annual report for 2009 - National Portrait Gallery

National Portr ait Gallery
Annual Report
October 1, 2008–September 30, 2009
National Portr ait Gallery
Annual Report
October 1, 2008–September 30, 2009
From the Director 4
Exhibitions 5
Acquisition Highlights 7
Publications 8
The Virtual NPG 9
Education 10
Conservation 12
Scholarly Contributions
13
Media Coverage 15
Donations to the Collection 16
Donors 18
Financial Summary 20
Commissioners, Senior Staff, Curators,
and Historians 22
Photography Credits 23
From the Director
A
s I reflect on another year as director of the National Portrait
Gallery, I feel confident saying that this has been one of
significant accomplishment; I humbly lead this remarkable
institution fully realizing that I am carrying on the legacy of those
before me.
In addition to opening nine exhibitions this year, the National
Portrait Gallery also unveiled portraits of six living Americans who
have influenced American history and culture.
Former Dodger Tom Paciorek, baseball legend Tommy
In December, the museum unveiled the portraits of President
Lasorda, and former Dodger Steve Garvey (left to right)
and Mrs. George W. Bush; in January, a portrait of Barack Obama
by Shepard Fairey; in April, a portrait of Duke Ellington by Tony
Bennett; in May, a portrait of Eunice Kennedy Shriver by David
Lenz; and in September, a portrait of Tommy Lasorda by Everett
Raymond Kinstler. I look forward to the coming year as our
collection continues to grow with generous support from donors
who have made each of these commissions and acquisitions possible.
Together, these presentations summarize what it is to be the National
Presenting the portrait of Eunice Kennedy Shriver by David Lenz
Portrait Gallery: a place where the story of America is told through
portraiture and biography.
The National Portrait Gallery is a place that Americans hold dear and consider their own. This year we
heard and responded to thousands of people from across the nation who commented on topics that ranged
from individuals who are in our collection to the information included in their biographical labels. The
response has demonstrated that our programs and exhibitions matter to people from every state in this union.
In 2008 and 2009 the Portrait Gallery has been blogging, Tweeting, and updating our Facebook page.
We have nearly doubled our fans on Facebook. We recorded a cell phone exhibition tour and set up video
kiosks. One of those kiosks, in our exhibition “Presidents in Waiting,” included exclusive interviews of four
vice presidents. These additions to the museum experience enhance our exhibitions, programs, and the
overall experience of the visitor while also expanding our reach to visitors online.
Scholarship continues to be a focus of the museum, with curators and historians contributing articles,
lectures, and symposia to the scholarly community. Their contributions were often made in addition to
organizing and creating the fabulous lineup of exhibitions that you will read more about in this report.
This year we also launched a new level of giving called the Presidents’ Circle. As you know, the National
Portrait Gallery is a public-private partnership, and raising private funds is essential to our everyday
operations, exhibitions, and programs. The Presidents’ Circle is one way that individuals can get involved in
helping us fund these critical activities.
The following report demonstrates the public-private partnership more fully by showing how both
federal funds and the support of generous donors help the museum achieve its goals.
Martin Sullivan
4
Exhibitions
Women of Our Time: Twentieth-Century Photographs
October 10, 2008–February 1, 2009
This exhibition featured photographs of women who have made a significant
impact on the history and culture of America in the twentieth century. The
curator for “Women of Our Time” was Ann Shumard, and the exhibition was
funded by the Cafritz Foundation.
Tokens of Affection and Regard: Photographic Jewelry
and Its Makers
October 24, 2008–June 21, 2009
“Tokens of Affection and Regard” featured photographic jewelry containing
portraits in the nineteenth century’s four main photographic processes—
daguerreotypes, ambrotypes, tintypes, and paper prints. It was most notably
covered in Ornament Magazine and Smithsonian Magazine. Ann Shumard
was the curator of this exhibition, and it was supported by the Marc Pachter
Exhibition Fund.
Althea Gibson from “Women of Our Time”
One Life: The Mask of Lincoln
November 7, 2008–July 5, 2009
The National Portrait Gallery commemorated the bicentennial of Lincoln’s
birth with this “One Life” exhibition that drew on the museum’s extensive
collection of Lincoln portraits. “The Mask of Lincoln” was widely covered in
the media, including a story on the CBS Evening News with curator David
Ward; several articles in the Washington Post, in the autumn 2008 issue of
Inside Smithsonian Research, in the Swiss publication Neue Burcher Beitung, in
the Smithsonian Collector’s Edition magazine, as well as a featured article in
the Arts section of the New York Times. The Smithsonian Institution Traveling
Exhibition Service created a portfolio packet based on this exhibition, which
was distributed to educators throughout the nation. This exhibition was
funded by the Guenther and Siewchin Yong Sommer Endowment Fund.
“Tokens of Affection and Regard”
An educational portfolio marking the
th anniversary of Abraham Lincoln’s birth
Portraiture Now: Feature Photography
November 26, 2008–September 27, 2009
“Portraiture Now: Feature Photography” focused on six photographers who,
by working on assignment for publications such as the New Yorker, Esquire, and the New York Times Magazine, cast their distinctive perspective
on contemporary portraiture to a broad audience. The New Yorker created
a narrated slide show on its Web site featuring the photographers in the
exhibition, and the exhibition received accolades in both local and national
art reviews. Curators of this exhibition were Brandon Brame Fortune, Anne
Collins Goodyear, Frank H. Goodyear III, Wendy Wick Reaves, and Ann
Shumard. This exhibition was supported by the Marc Pachter Exhibition Fund.
Lincoln Portfolio for educators, produced in conjunction with
“One Life: The Mask of Lincoln”
Presidents in Waiting
January 20, 2009–January 3, 2010
Almost one-third of America’s presidents attained that office through the vice
presidency, and “Presidents in Waiting” examines their rise and legacies. The
exhibition includes exclusive interviews with four former vice presidents.
Curators are historians James Barber and Sidney Hart. This project, and all
related programs and publications, have been made possible by Ford Motor
Company Fund.
“Portraiture Now: Feature Photography”
5
Exhibitions
Inventing Marcel Duchamp: The Dynamics of Portraiture
March 27–August 2, 2009
This groundbreaking exhibition cast new light upon Marcel Duchamp (1887–1968), one of the most influential artists of the
twentieth century. “Inventing Marcel Duchamp” was most notably covered by Antiques & Fine Art Magazine and ARTNews. The
Washington Post’s art critic, Blake Gopnik, also wrote a feature story about this exhibition. “Inventing Marcel Duchamp” was
generously supported by the Henry Luce Foundation, the Smithsonian Institution Scholarly Studies Program, the Florence Gould
Foundation, the Marc Pachter Exhibition Fund, and Ella M. Foshay and Michael Rothfeld. Additional support was provided by
Aaron and Barbara Levine, as well as Mary McMorris and Leonard Santoro. Anne Collins Goodyear and guest curator James
McManus organized this exhibition.
Reflections/Refractions: Self-Portraiture in the Twentieth Century
April 10–August 16, 2009
This exhibition—containing approximately seventy-five works from the museum’s collection of artist’s self-portraits—explored
the complex issues of understanding identity in the past century. “Reflections/Refractions” was reviewed by Paul Richard in
the Washington Post, and the exhibition was made possible by the Marc Pachter Exhibition Fund. Wendy Wick Reaves was the
exhibition curator.
One Life: Thomas Paine, the Radical Founding Father
August 7–November 29, 2009
This “One Life” exhibition featured the story of Thomas Paine on the 250th anniversary of his birth. Paine is most well known
for his pamphlet titled “Common Sense.” The exhibition was reviewed in the Wall Street Journal, as well as in the Washington
Times and Roll Call. “Thomas Paine, the Radical Founding Father” was funded by the Guenther and Siewchin Yong Sommer
Endowment Fund. Margaret Christman was the exhibition curator.
Faces of the Frontier: Photographic Portraits from the American West, 1845–1924
September 25, 2009–January 24, 2010
This exhibition tells the story of the dramatic changes to the American West in the eighty years between the Mexican War and
the passage of the Indian Citizenship Act of 1924. The story is illustrated through one hundred photographs of men and women
of the period. It also includes a cell phone tour with talks by Smithsonian curators and Sandra Day O’Connor. This exhibition is
traveling to two additional venues in 2010, the San Diego Historical Society and the Gilcrease Museum in Tulsa, Oklahoma. The
curator of “Faces of the Frontier” is Frank H. Goodyear III, and the exhibition is supported by the Marc Pachter Exhibition Fund,
the Smithsonian Women’s Committee, the BNSF Foundation, Peter and Rhondda Grant, and Jack and Beth Watson.
“Inventing Marcel Duchamp”
6
The Wild Bunch from “Faces of the Frontier”
Acquisition Highlights
The National Portrait Gallery acquired 162 objects in the past year, and through these acquisitions the
museum now includes thirty-six new subjects. Highlights are:
Title or Subject
Lifedates
Artist
Medium
Date
Painting and Sculpture
Benjamin Harrison
1833–1901
Johannes Gelert
painted plaster
Elizabeth DePeyster Peale 1765–1804
James Peale
watercolor on ivory
George W. Bush
b. 1946
Robert A. Anderson oil on canvas
Philip Johnson
1906–2005
George Kelly
nickel-plated bronze
1888
1795
2008
1997
(cast in 2000)
Photographs
Lucretia Mott
1793–1880
Marcus Aurelius Root daguerreotype
c. 1851
Ida B. Wells
1862–1931
Mary Garrity
albumen silver print
c. 1893
Sadakichi Hartmann
1867–1944
Zaida Ben-Yusuf
platinum print
1898
H. L. Mencken
1880–1956
Edward Steichen
platinum print
1926
Elijah Muhammad
1897–1975
Gordon Parks
gelatin silver print
1963
Willie Nelson
b. 1933
Michael O’Brien
gelatin silver print 1999
(printed 2007)
Prints and Drawings
Sir Walter Raleigh
1552?–1618
Simon van de Passe
John C. Pemberton F. H. Schell
Surrendering to U.S. Grant
John Glenn
b. 1921
Henry Casselli
Barack Obama
b. 1961
Shepard Fairey
George W. Bush
John Glenn
engraving
graphite drawing on paper
watercolor on paper
hand-finished collage, stencil, and acrylic on paper
c. 1616
1863
1998
2008
Lucretia Mott
7
Publications
Catalogs were published with three exhibitions this year: Inventing
Marcel Duchamp: The Dynamics of Portraiture (distributed by MIT
Press, March 2009), edited by Anne Collins Goodyear and James W.
McManus; Reflections/Refractions: Self-Portraiture in the Twentieth
Century (Smithsonian Institution Scholarly Books, April 2009), edited
by Wendy Wick Reaves; and Faces of the Frontier: Photographic
Portraits from the American West, 1845–1924 (University of Oklahoma
Press, September 2009), by Frank H. Goodyear III, with an essay by
Richard White. All three book projects highlight the Portrait Gallery’s
efforts to partner with new publishers. The Reflections book was also
Smithsonian Scholarly Books’s first venture into the art field.
PROFILE
Also published was Swift to My Wounded: Walt Whitman and the Civil
War, written and adapted by E. Warren Perry Jr. (July 2009). The play
was originally performed in November 2006 for the Portrait Gallery’s
Cultures in Motion program, in collaboration with the Catholic
University of America Drama Department. Swift to My Wounded has
since been performed at the Armed Services Retirement Center and
the National Theatre’s Helen Hayes Gallery.
Smithsonian National Portrait Gallery News
Summer/Fall 2008
A Summer/Fall 2008 issue of the Portrait Gallery’s newsletter, Profile,
was published. Beginning with the Fall/Winter 2009 issue, it will
change from a sixteen-page to a twenty-page publication.
Goodyear
McManus
k Reaves is curator of
Reaves
rican Portrait Drawings from
1998).
Marcel
The Dynamics of
PorTraiTure
New York Portrait Photographer and Red Cloud: Photographs of a Lakota Chief.
Richard White, Margaret Byrne Professor of American History at Stanford
Duchamp
University, is author of “It’s Your Misfortune and None of My Own”: A New
History of the American West and Remembering Ahanagran: Storytelling in a
Family’s Past.
On the front: William F. Cody (1846–1917), by an unidentified photographer. Woodburytype, 14.1 × 9.7 cm
(5 9∕16 × 3 13∕16 in.), 1887. National Portrait Gallery, Smithsonian Institution.
(8 5/8 × 6 5/8 in.), 1872. National Portrait Gallery, Smithsonian Institution; gift of Larry J. West.
themes of vanity and mortality. in the twentieth
of the
Frontier
century, however, self-representation was bent in
Marx, and other theorists, notions of a fixed, stable
Faces
identity dissolved. artists used self-portraiture to un-
Photographic P
new directions. in the wake of freud, Darwin, Karl
derstand and express their own individuality, and to
integrate multiple or changing identities.
in Reflections/Refractions, some of the great-
Their faces loo
est modern artists—including andy Warhol, ed-
wear the high coll
ward Hopper, Grant Wood, Jasper Johns, robert
another era. The n
rauschenberg, Jacob lawrence, louise nevelson,
Sitting Bull, Anni
Photographic Portraits from the
American West, 1845–1924
David Hockney, elaine de Kooning, and alexander
they played a sign
calder—use self-portraiture to trace the intricacies
people of the Wes
of their personalities or artistic personas. the book
time and place.
is at once a catalog of twentieth-century self-por-
Faces of the Fr
traits in the collection of the smithsonian’s national
Portrait Gallery and an exploration of how modern
of leaders, statesm
artists view themselves and the world. two illumi-
posed before the
nating essays and eighty color illustrations are ac-
town and frontier
companied by lively and informative entries, making
of the National Po
this volume an endlessly fascinating book for the
helped transform
coffee table and library.
of the Indian Citi
Accompanyin
provide historical
Goodyear explore
Printed in Singapore
of the West by giv
Rowman &
Littlefield
western issues. R
accurately represe
National
Portrait
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participated in a p
Fr ank H. Goodyear iii
$49.95
.
On the back: Self-portrait by William Henry Jackson (1843–1942). Albumen silver print, 21.9 × 16.8 cm
their skills, “signing” their work, or musing on the
Frontier
Portrait Gallery, Smithsonian Institution, and author of Zaida Ben-Yusuf:
Faces
ated striking images of themselves, showing off
of the
Duchamp
Frank H. Goodyear III is Associate Curator of Photographs at the National
t
blishers, inc.
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Marcel
themselves.
Edited by Wendy Wick Reaves
$49.95
at least since the renaissance, artists have cre-
Photographic Portraits from the American West, 1845–1924
Inventing
understanding what Americans then saw in the West, and how they saw
self-Portraiture in the twentieth century
Inventing
the
cholarly Press,
ypress.si.edu
This handsome volume is not only a record of the people we associate
with the West during a remarkably formative eighty years but also a key to
self-Portraiture in the twentieth century
Faces
The Dynamics of PorTraiTure
ers as Portraiture (2008), Eye
Gallery (2002), and Celebrity
reflections/refractions
Goodyear
ry. Her previous publications
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The Virtual NPG
The Portrait Gallery continued to build its
online audience through the social media sites
Twitter, Flickr, iTunes, YouTube, and Facebook,
and by posting more than one hundred articles
to our own blog, Face-to-Face. The number of
Facebook fans has doubled in the past six months,
which signals the impact of these efforts on the
museum’s online audience.
One of the Web team’s largest efforts in fiscal year
2009 was the release of our redesigned Web site.
Created and tested entirely in-house, this project
reorganized information for easier access and
added links to the social media sites mentioned
above. One of the highlights is that visitors to our
site can share the perspective of visitors to our
museum. Now images on npg.si.edu often come
from Flickr, a photo-sharing site where people
post their pictures of the museum that we in turn
use to illustrate our site.
Another online initiative that launched this fiscal
year is the Face-to-Face podcast series, featuring
talks, lectures, and interviews organized by the
museum’s Office of Education. More than sixty
episodes are available at no charge on iTunes,
with subjects ranging from Abraham Lincoln to
graffiti art.
The Web team created eight new Web sites for the
exhibitions that opened this year. They may be
viewed at npg.si.edu.
These updates and changes to the National
Portrait Gallery’s site have caught the attention of
our online audience: visits to the Portrait Gallery’s
collections search feature increased from an
average of 13,000 per month to about 18,000 per
month, while Web visits averaged 420,000 per
month.
9
Education
The Office of Education reached more than 35,000 people through
various programming initiatives this year.
The volunteer docent corps continued to lead tours of the
permanent collection and special exhibitions daily and interacted
with thousands of visitors. New to FY 2009 is a joint hour-long
tour of both the Portrait Gallery and American Art, which uses
docents from each museum.
The department also partnered with the Smithsonian Center for
Education and Museum Studies to develop lessons and content for
its biannual publication Smithsonian in Your Classroom. The entire
issue, titled “Lincoln: The Face of a War,” is devoted to the themes
found in the exhibition “One Life: The Mask of Lincoln.” To
download a copy, visit www.smithsonianeducation.org/educators/
lesson_plans/lincoln/index.html.
In June, the department presented “Warholapalooza!,” an all-ages,
museum-wide program that interpreted the work of Andy Warhol
to connect visitors with cinema, children’s art and literature,
celebrity, and conceptual art. More than six hundred visitors
enjoyed the programs.
Gallery360 was created to pair with our contemporary exhibitions.
It is a conversation about the portraits in a single gallery, led
by the artist who created them. Gallery360 is a wonderful
opportunity for visitors to hear directly from an artist about his or
her work and the method of creating that work.
Art workshop, Presidential Family Fun Day
In addition to this new initiative, the department continued to
offer the popular Cultures in Motion program, weekly Face-toFace talks, teacher workshops, school tours, and the film series
Reel Portraits.
Cultures in Motion is a performance series that features a person
whose likeness is in the Portrait Gallery’s collection. One of this
year’s programs, “A Portrait of Porgy,” featured renowned vocalists
Alvy Powell and Janice Chandler Eteme singing George Gershwin’s
music for a standing-room-only audience. The program was
presented with the National Museum of African American History
and Culture.
The youth and family programs division organized several
public programs throughout the year. The Portrait Gallery cohosted—with the Smithsonian American Art Museum—another
successful Presidential Family Day, with actors who portrayed
10
Washington Nationals Presidential Racers at Presidential Family Day
Education
Presidents Washington and Lincoln. Visitors could enjoy tours
of the “America’s Presidents” exhibition and try their hand at
crafts relating to the presidents. Women’s History Month was
celebrated with a family day featuring mother-daughter children’s
book authors. Together with American Art, the Portrait Gallery
celebrated baseball in a summer family day with a visit from
players and mascots from the Washington Nationals.
Face-to-Face is a weekly program of half-hour talks that the
museum has held for three years. The informal lectures take
place each Thursday with a special guest who offers in-depth
biographical information about a selected sitter and artist.
The Office of Education also provides professional development
workshops for teachers throughout the nation. These workshops
assist educators with integrating portraiture into the classroom
in order to connect students with history, biography, visual art,
and many other subjects. One such program was a joint daylong
workshop in conjunction with the exhibition “One Life: The Mask
of Lincoln.” The Portrait Gallery education staff partnered with
Lincoln’s Cottage in Northwest Washington, D.C., to work with
thirty-five teachers about using Lincoln’s legacy in the classroom.
Ana-Elisa Gentle as Joan Baez, from the “Portraits Alive!”
summer youth program
Education programs are supported by the Reinsch Family
Endowment, the Reed Foundation, the Ford Motor Company
Fund, and the Smithsonian Women’s Committee.
Kevin Bouknight as John Wilson, from the “Portraits Alive!”
summer youth program
Kelly Person as George Washington giving a docent tour
Maryum Abdullah as Irene Castle, from the “Portraits Alive!”
summer youth program
11
Conservation
The Conservation Department has completed more than 150 object examinations for loans, exhibition
items, pending acquisitions, and the permanent collection. Seventy treatments have been completed for
the National Portrait Gallery’s collection. The conservation lab has worked on numerous exhibitions, such
as “Reflections/Refractions,” “Faces of the Frontier,” and “New Arrivals.” The lab has been involved with
numerous tours of the Lunder Center and now offers conservation clinics to the public by appointment on
the first Tuesday of every month to examine various works of art.
Below is a brief description of the condition problems and treatment of an 1880 photograph of Red Cloud
by Charles Milton Bell.
The albumen silver print is mounted to a secondary support made of paperboard. While the
photograph is in good condition, the mount was in poor condition. Moisture damage caused
overall distortion and light to severe staining. There were several edge tears and losses to the
lower corners.
The paperboard mount was surface-cleaned with grated eraser. The tears were repaired and the
corners reinforced with thin strips of Japanese paper and a special paste made from wheat starch.
After matting, only the photograph is visible through the window mat, and the mount is clean
and in more stable condition.
Before
12
After
Scholarly Contributions
In addition to serving as curators for exhibitions, National Portrait Gallery staff have published in peerreviewed journals, lectured at multiple venues, and organized scholarly symposia.
Symposia
Ann Shumard, curator of photographs, co-organized
the Daguerreian Society symposium held at NPG in
conjunction with the exhibition “Tokens of Affection
and Regard: Photographic Jewelry and Its Makers.”
David Ward, historian, organized an E. P. Richardson
Symposium in conjunction with the exhibition “One
Life: The Mask of Lincoln.”
Anne Collins Goodyear, associate curator of prints and
drawings, and James McManus, emeritus professor of art
history at California State University, Chico, organized
an E. P. Richardson Symposium in conjunction with the
exhibition “Inventing Marcel Duchamp: The Dynamics
of Portraiture.” The symposium focused on Duchamp’s
influences on contemporary art.
Anne Collins Goodyear, associate curator of prints and
drawings, with co-curator James W. McManus, edited
and contributed essays to the catalog Inventing Marcel
Duchamp: The Dynamics of Portraiture (distributed by
MIT Press, March 2009).
Anne Collins Goodyear published “Digitization,
Genetics, and the Defacement of Portraiture,”
Commentaries series, American Art 23, no. 2 (Summer
2009): 28–31.
Anne Collins Goodyear published “‘Inventing Marcel
Duchamp: The Dynamics of Portraiture’ at the National
Portrait Gallery,” Washington Print Club Quarterly 45, no.
2 (Summer 2009): 8–9.
Anne Collins Goodyear published “Robert Rauschenberg
(1925–2008): A Tribute,” Washington Print Club
Quarterly 44, no. 3 (Fall 2008): 7–8.
Anne Collins Goodyear published “Curatorial Statement
and Discussions of Artists for ‘Options,’ ” Washington
Project for the Arts, exhibition catalogue, September
17–October 31, 2009.
Frank H. Goodyear III, associate curator of photographs,
presented the William Homer Lecture in Photography at
the University of Delaware, “Creating a Market for Fine
Art Photography in America,” on February 18.
Participants from the March 2009 Richardson Symposium
The E. P. Richardson Symposium series is an ongoing
program at the National Portrait Gallery, sponsored by a
generous grant from Robert L. McNeil, Jr.
Published Works and Lectures
James Barber, historian, published an expanded and
revised edition of his book Eyewitness Presidents (DK
Publishers). This edition includes a section on Barack
Obama, a wall chart of all the presidents, and a clip-art
CD. The book has more than 100,000 copies in print.
Carolyn Carr, deputy director and chief curator,
presented a lecture at the opening of the exhibition
“Faces: Chuck Close and Contemporary Portraiture” at
the Nevada Museum of Art.
Frank H. Goodyear III published Faces of the Frontier:
Photographic Portraits from the American West, 1845–
1924 (University of Oklahoma Press, September 2009).
The catalog included an essay by Richard White.
Frank H. Goodyear III reviewed Keith Davis and Jane
Aspinwall’s The Origins of American Photography: From
Daguerreotype to Dry-Plate, 1839–1885, in Technology
and Culture 50, no. 2 (April 2009): 471–73.
Frank H. Goodyear III presented the lecture “Abraham
Lincoln in Historic Photographs” at Montana State
University on January 21 and again at the National Civil
War Museum on September 26.
Sidney Hart, senior historian, presented a paper on
Charles Willson Peale, “Two Portraits and a May-toDecember Love Story,” at the San Antonio Art Museum
on September 3.
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Scholarly Contributions
Amy Henderson, historian, presented an illustrated
lecture, “Portraying Celebrity Culture: Katharine
Hepburn” at CUNY Graduate School’s Levy Center for
Biography on February 2.
Amy Henderson wrote a script for the Kennedy Center’s
“Celebration of Women in the Arts.” It was performed on
May 3.
Ellen Miles, curator of painting and sculpture, gave
the lecture “ ‘I have resolved to sit no more’ Washington
and Artists’ Ambitions, 1776–1800,” for the conference
“Celebrity in American Art, 1790–Present,” organized by
Initiatives in Art and Culture at the New York Historical
Society, New York City, on May 14.
Ellen Miles gave two lectures—“Portraiture in
the Federal Period” and “Representing Indians:
Saint-Mémin”—for an NEH Summer Institute for
schoolteachers titled Picturing Early America: People,
Places, and Events, 1770–1870, at Salem State College,
Salem, Massachusetts, on July 10.
Ellen Miles presented “Gilbert Stuart and His American
Sitters” at Transylvania University, Lexington, Kentucky,
on October 4.
Wendy Wick Reaves, curator of prints and drawings,
gave the lecture “Brittle, Painted Masks: Portraiture in
the Age of Duchamp” on March 27 at the Duchamp
symposium.
Wendy Wick Reaves edited Reflections/Refractions:
Self-Portraiture in the Twentieth Century (Smithsonian
14
Institution Scholarly Books, April 2009), which included
essays by Reaves and Anne Collins Goodyear.
Wendy Wick Reaves presented the paper “Legitimate
Prey: Honing Celebrity in the Popular Culture” at the
symposium “Celebrity in American Art, 1790–Present”
organized by Initiatives in Art and Culture at the NewYork Historical Society on May 15.
Wendy Wick Reaves published “Marius de Zayas at the
Intersection of Caricature and Modernism” in Marius
de Zayas: Un destierro moderno (Mexico City: Museo
Nacional de Arte, 2009), edited by Antonio Saborit.
Wendy Wick Reaves gave the lecture “Ballyhoo:
Posters as Portraiture” for the Society for History and
Graphics and the American Institute of Graphic Arts
at the Maryland Institute College of Art, Baltimore, on
September 28.
Ann Shumard, curator of photographs, served as an
expert reviewer with the National Museum of African
American History and Culture’s “Save Our African
American Treasures” program on several occasions in
the past fiscal year.
David Ward, historian, published “‘Vaulting Ambition’:
Abraham Lincoln, Photography and Poetry,” PN Review
(Manchester, England) 188 (Summer 2009).
David Ward published an essay about the image of
May Swenson by Beauford Delaney in PN Review 189
(September–October 2009).
Media Cover age
The museum was reviewed, mentioned, and discussed in 1,500 media spots in the past fiscal year. These
include newspaper articles, magazine pieces, television spots, and art blogs. Additional museum coverage is
highlighted below:
Portraits of former President George W. Bush and Laura Bush were accepted into the Portrait Gallery
collection in December 2008. The acquisitions were covered by the Associated Press, Agency France Press,
Reuters News Service, the Washington Post, the Los Angeles Times, and the New York Times, as well as many
other media outlets.
Beginning in December, the acquisition of the portrait of President Barack Obama by Shepard Fairey
received national attention in the New Yorker’s “Goings On” section, the New York Times, Reuters News
Service, the Chicago Tribune, the Washington Post, and Bloomberg.com. The portrait continued to receive
national coverage through the fiscal year as the issue of copyright was considered by the courts.
In April, Tony Bennett presented a portrait he painted of Duke Ellington to the National Portrait Gallery.
The donation received nationwide attention, as it was timed to coincide with the 110th anniversary of
Ellington’s birth.
The Portrait Gallery installed a painting of Eunice Kennedy Shriver by David Lenz, the winner of the
2006 Outwin Boochever Portrait Competition, in May 2009. This was covered by CBS News radio and the
Chicago Tribune online. The portrait was featured again in the national news outlets at the time of Shriver’s
death in August.
In June 2009, the Portrait Gallery created a new space titled “In Memoriam,” which recognizes the recently
deceased whose portraits are in the collection. This space has brought volumes of press, particularly in
response to two pieces by Andy Warhol: portraits of Michael Jackson and Senator Edward M. Kennedy.
In September 2009, the Portrait Gallery installed a painting of Los Angeles Dodgers legend Tommy Lasorda
by Everett Raymond Kinstler in the “New Arrivals” gallery. This event received thousands of column
inches, both in print and online. The story was covered by ESPN.com, MLB.com, Sports Illustrated online,
USA Today, the Los Angeles Times, and the Washington Post, as well as local and national television news
organizations.
Unveiling the portraits of President George W. Bush and First Lady Laura Bush with artists
Robert Anderson and Aleksander Titovets
Tony Bennett with members of the press
15
Donations to the Collection
Department of Painting and Sculpture
George W. Bush by Robert Anderson, oil on canvas, 2008; gift
of the American Fidelity Foundation; J. Thomas and Stefanie
Atherton; William S. and Ann Atherton; Dr. Jon C. and Jane G.
Axton; Dr. Lee and Sherry Beasley; Thomas A. Cellucci; A. James
Clark; Richard H. Collins; Edward and Kaye Cook; Don and Alice
Dahlgren; Mr. and Mrs. James L. Easton; Robert Edmund; Robert
and Nancy Payne Ellis; Dr. Tom and Cheryl Hewett; Dr. Dodge
and Lori Hill; Pete and Shelley Kourtis; Tom and Judy Love; David
L. McCombs; Tom and Brenda McDaniel; Herman and LaDonna
Meinders; the Norick Family; Kenneth and Gail Ochs; Robert and
Sylvia Slater; Richard L. Thurston; Lew and Myra Ward; Dr. James
and Susan Wendelken; Jim and Jill Williams
Hart Crane by Carl Schmitt, oil on board, after 1917; gift of the
Carl Schmitt Foundation
Jack Kilby by Squire Haskins, chromogenic print, c. 1990; gift of
DeGoyler Library, Southern Methodist University, courtesy of
Ann Kilby and Janet Kilby
Daniel Ellsburg and Walter Cronkite by David A. Marlin, gelatin
silver print, 1971; gift of the artist
W. Arthur Garrity by David A. Marlin, gelatin silver print, 1976;
gift of the artist
Fanny Garrison Villard by Black & Case, albumen silver print,
c. 1865; gift of Peter and Marlene Northey
Lucretia Mott by an unidentified photographer, albumen silver
print, c. 1865; gift of Frederick M. Rock
Luis Jimenez by Charles R. Rushton, gelatin silver print, 1991; gift
of the artist
Antony Tudor by Philip Grausman, pewter, 1978; gift of the artist
Agnes Martin by Charles R. Rushton, gelatin silver print, 1991; gift
of the artist
Antony Tudor by Philip Grausman, cast lead study (for the study
collection), 1978; gift of the artist
Henry Aaron by Al Satterwhite, digital pigment print, 1973
(printed 2009); gift of the artist
Four Best Actress Oscars awarded to Katharine Hepburn; gift of
the estate of Katharine Hepburn
Mario Andretti by Al Satterwhite, digital pigment print, 1969
(printed 2009); gift of the artist
Marsden Hartley by Jacques Lipchitz, painted plaster, 1942; gift of
the Jacques and Yulla Lipchitz Foundation
Chris Evert by Al Satterwhite, digital pigment print, 1973 (printed
2009); gift of the artist
Philip Johnson by George M. Kelly, nickel-plated bronze, 1997
(cast in 2000); gift of Frederick Maddox in memory of Dewi-Prys
Thomas, ARIBA
Richard Petty by Al Satterwhite, digital pigment print, 1977
(printed 2009); gift of the artist
Henry Mosler self-portrait, oil on canvas, 1907; gift of the estate of
Joseph McCrindle
Clay Felker by Byron Dobell, oil on canvas, 1994; gift of Gail
Sheehy
Department of Photographs
New York Tribune with Mathew Brady advertisement, 1845; gift of
an anonymous donor
Marius de Zayas by Alfred Stieglitz, platinum print, 1913; gift of
an anonymous donor
Martha Stewart by William Abranowicz, digital pigment print,
2005 (printed 2009); gift of the artist
Martha Stewart by William Abranowicz, digital pigment print,
2005 (printed 2009); gift of the artist
Aldo Leopold by Thomas Coleman, digital pigment print, 1939
(printed 2008); gift of the Aldo Leopold Foundation, Inc.
Patent Office Building courtyard, Washington, D.C. by Kilburn
Brothers, albumen silver print, c. 1880; gift of Douglas and Martha
Evelyn
Forest Whitaker by Katy Grannan, chromogenic print, 2007; gift
of Greenberg Van Doren Gallery, Fraenkel Gallery, Salon 94, and
the artist
Katharine Hepburn by an unidentified photographer, gelatin silver
print, c. 1909; gift of the estate of Katharine Hepburn
Katharine Hepburn by an unidentified photographer, gelatin silver
print, c. 1910 (printed later); gift of the estate of Katharine Hepburn
Jack Kilby by Squire Haskins, gelatin silver print, c. 1960; gift of
DeGoyler Library, Southern Methodist University, courtesy of
Ann Kilby and Janet Kilby
16
Willie Shoemaker by Al Satterwhite, digital pigment print, 1976
(printed 2009); gift of the artist
Akil by David Scheinbaum, gelatin silver print, 2000; gift of the
artist, courtesy of Scheinbaum & Russek LTD
Erykah Badu by David Scheinbaum, gelatin silver print, 2003; gift
of the artist, courtesy of Scheinbaum & Russek LTD
Del, Tha Funkee Homosapien, gelatin silver print, by David
Scheinbaum, 2002; gift of the artist, courtesy of Scheinbaum &
Russek LTD
Jean Grae by David Scheinbaum, gelatin silver print, 2005; gift of
the artist, courtesy of Scheinbaum & Russek LTD
Mos Def by David Scheinbaum, gelatin silver print, 2002; gift of
the artist, courtesy of Scheinbaum & Russek LTD
Nas by David Scheinbaum, gelatin silver print, 2003; gift of the
artist, courtesy of Scheinbaum & Russek LTD
?uestlove by David Scheinbaum, gelatin silver print, 2003; gift of
the artist, courtesy of Scheinbaum & Russek LTD
Talib Kweli by David Scheinbaum, gelatin silver print, 2002; gift of
the artist, courtesy of Scheinbaum & Russek LTD
Harold Lloyd by Eugene Kornman, gelatin silver print, 1923; gift
of David Shields
Horace Gray by Charles Bell, albumen silver print, c. 1880; gift of
Ben Shneiderman
John Harlan by Charles Mosher, albumen silver print, c. 1880; gift
of Ben Shneiderman
Enrico Caruso by Underwood & Underwood, collotype, c. 1915;
acquired through the generosity of Ann M. Shumard in memory
of her grandmother, Anna Reeves Hamilton
Donations to the Collection
Julia Child by David Marlin, gelatin silver print, 1971; acquired
through the generosity of Ann M. Shumard in honor of Thomas
D. Matteson
Barack Obama by Jerry Spagnoli, daguerreotype, 2008; gift of the
artist
Horton Foote by Keith Carter, gelatin silver print, 2001 (printed
2008); gift of Bill and Sally Wittliff
Larry McMurtry by Michael O’Brien, gelatin silver print, 1997
(printed 2009); gift of Bill and Sally Wittliff
Larry McMurtry by Michael O’Brien, digital pigment print, 1997
(printed 2009); gift of Bill and Sally Wittliff
Willie Nelson by Michael O’Brien, digital pigment print, 1989
(printed 2009); gift of Bill and Sally Wittliff
Willie Nelson by Michael O’Brien, gelatin silver print, 1999
(printed 2009); gift of Bill and Sally Wittliff
Harvey Penick by Michael O’Brien, digital pigment print, 1993
(printed 2009); gift of Bill and Sally Wittliff
Department of Prints and Drawings
George McGovern by William R. Kohn, silkscreen poster, 1972;
anonymous gift in memory of Louis Gilden
Elmer Ellsworth by Lee and Walker, color lithograph, c. 1861; gift
of James and Bridget Barber
James Buchanan by John Mayall, engraving, 1856; gift of John
O’Brien
Charles Dana by Augustus Dunlop, color lithograph, 1872; gift of
John O’Brien
Leopold Damrosch by Frederich Graetz, color lithograph, 1885;
gift of John O’Brien
Ulysses S. Grant by an unidentifed artist after Frederick
Gutekunst, wood engraving, 1870; gift of John O’Brien
John Moreau by an unidentified artist, engraving; gift of John
O’Brien
Adelina Patti by Joseph Keppler, color lithograph, 1881; gift of
John O’Brien
Benjamin Silliman by Philip Whelpley, mezzotint, 1851; gift of
John O’Brien
Hunter S. Thompson by Ralph Steadman, silkscreen ink and pen
on paper, 2006; gift of Joe Petro III in honor of Ralph Steadman
and Hunter S. Thompson
Hunter S. Thompson by Ralph Steadman, silkscreen print; gift
of Joe Petro III in honor of Ralph Steadman and Hunter S.
Thompson
Kurt Vonnegut self-portrait, silkscreen print, 2006; gift of Joe
Petro III in honor of Kurt Vonnegut
Elmer Ellsworth by an unidentified artist, wood engraving, 1861;
gift of James and Bridget Barber
Barack Obama by Shepard Fairey, hand-finished collage, stencil,
and acrylic on paper, 2008; gift of the Heather and Tony Podesta
Collection in honor of Mary K. Podesta
Duke Ellington by Tony Bennett, watercolor and graphite on
paper, c. 1993; gift of Tony Bennett
Daniel Patrick Moynihan by Joseph Reed, ink and watercolor on
cardboard, 1999; gift of Joseph Reed
Learned Hand by Samuel Johnson Woolf, charcoal, not dated; gift
of Stuart P. Feld
Sandra Day O’Connor by Aaron Shikler, pastel on board, 2006; gift
of Aaron Shikler
Robert Andrews Millikan by Samuel Johnson Woolf, charcoal on
paper, c. 1926; gift of Mr. and Mrs. Stuart P. Feld
Robert Crippen by Henry C. Casselli, Jr., pencil on paper with
watercolor, 1981; gift of Taylor Energy Company LLC
Antony Tudor by Philip Grausman, graphite on paper, 1977; gift of
Philip Grausman
Robert Crippen by Henry C. Casselli, Jr., pencil on paper, 1981;
gift of Taylor Energy Company LLC
Ayn Rand by Edward Sorel, watercolor and ink on paper, 2008;
gift of Ben Harris
John Glenn by Henry C. Casselli, Jr., pencil on paper, 1998; gift of
Taylor Energy Company LLC
Caleb Strong by John Norman, engraving, 1812; acquired through
the generosity of Sidney and Barbara Hart
John Glenn by Henry C. Casselli, Jr., watercolor on paper, 1998;
gift of Taylor Energy Company LLC
Al Hirschfeld by Bill Jacklin, charcoal on paper, 2001; gift of the Al
Hirschfeld Foundation, Louise Kerz Hirschfeld, president
John Young by Henry C. Casselli, Jr., pencil on paper, 1981; gift of
Taylor Energy Company LLC
Bill Clinton by R. B. Kitaj, charcoal on paper, 1995; gift of R. B.
Kitaj Estate
John Young by Henry C. Casselli, Jr., pencil on paper, 1981; gift of
Taylor Energy Company LLC
Bill Clinton by R. B. Kitaj, charcoal on paper, 1995; gift of R. B.
Kitaj Estate
John Young by Henry C. Casselli, Jr., pencil on paper, 1981; gift of
Taylor Energy Company LLC
Bill Clinton by R. B. Kitaj, charcoal on paper, 1996; gift of R. B.
Kitaj Estate
John Young by Henry C. Casselli, Jr., pencil on paper, 1981; gift of
Taylor Energy Company LLC
Robert Duncan by R. B. Kitaj, charcoal with wash on paper, 1982;
gift of R. B. Kitaj Estate
John Young by Henry C. Casselli, Jr., watercolor and pencil sketch
on paper, 1981; gift of Taylor Energy Company LLC
Self-portrait by R. B. Kitaj, charcoal and graphite on paper, 2002–
4; gift of R. B. Kitaj Estate
John Young by Henry C. Casselli, Jr., pencil on paper, 1980; gift of
Taylor Energy Company LLC
Gore Vidal by Patricia Marshall Tate, charcoal on paper, 1981; gift
of Ilya Lie-Nielsen
George Henry Thomas by John Chester Buttre, engraving, 1865;
acquired through the generosity of David Ward
17
Donors
The National Portrait Gallery is supported by a unique public-private partnership with both federal
funds—through the Smithsonian Institution—and contributions from individuals and organizations. We
are enormously grateful to our many donors over the past forty years, and especially to those who made
contributions totaling $1,574,000 during fiscal year 2009.
This generosity, dedication, and loyalty supports the Portrait Gallery every day: from operating costs for
non-federal staff, to funding new exhibitions, providing educational programming for children and adults,
and supporting the preservation and care of our priceless collection.
LEADERSHIP GIFTS OF $100,000 and above
Donald Capoccia and Tom Pegues
The Ceres Trust
Ford Motor Company Fund
Henry Luce Foundation
Mr. and Mrs. Peter L. Malkin
The Andy Warhol Foundation
GIFTS OF $50,000 to $99,000
The Estate of Richard F. Evans
Anthony and Heather Podesta
GIFTS OF $25,000 to $49,999
Ella Foshay and Michael Rothfeld
The Florence Gould Foundation
John Burton Harter Charitable Trust
Helen Marsh Reinsch
Smithsonian Women’s Committee
Vornado/Charles E. Smith Company
Paul and Christine Wick
GIFTS OF $1,000 to $24,999
Anonymous
Daniel Bader
Smith and Elizabeth Bagley
James T. Bartlett
Anthony and Dolores Beilenson
BNSF Foundation
Timothy Boggs and James Schwartz
Ronald Boire
David and Kathleen Boochever
Emily Boochever
John and Carol Boochever
Kevin and Kathleen Buchi
Burnett Family Foundation
Martin Bussman
Mr. and Mrs. Calvin Cafritz
Sheryll Cashin and Marque Chambliss
Sally and Percy Chubb
James and Susan Clifton
The Coca-Cola Company
18
Donald and Carole Dell
Max and Victoria Dreyfus Foundation
Countess Florence D’Urso
Father’s Day and Mother’s Day Council
Alfred and M. L. Friendly
Mr. and Mrs. Michael Glosserman
Peter and Rhondda Grant
Newman T. Halvorson, Jr.
Mrs. Gloria Shaw Hamilton
Michael Hardman
Teresa Heinz
Michael Heyman
Mr. and Mrs. Joseph Horning, Jr.
Johann and Nancy Huleatt
James A. Johnson and Maxine Isaacs
Betsy Karel
Lt. Col. and Mrs. William Konze
Mr. and Mrs. Nathaniel Kramer
James Lemon, Jr.
Mr. and Mrs. Robert J. Levin
Eugene and Carol Ludwig
The Robert Mapplethorpe Foundation
Mary Martell and Paul Johnson
Mattel Inc.
Mr. and Mrs. Thomas F. McLarty III
Robert L. McNeil, Jr.
The Honorable and Mrs. Walter F. Mondale
John Monroe, Jr.
James Muldoon
Dan and Rebecca Okrent
Robert Pettit and Alexandra Wilson
Suzanne and Richard Piper Foundation
John Daniel and Wendy Reaves
James and Yvonne Reinsch
Riverview School
Mr. and Mrs. Robert Rosenthal
Mr. and Mrs. B. Francis Saul II
Admiral and Mrs. Tazewell Shepard
Mr. and Mrs. Albert H. Small
W. Dean Smith, Capital Guardian
Donors
Mallory and Diana Walker
Jack and Beth Watson
The Westport Fund
John Wilmerding
Wolfensohn Family Foundation
Irene and Alan Wurtzel
ADOPT-A-PORTRAIT
New donors:
Kevin and Kathleen Buchi
Pete and Linda Claussen
Dr. Betsee Parker
Contributing donors:
Anthony and Gay Barclay
Anthony and Dolores Beilenson
Mary C. Blake
Mr. and Mrs. William Bond
John and Carol Boochever
Daniel Brewster, Jr.
Sally and Percy Chubb
Esther Coopersmith
Mr. and Mrs. Philip Currie
Karen L. Daigle
Frank Daniels, Jr.
Dorothy del Bueno
Mr. and Mrs. Richard England
Ella Foshay and Michael Rothfeld
Mr. and Mrs. E. E. Geduld
Lucy Gettman
Mrs. Gloria Shaw Hamilton
Christie Harris
Lt. Col. and Mrs. William Konze
Mark Kuller
Jon and Lillian Lovelace
The Honorable and Mrs. Walter F. Mondale
Dan and Rebecca Okrent
Laura Peebles and Ellen Fingerman
Sandra Sully
Bruce and Stephanie Vinokour
Jack and Beth Watson
John Wilmerding
Betsy Wyeth
PRESIDENTS’ CIRCLE
Welcome new members!
George Washington Circle ($5,000
and above)
James T. Bartlett
John and Carol Boochever
Sally and Percy Chubb
Ella Foshay and Michael Rothfeld
James A. Johnson and Maxine Isaacs
Betsy Karel
Lt. Col. and Mrs. William Konze
Thanh Nguyen
Dan and Rebecca Okrent
James and Yvonne Reinsch
Mallory and Diana Walker
Jack and Beth Watson
Thomas Jefferson Circle ($2,500 to $5,000)
Mr. and Mrs. Calvin Cafritz
Mr. and Mrs. Michael Glosserman
Teresa Heinz
Mr. and Mrs. Joseph Horning, Jr.
Eugene and Carol Ludwig
Mr. and Mrs. Thomas F. McLarty III
Mr. and Mrs. Robert Rosenthal
Abraham Lincoln Circle ($1,500 to $2,500)
Anthony and Dolores Beilenson
Timothy Boggs and James Schwartz
Sheryll Cashin and Marque Chambliss
Mrs. Gloria Shaw Hamilton
James Lemon, Jr.
Mr. and Mrs. Robert J. Levin
Robert L. McNeil, Jr.
Robert Pettit and Alexandra Wilson
Mr. Edwin Phelps
John Daniel and Wendy Reaves
Mr. and Mrs. B. Francis Saul II
Admiral and Mrs. Tazewell Shepard
Mr. and Mrs. Albert H. Small
Dean and Bobbi Smith
Mr. and Mrs. Trevor W. Swett
Irene and Alan Wurtzel
JOINT MEMBERS
The National Portrait Gallery is indebted to the more than one thousand members who support the Portrait Gallery and the
Smithsonian American Art Museum through their generosity of contributions ranging from $50 to $500. In addition, their
participation in our monthly offering at the Donald W. Reynolds Center for American Art and Portraiture adds immeasurably to
the vitality of our programs.
19
Financial Summary
National Portrait Gallery
Annual Financial Report by Program
As of September 30, 2009
FY 2008
FY 2009
$ 5,388,906
$ 5,849,806
BEGINNING UNEXPENDED FUND BALANCE 1
SOURCES OF FUNDS
Actual
Increase/Decrease
$
Actual
460,900
Actual
Support:
Federal Allocation
$ 5,707,500 $ 5,854,550
$
147,050
Trust Allocation
$
292,412 $
271,103
$
(21,309)
Gifts & Non-Government Grants & Contracts
$
57,000 $
381,207
$
324,207
Endowment Payout
$
119,730
$
141,729
$
21,999
Revenue from Goods Sold
$
110,262
$
52,984
$
(57,278)
Revenue from Services Provided
$
83,309
$
66,083
$
(17,226)
Contributions
$ 2,403,748
$ 1,183,792
$ (1,219,956)
Revenue:
Investment Income
$
109,105
$
69,218
$
(39,887)
Other
$
1,171
$
295
$
(876)
TOTAL SOURCES
$ 8,884,237
$ 8,020,961
$ (863,526)
TOTAL FUNDS
$14,273,143
$ 13,870,767
$ (402,376)
USES OF FUNDS BY PROGRAM
Actual
112,790
142,695
$
Actual
Business Activity
$
Public Programs
$ 1,847,646
$ 1,673,221
$ (174,425)
Exhibitions
$ 3,254,674
$ 2,744,749
$ (509,925)
Collections Activity
$ 2,404,819
$ 2,450,574
$
45,755
Research
$
467,051
$
493,686
$
26,635
Facilities
$
–
$
9,008
$
9,008
Security
$
–
$
94
$
94
Information Technology
$
229,790
$
231,043
$
1,253
Operations
$ 1,120,823
$ 1,230,747
$
109,924
Development
$
240,405
$
398,595
$
158,190
Other
$
(52,973)
$
(72,959)
$
(19,986)
TOTAL USES
$ 9,625,025 $ 9,301,453 $ (323,572)
TOTAL NET TRANSFERS
$
$
313,150 $
180,542
FUND BALANCE
$ 4,780,726 $ 4,882,464 $
101,738
132,608 $
Actual
29,905
Notes:
1
The entire beginning unexpended fund balance does not carry forward from year-to-year due to fund restrictions.
20
Financial Summary
National Portrait Gallery
Annual Financial Report by Expense Type
As of September 30, 2009
FY 2008
FY 2009
$ 5,388,906 $ 5,849,806 BEGINNING UNEXPENDED FUND BALANCE 1
SOURCES OF FUNDS
Actual
Increase/Decrease
$
Actual
460,900
Actual
Support:
Federal Allocation
$ 5,707,500 $ 5,854,550 $
147,050
Trust Allocation
$
292,412 $
271,103
$
(21,309)
Gifts & Non-Government Grants & Contracts
$
57,000 $
381,207
$
324,207
Endowment Payout
$
119,730
$
141,729
$
21,999
Revenue from Goods Sold
$
110,262
$
52,984
$
(57,278)
Revenue from Services Provided
$
83,309
$
66,083
$
(17,226)
Contributions
$ 2,403,748
$ 1,183,792
$ (1,219,956)
Investment Income
$
109,105
$
69,218
$
(39,887)
Other
$
1,171
$
295
$
(876)
TOTAL SOURCES
$ 8,884,237
$ 8,020,961
$ (863,526)
TOTAL FUNDS
$14,273,143
$ 13,870,767
$ (402,376)
USES OF FUNDS BY EXPENSE TYPE
Revenue:
Actual Actual Actual
Salaries
$ 4,716,528 $ 5,095,999 $
379,471
Benefits
$ 1,149,136 $ 1,296,849 $
147,713
Indirect Costs
$
–
$
4,636 $
4,636
Travel
$
120,743 $
67,542 $
(53,201)
Transportation
$
387,338 $
257,435 Rent, Communication, & Utilities
$
19,425 $
21,158 Printing & Reproduction
$
437,241 $
320,146 $ (117,095)
Contractual Services
$ 1,717,558 $ 1,356,507 $ (361,051)
Supplies & Materials
$
332,753 $
177,475 $ (155,278)
Equipment
$
739,875 $
687,305 $
$ (129,903)
$
1,733
(52,570)
Land & Structures
$
–
$
–
$
–
Direct Costs
$
1,331 $
(665)
$
(1,996)
Other
$
3,097 $
17,066 $
13,969
TOTAL USES
$ 9,625,025 $ 9,301,453 $ (323,572)
TOTAL NET TRANSFERS
$
$
313,150 $
180,542
FUND BALANCE
$ 4,780,726 $ 4,882,464 $
101,738
132,608 Notes:
The entire beginning unexpended fund balance does not carry forward from year-to-year due to fund restrictions.
1
21
Commission, Senior Staff, Curators, and Historians
Commission
Senior Staff
Mallory Walker, Chairman
Martin E. Sullivan, director
John Boochever, Vice Chairman
Carolyn K. Carr, deputy director and chief curator
James T. Bartlett
Nik Apostolides, associate director for operations
Anthony C. Beilenson
Beverly Cox, director of exhibitions and collections management
Sheryll D. Cashin
Brandon Fortune, curator of painting and sculpture
Sally G. Chubb
Steve di Girolamo, special projects manager
H. P. “Pete” Claussen
Dru Dowdy, publications officer
Linda S. Ferber
Sidney Hart, senior historian and editor of the Peale Family Papers
Ella M. Foshay
Rebecca Kasemeyer, director of education
Michael N. Harreld
Andrew Klafter, information technology manager
Steven K. Hamp
Nello Marconi, chief of design and production
Jill Krementz
Ellen Miles, curator of painting and sculpture
Joan A. Mondale
Cindy Lou Molnar, senior conservator
Roger Mudd
Wendy Wick Reaves, curator of prints and drawings
V. Thanh Nguyen
Ann Shumard, curator of photographs
Dan Okrent
Linda Thrift, CEROS administrator
James Reinsch
Sherri Weil, director of development and external affairs
W. Dean Smith
Additional Curators and Historians
Jack H. Watson, Jr.
William D. Wittliff
James Barber, historian
Ex Officio Members
Anne Goodyear, associate curator of prints and drawings
The Chief Justice of the United States
John G. Roberts, Jr.
Director of the National Gallery of Art
Earl A. Powell III
Secretary of the Smithsonian Institution
G. Wayne Clough
Honorary Commissioners
Julie Harris
David Levering Lewis
Bette Bao Lord
Fred W. Smith
Emeritus
Jeannine Smith Clark
Barbara Novak
22
Margaret Christman, historian
Frank Goodyear, associate curator of photographs
Amy Henderson, historian
David Ward, historian
Contact
Bethany Bentley, public affairs officer (202) 633-8300
Photogr aphy Credits
Unless otherwise noted, all photographs are by Mark Gulezian, and
all images are from the National Portrait Gallery, Smithsonian Institution.
Cover: Tibor Waldner installing a portrait of Thomas Paine by Laurent Dabos for the exhibition “One Life: Thomas Paine, the Radical
Founding Father”
Frontispiece: Robert and Arlene Kogod Courtyard, designed by Norman Foster, in the Donald W. Reynolds Center for American Art and
Portraiture
Page 5: Althea Gibson by Genevieve Naylor, gelatin silver print,
c. 1957 (printed c. 1970) © Estate of Genevieve Naylor
Page 6: The Wild Bunch by John Swartz, gelatin silver print, 1900; gift
of Pinkerton’s, Incorporated. Seated, left to right: Harry Longabaugh
(“The Sundance Kid”), Ben Kilpatrick (“The Tall Texan”), Robert
LeRoy Parker (“Butch Cassidy”); standing, left to right: William Todd
Carver (“Bill”) and Harvey Logan
Page 7 (left to right): George W. Bush by Robert A. Anderson, oil on
canvas, 2008; gift of the American Fidelity Foundation, J. Thomas and
Stefanie Atherton, William S. and Ann Atherton, Dr. Jon C. and Jane
G. Axton, Dr. Lee and Sherry Beasley, Thomas A. Cellucci, A. James
Clark, Richard H. Collins, Edward and Kaye Cook, Don and Alice
Dahlgren, Mr. and Mrs. James L. Easton, Robert Edmund, Robert
and Nancy Payne Ellis, Dr. Tom and Cheryl Hewett, Dr. Dodge and
Lori Hill, Pete and Shelley Kourtis, Tom and Judy Love, David L. McCombs, Tom and Brenda McDaniel, Herman and LaDonna Meinders,
the Norick Family, Kenneth and Gail Ochs, Robert and Sylvia Slater,
Richard L. Thurston, Lew and Myra Ward, Dr. James and Susan
Wendelken, Jim and Jill Williams; John Glenn by Henry C. Casselli,
Jr., watercolor on paper, 1998; gift of Taylor Energy Company LLC;
Lucretia Mott by Marcus Aurelius Root, daguerreotype, c. 1851
Page 12: Red Cloud by Charles Milton Bell, albumen silver print,
1880. This photograph was conserved by Rosemary Fallon for the
exhibition “Faces of the Frontier: Photographic Portraits from the
American West, 1845–1924.”
Page 13: Participants from the National Portrait Gallery’s “Conservation Panel: New Research on Marcel Duchamp Portraits by Jean
Crotti,” and the fourth Edgar P. Richardson Symposium. Standing (left
to right): Michael Taylor, David Hopkins, Shelley Langdale, Lewis Kachur, Catherine Craft, Scott Gerson, Scott Homolka, Adrian Sudhalter,
and Julie Heath. Seated (left to right): Linda Dalrymple Henderson,
Anne Collins Goodyear, Martin E. Sullivan, James W. McManus,
Wendy Wick Reaves (not pictured: Brian O’Doherty)
Back cover: Eunice Kennedy Shriver with (left to right) Airika Straka,
Katie Meade, Andy Leonard, Loretta Claiborne, and Marty Sheets by
David Lenz, oil and acrylic on canvas, 2009; commissioned as part of
the first prize, Outwin Boochever Portrait Competition 2006
23