titled "Smithsonian Fantastic Journey." Objects from the per- 

 manent collection were shown from the Great Hall of the Car- 

 negie Mansion as narrator Dan Rather introduced the 

 different segments of the show. As part of the Smithsonian's 

 birthday party on the Mall, the Museum hosted a workshop, 

 "It's Time to Celebrate." Visitors were invited to explore 

 design by creating a working clock. As part of the program- 

 ming for the America's Smithsonian exhibition in New York 

 City, the Museum hosted a behind-the-scenes tour for Smith- 

 sonian members. A number of National Design Museum staff 

 members participated in the Voices of Discovery series, giving 

 lectures in their areas of expertise. 



Modeled on the tremendous success of the Masters Pro- 

 gram in the History of Decorative Arts in New York, a second 

 Masters Program opened in the fall of 1996 in Washington, 

 DC. Co-sponsored by the National Design Museum, Parsons 

 School of Design, and the Smithsonian Associates, the 

 Washington program will focus on America decorative arts of 

 the 19th and 20th centuries. 



During 1996 the Education Department of the National 

 Design Museum continued to offer exciting and imaginative 

 educational programs including programs for students and 

 educators such as the Summer Design Institute, " A City of 

 Neighborhoods," "Design Career Days," and "Les Journees 

 des Artisans," in addition to tours, lectures, workshops and 

 symposiums for the general public. 



In addition to maintaining its position in the public eye while 

 closed for renovations, the Museum continued work on several 

 important long-term projects including plans for the Museum's 

 upcoming centennial celebration in 1997 and 1998, maior exhibi- 

 tions on universal design, the North American city, a triennial 

 review of the best of design, and the design of sports. 



As Cooper-Hewitt, National Design Museum enters its 

 100th year, the Museum's exploration of design continues to 

 help the public gain a better understanding of the world and 

 the forces that shape it. 



Hirshhorn Museum and Sculpture Garden 



James T. Demetrion. Director 



The Hirshhorn Museum and Sculpture Garden, the Smith- 

 sonian Institution's showcase for modern and contemporary 

 art, is committed to increasing the awareness and under- 

 standing of art through acquisitions, exhibitions, publica- 

 tions, research activities, public programs, and the 

 presentation of the collection in its galleries and outdoor ex- 

 hibition spaces. The museum provides a public facility for the 

 exhibition, study, and preservation of 19th- and 20th-century 

 art while it presents a spectrum of contemporary work. 



Through acquisitions funds as well as gifts from generous 

 donors, the Hirshhorn continued to acquire significant works 



by modern and contemporary artists. Among highlights for 

 the year were Nam June Paik's kaleidoscopic multimonitor 

 sculpture Video Flag, 1985—96, the museum's first acquisition 

 of a video work; a fluorescent sculpture by Dan Flavin, Un- 

 titled (Monument for V Tallin). 1967; Stephan Balkenhol's 

 figurative wood sculpture Three Hybrids. 1995; Sue Coe's oil 

 and collage Malcolm X and the Slaughterhouse. 1985; Carmen 

 Lomas Garza's alkyd and oil on canvas Earache Treatment. 1989; 

 Guillermo Kuitca's oil on canvas Mozart — da Ponte I. 1995; 

 and Doris Salcedo's wood, cement, cloth, and steel sculpture 

 Untitled. 1995. 



The Hirshhorn participated actively in the Smithsonian's 

 150th anniversary programs. For the birthday party on the Na- 

 tional Mall, a Hirshhorn Museum pavilion was the site for 

 two days of Young at Art family activities designed to en- 

 courage creativity and visits to the museum itself. Enthusias- 

 tic children and their parents flooded the pavilion to watch a 

 one-person puppet show and participate in hands-on 

 workshops exploring mobiles, woodcarving, masks, drawing, 

 and puppet making. Also popular was an ongoing face-paint- 

 ing activity. Participants in every activity were provided a list 

 of works of art to visit inside the museum that related to 

 those art forms. 



Sixteen works of art from the Hirshhorn's collection were 

 included in the "America's Smithsonian" exhibition, spanning 

 a century of artists' creations from the Mrs. Kate Moore, a 

 portrait by John Singer Sargent of the 1880s, to Fernando 

 Botero's The Hunter of the 1980s, a canvas of humor and satire. 

 Among four sculptures included were two monumental 

 bronzes — Auguste Rodin's Walking Man. c. 1900, and Henry 

 Moore's Draped Reclining Figure. 1952-53, both of which have 

 long been favorites of visitors to the museum's Sculpture Gar- 

 den. To prepare them for shipment to the anniversary 

 exhibition's first venue in Los Angeles, a giant crane lifted the 

 works three stories out of the Garden and onto a waiting 

 flatbed truck. A large crowd gathered and CBS News 

 recorded the event for later airtime in its Smithsonian broad- 

 casts. The Hirshhorn's contributions to the show helped en- 

 rich the Smithsonian experience for countless Americans. 



Of the cakes commissioned to mark the Institution's 150th 

 birthday, the Hirshhorn s entry was one of the most whimsical 

 and fragile. Designed by Patrick Musel of Federal Bakers, 

 Inc., Arlington, Virginia, the cake depicted Seu Figuration, a 

 work by the British sculptor Tony Cragg, which was on view 

 in the museum's lower-level galleries. Musel constructed the 

 cake, including the "walls" on which the piece hangs, using 

 the traditional media of the baker: confectioners' sugar, egg 

 whites, gelatin, pastillage, royal icing, and water. Following 

 its display during the birthday weekend's celebration, the 

 cake was moved to the Hirshhorn's lobby, w'here visitors to 

 the museum could view the exactingly detailed creation 

 before seeing the original wall relief upon which it was based. 



In an effort to attract and expand summer crowds here tor 

 the 150th anniversary and to deepen relations with local 

 audiences, the Hirshhorn stayed open until 8 p.m. for four- 



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