mencs from magazines and tabloids. The exhibition, organ- 

 ized by Frank Gettings, the Hirshhorn's Curator of Prints and 

 Drawings, marked the first solo show in Washington for 

 Kippenberger, a highly visible participant in Germany's art 

 scene, and one of his few ever in an American museum. It was 

 accompanied by a free, illustrated brochure. 



Public programs were planned for all three Directions exhi- 

 bitions, drawing enthusiastic response. On January 20, I995, 

 Simmons joined cultural critic Gina Dent for "Cartoons, Pop- 

 ular Images and Culture," an on-stage dialogue and screening 

 of "Bosko" cartoon excerpts. Also in conjunction with the 

 Simmons show, a Young at Art family workshop on February 

 II inspired children to make "Chalkboard Expressions" in tan- 

 dem with African American folktales. Sherman's "film stills" 

 inspired a film-noir festival in March, a class photography 

 project and exhibition in May with the Duke Ellington 

 School of the Arts in Washington, D.C., a technical lecture 

 on film stills on April 26 by local photographer Dirck 

 Halstead, and a "Young at Art" photo-collage workshop on 

 March 18. 



The Hirshhorn continued its "Collection Reviewed" pro- 

 gram sponsored by the Smithsonian's Special Exhibition 

 Fund. Two artists represented in the permanent collection, 

 Robert Colescott of New Mexico and Juliao Sarmento of Lis- 

 bon, Portugal, spoke in slide-illustrated public lectures on 

 April 12 and May 17, with Sarmento s appearance receiving 

 additional support from the Luso-American Development 

 Foundation. The program also featured "The Collection in 

 Context: Thomas Eakins's Portrait of Frank Hamilton Cush- 

 ing" opening June 30, 1995 (and continuing through January 

 7, 1996). Organized by Associate Curator Phyllis Rosenzweig, 

 the innovative one-gallery presentation explored the context 

 and creation of an American realist's portrayal, 100 years ago, 

 of a Smithsonian ethnologist famed for his research at Zuni 

 Pueblo. The 1895 portrait was lent by the Thomas Gilcrease 

 Institute of American History and Art in Tulsa, Oklahoma. 

 Supplementing studies for the work owned by the Hirshhorn, 

 loans came from the Smithsonian's National Anthropological 

 Archives, National Portrait Gallery, and Library of the Na- 

 tional Museum of American Art and the National Portrait 

 Gallery. 



"First Fridays: Gallery Talks," a program of informal 

 monthly gallery talks by staff, was inaugurated in April 1995 

 with a discussion by Associate Curator Phyllis Rosenzweig on 

 a Louise Bourgeois sculpture, followed by conservators Lee 

 Aks and Clarke Bedford on a sculpture by Anish Kapoor; 

 Chief Curator/Director of Public Programs Neal Benezra and 

 Chief Conservator Lawrence Hoffman on a painting by Ger- 

 hard Richter; and Research Assistant Anne-Louise Marquis, 

 Curator of Sculpture Valerie Fletcher, and Education Special- 

 ist Teresia Bush on works by Jan Vercruysse, Alberto 

 Giacometti, and Anselm Kiefer, respectively. 



Eight "Young at Art" family programs enthralled more 

 than 160 six-to-eleven year olds and their parents with tours 

 of a temporary exhibition or the permanent collection fol- 



lowed by hands-on art projects. Some workshops focused on 

 sculpture: the first, on May 6, 1995, helped children with vi- 

 sual impairments experience works of art, and the second on 

 June 10, featured a sculpture-inspired dance-movement work- 

 shop conducted in the Sculpture Garden. Meanwhile, more 

 than 22,000 people attended free film programs from late Sep- 

 tember 1994 through May 1995 featuring cutting-edge interna- 

 tional independent cinema, documentaries on contemporary 

 artists, and family-oriented animation. Among the highlights 

 were the one-time-only American showing of British filmma- 

 ker Peter Greenaway's Baby of Macon on October 27 and 28, 

 1994; the world premiere of A Jury of Her Peers, a drama by 

 local filmmaker Edgar Davis, on February 2 and 3, 1995; and 

 Germany Year 90 Nine Zero, a new feature by French New 

 Wave veteran Jean-Luc Godard on June 8 and 9. 



Staff changes included the retirement of Edward P. Lawson, 

 Education Chief since 1973, and the appointment in May 1995 

 of Olga Viso, previously with the Norton Museum of Art in 

 West Palm Beach, Florida, as Assistant Curator. Viso replaced 

 Amada Cruz, who joined the staff of the Museum of Contem- 

 porary Art in Chicago. 



A major exhibition introduced Asian audiences to the 

 Hirshhorn's sculpture collection. "The Human Figure Inter- 

 preted: Modern Sculpture from the Hirshhorn Museum" was 

 presented March 24-May 28, 1995, at the Taipei Fine Arts Mu- 

 seum in Taiwan, accompanied by a bilingual catalogue in 

 Chinese/English by Curator of Sculpture Valerie Fletcher, who 

 organized the show. The largest presentation of sculpture 

 from the Hirshhorn ever sent overseas featured some 60 works 

 by Edgar Degas, Henri Matisse, Alexander Archipenko, Al- 

 berto Giacometti, Henry Moore, and Marino Marini. After 

 Taiwan, the exhibition was expanded to include works by Au- 

 guste Rodin and Jacques Lipchitz and then toured Japan ac- 

 companied by a Japanese/English catalogue. The tour, 

 supported by the Tokyo-based Yomiuri Shimbun newspaper 

 chain, included the Shiga Museum of Modern Art in Otsu 

 (July I-August 6, 1995), the Odakyu Art Museum in Tokyo 

 (August 9-27, 1995), the Iwaki City Art Museum (September 

 23-November 5, 1995) and the Takamatsu Municipal Museum 

 of Art (November 10-December 10, I995). 



Art historical research on objects in the permanent collec- 

 tion continued as museum staff reactivated the Artist's Object 

 Record program documenting each work of art. Information 

 was obtained directly from 24 living artists. In other areas, in- 

 depth research on British sculptor Henry Moore was con- 

 ducted by Curator of Sculpture Valerie Fletcher as a Visiting 

 Scholar to the Henry Moore Foundation in Much Hadham, 

 England. 



The curatorial staff continued researching contemporary 

 art by jurying shows, serving on panels, consulting or lectur- 

 ing, and traveling abroad to visit galleries, studios, and col- 

 leagues on several continents. In addition, the six curators 

 kept current on the broad scope of modern and contemporary 

 art through periodicals, catalogues, monographs, and inter- 

 changes with artists and fellow curators. Finally, curatorial 



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