2019 Annual Report by The Menil Collection

2019

The Menil Collection Annual Report

2019 Contents 4

Letter from the Director

Mission

Board of Trustees

Main Museum Building

Menil Drawing Institute

12 Neighborhood 14

Selected Press

Exhibitions

Acquisitions

Scholarship

Community

Support

Financials

The Menil Collection Annual Report

Letter from the Director

2019 Annual Report

The Menil Collection

Rebecca Rabinow welcomes guests to the opening of the Menil Drawing Institute on November 1, 2018. Photo: Daniel Ortiz

We are pleased to share this annual report highlighting the notable events that took place across the Menil Collection’s neighborhood of art during Fiscal Year 2019 (July 1, 2018–June 30, 2019).

Fiscal Year 2019 was a momentous time for the Menil Collection. When the year opened, the Renzo Piano–designed main museum building was in the midst of a substantial refurbishment. New state-of-the-art fire detection sensors had been installed throughout the three levels, and the public spaces on the ground level were undergoing a complete renovation. Thousands of feet of pine floorboards were refinished, nonload-bearing walls were removed, interior and exterior lighting was improved, and public restroom facilities were thoroughly updated. This major construction project offered a unique opportunity for the Menil’s curators and conservators to rethink the gallery layouts and displays. In preparation for the reinstallation, over 600 objects were examined and cleaned, roughly 150 works were reframed, and 60 new mounts were made. The resulting installations featured many of the museum’s most-beloved pieces as well as recent acquisitions, promised gifts, and works that had never before been on view. The main building reopened to the public in September 2018 with a full year of permanent collection displays. Two temporary rotating exhibition series (Collection Close-Up and Contemporary Focus) featured work by John Cage, Mineko Grimmer, Trenton Doyle Hancock, Leslie Hewitt, Claes Oldenburg, and Dorothea Tanning. We initiated a new Artist Talk series, with the goal of inviting living artists with work in our collection to come visit the Menil and present a lecture. The opening lineup consisted of Leslie Hewitt, Suzan Frecon, Trenton Doyle Hancock, Tacita Dean, and Mineko Grimmer. The renovated and reinstalled main museum building received an overwhelmingly positive response from both visitors and the press, with a local headline proclaiming the Menil to be “perfect again.” Six weeks later, in early November, we inaugurated the Menil Drawing Institute building, which is dedicated to the acquisition, exhibition, study, conservation, and storage of works on paper. After visiting, Holland Cotter of the New York Times wrote, “The Menil is widely regarded as the gold standard in institutional concept and design. And admiration for it tends to shade into devotion. Its 30-acre

campus of low-slung buildings in a leafy park in this city has become as much pilgrimage site as cultural destination. Now, with the addition of a building for the Menil Drawing Institute, there’s more perfection than ever to love.” The Menil Drawing Institute opened with a Jasper Johns exhibition that coincided with the publication of the six-volume Jasper Johns Catalogue Raisonné of Drawing. Ruth Asawa’s Untitled (S.228, Hanging Six-Lobed, Discontinuous Surface (3 sections) with Interlocked Top Section), ca. 1956, was installed in the main entry space of the Drawing Institute across from Roni Horn’s Wits’ End Sampler, 2018, a 30-foot-long wall drawing that served as a harbinger of the second exhibition held in the Menil Drawing Institute’s galleries: Roni Horn: When I Breathe, I Draw. This special two-part presentation was on view from February 15 to September 1, 2019. The Menil continues to attract local, national, and international visitors. Attendance has grown steadily in recent years, reaching a new high of approximately 260,000 visitors in Fiscal Year 2019. Likewise, the Advancement Department registered a record 2,166 museum members by the end of June 2019. Recognizing that free admission to all of our buildings, parks, and programs is only a starting point, we have prioritized efforts to make the Menil even more welcoming. Our neighbors are particularly grateful for the dogfriendly water fountain near the greenspaces on West Main Street. We have produced newly designed visitor guides in English, Spanish, French, and Vietnamese. The Menil Collection, now in its 32nd year of operation, continues to evolve while remaining deeply rooted in the values established by its founders. Significant achievements in recent years—the completion of a major capital campaign, the re-opening of the renovated and reinstalled main building, and the inauguration of the Menil Drawing Institute—have prompted discussions about the next steps for the institution. Over the past year, our board and staff engaged in thoughtful conversations about the Menil’s identity and values. The result is a revised mission statement (see p. 6), a new values statement, and strategic plan that looks ahead, assuring that the Menil has the strongest footing possible for future excellence and sustainability. The extraordinary achievements of Fiscal Year 2019 were made possible thanks to the leadership and support of the many individuals listed on the following pages. We are particularly grateful to the Menil Foundation, Inc. Board of Trustees, led by President Doug Lawing, Chair Janet Hobby, and Chair Emerita Louisa Stude Sarofim, for the time and effort they give this institution year after year. Like John and Dominique de Menil, they believe that art is an essential part of the human experience.

Sincerely,

Rebecca Rabinow Director

Mission Statement The Menil Collection is committed to its founders’ belief that art is essential to human experience. Set in a residential Houston neighborhood, the Menil fosters direct personal encounters with works of art, and welcomes all visitors free of charge to its museum buildings and surrounding green spaces. To fulfill its mission, the Menil Collection is committed to: — Presenting works of art in ways that encourage individual engagement and that respect the primacy of the art — Offering exhibitions and programming that reflect intellectual independence, explore the breadth of the collection, and engage with the present — Welcoming and inspiring all visitors — Acquiring works of art that deepen the collection — Conserving works of art and documenting their history — Pursuing and disseminating original scholarly research — Fostering the spirit and character of the neighborhood setting — Maintaining the institution’s commitment to architecture sympathetic to the individual’s experience of the art — Assuring the financial independence that keeps the Menil free to all

2019 Annual Report

The Menil Collection

Photo: Jenny Antill

Board of Trustees Louisa Stude Sarofim, Chair Emerita Janet M. Hobby, Chair Doug Lawing, President Leslie Elkins Sasser, Vice President Eddie R. Allen III, Treasurer Nancy O’Connor Abendshein, Secretary Suzanne Deal Booth Robert J. Carney Clare T. Casademont David Fitch

Russell B. Hawkins Caroline Huber George B. Kelly Alison Leland Adelaide de Menil Benjamin de Menil Francois de Menil Marilyn Oshman Harry C. Pinson William E. Pritchard III Anne Schlumberger Mark L. D. Wawro Marcy Taub Wessel Michael Zilkha

Miles Glaser (1925–2004), Emeritus

Menil Council Henrietta K. Alexander Chinhui Juhn Allen Michael D. Cannon Bettie Cartwright Danny David Barbara Gamson Cullen K. Geiselman Terri Havens Cecily B. Horton Carol Kelly I. H. (Denny) Kempner III Fadila Kibsgaard Janie C. Lee Ransom Lummis Nancy McGregor Manne Poppi Massey

Mary Hale Lovett McLean R.W. Mears Marc C. Melcher David Moriniere Jack Moriniere Franci Neely Roy Nolen Judy Nyquist Francesco Pellizzi Jessica Phifer Reggie Smith James William Stewart, Jr. Aliyya Stude Patrick Wade Lea Weingarten

Founding Benefactors Sylvie and Eric Boissonnas The Brown Foundation, Inc. Edmund and Adelaide de Menil Carpenter The Cullen Foundation Margaret W. and J. A. Elkins, Jr. The Charles Englehard Foundation Fayez Sarofim & Co. Fariha and Heiner Fredrich Hobby Foundation Houston Endowment Inc.

Caroline Weiss Law The Andrew W. Mellon Foundation Dominique de Menil Susan and Francois de Menil Annalee G. Newman Susan E. and Roy S. O’Connor Louisa Stude Sarofim Scaler Foundation, Inc. Annette Schlumberger The Wortham Foundation

Main Museum Building Renovation

In order to perform necessary maintenance and repairs, the Renzo Piano-designed main museum building was closed to the public for seven months in 2018. While the Menil has retained its beloved look and feel, subtle yet impactful updates were made throughout the 30-year-old building. The museum reopened to the public on September 22, 2018. Highlights include: Fire Sensors Advancements in technology have made possible sensors that detect smoke well in advance of an actual fire. New state-ofthe-art devices have been installed on all three levels of the museum. Floors For the first time in 30 years, the Menil’s distinctive wood floors were sanded and re-stained. Dried out boards and damaged grills were replaced as needed. The multi-step refinishing process beautifully restored 30,000 square feet of pine flooring to its original appearance. Gallery Lighting Supplemental overhead lighting was installed in the Surrealism and antiquities galleries. Casework lighting was updated throughout the galleries as well. Eco-friendly LED bulbs offer improved light quality and meet industry standards for light intensity. Exterior Lighting The incandescent bulbs that illuminate the perimeter of the main building were replaced by long-lasting LED lights. In addition, the light level and color temperature of each fixture were adjusted to enhance the museum’s appearance after dark. Public Restrooms Bathroom facilities adjacent to the foyer were thoroughly updated. Additionally, visitors are now able to store backpacks and large purses in secure lockers nearby.

2019 Annual Report

The Menil Collection

Gallery construction in progress in the main building. Photo: Adam Neese

Main Museum Building Reinstallation

The renovation of the main museum building created a rare opportunity for the Menil’s curatorial and conservation teams to holistically reconsider the selection and display of art on view. Galleries were reconfigured, case lighting was reconceived, and larger-font labels were designed. The Conservation Department examined and cleaned some 600 objects and reframed about 150 works. More than 60 new mounts were fabricated for objects as diverse as a 5th-century Greek drinking vessel, an Ethiopian Healing Scroll (tälsäm or yä branna ketab), and coconut-shell eye goggles from Papua New Guinea. For the 12 months following the September 2018 reopening, the Menil exhibited promised gifts and artworks from the permanent collection in the main building. The special presentations highlighted areas of depth and strength in the collection and demonstrated the Menil’s commitment to living artists. The displays included works by an inclusive range of artists. Bank of America was the lead sponsor of the reinstallation of the permanent collection. Major funding for the reinstallation of the permanent collection was provided by Van Cleef & Arpels; Nancy and Robert Carney; and Cecily E. Horton. Additional support came from The Brown Foundation, Inc. / Mike Stude; C2 Art Advisors; Diane and Michael Cannon; Poppi Massey; Robin and Andrew Schirrmeister; Jacqueline and Richard Schmeal; and Scott R. Sparvero.

Curator of Collections Paul R. Davis places Cycladic objects in the Arts of the Ancient Worlds gallery. Photo: Michelle White

Photo: Michael Ciaglo / © Houston Chronicle

Menil Drawing Institute

November 2, 2018, marked the official opening of the Menil Drawing Institute, the first art building to be added to the Menil’s 30-acre campus in more than 20 years. Dedicated to the acquisition, study, exhibition, conservation, and storage of modern and contemporary drawings, the 30,000-square-foot, $40-million building was designed by Johnston Marklee and constructed by the Gilbane Building Company. The main public spaces, also known as the Brown Foundation, Inc. Galleries, host lectures and exhibitions. Curatorial offices, connected by the Barbara and Michael Gamson Cloister, face the E. Rudge Allen Family Courtyard. Classes will be taught in the Janie C. Lee Drawing Room, which is adjacent to the Suzanne Deal Booth Conservation Lab. Much like Philip Johnson’s residence for the de Menils and Renzo Piano’s main museum building, there is a harmony between exterior and interior spaces at the Drawing Institute. The three separate courtyards, each featuring a unique landscape design by Michael Van Valkenburgh Associates, are an integral part of the building design.

2019 Annual Report

The Menil Collection

Photo: Richard Barnes

Menil Drawing Institute Opening

Houston Mayor Sylvester Turner joined museum officials at the public opening of the Menil Drawing Institute building on Saturday, November 3. Director Rebecca Rabinow welcomed civic and cultural leaders, community representatives, artists, supporters, and Menil leadership to the dedication. Rabinow remarked, “The quietly innovative architecture of the Menil Drawing Institute allows us to make drawing, the most personal of all artistic practices, accessible as never before to artists, to scholars, to students, and to the public. The Menil Drawing Institute will engage with our community, with the entire world of arts, in an exciting new way. We are immensely proud to welcome everyone to visit, explore, and enjoy.” Menil Foundation President Doug Lawing added, “Like almost everything that seems simple and natural, the Menil Drawing Institute is in fact the product of infinite care and dedication by a great many people. Our profound gratitude goes to the entire Board of the Menil Collection, including Chair Emerita Louisa Stude Sarofim and Menil Trustee Janie C. Lee, who have been longstanding champions of this project. Together, they have created a work of lasting beauty.” The community celebration continued with musical performances, art and architecture tours, food trucks, and art activities. Inside the Menil Drawing Institute, visitors were treated to the inaugural exhibition, The Condition of Being Here: Drawings by Jasper Johns.

Mayor Sylvester Turner, Janet Hobby, Doug Lawing, Janie C. Lee, Louisa Stude Sarofim, Rebecca Rabinow, Mark Lee, Sharon Johnston, and Harry Pinson. Photo: Daniel Ortiz

Neighborhood

Donor Line

Photo: Madeline Kelly

Photo: Adam Neese

Development of the Menil Drawing Institute building was made possible by the Campaign for the Menil, which raised more than $121 million, surpassing its original goal by more than $6 million. The campaign also funded the construction of the gateway parking lot, Bistro Menil, and a new Energy House as well as the expansion and enhancement of the greenspaces and a major refurbishment of the main museum building. A substantial portion of the money raised was contributed to the museum’s endowment. The Houston-based firm MG&Co. designed a unique treatment to recognize the foundations and individuals that pledged $100,000 or more to the campaign. The resulting band of bronze that runs from Branard Street to West Main Street visually connects the main museum building, the Cy Twombly Gallery, and the Drawing Institute. Exposed to the elements, the metal material is intended to develop a green patina over time.

Ellsworth Kelly, Menil Curve, 2015

2019 Annual Report

The Menil Collection

Photo: Richard Barnes

In the summer of 2015, the Menil Collection commissioned Ellsworth Kelly (1923–2015) to create a sculpture honoring donors who contributed $1 million or more to the Campaign for the Menil. In September 2015, Kelly received Johnston Marklee’s architectural renderings for the Menil Drawing Institute as well as Michael Van Valkenburgh’s designs for the surrounding landscape. The artist completed his designs for Menil Curve (his title for the piece) soon before he died. Menil Curve, 2015, was purchased with gifts by the Taub Foundation; Suzanne Deal Booth; Clare Casademont and Michael Metz; Susanne and William E. Pritchard III; John R. Eckel, Jr. Foundation; Linda and George Kelly; Michael Zilkha; Marcy Taub Wessel; and Emily Rauh Pulitzer; with additional funds provided by Ellsworth Kelly and Jack Shear and the Campaign for the Menil.

McGovern Green

Julia Mitchell, Kathrine McGovern, and William Shrader. Photo: Jenny Antill

Significant improvements were made to the greenspace adjacent to the Cy Twombly Gallery, thanks to a leadership gift from Kathrine McGovern. Anchored by a beautiful live oak, McGovern Green serves as the historic heart of the campus. One of the most photographed spots in the neighborhood, the popular outdoor area is enhanced with a redbud tree, an overcup oak, and beds of hardy orchids, rain lily, and summer snowflakes.

Selected Press

CMYK

Nxxx,2018-11-30,C,013,Bs-4C,E1 For personal, non-commercial use only. Do not edit, alter or reproduce. For commercial reproduction or distribution, contact Dow Jones Reprints & Licensing at (800) 843-0008 or www.djreprints.com.

15 ART REVIEW

17 BOOKS

Richard Prince is having loads of fun with his new work.

A writer may put her prize money toward medical treatment.

THE WALL STREET JOURNAL.

Fine Arts Listings

LEAD ACTOR, COMEDY

ARCHITECTURE REVIEW

Looking and Learning in a Buoyant Building

MATTHEW RHYS LEAD ACTOR, DRAMA

CLAIRE FOY LEAD ACTRESS, DRAMA

‘Game of Thrones’ win

Tuesday, September 18, 2018 | HoustonChronicle.com and Chron.com | Vol. 117, No. 340 | $2.00 HH

C13

FRIDAY, NOVEMBER 30, 2018

RACHEL BROSNAHAN LEAD ACTRESS, COMEDY

BILL HADER

BY ALEX MARSHALL

BY ROBERTA SMITH

EMMYS: ‘Mrs. Maisel’,

Tuesday, November 13, 2018 | A13

LIFE & ARTS

Chance of storms: High 93, Low 76

After an excruciating six months for Houston arts patrons, a refurbished museum reopens, keeping its ‘sense of discovery’

MENIL, VERSION 1.5 CRITIC’S NOTEBOOK

The new Menil Drawing Institute, designed by Los Angeles architecture firm Johnston Marklee

By Kevin Diaz WASHI NGTON BU R EAU

WASHINGTON — With public pressure mounting, Senate Republican leaders announced Monday that Supreme Court nominee Brett Kavanaugh and the woman who has accused him of sexually assaulting her 30 years ago will testify in a public hearing next week before the Senate Judiciary Committee. The White House said Kavanaugh is eager to tell his side of the story. “Judge Kavanaugh looks forward to a hearing where he can clear his name of this false allega-

BY JULIE V. IOVINE Houston DESPITE BEING UNDISPUTED royalty among patrons of the arts, Dominique and John de Menil were resolutely democratic in their approach to sharing their collected treasures with the public. The art campus they created in suburban Houston, begun in the 1970s with the Rothko Chapel, is rightly acclaimed for the way its low-key buildings are woven seamlessly into the leafy neighborhood of aged oaks and 1930s bungalows. The most celebrated is the Menil Collection (1987), an elongated nonmonumental, luminously lighted museum designed by Renzo Piano, his first American commission. But there is also a freestanding gallery for works by Cy Twombly (1995), also designed by Mr. Piano, and a Dan Flavin installation (1996) in a converted grocery. On Nov. 3, the Menil Drawing Institute, the first addition to the campus in 20 years, opened. Designed by Los Angeles architecture firm Johnston Marklee, the $40 million Institute adds a significant new structure to the ensemble that is more open and buoyant than its confreres. With a paperthin steel-plate roof that appears to hover amid a canopy of trees, it is anchored in the founder’s core values. The modestly scaled 30,000square-foot building (half of it underground for storage) maintains the vision of Dominique de Menil (1908-1997), who believed everyone should have easy access to art.

Though equally divided between scholarly study and public display, the Menil Drawing Institute translates that sense of unconditional welcome into a generous work of architecture with a distinct presence, yet still of a piece with the overall campus. The architects, a youngish firm interested in how ideas from the past inform the present and the future, are currently working on a new headquarters for Dropbox in San Francisco, and have recently won the competition to design a home for the Philadelphia Contemporary art museum. With its complicated double mission to exhibit drawings—by nature delicate and often requiring focused attention—to a wider audience as well as to protect and conserve them, the Menil Drawing Institute needed spaces both for large groups to circulate and for

individuals to study privately; the drawings needed to be brought out into the open but also preserved from overexposure. The deceptively simple plan, which looks from the south like a long porch beneath a very flat roof, delivers surprising complexity within. The entrance leads off from a modest path between two bungalows, arriving at a square courtyard. Planted with a small grove of oaks, the courtyard, one of three, is encircled by sloping roofs effective at deflecting the often brutal Texas sunlight. The courtyards and surrounding landscape were designed by Michael Van Valkenburgh Associates of New York. Intersecting flat planes at the entrance may suggest the shoebox orthogonals of High Modernism, but the interior quickly counters that impression with a large open

space animated by a ceiling of intricate origami-like folds. While gable-like shapes are easily legible as markers over specific doors to the main gallery and administration areas, other more complex intersecting folds at the far end of the space challenge a ready understanding of what’s going on structurally, albeit in an intriguing way. The rectangular shape of the building is enlivened further by the off-center placement of the two other courtyards. The smaller one is located opposite the main gallery space and lies, enticingly visible, beyond glass doors. Open to the sky, it holds a small grove of tulip magnolia trees tickled by feathery white ferns, with fragments of veined white marble scattered about, a living medieval tapestry. A walkway around three sides feels like a cloister. Beyond is a passage to a deeper inner sanctum with a furnished salon, library and study room as well as a conservation lab. The shift in mood, from elegant if standard-issue gallery space, artificially lighted so the public can view drawing exhibitions, to the more sequestered areas, where scholars, collectors, students and

conservationists can engage in more intimate encounters with fragile works by filtered daylight, is intentional. Whether a dim wash of sunshine through a sailclothcovered skylight in the study room or a blast of blue as bright as a work by James Turrell outside the staff kitchen, the amount of daylight allowed to flow into these semiprivate spaces is parceled out with acute subtlety. The third courtyard sits at the eastern end of the building but is also fully on view from the entrance. Containing a single oak with branches outstretched in arboreal eloquence, it is surrounded by walls of dark stained cedar. Here, there are long benches against the wall looking southward over a wide lawn, a place to rest your eyes. Through its deft manipulations— of light levels and circulation routes—the Menil Drawing Institute achieves the impressive feat of providing highly appealing spaces accessible to all while also hinting at the alluring pleasures beyond for those keen to know more. Ms. Iovine reviews architecture for the Journal.

ART REVIEW

BY LANCE ESPLUND

2019 Annual Report

The Drawing Institute at Houston’s Menil Collection, opening with an impressive Jasper Johns show, is a full-service home for fragile art. HOUSTON — Talk with any bunch of art pro-

fessionals about recently built museums and you’re likely to hear kvetch, kvetch, kvetch followed by an admiring reference to the Menil Collection. The Menil is widely regarded as the gold standard in institutional concept and design. And admiration for it tends to shade into devotion. Its 30-acre campus of low-slung buildings in a leafy park in this city has become as much pilgrimage site as cultural destination. Now, with the addition of a building for the Menil Drawing Institute, there’s more perfection

I’m a devotee too, though one with reservations, none of which prevented me from taking delight in the Drawing Institute’s new quarters, and in its extraordinary inaugural show, “The Condition of Being Here: Drawings by Jasper Johns.” The 30,000square-foot building, advertised as the country’s first free-standing facility dedicated to the conservation and study of modern and contemporary drawing, is surrounded by four other Menil buildings, with the famed Rothko Chapel a short walk away. And there’s something distinctly, if ecumenically, chapel-like about the new $40 million structure that opened in early November. As designed by the Los Angeles architects Sharon Johnston and Mark Lee in collaboration with landscape architects Mi-

is flat but here and there rises in aspirational peaks. With white walls and contoured ceilings that look like creased paper and three spare enclosed gardens, it brings to mind a Shinto shrine, one of the simpler rural kinds of no-nonsense elegance, buildings that seem to both stand apart from and be open to nature. Plain-style sublime is a very Menil dynamic. The collection’s French-born founders, John and Dominique de Menil, were observant Roman Catholics and also

Top, a rock garden in the east courtyard of the new Menil Drawing Institute, billed as the country’s first free-standing facility dedicated to the conservation and study of modern and contemporary drawing. Above, an exterior view.

JASPER JOHNS/LICENSED BY VAGA AT ARTISTS RIGHTS SOCIETY (ARS), NY (2)

Drawn To Perfection

architecturalrecord.com

PHOTOGRAPHS BY BRANDON THIBODEAUX FOR THE NEW YORK TIMES

$9.95

The Menil Collection

11 2018

Houston EVERYTHING LOOKS BETTER at the Menil Collection, thanks to Renzo Piano’s precedent-setting skylights, which were a strong influence on architects Sharon Johnson and Mark Lee in their design of the new Menil Drawing Institute. Modulated sunshine flows obliquely into this structure, purpose-built for the acquisition, conservation, study, storage and exhibition of modern and contemporary drawings—a sensitive medium that must be exhibited in controlled, low light. Two windows (currently covered) allow for indirect illumination of the spacious-though-intimate, 31by-91-foot gallery, which houses the Institute’s inaugural show, “The Condition of Being Here: Drawings by Jasper Johns.” Unfortunately, the architects’ mastery of light, space and scale is not matched in this show’s 41 drawings, made from 1954 to 2016. Overseen by the Menil’s Kelly Montana, though initially curated by David Breslin prior to his departure for the Whitney Museum, the show overlaps with the publication next month of the Menil Collection’s “Jasper Johns Catalogue Raisonné of Drawing, 1954-2014.” “Being Here” is the third and final in a series of Menil exhibitions devoted to Mr. Johns, and I believe it is a misstep. It is easy to understand, even without the forthcoming “Cata-

logue Raisonné,” why Mr. Johns (b. 1930), an art world elder statesman, was selected to launch the Menil Drawing Institute—despite the fact that Menil Collection founders Dominique and John de Menil acquired only one Jasper Johns drawing during their lifetimes: the graphite-pencil-and-collage “Two Flags” (1969). An early darling of the Neo-Dada and Pop Art movements, Mr. Johns is both

established and cutting-edge. His signature works, such as the numbers and alphabets and his riffs on targets and the American flag, defy as they redefine the realm and artifice of art. Mr. Johns, who neuters his artworks along with their subjects, is a gamesman who builds sleek, ironic conundrums: Is it a flag, or a picture of a flag, or both, or nei-

ther? These Duchampian riddles apparently excite Mr. Johns and his cohort. To me, his artworks are only mildly interesting for their willful obtuseness, or for the unusual processes of their making, but not as works of art. But the niggling, chance confusions Mr. Johns’s works inspire are exactly the point, which makes them impervious to criticism. Consider the earliest drawing here, the graphiteon-oil-stained-paper “Untitled” (1954), which Mr. Johns gifted to his lover and fellow Pop artist Robert Rauschenberg. There are two ways to see this drawing: “sheet” (every mark on the entire page) vs. “sight” (what Mr. Johns makes visible, through the mat board’s window). Observable is a dense, dark vertical rectangle over some vague shapes. Covered up are the margin’s graphite marks and smudges. This partly visible drawing is not really a drawing at all, but a mockery of the act of drawing, just as Mr. Johns’s worked-up paint and encaustic surfaces are a mockery of Abstract Expressionist mark-making, authenticity and bravado. In other drawings, or, more correctly, records—the most direct works here—Mr. Johns applies oil

The Menil Drawing Institute + Colleges and Universities

Michael Ciaglo / Staff photographer

“Middle Passage” by Frank Bowling sets the tone in the main foyer at the Menil Collection. The museum, which has been closed since February for renovations, is set to reopen to the public on Saturday. Museum regulars will find the changes “subtle,” an official says.

By Molly Glentzer STA F F W RITE R

Rebecca Rabinow fretted recently that when the Menil Collection reopens to the public after a sixmonth renovation, many visitors will wonder what took so much time. Of course, that’s the idea of the whirlwind update that has kept this Museum District hallmark

President’s risky move aims to take advantage of Beijing’s slowdown

N EW YOR K T IM E S

‘Untitled’ (1990), left, and ‘Skull’ (1971), far left, both by Jasper Johns and part of the Menil Drawing Institute’s inaugural show

to objects, rubs them on paper and then adds pigment to fix the oily impressions. These include a slice of bread, a human skull, Mr. Johns’s face and hands, his torso and his penis. “Being Here” demonstrates a lot of variety. There are flags, numbers, alphabets and targets; photorealistic renderings of quotidian objects; collages; colorful striped patterns suggesting wallpaper, such as the lively, mixed-media “Corpse” (1974-75); and works in watercolor and ink on plastic. Some of these, such as “Farley Breaks Down” (2014), began as faithful tracings of a Life magazine photograph of a Vietnam veteran

and then evolved into distorted, pooled and congealed mixtures of dried fluids. Despite Mr. Johns’s range, however, all the drawings here ultimately, and especially collectively, cancel out not just one another but also drawing as a serious artistic act. The Drawing Institute is a mixed-use triumph. This show, like most the Menil mounts, looks elegant (and I eagerly await future drawing exhibitions here). But Mr. Johns’s anti-aesthetic, antidrawing stance is a peculiar way to inaugurate an institute devoted to drawing. The Condition of Being Here: Drawings by Jasper Johns Menil Drawing Institute, through Jan. 27, 2019 Mr. Esplund writes about art for the Journal. His book “The Art of Looking: How to Read Modern and Contemporary Art” (Basic) will be published Nov. 27.

shuttered since late February. But during a recent tour, the venerated museum corridors looked like a Piet Mondrian painting, covered with a patchwork of brown Masonite and geometrically pleasing lines of blue painter’s tape. Underneath that protective covering, the museum’s original pine floors looked as fresh as they did

“If we did it right, you won’t notice the effort. But things you don’t notice take the most effort of all.” Rebecca Rabinow, director of the Menil

the day Renzo Piano’s landmark building opened 31 years ago. During the renovation, every wall has been rebuilt, new lighting and fire-suppression systems have been in-

stalled, bathrooms have been redone, and every gallery has been reconfigured. “It has been a museumwide, Herculean effort over the last six months,”

said Rabinow, director of the Menil. “If we did it right, you won’t notice the effort. But things you don’t notice take the most effort of all.” Following media and patrons’ previews that begin Tuesday, the doors will reopen to the public on Saturday. Check off another unveiling within the Houston Menil continues on A8

Trump slaps tariffs on $200B in Chinese goods By Jim Tankersley and Keith Bradsher

WILLFULLY OBTUSE

Senate to hear judge, accuser Public session on claims next week faces little GOP pushback

THE MENIL COLLECTION, HOUSTON (3)

HOLLAND COTTER

PAGE D1

President Donald Trump, emboldened by the United States’ economic strength and China’s slowdown, escalated his

trade war Monday, saying the United States would impose tariffs on $200 billion worth of Chinese goods as punishment over Beijing’s trade practices. The fresh round of tariffs comes on top of $50 billion worth of Chinese

products taxed this year, meaning nearly half of all Chinese imports into the United States will soon face tariffs. The new wave is scheduled to go into effect Sept. 24, with tariffs starting at 10 percent before climbing to 25 percent by the end of the year. The timing will partially reduce the toll of price increases for holiday shop-

pers buying Chinese imports in the coming months. The White House also said the United States was prepared to “immediately” place tariffs on another $267 billion worth of imports “if China takes retaliatory action against our farmers or other industries.” The move is aimed at

pressuring China to change long-standing trade practices that Trump says are hurting U.S. businesses at a moment when the administration believes it has an advantage in the trade dispute. China’s economy is slowing, with consumers holding back and infrastructure spending dropping sharpTariffs continues on A10

Judiciary Committee Chairman Charles Grassley

tion,” White House spokesman Raj Shah said. “He stands ready to testify tomorrow if the Senate is ready to hear him.” The hearing, scheduled for Monday, is shaping up to be a public spectacle akin to the 1991 confirmation hearings that featured Anita Hill, who accused future Justice Clarence Thomas of sexual harassment. It was announced a day after Kavanaugh’s accuser, Christine Blasey Ford, went public with her story — sending top GOP leaders scrambling to contain the fallout. Texas Republicans John Cornyn and Ted Cruz, both influential figures on the Judiciary Committee, were among those calling for the allegations to be taken seriously. Judge continues on A10

» Texas attorney general’s aide shares a tweet mocking the accusation: Page A5

Ethane’s sweet trek from Houston to Vietnam and back Byproduct of Texas shale gas turns region into world supplier of plastics Third in a series

By Jordan Blum STA F F W RITE R

Open a bag of frozen shrimp from Walmart. Toss the packaging in the trash. Two routine tasks, but they represent final commercial destinations for ethane molecules freed from Texas shale, a journey that has taken them not only hundreds of miles to

Houston’s massive petrochemical complex, but also around the world and back again in the carefully choreographed dance of global supply chains. Each day, hundreds of trucks and rail cars move pellets of ethane-derived polyethylene from petrochemical plants, such as Exxon Mobil’s in Mont Belvieu, to the Port of Houston. There, the pellets are loaded by the ton onto con-

NATION

Carolina misery

Rescuers rush into beleaguered cities in the Carolinas as residents struggle with the aftermath of a storm that damaged tens of thousands of homes. PAGE A7

tainer ships and bound for ports like Ho Chi Minh City in Vietnam, where the molecules of hydrogen and carbon will be transformed yet again — into plastic wrap, trash bags and packaging for farm-raised shrimp found in freezer sections of grocery stores in Houston and across the country. Ultimately, the shipments of polyethylene, the world’s most common plastic, will bring billions of dollars into the Houston economy and generate jobs for factory workers, longshore Plastics continues on A6

BUSINESS

Trip to the moon

Elon Musk reveals that Yusaku Maezawa, a Japanese billionaire, will be his first customer for a voyage around the moon on a SpaceX rocket. PAGE B1

Michael Ciaglo / Houston Chronicle

A forklift moves resin exports at Katoen Natie’s 2 million-square-foot logistics facility in Baytown, one of many stops in a journey through the global supply chain.

Houston’s Source for Breaking News

INDEX Business.............. B1 Comics ............... D4 Crossword ......... D3 Directory ............ A2 Editorials ........... A11 Horoscope ........ D4

Lottery................. C6 Markets............... B4 Obituaries .......... B6 Sports ................... C1 Star........................ D1 Weather.............. B8

Go to Chron.com throughout the day for the latest stories, and videos from Houston’s No. 1 news site. Chron.com HoustonChronicle.com Twitter: @HoustonChron Facebook: Houston Chronicle

Exhibitions

The Condition of Being Here: Drawings by Jasper Johns November 3, 2018–January 27, 2019

2019 Annual Report

The Menil Collection

The Condition of Being Here: Drawings by Jasper Johns inaugurated the Brown Foundation Gallery at the Menil Drawing Institute. The exhibition—which spanned almost the entirety of the career of Jasper Johns (b. 1930) with works from 1954 to 2015—included gifts promised to the Menil by Janie C. Lee and Louisa Stude Sarofim, bequests from the estate of David Whitney, and select loans from the artist. The November opening coincided with the release of the six-volume Jasper Johns Catalogue Raisonné of Drawing, a project ten years in the making. The Condition of Being Here was the third exhibition of works by Jasper Johns presented at the Menil Collection (Jasper Johns: The Sculptures was on view in 1996 and Jasper Johns: Drawings was displayed in 2003). The Condition of Being Here: Drawings by Jasper Johns was curated by David Breslin and organized by Kelly Montana, Assistant Curator, Menil Drawing Institute. Major funding for this exhibition and publication was provided by Janie C. Lee; The Eleanor and Frank Freed Foundation; The Brown Foundation, Inc. / Allison Sarofim; and Anne H. Bass. Additional support came from The Brown Foundation, Inc. / Nancy Abendshein; Clare Casademont and Michael Metz; Julie and John Cogan, Jr.; Agnes Gund; Diana and Russell Hawkins; Dorene and Frank Herzog; the John R. Eckel, Jr. Foundation; Susan and Francois de Menil; Franci Neely; Carol and David Neuberger; Susanne and William E. Pritchard III; James William Stewart, Jr.; Waqas Wajahat; Marcy Taub Wessel, Henry J. N. Taub II, and the Taub Foundation; Michael Zilkha; and the City of Houston.

Jasper Johns, Study for Regrets, 2012. Watercolor, colored pencil, ink, photocopy collage and acrylic on paper, 11 ½ x 17 7/8 in. (29.2 x 45.4 cm). Promised Gift from the Collection of Louisa Stude Sarofim. © 2018 Jasper Johns / Licensed by VAGA at Artists Rights Society (ARS), NY.

Installation view of The Condition of Being Here: Drawings by Jasper Johns. Photo: Richard Barnes

Wall Drawing Series Roni Horn, Wits’ End Sampler, 2018 November 3, 2018–September 12, 2019 The Menil Collection invited Roni Horn (b. 1955) to install Wits’ End Sampler, 2018, in the main public space of the Menil Drawing Institute. The artist and her team spent a week silkscreening hundreds of handwritten idioms and clichés such as “Elvis has left the building” and “happy as a clam” across a thirty-foot wall. The small-scale elements pull the viewer in for a closer look, fostering an immersive viewing experience. Wits’ End Sampler underscores the Menil Drawing Institute’s ambition to explore innovative approaches to the form and language of drawing. The installation coincided with Horn’s two-part exhibition Roni Horn: When I Breathe, I Draw, which was on view in the Menil Drawing Institute’s exhibition gallery from February 15– September 1, 2019. The presentation of Roni Horn’s Wits’ End Sampler, 2018, was organized by Senior Curator Michelle White. Lead funding for the Wits’ End Sampler installation in Houston was provided by Scott and Judy Nyquist with additional funding from Michael Zilkha.

2019 Annual Report

The Menil Collection

Roni Horn supervising the installation of Wits’ End Sampler, 2018, in the Menil Drawing Institute. Photo: Don Glentzer

Roni Horn: When I Breathe, I Draw Part I: February 15–May 5, 2019 Part II: June 8–September 1, 2019

Installation view of Roni Horn: When I Breathe, I Draw, Part II. Photo: Paul Hester

Photo: Daniel Ortiz

For more than 30 years, drawing has been fundamental to the practice of Roni Horn (b. 1955), whose work revolves around the mutability of identity and the fragility of place, time, and language. Roni Horn: When I Breathe, I Draw presented a survey of the artist’s drawings from the early 1980s to her most recent works on paper. The exhibition’s title evokes the integral place of drawing within Horn’s artistic practice. It is derived from the artist’s understanding that drawing is akin to “a kind of breathing activity on a daily level.” The first part of the show, on view at the Menil Drawing Institute from February 15 to May 5, 2019, featured Horn’s encompassing drawings, some over ten feet tall. The artist’s intricate passages of jotted notes belie their scale. Marking time and consciousness, the personal notations maintain the intimacy of a whisper, pushing and pulling the viewer into and out of the large work. The second part of the exhibition, from June 8 to September 1, 2019, brought together drawings that exemplify the artist’s innovative technique of cutting as a way of drawing. Horn intricately assembles accumulations of sliced and fragmented words, combining well-known literary texts by Gertrude Stein and William Shakespeare with colloquial expressions. They neither record nor represent what the artist sees in the world. Rather, the drawn marks create new spaces that, according to the artist, “take you through the world.” This two-part presentation by Senior Curator Michelle White for the Menil Drawing Institute was the first American museum exhibition devoted to Horn’s drawings. Major funding for the exhibition catalogue was provided by Hauser & Wirth. Major funding for this exhibition was provided by The National Endowment for the Arts. Additional support came from Suzanne Deal Booth; Clare Casademont and Michael Metz; Barbara and Michael Gamson; Diane and Michael Cannon; Christina and Norman Diekman; Gary Mercer; Scott and Judy Nyquist; Ellen and Steve Susman; the Mathew and Ann Wolf Drawings Exhibition Fund; Eddie and Chinhui Allen; Janet and Paul Hobby; Caroline Huber; the John R. Eckel, Jr. Foundation; Linda and George Kelly; Adelaide de Menil; Franci Neely; Susanne and William E. Pritchard III; Leslie and Shannon Sasser; Anne Schlumberger; Michael Zilkha; and the City of Houston.

Contemporary Focus: Leslie Hewitt September 22, 2018–January 6, 2019

Installation view of Contemporary Focus: Leslie Hewitt. Photo: Paul Hester

Contemporary Focus: Leslie Hewitt was the first in the Menil’s series of installations highlighting living artists with work in the museum’s permanent collection. Where Paths Meet, Turn Away, Then Align Again (Distilled moment from over 72 hours of viewing the civil rights era archive at the Menil Collection in Houston, Texas), 2012, consists of two lithographs. Using a micro lens, Leslie Hewitt (b. 1977) magnified and isolated a detail from an original reportage photograph taken by Dan Budnick that was given to the Menil by Edmund Carpenter and Adelaide de Menil. Hewitt’s intention was to “approach the question of invisibility” in African American history and “explore the gaps and silences in the archive.” The diptych was paired with Where Paths Meet, Turn Away, Then Align Again, 2013, a group of large floor sculptures made of powder-coated steel. The angular white forms seem to unfold, bend, and shift as the viewer walks around the gallery, bringing the asceticism of Minimalism to mind. Both Minimalism and Civil Rights were defining movements of the 1960s, an often overlooked concurrence that regularly informs Hewitt’s practice. Contemporary Focus: Leslie Hewitt was curated by Senior Curator Michelle White. Major funding for the Contemporary Focus series was provided by Cecily E. Horton.

Contemporary Focus: Trenton Doyle Hancock January 26–May 19, 2019

Installation view of Contemporary Focus: Trenton Doyle Hancock. Photo: Paul Hester

Collection Close-Up: John Cage February 1–May 12, 2019

2019 Annual Report

The Menil Collection

Collection Close-Up: Claes Oldenburg and the Geometric Mouse September 22–December 30, 2018

Installation view of Collection Close-Up: Claes Oldenburg and the Geometric Mouse. Photo: Paul Hester

Collection Close-Up: Claes Oldenburg and the Geometric Mouse presented drawings, sculptures, and prints related to Claes Oldenburg’s development of the geometric mouse during the 1960s and 1970s. Oldenburg (b. 1929) incorporated the image of the mouse into his art in 1963, a time when artists were increasingly drawing inspiration from advertising and media. Intrigued by the ubiquity of Mickey Mouse in popular culture, Oldenburg adapted the iconic mouse head into oversized street banners, proposals for museum façades, and even an architectural plan for a mouse-shaped museum. Collection Close-Up: Claes Oldenburg and the Geometric Mouse was curated by Kelly Montana, Assistant Curator, Menil Drawing Institute.

A prolific draughtsman, Trenton Doyle Hancock (b. 1974) often combines references to Biblical stories, video games, music, and art history in ways that seem simultaneously whimsical and profound. The centerpiece of Contemporary Focus: Trenton Doyle Hancock was a series of 30 works on paper titled Epidemic! Presents: Step and Screw, 2014. The black-and-white illustrations depict Torpedoboy—one of Hancock’s alter egos—answering a call for help, only to find himself dangerously surrounded by hooded Klansmen. For this presentation, Epidemic! Presents: Step and Screw! was installed in a shed constructed in the gallery and illuminated by a single red light bulb, echoing the story told in the ink drawings. The artist created a new tableau of related site-specific drawings on the exterior walls of the shed and on the surrounding gallery walls, extending the dynamic narrative well beyond the 30 framed works and into the exhibition space and the visitor experience. Contemporary Focus: Trenton Doyle Hancock was curated by Irene Shum, Associate Curator of Contemporary Art. Major funding for the Contemporary Focus series was provided by Cecily E. Horton.

John Cage, New River Rocks and Smoke, 1990. Watercolor and smoke-applied soot on paper. 101 ¾ × 388 ½ in. (258.4 × 986.8 cm). Purchased with funds provided by Dominique de Menil in honor of the 10th anniversary of the Menil Collection. Photo: Paul Hester

John Cage (1912–1992), known primarily for his music compositions and influential writings, did not begin creating visual artworks until 1978. New River Rocks and Smoke, 1990, is his largest and last watercolor. Deeply influenced by eastern philosophies, Cage employed “chance operations,” a method he adapted from the ancient Chinese text I Ching. Rather than imposing structure and exercising intention, he asked questions about color, placement, and brush width that were answered by a custom-developed computer program that produced random numerical sequences, simulating a series of coin tosses. He made this drawing by first holding the large scroll over an open fire in eight-foot sections, allowing the smoke to deposit soot on the dampened surface. Next, Cage traced 15 large stones from the nearby New River, echoing the famous dry rock garden in the Zen temple Ryōanji in Kyoto, Japan, which served as a continuous source of inspiration for the artist. New River Rocks and Smoke was acquired by Dominique de Menil in 1997 on the occasion of the museum’s tenth anniversary. This exhibition marked the first time in 22 years that the work was on display. Collection Close-Up: John Cage was curated by Irene Shum, Associate Curator of Contemporary Art.

Contemporary Focus: Mineko Grimmer May 31–September 1, 2019

Installation view of Contemporary Focus: Mineko Grimmer. Photo: Paul Hester

Since the 1980s, the Japanese American artist Mineko Grimmer (b. 1949) has focused on issues of space, time, movement, and sound, creating what she refers to as “sound-producing kinetic sculptures.” She unites avant-garde approaches to acoustics in the tradition of John Cage and the conceptual principles of American Minimalism, seamlessly merging her training in Eastern and Western art practices to produce deeply meditative and sensorial works. Contemporary Focus: Mineko Grimmer featured Remembering Plato, 1992, a room-sized installation. In the work, pyramid-shaped blocks of ice with small pebbles embedded in them are suspended above two pools of water. As the ice melts, the pebbles fall, striking the brass rods and piano wires that are extended over each basin, thus producing a randomized musical performance. The resulting ripples in the water are reflected on the dark gallery walls. The title of the work refers to the allegory of the cave from Plato’s Republic, in which the philosopher Socrates posits that shadows cast on the wall of a cave are dim perceptions of reality. Contemporary Focus: Mineko Grimmer was curated by Irene Shum, Associate Curator of Contemporary Art. Major funding for the Contemporary Focus series was provided by Cecily E. Horton.

Collection Close-Up: The Graphic Work of Dorothea Tanning June 28–October 13, 2019

2019 Annual Report

The Menil Collection

Installation view of Collection Close-Up: The Graphic Work of Dorothea Tanning. Photo: Paul Hester

Dorothea Tanning (1910–2012) created more than 100 graphic works between 1950 and 2001. Thanks to a generous gift to the Menil Collection from Barbara and Jim Metcalf, the Menil now owns the complete set, many of which were displayed for the first time at the Menil in Collection Close-Up: The Graphic Work of Dorothea Tanning. These prints and illustrated books feature images that range from representation to near total abstraction, demonstrating the breadth of Tanning’s formal innovation. Experimenting with lithography, etching, and aquatint, the artist produced a variety of surface textures, some crystalline, others cloud-like. She often introduced reoccurring motifs into her dreamlike spaces, of which her ambiguously erotic embracing figures are the most recognizable. Tanning’s highly personal work addresses universal human emotions and experiences of ecstasy, elation, anxiety, and obsession. Complementing these works on paper, Tanning’s sculpture Cousins, 1970, one of the highlights of the Menil’s Surrealist collection, was also included in the exhibition. Collection Close-Up: The Graphic Work of Dorothea Tanning was curated by Clare Elliott, Associate Research Curator.

Outgoing Loans During Fiscal Year 2019, the Menil loaned 61 objects to the following 22 institutions in six countries: Anchorage Museum of History and Art Art Gallery of Ontario, Toronto Art Institute of Chicago Art League Houston Baltimore Museum of Art Berkeley Art Museum & Pacific Film Archive, University of California Contemporary Arts Museum Houston Guggenheim Museum Bilbao, Spain Heard Museum, Phoenix Institute of International Education, Houston The Metropolitan Museum of Art, New York Musée d’Orsay, Paris Museo Nacional Centro de Arte Reina Sofia, Madrid Museu d’Art Contemporani de Barcelona Museum of Cycladic Art, Athens Nasher Sculpture Center, Dallas Peabody Essex Museum, Salem, Masschusetts San Francisco Museum of Modern Art Tate Modern, London Whitney Museum of American Art, New York The Witte Museum, San Antonio

Installation view of Andy Warhol—From A to B and Back Again at the Whitney Museum of American Art, New York (November 12, 2018–March 31, 2019). Photo: Ron Amstutz

2019 Annual Report

The Menil Collection

Acquisitions

Siah Armajani Iranian, born 1939 Written Minneapolis (The Last Tomb), 2014 Ink on polyester film 36 × 222 in. (91.4 × 563.9 cm) Gift of Lannan Foundation Jeannette Montgomery Barron American, born 1956 Francesco Pellizzi, 1986 Gelatin silver print 5/25 Sheet: 13 15/16 × 10 7/8 in. (35.4 × 27.7 cm) Gift of the artist Katherine Bradford American, born 1942 Diver Black Board, 2018 Gouache on paper 14 × 11 1/4 in. (35.6 × 28.6 cm) Purchased with funds provided by an anonymous donor in honor of Doug Lawing and Michelle White on the occasion of the inauguration of the Menil Drawing Institute

2019 Annual Report

The Menil Collection

Amy Cutler American, born 1974 Semblance, 2019 Gouache on paper 29 1/2 × 55 in. (74.9 × 139.7 cm) Purchased with funds provided by the William F. Stern Acquisitions Fund Richard Diebenkorn American, 1922–1993 Untitled (Striped Blouse), 1966 Ink and graphite on paper 27 1/8 × 22 3/4 in. (68.8 × 57.8 cm) Gift of the Grant Family Collection in honor of the inauguration of the Menil Drawing Institute Roni Horn American, born 1955 Yet 2, 2013, 2017 Powdered pigment, graphite, charcoal, colored pencil, and varnish on paper 110 3/4 × 101 1/2 in. (281.3 × 257.8 cm) Purchased with funds provided by an anonymous donor; Michael Zilkha in honor of Michelle White; and The Brown Foundation, Inc. / Nancy Abendshein

Ellsworth Kelly American, 1923–2015 Menil Curve, 2015 Painted stainless steel Edition of 1, with 1 Artist’s Proof 114 3/8 × 115 × 1 1/2 in. (290.5 × 292.1 × 3.8 cm) Purchased with funds provided by the Taub Foundation; Suzanne Deal Booth; Clare Casademont and Michael Metz; Susanne and William E. Pritchard III; John R. Eckel, Jr. Foundation; Linda and George Kelly; Michael Zilkha; Marcy Taub Wessel; and Emily Rauh Pulitzer; with additional funds provided by the Campaign for the Menil Mel Kendrick American, born 1949 Gasket Drawing (bb), 2015 Carbon black pigment on cast paper 14 × 10 1/2 in. (35.6 × 26.7 cm) Purchased with funds provided by the William F. Stern Acquisitions Fund Glenn Ligon American, born 1960 Untitled (Orpheus and Eurydice), 2013 Neon lamps, paint, and electrical components 5/5 60 × 29 3/4 × 4 in. (152.4 × 75.6 × 10.2 cm) (installation height variable) Purchased with funds provided by the Mary Kathryn Lynch Kurtz Charitable Lead Trust, Bridget and Patrick Wade, and Franci Neely Rick Lowe American, born 1961 Untitled, 2017 Ink and acrylic paint on printed paper 35 3/4 × 24 in. (90.8 × 61 cm) Purchased with funds provided by the John R. Eckel, Jr. Foundation

Joe Overstreet American, born 1933 Study for Boxes, 1970 Acrylic and watercolor on paper 22 × 30 in. (55.9 × 76.2 cm) Purchased with funds provided by the John R. Eckel, Jr. Foundation in honor of Michelle White William Pope.L American, born 1955 Black Drawing: Black People Are the Garden Hose and Running Children, 2000–2002 Pen and marker on graph paper in artistdesignated frame Frame: 12 5/8 × 10 1/8 × 5/8 in. (32 × 25.7 × 1.5 cm) Purchased with funds provided by Clare Casademont and Michael Metz in honor of the inauguration of the Menil Drawing Institute Leon Polk Smith American, 1906–1996 Untitled, 1951 Paint on textured paper 24 × 19 in. (61 × 48.3 cm) Gift of the Leon Polk Smith Foundation Untitled, 1952 Graphite, heavy stock paper, and glossy metallic paper 30 × 22 1/4 in. (76.2 × 56.5 cm) Gift of the Leon Polk Smith Foundation Untitled, 1955 Paint on paper 22 × 18 7/8 in. (55.9 × 47.9 cm) Gift of the Leon Polk Smith Foundation Untitled, 1959 Paint on paper 23 × 17 7/8 in. (58.4 × 45.4 cm) Gift of the Leon Polk Smith Foundation

Black Drawing: Black People Are Waking Watermelon, 2000–2002 Pen and marker on graph paper in artistdesignated frame Frame: 12 3/4 × 10 1/8 × 5/8 in. (32.4 × 25.7 × 1.5 cm) Purchased with funds provided by Clare Casademont and Michael Metz in honor of the inauguration of the Menil Drawing Institute

White Drawing: White People Are the Field and the Cattle, 2000–2002 Pen and marker on graph paper in artistdesignated frame Frame: 12 5/8 × 10 1/8 × 5/8 in. (32 × 25.7 × 1.5 cm) Purchased with funds provided by Clare Casademont and Michael Metz in honor of the inauguration of the Menil Drawing Institute

Black Drawing: Black People Are the Sound, the Wing and the Shadow, 2000–2002 Pen and marker on graph paper in artistdesignated frame Frame: 12 3/4 × 10 1/8 × 5/8 in. (32.4 × 25.7 × 1.5 cm) Purchased with funds provided by Clare Casademont and Michael Metz in honor of the inauguration of the Menil Drawing Institute

White Drawing: White People Are the Jape and It’s Rattle, 2000–2002 Pen and marker on graph paper in artistdesignated frame Frame: 12 3/4 × 10 1/8 × 5/8 in. (32.4 × 25.7 × 1.5 cm) Purchased with funds provided by Clare Casademont and Michael Metz in honor of the inauguration of the Menil Drawing Institute

Black Drawing: Black People Are the End of Things Black, 2000–2002 Pen and marker on graph paper in artistdesignated frame Frame: 12 5/8 × 10 1/8 × 5/8 in. (32 × 25.7 × 1.5 cm) Purchased with funds provided by Clare Casademont and Michael Metz in honor of the inauguration of the Menil Drawing Institute

White Drawing: White People Are the Broken Light in the Refrigerator, 2000–2002 Pen and marker on graph paper in artistdesignated frame Frame: 12 5/8 × 10 1/8 × 5/8 in. (32 × 25.7 × 1.5 cm) Purchased with funds provided by Clare Casademont and Michael Metz in honor of the inauguration of the Menil Drawing Institute

White Drawing: White People Are the Snake and the Apple, 2000–2002 Pen and marker on graph paper in artistdesignated frame Frame: 12 3/4 × 10 1/8 × 5/8 in. (32.4 × 25.7 × 1.5 cm) Purchased with funds provided by Clare Casademont and Michael Metz in honor of the inauguration of the Menil Drawing Institute

White Drawing: White People Are the Measurement of Things Brown, 2000–2002 Pen and marker on graph paper in artistdesignated frame Frame: 12 3/4 × 10 1/8 × 5/8 in. (32.4 × 25.7 × 1.5 cm) Purchased with funds provided by Clare Casademont and Michael Metz in honor of the inauguration of the Menil Drawing Institute

White Drawing: White People Are the Breaking of Everyday Things, 2000–2002 Pen and marker on graph paper in artistdesignated frame Frame: 12 5/8 × 10 1/8 × 5/8 in. (32 × 25.7 × 1.5 cm) Purchased with funds provided by Clare Casademont and Michael Metz in honor of the inauguration of the Menil Drawing Institute

Michelle Stuart American, born 1933 #38 Moray Hill, 1973 Graphite on rock-marked paper 19 × 15 in. (48.3 × 38.1 cm) Gift of Cecily Horton in honor of the opening of the Menil Drawing Institute

Antoni Tàpies Spanish, 1923–2012 Untitled, ca. 1970 Mixed media on parchment 11 7/16 × 18 11/16 in. (29.1 × 47.5 cm) Purchased with funds provided by the William F. Stern Acquisitions Fund Al Taylor American, 1948–1999 Rainbow (Sort of a Thing), 1988 Graphite, colored inks, and wash on paper 14 × 11 in. (35.6 × 27.9 cm) Gift of Christina and Norman Diekman Untitled (Wire Instrument), 1990 Ink and wax crayon on paper 18 × 11 1/2 in. (45.7 × 29.2 cm) Gift of Christina and Norman Diekman Alma Thomas American, 1891–1978 Untitled, ca. 1969 Acrylic, graphite, and watercolor on paper 9 × 9 in. (22.9 × 22.9 cm) Gift of Susan and Dit Talley in memory of Bob and Elsa Kaim, Menil Collection enthusiasts Terry Winters American, born 1949 First Group, 1, 2009 Graphite and gouache on paper 22 1/2 × 30 1/8 in. (57.2 × 76.5 cm) Gift of Christina and Norman Diekman

Acquisitions Gifts of Art from the Carpenter Collection

2019 Annual Report

The Menil Collection

Ceremonial Staff or Spear Point (To‘o), 18th century Tubuai (Austral) Islands, possibly Rurutu Island Wood. 21 7/8 × 2 1/8 × 2 1/8 in. (55.6 × 5.4 × 5.4 cm) Gift from the Adelaide de Menil and Edmund Carpenter Collection.

Since the Menil Collection opened in 1987, many exceptional and historically significant artworks from the Adelaide de Menil and Edmund S. Carpenter Collection have been featured in the Arts of the Pacific Islands gallery. Adelaide, the daughter of John and Dominique de Menil, and her husband Edmund S. Carpenter (1922–2011) assembled their collection between the late 1960s and 1980s. In the late 1960s, Carpenter took a position as a professor at the University of Papua New Guinea and, with de Menil, conducted anthropological research among the diverse peoples living along the tributaries of the Sepik River. They acquired many of the works during their travels in the region and from auctions of important historic collections. Routinely cited as being among the finest examples of art from the Pacific Islands, several of these works have been part of landmark exhibitions. In 2019, Adelaide de Menil made a momentous full and promised gift to the Menil Collection of 27 works from her collection of art from the Pacific Islands and ancient Americas. Thanks to Edmund Carpenter’s lasting devotion to the arts of indigenous peoples and the generosity of Adelaide de Menil, the museum offers visitors one of the most extraordinary experiences of Polynesian and Melanesian visual culture in the United States.

Figure (Yipwon), late 19th–early 20th century Alamblak peoples Papua New Guinea, East Sepik Province, Karawari and Wagupmeri Rivers Wood, paint, shells, cassowary feathers, and cloth pouch 80 3/4 × 15 1/4 × 8 in.(205.1 × 38.7 × 20.3 cm) Gift from the Adelaide de Menil and Edmund Carpenter Collection

Headdress or Wig, early–mid 20th century Huli peoples Papua New Guinea, Southern Highlands, Komo-Margarima region Hair, natural pigments, birds, feathers, plant fibers, and flowers 16 × 30 × 18 in. (40.6 × 76.2 × 45.7 cm) Gift from the Adelaide de Menil and Edmund Carpenter Collection

Headdress or Wig, early–mid 20th century Huli peoples Papua New Guinea, Southern Highlands, Komo-Margarima region Hair, natural pigments, birds, feathers, plant fibers, and flowers 22 × 44 × 18 in. (55.9 × 111.8 × 45.7 cm) Gift from the Adelaide de Menil and Edmund Carpenter Collection

Headdress or Wig, early–mid 20th century Huli peoples Papua New Guinea, Southern Highlands, Komo-Margarima region Hair, natural pigments, birds, feathers, plant fibers, and flowers 22 × 36 × 18 in. (55.9 × 91.4 × 45.7 cm) Gift from the Adelaide de Menil and Edmund Carpenter Collection

Headdress or Wig, early–mid 20th century Huli peoples Papua New Guinea, Southern Highlands, Komo-Margarima region Hair, natural pigments, birds, feathers, plant fibers, and flowers 30 × 48 × 18 in. (76.2 × 121.9 × 45.7 cm) Gift from the Adelaide de Menil and Edmund Carpenter Collection

Handle of a Fly-whisk or Fan (Tahiri), 19th century Tubuai (Austral) or Society Islands Wood and cord 22 × 1 1/2 × 1 1/2 in. (55.9 × 3.8 × 3.8 cm) Gift from the Adelaide de Menil and Edmund Carpenter Collection

Dance Ornament, late 19th–early 20th century Possibly Iatmul or Chambri (Tchamburi) peoples Papua New Guinea, East Sepik Province, Middle Sepik River and Lake Chambri regions Wood, paint, feather, cord, and plant materials 25 × 15 1/2 × 14 1/2 in. (63.5 × 39.4 × 36.8 cm) Gift from the Adelaide de Menil and Edmund Carpenter Collection Drum (Pahu ra), ca. 1860 Tubuai (Austral) Islands Wood, sharkskin, fibers, and pandanus 52 5/8 × 10 1/2 (diameter) in. (133.7 × 26.7 cm) Gift from the Adelaide de Menil and Edmund Carpenter Collection Staff God (Atua or Atua Rakua), 18th century Cook Islands, Rarotonga Island Wood 30 7/8 × 6 3/4 × 3 in. (78.4 × 17.1 × 7.6 cm) Gift from the Adelaide de Menil and Edmund Carpenter Collection Ceremonial Staff or Spear Point (To‘o), 18th century Tubuai (Austral) Islands, possibly Rurutu Island Wood 21 7/8 × 2 1/8 × 2 1/8 in. (55.6 × 5.4 × 5.4 cm) Gift from the Adelaide de Menil and Edmund Carpenter Collection

Acquisitions Gifts of Art from the Francesco Pellizzi Collection

George Condo, A Man Is Greater Than His Brain, 1985. Gift of Francesco Pellizzi. © George Condo / Artists Rights Society (ARS), New York. Photo: Paul Hester

Female Figure (Nyeleni or Jonyeleni), early–mid 20th century Bamana or Related Mande-speaking peoples Mali Wooed and metal 24 1/2 × 9 1/2 × 11 1/4 in. (62.2 × 24.1 × 28.6 cm) Gift of Francesco Pellizzi George Condo American, born 1957 A Man Is Greater Than His Brain, 1985 Oil on canvas 67 × 58 1/8 in. (170.2 × 147.6 cm) Gift of Francesco Pellizzi Bruce Conner American, 1933–2008 Untitled, 1970 Ink on paper 19 1/2 × 21 1/8 in. (49.5 × 53.6 cm) Gift of Francesco Pellizzi Figure (Dege), late 19th–20th century Dogon Peoples Mali Wood 31 1/2 × 6 1/2 × 6 1/2 in. (80 × 16.5 × 16.5 cm) Gift of Francesco Pellizzi Mask, late 19th–mid 20th century Dogon, Mossi, or Related Peoples Burkina Faso or Mali Wood 51 × 7 1/2 × 10 3/4 in. (129.5 × 19.1 × 27.3 cm) Gift of Francesco Pellizzi

An anthropologist and co-founding editor of the academic journal RES Journal of Anthropology and Aesthetics, Francesco Pellizzi has long been an ardent supporter of the Menil Collection. He was a member of the Menil Foundation Board of Trustees from 1979 to 2005 and continues to serve on the museum’s Collections Committee. His gift of sixteen works from his eclectic private collection included compelling examples of African and Pacific Islands sculptures, as well as works by George Condo, Jasper Johns, Kenneth Noland, and other contemporary artists represented in the Menil’s permanent collection.

Guardian Figure (Bulul or Tinagtaggu) for Granary, early 20th century Ifugao or Related Igorot Peoples Philippines, Luzon region, Cordillera Administrative Region, Ifugao Province Wood and sacrificial encrustations 24 1/2 × 7 3/4 × 7 in. (62.2 × 19.7 × 17.8 cm) Gift of Francesco Pellizzi Jasper Johns American, born 1930 Numerals, 0 through 9, 1969–70 Lead relief with polystyrene and wood backing in aluminum frame 59/60 30 1/4 × 23 5/8 × 1 1/2 in (76.8 × 59.9 × 3.8 cm) Gift of Francesco Pellizzi Bread, 1969 From the series Lead Relief Lead relief with laminated embossed paper and hand coloring in oil 32/60 23 1/4 × 17 1/4 × 1 1/2 in. (59.1 × 43.8 × 3.8 cm) Gift of Francesco Pellizzi Donald Judd American, 1928–1994 Untitled, 1972 Ink on paper 19 1/2 × 24 1/2 in. (49.5 × 62.2 cm) Gift of Francesco Pellizzi Grade Spirit Figure, 20th century Vanuatu, possibly Malakula or Ambrym Stone, paint, clay, and plant material 12 × 5 1/4 × 4 in. (30.5 × 13.3 × 10.2 cm) Gift of Francesco Pellizzi

Ridgepole Finial (P’naret) for Meeting House (Nakamal), early–mid 20th century Vanuatu, Malakula, Malampa Province Tree fern and paint 39 1/2 × 13 × 14 1/2 in. (100.3 × 33 × 36.8 cm) Gift of Francesco Pellizzi Funerary Image, mid 20th century Vanuatu, Malakula Plant materials, paint, cane, and cord 12 1/2 × 17 × 11 in. (31.8 × 43.2 × 27.9 cm) (not including cord) Gift of Francesco Pellizzi Kenneth Noland American, 1924–2010 Corner, 1974 Acrylic on canvas 28 11/16 × 9 13/16 in. (72.8 × 24.9 cm) Gift of Francesco Pellizzi David Novros American, born 1941 Untitled, 1973 Oil on canvas 61 × 92 3/8 in. (154.9 × 234.7 cm) Gift of Francesco Pellizzi Untitled, 1974 Oil on canvas Top panel: 123 3/4 × 82 in. (314.3 × 208.3 cm) Gift of Francesco Pellizzi Power Object (Nkisi Mbumba), 20th century Vili or Related Kongo Peoples Angola or Republic of Congo Primate skull, cane, paint, cloth, and plant fiber 7 1/4 × 8 × 11 1/2 in. (18.4 × 20.3 × 29.2 cm) Gift of Francesco Pellizzi

Acquisitions

Walter De Maria, Mirror, ca. 1961. Colored pencil on paper, 11 × 8 1/2 in. (27.9 × 21.6 cm). Purchased with funds provided by Louisa Stude Sarofim. © 2020 The Estate of Walter De Maria. Photo: Paul Hester

Thanks to the generosity of Louisa Stude Sarofim, the Menil Collection was able to purchase an important selection of drawings by Walter De Maria (1935–2013) in Fiscal Year 2019. The vast majority of these 519 works, dated 1959–64, come directly from the artist’s estate. Most have never been exhibited before and represent the single most significant group of early drawings produced by the artist. The wide range of works consists of, but is not limited to, diagrams, instructions for sculptures and performances, conceptual musings, drafts of essays, lighthearted renderings of landscapes, and images of his everyday life. The early 1960s were exceptionally generative years for De Maria. Many of his most revered projects find their genesis in these drawings. Included are images that anticipate his Lightning Field, 1977, New York Earth Room, 1977, and Vertical Earth Kilometer, 1977. An area of primary importance within this selection are the drawings that relate to De Maria’s participatory plywood constructions that engage the viewer with “meaningless work”—a phrase De Maria employed as an ersatz manifesto for his practice. In 2015, the Menil acquired twenty-five early wood sculptures and seven related paintings from the artist’s estate, which will be the subject of a 2021 exhibition organized by the Menil. In addition, the museum is home to three paintings from The Statement Series and three early stainless steel works: Small Landscape, 1965–68, High Energy Bar, 1966, and Channel Series: Triangle, Circle, Square, 1972. With the addition of this recent gift of drawings, the Menil Collection has become one of the most significant repositories of De Maria’s art, making the museum an important destination for scholars of the artist’s work.

2019 Annual Report

The Menil Collection

Walter De Maria, Rope Pull Obelisk, ca. 1961. Colored pencil on colored paper, 12 × 9 in. (30.5 × 22.9 cm). Purchased with funds provided by Louisa Stude Sarofim. © 2020 The Estate of Walter De Maria. Photo: Paul Hester

Acquisitions Bruce Davidson Bruce Davidson American, born 1933 346 photographs, various media, 1957-2013 Anonymous gift

Acquisitions Gifts of Art from the Stephanie and John Smither Collection Stephanie Smither (1941–2016) and her husband, John Smither (19402002), started acquiring the work of self-taught and visionary artists in the early 1980s. With an intrepid spirit, they traveled, researched, and developed deep friendships with many artists in their collection. The 2016 exhibition As Essential as Dreams: Self-Taught Art from the Collection of Stephanie and John Smither celebrated their remarkable and significant gift of work to the Menil by artists who defy a traditional art history.

Eddie Arning American, 1898–1993 Come to Marlboro Country Where the Flavor Is, ca. 1970 Crayon and graphite on paper 21 7/8 × 31 3/4 in. (55.6 × 80.6 cm) Gift of Stephanie and John Smither Washington, Kennedy, Johnson, 1960s Crayon and graphite on paper 25 × 19 in. (63.5 × 48.3 cm) Gift of Stephanie and John Smither Hector Alonzo Benavides American, 1952–2005 Untitled (“to my mother”), ca. 2000 Ink on poster board Sight: 31 5/8 × 39 5/8 in. (80.3 × 100.6 cm) Gift of Stephanie and John Smither William Alvin Blayney American, 1917–1986 Separation between Heaven and Hell, ca. 1980 Oil, sand, ink, ballpoint pen, and graphite on hardboard 35 1/2 × 18 1/4 in. (90.2 × 46.4 cm) Gift of Stephanie and John Smither Georgia Blizzard American, 1919–2002 Cheating Archer, 1998 Ceramic 10 1/2 × 6 1/4 × 5 3/4 in. (26.7 × 15.9 × 14.6 cm) Gift of Stephanie and John Smither Visitation of Angels, 1997 Ceramic 6 1/4 × 9 3/4 × 5 1/2 in. (15.9 × 24.8 × 14 cm) Gift of Stephanie and John Smither

Reta, ca. 1990s Ceramic 13 3/4 × 6 1/2 × 7 1/4 in. (34.9 × 16.5 × 18.4 cm) Gift of Stephanie and John Smither

Nativity, 1983 Enamel on tin 35 × 28 in. (88.9 × 71.1 cm) Gift of Stephanie and John Smither

Cary the Mail Order Bride, 1990 Ceramic 13 1/2 × 6 1/4 × 7 in. (34.3 × 15.9 × 17.8 cm) Gift of Stephanie and John Smither

James Castle American, 1899–1977 Untitled, 20th century Pigment and soot on found paper 6 1/4 × 8 7/8 in. (15.9 × 22.5 cm) Gift of Stephanie and John Smither

Chamber Maid, 1994 Ceramic 7 3/4 × 6 × 6 3/4 in. (19.7 × 15.2 × 17.1 cm) Gift of Stephanie and John Smither Homeless, 1998 Ceramic 14 3/4 × 6 1/2 × 5 1/2 in. (37.5 × 16.5 × 14 cm) Gift of Stephanie and John Smither François Burland, Swiss, born 1958 Untitled, ca. 2006 Ink and paint on paper 19 × 23 3/8 in. (48.3 × 59.4 cm) Gift of Stephanie and John Smither Untitled, ca. 2006 Ink, paint, and watercolor on paper 19 1/4 × 26 in. (48.9 × 66 cm) Gift of Stephanie and John Smither Untitled, ca. 2006 Ink and paint on paper 19 1/4 × 26 7/8 in. (48.9 × 68.3 cm) Gift of Stephanie and John Smither David Butler American, 1898–1997 Boat with Two Fishermen, 1984 Enamel on tin 23 5/8 × 38 3/4 × 5 1/2 in. (60 × 98.4 × 14 cm) Gift of Stephanie and John Smither

Nek Chand Indian, 1924–2015 Untitled [Garden Figure], mid 20th–early 21st century Tile and cement 28 1/2 × 13 1/4 × 13 in. (72.4 × 33.7 × 33 cm) Gift of Stephanie and John Smither Thornton Dial American, 1928–2016 Big Mouth Lady and Long Neck Bird, 1991 Watercolor, charcoal, and graphite on paper 29 7/8 × 22 3/8 in. (75.9 × 56.8 cm) Gift of Stephanie and John Smither Rooster Picture, 1991 Watercolor, charcoal, and graphite on paper 30 1/4 × 22 1/8 in. (76.8 × 56.2 cm) Gift of Stephanie and John Smither Friends, 1996 Watercolor, charcoal, and graphite on paper 29 7/8 × 22 5/8 in. (75.9 × 57.5 cm) Gift of Stephanie and John Smither

Tiger on the Run, 1992 Oil paint, spray paint, rope, and rubber on canvas 48 3/4 × 28 1/4 in. (123.8 × 71.8 cm) Gift of Stephanie and John Smither Hiroyuki Doi Japanese, born 1946 Untitled, 1990 Ink on washi 25 3/8 × 39 1/4 in. (64.5 × 99.7 cm) Gift of Stephanie and John Smither Untitled, 2004 Ink on paper 23 3/8 × 16 1/2 in. (59.4 × 41.9 cm) Gift of Stephanie and John Smither Sam Doyle American, 1906–1985 Untilted: Whooping Boy, mid 20th century House paint on found roof tin 38 3/4 × 25 1/2 in. (98.4 × 64.8 cm) Gift of Stephanie and John Smither Howard Finster American, 1916–2001 Summerville, 1983 Enamel paint, wood, metal, glass, and artificial flowers 19 1/2 × 26 × 1 3/4 in. (49.5 × 66 × 4.4 cm) Gift of Stephanie and John Smither

2019 Annual Report

The Menil Collection

Untitled (“leopard”), 20th century Enamel on glass and wood 10 × 24 1/2 × 1 in. (25.4 × 62.2 × 2.5 cm) Gift of Stephanie and John Smither Madge Gill British, 1882–1961 Untitled (Three Faces), early–mid 20th century Ink on paper 25 × 20 in. (63.5 × 50.8 cm) Gift of Stephanie and John Smither Oscar Hadwiger American, 1891–1989 Untitled, 1975 Wood, beads, sequins, embossed vinyl labeling tape, and cardboard 14 × 8 1/2 × 11 3/4 in. (35.6 × 21.6 × 29.8 cm) Gift of Stephanie and John Smither Untitled, 1980 Wood, beads, glass, plastic, brass, leather, embossed vinyl labeling tape, and tape 34 × 18 × 24 3/4 in. (86.4 × 45.7 × 62.9 cm) Gift of Stephanie and John Smither

Bessie Harvey American, 1929–1994 Untitled ( figure in gold cloth), 20th century Found tree limbs, fabric, and paint 57 × 15 3/4 × 9 1/8 in. (144.8 × 40 × 23 cm) Gift of Stephanie and John Smither

Jon Serl American, 1894–1993 At the Best School, ca. 1967–75 Oil on hardboard 48 1/2 × 24 1/2 in. (123.2 × 62.2 cm) Gift of Stephanie and John Smither

Untitled ( figure with brown and black cloth), 20th century Found tree limbs, fabric, and paint 55 × 11 1/4 × 15 1/4 in. (139.7 × 28.6 × 38.7 cm) Gift of Stephanie and John Smither

Back Yard Circus, ca. 1967–75 Oil on wood 48 1/4 × 57 1/2 in. (122.6 × 146.1 cm) Gift of Stephanie and John Smither

Solange Knopf Belgian, born 1957 Spirit Codex No. 14, 2013 Acrylic, colored pencil, and graphite on paper 70 1/4 × 39 1/8 in. (178.4 × 99.4 cm) Gift of Stephanie and John Smither Sister Gertrude Morgan American, 1900–1980 After this there was a feast of the Jews, ca. 1960s Watercolor, ink, and graphite on paper 15 × 19 7/8 in. (38.1 × 50.5 cm) Gift of Stephanie and John Smither Titanic SHIP, ca. 1960s Acrylic, watercolor, graphite, and ink on cardstock 13 1/2 × 20 1/4 in. (34.3 × 51.4 cm) Gift of Stephanie and John Smither John B. Murray American, 1908–1988 Untitled, ca. 1978–1988 Watercolor and ink on paper Sight: 19 × 25 in. (48.3 × 63.5 cm) Gift of Stephanie and John Smither Untitled, 20th century Watercolor and ink on paper 24 × 17 7/8 in. (61 × 45.4 cm) Gift of Stephanie and John Smither Martín Ramírez Mexican, active in the United States, 1885–1960 Untitled (Horse and Rider), ca. 1953 Crayon and graphite on pieced paper 27 5/8 × 24 in. (70.2 × 61 cm) Gift of Stephanie and John Smither

Charles Steffen American, 1927–1995 The Red Chair, Sunflower Nude, 1994 Colored pencil on white drawing paper 33 1/4 × 24 in. (84.5 × 61 cm) Gift of Stephanie and John Smither Johnnie Swearingen American, 1908–1993 Creation, ca. 1992 Oil on canvas 46 1/4 × 56 1/4 in. (117.5 × 142.9 cm) Gift of Stephanie and John Smither God Loves You, 1991 Oil on canvas 36 × 36 in. (91.4 × 91.4 cm) Gift of Stephanie and John Smither Bill Traylor American, 1854–1949 Untitled, ca. 1943 Graphite on cardstock 11 5/16 × 6 3/4 in. (28.7 × 17.1 cm) Gift of Stephanie and John Smither Untitled (Three Men on a Seesaw), 1939–42 Ink on paper Sight: 8 × 10 5/8 in. (20.3 × 26.9 cm) Gift of Stephanie and John Smither Charlie Willeto American, 1906–1964 Untitled, ca. 1961–64 Wood, feather, and paint 20 1/8 × 12 × 2 1/2 in. (51.1 × 30.5 × 6.4 cm) Gift of Stephanie and John Smither Untitled, ca. 1961–64 Wood, wax crayon, and paint 17 5/8 × 6 1/4 × 2 in. (44.8 × 15.9 × 5.1 cm) Gift of Stephanie and John Smither Untitled, ca. 1961–64 Wood, feather, and paint 9 7/8 × 3 5/8 × 3 3/4 in. (25.1 × 9.2 × 9.5 cm) 10 1/2 × 3 5/8 × 3 3/4 in. (26.7 × 9.2 × 9.5 cm) Gift of Stephanie and John Smither

Untitled, ca. 1961–64 Wood and paint 16 3/4 × 8 1/4 × 2 in. (42.5 × 21 × 5.1 cm) Base: 1/2 × 7 3/4 × 5 in. (1.3 × 19.7 × 12.7 cm) Gift of Stephanie and John Smither Adolf Wölfli Swiss, 1864–1930 Der Frienis=Barge, ca. 1920 Colored pencil and graphite on paper 37 × 12 in. (94 × 30.5 cm) Gift of Stephanie and John Smither Joseph E. Yoakum American, 1886–1972 Puget Sound, early 1960s Watercolor on pen on paper 9 × 12 in. (22.9 × 30.5 cm) Gift of Stephanie and John Smither

Carlo Zinelli Italian, 1916–1974 Untitled, 1972 Tempera on paper 19 5/8 × 27 1/2 in. (49.8 × 69.9 cm) Gift of Stephanie and John Smither Untitled, 1972 Tempera on paper 19 3/4 × 27 1/2 in. (50.2 × 69.9 cm) Gift of Stephanie and John Smither Untitled, 1969 Tempera on paper 27 × 19 3/8 in. (68.6 × 49.3 cm) Gift of Stephanie and John Smither

Anna Zemánková Czech, 1908–1986 Untitled, ca. 1965–70 Colored pencil and crayon on paper Sight: 23 7/8 × 34 3/8 in. (60.7 × 87.4 cm) Gift of Stephanie and John Smither Domenico Zindato Italian, born 1966 Untitled, 1994 Ink and pastel on paper 11 1/2 × 7 5/8 in. (29.2 × 19.4 cm) Gift of Stephanie and John Smither Untitled, 1995 Ink and pastel on paper 9 1/4 × 6 5/8 in. (23.5 × 16.8 cm) Gift of Stephanie and John Smither Untitled, 1994 Ink and pastel on paper 9 7/8 × 7 in. (25.1 × 17.8 cm) Gift of Stephanie and John Smither Untitled, 1991 Ink on paper 7 × 9 3/8 in. (17.8 × 23.8 cm) Gift of Stephanie and John Smither Untitled, 1995 Ink on paper 7 3/8 × 9 1/2 in. (18.7 × 24.1 cm) Gift of Stephanie and John Smither Untitled, 1996 Ink on paper 7 × 9 1/4 in. (17.8 × 23.5 cm) Gift of Stephanie and John Smither

Thornton Dial, Tiger on the Run, 1992. © Estate of Thornton Dial / Artists Rights Society (ARS), New York. Photo: Paul Hester

Scholarship

The Menil Collection

The title comes from a notebook entry the artist made in 1968: “Remove the signs of ‘thought.’ It is not the ‘thought’ which needs showing. The application of the eye. The business of the eye. The condition of a presence. The condition of being here.” Johns described his now canonical paintings of flags and targets as of “things the mind already knows.” Making, or re-making, such things reveals how both perception and presence are constructed and formed. Drawings in graphite, ink, charcoal, colored pencil, pastel, watercolor, colored ink, acrylic, water-soluble encaustic, gouache, and oil stick on paper and plastic surfaces reveal diverse means at play and show the artist’s technical mastery. They reveal the very possibilities of what drawing can be. Forty-one beautifully printed reproductions and ten full- or double-page details plus an insightful essay by David Breslin make The Condition of Being Here an essential tool for close looking at the drawings of Jasper Johns.

The Condition of Being Here: Drawings by Jasper Johns David Breslin 7 1/4 × 9 1/2 inches 110 pages Flexibound Published November 2018

ISBN 978-0-300-22930-1

Menil Drawing Institute | The Menil Collection

The six-volume Jasper Johns Catalogue Raisonné of Drawing was a decade in the making. After the initial proposal to Jasper Johns in 2007 by then-director Josef Helfenstein and inaugural Chief Curator of the Menil Drawing Institute Bernice Rose, the project research was conducted in a New York office over a five-year span. It benefited from the insights and expertise of Rose, project director Eileen Costello, object examiner Kate Ganz, as well as noted Johns scholar Roberta Bernstein and former Menil curators Allegra Pesenti and David Breslin. They and three researchers worked closely with the artist and his studio team to document every drawing Johns created from 1954 through 2014. Following his arrival in 2011, Director of Publishing Joseph Newland kept the project on track. He, manuscript editor Betsy Zinn, and graphic designer Porter Gillespie worked closely with master printer Massimo Tonolli and the staff at Trifolio in Verona, Italy, to ensure that the book was edited, designed, and printed to the highest standards. Every effort was made to see that the full-page reproductions are as faithful to the originals as possible, and the six-color printing incorporates a custom silver ink mix for the numerous graphite drawings. This landmark catalogue was released in November 2018 in conjunction with the opening of the Menil Drawing Institute. This catalogue was generously supported by Louisa Stude Sarofim; Janie C. Lee; The Brown Foundation, Inc. / Nancy Abendshein; Suzanne Deal Booth; Nancy and Robert J. Carney; Clare Casademont and Michael Metz; Cindy and David Fitch; Diana and Russell Hawkins; Caroline Huber; George and Linda Kelly; Anne and David Kirkland; Adelaide de Menil; Susan and Francois de Menil; Marilyn Oshman; Karen and Harry Pinson; Leslie and Shannon Sasser; James William Stewart, Jr. ; Mark Wawro and Melanie Gray; and Marcy Taub Wessel.

PRINTED IN ITALY

Menil | Yale

2019 Annual Report

The Condition of Being Here: Drawings by Jasper Johns investigates how chronology and recurrence function in this master draftsman’s art. Motifs such as a target or a flag, for example, might appear, then recur decades later. Spanning 62 years with works from 1954 to 2016, the selection maps introductions, continuities, and breaks among motifs, resembling the separate but parallel tracks that age and memory follow.

The Condition of Being Here Drawings by Jasper Johns

Photos: Porter Gillespie

Jasper Johns Catalogue Raisonné of Drawing Six volumes 9 ¾ × 12 inches 1850 pages 926 illustrations Hardcover with slipcases Published November 2018

The Condition of Being Here Drawings by Jasper Johns

Publishing

Menil Drawing Institute

Arguably the most important living artist in America, Jasper Johns (b. 1930) has been a leading advocate of drawing as an artistic genre in its own right, not just a preparatory medium for other works. This catalogue brings together 41 of Johns’s drawings from more than 60 years of his illustrious career, beginning with selections from 1954, when his mature practice began. It encompasses his most famous recurring motifs, including flags, targets, and numbers, and the essay by David Breslin insightfully contextualizes this reiterative aspect of Johns’s career. Exquisite reproductions and large-scale details printed with special inks reveal the touch and process of this master draftsman, imparting to the reader a feeling of being in close contact with the artist himself. As this intimate book shows, Johns’s art, at once simple and enigmatic, is above all a meditation on the world around him, a constant investigation of what he calls “the condition of being here.”

Roni Horn: When I Breathe, I Draw Michelle White 7 1/2 × 9 1/2 inches 192 pages Flexibound Published February 2019 Describing drawing as her “primary activity” for over 30 years, Roni Horn (b. 1955) has created innovative and experimental works on paper marked by both conceptual and technical complexity. This volume contains a selection of the artist’s drawings from the early 1980s through 2016. The text delves into Horn’s unique approach to mark-making and her process of cutting up and reassembling words and images. The sumptuous illustrations of this catalogue feature details of Horn’s large-scale works on paper, the artist’s series of cadmium red drawings, and her cutand-pasted word drawings that combine well-known literary texts with idiomatic expressions.

Library

To Place by Roni Horn. Photo: Anthony Flores

The Menil Library added more than 1000 new books, periodicals, and digital resources to its collection during Fiscal Year 2019. George Hugnet’s Huit jours à Trébaumec was acquired with funds from the Menil Library’s Special Collections Endowment. In addition, Roni Horn donated To Place, a ten-volume set of her artist books, and Janet Siroto gave 171 important texts on African art and anthropology from the library of her father, the late Dr. Leon Siroto. Appointments can be made to visit the Library and its Special Collections; digital resources are freely available via the Menil Library Catalog, the Online Computer Library Center Union Catalog, and the Getty Research Portal.

Vivian L. Smith Foundation Symposium Little Magazines: The Revolution Will Be Circulated May 16, 2019

Selected little magazines from the Menil Library Special Collections.

Archives In Fiscal Year 2019, the Menil Archives received more than 90 linear feet of documents and 104 GB of digital records from 11 Menil departments and four independent donors. In addition, the Archives fielded 401 internal and external inquiries and hosted 128 on-site research visits. Requests ranged from one-off questions about the Menil’s exhibition history to in-depth scholarship for book projects, dissertations, and documentaries. Preservation of vulnerable audiovisual materials is another focus of the Archive. Last year, seven 16mm films by the artist Roy Fridge and a fragile 1997 audiocassette recording of French-American sculptor, painter, and filmmaker Niki de Saint Phalle were turned into highquality digital files. Seven 16mm films by artist Roy Fridge were digitized by Menil Archives. Photo: Anthony Flores

The Menil Collection

Morgan-Menil Fellowship

2018–19 Morgan-Menil Fellow Antonia Pocock (standing left) delivers a presentation on her research in the Janie C. Lee Drawing Room at the Menil Drawing Institute. Photo: Casey Betts

2019 Annual Report

Proliferating during the first half of the 20th century, little magazines were vehicles for changing the world through literature and visual art, and they constituted an important public face of modernism. Whether through the presentation of political and social subject matter or by seeking the expansion of human thought and experience, these periodicals reflected the revolutionary intents of their communities. They were small-circulation, non-commercial, ephemeral publications that also served as virtual meeting places, salons, and galleries: forums where artists, authors, editors, critics, and readers exchanged and considered new and often radical ideas and creative experiments. Paying particular attention to Dada and Surrealism, this symposium explored the role that little magazines played in the transmission, reception, and circulation of modernist ideas in the transatlantic world. Speakers — Mary Ann Caws, Distinguished Professor Emerita and Resident Professor of English, French, and Comparative Literature, City University of New York — Lori Cole, Associate Director and Clinical Associate Professor at the Center for Experimental Humanities, New York University — Katharine Conley, Dean of the Faculty of Arts and Sciences, William & Mary Moderated by Douglas Cushing, PhD candidate in Art History at the University of Texas at Austin and 2018–19 Vivian L. Smith Foundation Fellow at the Menil Collection. Since 2007, the Vivian L. Smith Foundation has generously supported a fellowship at the Menil Collection for a graduate student from the University of Texas at Austin.

Established in 2012, the Morgan-Menil Predoctoral Fellowship is awarded to scholars with demonstrated expertise in the field of modern and contemporary drawing. Antonia Pocock, the MorganMenil Fellow for the 2018–19 academic year, spent the fall in residence at the Morgan Library & Museum in New York and the spring semester in Houston. She completed her doctoral studies at the Institute of Fine Arts, New York University, where her focus was modern and contemporary art in the United States and Europe. Antonia’s dissertation, “The Heartland of Pop: Claus Oldenburg and Jeff Koons in Chicago,” interrogates the prevailing New York–centric narrative of Pop and Neo-Pop Art, and proposes a new genealogy for the two artists. During her time at the Menil, Pocock’s research focused on a collection of works on paper from Oldenburg’s series The Street that are housed at the Menil Drawing Institute.

Conservation

The Menil Collection’s Conservation Department’s hard work was a critical component to the successful reinstallation of the main museum building. Of the 786 artworks selected for display, 600 required cleaning. In addition, 150 paintings were reframed, and 60 custom mounts were fabricated. Prior to the move into the state-of-the-art Suzanne Deal Booth Conservation Lab at the Menil Drawing Institute, paper conservators examined all of the drawings in the museum’s permanent collection. Elsewhere, object conservators oversaw the treatment of two large outdoor steel sculptures by Michael Heizer: Dissipate, 1968/1970, and Rift, 1968/1982, and the reinstallation of the works to their new site adjacent to the Menil Drawing Institute.

Photo: Paul Hester

Artist Documentation Program Since 1990, the Artists Documentation Program [ADP] has recorded interviews with contemporary artists in a gallery, museum, or studio setting. Conservators ask artists about their materials and techniques as well as the preservation and presentation of their art. These videos can be found at www.ADP.Menil.org. The Artists Documentation Program and an associated advanced training fellowship at the Menil Collection are generously supported by the Andrew W. Mellon Foundation.

2019 Annual Report

The Menil Collection

Video still from the ADP interview with Mineko Grimmer by the 2018–19 ADP Fellow Christina McLean and the Menil’s Assistant Objects Conservator Meaghan Perry (left to right)

Collection Management The Menil’s Collection Management Department consists of Registration, Art Services, Collection Database Administration, and Imaging Services. The Registration Department oversees the storage and transportation of artworks in the Menil’s permanent collection and coordinates exhibition logistics, including incoming and outgoing loans, fine arts insurance, loan and exhibition contracts, shipping arrangements, and couriers. In Fiscal Year 2019, Registration processed 176 individual shipments which contained a total of 3,933 objects. Since the museum’s opening in June 1987, the Menil’s art preparators have installed more than 200 temporary exhibitions in addition to permanent collection rotations. The reopening of the main museum building in September 2019 required a spectacular effort: Art Services recorded 18,252 object moves over the course of the year, including the transportation of 1,942 works on paper to new storage spaces in the Menil Drawing Institute. The Collection Database team uploads data on artworks from the permanent collection to the Menil’s internal database and website (menil. org). More than a thousand entries are currently available to the public, 157 of which were added in Fiscal Year 2019. In addition, the museum’s collection management software supports eMuseum, an internal site that provides staff with a digital catalogue of more than 15,000 accessioned objects. Thanks to a grant from Houston Endowment, hundreds of works from the museum’s permanent collection were photographed during Fiscal Year 2019. Imaging Services also continued to digitize archival materials and rare books. Securing reproduction rights for in-house publications and licensing Menil images to outside scholars and publishers remained a priority for the department. Photo: Jan Burandt

Community

Public Programs The Menil Collection organizes a variety of public lectures, conversations, and performances to deepen visitor appreciation of the art on view. All programs are free and open to everyone. Artist Talks Initiated in 2018, the Menil’s Artist Talks series offers the public the opportunity to hear directly from artists whose works are included in the permanent collection. Curator Talks Curator Talks take place the second Sunday of every month in the museum’s galleries. Menil curators lead in-depth discussions on a single work of art or group of works currently on display. Musical Performances Da Camera of Houston presents Stop, Look, and Listen!, a series of chamber music and jazz concerts, often developed in response to specific exhibitions. Major Funding for the public programs at the Menil Collection was provided by The Anchorage Foundation of Texas. Major Funding for the Artist Talks series was provided by Franci Neely.

2019 Annual Report

The Menil Collection

Photo: Ben Doyle

1 Artist Talk: Susan Frecon, November 7, 2018 2 Artist Talk: Leslie Hewitt, October 3, 2018 3 John Yau lecture: Jasper Johns and the Damaged Human Body, January 9, 2019 4 Roberta Bernstein presentation: Jasper John’s Painting and Drawing: A Dialogue, January 23, 2019 5 Artist Talk: Trenton Doyle Hancock, February 6, 2019 6 Artist Talk: Tacita Dean, February 12, 2019 7 Reading and book signing by Robin Coste Lewis, April 3, 2019 8 Marion Barthelme Annual Lecture: Lucy Lippard, May 17, 2019 9 Artist Talk: Mineko Grimmer, June 5, 2019 Photos: Ben Doyle

Community

Writers in the Schools Writing at the Menil is a nationally acclaimed program organized by Writers in the Schools (WITS) that brings Gulf Coast-area school groups to the museum. WITS writers discuss the art on view and prompt their students to create stories, poems, and prose. During the 2019 fiscal year, 7,623 primary and secondary students from 31 different schools made 53 separate field trips to the mueum (a 29% increase from 2017–2018). In addition to being a proud financial supporter of the program, the Menil opens its art buildings early so that WITS may visit the galleries outside of regular business hours. Each year, a jury selects poems and essay for publication in the Watchful Eye anthology. The following poem was written during a field trip to the Menil and read aloud at The Watchful Eye: A WITS Student Reading on May 22, 2019. Hope for the World Inspired by a Mark Rothko painting

2019 Annual Report

The Menil Collection

Anger, what has our world become? Pollution, smoking, and all sorts of bad Things. What has our world become? As Earth orbits the sun, as more time Passes, anger conquers our World. What has our world become? Look at our oceans. There’s trash As far as the eye can See. What has our world become? You hear sounds of anger All around. Even you have felt the Pain. What has our world become? But do you see that white line? That is hope. Hope for our world. So, as you look around, ask yourself, “What can I do to help this world To conquer anger, as it did conquer us?” By Sophie, 4th grade The 2019 WITS Watchful Eye reading participants. Photo: Pin Lim

Members Noontime Talks

Internships

Held on Fridays, Noontime Talks are a popular way for Menil members to learn more about the artwork on view and the projects in progress across our 30-acre neighborhood of art. Each tour is led by a member of the Menil staff from a variety of departments, including archives, conservation, curatorial, facilities, and publishing. A total of 34 Noontime Talks were given in Fiscal Year 2019.

The Menil Collection offers internship opportunities to undergraduate and graduate students enrolled in the art history departments at Rice University and the University of Houston. Students support research and exhibition planning under the guidance of Menil staff. For those interested in museum careers, these internships offer valuable curatorial experience.

Bookstore

Attendance

The Menil Bookstore, housed in a gray bungalow across the street from the main museum building, offers an assortment of hard-to-find art books, gift items, and Menil merchandise. The children’s section includes French, Italian, and Spanish titles, along with a thoughtfully selected assortment of toys and games that appeal to the museum’s youngest visitors. The bookstore also features a selection of artwork and jewelry by Texas-based artists.

In Fiscal Year 2019, the Menil Collection welcomed approximately 262,500 guests to the buildings on campus. This number represents attendance at public programs, shoppers at the bookstore, and visits to all exhibition spaces, including the main museum building, Byzantine Fresco Chapel, Cy Twombly Gallery, the Menil Drawing Institute, and the Dan Flavin Installation at Richmond Hall.

Menil Bookstore 1520 Sul Ross Street Wednesday–Sunday 11 a.m.– 7 p.m. Photo: Sara Beck

Support

The Menil gratefully acknowledges the following donors for their cumulative gifts of $500 and above between July 1, 2018 and June 30, 2019. $500,000 + The Brown Foundation, Inc. $200,000–$499,999 Anonymous $100,000–$199,999 The Cullen Foundation John R. Eckel, Jr. Foundation A Mad Idea Foundation The Wortham Foundation, Inc.

2019 Annual Report

The Menil Collection

$50,000–$99,999 The Anchorage Foundation of Texas Leslie and Brad Bucher Franci Neely $25,000–$49,999 Chinhui and Eddie Allen Suzanne Deal Booth The Brown Foundation, Inc. / Nancy and Mark Abendshein Diane and Michael Cannon Nancy D. and Robert J. Carney Clare Casademont and Michael Metz Hilda and Greg Curran Rania and Jamal Daniel Cindy and David Fitch Janet Gurwitch and Ron Franklin Hauser & Wirth Diana and Russell Hawkins Janet and Paul Hobby Holthouse Foundation for Kids Caroline Huber Linda and George Kelly Janie C. Lee and David B. Warren John P. McGovern Foundation Adelaide de Menil Susan and Francois de Menil National Endowment for the Arts Nightingale Code Foundation / Michael Zilkha Marilyn Oshman Karen and Harry Pinson The Powell Foundation Susanne and William E. Pritchard III Leslie and Shannon Sasser Anne Schlumberger James William Stewart, Jr. Mark Wawro and Melanie Gray Marcy Taub Wessel and Thomas Wessel

$10,000–$24,999 Susan and Richard Anderson The Brown Foundation, Inc. / Elisa and Cris Pye Stephanie and Ernie Cockrell Caroline and Jeremy Finkelstein Ann and Peter Fluor The Garden Club of Houston The George and Mary Josephine Hamman Foundation Stephanie Larsen Doug Lawing and Guy Hagstette Lois and George de Menil Gary Mercer Carol and David Neuberger Scott and Judy Nyquist Nancy Pittman Kathryn and Richard Rabinow Vivian L. Smith Foundation Clare Sprunt Ellen and Stephen Susman Judy Tate Texas Commission on the Arts Lea Weingarten Whalley Foundation Elizabeth and Barry Young $5,000–$9,999 Francine and Westy Ballard The Brown Foundation, Inc. / Ralph B. Abendshein Elizabeth DeMontrond Jenny Elkins Allie and Jay Fields Lacey and Matthew Goossen Blakely and Trey Griggs Willard and Ruth Johnson Charitable Foundation Molly and Matthew La Fauci Jennifer and Christopher Laporte Alison Leland Sarah Mischer Niki Charitable Art Foundation Francesco Pellizzi Elizabeth Peterson and Gary Petersen Terra Foundation for American Art Bridget and Patrick Wade $1,000–$4,999 The Adler Foundation Allison and Matthew Alexander Henrietta K. Alexander Paul and Kathleen Anderson Art Gallery of New South Whales Allison and David Ayers Karen and John Baerenstecher

Caroline and Andrew Bean James Bell Kristen and John Berger Luba and Alan Bigman Carrie and Sverre Brandsberg-Dahl Katie and A. J. Brass Virginia Braverman and Bret Whitacre Fredricka Brecht Kathy and George Britton Cynthia and Laurence Burns Evelyn Burns Elizabeth Carter and McPharlin Broderick Mollie and Dan Castaneda Gracie and Robert Cavnar Jereann Chaney The Chinati Foundation Julie and John Cogan, Jr. Alex Conti Stacey and Casey Crenshaw Laura and Ned Davenport Isabel and Danny David Carolyn and Platt Davis Margaret and William Davis Sara Paschall Dodd Alison Doerner Bevin and Daniel Dubrowski Ruth and Mark Duenser Shalini and Velan Edirisinghe ExxonMobil Foundation Raine and Alan Falik Diane Farb Lindsay and Charles Fehr Nancy Fischer Jo and James Furr Kerry Galvin Barbara and Michael Gamson Cullen Geiselman Kate and Steve Gibson Laura and Carl Giesler Eleanor and Dan Gilbane Kathy and Martyn Goossen Janita and Garney Griggs Melissa and Albert Grobmyer Kathryn Hale Kelly and Russell Hamman Margaret Hawk Sheri Henriksen The Heritage Society Margaret and Thad Hill Harvey R. Houck, Jr. and Patricia W. Houck Foundation, Inc. Ann Jones Leigh and Christopher Joseph The Joan and Marvin Kaplan Foundation Sonia Kashuk

Heather and Wayne Kearney Sissy and Denny Kempner Kirkpatrick Family Fund Renee Lewis and John Cary Nancy and Erik Littlejohn Marley Lott Kelley and Stephen Lubanko Joella and Steve Mach The Madeira School Nancy McGregor Manne and Neal Manne Kimberly and Scott Martin Poppi Massey Tatiana and Craig Massey Elisabeth and Brian McCabe Amy and Donny McCallum Gretchen and Andrew McFarland April and Wells McGee Mary Hale Lovett McLean Will McLendon Ruthie and Adam Miller Leila and Walter Mischer Melissa and Michael Mithoff Janet and Harvin Moore Sara and Bill Morgan National Christian Foundation Houston Duyen and Marc Nguyen Cabrina and Steven Owsley Elizabeth and George Passela Louise and Andrew Pennebaker Katherine and Bill Phelps Jessica Phifer H. Russell Pitman

Leslie and John Pitts Rebecca Rabinow and Matthew Ringel Winifred and Carleton Riser Allan Rodewald Carolyn and Jason Sabat Brittany Sager Winifred Scheuer and Kevin Bonebrake Samantha Schnee and Michael Hafner Jordan and Dylan Seff Kelly and Nick Silvers Ellen Simmons Leigh and Reggie Smith Lori and Anthony Speier Tatiana Sorkin Alicia and Matthew Summers Lucile Tennant Julie and William Thomas Katie Walker Katherine Warren Debbie Wernet Stacey and Andrew White Marie and William Wise Lauri and Robert Wray John L. Zipprich II Erla and Harry Zuber

$500–$999 Eloise and Adriane Arnold Nana Booker and David Lowe Lane and Jeb Bowden Robin and Richard Brooks Lyndsay and Drew Burgoyne Sara Cain Kristen Castellanos Lydia Companion Bunni and Paul Copaken Nancy Crowther Sylvie Desjardins and Ian Munro Elizabeth Easton Marita and Jonathan Fairbanks The Fifth Floor Foundation Fine Arts Museums of San Francisco Rodi and Robert Franco Edward J. Gibbon, Jr. Kimbell Art Museum Anne Lamkin Kinder Annie and Taylor Mason Gaye and Edward McCullough John E. Parkerson The Pucker Gallery Barbie and Bruce Ross Stuart Schaffer Barbara and Louis Sklar Steve Summers and Glen Gonzalez Harold Taylor Kristen and Scott Weber Fabené Welch Kelley and Donald Young Emilia Ziemba

Gifts shown here include all non-membership gifts in support of annual museum operations, exhibitions, conservation, public programs, and other projects. Studio Menil Presents: Paper Ball Chairs: Jeremy and Caroline Finkelstein, Blakely and Trey Griggs, Stephanie and Ernie Cockrell, and Bridget and Patrick Wade. Photo: Jenny Antill

Menil Society

2019 Annual Report

The Menil Collection

The Menil Society is composed of philanthropic members who enjoy a special relationship with the M enil Collection. Members are dedicated to fostering deeper engagement with the museum, its mission, and its world-renowned collection by generously supporting exhibitions, programming, and the museum’s annual fund. Benefactor Henrietta K. Alexander Chinhui and Eddie Allen Charles Butt Angela and William Cannady Diane and Michael Cannon Nancy D. and Robert J. Carney Clare Casademont and Michael Metz Julie and John Cogan, Jr. Sara Paschall Dodd Olivia and Peter Farrell Caroline and Jeremy Finkelstein Cindy and David Fitch Barbara and Michael Gamson Diana and Russell Hawkins Janet and Paul Hobby Linda and George Kelly Jeanne and Michael Klein Doug Lawing and Guy Hagstette Rochelle and Max Levit Cornelia and Meredith Long Nancy McGregor Manne and Neal Manne Lisa and Will Mathis Kathrine G. McGovern Susan and Francois de Menil Sara and Bill Morgan Kimball and David Moriniere Franci Neely Carol and David Neuberger Scott and Judy Nyquist Marilyn Oshman Susanne and William E. Pritchard III Leslie and Shannon Sasser Anne Schlumberger Lois and George Stark James William Stewart, Jr. Mark Wawro and Melanie Gray Morris A. Weiner Michael Zilkha Friend Nancy C. Allen Melza and Ted Barr Bettie Cartwright Jereann Chaney Francoise and Edward Djerejian Alison Doerner Amanda and Morris Gelb Claudia and Karsten Greve Ann and Henry Hamman Judith and Marc Herzstein

Shelley and Alex Kaplan Molly Kemp and Vance Knowles Sissy and Denny Kempner Dillon Kyle and Sam Lasseter Marley Lott Cynthia and Robert McClain Elizabeth and George Passela Isla and Thomas Reckling Lillie Robertson Edna and J. A. Robins Kathy and Clive Runnells Robin and Andrew Schirrmeister Jacqueline and Dick Schmeal Adrienne and Timothy Unger Ann Wales Marcy Taub Wessel and Thomas Wessel Marion and Benjamin Wilcox Jeanie Kilroy Wilson and Wallace Wilson Cyvia Wolff Fellow Judy Ley Allen Katharine Barthelme Anne Bass and Julian Lethbridge Jeff Beauchamp Mary Bentsen Carrie and Sverre Brandsberg-Dahl Cindy and Larry Laurence Burns Anne Bushman Amy Sutton and Gary Chiles C. C. Conner and David Groover Jerry Ann Woodfin Costa and Victor Costa Lauri and Christopher Cragg Margaret and Nigel Curlet Rania and Jamal Daniel Jenny Elkins Kristina Van Dyke Fort and Jeff Fort Cece and Michael Fowler Cullen K. Geiselman Clare Glassell Louise and Lawrence Glenn Melissa and Albert Grobmyer Cynthia and Ben Guill Eric Haitz Kathryn Hale Margaret Hawk Kellie and Jeff Hepper Dorene and Frank Herzog Debbie Hurwitz and Bruce Herzog

Kerry Inman and Denby Auble Clifford and Jerry Jeanmard Ann and John Johnson Elise and Russell Joseph Elizabeth and Bill Kroger Dorothy Levinson Nancy and Erik Littlejohn Marvin Lummis Penelope and Lester Marks Mary Ann and Alexander McLanahan Marsha and Samuel Dodson Cristina and Bill Moore Duyen and Marc Nguyen Laura and Roy Nichol Cabrina and Steven Owsley Patricia and Robert Pando Sue Payne Calia and Peter Pettigrew Kathryn and Richard Rabinow Beverly and Howard Robinson Stephen Schwarz and Michael Naul Bryan Scrivner María Inés Sicardi Kelly and Nick Silvers Douglas Smith Bridget and Patrick Wade Elizabeth and Jack Weingarten Elizabeth and Barry Young Lisa Young and Matthew Assiff John L. Zipprich II Associate Joan and Stanford Alexander Liz and David Anders Everett Anschutz Jeanie and Matt Arnold Mary and Bernard Arocha Carlos Bacino Nancy and Barry Barnett Ilene and Paul Barr James Bell Berry Bowen Alexandra Bowes and Stephen Williamson Anna Brewster Marianna and Chris Brewster Evelyn Burns Hiram Butler and Andrew Spindler-Roesle Laura and John Calaway Ginny and Bill Camfield Nataya and Johnny Carter Tripp Carter

Sabine and Thomas Casparie Chris and William Caudill Helen and Benjamin Cohen Nancy and Taylor Cooksey Elizabeth and Steven Crowell Paula and Dan Daly Isabel and Danny David Helen Davis Joell and Thomas Doneker Sanford Dow Bevin and Daniel Dubrowski Krista and Michael Dumas Nancy Dunlap Annette and John Eldridge Stephanie and Greg Evans Marcia and Thomas Faschingbauer Nanette Finger Sarah and Kenneth Fisher Rachel and Edward Folse Wally Ford Katy French-Bloom and Michael Bloom Rebecca Gentry Lynn and L. Henry Gissel Kathy and Martyn Goossen Timothy Green Kelly and Russell Hamman Joshua Hansel Sarah and John Hastings Catherine Holste G. G. Hsieh Lee Huber Fredericka Hunter Jill and Dunham Jewett Ann Kennedy and Geoffrey Walker Mimi and Rob Kerr Fadila and Paal Kibsgaard

Julie Kinzelman and Christopher Tribble Carla Knobloch Katherine Kohlmeyer Karol Kreymer and Robert Card Ashley and Curt Langley Sharon Lederer and Ellis Mills Amber Lewis Jennifer Lewis and Greg Sikes Terry Mahaffey Mari and Greg Marchbanks Judy and Rodney Margolis Rebecca Marvil and Brian Smyth Misty and Surena Matin Gaye and Edward McCullough April and Wells McGee John McLaughlin Mary Hale Lovett McLean Anthony Milam Amy and John Miller Betty Moody Janet and Harvin Moore J. A. Nairn Brian O’Donnell Maureen O’Driscoll-Levy Veronica and Douglas Overman Maureen and Paul Perea Laura S. Peters Andrea and Carl Peterson Joëlle and Geoffroy Petit Dean Putterman Mary Hammon Quinn and Jacob Quinn Eliza Lovett Randall Fairfax and Risher Randall Laura Rathe Leonor and Eric Ratliff

David Neuberger, Judy and Rodney Margolis, and Carol Neuberger at Menil Society Spring Cocktails, April 11, 2019. Photo: Daniel Ortiz

Candace and Ronald Restrepo Carolyn and James Robertson Gloria and Nick Ryan Frank Rynd Alicia and Benjamin Saldaña Victoria Salem Neda Scanlan Sarah Beth and Paul Seifert Mariana Servitje Sondra and George Shipley Carey Shuart Ellen Simmons Hinda Simon Michelle Slater and Dmitri Sinenko Peter Smetek Josephine and Richard Smith Janet and John Springer Eliza and Stuart Stedman Rowena and Myron Steves Aliyya and Herman Stude Ellen and Stephen Susman Jane and Gary Swanson Mark Taylor Lucile B. Tennant Sandra Tirey and Jan van Lohuizen Margaret Vaughan-Cox and Jonathan Cox Katherine Warren Margie Wedemeyer Lexie White and Jason Dunahoe Jill Whitten and Robert Proctor Julia and Stephen Wilkinson Margaret and David Williams Marie and William Wise Lynn and Oscar Wyatt John B. Young, Sr. Erla and Harry Zuber

Barry and Elizabeth Young and Kelly and Nick Silvers at a Menil Society private collection visit, May 22, 2019. Photo: Daniel Ortiz

Charmstone Circle

The Menil Collection’s Charmstone Circle recognizes individuals who make annual financial gifts of $25,000 or more to the museum. Menil Society memberships, exhibition support, and unrestricted giving all count towards Charmstone Circle recognition. Charmstone Circle donors enjoy unparalleled access to the museum and the collection and are celebrated at an unforgettable annual dining and art event with Director Rebecca Rabinow. Nancy and Mark Abendshein Eddie and Chinhui Allen Anne H. Bass Suzanne Deal Booth Leslie and Brad Bucher Diane and Michael Cannon Nancy D. and Robert J. Carney Clare Casademont and Michael Metz Julie and John Cogan, Jr. Rania and Jamal Daniel Cindy and David Fitch Barbara and Michael Gamson Agnes Gund Janet Gurwitch and Ron Franklin

Diana and Russell Hawkins Janet and Paul Hobby Lisa and Michael Holthouse Cecily E. Horton Caroline Huber Linda and George Kelly Doug Lawing and Guy Hagstette Janie C. Lee Isabel and Ransom Lummis Kathrine G. McGovern Adelaide de Menil Susan and Francois de Menil Franci Neely David and Carol Neuberger

Scott and Judy Nyquist Marilyn Oshman Karen and Harry Pinson Susanne and William E. Pritchard III Leslie and Shannon Sasser Anne Schlumberger James William Stewart, Jr. Mark Wawro and Melanie Gray Morris A. Weiner Lea Weingarten Marcy Taub Wessel and Thomas Wessel Michael Zilkha

Glass Key Society Named after a beloved painting by René Magritte, the Glass Key Society honors individuals who have included the Menil Collection in their wills, personal trusts, or other planned giving arrangements. Through their thoughtful contributions, members of the Glass Key Society help to ensure a vital future for the museum. For information about making a legacy gift, please contact Judy Waters, Director of Advancement, at 713–525–9425 or jwaters@menil.org.

Corporate Support

Anonymous (4) Diane Arnold and Bill Frazier Jeff Beauchamp Collection of Mollie R. and William T. Cannady Julie and John Cogan, Jr. Helen and Benjamin Cohen Christy and Louis Cushman Sir Mark Fehrs Haukohl Alex Heylen and Monika Lybeer Marjorie G. Horning Paige and Todd Johnson Doug Lawing Mary Hale Lovett McLean Marc Melcher Franci Neely Laurie Newendorp Francesco Pellizzi Susanne and William E. Pritchard III Marietta Voglis John L. Zipprich II

The Menil Collection is pleased to recognize gifts from corporations in Fiscal Year 2019. $75,000 + Bank of America $25,000–$74,999 JPMorgan Chase & Co. Schlumberger Van Cleef & Arpels $10,000–$24,999 Akris at River Oaks District BB&T Bloomberg Philanthropies Chopard Eagle Global Advisors LLC Frost Bank Goldman, Sachs & Co. Goodnight Hospitality H-E-B Houston Trust Co. Indigo Minerals Morgan Stanley PNC Bank SunTrust UBS Weingarten Art Group

$5,000–$9,999 BrightView CapStreet Group C2 Art Advisors Insgroup Inc Marek Brothers Sweetgreen Vaughan Nelson Investment Management LP $1,000–$4,999 Art and Travel LLC Cabot Oil & Gas Gilbane Building Company The Heritage Society The Madeira School $500–$999 Fine Arts Museums of San Francisco Jamestown Real Estate Group Old Bond Art Consulting Studio MET Thames & Hudson Inc The Cultivist

In-Kind Donors Art Mix Creative Learning Center Aztec Events & Tents Bergner & Johnson Design Brightstar Productions Buffalo Bayou Brewery The Chocolate Bar/Candylicious Christie’s City Kitchen Da Camera Houston Wine Merchant InfoVine Four Seasons Hotel Jackson & Company Katz Coffee The Lancaster Hotel Microsoft PaperCity Pro/Sound Richard’s Rainwater Smilebooth Spec’s SPF Event Resources, Inc. Tito’s Vodka Total Wine & More

Janet Gurwitch speaking at the April 9, 2019 Corporate Conversations luncheon. Photo: Daniel Ortiz

2019 Annual Report

The Menil Collection

Photo: Daniel Ortiz

Membership

Patron Betty and W. K. Adam Anaceli Aldaz Sheila Aron Maida and Paul Asofsky David Aylsworth and Paul Forsythe Sarah Balinskas Patricia Beaver-Skakun and Gary Skakun Louise and Henry Bethea Nancy and Scott Bolduc Nana Booker and David Lowe Meg Boulware and Hartley Hampton Robin and Richard Brooks Marjorie and J. Walker Cain Cindy and Paul Cannatella Michael D. Carroll II Kristen Castellanos Kathleen and Robert Clarke Katie and Philip Clayton Patricia H. Colville Efrain Corzo and Andrew Bowen Michelle De Filippi Kimberly and Bradley Dennison Sylvie Desjardins and Ian Munro Brooks A. Diesel Miriam Edelman Kathleen and John Fitzgerald Helen Winkler Fosdick Donna and Gary Freedman Wendy and Donn Fullenweider Elizabeth and William Galtney Kerry A. Galvin Leslie Gassner Kate and Steve Gibson Irma and Kirk Girouard Marc E. Grossberg Ann Hamilton Winifred Hamilton Paula and John Hansen Brigitte and Josef Hatzenbuehler Susan and Robert Hawkins Marcia Hershey and Robert Roach Olive Hershey and Arvin Conrad Anna and Harold Holliday Carrie Horne Patricia Hunt and Joseph Milton Anna Illner Franny and John Jeffries Gerry Karkowsky

Aysha Kassim-Voronoff and Chester Urban Peaches and Harris Kempner Elizabeth and Albert Kidd Anne Lamkin Kinder Christa and Aivars Krumins Anu and Shirish Lal Susan and Jack Lapin Benigna and Ernst Leiss Melanie Malinowski and Andrew Cunningham Mariquita Masterson Peggy and David Matthews Jean and Henry May Wilmer H. McCorquodale Beth McCracken Will McLendon Barbara and Neal Metcalf Jenny Meyer Margaret and Duane Montana Morgan and M. Bradford Moody Matthew A. Morgan Sarah and Michael Morian Douglas Murphy Djenane Nakhle Mary and Paul Nugent Alisa E. Oâ&#x20AC;&#x2122;Leary Richard Patti Kathleen and Jim Petersen Paula and Irving Pozmantier Carol and Daniel Price Garance Primat Macey and Harry Reasoner Rebecca Rentz and Daniel Cricks Leslie and Russ Robinson Lynn and Alex Rosas Joyce and Mohammed Salhoot Jane and Richard Schmitt Sara Shackleton and Michael McKeough Karen Shouse Barbara and Louis Sklar Angela and Mark Smith Kimberly and David Spaw Alana Spiwak and Sam Stolbun Carol and Michael Stamatedes Kay and Albert Tabor Judy S. Tate Nanette and David Toy June Trammell Patricia Troncoso and William Pugh

Jana Vander Lee William V. Walker Wendy Watriss and Fred Baldwin Heather and Robert Westendarp Charlotte and Larry Whaley Richard Winkelmann Vivian Wise Joni and John Zavitsanos Gunilla and Jorge Zeballos Sponsor Phyllis Adatto and Thomas Smith Susan G. Anhalt Claire and Wayne Douglas Ankenman Bennie and David Ansell Elizabeth and Bob Ardell Ellis Arjmand Grace and Christopher Armstrong Ann and Ken Babcock Jacquelyn Barish Jan and James Barkley Eydie and Jimmy Barnett Eileen and Richard Barrett Nancy and John Belmont Adele and Lan Bentsen Rita and Joel Bergers Kathy and Andrew Berkman Maya and Alexander Berkovich Marilyn M. Biles Cynthia and Ian Birdwell Jody Blazek-Crossley and David Crossley Robert Blocker Jane and Roger Boak John C. Boehm Marjorie L. Boehme Minnette and Peter Boesel Sally and Thomas Bolam Pauline Bolton Barbara A. Brooks Christopher and Roy Brooks Charles W. Brown Karen and David Brown Cheryl Henson Bucher and William Bucher Ann Buford-Stephenson and J. D. Stephenson Robin and Michael Bullington John Burke

2019 Annual Report

The Menil Collection

Lora and Peter Caldwell Kathleen and Glenn Cambor Joslyn Campbell Cynthia and Robert Card Adel Chaouch Rhoda and Allen Clamen Meryl and Murry Cohen George Connelly Craig Cornelius Steven L. Cowart Nancy S. Crowther Michelle and Casey Cunningham Rochelle Cyprus Robert and Michael Dale Barbara and Jonathan Day Susan and Michael DeCourcy Lynn Detrick and Harvey Marks Jan M. Diesel Karen M. Doolittle Jennifer Dupont Janet and Roger Durand Thomas M. Edens Jane H. Eifler Kathleen and Keith Ellison Sheldon and Clayton Erikson Martha and Blake Eskew John Eymann Gayle Farris Milton J. Finegold David L. Fink Ann N. Finkelstein Joseph Fischer Caroline and Marion Freeman Jo and James Furr Edward J. Gibbon, Jr. Beverley and Wayne Gilbert Gretchen Gillis and David Cook Christina Girard Jane and Dean Gladden Penny and Shep Glass Susan and Thomas Golden Jo Anne and Kenneth Goldsmith Gayle Goodman and Kenneth Adam Helene and Lance Gould Caroline and M. P. Graham Mary and Charles Gregory Nonya and Jonathan Grenader Margaret and James Griffith Jennifer and Kirk Guy Robert W. Guynn Merrill and Joseph Hafner Holly and Breen Haire Judith and Kirk Hansen Annette and Jerry Hebble Carol H. Hebert Lorraine McKenna Hendricks and David Hendricks Janice L. Hewitt Pam and Taylor Hicks John Hill Jane Hogan

Amanda and Benjamin Holloway Betsy and Lonnie Hoogeboom Kandy Kaye Horn Laurel and Arthur Huffman Julie and Thomas Hughes Barbara and Charles Hurwitz Alan J. Hurwitz Klara Jelinkova Christopher Johns-Krull Dianna and Craig Johnson George H. Johnson, Jr. Patricia Johnson Elizabeth Kaled Tayyba Kanwal Chandra Katragadda Mireille and Harvey Katz Randy and Allison King Paul Klotman James G. Kralik Quin D. Kroll, Jr. Robin and Billy Ladin Dohn Larson Yildiz and Bryon Lee Dinah and Rich Levy Loriann and Eric Lewis Carol and Paul Liffman Kay Lin and Ken Mueller Maud and William Lipscomb Barbara and Larry Lipshultz Keith Little Lance Livingston Alison and Christopher Lockwood Tommy Lott Nancy Luton Theresa and Edward Mallett Mary Lynn and Julius Marks Jane Martin Lori and Marcel Mason Gundi McCandless Rebecca and R. Scott McCay Elizabeth McClintock and Rick Adams Marion A. McCollam Jacki and Frank McCreary Carol and Paul McDermott Georgia and Joel McGlasson Mary McIntire and James Pomerantz Sonja and Steve McKinnon Dava and Archer McWhorter Patricia Medors John Mendelsohn* David K. Miller Jean S. Mintz Nancy and Robert Mollers Rosanna and Carlos Moreno Celia Morgan Frances E. Mount Cay and James Murtha Barbara and William Myerson Steve Nall and Tom Young Becky and Amira Naser

Mary and Fred Nevill W. M. Nicholas Sheila Noeth and Ted Dohmen Americo Nonini Martha Ojeda Betty and Duncan Osborne Rochelle and Sheldon Oster Roz and Alan Pactor Frances and Walter Pagel Sharon and Aaron Parazette Carole and Joe Pascoe Joan and José Pérez Alexander and Ronald Perkowski Virginia and Jean Perrette Sheila Perry Jan-Claire Phillips and Jerome Kendall Michael Phillips Michael R. Piana Lynn and Mark Pickett H. Russell Pitman Esther and Gary Polland Kathrin and Albert Pope Lara and James Powers Gaile Proler Katherine and Michael Putnam Steye Radom Jennifer and Peter Ragauss Susan P. Raine Sarah and Norman Reynolds Adalberto and Serge Ribot Maura and Walter Ritchie George A. Rizzo, Jr. Elaine and Steven Roach Margot and Richard Rodriguez Daisy Lee and Bradley Roe Natalie and Charles Roff Jane S. Root Virginia P. Rorschach Shirley E. Rose Casey and Kevin Rowe Linda and Jerry Rubenstein Ellen Safier Kyttie and Bentley Sanford Franca B. Sant’Ambrogio Gemma and Luis de Santos Cylette and Ron Sass Daucie and Marc Schindler Veronique and Luc Schlumberger Margie and Scott Schneider John M. Seidl Lynn and Armand Shapior Carrie Shoemake Nicolas Shumway and Robert Mayoff Mary Siegele Renie and Louis Silver Anita and Gerald Smith Patricia and Fielding Smith Kathryn and Craig Smyser Linda B. Spain Raymond Stainback Cathleen and David Stanely

Katherine and Robert Steely Brian Stephens Shawn Stephens and James Jordan Dave Stevenson Michael G. Stewart Doreen Stoller and Dan Piette Barbara and Richard Strax Mike S. Stude MaryLou Swift Gabrielle and Heinrich Taegtmeyer Susan and Bascom Talley Allison and Troy Thacker Stephan G. Thien Jo Ann Thweatt Barbara C. Tilley Susan and James Torrey Eleanor and Jon Totz Nicola F. Toubia Ignatia Van den Veyver and Siddharth Prakash Jaime Vaness and Kenneth Merideth V. H. Van Horn III Barbara Volkmer and Pablo Ruiz-Berlanga Barbara and Charles Wade Mary Faye and Peter Way Randal Weber Fabené J. Welch Kathy Welch and John Unger Debbie Wernet Walter M. Widrig Janne Williams Nancy and N. L. Williams Joanne and Welcome Wilson Kay and Carl Wilson Carolyn N. Wolfe Annette Wood Lauri and Robert Wray Nora and Charles Zabriskie Daniel Zimmerman *Deceased

Menil members at the Sponsor level and above during the Fiscal Year 2019 (July 1, 2018–June 30, 2019) are listed. Every effort has been made to ensure that this list is accurate. If errors or omissions have occurred, please accept our sincere apologies and contact Kristin Smyth at 713–525–9490 or ksmyth@ menil.org.

Photo: Lizette Belen

Menil Contemporaries

2019 Annual Report

The Menil Collection

The Menil Contemporaries is a membership group for emerging patrons, collectors, and art enthusiasts who share a common passion for the Menil Collection. Menil Contemporaries are the next generation of leaders and advocates of the Menil. Partner Amy Aaronson and Meghann Conley Bisma Ahmed Melissa Arredondo and Sanjay Bapat Stefnee Ashlock Adele Avivi Evan Baldridge Melanie and Mitchell Baldridge Kelly Barnhart Cristina and Joshua Bedwell Libba and Geer Blalock Elizabeth and C. Walker Brierre Elizabeth and Mac Broderick Lindsey Brown and Chris Shepherd Sara Cain Sarah Daniel Lindsay Davis Margaret and William Davis Cynthia Dehlavi Nina Delano and Wirt Blaffer Larianna Dunn Liza Eoff Mary Feeley and Robert Daniels Sarah Foltz and Ben Black Jonathan Goossen Tadzia GrandPré and Nicholas McKenna Richard Gruen Claudio Gutierrez Joy and Don Haley Sarah Henderson Ben Hobratsch Birk Hutchens Minnette and Clay Jackson Madeline Kelly Sara Kelly Caroline Kerr and Andy Lusk Ryma Korab and Dean Crassas Ina Kuehnhoefer-Riley and Philip Riley Elizabeth A. Lawnin Eric Lears Chienling and Chenwei Lee Megan E. Light Aaron Loeb and Steve Araiza Kim and Mark Lowes Frances A. Lummis Katherine M. Lummis Amy Mason and Michael Birk Star and Jack Massing Jack McBride and Thain Allen John McLaughlin Katie F. McNearney Katie and R. Whitney Mears John T. Middleton Alisa Miller

Reyad Nasser Jennifer Nelsen Capera Clement Norinsky and Igor Norinsky Anaeze C. Offodile II Allison and Kyle O’Neill Sarah O’Shea Barbara Palmquist Phyllis Panenka and David Archer Mary and Ben Patton Christine and Joshua Pazda Kathleen and Kreg Pearless Olivia and Edward Persia Janet and David Phelps Lauren Pollock and Jonathan Giordano Jason Presley Natalia Rachlin and Jerome Milongo Manideep Ravi Alison Robertson and Daniel Jenson Lutfi Rukab Brittany Sager Karlsson and Brian Salek Neal A. Sarkar Winifred Scheuer and Kevin Bonebrake Randi and Pablo Hernandez Schmidt-Tophoff Liana and Andrew Schwaitzberg Kelley and Jeffery Scofield Christopher Scott and Cody Fitzsimmons Sarah Beth and Paul Seifert Sandra and Stefano Serrani Derrick Shore and Brandon Bourque Hannah and Seth Siegel-Gardner Marie St. Germain Connor Stacy Jennifer and David Strauss Judd Swanson Jessica Trincanello and Jeremy Griggs Melissa and Oliver Tuckerman Catherine Wile Crystal Wreden Donald P. Yarborough Eliabeth and Barry Young Jane and Daniel Zilkha Enthusiast Benjamin Ackerley Shannan and Josh Adler Paul Agosta Dan Allison Adrienne Amin Anna Arata and Zachary Wright Beverly Barrett

Jenna Beth and Scott Bayer Sara and Philip Beck Christopher Beer Jonathan Beitler Chase Bice Elizabeth and Willard Boss Rachel Boyd Andrew Brantley Virginia Braverman and Bret Whitacre Rebekah and Max Bredthauer Deborah Brochstein and Steven Hecht Lela Brodsky Matthew Brollier Brenda Buckner Sarah Ashley Byrd Krista Caballero Aaron Carpenter Melissa Caspary Megan Cekander Charles Cessot Zia Chowdhury Christian Clark Kristen Cliburn Andrew Colopy and Robert Booth Andrea S. Condara Stewart Cory Jakob Crockett Ted Cross Julie Cushman Robert Dahnke Melissa d’Attilio Ashlyn Davis Zoe Davis Natalie De Luca Nevena Demirovic Vipul Devluk Deirdre and Glenn Dickerson Kimberly and Michael Dillon Melissa and Paul Dobrowski Julia Doran and Adam Carlis Nancy Douthey Ayesha Durrani Elizabeth and Alexander Dwyer Caroline Engerrand Catherine Eschbach Christine Falgout-Gutkencht and Bill Gutkencht Margo Fendrich and Lam Nguyen Katharine Field Emily Foxhall Alexandra Frankel Loris Fusi Mina Gaber Nanette Garelis

Morgan Garvey Maricarmen Garza Illa and William Gaunt Michael Geerlings Lauralee and Tanner Gentry Tracy Glesby Ashley Graves Elizabeth Gregory Grace and Will Grundy Maria and Taylor Hadjialexiou Rachel and Wesley Haines Belinda-Leigh Hall and Ben Carillo London Ham Kristy Hamilton Emma Hanes and Anthony Ableman Linda and Antony Harbour Shanna Hennig Ashley Holden Eliza Hopper Hilary Ann Hunt and Arturo Palacios Greg Ingram Allison Jagers Eileen and Bennett Johnston Heidi Kashani Christopher Kilgore Krista Kisch Neil Kogut Emmelie Kopp Meghan and Aaron Koranek Sarah Labowitz Taylor E. Landry Leigh-Ann Laughlin Dion Laurent Devin A. Licata Andrew Lundstrom

Cristina and Morgan Lunt Cynthia and Chad Mabry Michael Mandola Margaret and Neil Manus Aja Martin Ana Martin Annie and Taylor Mason Cori Matthews Conor McEvily Shan McKinney Helen and Barton McLaughlin Monica Mehta Tamar Mendelssohn Keily Miller Michael Morrow Alex Norinsky Darsey Norton Desiree Palacios and Alban Proietto Maria Carlota Palacios Lindsay Pearson Alexis Pennington and Jarred Foster Katherine Piasecki Susan Pinkerton Andrew Pohly Vivek Raj and Tenley Eakin Jan Rattia Allison Reeves David Richmond Victoria Ridgway Luis Rodriguez-Rodriguez Brian Rose Edson Rosenberg Evan Rottet Jane and Sloan Rucker Mark Salvie

Katie Forney, Caroline Kerr, and Will and Grace Grundy at the Menil Contemporaries Spring Mixer, March 4, 2019. Photo: Daniel Ortiz

Emily Schreiber Sarah M. Schultz Annie Sharman Charles L. Sharman Lee-Taylor and Riley Sharman Colleen R. Sheedy Orel Shoham Polly Sims James Sivco Claire Smith and Russell Murrell Claudia Solís and Matthew Wettergreen Sarah and Tucker Spitzer Jana and Stephen Starr Alicia Staszyc Natalie Steen Seth Stolbun Linley Stroud Sarah Sudhoff Elizabeth Sutherland Salwa Tarabay Ann-Marie Tcholakian Katherine Thurman Lee Timmins Alessandra Trazzi Harve Truskett Mary Elizabeth and Hunter Wakefield Carter and Dave Wells Gira Desai Wieczorek and Aaron Wieczorek Kelly and Aaron Wilson Katie and Gregory Wisian Leslie Wolf Celeste Woodfill Laura Worth Steven Yevich

Jeff Sanders, Nellen Hawkins, Lela Brodsky, Connor Stacy at the December 7, 2018 holiday party. Photo: Daniel Ortiz

Financials

Revenue and Support $ 37.6 Million

Program Revenue 2%

Revenue and Support Contributions and Grants

Real Estate 4%

$ 3,415,206

Contributions, Grants, and Membership 15%

Membership 1,227,581 Assets Released from Restrictions for Operations Investment Funds Designated for Current year operations Donations for art acquisitions Gifts of Art

1,167,000 13,500,000 1,692,337 14,532,016

Program Revenue

575,131

Menil Campus Real Estate

1,535,889

Total Revenue and Support

$ 37,645,160

Gifts of Art 39%

Investments 36%

Expenses Curatorial and Collections

$ 4,575,354

Education and Public Programs

1,547,039

Exhibitions and Displays

4,705,593

Membership Activities

638,552

Buildings and Grounds

2,407,171

Capital Improvements

2,775,852

Art Acquisitions 4%

Expenses $41.3 Million

Fundraising 1,562,394 Management and General Gifts of Art Art Purchases

Operating surplus /(deficit) before depreciation and amortization The Menil Collection

Curatorial and Collections * 11%

14,532,016

Total Expenses

2019 Annual Report

3,291,017 5,275,088 $ 41,310,076

$ (3,664,916)

Investment Portfolio Unrestricted

$ 66,918,998

Temporarily Restricted

97,797,982

Permanently Restricted

135,236,946

Total Investments

Education and Public Programs ** 4%

$ 299,953,926

Exhibitions and Displays 11% Gifts of Art 35%

Membership Activities 1% Buildings and Grounds 6%

Art Purchases 13% Management and General 8%

Data is derived from the financial statements of Menil Foundation, Inc. as of June 30, 2019. A complete set of Menil Foundation, Inc. audited financial statements for 2018–2019 is available on request.

Capital Improvements 7% Fundraising 4%

*Curatorial and Collections include: Archives, Collections Management, Conservation, Curatorial, and Library. **Education and Programs include: Bookstore, Communications, Public Programs, and Publishing.

Director’s Office Rebecca Rabinow, Director Sara Beck, Writer/Editor Elsian Cozens, Director’s Office Liaison Lauren Pollock, Assistant to the Director Administration Chris Akin, Receptionist/Mail Clerk Brandon Connor, Financial and Budget Analyst Ileana Del Toro, Controller Earline Gray, Administrative Assistant Rosivel Guttierez, Accounting Specialist Shiow-Chyn (Susie) Liao, Senior Accountant Melissa McDonnell Luján, Director of Operations Michael Nicknish, Chief Financial Officer Xinyi (Olivia) Zhang, General Ledger Accountant Advancement Brandon Bourque, Manager of Special Events Jeremy Faulk, Manager of Foundation Relations Madeline Kelly, Major Gifts Officer Lena Khattab, Manager of Member Events Patrice McCracken, Prospect Researcher Jasmine Saing, Development Services Coordinator Jennifer Scamardo, Special Events Assistant Kristin Smyth, Manager of Development Services Karen Sumner, Director of Advancement Judy Waters, Associate Director of Development Katie White Wisian, Corporate Giving Officer

The Menil Collection

Archives Lisa Barkley, Archival Associate Lilly Carrel, Archivist

2019 Annual Report

Staff

Bookstore Paul Forsythe, Bookstore Manager Lynne McCabe, Bookstore Associate Kaneem Smith, Bookstore Associate Collection Management Stephanie Akin, Associate Registrar, Loans & Exhibitions Susan Slepka Anderson, Director of Collection Management David Alysworth, Collections Registrar Christopher Becker, Administrative Assistant Catherine Eckels, Registrar, Menil Drawing Institute Anthony Flores, Imaging Technician Stephanie Harris, Associate Registrar, Loans and Exhibitions Anna Hollyer, Assistant Registrar, Loans and Exhibitions Robin Key, TMS Assistant John (Russ) Lane, Art Preparator Donna McClendon, Imaging Services Specialist

Margaret McKee, Manager of Digital Assets Robert (Ole) Peterson, Art Preparator Alejandro Rosas, Art Preparator, Menil Drawing Institute Tony Rubio, Chief Preparator Julie Thies, Head of TMS Charles (Patrick) Yarrington, Art Preparator Conservation Jan Burandt, Paper Conservator Kari Dodson, Associate Objects Conservator Bradford Epley, Chief Conservator Mina Gaber, Matter/Framer Christina McLean, Artist Documentation Program Fellow Adam Neese, Conservation Imaging Specialist Meaghan Perry, Assistant Objects Conservator Katrina Rush, Associate Paintings Conservator Anna Schmid, Mellon Fellow for Painting Conservation Sarah Thompson, Administrative Assistant, Conservation Brianna Warren, Conservation Studio Technician Curatorial Nadia Al-Khalifa, Administrative Assistant, Curatorial Haley Berkman, Curatorial Assistant Paul R. Davis, Curator of Collections Natalie Dupêcher, Associate Curator of Modern Art Clare Elliott, Associate Research Curator Edouard Kopp, Chief Curator, Menil Drawing Institute Kelly Montana, Assistant Curator, Menil Drawing Institute Alexis Pennington, Assistant Exhibitions Coordinator Irene Shum, Associate Curator of Contemporary Art Michelle White, Senior Curator Exhibition Design Kent Dorn, Assistant Exhibitions Designer Brooke Stroud, Exhibitions Designer Communications and Public Programs Casey Betts, Communications Coordinator Tony Martinez, Public Programs Coordinator Oliver (Tommy) Napier, Assistant Director of Communications Amanda Thomas, Graphic Designer Human Resources Patrice Ashley, Benefits Coordinator Suzanne Maloch, Director of Human Resources Information Technology Oliver (Buck) Bakke, Manager of Information Technology Library Lauren Gottlieb-Miller, Librarian

Membership Stephanie Darling, Visitor and Membership Assistant Carrie Ermler, Manager of Membership and Visitor Services Seneca Garcia, Visitor and Membership Assistant London Ham, Visitor and Membership Assistant Monique Harris, Visitor and Membership Assistant Christopher Henry, Receptionist Andrew Kozma, Receptionist Anna Nugent, Membership Associate Hannah Siegel-Gardner, Manager of Patron Programs Thelma Smith, Visitor and Membership Associate

Jesper Panessah, Gallery Attendant Enelra Rizalde, Gallery Attendant Meichelle Robinson, Gallery Attendant Matthew Rojas, Gallery Attendant Glenn Shepherd, Director of Safety and Security Kenneth Sherman, Gallery Attendant Brandon Simmons, Gallery Attendant Mirzama Sisic, Gallery Attendant Supervisor Konjit Tekletsadik, Gallery Attendant Richard Thompson, Gallery Attendant *Staff list as of June 30, 2019

Museum Facilities Juan Buenrostro, Landscaper Nick Cedillo, Custodian Ernest Flores, Maintenance Assistant Wesley Haines, Manager of Facilities Jack Patterson, Assistant Facilities Engineer Kenneth Ruiz, Custodian, Menil Drawing Institute Jose Soriano Salazar, Landscaper Shivnaraine Sewnauth, Facilities Engineer Javier Verduzco, Custodian Publishing Joseph Newland, Director of Publishing Nancy O’Connor, Associate Editor Rental Real Estate Ramon Castillo, Maintenance, Rental Real Estate Roberto Gonzalez, Maintenance Supervisor Georgina Molina, Assistant Manager of Rental Real Estate Jesus Olvera, Handyman Alvin Ramirez, Maintenance Assistant Michael Ross, Manager of Rental Real Estate Philip Soto, Maintenance Assistant Security Ramona Al-Hardani, Gallery Attendant Vicente Ancheta, Gallery Attendant Arceli Arcilla, Gallery Attendant Kevin Arcilla, Gallery Attendant Cynthia Ballard, Gallery Attendant Matthew Barton, Gallery Attendant Delana Bunch, Gallery Attendant Sabina Causevic, Gallery Attendant William Cuevas, Control Room Monitor Roger Davidson, Gallery Attendant Bridget Eldredge, Relief Control Room Monitor Rodolfo Fornillos, Gallery Attendant Roberto Lara Fournier, Gallery Attendant Latisha Gilbert, Gallery Attendant Supervisor Jamarcus Gilmore, Gallery Attendant Nydia Gutierrez, Gallery Attendant Vera Hadzic, Gallery Attendant Earl Harris, Control Room Monitor Monique Harris, Gallery Attendant Shawnie Hunt, Control Room Monitor Sossina Kenfere, Gallery Attendant Lerma Legaspi, Gallery Attendant Reynaldo Legaspi, Gallery Attendant Eric Valdez Morales, Control Room Monitor

Copyright © 2020 Menil Foundation, Inc. All rights reserved. Published by the Director’s Office Sara Beck, Editor Amanda Thomas, Graphic Design Special thanks to: Susan Slepka Anderson, David Aylsworth, Lisa Barkley, Casey Betts, Lilly Carrel, Elsian Cozens, Paul Davis, Ileana Del Toro, Kari Dodson, Clare Elliott, Brad Epley, Carrie Ermler, Anthony Flores, Paul Forsythe, Lauren Gottlieb-Miller, Earline Gray, Anna Hollyer, Madeline Kelly, Melissa McDonnell Luján, Suzanne Maloch, Donna McClendon, Margaret McKee, Tony Martinez, Joseph Newland, Anna Nugent, Nancy O’Connor, Alexis Pennington, Lauren Pollock, Kristin Smyth, Rebecca Rabinow, Julie Thies, Judy Waters, and Michelle White. The Menil Collection 1533 Sul Ross Street Houston, TX 77006 713-525-9400 Museum and bookstore hours: Wednesday–Sunday, 11:00 a.m.–7:00 p.m. Free admission, always Free parking at 1515 West Alabama Street www.menil.org Photo credits Cover, Richard Barnes; pp. 2–3, Allyson Huntsman; pp. 16–17, 44–45, 50–51, Daniel Ortiz; pp. 26–27, Lizette Belen; pp. 36–37, Adam Neese