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National Portrait Gallery Annual Report October 1, 2008–September 30, 2009

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Page 1: National Portrait Gallery Annual Report · National Portrait Gallery Annual Report ... and former Dodger Steve Garvey ... the Radical Founding Father” was funded by the Guenther

National Portrait Gallery Annual ReportOctober 1, 2008–September 30, 2009

Page 2: National Portrait Gallery Annual Report · National Portrait Gallery Annual Report ... and former Dodger Steve Garvey ... the Radical Founding Father” was funded by the Guenther
Page 3: National Portrait Gallery Annual Report · National Portrait Gallery Annual Report ... and former Dodger Steve Garvey ... the Radical Founding Father” was funded by the Guenther

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

National Portrait Gallery Annual ReportOctober 1, 2008–September 30, 2009

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As 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.

In December, the museum unveiled the portraits of President 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 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.

From the Director

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Martin Sullivan

Former Dodger Tom Paciorek, baseball legend Tommy Lasorda, and former Dodger Steve Garvey (left to right)

Presenting the portrait of Eunice Kennedy Shriver by David Lenz

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Exhibitions

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Women of Our Time: Twentieth-Century PhotographsOctober 10, 2008–February 1, 2009This 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 MakersOctober 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.

One Life: The Mask of LincolnNovember 7, 2008–July 5, 2009The 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.

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.

Presidents in WaitingJanuary 20, 2009–January 3, 2010Almost 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.

“Tokens of Affection and Regard”

“Portraiture Now: Feature Photography”

An educational portfolio marking the th anniversary of Abraham Lincoln’s birth

Lincoln Portfolio for educators, produced in conjunction with “One Life: The Mask of Lincoln”

Althea Gibson from “Women of Our Time”

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ExhibitionsExhibitions

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Inventing Marcel Duchamp: The Dynamics of PortraitureMarch 27–August 2, 2009This 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 CenturyApril 10–August 16, 2009This 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, 2009This “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, 1845–1924September 25, 2009–January 24, 2010This 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” The Wild Bunch from “Faces of the Frontier”

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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 SculptureBenjamin Harrison 1833–1901 Johannes Gelert painted plaster 1888Elizabeth DePeyster Peale 1765–1804 James Peale watercolor on ivory 1795George W. Bush b. 1946 Robert A. Anderson oil on canvas 2008Philip Johnson 1906–2005 George Kelly nickel-plated bronze 1997 (cast in 2000)

Photographs Lucretia Mott 1793–1880 Marcus Aurelius Root daguerreotype c. 1851Ida B. Wells 1862–1931 Mary Garrity albumen silver print c. 1893Sadakichi Hartmann 1867–1944 Zaida Ben-Yusuf platinum print 1898H. L. Mencken 1880–1956 Edward Steichen platinum print 1926Elijah Muhammad 1897–1975 Gordon Parks gelatin silver print 1963Willie Nelson b. 1933 Michael O’Brien gelatin silver print 1999 (printed 2007)

Prints and DrawingsSir Walter Raleigh 1552?–1618 Simon van de Passe engraving c. 1616 John C. Pemberton F. H. Schell graphite drawing on paper 1863 Surrendering to U.S. GrantJohn Glenn b. 1921 Henry Casselli watercolor on paper 1998Barack Obama b. 1961 Shepard Fairey hand-finished collage, 2008 stencil, and acrylic on paper

Acquisition Highlights

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George W. Bush John Glenn Lucretia Mott

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Publications

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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.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.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.

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Distributed by the MIT PressMassachusetts Institute of TechnologyCambridge, Massachusetts 02142http://mitpress.mit.edu

National PortraitGallery

The Dynamics ofPorTraiTure

Duchamp

InventingMarcel

Goodyear

McManus

F a c e s o f t h e F r o n t i e r

Photographic Portraits f rom the

American West, 1845–1924

Frank H. Goodyear iii

Their faces look out across a chasm of time. Stern and often stiff, they

wear the high collars and hoop skirts, buckskins and ceremonial feathers of

another era. The names of some are familiar—Teddy Roosevelt, Mark Twain,

Sitting Bull, Annie Oakley. The names of others may be less well known, but

they played a significant role in re-creating the American West. These are all

people of the West, and their portraits give us a unique glimpse into a lost

time and place.

Faces of the Frontier showcases more than 120 photographic portraits

of leaders, statesmen, soldiers, laborers, activists, criminals, and others, all

posed before the cameras that made their way to nearly every mining shanty-

town and frontier outpost on the prairie. Drawing primarily on the collection

of the National Portrait Gallery, this book depicts many of the people who

helped transform the West between the end of the Mexican War and passage

of the Indian Citizenship Act.

Accompanying the portraits are an introduction and two essays that

provide historical context and help frame their interpretation. Frank

Goodyear explores how photography influenced Americans’ understanding

of the West by giving the region a face and by shaping public responses to

western issues. Richard White questions the notion that these photographs

accurately represent individuals and argues that the portraits’ subjects

participated in a process that idealized them as types.

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

understanding what Americans then saw in the West, and how they saw

themselves.

Frank H. Goodyear III is Associate Curator of Photographs at the National

Portrait Gallery, Smithsonian Institution, and author of Zaida Ben-Yusuf:

New York Portrait Photographer and Red Cloud: Photographs of a Lakota Chief.

Richard White, Margaret Byrne Professor of American History at Stanford

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.

On the back: Self-portrait by William Henry Jackson (1843–1942). Albumen silver print, 21.9 × 16.8 cm

(8 5/8 × 6 5/8 in.), 1872. National Portrait Gallery, Smithsonian Institution; gift of Larry J. West.

Printed in Singapore

F a c e s o f t h e F r o n t i e rPhotographic Portraits f rom the American West, 1845–1924

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(continued on back flap)

reflections/refractionsself-Portraiture in the twentieth centuryEdited by Wendy Wick Reaves

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elf-Portraiture in the tw

entieth century

Rowman &Littlefield

Reaves $49.95

at least since the renaissance, artists have cre-

ated striking images of themselves, showing off

their skills, “signing” their work, or musing on the

themes of vanity and mortality. in the twentieth

century, however, self-representation was bent in

new directions. in the wake of freud, Darwin, Karl

Marx, and other theorists, notions of a fixed, stable

identity dissolved. artists used self-portraiture to un-

derstand and express their own individuality, and to

integrate multiple or changing identities.

in Reflections/Refractions, some of the great-

est modern artists—including andy Warhol, ed-

ward Hopper, Grant Wood, Jasper Johns, robert

rauschenberg, Jacob lawrence, louise nevelson,

David Hockney, elaine de Kooning, and alexander

calder—use self-portraiture to trace the intricacies

of their personalities or artistic personas. the book

is at once a catalog of twentieth-century self-por-

traits in the collection of the smithsonian’s national

Portrait Gallery and an exploration of how modern

artists view themselves and the world. two illumi-

nating essays and eighty color illustrations are ac-

companied by lively and informative entries, making

this volume an endlessly fascinating book for the

coffee table and library.

9 780978 846022

5 4 9 9 5

Wendy Wick Reaves is curator of

prints and drawings at the smithsonian institution’s

national Portrait Gallery. Her previous publications

include Ballyhoo! Posters as Portraiture (2008), Eye

Contact: Modern American Portrait Drawings from

the National Portrait Gallery (2002), and Celebrity

Caricature in America (1998).

for more information on the smithsonian institution scholarly Press, visit http://www.scholarlypress.si.edu

for orders please contact rowman & littlefield Publishers, inc.a wholly owned subsidiary of the rowman & littlefield Publishing Group, inc.4501 forbes Boulevard, suite 200lanham, Maryland 20706www.rowmanlittlefield.com

Distributed by national BooK netWorK1-800-462-6420

front cover credit to come...

Back cover credit to come...

Jacket design by neil D. cotterill

$49.

95

PROFILESmithsonian National Portrait Gallery News

Summer/Fall 2008

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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.

The Virtual NPG

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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.

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Education

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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.In addition to this new initiative, the department continued to offer the popular Cultures in Motion program, weekly Face-to-Face 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 co-hosted—with the Smithsonian American Art Museum—another successful Presidential Family Day, with actors who portrayed

Washington Nationals Presidential Racers at Presidential Family Day

Art workshop, Presidential Family Fun Day

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Education

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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. Education programs are supported by the Reinsch Family Endowment, the Reed Foundation, the Ford Motor Company Fund, and the Smithsonian Women’s Committee.

Ana-Elisa Gentle as Joan Baez, from the “Portraits Alive!” summer youth program

Kevin Bouknight as John Wilson, from the “Portraits Alive!” summer youth program

Maryum Abdullah as Irene Castle, from the “Portraits Alive!” summer youth program

Kelly Person as George Washington giving a docent tour

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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.

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Before After

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SymposiaAnn 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.

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 LecturesJames 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.

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.

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-to-December Love Story,” at the San Antonio Art Museum on September 3.

Scholarly Contributions

In addition to serving as curators for exhibitions, National Portrait Gallery staff have published in peer-reviewed journals, lectured at multiple venues, and organized scholarly symposia.

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Participants from the March 2009 Richardson Symposium

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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

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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 New-York 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).

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Media Coverage

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.

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Tony Bennett with members of the pressUnveiling the portraits of President George W. Bush and First Lady Laura Bush with artists Robert Anderson and Aleksander Titovets

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Donations to the Collection

Department of Painting and SculptureGeorge 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 WilliamsHart Crane by Carl Schmitt, oil on board, after 1917; gift of the Carl Schmitt FoundationAntony Tudor by Philip Grausman, pewter, 1978; gift of the artistAntony Tudor by Philip Grausman, cast lead study (for the study collection), 1978; gift of the artistFour Best Actress Oscars awarded to Katharine Hepburn; gift of the estate of Katharine HepburnMarsden Hartley by Jacques Lipchitz, painted plaster, 1942; gift of the Jacques and Yulla Lipchitz FoundationPhilip Johnson by George M. Kelly, nickel-plated bronze, 1997 (cast in 2000); gift of Frederick Maddox in memory of Dewi-Prys Thomas, ARIBAHenry Mosler self-portrait, oil on canvas, 1907; gift of the estate of Joseph McCrindleClay Felker by Byron Dobell, oil on canvas, 1994; gift of Gail Sheehy

Department of PhotographsNew York Tribune with Mathew Brady advertisement, 1845; gift of an anonymous donorMarius de Zayas by Alfred Stieglitz, platinum print, 1913; gift of an anonymous donorMartha Stewart by William Abranowicz, digital pigment print, 2005 (printed 2009); gift of the artistMartha Stewart by William Abranowicz, digital pigment print, 2005 (printed 2009); gift of the artistAldo 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 EvelynForest Whitaker by Katy Grannan, chromogenic print, 2007; gift of Greenberg Van Doren Gallery, Fraenkel Gallery, Salon 94, and the artistKatharine Hepburn by an unidentified photographer, gelatin silver print, c. 1909; gift of the estate of Katharine HepburnKatharine Hepburn by an unidentified photographer, gelatin silver print, c. 1910 (printed later); gift of the estate of Katharine HepburnJack Kilby by Squire Haskins, gelatin silver print, c. 1960; gift of DeGoyler Library, Southern Methodist University, courtesy of Ann Kilby and Janet Kilby

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Jack Kilby by Squire Haskins, chromogenic print, c. 1990; gift of DeGoyler Library, Southern Methodist University, courtesy of Ann Kilby and Janet KilbyDaniel Ellsburg and Walter Cronkite by David A. Marlin, gelatin silver print, 1971; gift of the artistW. Arthur Garrity by David A. Marlin, gelatin silver print, 1976; gift of the artistFanny Garrison Villard by Black & Case, albumen silver print, c. 1865; gift of Peter and Marlene NortheyLucretia 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 artistAgnes Martin by Charles R. Rushton, gelatin silver print, 1991; gift of the artistHenry Aaron by Al Satterwhite, digital pigment print, 1973 (printed 2009); gift of the artistMario Andretti by Al Satterwhite, digital pigment print, 1969 (printed 2009); gift of the artistChris Evert by Al Satterwhite, digital pigment print, 1973 (printed 2009); gift of the artistRichard Petty by Al Satterwhite, digital pigment print, 1977 (printed 2009); gift of the artistWillie 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 LTDErykah Badu by David Scheinbaum, gelatin silver print, 2003; gift of the artist, courtesy of Scheinbaum & Russek LTDDel, Tha Funkee Homosapien, gelatin silver print, by David Scheinbaum, 2002; gift of the artist, courtesy of Scheinbaum & Russek LTDJean Grae by David Scheinbaum, gelatin silver print, 2005; gift of the artist, courtesy of Scheinbaum & Russek LTDMos Def by David Scheinbaum, gelatin silver print, 2002; gift of the artist, courtesy of Scheinbaum & Russek LTDNas 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 LTDTalib Kweli by David Scheinbaum, gelatin silver print, 2002; gift of the artist, courtesy of Scheinbaum & Russek LTDHarold Lloyd by Eugene Kornman, gelatin silver print, 1923; gift of David ShieldsHorace Gray by Charles Bell, albumen silver print, c. 1880; gift of Ben ShneidermanJohn Harlan by Charles Mosher, albumen silver print, c. 1880; gift of Ben ShneidermanEnrico Caruso by Underwood & Underwood, collotype, c. 1915; acquired through the generosity of Ann M. Shumard in memory of her grandmother, Anna Reeves Hamilton

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Julia Child by David Marlin, gelatin silver print, 1971; acquired through the generosity of Ann M. Shumard in honor of Thomas D. MattesonBarack Obama by Jerry Spagnoli, daguerreotype, 2008; gift of the artistHorton Foote by Keith Carter, gelatin silver print, 2001 (printed 2008); gift of Bill and Sally WittliffLarry McMurtry by Michael O’Brien, gelatin silver print, 1997 (printed 2009); gift of Bill and Sally WittliffLarry McMurtry by Michael O’Brien, digital pigment print, 1997 (printed 2009); gift of Bill and Sally WittliffWillie Nelson by Michael O’Brien, digital pigment print, 1989 (printed 2009); gift of Bill and Sally WittliffWillie Nelson by Michael O’Brien, gelatin silver print, 1999 (printed 2009); gift of Bill and Sally WittliffHarvey Penick by Michael O’Brien, digital pigment print, 1993 (printed 2009); gift of Bill and Sally Wittliff

Department of Prints and DrawingsGeorge McGovern by William R. Kohn, silkscreen poster, 1972; anonymous gift in memory of Louis GildenElmer Ellsworth by Lee and Walker, color lithograph, c. 1861; gift of James and Bridget BarberElmer Ellsworth by an unidentified artist, wood engraving, 1861; gift of James and Bridget BarberDuke Ellington by Tony Bennett, watercolor and graphite on paper, c. 1993; gift of Tony BennettLearned Hand by Samuel Johnson Woolf, charcoal, not dated; gift of Stuart P. FeldRobert Andrews Millikan by Samuel Johnson Woolf, charcoal on paper, c. 1926; gift of Mr. and Mrs. Stuart P. FeldAntony Tudor by Philip Grausman, graphite on paper, 1977; gift of Philip GrausmanAyn Rand by Edward Sorel, watercolor and ink on paper, 2008; gift of Ben HarrisCaleb Strong by John Norman, engraving, 1812; acquired through the generosity of Sidney and Barbara HartAl Hirschfeld by Bill Jacklin, charcoal on paper, 2001; gift of the Al Hirschfeld Foundation, Louise Kerz Hirschfeld, presidentBill Clinton by R. B. Kitaj, charcoal on paper, 1995; gift of R. B. Kitaj EstateBill Clinton by R. B. Kitaj, charcoal on paper, 1995; gift of R. B. Kitaj EstateBill Clinton by R. B. Kitaj, charcoal on paper, 1996; gift of R. B. Kitaj EstateRobert Duncan by R. B. Kitaj, charcoal with wash on paper, 1982; gift of R. B. Kitaj EstateSelf-portrait by R. B. Kitaj, charcoal and graphite on paper, 2002–4; gift of R. B. Kitaj EstateGore Vidal by Patricia Marshall Tate, charcoal on paper, 1981; gift of Ilya Lie-Nielsen

Donations to the Collection

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James Buchanan by John Mayall, engraving, 1856; gift of John O’BrienCharles Dana by Augustus Dunlop, color lithograph, 1872; gift of John O’BrienLeopold Damrosch by Frederich Graetz, color lithograph, 1885; gift of John O’BrienUlysses S. Grant by an unidentifed artist after Frederick Gutekunst, wood engraving, 1870; gift of John O’BrienJohn Moreau by an unidentified artist, engraving; gift of John O’Brien Adelina Patti by Joseph Keppler, color lithograph, 1881; gift of John O’BrienBenjamin Silliman by Philip Whelpley, mezzotint, 1851; gift of John O’BrienHunter 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. ThompsonHunter S. Thompson by Ralph Steadman, silkscreen print; gift of Joe Petro III in honor of Ralph Steadman and Hunter S. ThompsonKurt Vonnegut self-portrait, silkscreen print, 2006; gift of Joe Petro III in honor of Kurt VonnegutBarack 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. PodestaDaniel Patrick Moynihan by Joseph Reed, ink and watercolor on cardboard, 1999; gift of Joseph ReedSandra Day O’Connor by Aaron Shikler, pastel on board, 2006; gift of Aaron ShiklerRobert Crippen by Henry C. Casselli, Jr., pencil on paper with watercolor, 1981; gift of Taylor Energy Company LLCRobert Crippen by Henry C. Casselli, Jr., pencil on paper, 1981; gift of Taylor Energy Company LLCJohn Glenn by Henry C. Casselli, Jr., pencil on paper, 1998; gift of Taylor Energy Company LLCJohn Glenn by Henry C. Casselli, Jr., watercolor on paper, 1998; gift of Taylor Energy Company LLCJohn Young by Henry C. Casselli, Jr., pencil on paper, 1981; gift of Taylor Energy Company LLCJohn Young by Henry C. Casselli, Jr., pencil on paper, 1981; gift of Taylor Energy Company LLCJohn Young by Henry C. Casselli, Jr., pencil on paper, 1981; gift of Taylor Energy Company LLCJohn Young by Henry C. Casselli, Jr., pencil on paper, 1981; gift of Taylor Energy Company LLCJohn Young by Henry C. Casselli, Jr., watercolor and pencil sketch on paper, 1981; gift of Taylor Energy Company LLCJohn Young by Henry C. Casselli, Jr., pencil on paper, 1980; gift of Taylor Energy Company LLCGeorge Henry Thomas by John Chester Buttre, engraving, 1865; acquired through the generosity of David Ward

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Donors

LEADERSHIP GIFTS OF $100,000 AnD AbOvEDonald Capoccia and Tom PeguesThe Ceres TrustFord Motor Company FundHenry Luce FoundationMr. and Mrs. Peter L. MalkinThe Andy Warhol Foundation

GIFTS OF $50,000 to $99,000The Estate of Richard F. EvansAnthony and Heather Podesta

GIFTS OF $25,000 to $49,999Ella Foshay and Michael RothfeldThe Florence Gould FoundationJohn Burton Harter Charitable Trust Helen Marsh Reinsch Smithsonian Women’s CommitteeVornado/Charles E. Smith CompanyPaul and Christine Wick

GIFTS OF $1,000 to $24,999AnonymousDaniel BaderSmith and Elizabeth BagleyJames T. Bartlett Anthony and Dolores BeilensonBNSF FoundationTimothy Boggs and James SchwartzRonald BoireDavid and Kathleen BoocheverEmily BoocheverJohn and Carol BoocheverKevin and Kathleen BuchiBurnett Family Foundation Martin BussmanMr. and Mrs. Calvin CafritzSheryll Cashin and Marque ChamblissSally and Percy Chubb James and Susan CliftonThe Coca-Cola Company

Donald and Carole DellMax and Victoria Dreyfus Foundation Countess Florence D’UrsoFather’s Day and Mother’s Day CouncilAlfred and M. L. FriendlyMr. and Mrs. Michael GlossermanPeter and Rhondda Grant Newman T. Halvorson, Jr.Mrs. Gloria Shaw HamiltonMichael Hardman Teresa HeinzMichael HeymanMr. and Mrs. Joseph Horning, Jr.Johann and Nancy HuleattJames A. Johnson and Maxine IsaacsBetsy KarelLt. Col. and Mrs. William KonzeMr. and Mrs. Nathaniel KramerJames Lemon, Jr.Mr. and Mrs. Robert J. LevinEugene and Carol LudwigThe Robert Mapplethorpe FoundationMary Martell and Paul JohnsonMattel Inc.Mr. and Mrs. Thomas F. McLarty IIIRobert L. McNeil, Jr.The Honorable and Mrs. Walter F. MondaleJohn Monroe, Jr.James MuldoonDan and Rebecca OkrentRobert Pettit and Alexandra Wilson Suzanne and Richard Piper FoundationJohn Daniel and Wendy ReavesJames and Yvonne ReinschRiverview SchoolMr. and Mrs. Robert RosenthalMr. and Mrs. B. Francis Saul IIAdmiral and Mrs. Tazewell ShepardMr. and Mrs. Albert H. SmallW. Dean Smith, Capital Guardian

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.

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Donors

Mallory and Diana WalkerJack and Beth WatsonThe Westport FundJohn Wilmerding Wolfensohn Family FoundationIrene and Alan Wurtzel

ADOPT-A-PORTRAITNew donors:Kevin and Kathleen BuchiPete and Linda ClaussenDr. Betsee Parker

Contributing donors: Anthony and Gay BarclayAnthony and Dolores Beilenson Mary C. BlakeMr. and Mrs. William BondJohn and Carol BoocheverDaniel Brewster, Jr.Sally and Percy ChubbEsther CoopersmithMr. and Mrs. Philip CurrieKaren L. DaigleFrank Daniels, Jr.Dorothy del BuenoMr. and Mrs. Richard EnglandElla Foshay and Michael RothfeldMr. and Mrs. E. E. GeduldLucy GettmanMrs. Gloria Shaw HamiltonChristie HarrisLt. Col. and Mrs. William KonzeMark KullerJon and Lillian LovelaceThe Honorable and Mrs. Walter F. Mondale Dan and Rebecca OkrentLaura Peebles and Ellen FingermanSandra SullyBruce and Stephanie VinokourJack and Beth WatsonJohn WilmerdingBetsy Wyeth

PRESIDEnTS’ CIRCLEWelcome new members!

George Washington Circle ($5,000 and above)James T. BartlettJohn and Carol BoocheverSally and Percy ChubbElla Foshay and Michael RothfeldJames A. Johnson and Maxine IsaacsBetsy Karel Lt. Col. and Mrs. William KonzeThanh NguyenDan and Rebecca OkrentJames and Yvonne ReinschMallory and Diana WalkerJack and Beth Watson

Thomas Jefferson Circle ($2,500 to $5,000)Mr. and Mrs. Calvin CafritzMr. and Mrs. Michael GlossermanTeresa HeinzMr. and Mrs. Joseph Horning, Jr.Eugene and Carol LudwigMr. and Mrs. Thomas F. McLarty IIIMr. and Mrs. Robert Rosenthal

Abraham Lincoln Circle ($1,500 to $2,500)Anthony and Dolores BeilensonTimothy Boggs and James SchwartzSheryll Cashin and Marque ChamblissMrs. Gloria Shaw HamiltonJames Lemon, Jr.Mr. and Mrs. Robert J. LevinRobert L. McNeil, Jr.Robert Pettit and Alexandra WilsonMr. Edwin PhelpsJohn Daniel and Wendy ReavesMr. and Mrs. B. Francis Saul IIAdmiral and Mrs. Tazewell ShepardMr. and Mrs. Albert H. SmallDean and Bobbi SmithMr. and Mrs. Trevor W. SwettIrene and Alan Wurtzel

JOInT MEMbERSThe 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.

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National Portrait Gallery Annual Financial Report by Program As of September 30, 2009

FY 2008 FY 2009 Increase/DecreaseBEGINNING UNEXPENDED FUND BALANCE1 $ 5,388,906 $ 5,849,806 $ 460,900

SOURCES OF FUNDS Actual Actual 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: 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 PROGRAM Actual Actual Actual Business Activity $ 112,790 $ 142,695 $ 29,905 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 $ 132,608 $ 313,150 $ 180,542

FUND BALANCE $ 4,780,726 $ 4,882,464 $ 101,738

Notes: 1 The entire beginning unexpended fund balance does not carry forward from year-to-year due to fund restrictions.

Financial Summary

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Financial Summary

National Portrait Gallery Annual Financial Report by Expense Type As of September 30, 2009

FY 2008 FY 2009 Increase/DecreaseBEGINNING UNEXPENDED FUND BALANCE1 $ 5,388,906 $ 5,849,806 $ 460,900

SOURCES OF FUNDS Actual Actual 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: 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 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 $ (129,903) Rent, Communication, & Utilities $ 19,425 $ 21,158 $ 1,733 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 $ (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 $ 132,608 $ 313,150 $ 180,542

FUND BALANCE $ 4,780,726 $ 4,882,464 $ 101,738

Notes:1The entire beginning unexpended fund balance does not carry forward from year-to-year due to fund restrictions.

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Commission Mallory Walker, ChairmanJohn Boochever, Vice ChairmanJames T. BartlettAnthony C. BeilensonSheryll D. CashinSally G. ChubbH. P. “Pete” ClaussenLinda S. FerberElla M. FoshayMichael N. HarreldSteven K. HampJill KrementzJoan A. MondaleRoger MuddV. Thanh NguyenDan OkrentJames ReinschW. Dean SmithJack H. Watson, Jr.William D. Wittliff

Ex Officio MembersThe Chief Justice of the United States John G. Roberts, Jr. Director of the National Gallery of Art Earl A. Powell IIISecretary of the Smithsonian Institution G. Wayne Clough

Honorary CommissionersJulie Harris David Levering LewisBette Bao LordFred W. Smith

EmeritusJeannine Smith ClarkBarbara Novak

Senior StaffMartin E. Sullivan, director

Carolyn K. Carr, deputy director and chief curator

Nik Apostolides, associate director for operations

Beverly Cox, director of exhibitions and collections management

Brandon Fortune, curator of painting and sculpture

Steve di Girolamo, special projects manager

Dru Dowdy, publications officer

Sidney Hart, senior historian and editor of the Peale Family Papers

Rebecca Kasemeyer, director of education

Andrew Klafter, information technology manager

Nello Marconi, chief of design and production

Ellen Miles, curator of painting and sculpture

Cindy Lou Molnar, senior conservator

Wendy Wick Reaves, curator of prints and drawings

Ann Shumard, curator of photographs

Linda Thrift, CEROS administrator

Sherri Weil, director of development and external affairs

Additional Curators and HistoriansJames Barber, historian

Margaret Christman, historian

Anne Goodyear, associate curator of prints and drawings

Frank Goodyear, associate curator of photographs

Amy Henderson, historian

David Ward, historian

ContactBethany Bentley, public affairs officer (202) 633-8300

Commission, Senior Staff, Curators, and Historians

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Unless otherwise noted, all photographs are by Mark Gulezian, and all images are from the National Portrait Gallery, Smithsonian Institu-tion.Cover: Tibor Waldner installing a portrait of Thomas Paine by Lau-rent Dabos for the exhibition “One Life: Thomas Paine, the Radical Founding Father” Frontispiece: Robert and Arlene Kogod Courtyard, designed by Nor-man 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 NaylorPage 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

Photography Credits

Lori Hill, Pete and Shelley Kourtis, Tom and Judy Love, David L. Mc-Combs, 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. 1851Page 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 “Conser-vation 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 Ka-chur, 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

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