR GUIDING QUESTIONS

How can we activate the possibilities of what art can do?

The Block’s work is fueled by questioning. At the center of who we are as a museum is the insistence on asking questions of our work, our motivations, and our values. These questions guide our work:

Experiencing works of art can open spaces within and between us. Museums are special sites for exploring these spaces The Block convenes bold conversations that explore the relevance of art to our lives and that deepen our thinking about the world, ourselves, and our relationships with one another We are as committed to exploring what art can do as we are to studying what art is

How can we expand the possibilities of what an academic museum might be?

We have, at times, found ourselves constrained by assumptions about what a university art museum is and does Our new mission statement preserves an openness to how we define “ museum ” and how we execute our mission and vision. The Block is more than its gallery walls Through our work within and beyond our building, we nourish inquiry, ideas, and insights

What does it mean to be doing our work now and from here?

We deepen the resonance of our work by making decisions grounded in our time and place. We consider the needs of the current moment and its connections to the past We think about our place in all its richness and complexity within Northwestern; within the context of our region; and as part of the global community. We think about our place on Indigenous lands

How can the way we work be as important as what we produce?

For us, the journey is as important as the destination. Our most transformative efforts result from a museum-wide commitment to dialogue, collaboration, and reflection Shaping our approach to the specific needs of projects and partners, we challenge ourselves to try new ways of working that often yield unexpected insights and outcomes.

How does our work connect many

fields

of study to yield new ways of thinking?

We believe encounters with art and artists can be a catalyst for discoveries that happen at the intersections of academic disciplines. Our work embodies this belief and amplifies Northwestern’s distinct commitment to interdisciplinary teaching, learning and research We are creative in imagining and encouraging collaboration among faculty, students, and staff that connects fields of study and changes the ways in which we think and work

PEOPLE 2024-2025

BLOCK STAFF 2024-2025

Lisa Graziose Corrin

The Ellen Philips Katz Executive Director

Kathleen Bickford Berzock

Associate Director of Curatorial Affairs

Lindsay Bosch

Associate Director of Communications, Marketing, and Digital Strategy

Kristina Bottomley

Assistant Director of Collections and Exhibition Management and Senior Registrar

Aaron Chatman Manager of Visitor Services

Ben Creech Film/Video/Audio Technician

Marisa Cruz Branco Terra Curatorial Fellow

Christopher Forrester Executive Assistant

Madeleine Giaconia Communications Coordinator

Corinne Granof Academic Curator

Teagan Harris Terra Engagement Fellow

Malia Haines-Stewart Associate Film Programmer

Isabella Ko Engagement Coordinator and Educator

Kirsten Lopez Curatorial Coordinator, Collections Information and Digital Interpretation

Brad Martin Lead Preparator

Michael Metzger Pick-Laudati Academic Curator for Cinema and Media Arts

Erin Northington Susan and Stephen Wilson Associate Director, Campus and Community Education and Engagement

Rocio Olasimbo Visitors Services Officer

Elisa Miller Quinlan Director of Development

Essi Rönkkö Associate Curator of Collections and Academic Programming

Liz Rudnick Assistant Registrar

Margaret Sagan Assistant Director of Public Programs

INSTALLATION CREW 2024-25

Ren Andujar

James Baroz

Araidia Blackburn

Theo Boggs

Molly Brennan

Mars Colbert

George Chubaryan

Esau McGhee

Cassandra Meek

Steven Perry

Sasha Rosenberg

Jonathon Rosemond

Willem Siersma

Joshua Sundermeyer

Henry Voellmecke

Christine Wallers

Joseph Scott Collections and Exhibitions Coordinator

Rita Shorts Business Administrator

Dan Silverstein

Associate Director of Collections and Exhibition Management

Jeff Smith Associate Director of Finance and Business Operations

Warren Smith Visitors Services Officer

James Stauber Visitors Services Officer

Vincent Taylor Visitors Services Officer

Kate Hadley Toftness Assistant Director of Advancement and Strategic Initiatives

STUDENT

WORKERS

Shripriya Agarwal (Vis tor Services) MS in Project Management

Kennedy Birtcher (Cinema Assistant) R/TV/F & English: Creative Non-Fiction

Angelena Browne (Vis tor Services) Theater & Integrated Marketing Communications

Ashna Farooqi (Vis tor Services) MS Public Policy and Administration

Walker Frederick Johnson (Vis tor Services) History and Business Institutions

Anvi Mehu Kamdar (Vis tor Services) MS Integrated Marketing Communications

Arwen-Vira Marsh (Vis tor Services) Theater

Dan Murrieta (Vis tor Services) History

CURATORIAL FELLOWS CURATORIAL INTERNS

Stephanie S. E. Lee 2024-25 Art History Graduate Fellow

Jacqueline Lopez 2024-25 Interdisciplinary Graduate Fellow Department of History

Raya Bryant-Young Art History and Anthropology ’25

Helaina Harris Art Theory and Practice ’25

Sam Kliss Art History, Psychology, English ’25

BOARD OF ADVISORS 2024-2025

Stuart H Bohart

Aspen, CO, Board of Advisors Co-Chair, Partner and President, FORT Investment Management (WCAS ’89, ’25P)

Cheryl Johnson-Odim

Evanston, IL, Board of Advisors CoChair, Provost Emerita, Dominican University (WCAS MA ’75, WCAS PhD ’78)

Kim Allen-Niesen Los Angeles, CA, Art Collector (Parent ’16, ’19)

Mary Baglivo

New York, NY, Chief Marketing Officer, Pace University, (MDL ’81)

James Belfer

Brooklyn, NY, Filmmaker/ Founder & CEO, Cartuna (Comm ’09)

Jessica Bell Brown

Baltimore, MD, Curator & Department Head for Contemporary Art, Baltimore Museum of Art (WCAS ’09)

Priscilla Vail Caldwell

Brooklyn, NY, Curator & Advisor, Vail Caldwell Projects (WCAS ’85)

Lisa G. Corrin

Evanston, IL, Ex-officio, The Ellen Philips Katz Executive Director of The Block Museum

Nicole Druckman

Evanston, IL, Grant Writer (WCAS ’92) (SP WCAS ’93)

Kristin Peterson Edwards

Darien, CT, Owner, kpeArts; Community Volunteer (WCAS ’92)

Kate Ezra

New Haven, CT, Retired, Yale University Art Gallery (TGS PhD ’83)

James Geier

Chicago, IL, Founder/President, 555 International

Lynn Hauser Chicago, IL, Retired Ophthalmologist (FSM’74 ’76 ’80) (SP SM’75 ’79 ’80)

Steven P Henry New York, NY, Senior Director at Paula Cooper Gallery (WCAS ’85)

Rashid Johnson New York, NY, Artist

Susan Johnson

Chicago, IL, Director of Research, Schoelkopf Gallery (’25 P)

Ellen Philips Katz New York, NY, Trustee, Northwestern University (WCAS ’70)

James A Klein

Riverwoods, IL, President, Acrobat Marketing Company (MDL ’68; ’69)

Dianne Loeb

Seattle, WA, NU Regent; Community Volunteer (KSM ’80) (SP KSM ’81)

Tara Peters New York, NY, Artist, Trustee, Northwestern University (Comm'93, '23 P)

Irwin Press

Chicago, IL, Retired Professor, Notre Dame University; and co-founder, Press Ganey Associates (WCAS ’59)

Richard M. Rieser, Jr. Northbrook, IL, Founder and former CEO, First Oak Brook Bancshares (SP SESP ’70)

Sandra L Riggs Lake Forest, IL, Board Member, The Alumnae of Northwestern University (Comm ’65)

Eden Romick Los Angeles, CA, Art Collector (Comm ’90, ’21 P)

Christine O Robb Winnetka, IL, Past Chair, Board of Advisors President and CEO, Artists’ Concepts, Inc (WCAS ’66, ’93P) (SP WCAS ’66, ’93 P)

Morris E Robinson, Jr Douglasville, GA, Production Manager, Northwestern University Press

Martha Tedeschi Cambridge, MA, Director of the Harvard Art Museums (WCAS PhD ’94)

Ken Thompson Lincolnshire, IL, Director of Finance Transformation, PwC (WCAS ’91)

Kim Vigue Evanston, IL, Executive Director, Mitchell Museum of the American Indian

The Block Museum of Art Welcomes New Board Members: Tara Peters and Kim Vigue

Members of The Block Board of Adv sors on shared trip to New York and New Haven

STAFF NEWS AND BEST PRACTICES

In 2024–2025, Block staff helped shape professional conversations on what museums can be. From Tucson to Seoul, they shared case studies, joined seminars, and brought new thinking back to Evanston.

Sharing “A Site of Struggle” at the Photography Network Annual Conference Block Featured in Art Design Chicago Community Engagement Case Studies

The Block at AAMG 2025: National Conversations on Belonging and Museum Practice

Block Staff Join Clark Traveling Seminar on Global Histories of Print in South Korea

Finding the Right Words: Improving Collection Access at The Block

Janet Dees departs The Block for new role at the Smithsonian National Museum of African American History and Culture

Kristina Bottomley, Ass stant Director of Collect ons and Exhibition Management and Senior Registrar with students in the Eloise Martin Study Center

STUDENT ASSOCIATES 2024-2025

The Block Museum Student Associates (BMSAs) serve as public facilitators, peerto-peer ambassadors for the museum on campus, and in-house student advisors for all levels of museum staff and our Board of Advisors. BMSA students lead tours throughout the museum and engage our broad array of campus and community visitors in dynamic conversations about art and ideas that are relevant to our lives today.

In addition to this public-facing role, Associates serve as key campus ambassadors for The Block and student advisors for all levels of museum staff and leadership, help to shape programming and projects at the museum, and learn more about museum practice through behindthe-scenes insights and experiences.

Gabby Bliss Chemical Engineering (2025)

"

Ethan Bledsoe

Environmental Science (2026)

“What exc tes me most is engaging with a diverse range of audiences and facil tating meaningfu conversations about art and ts re evance to our ives today I am also thr lled about being part of a close-knit community of peer earners and supporters”

“Outs

Human Development in Context and Journalism (2027)

“I adore spend ng t me at The B ock and other museums because they are such intent onal spaces of reflection-- my favor te k nd of “Third Space" ’ m so exc ted to be a part of the BMSA program and ook forward to growing and bui d ng community this year!”

Bazil Frueh Journalism (2026)

Ashley Kim Journalism and Asian Languages & Cultures (2027)

“Ive a ways sought to explore new cu tures and better understand my own through art, and museums have been a happy p ace throughout my ife where one can do just that The Block was one of the first places that felt l ke home”

Symone Harris Human Development in Context (2026)

“As a B ock Museum Student Associate, I am privileged to be part of a team in wh ch we are ab e to further educate and stimu ate conversat ons in our community about shared emotional and physica experiences through art”

from and teach others about the Blocks expansive col ect on!”

Ann Nguyen Gaither Philosophy and Political Science (2025)

“The B ock has been an important space of reflection for me during my t me at Northwestern I am excited to engage more with museums as spaces of learn ng and human connection which acknow edge and cut through difference”

Sam Habashy Journalism and International Studies (2026)

“I am pr vi eged to be part of a unique platform engaging w th a mult tude of voices and exper ences and hope to seek out the hidden histories that shape our stor es ”

Isaac Lageschulte Anthropology (2027)

“I am so exc ted to learn more about art preservation v sitor nteract ons with art and visual art n genera ! I worked at the American Museum of Natural History last summer, and I cannot wait to experience the differences between art and science museums ”

Faith Magiera English Literature and ClassicsLatin Concentration (2027)

“I real zed that the art world was another way in which I could find a greater understanding of other perspectives and continue to earn how to ive a ife fi led w th meaning “

Jaharia Knowles Journalism (2025)

“Im excited to engage n conversations with my peers about art and expand my know edge of art sts of color and non-Western art st c styles!”

Felipe Reis Maccari Manufacturing and Design Engineering (2026)

“Having my product des gn approach focused right at the intersection of prec sion and artistry Duchamps “Fountain” s a moment in museums ’ history that has a ways intrigued me indeed what determines the thin line between a product and a piece of art?”

Keya Soni Chaudhuri

STUDENT ASSOCIATES 2024-2025

Rowan McCloskey Computer Science and Political Science (2025)

“The

Tori Montinola English and Legal Studies (2027)

Vanya Saksena Economics and Global Health Studies (2027)

"I

Tyree Walton Environmental Sciences (2027)

“As

Edgar Duvivier Ortenblad Villaca Carvalho

Cognitive Science and Philosophy (2025)

Emily Shen Economics and Political Science (2026)

“I look forward to the interactions with vis tors when they are on tour with me as we ponder upon the meanings behind the creation and curat on of the work n the exhib tion but also to weigh in on our own nterpretations of the top cs ”

Roy Zhu

Environmental Science and

Creative Writing (2025)

“Roy is passionate about poetry and s currently working on a portfo io of poems exploring ecology waste and toxic legac es Their favorite medium of v sua art is col age ”

–Erin Northington, Susan and Stephen Wilson Associate Director, Campus and Community Education and Engagement

BY THE NUMBERS 2024-2025

Visitor to Woven Being: Art for Zhegagoynak/Ch cagoland views Daphne Od ig s Entrance to the Lodge (1984).

THE BLOCK BY THE NUMBERS

In-person audience

THE BLOCK BY THE NUMBERS 2024–2025

TEACHING WITH THE COLLECTION

The Eloise Martin Study Center is the Block's dedicated space for teaching with the collection Each quarter, the curatorial team works directly with Northwestern faculty to understand the goals of their courses, pull works from the collection that align with those goals, and guide students through close looking, comparison, and discussion with the objects themselves. The model is designed to be flexible: a class might examine a single photograph in depth, compare prints across centuries, or study a textile connected to a syllabus reading. Faculty engagement has grown steadily over the past four years as more departments incorporate the collection into their curricula. In 2024–2025, the EMSC served more Northwestern courses, students, and faculty than in any prior year on record.

Teaching with the collection

Curricular use of the Eloise Mart n Study Center, 2024–2025

This year's growth at a glance

Students studying with Professor Joshua Chambers-Letson n performance studies view work from The B ock Collection

TEACHING WITH THE COLLECTION

Across 20 departments and 61 unique courses, faculty across Northwestern brought their students to encounter original works in the Eloise Martin Study Center.

Top departments with curricular class visits

What students studied

A selection of the 61 Northwestern courses that engaged w th the col ect on this year

Black Art and Ecology

Art H story 390

Climate Change and Civilizations

H s ory 103

Thinking Machines: The History & Ethics of AI Computer Science

Mental Health and the Arts Globa Hea th 390

Voices of Environmental Justice Eng ish 384

Pharmaceutical Engineering

B omedica Engineer ng 395

Black Lens: Reframing Photographic Practice

Art H story 460

"Home" Through Choreography and the Camera

Commun cat on S ud es 101

Daily Life in Palestine/Israel

Jew sh Studies 101

Woven Being: Literature and Art for Zhegagoynak/Chicagoland

Engl sh 374

Analysis of Color across Science and Culture Chemistry 101

Shattered Worlds: Representation after the Shoah German 331

Containers and Frames: Expanding Video Practice

Art, Theory & Pract ce 390

Biocultural Perspectives on Water Insecurity

An hropology 357

Spaces of Learning: The Architecture and Experience of College Campuses

Art H story 101

Empires of Fashion

Art H story 101

EXHIBITIONS 2024-2025

Dissident Sisters: Bev Grant and Feminist Activism, 1968–72

September

18 - December 1, 2024

Dissident Sisters brought together newly acquired photographs by artist Bev Grant with archival materials from Northwestern University Libraries to illuminate a pivotal moment in American public life. After attending a women’s liberation workshop in 1967 that she described as “an awakening,” Grant’s work became deeply rooted in feminist consciousness and collective political action.

Working in what she called “participant-based photojournalism,” Grant embedded herself within the movements she documented. Between 1968 and 1972, she photographed the formation of the women’s movement alongside the activities of the Black Panthers, the Young Lords, and anti-Vietnam War protests. Her images move fluidly between sweeping scenes of mass demonstrations and intimate moments of organizing, capturing both the scale and the human texture of social change.

The exhibition featured seventeen photographs from The Block’s collection, presented alongside posters, buttons, newspapers, and other ephemera drawn from the Charles Deering McCormick Library of Special Collections and University Archives Additional works by Chicago artists, including Peggy Lipschutz, Pearl Hirshfield, and the Women’s Graphic Collective, underscored the intersectional commitments of feminist and activist practices during this period. Together, these materials situated Grant’s photographs within a broader ecosystem of dissent, community-building, and cultural production.

Although Grant’s photographic career was relatively brief, her work offers a powerful and enduring record of a transformative era in U.S. history. She later continued her activism through music as a folksinger, extending her commitment to social justice across media.

Acquisition of works in the exhibition was made possible by the Irwin and Andra S. Press Collection Endowment Fund. The Block is also grateful to OSMOS, which represents the artist. The exhibition has been curated by 2023–24 Block Graduate Fellow Ruslana Lichtzier and Corinne Granof, Academic Curator. The Graduate Fellow is generously supported by The Graduate School (TGS), Northwestern University

The power of documentary photography on view in “Dissident Sisters”

View exhibition press coverage

Capturing the Struggle: Bev Grant in Conversation [Video]

Explore Dissident Sisters in our digital app

Watch exhibition video

Songs, Stories, and Struggles: Northwestern Students on Bev Grant’s Campus Visit

Installation images from Dissident Sisters: Bev Grant and Fem nist Activism, 1968–72

Federico Solmi: The Great Farce

September 18 - December 1, 2024

Federico Solmi (b. 1973, Bologna, Italy) has described his monumental and immersive ninechannel animated video installation The Great Farce (2017) as a “re-enactment in an amusement park” that brings to life the misconceptions that populate narratives of American history The work deftly blends the handmade and the high tech with drawings and paintings enlivened using various media, including 3D digital animation and video game technology to create a dizzying visual and sound universe The Great Farce presents challenging content and jolts the senses, creating an art-viewing experience that can at turns be captivating, overwhelming, disorienting, and disruptive

The Great Farce collapses references across time and place, linking American narratives to broader histories of imperialism and colonialism and their contemporary manifestations The work is not meant to be a literal representation of history Instead, as the title implies, The Great Farce presents an absurdist, theatrical fiction and, through this, points to what the artist sees as larger truths Solmi employs both satire which mixes irony and exaggeration—and the grotesque characterized by vulgarity and ugliness to make hyper-visible the violence and excesses of capitalism and power as well as the contradictions and misrepresentations of historical narratives and those implicated in them

Grotesque depictions of several historical leaders including Julius Caesar, Christopher Columbus, Marie Antoinette, and George Washington, populate the work This treatment removes the veneer of heroism that is often associated with these figures and offers an explicit critique of their actions By doing so, it asks us to question the ways in which history has sanitized or glorified their legacies Pointing to the history of European and American colonization in the Americas, Solmi presents a fictional view of first encounters between European colonizers and Indigenous peoples and stages a battle that evokes colonial violence These depictions are channeled through the fictions about and stereotypes of Native Americans that persist in mainstream American culture Solmi’s deployment of these caricatures and their impact is a reminder of the potential violence of representation

The Great Farce is a complex, layered work It challenges us to reflect critically on how myths, stereotypes, and images power narratives of national identity and on the consequences of perpetuating them

The Great Farce: Federico Solmi's immersive, satirical American history on view at The Block What is History: An Interview with Federico Solmi

Satire and Spectacle: Federico Solmi on 'The Great Farce' [Video]

Installation images from Federico Solmi: The Great Farce

The Block Collects

September 18 - December 1, 2024

The Block Museum of Art’s collection supports learning across disciplines through exhibitions, research, and class and co-curricular visits One of the ways this resource continues to grow is through an annual student-led collecting initiative undertaken by The Block Museum Student Associates (BMSA), an interdisciplinary group of Northwestern undergraduates. Throughout the academic year, students learn about museum collecting practices, culminating in their recommendation to purchase one or more works of art centered around a theme. The 2023–2024 BMSA acquisition focused on humor as an artistic strategy. In this installation, BMSA acquisitions were presented alongside other works from the museum’s collection related to this theme.

Over the course of the year, students’ understanding of humor evolved through research and discussion. While no universal theory defines the phenomenon of humor, studies show that it is often used to process uncomfortable feelings or to address serious situations through strategies such as exaggeration, absurdity, contradiction, and ambiguity. Humor can also deliver a sharp critique The perception of something as humorous or amusing often depends on context, prompting questions: Who is in on the joke? Is the joke at somebody’s expense? When, why, and how is a work understood to be humorous, and when is it not?

The 2023–2024 Student Associates recommended the purchase of two works by photographer Cara Romero that poke fun at the many ways Indigenous communities have been misrepresented and stereotyped in American culture. Romero’s work TV Indians (2017), also selected by the BMSAs, was on view in the Looking 101 exhibition nearby.

Explore The Block Collects in our Digital App

Read more about the student acquisition on view

Search the Works in the Museum Collection

"Sense of Humor is Medicine": Cara Romero's Campus Visit

Installation images from The Block Collects

LOOKING 101

September 18 - December 1, 2024

This exhibition invited visitors into The Block’s teaching gallery to experience a core classroom activity: close looking Most museumgoers spend less than 30 seconds with a work of art, often forming immediate judgments This gallery encouraged visitors to slow down, observe deeply, and reflect on how personal experiences shape interpretation

Deliberately presented without wall labels, the exhibition prioritized direct engagement with the artworks Information and prompts were available via brochures and online, supporting both individual reflection and group conversation.

The exhibition supported Northwestern’s undergraduate curriculum especially first-year seminars by featuring works from The Block’s collection selected in collaboration with faculty across disciplines. Each artwork related to course themes, demonstrating the value of visual analysis across fields of study.

Explore the exhibition works

Installation images from Looking 101

WOVEN BEING: ART FOR ZHEGAGOYNAK/ CHICAGOLAND

January 25 - July 13, 2025

Through the perspectives of four collaborating artists with connections to Zhegagoynak— Andrea Carlson (Grand Portage Ojibwe/European descent), Kelly Church (Match-E-Be-NashShe-Wish Tribe of Pottawatomi/Ottawa), Nora Moore Lloyd (Lac Courte Oreilles Band of Lake Superior Ojibwe), and Jason Wesaw (Pokagon Band of Potawatomi) Woven Being explored confluences that continued to shape Indigenous creative practices in the region and beyond.

The Chicagoland region has long been a cultural and economic hub for Indigenous peoples, including the Council of Three Fires the Ojibwe, Potawatomi, and Odawa as well as the Menominee, Miami, Ho-Chunk, Sac, Fox, Kickapoo, and Illinois nations. People from many Indigenous nations called the region home, and the city of Chicago has the third-largest urban Indigenous population in the United States.

Despite this rich history, Indigenous voices have often been excluded from Chicago's art histories Guided by Indigenous collaborations, priorities, and voices, the exhibition foregrounded the perspectives of Indigenous artists based in the city and those from nations forcibly displaced from the area in the nineteenth century

Collaborating artists partnered with The Block to create “constellations” of their own artwork and historical and contemporary artworks, primarily by Indigenous artists of the region. Overall, Woven Being presented more than 80 works by 33 artists that spoke to the diversity of Indigenous art, materials, and time, including several new and commissioned works and installations. Selections highlighted themes identified in dialogue with diverse project advisors: kinship between materials, relations across regional landways and waterways, and the weaving together of past, present, and future.

Seen together, the exhibition works formed intimate and interwoven stories that resisted monolithic storytelling. Instead of offering a comprehensive overview of regional art, Woven Being integrated four Indigenous perspectives of Chicagoland’s layered art histories. Such perspectives were central not only to understanding Chicago and its region, but also to understanding the widely interconnected Indigenous stories that have been, and continue to be, woven across the entirety of Turtle Island (North America)

WOVEN BEING TEAM

Woven Being project development was led by a collaborative team including Kathleen Bickford Berzock (Associate Director of Curatorial Affairs), Jordan Poorman Cocker (Kiowa), Terra Foundation Guest Co-Curator); Janet Dees (former Steven and Lisa Munster Tananbaum Curator of Modern and Contemporary Art); Erin Northington (Susan and Stephen Wilson Associate Director, Campus and Community Education and Engagement); Dan Silverstein (Associate Director of Collections and Exhibition Management). The project Terra Foundation Fellows are Marisa Cruz Branco (Isleta Pueblo) and Teagan Harris (Cherokee Nation). Lois Taylor Biggs (Cherokee Nation and White Earth Ojibwe) served as Terra Foundation Curatorial Research Fellow and Curatorial Assistant from 2021-2023.

At Northwestern, we are grateful for the participation of the Center for Native American and Indigenous Research and its affiliates. We are also grateful for the participation of Indigenous knowledge sharers, including artists, community leaders, and scholars, and non-Indigenous allies, who are contributing to the exhibition process and to Woven Being’s presentation at Northwestern University.

For more information about Native American and Indigenous research at Northwestern University, visit the Center for Native American and Indigenous Research (CNAIR) https://cnair northwestern edu/

Image (l to r): Dan Silverstein, Jason Wesaw, Kathleen Bickford Berzock, Andrea Carlson, Kelly Church, Nora Moore Lloyd, Jordan Poorman Cocker, Janet Dees, Erin Northington.

SUPPORTERS

Woven Being was part of Art Design Chicago, a citywide collaboration initiated by the Terra Foundation for American Art that highlighted the city’s artistic heritage and creative communities. Lead support for Woven Being was generously provided by the Terra Foundation for American Art. Major support was provided by the Andy Warhol Foundation for the Visual Arts. This project was supported in part by the National Endowment for the Arts, The Joyce Foundation, and by a grant from the Illinois Arts Council Additional generous support was provided by the Sandra L Riggs Publication Fund and the Alumnae of Northwestern University

Installation images from Woven Being: Art for Zhegagoynak/Chicago and

COLLABORATING ARTISTS

COMMUNITY ROOM EXHIBITION PUBLICATION

A major companion publication to Woven Being was released in July 2025 Edited by Kathleen Bickford Berzock, Jordan Poorman Cocker, and Janet Dees, the 160-page, multi-authored volume centers Indigenous voices and expands on the exhibition’s themes through essays, poetry, installation views, and a resource guide to Indigenous-led arts organizations in Chicago. Contributors include Blaire Morseau (Pokagon Band of Potawatomi), Denise Lajimodiere (Turtle Mountain Band of Ojibwe), John Low (Pokagon Band of Potawatomi), Jacqueline Lopez, and Anne Terry Straus. Published by The Block Museum of Art and distributed by the University of Washington Press, the richly illustrated volume documents the exhibition and its constellation of artists, ideas, and collaborations.

As part of Woven Being, The Block Museum created a dedicated Community Room designed “in the hope that conversation, reflection, laughter, and learning will flourish here.” Centering Indigenous community while remaining open to all, the space invited visitors to gather, talk, learn, and reflect together, while engaging with one another’s creativity in unique ways.

The Community Room included a Reading Nook featuring books and media that inspired and informed the Woven Being artists and project team throughout the development of the exhibition. An artist interview installation presented reflections from collaborating artists Andrea Carlson, Kelly Church, Nora Moore Lloyd, and Jason Wesaw through a shared set of prompts, making the artists’ voices present within the space even when they could not be onsite Visitors were invited to continue the conversation by reflecting on what they observed in the galleries and engaging with others in the room

A Community Forum Wall displayed visitor responses to discussion prompts, including reflections, sketches, and written responses selected by Block staff Together, these elements created a space dedicated to community, dialogue, creativity, and shared learning.

Watch Collaborating Artists Community Room Welcome Video

WOVEN BEING PRESS

Indigenous artists offer perspectives on the art of Chicagoland in new exhibition

Passing It On: Kelly Church Shares Generations of Knowledge through Art

"This Woven Being": Poetry Reading & Panel with River Kerstetter, Mark LaRoque, Elise Paschen, and Mark Turcotte [Video]

Watch Woven Being Exhibition Trailer

"Woven Being: A Sound Reflection" offers a new way to engage with the exhibition

Explore Fac a in our d

Explore Woven Being in our digital app

Jim Denom e (Lac Courte Orielles Band of Lake Super or Ojibwe, 1955–2022), Totem, Anima Spirits (2021), Wood, oil paint, deer antlers horsehair, and found objects Forge Project Co lection, traditional lands of the Moh-He-Con-Nuck on v ew in Woven Being: Art for Zhegagoynak/Ch cagoland

“We are in the present, and we have always been here:” Woven Being Exhibition Opening Celebration [Video]

More than 20 new works acquired by The Block in conjunction with the exhibition "Woven Being"

Art for Zhegagoynak: A Resource Guide to a Local History Explore artist biographies

Chr s Pappan (Kaw [Kanza]/Osage/Lakota, born 1971), Howageji Nizhu e Akipé Where the Rivers Meet) (2023), Graphite and gouache on Rives BFK paper, Col ection of Blue Ra n Gallery, Santa Fe, on v ew n Woven Be ng: Art for Zhegagoynak/Chicagoland

“Exhibitions like ‘Woven Being’ at Northwestern’s Block Museum show what is possible when institutions decide to make genuine efforts... If museums are to remain relevant, they must move beyond the cycle of temporary inclusion toward a structural reckoning— one that doesn’t just check boxes but addresses the very systems of control that have long been embedded in their operations. The question is not whether museums can create space for marginalized narratives—but whether they are willing to relinquish their control over how those narratives are told, and whether they will sustain the changes necessary to make that a reality.”

– Art for Zhegagoynak and the Politics of Space: Lessons from “Woven Being”

Fariha

Koshul, Art Design Chicago, March 2025

Wanesia M squadace (Minnesota Lake Super or Chippewa Tribe Fond du Lac Band, born 1971), Three Turtles, 2024, Birch bark (enlarged dig tal reproductions) on view in Woven Being: Art for Zhegagoynak/Chicago and

Installation

from Woven Being: Art for Zhegagoynak/Ch cagoland

it takes a long time to stay here: Paintings by Jordan Ann Craig

January 25 - April 13, 2025

Artist Jordan Ann Craig’s solo exhibition at The Block Museum was her largest institutional exhibition to date and her first in the Chicago area Featuring seven large-scale abstract paintings shown together for the first time, the exhibition highlighted Craig’s exploration of grid-based geometric abstraction inspired by Northern Cheyenne and Cheyenne beadwork and quillwork, Pueblo pottery, and other artistic traditions connected to her heritage and home in New Mexico’s Pojoaque Valley. Through subtle variations and bold contrasts of color, Craig’s paintings drew attention to intricate patterns, exacting technique, and the interplay between controlled precision and chance elements.

The exhibition’s title, it takes a long time to stay here, comes from the poem “spinning air” by m.s. RedCherries and evokes ideas of rootedness, reflection, and deep connection to people, cultures, and landscapes. The exhibition encouraged slow contemplation and close looking, inviting visitors to spend extended time with the paintings as meaning shifted through the interplay of Craig’s enigmatic titles, intricate compositions, and each viewer’s personal interpretation Craig also extended the visual language of the paintings into the gallery through custom textile designs for bench cushions, playfully questioning distinctions between art and utility while encouraging visitors to settle into the space

it takes a long time to stay here: Paintings by Jordan Ann Craig was curated by Kathleen Bickford Berzock, Associate Director of Curatorial Affairs; Janet Dees, former Steven and Lisa Munster Tananbaum Curator of Modern and Contemporary Art; and Jacqueline Lopez, 2024–25 Interdisciplinary Graduate Fellow, at The Block Museum of Art.

The exhibition was partially supported by the Alsdorf Gallery Endowment and a grant from the Illinois Arts Council. Additional generous support was provided by the Alumnae of Northwestern University. Support for the publication was provided by Hales Gallery, New York. The 2024–25 Interdisciplinary Graduate Fellow was generously supported by The Graduate School at Northwestern University.

The Block Museum of Art Announces Solo Exhibition by

"it

takes a long time to stay here”: Keynote with Jordan Ann Craig and m.s. RedCherries [Video]

The Block Museum Acquires "Sharp Tongue: Used to Cut Deep" by Jordan Ann Craig [Video]

The Block Museum of Art Announces National Tour of Jordan Ann Craig Exhibition, with First Stop at Tulane University

Jordan Ann Craig

Putting Down Roots: Jacqueline Lopez on the work of Jordan Ann Craig

Installation images from it takes a long t me to stay here: Paintings by Jordan Ann Craig

A New State of Matter: 2025 Art, Theory, and Practice MFA Thesis Exhibition

May 9 - June 22, 2025

In Spring 2025, Daniel Dobrow, bree gant, Breanna Robinson, Renee Royale, and José Taymani candidates for the Master of Fine Arts degree presented their thesis projects and concluded their residencies in the Department of Art, Theory, and Practice at Northwestern University. The exhibition marked the culmination of two years of intensive studio work, experimentation, and research, highlighting the artists’ distinct approaches to material, image, performance, installation, and social practice. Presented in collaboration between the Department of Art, Theory, and Practice and The Block Museum of Art, the exhibition provided a platform for emerging voices in contemporary art and reflected Northwestern’s ongoing commitment to supporting interdisciplinary inquiry, critical dialogue, and ambitious creative practice.

This exhibition and its associated events were co-organized by the Department of Art, Theory, and Practice and The Block Museum of Art at Northwestern University Support was provided by the Norton S Walbridge Fund; the Myers Foundations; the Jerrold Loebl Fund for the Arts; and the Alsdorf Gallery Endowment

Block Museum Student Associates offer exhibition tours

Tour groups chat with Block Museum Student Associates dur ng exhib tion visit

PROGRAMS 2024-2025

Exhibition Tour – Dissident Sisters: Bev Grant and Feminist Activism, 1968-72

September 26 2024

Art Talks! The Block Collects and the 2023-2024 Student Acquisition October 6 2024

Exhibition Keynote: Bev Grant in Conversation October 9 2024

“The Night Watchman”: One Book One Northwestern Online Collection Talk

October 17, 2024

Art Talks! Dissident Sisters: Bev Grant and Feminist Activism, 1968–72

October 19, 2024

Exhibition Keynote: Federico Solmi in Conversation October 23, 2024

Art Talks! Dissident Sisters: Bev Grant and Feminist Activism, 1968–72

November 3, 2024

Gallery Talk: Looking 101 November 9, 2024

Cara Romero in Conversation: Students Shape the Collection November 13, 2024

Art Talks! Looking 101 November 16, 2024

“The Night Watchman”: One Book One Northwestern Online Collection Talk January 16, 2025

Opening Celebration – Woven Being: Art for Zhegagoynak/Chicagoland

February 1 2025

Woven Being Community Room Drop-in: Puzzle and Conversation

February 5, 2025

Art Talks! it takes a long time to stay here: Paintings by Jordan Ann Craig

February 8, 2025

The Indians Won: Woven Being Gallery Talk with Marisa Cruz Branco

February 15, 2025

Art Talks! it takes a long time to stay here: Paintings by Jordan Ann Craig February 16, 2025

Art Talks! Woven Being: Art for Zhegagoynak/Chicagoland

March 9, 2024

"Woven Being" Curator Tour with Jordan Poorman Cocker February 26, 2025

Exhibition Keynote: It takes a long time to stay here: Painting by Jordan Ann Craig

February 26, 2025

Art Talks! it takes a long time to stay here: Paintings by Jordan Ann Craig

March 1, 2025

Woven Being Community Room Drop-in: Indigenous Board Games

March 5, 2025

ATP Visiting Artist Performance-Lecture: Laura Ortman

March 6, 2025

Unfinished Edges: Indigenous Roots, Playful Titles, and the Balance Between Precision and Chaos in Jordan Ann Craigs Art

March 8, 2025

Art Talks! Woven Being: Art for Zhegagoynak/Chicagoland

March 9, 2025

Art Talks! Woven Being: Art for Zhegagoynak/Chicagoland

March 15, 2025

Woven Being Community Room Drop-in: Beadwork

Demonstration

April 2, 2025

Indigenous Noise: Woven Being Gallery Talk

April 5, 2025

Art Talks! Woven Being: Art for Zhegagoynak/Chicagoland

April 12, 2025

Birchbark Biting Workshop with Kelly Church April 16, 2025

Black Ash Basket Weaving Workshop with Kelly Church April 17, 2025

Art Talks! Woven Being: Art for Zhegagoynak/Chicagoland

April 19, 2025

"The Night Watchman": One Book One Northwestern Online Collection Talk April 24 2025

Community Day: Gichigamiin Indigenous Nations Museum & Block Museum April 26, 2025

Decades of Connection: Woven Being Gallery Talk with Nora Moore Lloyd April 26, 2025

Art Talks! Woven Being: Art for Zhegagoynak/Chicagoland April 27, 2025

Art Talks! Woven Being: Art for Zhegagoynak/Chicagoland May 4, 2025

Woven Being Community Room Drop-in: Ojibwe Language Circle May 7, 2025

Art Talks! Woven Being: Art for Zhegagoynak/Chicagoland

May 11 2025

Art Talks! Woven Being: Art for Zhegagoynak/Chicagoland

May 24, 2025

This Woven Being: Reading & Panel with Chicago Indigenous Poets

May 28, 2025

Woven Being Community Room Drop-in: Maker’s Circle

June 4, 2025

Opening Celebration: A NEW STATE OF MATTER

June 6, 2025

Looking Closely at the Indifference of Fire: Gallery Talk

June 21, 2025

Woven Being Community Room Drop-in: Closing Dinner and Reflections

July 2 2025

Woven Being: Talk and Campus Landscape Walk

July 12, 2025

PUBLIC PROGRAMS 2024-2025

PROGRAMS

art st ta ks, tours, panels, workshops & performances

Speaker highlights

PRESENTERS

v si ing artists, scholars, facu ty, staff & students

A se ect on of the visit ng artists, scho ars, and performers who shaped the year

Megan Bang

(O ibwe and I a ian descent), professor o learning sciences and Nor hwestern CNA R Direc or Sarah Brown

director o the Women s Cen er at Northwestern Un versity

Kelly Church

(Match-E-Be-Nash-She-Wish Tr be of Pottawatomi Ottawa)

ar ist

Jordan Poorman Cocker

(Kiowa Tr be), curator of ndigenous art at the Crys a Bridges Museum

Jordan Ann Craig (Northern Cheyenne), art s

Noelle Garcia

(Klamath and Northern Paiute) art st

Aaron Golding

(Seneca Na ion), co-cha r o the Chicago American nd an Commun ty Col aborative education comm ttee and sr program administrator n the School of Educa ion and Social Pol cy at Northwestern Un versity

Bev Grant

ar ist

River Kerstetter (Oneida), poet

Mark LaRoque (Wh te Earth Oj bwe), poet

Nora Moore Lloyd (Lac Courte Ore l es Band of Lake Super or O ibwe) art st

Michaela Marchi

ATTENDEES

across al 45 pub ic programs

(Isleta Pueblo), singer and CNAIR program ass stant

Laura Ortman

(Wh te Mounta n Apache), mus cian

Elise Paschen (Osage), poe m s RedCherries (Nor hern Cheyenne), poet

Cara Romero (Chemehuev ), ar ist Özge Samanci

assoc ate professor in the Schoo o Communication Keyman Modern Turk sh Stud es Program faculty board at Northwestern Univers ty

Michael Schill

pres den of Nor hwestern Univers ty Federico Solmi

art st

Eli Suzukovich III

(L tt e She l Band of Ch ppewa-Cree/Kra na Serb), assistant professor of nstruc ion n Nor hwestern's Env ronmen a Po icy and Cu ture program d rector of cul ura preservat on and compl ance (Of ice of Research); and CNAIR facul y aff iate

Mark Turcotte

(Turtle Mountain Band Anish naabe), poet

Jason Wesaw (Pokagon Band o Potawatomi) art st

PROGRAMMING PARTNER HIGHLIGHTS

CINEMA PROGRAMS 2024-2025

Revisiting Films by Women/Chicago 74 with Patricia Erens and B. Ruby Rich September 25, 2024

Dorothy Arzner Double Feature: DANCE, GIRL, DANCE (1940)

September 28 2024

Dorothy Arzner Double Feature: CRAIG’S WIFE (1936) September 28 2024

ATTICA (1974) and I AM SOMEBODY (1970)

October 4, 2024

Activist Lens: Bev Grant & Newsreel Films

October 10, 2024

The Feminist Film Collectives of Cinenova October 11, 2024

WILL (Jessie Maple, 1981) –New 4K Restoration October 17, 2024

Background Echoes: Mexicanness and the Production of Race in Hollywood October 18, 2024

STRAWBERRY FIELDS (1997) with filmmaker Rea Tajiri October 24, 2024

WISDOM GONE WILD (2022) with filmmaker Rea Tajiri October 25, 2024

No Master Territories: Feminist Short Films with Curator Erika Balsom

October 30 2024

Fables of Dematerialization: Erika Balsom on oceanic cinema

October 31 2024

KONKOMBE: THE NIGERIAN POP MUSIC SCENE (1979) November 7, 2024

WEST INDIES (Med Hondo, 1979) – New 4k Restoration November 8, 2024

Not By Magic: Animated Films by Women from Serious Business Company

November 15 2024

2024 Eyeworks Experimental Animation Series November 16, 2024

Climate Crisis + Media Arts Showcase Night I: Sanctuary Stations November 21, 2024

Climate Crisis + Media Arts Showcase Night II: Forecasting November 22, 2024

THE HUMAN SURGE (2016) with filmmaker Eduardo Williams February 5, 2025

THE HUMAN SURGE 3 (2023) with filmmaker Eduardo Williams February 6, 2025

SHORT FILMS BY EDUARDO WILLIAMS (2011-2019) with filmmaker in attendance February 7, 2025

TIME PASSAGES (2024) with filmmaker Kyle Henry February 13 2025

Amy Halpern’s FALLING LESSONS (1992) with guest author Laura Paul February 21, 2025

STILL FILM (2023) with filmmaker James N. Kienitz Wilkins

February 27, 2025

I AM NOT THIS BODY (1971) with trans science researcher Dr. Os Keyes March 5, 2025

I AM MY OWN WOMAN & COMMUNICATION FROM WEBER with Elizabeth Purchell March 6, 2025

The Rebel Girls (2024) with filmmaker Felicia D Henderson & Cast March 7, 2025

First Person Plural: New and Rediscovered Trans Documentary Shorts with filmmaker Connor O’Keefe

March 13, 2025

DESIRE LINES (2024) and BROS BEFORE (2022) with Jules Rosskam and Henry Hanson

March 14, 2025

Collective Messages: Short Films of Grupo Chaski

March 21, 2025

THE WAITING ROOM (1973) with guest Karen Sperling (OFFSITE)

April 3, 2025

THE DAWN IS TOO FAR (2024) with filmmaker Persis Karim

April 4, 2025

DIRECT ACTION (2024) with filmmaker Ben Russell April 6, 2025

Suspension Bridges: Films by Alee Peoples April 10, 2025

IO CAPITANO (2023) with panel discussion April 17, 2025

BARAKA (1992) with composer Michael Stearns April 18, 2025

11 x 14 (1977) in 35mm with filmmaker James Benning April 24 2025

THE UNITED STATES OF AMERICA (2022) with filmmaker James Benning April 25, 2025

Voices of Deoli (2025) with director Lulu Men and producer Joy Ma May 1, 2025

BITTERROOT (2024) with director Vera Brunner-Sung and actor Wa Yang May 8 2025

Endless Reveries: Water in Experimental Film with Greta Snider May 22, 2025

SEARCHING FOR MR. RUGOFF (2019) with director Ira Deutchman May 2, 2025

ALL I WANNA DO (aka STRIKE!) (1998) in 35mm with Ira Deutchman May 3, 2025

Eco-friendly Film Processing Workshop with Greta Snider May 23, 2025

Temporal Territories: Indigenous Experimental Cinema with filmmakers Lindsay McIntyre & Adam Piron of COUSIN Collective May 29 2025

Cameraless Filmmaking Workshop with COUSIN Collective May 30, 2025

Origins / DeparturesDocumentary Media MFA Showcase 2025

June 11 - June 12, 2025

KANENON:WE (ORIGINAL SEEDS, 2024) featuring presentation by Dr. Rebecca Webster

June 27, 2025

& speakers

rtists in person

ma Irmudóttir

thwestern MFA Doc Med a

rsis Karim

n Francisco State Un versity

vid Kelley maker

Os Keyes ass Lowe l

mes N. Kienitz Wilkins maker, NYC

ke Knecht

thwestern MFA Doc Med a

y Ma

ducer VOICES OF DEOLI

oma Martinez

thwestern RTVF

n McAdams

thwestern, Psychology

gid McCaffrey maker

dsay McIntyre

USIN Col ec ive

u Men maker, NYC

ristina Nguyen

thwestern RTVF

nnor O'Keefe maker, Ch cago

ura Paul er, Los Ange es

e Peoples maker, Los Ange es

am Piron USIN Col ec ive

jen Poo

ng Across Generat ons

arlotte Procter enova / LUX London

zabeth Purchell

er fi m h stor an, Brook yn

manuel Ramos Barajas thwestern Screen Cultures

Ruby Rich Santa Cruz

es Rosskam maker

Ben Russell f lmmaker

Laura Isabel Serna USC

Jesseca Ynez Simmons f lmmaker

Jacob Smith

Northwestern, Sound Arts & Industr es

Greta Snider

San Francisco State Universi y

Ines Sommer

Northwestern PPSL

Karen Sperling f lmmaker

Michael Stearns composer

Courtney Stephens f lmmaker

Alexander Stewart Eyeworks Fest va

Rea Tajiri

Temp e Un versity / f lmmaker

Debra Tolchinsky

Northwestern RTVF

Domietta Torlasco

Northwestern, French & Ital an

Michael Anthony Turcios

Northwestern RTVF

Shirin Vossoughi

Northwestern, School of Educat on

Kylie Walters

Northwestern Screen Cultures

Xiaolu Wang

Northwestern MFA Doc Med a

Dr. Rebecca Webster

U. Minnesota Duluth / One da Nat on

Eduardo "Teddy" Williams f lmmaker, Argentina

Jiayu Yang f lmmaker

Wa Yang actor BITTERROOT

CINEMA 2024-2025

48 PROGRAMS Sept 2024 – June 2025 al free and open to al

67 VISITING GUESTS f lmmakers, scholars, curators, and artists

68 PARTNER ORGS

co-present ng, ending, support ng programs

4,705

MINUTES OF PROGRAMMING

≈ 78 hours · the equivalent of more than 3 days of cont nuous cinema

The work

5

NEW RESTORATIONS

comm ss oned or premiered by Block C nema

PROGRAMS

5 new restorations and transfers

B ock C nema d rect y comm ssioned or partnered on mu t p e f lm recover es h s year

WILL (Jess e Map e, 1981)

New 4K restora ion co-presen ed with U B ack Fi m Center, Sm thsonian NMAAHC, Janus F ms

WEST INDIES (Med Hondo, 1979)

New 4K restora ion w th Harvard Fi m Archive and C né-Arch ves

NANCY, HENRI, AND ELIZABETH (1973)

New 4K restora ion by USC Hugh M Hefner Moving Image Arch ve in partnersh p w th Block C nema

THE WAITING ROOM (Karen Sperling, 1973)

New d gi a trans er comm ss oned by Block C nema from BAVC unseen publ cly for over 50 years

I AM NOT THIS BODY (1971)

New scan from the last surviv ng print f rs publ c screen ng in decades

3

HANDS-ON WORKSHOPS eco-fr endly i m process ng and camera ess lmmak ng

Photograph of the film NANCY HENRI AND ELIZABETH (Bob Aibe and Lynn Fagan, 1973) shown during the Block Cinema Trans-Portra ture ser es

BLOCK CINEMA STORIES

Block Cinema is Northwestern's gathering place for the moving image. As a screening space, research site, and public forum, it welcomes audiences to discover important films and underseen voices Always free and open to the public, the program brings filmmakers and stories often absent from mainstream cinema culture, with introductions and conversations from artists, scholars, and community members Block Cinema also supports teaching and research, fosters professional development for students, and sustains film culture through workshops and archival initiatives

Crafting Films with Plants and Sunlight: Inside Block Cinema’s Phytogram Workshop

The Block Museum of Art and Gene Siskel Film Center Celebrate 50 Years of Films by Women/Chicago '74

"Take risks, be radical:" James

Benning Inspires MFA Doc

Students in Block Cinema Masterclass

Block Cinema’s Weekly Research Screenings spark discovery and scholarship

Block Cinema Awarded National Grant to Preserve Films by Kentucky Animator Ed Counts

Block Cinema unveils projects from its climate-focused mediafunding initiative

Block Cinema Presents "Trans Portraiture" Series: Rediscovering Lost Trans Histories in Film

Block Cinema to Showcase Rarely Seen Works by Amy Halpern in Citywide Collaboration

Rediscovering Karen Sperling:

Block Cinema Presents the First Public Screening of "The Waiting Room" in Over 50 Years

CINEMA 2024-2025

Partner organizations

68 co laborators across archives, festivals, foundations, and Northwestern

FILM ARCHIVES & DISTRIBUTORS

Academy Fi m Arch ve Antho ogy F lm Archives

Arsenal – Inst tu e for Fi m and Video Art (Ber in)

Austrian Fi m Museum

BAVC (Bay Area Video Coal t on)

Canyon Cinema Center for Afr can Amer can Med a Ar s

Cinenova (UK)

Ciné-Archives

COUS N Co ect ve

Guarango C ne y V deo / Peru M n stry o Cu ture

Harvard Fi m Arch ve

ndiana Un versi y Black F lm Center & Arch ve Janus F lms

L brary and Archives Canada

Na ional Fi m Preservat on Foundat on

Pacif c F m Arch ve

Reserve Fi m and Video Co lection NYPL

Sm thson an NMAAHC

Th rd Wor d Newsreel

USC Hugh M Hefner Moving Image Arch ve

FESTIVALS, VENUES & FOUNDATIONS

lm Fest va

P oneer Works (Eyeworks)

Tone G ow

Wa ker Art Cen er / Ruben-Bentson Co ect on

Watershed Ar and Eco ogy

W rtz Center Chicago

Women's Fi m Preservat on Fund

NORTHWESTERN PARTNERS · 27 DEPARTMENTS,

One Book One Northwestern: The Night Watchman

The 2024–25 One Book One Northwestern selection, The Night Watchman by Louise Erdrich, inspired a curated selection of prints and photographs from The Block Museum’s collection exploring themes of identity, family, tradition, community action, and the enduring impact of history. Based in part on the experiences of Erdrich’s grandfather, Patrick Gourneau, the novel reflects on the fight against House Concurrent Resolution 108, legislation that threatened the sovereignty and land of the Turtle Mountain Band of Chippewa.

Drawn from The Block’s permanent collection, the selected works highlighted experiences of kinship, rural and urban life, resistance, and standing up for one’s rights Accompanying texts offered brief contextual descriptions and suggested connections to Erdrich’s novel while encouraging viewers to reflect on their own personal and collective histories, relationships to place, and responsibilities to one another

The presentation invited the Northwestern community and broader public to engage with the novel through art, whether through quiet contemplation or shared conversation, and underscored art’s power to deepen understanding of complex historical, cultural, and emotional experiences. A shareable PDF booklet was also created to support teaching and engagement across campus and beyond.

View Works in Collection Database

One Book Collection Talk: Claire (Millman) Mahl Moore, "Speed Up" (1936) [Video]

One Book Collection Talk: Shan Goshorn, "Cherokee Burden Basket: A Song for Balance"

One Book Collection Talk: W. Eugene Smith, "Jean Pearson, from the series Theater Girl, for Life Magazine"

REFRAME: ART AND ATHLETICS

What happens when you bring together student-athletes, artists, museum professionals, and community leaders to imagine a different kind of campus culture? You get Reframe, an ongoing partnership between The Block Museum of Art and Northwestern Athletics that is changing the game

Developed out of a multi-year commitment and launched in 2024 with a celebratory kickoff event, Reframe has evolved into a meaningful annual event for connection, creativity, and reflection across campus communities. This year, the initiative reached new heights as Northwestern Athletics took the lead, with artist and alum Dwight White serving as featured creative.

The collaboration culminated in a vibrant evening at the Walter Athletics Center, where student-athletes, coaches, artists, and Northwestern leadership gathered to explore the power of art and storytelling. Guests moved through a showcase of creative work, enjoying conversations with a dynamic lineup of featured artists and social impact leaders in Chicago. Reframe invited attendees to consider how the arts can amplify voice, build empathy, and expand definitions of success and leadership for all.

Reframe 2.0: NU Athletics and The Block celebrate a vision for community at Northwestern

2024-2025 STUDENT ART ACQUISITION: CHITRA GANESH

The 2024–2025 Block Museum Student Associate (BMSA) cohort announced the acquisition of three works by Chitra Ganesh (b. 1975) from her series She the Question (2012)

Each academic year, the Student Associates selected artwork for acquisition, offering students the opportunity to learn about museum collecting practices and engage firsthand in the acquisition process Each cohort’s selection was guided by a new theme This year’s theme was “horror and dystopia.”

Throughout the fall quarter, the Student Associates collaborated with Block curatorial interns and Associate Curator of Collections Essi Rönkkö to develop a shortlist of artists whose work engaged with the theme. Student Associate Ethan Bledsoe (2026) reflected on the collaborative nature of the process:“The acquisition process was really special for me. Everyone has their own personal tastes when it comes to art, but having thoughtful and meaningful discussions about what it would mean to bring these artworks into The Block’s collection was really meaningful.” Following extensive discussion, research, and presentations during the winter quarter, the cohort voted to acquire Ganesh’s work.

Read about the Acquisition

The theme of horror and dystopia provided an important entry point for the process, but as our conversations progressed throughout the year, our students’ ideas around this theme became more nuanced, expansive, and complex.

– Erin Northington, Susan and Stephen Wilson Associate Director, Campus and Community

Watch Video on the Acqusition

2024-2025 COLLECTION COUNCIL ART ACQUISITION: MARTIN WONG AND SAMMY BALOJI

In Spring 2025, The Block Museum announced that its Collection Council selected and supported for acquisition works by Martin Wong and Sammy Baloji. Throughout the 2024–25 academic year, the Council convened virtually to debate and narrow a shortlist of artists nominated by Council members and The Block’s curatorial team. Guided by this year’s theme, “the city,” the selected works explored the changing dynamics of urban life and reflected the Council’s commitment to strengthening the museum’s collection as a resource for teaching, learning, and research across Northwestern University.

The Council selected Traffic Signs for the Hearing Impaired (School for Deaf) (1990) by Martin Wong, a pair of street signs originally installed in New York City as part of a public art project Wong (1946–1999), a Chinese American artist associated with the East Village art scene, was known for his depictions of New York’s neighborhoods and communities, as well as his interest in language and public space The Council also selected Raccord #1, Cité de Kawama (2011) by Sammy Baloji (b 1978), a photographer from the Democratic Republic of the Congo whose work examines the impact of mining, industry, and colonialism in the Katanga region through photography and archival materials.

Read about the Acquisition

These acquisitions reflect the Council’s commitment to bringing powerful works into the collection that will challenge, engage, and inspire faculty and students to integrate them into teaching and learning for years to come

Lisa Corrin,

COLLECTION PRESERVATION, CONSERVATION & DISPLAY

The Block's collections team carried out a wide range of stewardship work this year. Highlights include:

Restoring Jean Arp's Feuille se reposant to its original light

Jean Arp's Feuille se reposant (Resting Leaf) is a highlight of The Block's outdoor sculpture garden Conceived by Arp in 1959, The Block's version of the bronze sculpture was cast in 1967, while another iteration, in the collection of the Geneva Municipal Contemporary Art Fund, was cast in 1965 These large-scale versions of Arp's sculpture were intended by the artist to be installed outside, heightening the form's connections with nature Over time, The Block's sculpture has suffered wear, oxidation, and loss of its original soft brown patina. This year, the collections team worked with Third Coast Conservation to relacquer and rewax Feuille se reposant with a focus on restoring its original tone and color. The work was deinstalled and stored offsite during treatment and reinstalled in August 2025.

Preparing Jordan Ann Craig's Sharp Tongue,Used to Cut Deep, for a national tour

In 2024, The Block purchased Jordan Ann Craig's painting Sharp Tongue; Used to Cut Deep (2024). Craig, who is Northern Cheyenne and lives in Santa Fe, New Mexico, draws inspiration for her crisply geometric paintings from Cheyenne bead and quillwork and Pueblo pottery. The Block's painting was one of seven paintings on view in The Block's exhibition it takes a long time to stay here: Paintings by Jordan Ann Craig, the artist's first solo exhibition in a major museum Art Bridges is now touring the exhibition to mid-sized museums in Montana, New Jersey, New Orleans, and Pennsylvania through 2027 The Block's acrylic on canvas painting measures 70 x 70 x 2 5 inches To prepare it for travel, the collections team invited a conservator from L Liparini Studio to undertake an assessment of its condition. The conservator recommended the creation of a backing board that would place soft cotton batting between the stretcher bars to stabilize them for shipment.

COLLECTION PRESERVATION, CONSERVATION & DISPLAY

Time-Based Media Initiative

This past year, the collections team formally engaged time-based media consultant Kate Weinstein to support the development and implementation of processes and best practices to care for and properly store time-based media works. Her contributions included formalizing standard intake procedures, tracking systems, storage protocols, and general stewardship, rooted in accepted norms across the field. She also helped enhance documentation standards in The Block Museum's database for the collection With updated knowledge and tools now in place, we are actively addressing the time-based media works the museum has already acquired, which now number over two dozen These works are being brought up to current standards for documentation, tracking, and storage, which is important for their preservation and future use Additionally, we are digitizing collection items that previously existed only in non-digital formats, such as video cassettes and DVDs. As new time-based media works enter the collection, we upload them to the museum's Vimeo or SoundCloud accounts, linking them to their corresponding records on our website collection search via secure or password-protected links. This approach has streamlined access and made it easier to share media works in classroom settings and with the public overall, including easy access for professors who want to include time-based media in their classroom presentations.

Installation of Jesús Moroles’s Ellipse in Campus Art Walk

In 2024, Chris and Bill Robb gifted Ellipse by Jesús Moroles to The Block Museum’s collection, marking the first addition to the sculpture garden in 25 years The sculpture had previously resided for most of its existence in the donors’ private garden, where the Robbs had worked with the artist on their installation of his work The work was also very well maintained throughout their ownership As a result, little to no conservation intervention was required, and the work was successfully installed in The Block’s sculpture garden in August 2025. The new installation echoes the aesthetic of its previous setting, with the sculpture positioned within a circular bluestone cutout. To accommodate this placement, the original installation hardware was extended and redesigned, allowing the sculpture to be rotated and removed from its mount, and accommodating The Block's unique placement of the work within its sculpture garden.

Image of archiving the time-based media co lection work, Bloomer, 1995, by Matthew McCas in

Putting Ellipse into place on Northwestern’s campus.

COLLECTION SPOTLIGHTS

In 2024–2025, The Block Museum’s Collection Spotlight blog series continued to illuminate artworks from the museum’s permanent collection, offering new entry points for reflection, teaching, and engagement Each post highlights a single artwork, sharing insights into the artist’s practice, historical context, and relevance to contemporary questions Written by interns, researchers, and staff, the series showcases the breadth of The Block’s holdings while encouraging close looking and interdisciplinary thinking.

Fred Biesel, Untitled (Window Still Life) Etching Plate (1929) by

Corinne Granof, Academic Curator

“This copper plate used to create the final etching now held in the museum ’ s collection, serves as a direct link to Biesel’s studio and technique The image it produces captures a quiet, intimate view from a city apartment window”

Seba Calfuqueo, Tray Tray Ko (2022) by Bobby Yalam, 2024 Curatorial Assistant

“Tray Tray Ko is a six-minute media artwork by Seba Calfuqueo, a Mapuche artist whose practice spans video, performance, ceramics and installation. The work centers on trayenko waterfalls which hold deep significance in Mapuche cosmology”

Lee Godie, Figures [Staying Alive] (1993/94) by Helaina Harris, 20242025 Undergraduate Curatorial Intern

“Godie’s work is an important example of someone who functioned on the margins of society while participating in Chicagos art scene in an unconventional way Turning the streets of Chicago into her home storefront and studio suggests a dedication to the city that made Godie a well-known eccentric figure among locals and an artist with a unique perspective”

Igshaan Adams, Klip Gooi (stone throw) iii (2021)

by Kathleen Bickford Berzock, Associate Director of Curatorial Affairs

“The sculpture is among the works Adams calls dust clouds, a reference to the rieldans, one of the oldest dances in South Africa Rieldans is known for the dust raised through the kicking and stomping of dancers’ feet It is particularly relevant to Adamss autobiography, as he is Nama-Khoe through his maternal grandparents and the rieldans is part of their cultural heritage. The dust kicked up in the rieldans erupts and spirals in clouds that Adams evokes visually in sculptures like this”

Mark Dion, Chart 35, Anatomy of Global Warming (2021)

by Llewyn Blossfeld, Curatorial Associate

“This list labeling the skeletons structure reflects Dion’s belief that humanity cannot be separated from nature and that the interior of the human body itself embodies the effects of climate change. The image calls attention to how educational tools like anatomy diagrams often present knowledge as objective or neutral, and thus encourage memorization without questioning from the learner Dion uses this recognizable format to propose an alternative: a human body labeled with ecological catastrophe, insisting that our relationship with the planet is both personal and political”

Karl

Wirsum, Dune Not For Saki (1991)

by Helaina Harris, 2024–2025

Undergraduate

Curatorial Intern

“Karl Wirsum’s artworks are colorful, chaotic, and joyous, and have playful titles. Dune Not For Saki, for example, is a wordplay on the biblical verse “do not forsake me ” The images redefine cartoon characters, elevating these figures from the scale of comic book pages into monumental portraits”

Dawoud Bey, A Woman and Three Children (1985) by Raya Bryant-Young, 2024–2025 Undergraduate Curatorial Intern

“A Woman and Three Children is situated within Bey’s broader practice of documenting Black life across the United States. This piece is part of the larger series An American Project. While Beys early work in Harlem is rooted in the tradition of street photography, he began to take new directions in the 1980s Unlike many street photographers, whose subjects are often unaware of the camera, A Woman and Three Children reflects a shift toward engagement an evolution that underscores Bey’s growing focus on agency in portraiture”

ACQUISITIONS 2024-2025

2024–2025 ACQUISITIONS

gshaan Adams (South Afr can, born 1982) Klip Gooi (stone throw) ii

2021 Wood, glass, gemstones, beads, metal 110 79 x 28 74 x 36 61 inches

Mary and Leigh Block Museum of Art, Northwestern Univers ty, gift of James and Anne DeNaut courtesy Vail Caldwell Projects 2025.15

John Taylor Arms (Amer can, 1887 - 1953)

U.S.S. Columbia Under Construction at New York Shipbuild ng Corporation, Camden, N J

1945

Etching and drypoint on paper

mage: 12 1/4 × 17 1/4 in (31 1 × 43 8 cm)

sheet: 15 3/8 × 20 5/8 in 39 1 × 52 4 cm)

Mary and Leigh Block Museum of Art, Northwestern Univers ty, gift of the Estate of Edward C Kokkelenberg, PhD '81

2025 2 1

Kader Attia (French, Algerian, born 1970) Réfléchir la Mémo re (Reflecting Memory)

2016

S ngle channel HD video, color, sound

Duration: 48 minutes, 1 second

Mary and Leigh Block Museum of Art, Northwestern Univers ty, gift of the artist

2025 11 (images page 62)

William Baziotes (American, 1912 - 1963) Untit ed 1962

Watercolor on paper 14 x 17 inches

Mary and Leigh Block Museum of Art,

Univers ty, gift of

William Baziotes (American, 1912 - 1963) Untit ed (B ue and burnt orange)

1960

Watercolor and graphite on paper sheet: 14 3/4 × 11 3/4 in 37 5 × 29 8 cm)

Mary and Leigh Block Museum of Art, Northwestern Univers ty, gift of

El en Philips Katz 2025.3.1

Fred B esel (American, 1893 - 1962) copper plate for "unt tled (window st lllife)"

1929 Copper etch ng plate

3 15/16 × 5 in (10 × 12 7 cm)

Mary and Le gh Block Museum of Art, Northwestern University gift of Robert Alter and Sherry Siegel 2024.20

Roy Boney (Cherokee, born 1978)

ᏕᎭᎾᏥᎧᎪ (Come to Chicago)

2024

Acrylic on il ustration board

24 × 30 in (61 × 76 2 cm)

frame: 30 × 36 in (76 2 × 91 4 cm)

Mary and Le gh Block Museum of Art, Northwestern University Block Board of Advisors Endowment Fund purchase

2025 6

Seba Ca fuqueo (Santiago de Chile, Ngulumapu/Chile, born 1991)

Tray Tray Ko 2022

Single-channel video, color, sound

Duration: 6 minutes, 13 seconds

Mary and Le gh Block Museum of Art, Northwestern University gift of Inst tute for Studies on Latin American Art (ISLAA), New York 2024 27

Kelly Church (Match-E-Be-Nash-She-Wish Band of Pottawatomi/Ottawa, born 1967)

Looking to the Future What wou d you Choose?

2024

Black ash, copper str ps, s ze 15 beads, sinew vial containing corn seeds, vial containing gold f akes, and flash drive with video

9 1/4 × 4 3/4 × 4 3/4 n (23 5 × 12 1 × 12 1 cm)

Duration: 2 minutes, 40 seconds

Mary and Le gh Block Museum of Art, Northwestern University Irwin and Andra S Press Collect on Endowment Fund purchase, w th add tional purchase funds prov ded by Kim AllenNiesen, Mary Bagl vo, Stu Bohart, Nicole Druckman, Kate Ezra, Cheryl Johnson-Odim, Sandi R ggs, Christine Robb, and Eden Rom ck, in honor of Janet Dees (Steven and Lisa Munster Tananbaum Curator of Modern and Contemporary Art, 2015-2025), in recognition of her contributions to the museum 2025 5 1

Kelly Church (Match-E-Be-Nash-She-Wish Band of Pottawatomi/Ottawa, born 1967)

Dragonflies and Turtle 2024

B rch bark

5 × 6 in (12 7 × 15 2 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Irwin and Andra S. Press Col ection Endowment Fund purchase

2025.5 2 (image page 60)

Will e Cole (American, born 1955)

Sarah, from the series Beauties 2012

Intagl o and re ief print on paper

63 1/2 x 22 1/2 nches

Mary and Leigh Block Museum of Art, Northwestern University, Block Art and Community Fund purchase 2025 4

Bruce Conner (Amer can, 1933 - 2008) #113

1970

Lithograph on paper image: 11 5/8 × 9 7/16 n (29 5 × 24 cm)

sheet: 11 3/4 × 9 1/2 n. (29.8 × 24.1 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of The Conner Fam ly Trust, San Franc sco 2025 1 1

Bruce Conner (Amer can, 1933 - 2008) #114

1970

Lithograph on paper

image: 8 3/8 × 10 11/16 in. (21.3 × 27.1 cm)

sheet: 11 1/8 × 13 in (28 3 × 33 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of The Conner Fam ly Trust, San Franc sco 2025 1 2

Bruce Conner (Amer can, 1933 - 2008) #116

1970

Lithograph on paper

image: 7 3/4 × 10 3/4 in (19 7 × 27 3 cm)

sheet: 11 × 13 1/8 in (27 9 × 33 3 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of The Conner Fam ly Trust, San Franc sco 2025 1 3

2024–2025 ACQUISITIONS

Bruce Conner (Amer can, 1933 - 2008) #117

1970

Lithograph on paper

image: 7 3/4 × 10 7/8 in (19 7 × 27 6 cm)

sheet: 11 1/8 × 13 in (28.3 × 33 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of The Conner Fam ly Trust, San Francisco

2025 1 4

Bruce Conner (Amer can, 1933 - 2008) #119

1970

Lithograph on paper

image: 20 × 9 7/16 in (50 8 × 24 cm)

sheet: 22 × 11 1/4 in (55 9 × 28 6 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of The Conner Fam ly Trust, San Francisco

2025 1 5

Bruce Conner (Amer can, 1933 - 2008) #120

1970

Lithograph on paper

image: 20 3/16 × 14 1/4 in (51 3 × 36 2 cm)

sheet: 29 13/16 × 22 1/8 n (75 7 × 56 2 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of The Conner Fam ly Trust, San Francisco

2025 1 6

Bruce Conner (Amer can, 1933 - 2008) #122

1970

Lithograph on paper each image: 19 7/8 × 6 3/4 in (50 5 × 17 1 cm)

overall: 19 7/8 × 19 11/16 in (50 5 × 50 cm

sheet: 21 7/8 × 21 11/16 n (55 6 × 55 1 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of The Conner Fam ly Trust, San Francisco 2025 1 7

Bruce Conner (American, 1933 - 2008) #123

1970

Lithograph on paper

image: 19 7/8 × 19 15/16 in (50 5 × 50 6 cm)

sheet: 22 5/16 × 22 1/8 in (56 7 × 56 2 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of The Conner Fam ly Trust, San Francisco

2025 1 8

Bruce Conner (American, 1933 - 2008) #124

1970

Lithograph on paper

image: 22 7/8 × 16 1/2 n (58 1 × 41 9 cm)

sheet: 28 9/16 × 21 7/16 n. (72.5 × 54.5 cm)

Mary and Le gh B ock Museum of Art, Northwestern University, gift of The Conner Family Trust, San Francisco 2025 1 9

Bruce Conner (American, 1933 - 2008) #126

1970

Lithograph on paper image: 11 15/16 × 11 3/4 in (30 3 × 29 8 cm)

sheet: 14 15/16 × 14 3/4 in (37 9 × 37 5 cm)

Mary and Le gh B ock Museum of Art, Northwestern University, gift of The Conner Family Trust, San Francisco 2025 1 10

Bruce Conner (American, 1933 - 2008) #201

1970

Lithograph on paper sheet and image: 7 3/8 × 5 3/4 in (18 7 × 14 6 cm)

Mary and Le gh B ock Museum of Art, Northwestern University, gift of The Conner Family Trust, San Francisco 2025 1 11

Bruce Conner (American, 1933 - 2008) #202

1970

Lithograph on paper sheet and image: 7 1/2 × 5 3/4 in (19 1 × 14 6 cm)

Mary and Le gh B ock Museum of Art, Northwestern University, gift of The Conner Family Trust, San Francisco 2025 1 12

Bruce Conner (American, 1933 - 2008) #207

1970

Lithograph on paper image: 10 9/16 × 9 1/16 in (26 8 × 23 cm) sheet: 11 1/2 × 9 3/4 in (29 2 × 24 8 cm)

Mary and Le gh B ock Museum of Art, Northwestern University, gift of The Conner Family Trust, San Francisco 2025 1 13

Bruce Conner (American, 1933 - 2008) #208

1970

Lithograph on paper image: 10 5/8 × 9 1/8 in (27 × 23 2 cm) sheet: 11 7/16 × 9 3/4 in. (29.1 × 24.8 cm)

Mary and Leigh Block Museum of Art, Northwestern University, g ft of The Conner Family Trust, San Franc sco 2025 1 14

Bruce Conner American, 1933 - 2008) #209

1970

Lithograph on paper image: 11 × 7 1/2 in (27 9 × 19 1 cm) sheet: 11 1/16 × 7 1/2 in (28 1 × 19 1 cm)

Bruce Conner American, 1933 - 2008) #210

Lithograph on paper sheet and mage: 11 × 7 3/8 n (27 9 × 18 7 cm) Mary and Leigh Block Museum of Art, Northwestern University, g ft of The Conner Family Trust, San Franc sco 2025.1.16

Jordan Ann Craig (Northern Cheyenne, born 1992)

Tongue;

Rose Crosman (American, 1887 - 1961) Old Fine Arts Bui ding, Chicago Etching on paper

×

Mary and Leigh Block Museum of Art, Northwestern University, g ft of the Estate of Edward C Kokkelenberg, PhD '81 2025 2 2

2024–2025 ACQUISITIONS

Clark Dean (American, 1926 - 2017)

Untit ed [K ng s Palace Liquor]

ca 1945

Gelat n silver print

mage: 7 7/16 × 7 7/16 in (18 9 × 18 9 cm)

sheet: 7 15/16 × 7 15/16 in (20 2 × 20 2 cm)

Mary and Leigh Block Museum of Art, Northwestern Univers ty, gift of the Bauhaus Ch cago Foundation

2024 21 1

Howard Dearstyne (Amer can, 1903 - 1979)

Untit ed

1950

Color photograph

mage: 9 1/4 × 13 5/8 in (23 5 × 34 6 cm)

sheet: 10 7/8 × 13 15/16 in (27 6 × 35 4 cm)

Mary and Leigh Block Museum of Art, Northwestern Univers ty, gift of T Paul Young, in memory of the artist

2024 21 2

Mark Dion (Amer can, born 1961)

Chart 35, Anatomy of Globa Warming

2021

Screenprint on cloth and paper, with stained maple dowels

32 7/8 × 21 3/8 × 7/8 in (83 5 × 54 3 × 2 2 cm)

Mary and Leigh Block Museum of Art, Northwestern Univers ty, Block Board of Advisors Endowment Fund purchase

2025 10 1

Mark Dion (Amer can, born 1961)

Mar ne World

2021

Screenprint on cloth and paper, with stained maple dowels

32 7/8 × 17 5/8 × 7/8 in. (83.5 × 44.8 × 2.2 cm)

Mary and Leigh Block Museum of Art, Northwestern Univers ty, gift of the artist

2025 10 2

Fritz Eichenberg (Amer can, born Germany, 1901 - 1990)

Saint Christopher

1949

Wood engraving on paper

mage: 7 1/2 × 5 5/16 in. (19 1 × 13.5 cm)

sheet: 12 1/4 × 9 in (31 1 × 22 9 cm)

folder 15 7/8 × 13 in. (40.3 × 33 cm) (fo ded)

Mary and Leigh Block Museum of Art, Northwestern Univers ty, gift of the Estate of Edward C Kokkelenberg, PhD '81

2025 2 3

Chitra Ganesh (American, born 1975)

She the Question, Patience

2012, printed 2025 Inkjet print on paper

sheet: 17 7/8 × 14 in (45 4 × 35 6 cm)

image: 16 15/16 × 12 15/16 in (43 × 32 9 cm)

Mary and Le gh Block Museum of Art, Northwestern University 2024–2025 Block Museum Student Associates acquisit on, purchase funds provided by Cra g Ponzio and Block Student Impact Fund 2025.12.1

Chitra Ganesh (American, born 1975)

She the Question, She the Garbage Picker 2012, printed 2025 Inkjet print on paper

sheet: 12 1/4 × 39 5/8 in (31 1 × 100 6 cm)

left image: 10 5/8 × 21 3/4 in (27 × 55 2 cm)

right mage: 10 5/8 × 15 7/8 in (27 × 40 3 cm)

Mary and Le gh Block Museum of Art, Northwestern University

2024–2025 Block Museum Student Associates acquisit on, purchase funds provided by Cra g Ponzio and Block Student Impact Fund 2025 12 2

Chitra Ganesh (American, born 1975)

She the Question, The H story of Encounter 2012, printed 2025 Inkjet print on paper

sheet: 22 × 18 in (55 9 × 45 7 cm)

top image: 8 7/8 × 17 n (22 5 × 43 2 cm)

left image: 10 7/8 × 7 5/8 in 27 6 × 19 4 cm)

right mage: 10 7/8 × 8 in (27 6 × 20 3 cm)

Mary and Le gh Block Museum of Art, Northwestern University

2024–2025 Block Museum Student Associates acquisit on, purchase funds provided by Cra g Ponzio and Block Student Impact Fund

2025 12 3

Chitra Ganesh (American, born 1975)

Sultana's Dream: Solar Hands 2018

Linocut on paper

20 1/8 × 16 1/8 in. (51.1 × 41 cm)

Mary and Le gh Block Museum of Art, Northwestern University purchase funds provided by Cra g Ponzio, Block Student Impact Fund, and Irwin and Andra S Press Collect on Endowment Fund

2025 14 2

Chitra Ganesh (American, born 1975)

Sultana s Dream: Sentimental Nightmare

2018

Linocut on paper

20 1/8 × 16 1/8 in (51 1 × 41 cm)

Mary and Leigh Block Museum of Art, Northwestern University, purchase funds provided by Craig Ponz o, Block Student Impact Fund, and Irwin and Andra S. Press Co lection Endowment Fund

2025.14.1

Lee God e (American, 1908 - 1994)

Figures

1993/94

Mixed media on canvas frame: 28 × 35 in (71 1 × 88 9 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of Paul & Pamela Boneham 2024 26

Leonidas Goulandris (Greek, 1927 - 2011) Kronos 25

1999

Acryl c on paper

30 x 22 inches

Mary and Leigh Block Museum of Art, Northwestern University, gift of Ellen Philips Katz 2024 23 1

Dor Guez (Israeli/Palest nian, born 1983)

Letters from the Greater Maghreb #1 (6), from the series Letters from the Greater Maghreb #1 2021, printed 2025

Ink et print

image: 14 1/8 × 42 7/16 in (35 9 × 107 8 cm)

sheet: 16 × 44 1/4 in. (40.6 × 112.4 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Lisa Munster Tananbaum and Steven Tananbaum Fund purchase 2025 17 1

Dor Guez (Israeli/Palest nian, born 1983)

Letters from the Greater Maghreb #1 (8), from the series Letters from the Greater Maghreb #1 2021, printed 2025

Ink et print

image: 14 1/8 × 35 1/4 in. (35.9 × 89.5 cm

sheet: 16 × 37 1/8 in (40 6 × 94 3 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Lisa Munster Tananbaum and Steven Tananbaum Fund purchase 2025 17 2 (image page 66)

2024–2025 ACQUISITIONS

Utagawa Hiroshige (Japanese, 1797 - 1858)

Hara, from the series Tōkaidō gojusan tsugi (Fifty-three Stations of the Tokaido), also known as the Kyoka iri Toka do (Tokaido with Poem) 1832–47

Color woodblock print on paper 6 5/8 × 9 in. (16.8 × 22.9 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of the Estate of Edward C Kokkelenberg, PhD '81 2025.2.4

Candida Höfer (German, born 1944)

Biblioteca do Palác o Nacional de Mafra IV 2006 (Library of the National Palace of Mafra 2006 2006

Dye coupler print (chromogenic pr nt)

59 7/8 × 68 1/8 in (152 1 × 173 cm)

frame: 61 × 69 1/4 in (154 9 × 175 9 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of E len Philips Katz

2025 3 3

Yuichi Idaka (Japanese-American, 19142012)

Untitled 1942-45

Photogram

sheet and image: 13 7/8 × 10 7/8 in (35 2 × 27 6 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of the Bauhaus Chicago Foundation

2024 21 3

Yuichi Idaka (Japanese-American, 19142012)

Untitled 1942-45

Photogram

sheet and image: 14 × 11 1/8 in (35 6 × 28 3 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of the Bauhaus Chicago Foundation

2024 21 4

Yuichi Idaka (Japanese-American, 19142012)

Untitled

1950s

Photogram with surgical items sheet and image: 13 15/16 × 11 1/16 in (35 4 × 28 1 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of the Bauhaus Chicago Foundation

2024 21 16

Yuichi Idaka (Japanese-American, 19142012)

Unt tled

1940s

Gelatin silver print

image: 5 3/4 × 9 11/16 in (14 6 × 24 6 cm)

sheet: 7 15/16 × 10 1/16 in (20 2 × 25 6 cm)

Mary and Le gh B ock Museum of Art, Northwestern University, gift of the Bauhaus Chicago Foundat on 2024.21.14

Yuichi Idaka (Japanese-American, 19142012)

Unt tled

ca 1946

Gelatin silver print

image: 7 5/8 × 9 7/16 in (19 4 × 24 cm)

sheet: 8 1/8 × 10 n (20 6 × 25 4 cm)

Mary and Le gh B ock Museum of Art, Northwestern University, gift of the Bauhaus Chicago Foundat on 2024.21.7

Yuichi Idaka (Japanese-American, 19142012)

Unt tled

1940

Gelatin silver print

image: 7 1/2 × 7 1/2 in (19 1 × 19 1 cm)

sheet: 9 7/8 × 7 15/16 in (25 1 × 20 2 cm)

Mary and Le gh B ock Museum of Art, Northwestern University, gift of the Bauhaus Chicago Foundat on 2024.21.15

Yuichi Idaka (Japanese-American, 19142012)

Unt tled

1945/50

Gelatin silver print

image: 9 5/8 × 7 1/2 in (24 4 × 19 1 cm)

sheet: 10 1/8 × 8 n (25 7 × 20 3 cm)

Mary and Le gh B ock Museum of Art, Northwestern University, gift of the Bauhaus Chicago Foundat on 2024 21 13

Yuichi Idaka (Japanese-American, 19142012)

Unt tled Railroad Yard)

1946

Gelatin silver print

image: 3 15/16 × 4 n. (10 × 10.2 cm)

sheet: 5 × 4 n (12 7 × 10 2 cm)

Mary and Le gh B ock Museum of Art, Northwestern University, gift of the Bauhaus Chicago Foundat on 2024 21 8

Yu chi Idaka (Japanese-American 19142012)

Untitled (Rai road Yard)

1946

Gelatin silver pr nt

image: 3 15/16 × 4 in (10 × 10 2 cm)

sheet: 5 × 4 in (12 7 × 10 2 cm)

Mary and Leigh Block Museum of Art, Northwestern University, g ft of the Bauhaus Chicago Foundation 2024 21 9

Yu chi Idaka (Japanese-American, 19142012)

Untitled (Railroad yard)

1946

Gelatin silver pr nt image: 4 × 3 15/16 in (10 2 × 10 cm) sheet: 5 × 4 in (12 7 × 10 2 cm)

Mary and Leigh Block Museum of Art, Northwestern University, g ft of the Bauhaus Chicago Foundation 2024 21 10 (image

Yu chi Idaka (Japanese-American 19142012)

5 × 3 15/16 in (12 7 × 10 cm) Mary and Leigh Block Museum of Art, Northwestern University, g ft of the Bauhaus Chicago Foundation 2024 21 11

Yu chi Idaka (Japanese-American 19142012)

Untitled

Gelatin

Mary and Leigh Block Museum of Art, Northwestern University, g ft of the Bauhaus Chicago Foundation 2024 21 12

Yu chi Idaka (Japanese-American 19142012)

Untitled

Gelatin silver pr nt image: 4 × 3 15/16 in (10 2 × 10 cm)

5 × 4 in. (12 7 × 10.2 cm)

Mary and Leigh Block Museum of Art, Northwestern University, g ft of the Bauhaus Chicago Foundation 2024 21 6

2024–2025 ACQUISITIONS

Yuichi Idaka (Japanese-American, 19142012)

Untit ed

1946

Gelat n silver print

mage: 4 1/16 × 4 in (10 3 × 10 2 cm)

sheet: 5 × 4 in (12 7 × 10 2 cm)

Mary and Leigh Block Museum of Art, Northwestern Univers ty, gift of the Bauhaus Ch cago Foundation

2024 21 5

Barbara Jones-Hogu (American, 19382017)

Untit ed

1969

Color screenprint on paper

22 × 29 1/2 in (55 9 × 74 9 cm)

Mary and Leigh Block Museum of Art, Northwestern Univers ty, The Block

Art and Community Fund purchase

2025 9 14

Barbara Jones-Hogu (American, 19382017)

Be Bold, from the ser es Photo-Posters

2009

nkjet print on paper

mage: 18 3/8 × 11 5/8 in. (46.7 × 29.5 cm)

sheet: 19 × 13 in (48 3 × 33 cm)

Mary and Leigh Block Museum of Art, Northwestern Univers ty, gift of David Lusenhop in honor of the artist

2025 9 2

Andrew Karoly (Amer can, 1893 - 1978)

The Year-Mart in Rouen

1939

Etching on paper

mage: 13 3/4 × 10 7/8 in (34 9 × 27 6 cm)

sheet: 15 1/2 × 12 5/8 in. (39.4 × 32.1 cm)

Mary and Leigh Block Museum of Art, Northwestern Univers ty, gift of the Estate of Edward C Kokkelenberg, PhD '81

2025 2 5

Mark Klett (American born 1952)

Byron Wolfe (American, born 1967)

Point Imperial on the Grand Canyon, 50%

Ansel Adams, 50% Red Wa l

Limestone, from the series Reconstruct ng

the V ew: The Grand Canyon

Photographs of Mark K ett and Byron Wolfe

2008

nkjet print

sheet: 24 × 31 3/8 in (61 × 79 7 cm)

frame: 26 1/8 × 31 3/8 in (66.4 × 79.7 cm)

Mary and Leigh Block Museum of Art, Northwestern Univers ty, gift of

El en Philips Katz

2025 3 4

Mark Klett (American, born 1952)

Byron Wolfe (Amer can, born 1967)

V ew down river from Toroweap Point, w th rafters approaching Lava Falls from the series Reconstruct ng the V ew: The Grand Canyon

Photographs of Mark Klett and Byron Wo fe

2008

Inkjet print

sheet: 24 × 54 3/8 in. (61 × 138.1 cm)

frame: 26 1/4 × 56 3/8 in (66 7 × 143 2 cm)

Mary and Le gh Block Museum of Art, Northwestern University gift of Ellen Ph lips Katz

2025 3 5 ( mage pg 70)

Mark Klett (American, born 1952)

Byron Wolfe (Amer can, born 1967)

Man peering into space, from the series Reconstruct ng the View: The Grand Canyon Photographs of Mark Klett and Byron Wolfe

2008

Inkjet print

sheet: 23 7/8 × 24 3/8 in (60 6 × 61 9 cm)

frame: 26 1/8 × 26 5/8 in. (66.4 × 67.6 cm)

Mary and Le gh Block Museum of Art, Northwestern University gift of Ellen Ph lips Katz

2025.3.6

Mark Klett (American, born 1952)

Byron Wolfe (Amer can, born 1967)

Site of a dangerous slip, now overgrown, from the ser es Reconstruct ng the View: The Grand Canyon Photographs of Mark Klett and Byron Wolfe

2008

Inkjet print

sheet: 15 1/8 × 22 in. (38.4 × 55.9 cm)

frame: 17 1/4 × 24 1/8 in (43 8 × 61 3 cm)

Mary and Le gh Block Museum of Art, Northwestern University gift of Ellen Ph lips Katz

2025 3 7

Mark Klett (American, born 1952)

Byron Wolfe (Amer can, born 1967)

Stereo view of Is s Temple, from the series

Reconstruct ng the View: The Grand Canyon Photographs of Mark Klett and Byron Wolfe

2010

Inkjet print

frame: 14 5/8 × 25 in (37 1 × 63 5 cm)

Mary and Le gh Block Museum of Art, Northwestern University gift of Ellen Ph lips Katz

2025 3 9

Mark Klett (Amer can, born 1952)

Byron Wolfe (American, born 1967)

Alvin Langdon Coburn s storm passing through three seasons and ninety e ght years (1911, 2007 and 2009), from the series Reconstructing the View: The Grand Canyon Photographs of

Mark K ett and Byron Wolfe

2009

Inkjet pr nt

sheet: 23 3/4 × 56 in (60 3 × 142 2 cm)

frame: 26 1/4 × 58 5/8 in (66 7 × 148 9 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of Ellen Philips Katz

2025 3 8

Philipp Lachenmann (German, born 1963)

Grey Study (Surfer)

2003

LightJet print behind acryl c 49 1/2 x 66 inches

Mary and Leigh Block Museum of Art, Northwestern University, gift of Ellen Philips Katz 2024 23 2

Denise Laj mod ere (Turtle Mountain Band of Ojibwe, born 1951)

Flower

2024 Birch bark

3 1/2 × 6 in (8 9 × 15 2 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Irwin and Andra S. Press Collection Endowment Fund purchase 2025.5.4

Nora Moore Lloyd (Lac Courte Oreilles Band of Lake Superior O ibwe, born 1947)

Alberta O'Shogay (One da), from the series Chicago’s Nat ve American Community: Our E ders Look Back, 1998-

2010

1998, printed 2024

Inkjet pr nt 16 7/16 × 13 7/16 in. (41.8 × 34.1 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Adv sors Endowment Fund purchase 2024 19 1

2024–2025 ACQUISITIONS

Nora Moore Lloyd (Lac Courte Oreilles Band of Lake Superior O ibwe, born 1947)

Edith Johns (Winnebago/Nez Perce), from the series Chicago’s Native American Community: Our Elders Look Back, 1998-2010

1998, printed 2024

Inkjet pr nt

16 3/8 × 13 1/2 in (41 6 × 34 3 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Adv sors Endowment Fund purchase

2024 19 3

Nora Moore Lloyd (Lac Courte Oreilles Band of Lake Superior O ibwe, born 1947)

Edward E. Goodvoice (Lakota , from the series Chicago’s Native American Commun ty: Our Elders Look Back, 1998-2010

1998, printed 2024

Inkjet pr nt

16 3/8 × 13 7/16 n (41 6 × 34 1 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Adv sors Endowment Fund purchase

2024 19 2

Nora Moore Lloyd (Lac Courte Oreilles Band of Lake Superior O ibwe, born 1947)

Margaret Redc oud (Ojibwe), from the series Chicago’s Native American Community: Our Elders Look Back, 19982010

1998, printed 2024

Inkjet pr nt

16 7/16 × 13 7/16 in (41 8 × 34 1 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Adv sors Endowment Fund purchase

2024 19 5

Nora Moore Lloyd (Lac Courte Oreilles Band of Lake Superior O ibwe, born 1947)

Joe Spencer (Nava o), from the series Chicago’s Nat ve American Community: Our Elders Look Back, 19982010

2005, printed 2024

Inkjet pr nt

13 7/16 × 16 3/8 n (34 1 × 41 6 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Adv sors Endowment Fund purchase 2024.19.7

Nora Moore Lloyd (Lac Courte Ore lles Band of Lake Superior Ojibwe, born 1947)

Angie DeCorah (Ho-Chunk), from the ser es

Ch cago’s Native American Community: Our Elders Look Back, 19982010

2006, printed 2024

Inkjet print

13 7/16 × 16 7/16 n (34 1 × 41 8 cm)

Mary and Le gh B ock Museum of Art, Northwestern University, Block Board of Advisors Endowment Fund purchase

2024 19 4 ( mage page 72)

Nora Moore Lloyd (Lac Courte Ore lles Band of Lake Superior Ojibwe, born 1947)

Joe Yazzie (Navajo), from the series Ch cago’s Native American Community: Our Elders Look Back, 19982010

2010, printed 2024

Inkjet print

13 7/16 × 16 7/16 n (34 1 × 41 8 cm)

Mary and Le gh B ock Museum of Art, Northwestern University, Block Board of Advisors Endowment Fund purchase

2024 19 8

Nora Moore Lloyd (Lac Courte Ore lles Band of Lake Superior Ojibwe, born 1947)

V ncent Catches (Lakota), from the series

Ch cago’s Native American Community: Our Elders Look Back, 19982010

2010, printed 2024

Inkjet print

13 7/16 × 16 7/16 n (34 1 × 41 8 cm)

Mary and Le gh B ock Museum of Art, Northwestern University, Block Board of Advisors Endowment Fund purchase

2024 19 9

Nora Moore Lloyd (Lac Courte Ore lles Band of Lake Superior Ojibwe, born 1947)

Susan Kelly Power (Yanktonai Dakota), from the series Chicago s Native Amer can Community: Our Elders Look Back, 1998-2010

2016, printed 2024

Inkjet print

13 1/2 × 16 7/16 in (34 3 × 41 8 cm)

Mary and Le gh B ock Museum of Art, Northwestern University, Block Board of Advisors Endowment Fund purchase 2024.19.10 Vivian Maier (American, 1926 - 2009) Chicago, IL 1971, pr nted 2024

Wanesia Misquadace (Minnesota Lake Superior Ch ppewa Tribe, Fond du Lac Band, born 1971) Three Turtles

2024–2025 ACQUISITIONS

T

eresa Montoya (D né, born 1984)

Tó Ł tso #1 (Yellow Water #1 , from the series Tó Łisto (Yellow Water)

2016, printed 2024 nkjet print

15 15/16 × 23 15/16 in (40 5 × 60 8 cm)

Mary and Leigh Block Museum of Art, Northwestern Univers ty, Block Board of Advisors Endowment Fund purchase

2024 22 1

(right page #3, #22, #2, #7 #6, #14)

Teresa Montoya (D né, born 1984)

Tó Ł tso #2 (Yellow Water #2), from the series Tó Łisto (Yellow Water) 2016, printed 2024 nkjet print

16 × 24 in (40 6 × 61 cm)

Mary and Leigh Block Museum of Art, Northwestern Univers ty, Block Board of Advisors Endowment Fund purchase

2024.22.2

Teresa Montoya (D né, born 1984)

Tó Ł tso #3 (Yellow Water #3 , from the series Tó Łisto (Yellow Water)

2016, printed 2024 nkjet print

16 × 24 in (40 6 × 61 cm)

Mary and Leigh Block Museum of Art, Northwestern Univers ty, Block Board of Advisors Endowment Fund purchase

2024 22 3

Teresa Montoya (D né, born 1984)

Tó Ł tso #4 (Yellow Water #4 , from the series Tó Łisto (Yellow Water)

2016, printed 2024 nkjet print

16 × 24 in. (40 6 × 61 cm)

Mary and Leigh Block Museum of Art, Northwestern Univers ty, Block Board of Advisors Endowment Fund purchase

2024 22 4

Teresa Montoya (D né, born 1984)

Tó Ł tso #5 (Yellow Water #5 , from the series Tó Łisto (Yellow Water)

2016, printed 2024 nkjet print

16 × 24 in. (40 6 × 61 cm)

Mary and Leigh Block Museum of Art, Northwestern Univers ty, Block Board of Advisors Endowment Fund purchase

2024 22 5

Teresa Montoya (Diné, born 1984)

Tó Łitso #6 (Yellow Water #6), from the series Tó Ł sto (Yellow Water)

2016, printed 2024

Inkjet print

15 15/16 × 23 15/16 in (40 5 × 60 8 cm)

Mary and Le gh Block Museum of Art, Northwestern University Block Board of Advisors Endowment Fund purchase

2024 22 6

Teresa Montoya (Diné, born 1984)

Tó Łitso #7 (Yellow Water #7), from the series Tó Ł sto (Yellow Water)

2016, printed 2024

Inkjet print

16 × 24 n (40 6 × 61 cm)

Mary and Le gh Block Museum of Art, Northwestern University Block Board of Advisors Endowment Fund purchase

2024 22 7

Teresa Montoya (Diné, born 1984)

Tó Łitso #8 (Yellow Water #8), from the series Tó Ł sto (Yellow Water)

2016, printed 2024

Inkjet print

16 × 24 n (40 6 × 61 cm)

Mary and Le gh Block Museum of Art, Northwestern University Block Board of Advisors Endowment Fund purchase

2024 22 8

Teresa Montoya (Diné, born 1984)

Tó Łitso #9 (Yellow Water #9), from the series Tó Ł sto (Yellow Water) 2016, printed 2024

Inkjet print

16 × 24 n (40 6 × 61 cm)

Mary and Le gh Block Museum of Art, Northwestern University Block Board of Advisors Endowment Fund purchase

2024 22 9

Teresa Montoya (Diné, born 1984)

Tó Łitso #10 (Yellow Water #10), from the series Tó Ł sto (Yellow Water)

2016, printed 2024

Inkjet print

16 × 24 n (40 6 × 61 cm)

Mary and Le gh Block Museum of Art, Northwestern University Block Board of Advisors Endowment Fund purchase

2024 22 10

Teresa Montoya (Diné born 1984)

Tó Łitso #11 (Ye low Water #11) from the series Tó Łisto (Yellow Water)

2016, printed 2024

Ink et print

15 15/16 × 23 15/16 in (40 5 × 60 8 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Adv sors Endowment Fund purchase 2024.22.11

Teresa Montoya (Diné born 1984)

Tó Łitso #12 (Ye low Water #12) from the series Tó Łisto (Yellow Water) 2016, printed 2024

Ink et print

16 × 24 in (40 6 × 61 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Adv sors Endowment Fund purchase 2024 22 12

Teresa Montoya (Diné born 1984)

Tó Łitso #13 (Ye low Water #13) from the series Tó Łisto (Yellow Water)

2016, printed 2024

Ink et print

16 × 24 in (40 6 × 61 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Adv sors Endowment Fund purchase 2024 22 13

Teresa Montoya (Diné born 1984)

Tó Łitso #14 (Ye low Water #14) from the series Tó Łisto (Yellow Water) 2016, printed 2024

Ink et print

16 × 24 in. (40.6 × 61 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Adv sors Endowment Fund purchase 2024.22.14

Teresa Montoya (Diné born 1984)

Tó Łitso #15 (Ye low Water #15) from the series Tó Łisto (Yellow Water) 2016, printed 2024

Ink et print

16 × 24 in (40 6 × 61 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Adv sors Endowment Fund purchase 2024 22 15

2024–2025 ACQUISITIONS

Sylvia Pixley (American, born 1942)

Hidcote Gardens #1

Wood engraving on paper

mage: 4 × 2 n (10 2 × 5 1 cm)

sheet: 6 × 4 in (15 2 × 10 2 cm)

Mary and Leigh Block Museum of Art, Northwestern Univers ty, gift of the Estate of Edward C Kokkelenberg, PhD '81

2025 2 8

Robert Polidori (Canadian/American, born 1951)

Escalier des salles de l'Afr que, Versa lles (Staircase for Africa Rooms, Versailles)

1985

Color photographic print

60 x 50 inches

Mary and Leigh Block Museum of Art, Northwestern Univers ty, gift of El en Philips Katz

2024 23 3

Al son Saar (American, born 1956)

Blonde Dreams

2021

Block print and screenprint on paper

66 x 12 inches

Mary and Leigh Block Museum of Art, Northwestern Univers ty, gift of Kip and Sara Kirkpatr ck

2024 25 1

Al son Saar (American, born 1956)

Congolene Resistance

2021

Screenprint, acry ic spray paint, and gloss

varnish on aluminum tin

18 1/2 x 18 1/2 x 2 inches

Mary and Leigh Block Museum of Art, Northwestern Univers ty, gift of Kip and Sara Kirkpatr ck

2024.25.2

Joyce Scott (American, born 1948) Jumped Overboard

2023

Glass beads and thread

25 3/4 × 15 5/8 in (65 4 × 39 7 cm)

Mary and Leigh Block Museum of Art, Northwestern Univers ty, Block Board of Advisors Endowment Fund purchase

2024 15

Soo Shin (Korean born 1981)

Pas de Deux 3 13 24-4 Pac fic Ocean)

2024

Ink on Pacific Ocean water on paper

sheet: 27 7/8 × 21 7/8 in (70 8 × 55 6 cm)

frame: 30 3/4 × 24 13/16 × 1 1/2 n (78 1 × 63 × 3 8 cm)

Mary and Le gh Block Museum of Art, Northwestern University Block Board of Advisors Endowment Fund purchase 2025.13

Art S nsabaugh (American, 1924 - 1983) Seed Pods #5 1950 - 55

Gelatin s lver print

sheet: 8 × 9 15/16 in (20 3 × 25 2 cm)

Mary and Le gh Block Museum of Art, Northwestern University gift of the Bauhaus Chicago Foundat on 2024 21 19

Art S nsabaugh (American, 1924 - 1983)

Unt tled 1945 - 50

Gelatin s lver print

image: 9 3/4 × 7 11/16 in. (24 8 × 19.5 cm)

sheet: 9 15/16 × 8 in (25 2 × 20 3 cm)

Mary and Le gh Block Museum of Art, Northwestern University gift of the Bauhaus Chicago Foundat on 2024 21 18

Lawrence Beall Sm th (American, 19091995)

Pent House

1938

Lithograph on paper

image: 10 × 11 5/8 in. (25.4 × 29.5 cm) sheet: 11 3/4 × 16 1/8 in (29 8 × 41 cm)

Mary and Le gh Block Museum of Art, Northwestern University gift of the Estate of Edward C. Kokke enberg, PhD 81 2025 2 9

Trine Søndergaard (Danish, born 1972) Interior #5

2008

Dye coup er print (chromogenic print)

47 x 47 inches

Mary and Le gh Block Museum of Art, Northwestern University gift of Ellen Ph lips Katz

2025 3 10

Art Spiegelman (American, born 1948) Crossroads

1997

Lithograph on paper

image: 25 1/8 × 18 n (63 8 × 45 7 cm)

sheet: 30 3/4 × 23 in (78 1 × 58 4 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Lisa Munster Tananbaum and Steven Tananbaum Fund purchase

2025 8

Kali Sp tzer (Kaska Dena/Jewish (Canadian), born 1987)

Eloise Spitzer, from the series An Explorat on of Res lience and Res stance 2015, printed 2025

Ink et print and sound

40 × 32 in (101 6 × 81 3 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Lisa Munster Tananbaum and Steven Tananbaum Fund purchase 2025 16 1 (page 76 left)

Kali Sp tzer (Kaska Dena/Jewish (Canadian), born 1987)

Kali Spitzer, from the series An Exploration of Resil ence and Resistance 2022, printed 2025

Ink et print

40 × 32 in (101 6 × 81 3 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Lisa Munster Tananbaum and Steven Tananbaum Fund purchase 2025 16 2 (page 76 right)

Theodore Stamos (Greek-American, 19221997)

Weight of Narcissus

1946

Pastel gouache, and ink on paper

24 x 18 inches

Mary and Leigh Block Museum of Art, Northwestern University, gift of Ellen Philips Katz 2025 3 11

Charles Swed und (American, born 1935)

Signature Page from the portfolio Portfolio of Color Prints

1973

Photolithograph on paper

Mary and Leigh Block Museum of Art, Northwestern University, gift of the Bauhaus Chicago Foundation 2024 21 20a

2024–2025 ACQUISITIONS

Char es Swedlund (American, born 1935)

Untitled, from the portfolio Portfolio of Color Prints

1973

Photolithograph on paper

image: 5 1/4 × 8 1/16 in (13 3 × 20 5 cm)

sheet: 10 15/16 × 14 in (27 8 × 35 6 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of the Bauhaus Chicago Foundation

2024 21 20c

Char es Swedlund (American, born 1935)

Untitled, from the portfolio Portfolio of Color Prints

1973

Photolithograph on paper

image: 5 1/4 × 8 1/16 in (13 3 × 20 5 cm)

sheet: 10 15/16 × 14 in (27 8 × 35 6 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of the Bauhaus Chicago Foundation

2024 21 20d (page 78)

Char es Swedlund (American, born 1935)

Untitled, from the portfolio Portfolio of Color Prints

1973

Photolithograph on paper

image: 5 1/4 × 8 1/16 in. (13.3 × 20.5 cm)

sheet: 10 15/16 × 14 in (27 8 × 35 6 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of the Bauhaus Chicago Foundation

2024 21 20e

Char es Swedlund (American, born 1935)

Untitled, from the portfolio Portfolio of Color Prints

1973

Photolithograph on paper

image: 5 1/4 × 8 1/16 in. (13.3 × 20.5 cm)

sheet: 10 15/16 × 14 in (27 8 × 35 6 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of the Bauhaus Chicago Foundation 2024 21 20f

Char es Swedlund (American, born 1935)

Untitled, from the portfolio Portfolio of Color Prints

1973

Photolithograph on paper

image: 5 1/4 × 8 1/16 in (13 3 × 20 5 cm)

sheet: 10 15/16 × 14 in (27 8 × 35 6 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of the Bauhaus Chicago Foundation

2024 21 20g

Charles Swedlund (American born 1935)

Portfolio of Color Prints

1973

Box 14 5/8 × 11 5/8 × 3/4 n (37 1 × 29 5 × 1 9 cm)

Mary and Le gh B ock Museum of Art, Northwestern University, gift of the Bauhaus Chicago Foundat on 2024 21 20h

Charles Swedlund (American born 1935)

Unt tled, from the portfolio Portfol o of Color Prints

1973

Photo ithograph on paper

image: 5 1/4 × 8 1/16 in (13 3 × 20 5 cm)

sheet: 10 15/16 × 14 n (27 8 × 35 6 cm)

Mary and Le gh B ock Museum of Art, Northwestern University, gift of the Bauhaus Chicago Foundat on 2024 21 20b

Tadao Takano (Japanese American, 19262010)

Band 2100

1987

Gelatin silver print sheet and image: 15 7/8 × 19 11/16 in (40 3 × 50 cm)

Mary and Le gh B ock Museum of Art, Northwestern University, gift of Linda Blackwe l Bentley 2024 24 1

Tadao Takano (Japanese American, 19262010)

Pa 4000

1988

Gelatin silver print sheet and image: 19 11/16 × 15 7/8 in (50 × 40.3 cm)

Mary and Le gh B ock Museum of Art, Northwestern University, gift of Linda Blackwe l Bentley 2024.24.2

Peter Uka (N gerian, born 1975) Lean Back

2025

Charcoal on paper

15 11/16 × 23 3/16 in (39 8 × 58 9 cm)

frame: 20 5/16 × 27 13/16 × 1 1/2 in (51 6 × 70 6 × 3 8 cm)

Mary and Le gh B ock Museum of Art, Northwestern University, Block Museum Annua Fund purchase 2025.19

John Wa ker (English, born 1939)

Untitled 2003

O l, nk, mixed media, and collage on paper

62 x 51 1/2 inches

Mary and Leigh Block Museum of Art, Northwestern University, g ft of Ellen Phil ps Katz 2024 23 4

Dyani White Hawk (Sičáŋǧ

2024–2025 ACQUISITIONS

David Windsor (Amer can, 1932 - 2013)

Untitled 1950s

Gelatin s lver print

image: 9 11/16 × 6 1/2 in (24 6 × 16 5 cm)

mat: 14 × 11 in (35 6 × 27 9 cm)

Mary and Le gh Block Museum of Art, Northwestern Un versity g ft of the Bauhaus Chicago Foundation 2024.21.24

David Windsor (Amer can, 1932 - 2013) Untitled 1950s

Gelatin s lver pr nt

image: 13 7/16 × 9 5/16 in (34 1 × 23 7 cm)

mat: 14 × 11 in (35 6 × 27 9 cm)

Mary and Le gh Block Museum of Art, Northwestern Un versity g ft of the Bauhaus Chicago Foundation 2024 21 21

Martin Wong (Amer can, 1946 - 1999) Traffic Signs for the Hearing Impaired (School for Deaf) 1990 Vinyl on aluminum Triangle: 29 1/8 × 29 7/8 in (74 × 75 9 cm) Square: 30 × 29 13/16 in (76 2 × 75 7 cm)

Mary and Le gh Block Museum of Art, Northwestern Un versity Block Collection Council Fund and Block Director's D scretionary Fund purchase

2025 18a-b (page 80)

Tsuki Yoshitoshi

Tsuki no yotsu no o, Semimaru (The Moon's Four Strings, Semimaru), from the series Tsuki hyakushi (One Hundred Aspects of the Moon), 1891 Color woodblock print on paper

image: 13 × 8 3/4 in (33 × 22 2 cm)

sheet: 14 1/4 × 9 5/8 in (36 2 × 24 4 cm)

Mary and Le gh Block Museum of Art, Northwestern Un versity g ft of the Estate of Edward C Kokkelenberg, PhD 81

2025 2 10

Artists added to the collection

Igshaan Adams John Taylor Arms

Kader At ia W l am Baz otes Fred Biese Roy Boney

Seba Ca fuqueo Kel y Church W l e Cole

Bruce Conner

Jordan Ann Cra g

Crosman Clark Dean Howard Dearstyne

D on

tz E chenberg Ch tra Ganesh Lee God e

Leonidas Gou andr s Dor Guez

Utagawa H roshige

Candida Höfer

Yu ch daka

Barbara Jones-Hogu

Andrew Karo y

Mark K e & Byron Wo fe

Ph l pp Lachenmann

Den se Laj mod ere

Nora Moore Lloyd

Viv an Maier

Wanesia M squadace

Teresa Mon oya

Jesús Moroles

R chard N cke

Joseph Penne l Sy v a P xley

S nsabaugh

Beal

Tr ne Søndergaard

Art Spiege man

Ka Sp tzer

Theodore Stamos

Charles Swedlund

Tadao Takano

Pe er Uka

John Walker

Dyani Wh te Hawk

Dav d Windsor

Mar in Wong

Tsuk Yoshi oshi

h

2024–2025 LOANS

Andrea Carlson: Shimmer on Horizons

Museum of Contemporary Art Chicago

August 3, 2024 - February 5, 2025

Andrea Carlson (Grand Portage Ojibwe and European descent, born 1979)

Perpetual Genre 2024

Oil, acrylic, gouache, ink, colored pencil, and graphite on paper, 45 1/2 × 59 5/8 in (115 6 × 151 4 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Advisors Endowment Fund purchase, 2024 2a-d

It takes a long time to stay here: Paintings by

Jordan Ann Craig

Newcomb Art Museum of Tulane

August 3, 2024 - February 5, 2025

Jordan Ann Craig (Northern Cheyenne, born 1992)

Sharp Tongue; Used to Cut Deep 2024

Acrylic on canvas

70 1/8 × 70 × 2 1/2 in. (178.1 × 177.8 × 6.4 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Julie and Lawrence Bernstein Family Art Acquisition Fund purchase, 2024 17

2024–2025 DONORS

$50,000 and above

Elizabeth Bohart and Stuart Henry Bohart

Ellen Philips Katz

Est. Eugene E. Myers

Christine Olson Robb and William John Robb III

$25,000-$49,999

Tara M. Peters and Michael Alexander Peterson

Craig Ponzio

Sandra L. Riggs

Est. Dorothy J. Speidel

$10,000-$24,999

Kim Allen-Niesen and Keith Allen-Niesen

Mary L. Baglivo and James Meguerian

Anne DeNaut and James A. DeNaut

Dianne Dardes Loeb and Stephen B. Loeb

Andra S. Press and Irwin Press

Eden Salenger Romick and Steven T. Romick

Nicole E. Siskind and Kenneth M. Siskind

Martha P. Tedeschi and Michael Lukasiewicz

$5,000-$9,999

Fabiola Delgado and Kenneth N. Thompson

Nicole E. Rubens Druckman and James N. Druckman

Barbara Nitchie Fuldner

Amy O. Geier and James Geier

Lynn E. Hauser and Neil L. Ross

Steven P. Henry

Lynne Jacobs and Avery Scheiner

Susan Johnson and Henry Johnson

Cheryl Johnson-Odim

Sari Klein and James A. Klein

Katherine Laun Olson

Susan Gecht Rieser and Richard M. Rieser

Mary Lu R. Roffe and Kenneth Roffe

Susan B. Rubnitz

Tina Ruttenberg and David W. Ruttenberg

$1,000-$4,999

Abshire

e Best and Robert J. Best

izabeth DaSilva

la Deaux

mas ng

ner Eccles and Robert N. Eccles

eterson Edwards

achel Freeman

nsburg and Jerome J. Ginsburg

ennings Gunter

Heller and Brian L. Heller

ak Kent and Evan M. Kent

uger and Bernard Kruger

M. Laudati and James B. Pick

uston Peterson

. Pritchard and Neal E. Blair

Rothstein and Kurt G. Lageschulte

Rubnitz

Shedd

n Tarantino and Thomas F. Lesinski

$999

Christine Meleo Bernstein and Armyan

Bernstein

Kate Ezra

Cynthia Kop and Philip Yau

Susan Wascher-Kumar and Prem Kumar

Maria Nardelli and William R. Levin

Vicki L. Sauter and Joseph S. Martinich

James R. Shaeffer

Marissa Solomon Sutker and Jake Sutker

Leslie A. Wiley and Larry Irving

David H. Zarefsky, PhD

Ellen Soo Hoo Zurfluh and Thomas O. Zurfluh

$250-$499

Ruth Adler and Charles Adler

Kelsey Joanne Allen-Niesen

Bryna Goldman Gamson and Edward P. Gamson

Edwin G. Goldstein

Mariel Stevens Henkoff

Christopher P Huisinga

Josiah Richard Jenkins

Daniel S. Katz

Matthew Alan Kluk

Gifts of Art

John B. Davidson

Helen Frankenthaler Foundation

Jesse Freidin

Linda Adelman Gotskind and Paul C. Gotskind

Est. Thomas J. Hamilton

Sami Khalife

Kohler Foundation Inc.

Fred Perlberg

Caroline Shapiro and Peter Frey

Saul Steinberg Foundation

Diane Solomon and Craig Solomon

Philip Yau

Vickie Yau Living Trust

INSTITUTIONAL SUPPORT

$50,000 +

Illinois Arts Council Agency

$25,000 - $49,999

Myers Foundations

$10,000 - $24,999

Alumnae of Northwestern University

Fidelity Investments Charitable Gift Fund

Jewish Communal Fund

Loeb Family Charitable Foundation

Terra Foundation for American Art

The Joyce Foundation

$5,000 - $9,999

Hulda B. & Maurice L. Rothschild Foundation

JP Morgan Charitable Giving Fund

Kaplan Humanities Institute

Katherine L. Olson Charitable Foundation

National Film Preservation Foundation

Rubens Family Foundation

Schwab Charitable Fund

The Ruttenberg Foundation

Up to $4,999

American Online Giving Foundation, Inc.

Morgan Stanley Global Impact Funding Trust Inc.

REVENUE $4,634,843

EXPENSES $4,634,843

Participants in a basket-weaving class led by Woven Being artist Ke ly Church.