MEMBER
MAGAZINE
J U N E – S E P T E M B E R 2 016
LETTERS
ON VIEW
Member Magazine / Vol. XV, No. 2
The San Diego Museum of Art
Member Magazine is published for
the benefit of Museum members.
M A N AG I N G E D I T O R
Karen Lewis-Regan
COPY EDITORS
Sarah Hilliard
Patrick Coleman
PHOTOGR APHY
Bauman Photographers
Nora M. Sanchez
© 2016 The San Diego Museum of Art
ON THE COVER
From the exhibition Art of the Open Air, Tony Rosenthal’s 1967 (cast 1970) aluminum
sculpture, titled Odyssey I in front of the Museum.
Support for the following exhibitions is provided by the Members
of The San Diego Museum of Art and the County of San Diego
Community Enhancement Program. Institutional support for the
Museum is provided by the City of San Diego Commission for
Arts and Culture.
1
2–3
Ferocious Bronze: The Animal
Sculptures of Arthur Putnam
Brush and Ink: Chinese Paintings
from The San Diego Museum of Art
Selected by Pan Gongkai
Quilts and Color from the
Museum of Fine Arts, Boston
4–7
This exhibition was organized by
the Museum of Fine Arts, Boston.
Art of the Open Air: Sculptures from
The San Diego Museum of Art
ON VIEW: PERMANENT COLLECTION
Art of the Open Air:
Sculptures from The San Diego
Museum of Art
ON VIEW: SPECIAL E XHIBITION
Quilts and Color from the Museum of
Fine Arts, Boston May 28–September 4
European Masterpieces from
the Grasset Collection through August 2
Venetian Views August 6–October 8
Still Life, Landscape, and Genre
B OA R D O F D I R E C T O R S
Rob Hayes
president
Harvey White
president-elect
Tom Gildred
vice president
Eugene “Mitch” Mitchell
vice president
Kenneth J. Widder, M.D.
vice president
Support for the exhibition is provided by
A.O. Reed & Co.
Paul F. Mosher
assistant treasurer
Susanna Flaster
secretary
trustees
Dana Baldwin, Ph.D.
Debra Bean
Dolores Clark
Robert Dotson
Marcos Fastlicht
Jose Galicot
Joyce Gattas
Lyn Gildred
Lisa Hellerich
Kevin Hunter
Janet Kafka
Lynda Kerr
Webster Burke Kinnaird
Carol Lazier
Sarah B. Marsh-Rebelo
Linda A. Moore
Julie Polatchek
Taffin Ray
Analia Reggio
Demi Rogozienski
Blanca Uribe
Melinda Woodell
November 5, 2016–January 31, 2017
PROGRAM Guide pp. P1–P10
9
INTERNATIONAL NEWS
The Art of Music in Mexico
treasurer
assistant secretary
Louis Kahn. The Power of Architecture
Brueghel to Canaletto:
European Masterpieces from
the Grasset Collection
Peter F. Drake, Ph.D.
Valerie Cooper
ON VIEW: Virgin of Sorrows with
Donor Portraits
UPCOMING: SPECIAL EXHIBITION
vice president
Charles L. Hellerich
opens August 13
8
SEEKING NOMINATIONS FOR
THE BOARD OF TRUSTEES
The San Diego Museum of Art is able to serve
our community thanks, in part, to the leadership
and dedication of our Board of Trustees. The
Museum’s Board of Trustees is currently accepting
nominations for new members. The ideal nominee
shares a passion for and a commitment to
The San Diego Museum of Art and the institution’s
mission. We invite all Museum members to submit
nominations for consideration by the Nominating and
Trustee Affairs Committee. Elected trustees serve
three-year terms, beginning July 1. For information
and instructions on the Museum’s trustee nominating
procedures, please call the Office of the Executive
Director to connect with Bettina Hausmann at
619.696.1902 or email [email protected].
Giorgione at the Royal Academy
10–11
MUSEUM NEWS
PrimeTime
Outreach to At-Risk Teens
Pacific Standard Time: LA/LA
Open Storage Study Center
Technology News
New Curator
12–14 MEMBER EVENTS
Art Alive
EXECUTIVE DIRECTOR
LETTERS
Brueghel to Canaletto:
Support for the exhibition is provided by Laurie Mitchell and Brent
Woods, Debra Alexis and Peter Drake, Helen and Buzz Kinnaird,
Donna and Thomas Golich, Kathleen Slayton and Robert Kilian,
Mary Ellen and John Lundsten, Carolyn and Ed Parrish, Anonymous,
Alice and H. Thomas Colthurst, Betty Carr, Janice and David
Lowenberg, David Miles, Linda Davis, Monika and Pat Hseu, Lauren
Beaudry, Anna Maria Abbott, Judge Larrie and Kathleen Brainard,
A. Fenner Milton, Charlene Chatham Price, Carol Spielman-Ewan
and Joel Ewan, Kent Swedell and Mark Cujak, Susan Taggart,
Jill and Cheston Larson, Lyman Avilla, Julie Okamoto, Bonnie
Tincup, Courtney Ann Coyle, Esq., Nancy and Curtis Koch, and
the Contemporary Arts Committee, The San Diego Museum of Art
Docent Council and #FreeTheArt campaign donors.
FROM THE
CIRCLE and Friends
Sculpture and Cocktails
Art collecting is more than gathering works of art—it is
a passion. It is a creative endeavor, not unlike the work
of artists themselves, and the collection as a whole, to
borrow from Aristotle, is greater than the sum of its parts.
One acquires and develops it thoughtfully—through
painstaking research, careful attention, and a well-trained
eye for quality. After many years of interacting with
collectors, both professionally and personally, I have come
to see how rational methodology is combined with great
instinct.
Evidence of this can be found in the discernment of Sandy and Bram Dijkstra, who
purchased a misattributed painting on wood panel because of its beauty and the skill
by which it was made—a painting, on loan to the Museum, that currently holds pride of
place in one of the upstairs galleries of our Museum, newly reunited with its side panels
to form an exquisite triptych. Their dedication, astuteness, and indeed perspicacity
allows us now to study a beautiful object in its original whole state (see p. 8).
While art speaks to the collector, it also speaks of the collector, revealing individual
taste and personal affinities. Collections may also clarify or illustrate developments
of a society or a period of time. The exquisite Brueghel to Canaletto exhibition of
17th-century European paintings, on display at the Museum until August 2, represents
a pivotal moment in history—an age of deep social, religious, and economic
transformations in the West and Juan Manuel Grasset’s exceptional taste and precision
in collecting these works of art reflect his in-depth study of this “Golden Age.” We are
truly privileged to be able to share this group of extraordinary and rarely seen works
with our members and visitors.
The collector’s discerning eye sees art in original and unexpected places. In the 1960s,
Paul Pilgrim and Gerald Roy recognized a startling affinity between the abstract art of
the day and the bold use of color in historic American quilts of the previous century.
The partners committed the next several decades to collecting quilts in order to
demonstrate the sophisticated principles of color and pattern employed by the oftenanonymous quiltmakers. The results of their efforts can be seen, to breathtaking effect,
in Quilts and Color from the Museum of Fine Arts, Boston, displayed in Gallery 5 until
September 4 (see pp. 4–5).
Art Alive, our annual signature fundraiser, is a testament to how the Museum has
gathered not only art objects but dedicated and generous members and patrons.
Conrad Prebys and Debbie Turner and Audrey Geisel, again, must be thanked for
their extraordinary support, along with the sponsors Harry and Valerie Cooper. Valerie
has also been very generous with her time, serving as a chair of the Premiere Dinner,
another beautifully successful Art Alive event. Without all of your support, we would not
be able to do what we do: bring the art of the world to San Diego and represent San
Diego to the world of art.
And I would be remiss if I didn’t mention the “collection” of dedicated Board Trustees
who help steer this institution. As he concludes his term as president, I wish to express
particularly heartfelt gratitude to Rob Hayes for his great leadership, his advocacy, and
his support for the community and the Museum. I extend a warm welcome to incoming
President Harvey White, who will continue this legacy of building upon the collection of
considerable strengths and talents at The San Diego Museum of Art—likewise a whole
much greater than the sum of its parts.
15–17SUPPORT
Roxana Velásquez
Maruja Baldwin Executive Director
FROM THE
PRESIDENT OF
THE BOARD
It is with great pride that I write this
letter, my last as Board President. As
a longtime resident and businessman,
it has been an honor and pleasure to
serve The San Diego Museum of Art. I am also very pleased with
the many momentous accomplishments of these two years and
the milestones reached. Most importantly, the Trustees and staff
worked together to develop and implement a robust and meaningful
strategic plan that will guide us for years to come. A keystone of
this strategic plan is our mission “to inspire, educate, and cultivate
curiosity through great works of art.”
As I step down, the Museum enters its 90th year on a wave of deep
visitor engagement. Through the leadership of Roxana Velásquez
and the tireless efforts of the staff, our mission has borne fruit,
as evidenced by the popularity of programs such as Culture and
Cocktails and the sold-out Axline Lecture, and the record numbers
of visitors to world-class exhibitions such as Sorolla and America
and Gauguin to Warhol. Art Alive 2016 was not only well-attended,
it also raised an unprecedented amount of vital funding thanks to
the support of our members and the extraordinary generosity of
Conrad Prebys and Debbie Turner and Audrey Geisel, to whom we
are deeply grateful (see pp. 12–13).
We joined with other institutions to celebrate the Centennial of
Balboa Park and forged numerous collaborations to mount The
Art of Music, the Museum-organized exhibition recently on view
at the Palacio de Bellas Artes in Mexico City (see p. 9). Speaking
of collaboration, we proudly worked with the city and other
community groups to install Art of the Open Air, a selection of
several little-seen sculptures now on display—free for all—in
the Plaza de Panama, connected to the works in the sculpture
garden by a Sculpture Walk. You can’t deny that we are cultivating
curiosity through great works of art when you travel through
Balboa Park, the heart of San Diego, and see visitors of all walks
of life discussing and enjoying these sculptures by Rodin and Miró,
among others.
Inside the Museum, the galleries have undergone much needed
renovations and reinstallations, now presenting both new works
and familiar masterpieces in fresh contexts. We continue to
augment the Museum app, which offers entertaining avenues for
deeper engagement with the treasures of the collection. As you can
see, we remain true to our mission.
I am also very proud of our staff and senior leadership. As for staff,
I have never before encountered a more dedicated and talented
group of individuals in any for-profit or non-profit organization.
They truly have a passion for our institution and it shows. I am
also very proud of our senior leadership. We are fortunate to be
led by our Executive Director Roxana Velásquez and our Chief
Operating Officer Dieter Fenkart-Fröschl. Their exceptional skills
are complementary and their teamwork has truly set The San Diego
Museum apart—and they made me look good in the process—so
I owe them my gratitude.
My sincere thanks to my fellow Trustees for their support and trust
in me as well as their dedication to the Museum. And, of course,
gratitude is also due to you, our members. Thank you for helping
us bring so much relevant and interesting art to the community we
call home.
Rob Hayes
President, Board of Trustees
1
2
ON VIEW PERM A NEN T COL L EC T ION
Art of the
Open Air
V
isitors to Balboa Park are now able to see
some of the best of The San Diego Museum
of Art’s collection before they walk through
the doors. Art of the Open Air is a free,
public exhibition within the Plaza de Panama and the
May S. Marcy Sculpture Garden, presenting 15 significant
sculptures by modern and contemporary artists. By taking
a stroll along this free sculpture walk, tourists can enjoy
the incredible variety of modern sculpture, with major
examples by artists such as Henry Moore, Auguste Rodin,
Joan Miró, Barbara Hepworth, and Alexander Calder.
These works of art attest to the enormous range of scale, color, subject matter,
working methods, and materials that sculptors have investigated over the
past century. Each piece has been carefully positioned to relate to its setting,
providing unique opportunities to appreciate the most fundamental aspect of
outdoor sculpture—the dramatic and sometimes moving ways it engages with
the environment. The passing seasons, changing weather, and shifting light
constantly create conditions for seeing each work of art anew throughout the
year. As Henry Moore famously stated, “Sculpture is like a journey. You have
a different view as you return.” Those who enjoy these works will find a fresh
perspective with every visit.
Conceived as an artistic contribution to public spaces of Balboa Park, Art
of the Open Air is community-oriented in its organization and purpose, and
the project, which involved costly conservation work to get these pieces out
of the vault, was made possible, in part, through a successful crowdfunding
campaign—a testament to the Museum’s commitment to serving the city and
its various communities.
Maps are available at the Museum’s front desk and at Panama 66, the
courtyard restaurant and bar. The “Living Room” at the center of the Plaza de
Panama is lined with panels depicting the artists responsible for each work
and offering insight into their lives.
From the Aexhibition
couple enjoying
Art of the
theOpen
Francisco
Air, Tony
Zuñiga
Rosenthal’s
sculpture1967
in from
(cast
of the
1970)
Museum.
aluminum
Partsculpture,
of the Sculpture
titled Odyssey
Walk installation
III in front. of
the Museum at night. At right, a park visitor viewing the bronze scuplture by Francisco Zúñiga, Mother and Daughter Seated.
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ON VIEW SPECIAL EXHIBITION
ON VIEW SPECI A L E X HIBI T ION
Q
uilts and Color from the Museum of Fine Arts,
Boston brings to the Museum selections from Paul
Pilgrim and Gerald Roy’s acclaimed collection of
early American quilts. To celebrate this occasion,
Ariel Plotek, Associate Curator of Modern Art, spoke to Gerald
Roy about the origins of this collection.
MAY 28–SEPTEMBER 4, 2016
Quilts and Color
from the Museum of Fine Arts, Boston
GR: It began, for my partner Paul and I, with our interest in contemporary art, which
we started collecting in the 1960s. We also had a tremendous interest in American
folk art and the decorative arts. We were visiting some friends in Pennsylvania one
summer, I think it was around 1965, when we noticed an Amish quilt hanging on a
clothesline, and I was amazed by the color. I had been a student of Josef Albers, and
this looked like an Albers square-within-a-square. And our friend said, “We really can’t
go nosing around in those people’s yard. But there are a few dealers who are just
beginning to handle Amish quilts.” So he introduced us, and we became fascinated
with early Amish quilts, because they were so reminiscent of what was being done by
the Color Field artists of the late 1950s, and early 1960s. So we stumbled into quilt
collecting primarily through our interest in fine art.
AP: The two interests really went hand-in-hand?
GR: Yes. I think quilts, by their very nature, are associated with utility, and people don’t
generally think of them as art. But when you find a 100-year-old quilt today, in perfect
condition, that means that someone, back in time, respected it—or at least the people
that made it—enough to preserve it. Or maybe it’s the fact that they aren’t fashionable
today. I mean, color is so much a part of fashion. And when you start using full
intensities of color together, they don’t necessarily fit today’s decorating schemes.
But back when these quilts were made, it was different. Amish and Mennonite women
recognized the bed as a focal point in the home—a place where they could make a
statement with color. These quilts weren’t put on the walls. That didn’t happen until
the 1970s. But an interesting aspect of Amish and Mennonite life, depending on the
orders, is that they don’t have churches. They meet in individual homes. And they
have a lot of beds, because they have a lot of kids, and when church is held in each
of those homes, then the best quilts come out. It’s a chance for women to show off a
little, just by having their finest quilts on display.
Museum of Fine Arts, Boston. Feathered Diamond Quilt, American,
Pennsylvania, Landis Valley, 1890s. Pieced cotton plain weave top,
printed cotton plain weave back; quilted. Frank B. Bemis Fund, John H.
and Ernestine A. Payne Fund, Elizabeth M. and John F. Paramino Fund in
memory of John F. Paramino, Boston Sculptor, Helen B. Sweeney Fund,
Mary L. Smith Fund, Textile Income Purchase Fund, Joyce Arnold Rusoff
Fund, and Alice J. Morse Fund. 2014.1858.
Photograph © Museum of Fine Arts, Boston
AP: Are those quilts still made today, the way they were a hundred years ago?
GR: No, unfortunately. There’s no continuity between what they did then for
themselves, and what they do now. Their tradition of making quilts for themselves
ended when they realized that it was a lot cheaper to buy bedding. But also, when
they realized that there was a great deal of money that could be made too—in making
quilts for outsiders. Now they’re just producing whatever’s popular.
AP: What about the women behind these quilts? I know, in most cases, we don’t
know their names. But are there any stories you can share?
From top, left to right: Juan Sánchez Cotán, Quince, Cabbage, Melon and Cucumber, ca. 1602. Oil on canvas. Gift of Anne R. and
Amy Putnam. 1945.43. Floris Claesz van Dyck, Still Life of Fruit and Olives in Various Blue and White Chinese Export Porcelain
Bowls. Oil on panel. Grasset Collection. Barent Avercamp, Skaters Kolf Players and Elegant Figures with Horse-drawn Sleighs on a
Frozen River, ca. 1650. Oil on panel. Grasset Collection.
See Program Guide p. P9: Film in the Garden | Monday, August 1: How to Make an American Quilt (1995) PG-13, 1hr 57min.
GR: I remember a page from a woman’s diary. She lived in Nebraska, on the plains, in
an old “soddie” (a house made of sod and earth), and she wrote, “I make my quilts as
fast as I can so my children won’t freeze. But as beautiful as I can, so my heart won’t
break.” I think that really says a lot.
Josef Albers, Homage to the Square: On Dry Ground, 1963. Oil on board. Gift of Mr. and
Mrs. Norton S. Walbridge, 1991.8.
Images, left, top to bottom, (details): Museum of Fine Arts, Boston. Mrs.
Miller. Carpenter’s Wheel Quilt, American, Pennsylvania, Easton, Mennonite,
about 1890. Probably made by Emma Gingerich, Double Irish Chain Quilt,
American, Ohio, Holmes County, Amish, 1920s. Pieced cotton plain weave
top, cotton plain weave back and binding; quilted. Frank B. Bemis Fund,
John H. and Ernestine A. Payne Fund, Elizabeth M. and John F. Paramino
Fund in memory of John F. Paramino, Boston Sculptor, Helen B. Sweeney
Fund, Mary L. Smith Fund, Textile Income Purchase Fund, Joyce Arnold
Rusoff Fund, and Alice J. Morse Fund. 2014.1860, 2014.1857.
Photographs © Museum of Fine Arts, Boston.
See Program Guide p. P3: Painting on Tap | Thursday, July 28: Tour the exhibition and create your own art inspired by a work in this exhibition.
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ON VIEW
THROUGH AUGUST 2, 2016
Brueghel to
Canaletto
European Masterpieces
from the Grasset Collection
PORTRAIT OF A COLLECTOR: JUAN MANUEL GRASSET
Born in Spain to French parents, Juan Manuel Grasset
has been a collector for over 45 years, and in that time
he has demonstrated the eye for detail and passion
for research that mark the true connoisseur. His
collection of 17th-century Dutch, Flemish, and Spanish
masterpieces is a testament to his tenacity and his
particular sensibility. By lending 40 works of art from
his private residence to the Museum for Brueghel
to Canaletto—which includes exquisite examples
of still-life and landscape painting by the masters
named in the title of the exhibition, as well as Barend
Avercamp and Juan van der Hamen y León, among
others—he has graciously parted with these longtime
companions, in order that the public may enjoy their
quiet beauty and technical virtuosity.
The Museum took the opportunity to discuss the long
history of this extraordinary private collection with his
daughter, Cristina Grasset.
SDMA: How did your father get into collecting art?
CG: My father started buying paintings in the late
1960s in Madrid, where there was a very limited and
somehow tainted market. He discovered a new world
of opportunities the first time he attended and bid at
an auction in London in 1971.
At the time when he started his collection, Spain was
a very different country than what it has now become.
Under the dictatorship of General Franco, since the
end of the Civil War in 1939 until 1975, the nation was
politically and economically isolated from the rest of
the world.… The scenario was extremely challenging
for anyone seeking to buy paintings, which were mainly
traded in London, Paris, and New York.
When my father started regularly attending Christie’s
and Sotheby’s auctions in London, it was unique for
a private collector to bid for paintings, which was the
exclusive territory of professional art dealers, who
regarded the young foreigner as a trespasser. Each
of the paintings bought during those first decades
(until the 1980s) has a fascinating story on how it
was bought, paid for, and brought to Spain—all
examples of commitment, resilience, patience, and
creative problem-solving.
By 1980 my father had already become a fairly
well-known expert in Europe, in the specific
schools he had come to love: Dutch and Flemish
art of the 17th century. He focused on still lifes and
landscapes of exceptional beauty, balance, and
detail. During the late 1990s and the beginning
of the new century, he expanded the selection to
include works by a couple of Spanish artists and
Italian veduttas.
Both of his parents loved art in all of its forms
(music, literature, paintings, furniture, etc.). His
father used to take him as a child to the Prado
Museum, to explain paintings and lecture on
the artists. His mother was a wonderful amateur
painter who would often take courses with wellknown art professors.
In my opinion: it was a combination of his
upbringing and a labor of love.
SDMA: Is there something particular about
these works of art to which your father
gravitated?
CG: When I ask him that same question he
describes how he saw these paintings being
auctioned in London and thought they were of
incredible beauty. When he saw the colors, detail,
and exquisiteness of the Dutch and Flemish
masters, he fell in love with their work. Once he
started buying in London and brought back the
paintings to Madrid, his friends and family were
amazed by a type of art they had never seen
before in Spanish museums and much less in a
private home.
This is a very coherent group of works, which
portrays my father as a collector—acquiring
paintings because he truly enjoys their beauty
and the quality of their details. They are the works
which have been hanging on the walls of his home,
which he has kept private for over four decades.
Sharing these with the public is a unique occasion,
which he has agreed to only because of the
connection he has established with the director of
the Museum and the prestige of the institution. The
group tells his story, from the very early Dutch and
Flemish pieces to the addition of some Spanish
and Venetian pieces in the past decade.
Left: María Carmen Giménez Arnau and Juan Manuel Grasset. Above: Cristina Grasset
Following the closing of Brueghel to
Canaletto, many of the paintings from the
exhibition will be displayed alongside the
Museum’s permanent collection. During the
next three years, the European galleries will
include a selection of the Grasset Collection.
AUGUST 6–NOVEMBER 8, 2016
Venetian Views
OPENING AUGUST 13, 2016
Still Life,
Landscape,
and Genre
8
ON VIEW
INTERNATIONAL NEWS
A COLLECTOR’S STORY
Virgin of Sorrows with Donor Portraits
representing the sorrows of her life, the oil painting on wood had
Opportunistic dealers often separate multi-part works of art, such as
hinges on either side of the frame indicating lost side panels.
illustrated books, altarpieces, and sculpture groupings, in order to
maximize profit or accommodate the taste of potential buyers. Only
Then last summer, the missing wings came up for auction at
rarely are the divided pieces reunited. For instance, many of
Christie’s. There was no mistaking that these were indeed a match:
the beautifully painted pages in the
they were accompanied by a photo from
Edwin Binney 3rd collection were
1910 showing the complete triptych. On
originally gathered in books or folios
the side panels are portraits of a family
whose contents are now scattered
probably commissioned for the altar of
among numerous public and
their chapel.
private collections, only rejoined
—SANDY DIJKSTR A
for occasional exhibitions or in
After some lengthy and stressful
scholarly publications.
bidding, the Dijkstras were
“It’s not for us, it’s for
art history,”
The Art of Music
in Mexico
After years of international collaboration in order to organize The Art of Music, the
exhibition traveled to the Palacio de Bellas Artes in Mexico City this spring, where it
was well-received by the press and public alike. Upon its opening, Executive Director
Roxana Velásquez said, “This project, which looks at how visual arts and music have
influenced each other across cultures and time periods, is now a further embodiment of
how The San Diego Museum of Art is likewise able to share the profound beauty of this
art, and the research done by our curators, across borders.”
Giorgione’s influence can be registered strongly in the
work of Titian and Rembrandt, among numerous others
in the history of art, and his greatness is often said to
be second only to that of Leonardo da Vinci. Therefore,
it is a significant point of pride for the Museum that this
irreplaceable portrait—when not occasionally traveling
to major exhibitions—most often hangs in the upstairs
galleries.
.
Pieter Claeissens I, Virgin of Sorrows with Donor Portraits, ca 1564. Oil on wood panel. Collection of Sandy and Bram Dijkstra.
UPCOMING
NOVEMBER 5, 2016–JANUARY 31, 2017
Louis Kahn
The Power of Architecture
One of the key works of art in the London Royal
Academy of Art’s landmark exhibition In the Age of
Giorgione comes from the permanent collection of
The San Diego Museum of Art. Giorgione was the first
great painter of the Venetian Renaissance, though his
life remains shrouded in mystery. Because he did not
sign his paintings, only two works possess inscriptions
that secure their attribution to him. One of these is the
Museum’s Portrait of a Man, otherwise known as the
Terris Portrait.
As such, The San Diego Museum of Art’s painting has
been a touchstone for scholars of the artist and period.
Through close study of it, experts are able to attribute
(or de-attribute) other unsigned works possibly created
by the artist and better ascertain how truly innovative
he was. After breaking with the strict conventions and
rigid compositions of Venice’s leading master, Giovanni
Bellini, Giorgione became known for his striking
naturalism and softer style, which heightened the often
poetic and moody effects of his paintings—attributes
certainly on view in the Portrait of a Man.
successful, and the Balboa Art
Conservation Center treated the
three panels. Now the triptych
is beautifully reunited upstairs
at the Museum in Gallery 16 on
a two-year loan, and Associate
Curator of European Art Michael
Brown believes it comes at a
fortuitous time—when scholars are
reassessing Flemish artists of that
period, often overlooked in favor
of later painters like Rubens and
Rembrandt. “It’s not for us, it’s for
art history,” said Sandy Dijkstra.
So it is a cause for celebration
that local collectors Sandy and
Bram Dijkstra have brought
the parts of a gorgeous 16thcentury triptych back together.
More than 30 years ago, the
Dijkstras acquired the center
panel, most likely painted in
1564 by Pieter Claeissens I,
a Flemish artist residing in
Spanish-ruled Netherlands.
Depicting the Virgin of Sorrows
surrounded by seven swords
Giorgione at the
Royal Academy
Photos, top to bottom: Members of the press filming musicians at
the opening of The Art of Music in the Palacio de Bellas Artes in
Mexico City. (From left to right) Gabriela Garza, Josefina Pérez-Simón,
María Cristina García Cepeda, Rafael Tovar, Roxana Velásquez, and
Miguel Fernández Félix at the opening. Opening remarks at the press
conference.At right: Exterior and rotunda of the Palacio de Bellas
Artes.
Louis Kahn: The Power of Architecture is the first overview
exhibition of the architect’s work in two decades. It presents
roughly 40 buildings and projects in the form of historic and newly
constructed models, plans, original drawings, photographs, and
films. Numerous sketches, study models, and archival images
illustrate the design process and building history of Kahn’s most
important projects, including the Salk Institute in La Jolla, begun
in 1959. This view of Kahn’s architectural oeuvre is enriched by
a selection of watercolors, pastels, and charcoal drawings made
on his travels through North America, Europe, and Egypt, which
document Kahn’s skill as an artist and illustrator.
Louis Kahn, at right with local architect Robert Mosher (far left).
Giorgio da Castelfranco “Giorgione”, Portrait of a Man, (detail), 1506.
Oil on panel, Gift of Anne R. and Amy Putnam, 1941.100.
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MUSEUM NEWS
Open Storage
Study Center
FROM APPRENTICE TO MASTER ARTIST
PrimeTime Students
“Travel” to Learn About
Renaissance Art
Exciting changes are coming to galleries 9 and
10 as they close this summer in preparation for
the new Open Storage Study Center, slated to
open on November 12. Careful thought has
gone into planning this new space, which will
provide in-depth access to little-seen parts of
the permanent collection and an intimate setting
filled with art and interactive educational tools.
A new partnership with six local schools brings fifth-grade students
enrolled in the PrimeTime extended-day program to the Museum.
PrimeTime’s before- and after-school care provides enriching activities
and academic support throughout the San Diego Unified School District
and this partnership complements the Museum’s ongoing outreach
efforts, which currently serve over 4,500 students per year.
The Museum has chosen Regner Godoy
Projects to design the Center, due in part to the
background of principals Stephanie DeLancey and
Josh Beckmann in the education, installation, and
object preparation side of museum operations.
It was this experience, as well as their stylish
and sophisticated design work, that led to their
selection from the five firms that submitted
proposals. Their most recent projects include
installations at the Getty Research Institute and the
Natural History Museum of Los Angeles County.
Scheduled to coincide with the new installation of the European galleries,
the young participants will “travel to Florence” to learn about the
Renaissance through a variety of activities that include art history, studio
art, and viewing masterworks firsthand. As with all Museum educatorled lessons, the source of inspiration is the permanent collection and
works on view. Docent tours allow the students to examine works in the
Devotion and Portraits galleries to inform their own artmaking process.
Projects include the creation of an altarpiece based on Giotto’s God
the Father with Angels (ca. 1330), a stained-glass piece, a hand-bound
journal, and a fresco painting made by mixing their own tempera paint
from ground pigments and egg yolk.
PrimeTime is an ongoing program offered by the Central Family YMCA Region in partnership with the San Diego Unified
School District. This year the elementary schools visiting the Museum are Kimbrough, Linda Vista, Euclid, Cubberley,
Chesterton, and Juarez.
GETTY FOUNDATION’S PACIFIC STANDARD TIME INITIATIVE
Outreach to At-Risk Teens
LA/LA Press Conference
Since 2013, Museum Educator Rogelio Casas has taught yearly 10week sessions of art classes to youth in the Kearny Mesa Juvenile
Detention Facility. Many of these teens are involved with gangs,
substance abuse, and experience trouble at home and school.
At an event on March 30 in Los Angeles, attended by over
200 curators, executive directors, city officials, and members
of the press, the Getty Foundation announced additional
funding of $8.45 million for The San Diego Museum of Art
and other participants in the Pacific Standard Time: LA/
LA initiative, which is set to launch September 2017. At
this stage, the Museum received one of the largest of the
grants, following the initial research grant in 2014. The new
round of awards will support the implementation phase of
The Making of the Modern: Indigenismos, 1800–2015, and
other exhibitions at 43 Southern California organizations
region-wide, which “will take a fresh look at vital and vibrant
traditions in Latin American and Latino art through a series of
thematically linked exhibitions and programs,” according to
James Cuno, president and CEO of the J. Paul Getty Trust.
The Making of the Modern investigates the multiple ways in
which indigenismos—representations of indigenous people
and cultures for social and political aims—were a persistent
force across Latin American art over more than two centuries.
The exhibition is organized by co-curators Amy Galpin and
Mariana Botey along with an international team of scholars.
Executive Director Roxana Velásquez joined
Rogelio on a visit this past March and assisted
in a lesson on Chinese brush painting, which
requires continual practice to master. The students
overcame some initial hesitancy to strive for
success despite setbacks and mistakes. Through
meaningful experiences with art-making, the
young participants in the Museum outreach
program learn to practice discipline, mindfulness,
and focus, skills that they can apply to other
areas of life.
Rogelio Casas and Roxana
Velásquez with student art.
As one former student said, “Many of us have …
things in our lives that hold us back …You showed
us the better in things. Instead of continuing
with the path that we’re on, we can correct our
mistakes and move on. We all have potential for
something; we just need to reach for it.”
Stephanie DeLancey and Josh Beckmann of the design firm Regner Godoy Projects with curators Ariel Plotek and Marika
Sardar and Amy Mariko Andersson, associate registrar, examining artifacts in the Museum’s vaults
MUSEUM TECHNOLOGY
Augmented Reality
Guests at Sculpture and Cocktails enjoying the Museum app’s new feature
Launched at February’s Sculpture and Cocktails (see p. 14), a new feature of the Museum
app allows paintings to come to life. Guests at the event were able to watch boats travel the
canals of Venice and hear the bell tower ring in Bernardo Bellotto’s Molo from the Basin of San
Marco, Venice. This was made possible by applying augmented reality technology to the gallery
experience. When visitors hold their phones up to the painting, the app “reads” the work of art
and sets elements of the painting in motion and triggers audio effects. The technology will be
applied to additional works throughout the year.
Funded in part by a grant from the National
Endowment for the Arts (NEA), this Museum
initiative provides greater public engagement
with the art on view. For information or to donate,
contact Sarah Falvo at [email protected] or
619.696.1993.
Museum Appoints
New Curator of East
Asian Art
Diana Y. Chou, Ph.D., joins The San Diego
Museum of Art as Associate Curator of East
Asian Art in June. With expertise spanning
Chinese and Japanese art from the 10th century
to modern periods, Dr. Chou has worked with
museums in the U.S. and Taiwan, as well as
having held academic positions including her
most recent appointment as lecturer at Cleveland
State University. At the Museum, Dr. Chou will
oversee a collection of approximately 7,000 works
of art, a selection of which is currently on view
in galleries 3 and 4 in Brush and Ink: Chinese
Paintings from The San Diego Museum of Art
Selected by Pan Gongkai and in the Museum’s
exquisite Asian galleries. Dr. Chou and Dr. Marika
Sardar, Associate Curator of Southern Asian
and Islamic Art, are responsible for all of the
Museum’s holdings of Asian Art, which constitute
approximately 40 percent of the permanent
collection.
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13
MEMBER EVENTS: ART ALIVE
Presenting Sponsor
Conrad Prebys and Debbie Turner
THE MUSEUM IN FULL BLOOM
Art Alive
2016
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THE MUSEUM IN FULL BLOOM
Supporting Sponsor
Valerie and Harry Cooper
A San Diego tradition, the 35th annual Art Alive raised
the most money ever, with a record-breaking $1.2 million
and approximately 11,000 visitors attending the weekend
festivities. As the Museum’s signature fundraiser, Art
Alive provides critical financial support for education,
conservation, research, and community outreach yearround.
The event would not be possible without the generous
support of members, visitors, more than 200 volunteers, the
Honorary Committee, corporate partners, event sponsors,
the Steering Committee, and the incredible generosity of
presenting sponsor Conrad Prebys and Debbie Turner,
signature sponsor Audrey S. Geisel and the Dr. Seuss
Foundation, and supporting sponsor Valerie and Harry
Cooper.
Art Alive 2016 featured 100 floral interpretations of works
in the permanent collection as well as selections from one
of the latest installations, Brueghel to Canaletto: European
Masterpieces from the Grasset Collection.
The highlighted centerpiece was a rotunda design by Ben
Lucero and Jim Lennox of Pacific Event Productions. Using
over 50,000 florals, donated by Mellano Floral Supply
Syndicate, they created a larger-than-life Chinese dragon
in tribute to the Museum’s latest exhibition, Brush and Ink:
Chinese Paintings from The San Diego Museum of Art
Selected by Pan Gongkai.
Festivities kicked off Friday morning with the exclusive
Members’ Preview and extended late into the evening
with the Bloom Bash opening celebration. This after-hours
event featured epicurean delights from 28 top San Diego
restaurants, creative floral-infused cocktails from The Patrón
Spirits Company, live music, dancing, and several eclectic
performances. The space was highlighted with the work of
Southern Californian contemporary artist James Peterson
of Art + Contraptions, whose fluid and dynamic artwork lit
up the evening.
The weekend’s events continued with a Sogetsu Ikebana
presentation by Kika Shibata and a family favorite, the
Garden of Activities. The success of the weekend
would not be possible without the support of the entire
San Diego community.
Pictured, center left: Art Alive 2016 Premiere Dinner chairs Sheryl White, Demi
Rogozienski, and Valerie Cooper. Dinner guests were delighted by the projection
art installation by Pan Gongkai (below). Executive Director Roxana Velásquez with
Pan Gongkai (shown above).
Next page (top to bottom, left to right): First place winner Hiroko Fukuhara from
the Sogetsu School of Ikebana, interpreted Francisco de Zurbarán’s St. Francis in
Prayer in a Grotto, 1655. Oil on canvas. Gift of Conrad Prebys and Debbie Turner,
2014.132. Montana Umbel, Jurate Mahone, and Kathleen Parks at Bloom Bash.
Ben Lucero’s Art Alive rotunda design of a floral dragon looking up at carp that
“swam” beneath a lily pad. Party-goers enjoying the fare in the sculpture court
during Bloom Bash. Bloom Bash chairs Lynda Kerr and Blanca Uribe and Dr.
Jacki Johnson-Widder with husband Dr. Ken Widder. Dancing the night away
at Bloom Bash 2016.
3
Signature Sponsor
Audrey S. Geisel, Dr. Seuss Foundation
Marketing and Communications Sponsor
Principal Sponsors
Toni and John Bloomberg
Premiere Dinner Event Florals Sponsor
Dr. Laurie C. Mitchell and Brent V. Woods
Premiere Dinner Musical Entertainment Sponsor
Sheryl and Harvey White
Premiere Dinner Champagne and Wine Sponsor
Premiere Patron Honorary Committee
Sandra and Dr. Sassan Alavi
Canterbury Consulting
Tatiana and Robert Dotson
Debra and Peter Drake
Susanna and Michael Flaster
Carolina and Tom Gildred
Lyn and Philip Gildred
George and Hélène Gould
Lynne and Robert Hayes
Lisa and Charles Hellerich
Kerr Family Foundation
Helen and Webster
Burke Kinnaird
Carol Lazier and
Dr. Jay Merritt
Lisa and Gary Levine
Pam and Gregg Marks
Rebecca and Eugene
“Mitch” Mitchell
Jene and Paul Mosher
Joanie and Roy Polatchek
Bloom Bash Event Florals Sponsor
ProFlowers
Floral Demonstration Sponsor
Jeannie and Gerry Ranglas
Taffin and Gene Ray
Sarah B. Marsh-Rebelo
and John Rebelo
Garden of Activities Sponsor
4
Demi and Frank Rogozienski
Colette Carson-Royston
and Ivor Royston
Sunroad Auto Holding
The John M. and
Sally B. Thornton
Foundation
Blanca Uribe
Drs. Jacki Johnson-Widder
and Kenneth Widder
Emma and Leo Zuckerman
Elite Patron Honorary Committee
Anonymous
Event Photography Sponsor
Dana M. Baldwin, Ph.D.
Ann Davies
Christine de Pagter and
Bruce Woods
Arlene and Richard Esgate
Dowling and Yahnke
Epstein Family Foundation
Maeann Garty
Joyce M. Gattas
8
Donna and Tom Golich
Lola and Walter Green
Joan and Irwin Jacobs
Mr. Maurice Kawashima
Paula Landale
Milley Mai and Douglas
Obenshain/Lockton
Kelly S. Garton, Merrill Lynch
Marjorie Ann Mopper
Andréa Muir
Michael Nance
Lyn Nelson
Nordstrom
PEP Creative
Nancy J. Robertson
Heather and Randy Socol
Jeff and Melanie Spiegelman
US Bank
Ellen and William Whelan
Armi and Albert Williams
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Art Alive 2016 Steering Committee
Sacha Boutros
Valerie Cooper
Bloom Bash Chair
Christine de Pagter
Joyce Gattas
Lynne Hayes
Bloom Bash Chair
Premiere Dinner Chair
Jacki Johnson-Widder
Lisa Kendall
Lynda Kerr
Sarah B. Marsh-Rebelo
Demi Rogozienski
Doreen Schonbrun
Blanca Uribe
Bloom Bash Chair
Sheryl White
Premiere Dinner Chair
Barbara Zobell
Premiere Dinner Chair
Restaurant and Event Partners
24 Carrots Catering
& Events
AFR Event Furnishings
Blue Bridge
Hospitality Pastry
Café Coyote
Chuao Chocolatier
Coast Catering
Eclipse Chocolate
Golden Door
Great Maple
Loews Coronado Bay Resort
Mellano & Company
MIHO Catering Co.
Mille Fleurs
Neiman Marcus
Nomad Donuts
Panama 66
Root Cellar Catering Co.
San Diego Audio Visual
San Diego Magazine
S&M Sausage & Meat
Sprinkles Cupcakes
The Cravory
The French Gourmet
The Prado at Balboa Park
The Westgate Hotel
True Food Kitchen
Truluck’s Seafood, Steak,
and Crab House
Uptown Tavern
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Proudly Sponsored by
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14
MUSEUM SUPPORT
MEMBER EVENTS
CIRCLE and Friends
16th Annual Axline Lecture
Brueghel to Canaletto: European Masterpieces of the Grasset Collection
Sebastião Salgado
On February 25, the Museum welcomed internationally renowned
photographer Sebastião Salgado at the 16th annual Axline Lecture.
A native of Brazil, Salgado is best known for black-and-white
photographs that capture the contrast between the beauty of nature
and its stark destruction by man. The artist spoke passionately
about his work throughout the globe, chronicling the humanity
and inhumanity in conflict-ridden areas such as Rwanda, Serbia,
and Bosnia. He discussed how his experience took a toll on his
health and kept him away from his family. Yet, he also spoke at
length about his project “Genesis,” which beautifully documents
landscapes and people untouched by modern society, and how
his harrowing experiences also led him to create the Instituto Terra,
which has returned over 17,000 acres of heavily farmed land in
Brazil to the subtropical rainforest it once was. The sold-out lecture
was complemented by a display of his photographs from the
Museum’s permanent collection, as well as those of the Museum
of Contemporary Art San Diego and the Museum of Photographic
Arts. The Axline Lecture is presented annually by The San Diego
Museum of Art and the Museum of Contemporary Art San Diego in
recognition of the extraordinary bequest by Rea and Jackie Axline to
both institutions in 1999.
1
1. Roxana Velásquez with members of the Grasset family at the opening celebration.
2. At the Friends’ Lecture & Reception, members enjoyed listening to Roxana Velásquez, Juan Manuel Grasset,
and Michael Brown as they discussed the development of this extraordinary private collection.
CIRCLE Opening and Friends’ Lecture and Reception
Three generations of the Grasset family were in attendance at the CIRCLE opening
event for the exhibition that showcases Juan Manuel Grasset’s spectacular collection
of European paintings. The following day, the collector spoke eloquently at the Friends’
Lecture & Reception about his philosophy and the drive behind his acquisitions and
his special new connection to San Diego. As this is the first and only time that these
masterpieces have been viewed on a museum’s walls for the general public to enjoy,
Mr. Grasset and daughter Cristina discussed their admiration of the professionalism and
hard work of the staff in order to create the beautiful exhibition and the persuasiveness
of the Museum’s executive director to effect this extraordinary loan. From the opening
event on, the exhibition has garnered great interest from the public and the press, as
the Examiner proclaimed, “This trip through the “Golden Ages” is one you cannot afford
to miss.”
2
Culture & Cocktails
The next CULTURE & COCKTAILS on June 23. See pg. P3 for more information.
Artist Sebastião Salgado gesturing during the Axline Lecture at the Museum.
SUPPORT COUNCILS
SUPPORT COUNCILS OFFER MUSEUM MEMBERS NUMEROUS OPPORTUNITIES for deeper engagement in specific areas of interest. Each of the
eight Support Councils plays a vital role in raising funds for critical, mission-driven projects such as conservation, public programs and exhibitions at the
Museum. For more information on how you can take part, contact the Support Council representative listed below.
SCHEDULE AND CONTACT INFORMATION for SUPPORT COUNCILS • SDMArt.org/about/support-organizations
1
2
1. Gallery Collective Steering Committee member Parker Zangoei and friends in the rotunda.
2. The festivities spilled out onto the Museum steps. 3. Participants struck poses, inspired by the installation.
Sculpture and Cocktails
This past February Culture and Cocktails’ special edition, Sculpture and Cocktails
marked the success of the crowdfunding and individual fundraising efforts for the Art
5
of the Open Air, a public art exhibition (see pp. 2–3). Donors and their guests enjoyed
cocktails and small bites in the Plaza de Panama and posed for photos in their best
interpretation of the newly installed sculputures. Inside the galleries, participants
3
“experienced” life in 17th-century Venice and learned about the Monuments Men
through the augmented reality and audio tour features of the SDMA app (see p. 11).
AFRICAN AND PACIFIC ARTS COUNCIL
Select Sundays
Museum Boardroom | 2:00–4:30 p.m.
Free for APAC members
$10 Museum members / $12 nonmembers
Contact: Chair Janet Brody Esser
619.287.7021 • [email protected]
ARTISTS GUILD
First Tuesday of every month
Museum Boardroom | 10:15 a.m.–12:00 p.m.
Free
Contact: Chair Angelika Villagrana
619.222.1034 • [email protected]
ASIAN ARTS COUNCIL
January through October, last Thursday of the
month
Museum Boardroom | 1:00 p.m.
Free for AAC members / $10 Museum members
$8 students / $12 non-AAC members
Contact: Chair Jim Richter
530.867.1118 • [email protected]
COMMITTEE FOR THE ARTS OF
THE INDIAN SUBCONTINENT
September through June, excluding December
Location and times vary
Free for CAIS members / $10 Museum members
$8 students / $20 nonmembers
Contact: Chair Jas Grewal
858.792.9439 • [email protected]
CONTEMPORARY ARTS COMMITTEE
October through May, second Monday of the month,
Location varies | 7:00 p.m.
Free for first-time guests / $20 others
Contact: Chair Robin J. Lipman
858.794.7968 • [email protected]
EAST COUNTY CHAPTER
September through June, first Monday of the month
Grossmont Healthcare Center Auditorium,
9001 Wakarusa Street, La Mesa | 10:30 a.m.
Free
Program information, contact: Chair Michele Schlecht
619.283.3732 • [email protected]
Membership information, contact: Eleanor Stephenson
619.997.8331 • [email protected]
LATIN AMERICAN ARTS COUNCIL
Select Saturdays
Location varies
Free LAAC members / $10 Museum members
$15 nonmembers
Contact: Chair Ruben Villegas
858.587.7582 • [email protected]
NORTH COUNTY CHAPTER
Select Mondays
9:30 a.m. Coffee and socializing
10:00 a.m. Presentation
St. Peter’s Episcopal Church, Del Mar
Free for NCC members / $10 nonmembers
Contact: Chair Barbara Fitzsimmons
858.453.5787 • [email protected]
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16
MUSEUM SUPPORT
RECENT GIVING
Preserving the Past, Celebrating
the Present, Protecting the Future
The San Diego Museum of Art’s Sorolla Society recognizes
those individuals whose thoughtful generosity and foresight
have provided the Museum with support through a planned gift
in estate plans, wills, or life income arrangements. Membership
in the Sorolla Society offers exclusive access, benefits, and
invitations throughout the year.
Establishing a planned gift is easy and offers many advantages
including the opportunity to:
• Enjoy an immediate income tax deduction
• Reduce or eliminate capital gains costs and estate taxes
• Increase current income
• Create a legacy at the Museum
The support of Sorolla Society members ensures that the
Museum continues its valuable programs, exhibitions, and
conservation of art. Below are some of the more popular types of
planned gifts:
• Bequest
• Charitable Gift Annuity
• Charitable Remainder Trust
• Gifts of Art
To learn more about the Museum’s Sorolla Society, please contact
Sarah Falvo at 619.696.1993 or [email protected].
UPCOMING
SOROLLA SOCIETY AND CIRCLE
EVENT
Dr. Janet Brody Esser
Sam Fikhman
Alexander Forster
Michele Forster
Natalie A. Ganz
Karla and Matt Giacalone
Carolina and Tom Gildred
Thomas and Donna Golich
Theresa Hall
Dorothy J. Green
Jas Grewal and Suren Dutia
Doris Groves
Harold and Tenniebee Hall
June H. Harland
H. G. Pat Hatley
Kathryn and John Hattox
Robert Hayward
Lisa and Charles Hellerich
Colette-Michelle and John Hessler
Ingrid Hibben
Wayne Julien
Claire Kegley
Edythe Kenton
Larry Krause
Miriam Krippl
Jerry Kronovet
Mr. Jean-Paul LaMontagne
Carol Lazier and Jay Merritt
Carol and Arnie Lewin
Robin J. Lipman
Katherine and William Liscomb
Kenneth L. Lowe
Mark-Elliott Lugo
Michael Marcus
Sarah Marsh-Rebelo and John Rebelo
Radona and Daniel May
Katy J. McDonald
James McFall
Drs. Rose E. and Francisco Merino
Linda and Terry Moore
Marjorie Ann Mopper
Paul Mosher
Patricia Moulton
Andréa C. Muir
Cumulative gifts of $5,000 and above (excluding gifts of art) made from 2/1/2015 - 3/31/2016:
Sorolla Society Members
and the CIRCLE Members
are invited to a
BREAKFAST AND TOUR
Thursday, June 2 | 10:00 a.m
May S. Marcy Sculpture Garden
Following a light breakfast,
tour the Museum’s European galleries and
the Balboa Art Conservation Center (BACC) to learn
about the science and the art of conservation with the
Associate Curator of European Art, Michael Brown,
and Alexis Miller, BACC Chief Conservator of Paintings.
For more information about the event,
please contact Emma Reed
at 619.696.1993 or [email protected].
space is limited.
Generously sponsored by Withers Bergman
THE SOROLLA LEGACY SOCIETY
Anonymous (2)
Dorothy B. Arthur
Paul Beigelman
Ellen G. Bergman
Maria and Charles Bolster
Martin Breslauer
Judith and Joseph Brings
Amy Britt
Gordon J. Brodfuehrer
Ruth and Donald Broudy
Marshall and Marilyn Brown
Marion L. Burke
Nancy E. Calvert
Mary B. and Salvador Carlos Jr.
Pam and Jerry Cesak
Kathee Christensen
Walter A. Clark
Suzanne Bourgeois Cohn and Melvin Cohn
Jean Cromwell
Juanita H. Dahlstrom Miller
Susan Daniels and Daniel Belsky
Katy and Michael Dessent
Significant support from individuals, foundations, corporations and public agencies allows the Museum to enrich the community of San Diego
by providing profound art experiences for all ages. Major gifts for the presentation, acquisition, conservation, and interpretation of famous
works of art are recognized in the following list. If you would like more information on ways to support your Museum, please contact Elizabeth
Kaplan, Director, Development and Membership at 619.696.1939, or [email protected].
Nancy L. Nenow
Marsha Netzer
Robert G. Neville
Mary Lou and John Paxton
Mary Lou Peterson
Manolito Pinazo
Anne and Jim Pollard
Dr. and Mrs. Philippe Prokocimer
Dr. Sheilah Randolph
Dr. and Mrs. Harold Richman
Glenda Richter and Michael Pearlman
Demi and Frank Rogozienski
Rana Sampson and Jerry Sanders
Mary and Douglas Scott
Fay R. Sellers
Gusti Simmons
Dr. David D. Smith
Mrs. Helen E. Smith
Herbert Solomon
Lucinda L. Sparks
Phyllis Speer
Dori and Craig Starkey
Dan Stephen
Mrs. Hugh B. Stewart
Phyllis Strand
Elizabeth Taft
Dr. and Mrs. Nikolai Tankovich
Arlene and Irving Tashlick
Linda and Theodore Terpstra
Patricia and John Thomas
Idil and Douglas Tribble
Andrée Vail
Anne Von Benckendorff
Nellora and Omar Walker
Dr. Robert Wallace
Ellen and William Whelan
Therese T. Whitcomb
Mrs. William B. Wideman
Doreen and Kenneth Williams
Drs. Arelene and Thad Wolinski
Erika Wright
Dr. William A. Yancey
IN MEMORIAM:
Tom Slaughter (1955–2014) was a loyal friend and supporter of the Museum. As a trustee of the Horace W. Goldsmith Foundation, he
recommended grants for exhibitions and educational programs. His in-depth knowledge of the Museum’s mission and astute grasp of financials
were greatly instrumental in funding the Museum’s most crucial needs.
A resident of New York City, Tom was an artist in his own right. He had more than 30 solo exhibitions in New York, Los Angeles, Miami,
Vancouver, Germany, and Japan. He published seven illustrated children’s books including 123, One Some Many, Over Under, ABC x3 and
Eats. He shared his deep commitment to artists, the arts, and to those institutions that brought art to the public by serving on the board of a
number of organizations including MoMA/PS1.
The Museum is very appreciative of all the contributions Tom made to the arts; he is greatly missed.
$100,000 AND ABOVE
City of San Diego, Commission for Arts & Culture
Audrey S. Geisel, Dr. Seuss Foundation
The Getty Grant Program/J. Paul Getty Trust
Conrad Prebys and Debbie Turner
Price Philanthropies Foundation
Mr. and Mrs. Gene W. Ray
Ms. Pat Guerrero
Dr. and Mrs. Elliot Hirshman
Dr. and Mrs. Paul Hirshman
Mr. and Mrs. Bob Hunt
Ms. Janet Kafka
Mr. Maurice Kawashima
Mr. and Mrs. Richard Kerr/Kerr Family Foundation
Mr. Fred Khoroushi and Mrs. Gita Khadiri
$50,000–$99,999
Mrs. Peter H. Krippl
Ingrid and Joseph Hibben Endowment Fund
Mr. and Mrs. Cheston Larson
at The San Diego Foundation
I. Lehman Trust
Mr. and Mrs. Webster Burke Kinnaird
The Sheila and Jeffrey Lipinsky Family Fund of
Ms. Carol A. Lazier and Dr. James Merritt
The Jewish Community Foundation
Dr. Laurie C. Mitchell and Mr. Brent V. Woods
Ms. Janice Lowenberg and Mr. David Lowenberg
Patrons of the Prado
Mr. and Mrs. Scott McClendon
Mr. and Mrs. Rodney O. Smith
Mr. and Mrs. Mitch Mitchell
Mrs. Betty Anne Money Arenz
$25,000–$49,999
Mr. and Mrs. Lowell Potiker
Mr. and Mrs. Harry Cooper
Mr. and Mrs. Robert Price
David C. Copley Foundation
Mr. and Mrs. Gerry Ranglas
County of San Diego
Mrs. Audrey S. Ratner
County of San Diego at the recommendation of
The Michael and Karen Stone
Supervisor Ron Roberts
Family Foundation Inc.
Mr. and Mrs. Robert Dotson
Mrs. Deborah C. Streett-Idell
Debra Alexis Drake and Peter Drake
and Mr. James Idell
Mr. and Mrs. Philip L. Gildred Jr.
Mr. and Mrs. Jack Thomas
Horace W. Goldsmith Foundation
Mr. and Mrs. Robert H. Hayes/Triton Management Mr. and Mrs. Douglas R. Tribble
Dr. Andrew J. Viterbi
Services LLC
Mr. and Mrs. Howard Weiner
Mrs. Sarah B. Marsh-Rebelo and Mr. John G.
Ms. Rusti B. Weiss
Rebelo
Mr. and Mrs. Albert N. Williams
Dr. A. Fenner Milton
Mr. and Mrs. Paul F. Mosher
MATCHING GIFTS
Joanie and Roy Polatchek
Adobe
Mr. and Mrs. Frank E. Rogozienski
AT&T Matching Gift Program
Ms. Melinda J. Woodell and Mr. Ju Nouvong
Bank of America Matching Gifts Program
Benevity Community Impact Fund
$10,000–$24,999
Boeing Gift Matching Program
Anonymous
Caterpillar Foundation
Dana M. Baldwin, Ph.D.
DLA Piper
Estate of Quaintance Bartlett
ExxonMobil Foundation
Dr. Paul Beigelman
GE Foundation
Toni and John Bloomberg
Macy’s Matching Gifts Program
Ms. Joanne Boylan
Merck Partnership For Giving
Esther J. Burnham
Pfizer Foundation Matching Gifts Program
Ms. Dolores A. Clark
QUALCOMM Foundation
Dr. and Mrs. Peter C. Farrell
Sempra Energy Foundation
The Myron Feinberg Fund at
The San Diego Foundation
HONORARY GIFTS
Ana and Jose Galicot
Mary B. and Salvador Carlos Jr.
Mr. and Mrs. Tom Gildred
Mrs. Monika Langhoff Hseu
Lisa and Charles Hellerich
in Honor of Taffin and Gene Ray
Joan and Irwin Jacobs
Ms. Mary Jane Kolar in Honor of Dr. Gregory
Mr. and Mrs. John McQuown
Anderson and Ms. Cindy Kang’s marriage
Marjorie Ann Mopper
Ms. Ellen W. MacVean in Honor of
Mrs. Donna O’Rourke
Carolina and Tom Gildred’s marriage
Ms. Analia Reggio
Mr. Jeff Miller and Ms. Abby Castle
The John M. and Sally B. Thornton Foundation
in Honor of Debra Alexis and Peter Drake
The Tippett Foundation
Mr. and Mrs. Paul F. Mosher
Ms. Blanca Uribe
in Honor of Demi and Frank Rogozienski
Mandell Weiss Charitable Trust
Mr. Andrew Shelton in Honor of Valerie Cooper
Ellen and Bill Whelan
Mr. and Mrs. Alan R. Spector
Sheryl and Harvey White
in Honor of Doreen Schonbrun
Mr. and Mrs. Kenneth R. Williams
Ms. Roxana Velásquez in Honor of Lisa and
Mr. and Mrs. Leo Zuckerman
Charles Hellerich’s marriage
$5,000–$9,999
MEMORIAL GIFTS
Ms. Harriette E. Buros
Mr. Michael G. Bartell and Mrs. Melissa G. Bartell
Mr. and Mrs. Jack Cater
in Memory of Sally B. Thornton
Mr. and Mrs. Donald Cohn
Mrs. Nancy Bildsoe in Memory of Lois Roon
Drs. Martha and Edward Dennis
Mr. Benjamin DaSillva
Dean and Mrs. Michael Dessent
in Memory of Jane McGinnis
Mr. and Mrs. Robert W. Doede
Lisa and Charles Hellerich
Dr. Bernard J. Eggertsen and Mrs. Florence
in Memory of Sally B. Thornton
Nemkov
Mrs. Monika Langhoff Hseu
Mrs. Louise Engleman
in Memory of Jack L. Woods
Mr. and Mrs. Robert Engman
Mr. Jerry Hughes in Memory of Carl A. Romero
Mrs. Daniel Epstein
Mrs. Marcella Johnson
Ms. Danah H. Fayman
in Memory of Judith M. George
Mrs. Maeann Garty
Mr. and Mrs. Frank E. Rogozienski
Dr. Joyce M. Gattas
in Memory of Sally B. Thornton
Mr. and Mrs. Frank M. Goldberg
Mr. and Mrs. Matthew Strauss
Mr. and Mrs. Thomas S. Golich
in Memory of Sally B. Thornton
Mr. and Mrs. George Gould
Ms. Cynthia Sullivan
in Memory of Mary Louise Anthony
Mrs. Susan J. Turnbull
in Memory of Jack L. Woods
Mr. and Mrs. Leo Zuckerman
in Memory of Sally B. Thornton
PARTNERS IN ART SIGNATURE
SPONSOR $50,000–$99,999
QUALCOMM Foundation
LEAD SPONSOR $20,000–$49,999
Gallagher Levine (AJ Levine)
RBC Wealth Management
Target Community Relations
Van Cleef & Arpels
SUPPORT SPONSOR $10,000–$19,999
A.O. Reed & Co.
California Bank and Trust
ResMed Foundation
U.S. Bank
Union Bank
DIRECTOR $5,000–$9,999
Bank of America
Canterbury Consulting Group
Neiman Marcus
Nordstrom
Porsche of San Diego
Proflowers
Seltzer Caplan McMahon Vitek
The Westgate Hotel
MEMBER $4,999 AND BELOW
Merrill Lynch
EVENT/PROMOTIONAL PARTNERS
24 Carrots Catering & Events
AFR Event Furnishings
Bauman Photographers
Blue Bridge Hospitality
Bottlecraft
Brilliant Event Lighting
Café Coyote
Coast Catering
The Cravory
Eclipse Chocolate
Floral Supply Syndicate
The French Gourmet
Golden Door
Great Maple
Illy
Kill Devil Spirits
KPBS
Loews Coronado Bay Resort
MIHO Catering Co.
Mille Fleurs
Nobu San Diego
Nomad Donuts
Panama 66
The Patrón Spirits Company
PEP Creative
Pixster Photo Booths
The Prado at Balboa Park
Proflowers
Puesto
Quad Alehouse
Root Cellar Catering Co.
Saltbox
San Diego Audio Visual
San Diego Cake Pop Shop
San Diego Magazine
S&M Sausage & Meat
Sprinkles Cupcakes
Sweet Petite Confections
True Food Kitchen
Truluck’s Seafood, Steak, and Crab House
Uptown Tavern
The Westgate Hotel
The Wild Thyme Company
BENEFACTOR’S CIRCLE
Anonymous
Dana M. Baldwin, Ph.D.
Toni and John Bloomberg
Ms. Joanne Boylan
Ms. Dolores A. Clark
Mr. and Mrs. Harry Cooper
Mr. and Mrs. Robert Dotson
Debra Alexis Drake and Peter Drake
Dr. and Mrs. Peter C. Farrell
Mr. and Mrs. Michael Flaster
Ana and Jose Galicot
Mr. and Mrs. Philip L. Gildred Jr.
Mr. and Mrs. Tom Gildred
Mr. and Mrs. Robert H. Hayes
Lisa and Charles Hellerich
Joan and Irwin Jacobs
Mr. and Mrs. Webster Burke Kinnaird
Ms. Carol A. Lazier and Dr. James Merritt
Mrs. Sarah B. Marsh-Rebelo and Mr. John G.
Rebelo
Mr. and Mrs. John McQuown
Dr. Laurie C. Mitchell and Mr. Brent V. Woods
Marjorie Ann Mopper
Mr. and Mrs. Paul F. Mosher
Joanie and Roy Polatchek
Conrad Prebys and Debbie Turner
Mr. and Mrs. Gene W. Ray
Mr. and Mrs. Frank E. Rogozienski
Mr. and Mrs. Irving Tashlick
The John M. and Sally B. Thornton Foundation
Ms. Blanca Uribe
Ellen and Bill Whelan
Sheryl and Harvey White
Mr. and Mrs. Kenneth R. Williams
Ms. Melinda J. Woodell and Mr. Ju Nouvong
DIRECTOR’S CIRCLE
Mr. and Mrs. Jack Cater
Drs. Martha and Edward Dennis
Dr. Bernard J. Eggertsen and Mrs. Florence
Nemkov
Mrs. Louise Engleman
Mr. and Mrs. Robert Engman
Mr. and Mrs. Frank M. Goldberg
Dr. and Mrs. Paul Hirshman
Mr. and Mrs. Bob Hunt
Ms. Janet Kafka
Mrs. Peter H. Krippl
Ms. Janice Lowenberg and Mr. David Lowenberg
Mr. and Mrs. Scott McClendon
Mrs. Betty Anne Money Arenz
Mr. and Mrs. Robert Price
Mrs. Audrey S. Ratner
Mr. and Mrs. Michael Stone
Mr. and Mrs. Jack Thomas
Mr. Jonathan C. Tibbitts
Ms. Anne S. Vafis
Dr. Andrew J. Viterbi
Mr. and Mrs. Albert N. Williams
CURATOR’S CIRCLE
Ms. Danah H. Fayman
Dr. Jacque Lynn Foltyn
Ms. Wanda K. Forman
Dr. Ram Gurumurthy and Mrs. Shanti D.
Gurumurthy
Kathryn and Dr. John Hattox
Mr. Maurice Kawashima
Mr. Fred Khoroushi and Mrs. Gita Khadiri
Mr. Peter R. Manes and Ms. Yoko Sakaguchi
Ms. Lyn Nelson
Mrs. Patricia P. Ortlieb
Mr. and Mrs. Rodney O. Smith
Mrs. Deborah C. Streett-Idell and Mr. James Idell
Mr. and Mrs. Howard Weiner
Mr. and Mrs. Leo Zuckerman
PATRON’S CIRCLE
Dr. Wayne Akeson
Mr. and Mrs. Louis G. Arnell
Mr. and Mrs. John E. Barbey Jr.
Dr. Wayne Bardwell
Mr. J. Keith Behner and
Ms. Catherine M. Stiefel
Mr. Robert W. Blanchard
Mrs. Barbara Bloom
Mr. and Mrs. William Brandt
Mr. and Mrs. Charles Brazell
Ms. Ruth Broudy
Dr. Thomas Broudy and Dr. Corrie Broudy
Mr. John Burns
Mary B. and Salvador Carlos Jr.
Ms. Janet Christ
Dr. Kathee M. Christensen
Mr. Louis A. Cohen and
Ms. Rebecca A. Vesterfelt
Patrick and Sharon Connell
Mr. and Mrs. Ambrose Conroy
Lt. Cmdr. Philip B. Creider, CHC, USNR
Mrs. John G. Davies
Mr. Scott Deitrick
Ms. Jessica Demirdjian
Dean and Mrs. Michael Dessent
Mr. and Mrs. Bram J. Dijkstra
Mrs. Charles K. Duncan
Mr. and Mrs. Peter K. Ellsworth
Ms. Jeane Erley
Dr. Janet Brody Esser
Ms. Ellen Fales Roberts
Mrs. Stanley E. Foster
Ms. Karen Fox
Mrs. Maeann Garty
Dr. Joyce M. Gattas
Mr. Michael Armand Hammer
Mr. Stanley C. Harazim and
Mr. Edward S. Hand
Ms. Norma Hidalgo Del Rio
Mrs. Monika Langhoff Hseu
Mr. and Mrs. Mark B. Jackson
Mr. William Karatz
Mr. and Mrs. Thomas Karlo
Mrs. William Kenton
Ms. Janet G. Klauber
Mr. and Mrs. Fredrick Kleinbub
Mr. and Mrs. Cheston Larson
Mr. Norman Leitman
Mrs. Jacquelyn Littlefield
Drs. Catherina and Michael Madani
Mr. and Mrs. Luis Maizel
Mrs. Lois I. Marriott
Ms. Jan Mayer
Mr. Richard A. Paul and
Mrs. Rena Minisi
Linda and Terry Moore
Ms. Andréa C. Muir
Mrs. Donna O’Rourke
Mr. and Mrs. Raymond J. Paige
Mr. and Mrs. Christopher Pantaleoni
Mr. and Mrs. Douglas Pardee
Mrs. Patty Pastore
Mr. and Mrs. Charles A. Pinney
Mrs. Peggy Preuss
Mr. and Mrs. Larry Price
Dr. Budd Rubin
Mr. Robert J. Salt and Ms. Patti Judd
Mr. and Mrs. Jerry Schneider
Dr. and Mrs. Myron Schonbrun
Mrs. Bonnie Sherman
Mr. John R. Siglow
Mrs. Yale Smulyan
Mr. Michael R. Somin
Dr. and Mrs. Alan Sparks
Mr. Dan Stephen
Ms. Jeanette Stevens
Mr. and Mrs. Gaylord L. Stickney
Mr. and Mrs. Matthew C. Strauss
Mrs. Curtis H. Swartz
Dr. and Mrs. Nikolai Tankovich
Dr. Robert D. Wallace
Mr. John Williams
Dr. Arelene Wolinski and Dr. Thad Wolinski
Ms. Erika W. Wright
Mr. and Mrs. Herbert Zoehrer
SDMArt.org
The San Diego Museum of Art
P.O. Box 122107
San Diego, CA 92112-2107
The Museum Store…
and Bibliotique offer unique items for the summer…
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the museum store
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volunteering
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[email protected]
business address
The San Diego Museum of Art
P.O. Box 122107
San Diego, CA 92112-2107
619.232.7931 | SDMArt.org
The San Diego Museum of Art is accredited by
the American Association of Museums and is a
member of the San Diego Museum Council
and the Balboa Park Cultural Partnership.
Quilts and Color Fun
Celebrate the colorful world of quilts!
• magnets
• buttons
• coasters
We’ve designed
• puzzles
• notecards
• and more
to extend the Quilts and Color experience.
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Stop by The Museum Store for other
quilt-themed items, including jewelry,
how-to books, and great gift ideas.
BE SURE to visit our newest
museum store, Bibliotique,
in the sculpture court for
gifts and jewelry crafted by
local artisans and
contemporary designers—
the best of the new!
Non-Profit
Organization
U.S. Postage
PAID
San Diego, CA
Permit No. 161