james nachtwey`s vision photography in a war zone the final word

in focus
JAMES NACHTWEY'S VISION
PHOTOGRAPHY IN A WAR ZONE
THE FINAL WORD
FA LL 2015
EXHIBITIONS | 03
Dear MEMBERS
in F ocus M agazine
A Currier Museum of Art
Membership publication
Fall 2015
[email protected]
E ditorial S taff
Steve Konick: D
irector of Public Relations
and Marketing, Editor
Vanessa De Zorzi: Graphic Designer
C ontributors
Witness to Histor y: James Nachtwey
Afghanistan, Ground Zero, Iraq
FRIDAY, SEPTEMBER 11, 2015 through MONDAY, DECEMBER 14, 2015
James Nachtwey has witnessed and documented some of the most important events of the
past four decades, including the collapse of the Twin Towers in New York City. This exhibition
of iconic, monumental photographs taken in Afghanistan, the United States and Iraq focuses
on war's effect on the lives of everyone involved, including American civilians at home and
abroad and troops returning home. The Currier's presentation of Witness to History: James
Nachtwey—Afghanistan, Ground Zero, Iraq is sponsored by: The Botnick Family Foundation,
M. Christine Dwyer & Michael Huxtable, Dorothea & David Jensen, John F. Swope, Nike
& David Speltz, Camera Commons LLC, Eleanor Briggs, and the David & Kathleen Murray
Charitable Fund of NHCF.
Susan Strickler: Director and CEO
Kurt Sundstrom: Curator
Witness to History: James Nachtwey — Afghanistan, Ground Zero,
Iraq presents more than two dozen large-scale photographs
that focus on the events of September 11, 2001, and the
conflicts in Afghanistan. The exhibition also documents our
troops overseas and their return from war. A prize-winning
documentary photographer, Nachtwey created images that
are tough and raw, but they are also heartbreakingly beautiful
compositions, full of humanity. We hope you will discover the
aesthetic richness of these photographs, so often shot by
Nachtwey under enormous pressure during crisis.
As we delved into the narratives that these photographs
captured, we found multiple levels of meaning and
interpretation. Our exhibition team peeled back the layers
of content by inviting different voices to express their points
of view in connection with these events. Either on written
labels or through our audio tour, you will experience the
interpretation of U.S. troops and of recent Iraqi immigrants
who lived through the war before coming to the greater
Manchester area. In an upcoming program at the Currier, we
will hear from Qais Akbar Omar, an Afghani author who wrote
Fort of Nine Towers , a story about his family’s experiences
in a country torn apart by war for decades (see Calendar
insert). As is often the case with art, Nachtwey’s photographs
open doors to complex conversations that reveal multiple
perspectives about issues important to us today.
Nachtwey’s photographs force us to assess humankind not
just at its worst, but also at its most inspiring. They help us to
see what we humans share no matter where we live: a desire
to live and thrive; to protect and cherish our families; and to
experience the emotions of love, loss and grief. It will be an
unforgettable experience.
Samantha Cataldo: Assistant Curator
Maxfield Parrish: The Power of the Print
Spencer Platt: Getty Images Photographer
FRIDAY, OCTOBER 9, 2015 through SUNDAY, JANUARY 10, 2016
CONTENTS
New Hampshire artist Maxfield Parrish (1870-1966) was arguably the most popular
American artist in the early decades of the 20th century. High quality color prints of his
paintings and illustrations, in the form of advertisements, magazine covers, calendars
and art posters, could be found in millions of American homes. This exhibition offers
a large selection of vintage prints as well as original oil paintings.
Exhibitions
pcoming Exhibitions
03 | U
Nachtwey & Collections
04 | Witness To History: James Nachtwey — A fghanistan ,
G round Z ero , I raq
06 | P hotography in a W ar Z one
All Access
08 | Donor Profile
Parrish Fun Facts
Community Connections
09 | Seen at the Currier
10 | Events
Collecting For Your Currier
The Final Word
COVER IMAGE
James Nachtwey, Statue of Iraq's President Saddam Hussein toppled in Firdos Square, Baghdad,
digital chromogenic print, April 9, 2003 (printed 2014), The Henry Melville Fuller Acquisition
Fund, 2014.22.11. James Nachtwey
ABOVE IMAGE
James Nachtwey, Afghanistan, digital chromogenic print, 1996 (printed 2014), The Henry
Melville Fuller Acquisition Fund, 2014.22.1. James Nachtwey
OPPOSITE PAGE
Maxfield Parrish, Freeman Farm: Winter, 1935. Oil on board. Gift of Jack and Harriet Hemenway
in honor of Joseph I. Caldwell, 2008.1. Art © Maxfield Parrish Family, LLC/Licensed by VAGA,
New York, NY
Director and CEO
SATURDAY, FEBRUARY 6, 2016 through SUNDAY, MAY 15, 2016
A fashionista’s dream, Killer Heels will present a 400-year history of fabulous footwear.
Contemporary and historical high heels will be on view, including shoes by Prada,
Manolo Blahnik and others. Drawn from the collections of the Brooklyn Museum in
New York and the Bata Shoe Museum in Toronto, this exhibition will also include
videos by contemporary artists that explore the cultural, social and aesthetic qualities
that make the high heel so fascinating.
First Folio: The Book that Gave Us Shakespeare
SATURDAY, APRIL 9, 2016 through SUNDAY, MAY 1, 2016
Imagine a world without the immortal phrases “To be, or not to be” or “Beware the
Ides of March.” It almost happened! A copy of the book that saved many of William
Shakespeare’s greatest plays from being forever lost will be on view in First Folio: The
Book that Gave Us Shakespeare. This is an extraordinary opportunity for visitors to see
an original copy of the First Folio, which was published in 1623. The book on view is one
of only 231 known copies in the world and will be at the Currier as its exclusive New
Hampshire and Boston-area venue.
11 | Optimism
James Nachtwey, Sign in Times Square, digital chromogenic print, 2001 (printed 2014), The
Henry Melville Fuller Acquisition Fund, 2014.22.12. James Nachtwey
Susan Strickler
Killer Heels: The Art of the High-Heeled Shoe
Nicholas Kirkwood. Pumps, Spring/Summer 2013. Suede with gold and clear Swarovski crystals.
Courtesy of Nicholas Kirkwood. Photo: Jay Zukerkorn. Killer Heels: The Art of the High-Heeled
Shoe is organized by Lisa Small, Curator of Exhibitions, Brooklyn Museum.
Title page with Martin Droeshout engraving of Shakespeare. Shakespeare First Folio, 1623.
Folger Shakespeare Library.
Image from Herball, Generall Historie of Plantes by John Gerard, Originally published 1597
Shakespeare's Potions: Library Focus Exhibition
WEDNESDAY, MARCH 16, 2016 through FRIDAY, MAY 13, 2016
William Shakespeare peppered his plays with potions and herbal remedies of many
sorts: sleep, love, death and remembrance, to name a few. In this small focus
exhibition, explore original texts printed from the 1500s through 1700s, some of
which Shakespeare may have used as source material for his recipes and references.
Herbals – collected works of plants with medicinal properties– often included
complex woodcut illustrations. View some of these rare books from the Reference
Library and Archive collection alongside film stills and movie memorabilia illustrating
Shakespeare’s use of plants and potions.
W ITN E S S TO H I STO RY: JA M E S N AC HT W EY | 05
04 | W ITN E S S TO H I STO RY: JA M E S N AC HT W EY
WITNESS TO HISTORY: JAMES NACHTWEY
Afghanistan, Ground Zero, Iraq
A
bout four years ago the Currier Museum of Art set a goal
to enhance the photography collection by acquiring images
that document turning points in American history. Foremost
on everyone’s mind were the events of 9/11 and the photographs
taken by James Nachtwey, whose images of that day are arguably
the most compelling visual record of the tragedy that unfolded in
New York City. I began an email exchange with Nachtwey to explore
the possibility of acquiring a few images. Subsequent meetings led
to the idea of developing a narrative around 9/11 told in twelve
pictures. After three years and several visits looking at hundreds
of images, the portfolio grew to 17 photographs, all of which were
acquired this year by the Currier. As we recognized the historic
and artistic importance of this body of work, a major exhibition
became inevitable. The result of this four-year collaboration with
the artist is Witness to History: James Nachtwey — Afghanistan,
Ground Zero, Iraq.
For more than three decades award-winning photojournalist James
Nachtwey (born 1948) has been giving voice to the voiceless who
have suffered unspeakable horror. He has been wounded many
times and was nearly blown up by a grenade in Baghdad. On
September 11, 2001, he ran the short distance from his home
to the burning Twin Towers in New York City. His photographs
are among the most iconic and tragically beautiful we have of
that day. In addition to his 9/11 images, this exhibition includes
photographs from Afghanistan taken during the mid-1990s as the
Taliban rose to power and Al Qaeda became their ally. Nachtwey
returned to Afghanistan after 9/11 and also photographed in Iraq.
While most of these images have been published in Time or National
Geographic, this exhibition features them for the first time as largeformat prints, offering you the opportunity to deeply consider
each photograph's content and composition. The exhibition will
conclude with highly personal images of American soldiers, their
families and others affected by these events. Nachtwey worked
with the country's premiere digital printer, Jon Cone of Cone
Editions Press in Vermont, to create these prints, which will be on
view exclusively at the Currier.
} For more than three decades award-winning
photojournalist James Nachtwey has been giving
voice to the voiceless. ~
In comparison to images of the same events many other documentary
photographers have taken, Nachtwey’s prints stand out for their
artful compositions, visual eloquence and poignant beauty. They
are infinitely memorable. Even the most horrific and painful images
hold your attention, stirring the mind, soul and heart, and remind
us of the true cost of war. Through Nachtwey’s images, we begin
to see death and destruction, not in terms of religion, nationality
or race, but as a human tragedy in which there are no winners.
The exhibition concludes with The Sacrifice, a stirring 30-foot wide
collage of photographs taken in a military hospital in Iraq.
James Nachtwey graduated from Dartmouth College in 1970 and
began his career as a documentary photographer in 1980. Since
then, he has photographed numerous historical events including
the breakup of the former Yugoslavia, the war in Chechnya, civil
unrest in Northern Ireland, the genocide in Rwanda, the liberation
struggle in South Africa and the Palestinian-Israeli conflict.
Nachtwey’s photographs have been exhibited around the world,
and he has received numerous prizes and awards including the
World Press Photo award in 1994. Nachtwey has also been
awarded the Overseas Press Club's Robert Capa Gold Medal an
unprecedented five times. In 2001, War Photographer, focusing on
Nachtwey and his work, received an Academy Award nomination
for best documentary film. - Kurt Sundstrom
Image left: James Nachtwey, Collapse of the South Tower, Church
of St. Peter on Church St. and Barclay, September 22, 2001,
(printed 2014), digital chromogenic print, Currier Museum of
Art, Manchester, New Hampshire. Museum Purchase: The Henry
Melville Fuller Acquisition Fund, 2014.22.1. James Nachtwey
Image right: James Nachtwey, Staff Sgt. Jason Welsh, 2006
(printed 2014), digital chromogenic print, Currier Museum of
Art, Manchester, New Hampshire. Museum Purchase: The Henry
Melville Fuller Acquisition Fund, 2014.22.4. James Nachtwey.
P H OTO G R A P HY I N A WA R ZO N E | 07
06 | P H OTO G R A P HY I N A WA R ZO N E
a global community, we have an easier time today ignoring the
plight of others. We often consume media specifically tailored to
our interests and political bents while ignoring topics to which
we feel indifferent. The days of opening up the daily paper and
being confronted by a picture that forces us to engage with a
subject’s story have been hijacked by a social media news feed
that confirms our gated worldview.
For me, the business of news photography is what calls out to
me in the night. Its ability to cheer us and simultaneously depress
us stirs me to sleep and pushes me from bed each morning. My
evenings conclude with the BBC at
midnight. Sitting alone and gazing at
an old painting on a wall, I fill my mind
with imagery to accompany the tales
of despair beckoning from the radio: a
failed coup in Burundi, a capsized ferry
in China, more beheadings in the Middle
East, a boy rescued from a Texas flood.
I want to be there, to breathe it in, to
smell the heavy air and to hear the tired
cheers for a life saved.
Photography in a War Zone
Reflections of Getty Images Photographer Spencer Platt
U
pon hearing that the Currier Museum of Art would be
showing the work of American photojournalist James
Nachtwey, I was immensely relieved. Not that I am surprised
that a major museum would commit themselves to a solo show of
his work, but that it confirms that my profession, photojournalism,
has reached the point where it is recognized as a major art form
that deserves to be shown next to Picassos and O’Keeffes. It
troubles some contemporary critics and photographers that
images of suffering can be hung on pearly white walls at which
people gaze and contemplate while sipping a glass of merlot. But
if we have tolerance for the consumer-driven emptiness of a Jeff
Koons, we certainly need to have the fortitude to look at the hardhitting reality of Nachtwey’s world. After all, his world is also ours,
however much we try to distance ourselves from it.
Photojournalism is in a strange place today. Discussed and debated
like never before, it has become the ubiquitous vehicle in which
we take in our world. But there are a shrinking number of “real”
photojournalists, the men and woman roaming the globe in order to
showcase stories of our world and time. Due to massive upheavals
in the media environment, the number of traditional outlets of
support for news photographers has shrunk. Photographers today
often need to be either independently wealthy or have the backing
of one of the big agencies; the days of traveling the globe on the
Time or Newsweek expense account crashed somewhere along
the Silicon Valley highway.
The truth is that we need this profession more than ever. The
irony of globalization is that while we’ve never been closer as
juxtaposed in an almost cubist fashion, upended my conventional
ideas of the profession. This was a man possessed in the same way
McCullin was: not simply brave, but totally committed to bearing
witness and dragging us along. It was photojournalism not as art,
but as a Joycean testament to those without a voice, to the wars
and injustices from which we’ve turned our gaze.
Why does a person choose to be a photojournalist? There are so
many other ways to make a living that are safer, more financially
lucrative and better synced to the rhythms of family and friends. I
once naively assumed people would be impressed with my career
choice, but over time I’ve come
to realize that few actually are. In
a day where the incessant beat
of technology and big money
have attracted the best and the
brightest of our generation, the
idea of spending long stretches
of time with the down and out in
distant locales, to many, seems
sadly quaint. I couldn’t live any
other way.
Nachtwey...
was a man
possessed... not
simply brave, but
totally committed
to bearing witness
and dragging
us along.
What others call news is history for
me; the everyday dramas and tragedies
that shape our collective narrative can
have a deep resonance, but only if we
slow down to observe and savor these
moments. The random and often absurd
nature of these events can deceive
many, but on closer inspection they tell
a story of who we are as a people. Our
ethics, fears, triumphs and tragedies
play out daily in the pictures floating across the newswires. There
is a picture of an Afghan child sitting in twilight against a dusty
tent in a relief camp, his mangy puppy held taut by a string. I keep
returning to that photo, I don’t know who shot it, but it always
brings tears to my eyes.
The first photographer to make an impression on me was the great
British war photographer, Don McCullin. He resembled Steve
McQueen, but his life wasn’t lived on a Hollywood set. Instead, he
photographed in the jungles of Vietnam and the barren stretches
of Africa. His images evoke a moral intimacy that force the viewer
to identify with the subject in a way that transcends victimization;
you can catch glimpses of another you in his pictures. McCullin
also had numerous personal upheavals in his life which he revealed
in his beautiful autobiography, Unreasonable Behavior. This candid
and unvarnished look into his life gave me the momentum I needed
to start a career in photojournalism.
When I first discovered the work of James Nachtwey it was
through his book Deeds of War, which a local library owned. I
can recall sitting on the frayed rug between the stacks nervously
going through the pages. The colors were lurid and stark. They
To witness the slow unravelling
of history, its smells and sounds,
its cries and pangs of nervous
laughter is to be alive in a manner
our modern world can rarely
offer. It is the return home from
these events that can really hurt.
When the adrenaline subsides
and the responsibilities of being
a father, husband and citizen
once again come to dominance, I sometimes feel lost. But
feeling lost is being human and being human demands empathy.
-Spencer Platt, Brooklyn, New York 2015
Spencer Platt was raised in Westport, Conn. and studied English
at Clark University. Since joining Getty Images in 2001 as a New
York-based staff photographer, he has covered breaking news in
such countries as Afghanistan, Bolivia, Iraq, Congo, Indonesia and
Liberia. He has lectured on photography at several universities
and at the International Center of Photography. Platt has received
numerous awards including a Picture of the Year International
award, Atlanta Photojournalism Seminar award and an Associated
Press Award for coverage of the conflict in Albania. In 2007, he
was awarded the prestigious World Press Photo of the Year for his
picture of young Lebanese surveying bombing damage in Beirut
during the Lebanon-Israel crisis of 2006 (see opposite page). Platt
lives in Brooklyn, N.Y. with his wife and daughter.
IMAGE: Spencer Platt, Courtesy of Getty Images
Original Caption "Affluent Lebanese drive down the street to look at a
destroyed neighborhood Aug. 15, 2006, in southern Beirut, Lebanon."
S E E N AT T H E C U R R I E R | 0 9
08 | ALL ACCESS
JACK MCCARTHY:
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2
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Henry Melville Fuller Society Member
More than 40 years ago, Jack McCarthy and his wife, Barbara, began an enduring relationship
with the Currier Museum as frequent visitors. “The first time I visited, Barbara brought me
and I wondered, ‘What is this museum doing here?’” said Jack, referring to the Currier’s
impressive collection and its presence in a small residential section of an industrial city.
Soon, Barbara became a Museum docent and the two developed what Jack described as a
“great affection and appreciation” for the Currier, and especially its educational programs.
When Barbara died last year, Jack decided to honor her by including a bequest in his will
giving support to the Currier’s educational programs, a topic dear to Barbara’s heart. In
doing so, Jack joined the the Henry Melville Fuller Society, a group of people who choose to
give back to the Currier through bequests in their wills.
SEEN AT THE CURRIER
4
1 | Mariachi performing at Currier After Hours: Taco Extravaganza!
2 | Child and parent at Creative Studio Saturday 3 | Director and
CEO Susan Strickler speaks at the Members' Preview of From Birds
to Beasts: Audubon's Last Great Adventure. 4 | Jane Chu, NEA Chair,
touring the Currier with Andrew Spahr, director of collections and
exhibitions at the Currier. The Currier is supported in part by a grant
from the NH State Council on the Arts & the National Endowment for
the Arts. 5 | Randy Pierce, 1st Vice Chairperson NH Association of
the Blind, with Leah Fox, former Currier director of interpretation
and audience engagment at the 2015 Access Award Ceremony
6 | Eric Aho Meet & Greet 7&8 | Heart of the Arts Gala 9 | Cold
River Ranters perform at Currier After Hours: Celebrating Audubon.
10 | Guests at the Audubon Members' Preview.
If you would like to hear more about the advantages of including the Currier in your estate
plans and the benefits of joining the Henry Melville Fuller Society, contact Paul Staller,
director of development, at [email protected] or call 603.669.6144, x115.
MAXFIELD PARRISH: DID YOU KNOW?
5
Learn more about the artist in the upcoming exhibition Maxfield Parrish: The Power of the Print
7
6
n Parrish lived in Plainfield, N.H. from 1898 until his death in 1966.
The Currier owns several works by Parrish, the first of which was acquired in 1943.
n­
nParrish is one of many artists who worked in the Cornish, N.H. area in the early 20th century.
Known as the Cornish Art Colony, other resident artists included: Augustus Saint-Gaudens,
Frederic Remington and Daniel Chester French, all of whom are represented in the Currier’s
permanent collection.
nParrish was the most popular artist in America during the early 20th century. Prints and calendars
showing his paintings sold by the hundreds of thousands. One 1925 survey estimated that as
many as 1 in every 4 households had a print of his most famous painting, Daybreak (1922). One
of these prints will be on view in our exhibition.
8
nBetween 1917 and 1931, the Forbes lithograph company commissioned an annual series of
paintings from Parrish which were reproduced using state-of-the-art color lithography. These
were featured on calendars for General Electric Edison-Mazda Lamps. More than 17 million
calendars, and 3 million pocket sized versions, were printed. Several examples of these calendars,
such as the one illustrated here, will be displayed in the exhibition.
nParrish began his career illustrating children books, including the beloved Mother Goose in Prose
(1897) and The Arabian Nights (1909).
n T he glowing blue that Parrish achieved in his paintings is so beautiful and characteristic of his
work that it has come to be known as "Parrish Blue."
nArt runs in the family: Parrish’s father, Stephen, was a painter and engraver. His son, Maxfield
Parrish, Jr., helped create the first self-developing film camera for Polaroid Corporation.
-Sam Cataldo, Assistant Curator
Edison Mazda Lamp Works Calendar, 1918, featuring Dawn
by Maxfield Parrish lithographic reproduction of original oil
painting printed by Forbes Lithography Co., private collection.
Photo Credit: David Putnam.
9
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THE FINAL WORD | 11
10 | E V E NTS / C O LLECTI N G F O R YO U R C U R R I E R
Dress to Impress at the Currier
T
his spring, the Currier will host one of the biggest shows ever in Northern New England. Killer Heels: The Art of the HighHeeled Shoe features 400 years of fabulous footwear, showcasing contemporary designers whose work you’ll love, but can’t
imagine on your feet, including Prada, Alexander McQueen, Jean Paul Gaultier, Miu Miu, Christian Louboutin, Ferragamo,
Manolo Blahnik and more.
Killer Heels isn’t just an amazing show, it’s also a fantastic opportunity to share your style with friends, coworkers and clients. Hosting an
event at the Currier Museum from February 6 through May 15, 2016 includes general gallery access, and you can add a private viewing
of this blockbuster exhibition. This is New England’s must-see show of the season. Imagine designing your event around it!
Show off your style! For more information about private events at the Currier, contact Lisa Pavlopoulos at 603.669.6144, x110, or email
[email protected].
IMAGE LEFT: Eric McCallister Photography
IMAGE RIGHT: Christian Louboutin. “Printz,” Spring/Summer 2013. Courtesy of Christian Louboutin. Photo: Jay Zukerkorn. Killer Heels: The Art of the High-Heeled Shoe is organized by Lisa Small, Curator of Exhibitions, Brooklyn Museum.
THE INNOVATIVE VIVIAN BEER
THE FINAL WORD
M
anchester’s Vivian Beer is an artist whose work has nearly
instantaneous appeal. Throughout her career she has been
described as a sculptor, metalworker and furniture designer.
While all of that is true, innovator might be more accurate. Her work appears
in institutions across the country, including the Smithsonian’s Renwick Gallery,
the Brooklyn Museum and Boston's Museum of Fine Arts, but Beer’s newest
project is now on view in her own backyard. She created a custom sculptural
bench commissioned by the Currier.
Beer worked closely with Andrew Spahr, director of collections and exhibitions,
to develop the concept for a bench inspired by a work of art in the Currier’s
collection. Vivian Beer chose Samuel Dunlap's Chest-on-chest-on-frame (179095), as her inspiration. The Dunlaps were New Hampshire's most acclaimed
dynasty of furniture makers. Beer was drawn to the cabinet's craftsmanship and
particularly its feet, which have strong curves similar to those in her own work.
The inside of the bench is structured much like an airplane wing. She says that
the Currier's bench is one of the most complex pieces of metalworking she has
ever executed.
The bench is part of a larger body of work called the “Anchored Candy”
series, which Beer started around 2009. She says the basic idea behind
the series is balance. An architectural block of steel on one end balances
a tiny foot that supports a sweeping, organic form. The curves of the
bench are enhanced by the deep red automotive paint. Come visit the
final work, Anchored Candy no.8, in the Scheier Gallery at the Currier.
-Vanessa De Zorzi
J
ames Nachtwey's photograph Derek McGinnis tries surfing, Pismo Beach, CA (2006) is an intricate work
of art. Its high contrast and dynamic composition draw you in to the image, almost demanding that you
stay and contemplate. The subject, a veteran who lost his leg in combat, reveals a humanity unique to
Nachtwey's photography.
Samuel Dunlap, Chest-on-chest-on-frame, maple and pine, 1790-1795, Museum Purchase: Currier Funds, 1959.3
In a TED talk, Nachtwey said: "After enduring extreme pain and trauma, the wounded [veterans] face a grueling physical
and psychological struggle in rehab. The spirit they displayed was absolutely remarkable. I tried to imagine myself in their
place and was totally humbled by their courage and determination in the face of such catastrophic loss. Good people
have been put in a very bad situation for questionable results. One day in rehab someone started talking about surfing
and all these guys who have never surfed before said 'Hey, let's go!' and they went surfing." Nachtwey was inspired by
their bravery and decided to document it in this work of art.
See this photograph in person at the Currier during our exhibition Witness to History: James Nachtwey–
Afghanistan, Ground Zero, Iraq from September 11 to December 14, 2015. Also join us for special events discussing
the challenges that Veterans and their families face upon returning home. More details in the Calendar insert.
James Nachtwey, Derek McGinnis tries surfing, Pismo Beach, CA, digital chromogenic print, 1996 (printed 2014), The Henry Melville Fuller Acquisition Fund, 2014.22.16. James Nachtwey
Vivian Beer, Anchored Candy no. 8, 2015, Formed and fabricated steel, automotive finish, gun blue patina,
Museum Purchase: The Ed and Mary Scheier Acquisition Fund, 2015.19
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program focuses on underserved children in
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this is an ideal audience because art welcomes
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The School Tour Program is made possible in part
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members like you.
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