Block Museum of Art Annual Report 2024-2025 (Pages)

ANNUAL REPORT

INTRODUCTION

TABLE OF CONTENTS

MESSAGE FROM THE DIRECTOR

MISSION & VISION

GUIDING QUESTIONS

PEOPLE

STAFF & STUDENTS

BOARD OF ADVISORS

STAFF STORIES

STUDENT ASSOCIATES

BY THE NUMBERS

OUR WORK

ATTENDANCE

DIGITAL REACH

TEACHING IMPACT

EXHIBITIONS 2024-2025

DISSIDENT SISTERS

THE GREAT FARCE

THE BLOCK COLLECTS

LOOKING 101

WOVEN BEING

JORDAN ANN CRAIG

MFA THESIS EXHIBITION

EXHIBITION TOURS

PROGRAMS & CINEMA 2024-2025

PROGRAM CALENDAR

PROGRAMS BY THE NUMBERS

CINEMA CALENDAR

CINEMA SPEAKER LIST

CINEMA BY THE NUMBERS

CINEMA STORIES

CINEMA PARTNER ORGANIZATIONS

STORIES & INITIATIVES

ONE BOOK ONE NORTHWESTERN

REFRAME 2025

STUDENT ART ACQUISITION

COLLECTION COUNCIL ACQUISITION

PRESERVATION WORK

COLLECTION SPOTLIGHTS

ACQUISITIONS 2024-2025

ACQUISITION LIST

ACQUISITION BY THE NUMBERS

LOANS FROM THE COLLECTION

FINANCE & SUPPORT

DONOR HONOR ROLL GRANTS & INSTITUTIONAL SUPPORT

September 1, 2024 – August 31, 2025

MESSAGE FROM THE DIRECTOR

Collaboration has always been at the heart of The Block's identity. It is how we express our commitment to listening, to generosity, and to reciprocity.

In 2024–2025, the exhibition Woven Being: Art for Zhegagoynak/Chicagoland embodied this commitment. A landmark project five years in the making, Woven Being centered the voices of contemporary Native artists with ties to the Chicagoland region. With more than 80 works by 33 artists, including newly commissioned pieces, the project was collaborative, place-based, and rooted in building relationships with the communities whose histories and lands we share. It fostered new connections among artists, scholars, and students, and was recognized in the Terra Foundation's Art Design Chicago report as a national model for community-engaged exhibition practice. We are especially proud that more than 20 works entered the collection in conjunction with the exhibition, ensuring that its themes and voices will continue to shape teaching and research at Northwestern for years to come.

Three additional exhibitions offered distinct views of American history. it takes a long time to stay here: Paintings by Jordan Ann Craig presented seven large-scale abstract paintings by the Northern Cheyenne artist, whose work translates research into Indigenous beadwork, pottery, and textiles into a contemporary vocabulary of color, line, and geometric form. Dissident Sisters: Bev Grant and Feminist Activism, 1968–72 paired original scholarship with loans from Northwestern Libraries to contextualize Grant's photographs of a pivotal moment in the women's movement. Federico Solmi: The Great Farce, the most technically ambitious media installation the museum has ever presented, offered a provocative meditation on the origin myths of the founding of the United States.

Beyond the galleries, The Block continued its work as a laboratory for teaching across Northwestern. 140 faculty members from 22 academic departments brought their classes to introduce students to our exhibitions and collection. 3,800 primarily undergraduate students participated in dedicated sessions in the Eloise Martin Study Center and in the galleries.

Across campus, several signature programs deepened The Block's reach.

MESSAGE FROM THE DIRECTOR

Block Museum Student Associates, drawn from disciplines across the humanities, sciences, engineering, and journalism, served as connectors between The Block and the wider student body, leading public tours, hosting peer dialogue, and contributing to a collaborative acquisition of works by artist Chitra Ganesh.

A third year of partnership with Northwestern Athletics brought more than 100 student-athletes and coaches into conversation with the Block’s collection, which served as a tool for self-reflection and dialogue.

And Block Cinema earned national recognition in a new area: the recovery of films believed lost. It also continued to deepen its Climate Crisis and Media Arts Initiative, strengthening ties with School of Communications faculty and integrating film into courses now taught annually by Block staff.

The capstone of our year was the repurposing of the Ellen Philips Katz and Howard C. Katz Classroom for Art Object Study to become the museum's first classroom dedicated exclusively to object study. We look forward to welcoming faculty and students there in Fall 2025, and inspiring their collection-based pedagogy through collaboration with our staff.

None of this work would be possible without the belief of our supporters, and especially of the Block Board of Advisors. We are also grateful to the Northwestern Office of the Provost for its continued investment in the University’s art museum. We are proud that the Block is a beloved campus and community resource, integral to the University’s belief in the role of the arts in the Northwestern experience. With gratitude,

Ellen Philips Katz Executive Director, The Block Museum of Art

– Lisa

OUR MISSION

OUR VISION

The Block has a sustained impact on its diverse audiences who join us in asking bold questions and who find meaning in ongoing engagement with the museum.

The Block is integral to Northwestern's commitments to academic excellence, dialogue across differences, public discourse, and student sense of belonging.

The Block is considered fundamental to teaching, learning, and research by faculty, students, and staff across all of Northwestern’s twelve schools.

The Block consistently embodies Northwestern values within decision-making, in organizational culture, and in all aspects of its work.

The Block propels the work of academic art museums forward, contributing to their potential, deepening their relevance, and expanding their value.

OUR GUIDING QUESTIONS

How can we activate the possibilities of what art can do?

The Block’s is the insistence These questions

Experiencing works of art can open spaces within and between us. Museums are special sites for exploring these spaces. The Block convenes bold conversations that explore the relevance of art to our lives and that deepen our thinking about the world, ourselves, and our relationships with one another. We are as committed to exploring what art can do as we are to studying what art is.

What does it mean to be doing our work now and from here?

We deepen the resonance of our work by making decisions grounded in our time and place. We consider the needs of the current moment and its connections to the past. We think about our place in all its richness and complexity: within Northwestern; within the context of our region; and as part of the global community. We think about our place on Indigenous lands.

How can the way we work be as important as what we produce?

For us, the journey is as important as the destination. Our most transformative efforts result from a museum-wide commitment to dialogue, collaboration, and reflection. Shaping our approach to the specific needs of projects and partners, we challenge ourselves to try new ways of working that often yield unexpected insights and outcomes.

How can we activate the possibilities of what art can do?

The Block’s work is the insistence These questions

Experiencing works of art can open spaces within and between us. Museums are special sites for exploring these spaces. The Block convenes bold conversations that explore the relevance of art to our lives and that deepen our thinking about the world, ourselves, and our relationships with one another. We are as committed to exploring what art can do as we are to studying what art is.

What does it mean be doing our work now and from here?

How does our work connect many fields of study to yield new ways of thinking?

We deepen the resonance of our work by making decisions grounded in our time and place. We consider the needs of the current moment and its connections to the past. We think about our place in all its richness and complexity: within Northwestern; within the context of our region; and as part of the global community. We think about our place on Indigenous lands.

How can the way we work be as important as what we produce?

For us, the journey is as important as the destination. Our most transformative efforts result from a museum-wide commitment to dialogue, collaboration, and reflection. Shaping our approach to the specific needs of projects and partners, we challenge ourselves to try new ways of working that often yield unexpected insights and outcomes.

PEOPLE 2024-2025

2024-2025

BLOCK STAFF 2024-2025

Lisa Graziose Corrin

The Ellen Philips Katz Executive Director

Kathleen Bickford Berzock

Associate Director of Curatorial Affairs

Lindsay Bosch

Associate Director of Communications, Marketing, and Digital Strategy

Kristina Bottomley

Assistant Director of Collections and Exhibition Management and Senior Registrar

Aaron Chatman Manager of Visitor Services

Ben Creech Film/Video/Audio Technician

Marisa Cruz Branco Terra Curatorial Fellow

Christopher Forrester Executive Assistant

Madeleine Giaconia Communications Coordinator

Corinne Granof Academic Curator

Teagan Harris Terra Engagement Fellow

Malia Haines-Stewart Associate Film Programmer

Isabella Ko Engagement Coordinator and Educator

Kirsten Lopez Curatorial Coordinator, Collections Information and Digital Interpretation

Brad Martin Lead Preparator

Michael Metzger Pick-Laudati Academic Curator for Cinema and Media Arts

Erin Northington

Susan and Stephen Wilson Associate Director, Campus and Community Education and Engagement

Rocio Olasimbo Visitors Services Officer

Elisa Miller Quinlan Director of Development

Essi Rönkkö

Associate Curator of Collections and Academic Programming

Liz Rudnick Assistant Registrar

Margaret Sagan Assistant Director of Public Programs

INSTALLATION CREW

2024-25

Ren Andujar

James Baroz

Araidia Blackburn

Theo Boggs

Molly Brennan

Mars Colbert

George Chubaryan

Esau McGhee

Cassandra Meek

Steven Perry

Sasha Rosenberg

Jonathon Rosemond

Willem Siersma

Joshua Sundermeyer

Henry Voellmecke

Christine Wallers

Joseph Scott Collections and Exhibitions Coordinator

Rita Shorts Business Administrator

Dan Silverstein

Associate Director of Collections and Exhibition Management

Jeff Smith Associate Director of Finance and Business Operations

Warren Smith Visitors Services Officer

James Stauber Visitors Services Officer

Vincent Taylor Visitors Services Officer

Kate Hadley Toftness

Assistant Director of Advancement and Strategic Initiatives

STUDENT

WORKERS

Shripriya Agarwal (Visitor Services) MS in Project Management

Kennedy Birtcher (Cinema Assistant) R/TV/F & English: Creative Non-Fiction

Angelena Browne (Visitor Services) Theater & Integrated Marketing Communications

Ashna Farooqi (Visitor Services) MS Public Policy and Administration

Walker Frederick Johnson (Visitor Services) History and Business Institutions

Anvi Mehul Kamdar (Visitor Services) MS Integrated Marketing Communications

Arwen-Vira Marsh (Visitor Services) Theater

Dan Murrieta (Visitor Services) History

INSTALLATION CREW

2024-25

Ren Andujar

James Baroz

Araidia Blackburn

Theo Boggs

Molly Brennan

Mars Colbert

George Chubaryan

Esau McGhee

Cassandra Meek

Steven Perry

Sasha Rosenberg

Jonathon Rosemond

Willem Siersma

Meet Block Interdisciplinary Fellow Jacqueline Lopez

Joshua Sundermeyer

Raya Bryant-Young

Art History and Anthropology ’25

Helaina Harris

Art Theory and Practice ’25

Sam Kliss

Art History, Psychology, English ’25

Henry Voellmecke

CURATORIAL FELLOWS CURATORIAL INTERNS

Christine Wallers

Shripriya Agarwal (Visitor Services) MS in Project Management

Kennedy Birtcher (Cinema Assistant) R/TV/F & English: Creative Non-Fiction

Angelena Browne (Visitor Services) Theater & Integrated Marketing Communications

Ashna Farooqi (Visitor Services) MS Public Policy and Administration

Walker Frederick Johnson (Visitor Services) History and Business Institutions

Anvi Mehul Kamdar (Visitor Services)

MS Integrated Marketing Communications

Arwen-Vira Marsh (Visitor Services) Theater

Meet Block Art History Fellow Stephanie S. E. Lee

Dan Murrieta (Visitor Services) History

BOARD OF ADVISORS 2024-2025

Aspen, CO, Board of Advisors Co-Chair, Partner and President, FORT Investment Management (WCAS ’89, ’25P)

Cheryl Johnson-Odim

Evanston, IL, Board of Advisors CoChair, Provost Emerita, Dominican University (WCAS MA ’75, WCAS PhD ’78)

Kim Allen-Niesen

Los Angeles, CA, Art Collector (Parent ’16, ’19)

Mary Baglivo

New York, NY, Chief Marketing Officer, Pace University, (MDL ’81)

James Belfer

Brooklyn, NY, Filmmaker/ Founder & CEO, Cartuna (Comm ’09)

Jessica Bell Brown

Baltimore, MD, Curator & Department Head for Contemporary Art, Baltimore Museum of Art (WCAS ’09)

Priscilla Vail Caldwell

Brooklyn, NY, Curator & Advisor, Vail Caldwell Projects (WCAS ’85)

Lisa G. Corrin

Evanston, IL, Ex-officio, The Ellen Philips Katz Executive Director of The Block Museum

Nicole Druckman

Evanston, IL, Grant Writer (WCAS ’92) (SP WCAS ’93)

Kristin Peterson Edwards

Darien, CT, Owner, kpeArts; Community Volunteer (WCAS ’92)

Kate Ezra

New Haven, CT, Retired, Yale University Art Gallery (TGS PhD ’83)

James Geier

Chicago, IL, Founder/President, 555 International

Lynn Hauser

Chicago, IL, Retired Ophthalmologist (FSM’74 ’76 ’80) (SP SM’75 ’79 ’80)

Steven P. Henry

New York, NY, Senior Director at Paula Cooper Gallery (WCAS ’85)

Rashid Johnson

New York, NY, Artist

Susan Johnson

Chicago, IL, Director of Research, Schoelkopf Gallery (’25 P)

Ellen Philips Katz

New York, NY, Trustee, Northwestern University (WCAS ’70)

James A. Klein

Riverwoods, IL, President, Acrobat Marketing Company (MDL ’68; ’69)

Dianne Loeb

Seattle, WA, NU Regent; Community Volunteer (KSM ’80) (SP KSM ’81)

Tara Peters

New York, NY, Artist, Trustee, Northwestern University (Comm'93, '23 P)

Chicago, IL, Retired Professor, Notre Dame University; and co-founder, Press Ganey Associates (WCAS ’59)

Richard M. Rieser, Jr. Northbrook, IL, Founder and former CEO, First Oak Brook Bancshares (SP SESP ’70)

Sandra L. Riggs

Lake Forest, IL, Board Member, The Alumnae of Northwestern University (Comm ’65)

Eden Romick

Los Angeles, CA, Art Collector (Comm ’90, ’21 P)

Christine O. Robb

Winnetka, IL, Past Chair, Board of Advisors. President and CEO, Artists’ Concepts, Inc. (WCAS ’66, ’93P) (SP WCAS ’66, ’93 P)

Morris E. Robinson, Jr.

Douglasville, GA, Production Manager, Northwestern University Press

Martha Tedeschi

Cambridge, MA, Director of the Harvard Art Museums (WCAS PhD ’94)

Ken Thompson

Lincolnshire, IL, Director of Finance Transformation, PwC (WCAS ’91)

Kim Vigue

Evanston, IL, Executive Director, Mitchell Museum of the American Indian

The Block Museum of Art Welcomes New Board Members: Tara Peters and Kim Vigue

STAFF NEWS AND BEST PRACTICES

In 2024–2025, Block staff helped shape professional conversations on what museums can be. FromTucson to Seoul, they shared case studies, joined seminars, and brought newthinking back to Evanston.

Sharing “A Site of Struggle” at the Photography Network Annual Conference

Block Featured in Art Design Chicago Community Engagement Case Studies

The Block at AAMG 2025: National Conversations on Belonging and Museum Practice

Block Staff Join Clark Traveling Seminar on Global Histories of Print in South Korea

Finding the Right Words: Improving Collection Access at The Block

Janet Dees departs The Block for new role at the Smithsonian National Museum of African American History and Culture

STUDENT ASSOCIATES 2024-2025

The Block Museum Student Associates (BMSAs) serve as public facilitators, peerto-peer ambassadors for the museum on campus, and in-house student advisors for all levels of museum staff and our Board of Advisors. BMSA students lead tours throughout the museum and engage our broad array of campus and community visitors in dynamic conversations about art and ideas that are relevant to our lives today.

In addition to this public-facing role, Associates serve as key campus ambassadors for The Block and student advisors for all levels of museum staff and leadership, help to shape programming and projects at the museum, and learn more about museum practice through behindthe-scenes insights and experiences.

"I

the

“I am privileged to be part of a unique platform engaging with a multitude of voices and experiences and hope to seek out the hidden histories that shape our stories..”

Ethan Bledsoe

Environmental Science (2026)

Symone Harris

Human Development in Context (2026)

“What excites diverse range meaningful conversations its relevance thrilled about community of supporters.”

Gabby Bliss Chemical Engineering (2025)

"I love the inherent collaboration and community of artistic spaces, and especially love unpacking the connection between an artist and the consumers of their work.”

Jaharia Knowles Journalism (2025)

Keya Soni Human Development Journalism

“I adore spending museums because spaces of reflection-“Third Space." BMSA program and building

Bazil Frueh Journalism (2026)

“Outside of the Block, I lead the staff of Northwestern's queer-interest publication CRUSH Magazine, create news packages for WNUR News, and read poetry for Helicon Literary Magazine. I'm so thrilled to learn from and teach others about the Block's expansive collection!”

Felipe Reis Maccari

Manufacturing and Design Engineering (2026)

Ann Nguyen Philosophy (2025)

“The Block has of reflection Northwestern. more with museums and human connection acknowledge

Sam Habashy

Journalism and International Studies (2026)

“I am privileged to be part of a unique platform engaging with a multitude of voices and experiences and hope to seek out the hidden histories that shape our stories..”

STUDENT ASSOCIATES

Tori Montinola English and Legal Studies (2027)

Meena Sharma Learning Sciences (2025), BMSA Program and Tours Coordinator

“One of the things I love about museums like the Block is their constant endeavors toward and their emphasis on community both

"Our

Rowan McCloskey

Computer Science and Political Science (2025)

Vanya Saksena

Economics and Global Health Studies (2027)

Emily Shen

Economics and Political Science (2026)

“The Block is campus—from wonderful people. leading public meaningful discussions, community excited

Tori Montinola

English and Legal Studies (2027)

“I am incredibly excited to be working with The Block Museum here at Northwestern with many talented and passionate people who aren’t afraid to make that known.”

Roy Zhu

Environmental Science and Creative Writing (2025)

"I have always utilize visual art experiences to audience, and excited to gain conversations

“One of the things I love about museums like the Block is their constant endeavors toward and their emphasis on community both within and beyond campus.”

"Our Student Associates museum is built through twenty students from curiosity that keeps open to discovery."

–Erin Northington, Susan and Stephen Education and Engagement

BY THE NUMBERS

BUDGET

29 5 PEOPLE

30 20 STUDENT ASSOCIATES BOARD OF ADVISORS FELLOWS & INTERNS STAFF

6 EXHIBITIONS

48 CINEMA PROGRAMS

45 PUBLIC PROGRAMS

149 NEW ACQUISITIONS

PIECES OF PRESS COVERAGE PRESS ESTIMATED VIEWS

42K 30K 415K EMAIL SUBSCRIBERS

SOCIAL MEDIA FOLLOWERS WEB & BLOG VIEWS

2024–2025 THE BLOCK BY THE NUMBERS

In-person audience

Weekly visitors to The Block, September 2024 – August 2025

38,723

VISITORS TO THE BLOCK across galleries, programs, and group visits

WEEKS OF VISITORS averaging 901 visitors per active week

1,838 PEAK WEEK opening week of Woven Being, Feb 1

EXHIBITIONS Sept 2024 – Jan 2025

13,882

visitors over 17 weeks · 818/week average

& pre-Woven Being exhibitions Woven Being (Feb 1 – July 13)

Moments that drew the crowds

Woven Being opening week (Feb 1, 2025) — 1,838 visitors

The Block's largest single week of the year, marking the launch of Woven Being

Woven Being mid-run (March 8, 2025) — 1,755 visitors

Sustained engagement five weeks into the run, second-highest week of the year

Fall classroom rhythm (Oct–Nov 2024) — sustained 1,000+ weeks

A steady fall quarter cadence built on undergraduate course visits and public programs

/ SPRING EXHIBITIONS Feb 1 – July 13, 2025

24,829

Digital reach

The Block's online audience across web, blog, collection database, and mobile guide, September 2024 – August 2025

415K

TOTAL VIEWS

↑ 25% year over year across all Block digital properties

Three connected platforms

The Block's web presence reaches audiences through three distinct, interlinked sites

288K

MAIN BLOCK SITE

the largest share of online visits exhibitions, programs, visit info

Bloomberg Connects

58K

BLOG VIEWS

↑ 42% — fastest-growing channel in the network long-form stories & scholarship

167K

TOTAL USERS

↑ 49% year over year unique visitors to the network

The Block's mobile guide extends exhibitions and the collection beyond the gallery walls

1,463

2,254

69K

eMUSEUM VIEWS researchers and the public exploring the Block's collection online

THE BLOCK BY THE NUMBERS 2024–2025

TEACHING WITH THE COLLECTION

The Eloise Martin Study Center is the Block's dedicated space for teaching with the collection. Each quarter, the curatorial team works directly with Northwestern faculty to understand the goals of their courses, pull works from the collection that align with those goals, and guide students through close looking, comparison, and discussion with the objects themselves. The model is designed to be flexible: a class might examine a single photograph in depth, compare prints across centuries, or study a textile connected to a syllabus reading. Faculty engagement has grown steadily over the past four years as more departments incorporate the collection into their curricula. In 2024–2025, the EMSC served more Northwestern courses, students, and faculty than in any prior year on record.

Teaching with the collection

Curricular use of the Eloise Martin Study Center, 2024–2025 82

CURRICULAR VISITS

Northwestern courses that visited the EMSC

1,165

STUDENTS & FACULTY

served through curricular visits 425

OBJECTS PULLED

studied across all class visits

Four years of accelerating growth

This year's growth at a glance

+37%

CURRICULAR VISITS vs. 2023–2024

Beyond the classroom

+14%

STUDENTS & FACULTY vs. 2023–2024

The EMSC also hosted 14 non-curricular visits serving 102 visitors, including faculty research, co-curricular programs, and community group visits.

+3%

OBJECTS PULLED vs. 2023–2024

TEACHING WITH THE COLLECTION

Across 20 departments and 61 unique courses, faculty across Northwestern brought their students to encounter original works in the Eloise Martin Study Center.

Top departments with curricular class visits

What students studied

A selection of the 61 Northwestern courses that engaged with the collection this year

Black Art and Ecology

Art History 390

Climate Change and Civilizations

History 103

Thinking Machines: The History & Ethics of AI Computer Science

Mental Health and the Arts

Global Health 390

Voices of Environmental Justice

English 384

Pharmaceutical Engineering

Biomedical Engineering 395

Black Lens: Reframing Photographic Practice

Art History 460

"Home" Through Choreography and the Camera

Communication Studies 101

Daily Life in Palestine/Israel

Jewish Studies 101

Woven Being: Literature and Art for Zhegagoynak/Chicagoland

English 374

Analysis of Color across Science and Culture Chemistry 101

Shattered Worlds: Representation after the Shoah German 331

Containers and Frames: Expanding Video Practice

Art, Theory & Practice 390

Biocultural Perspectives on Water Insecurity Anthropology 357

Spaces of Learning: The Architecture and Experience of College Campuses

Art History 101

Empires of Fashion

Art History 101

EXHIBITIONS 2024-2025

2024-2025

Dissident Sisters: Bev Grant and Feminist Activism, 1968–72

September 18 - December 1, 2024

Dissident Sisters brought together newly acquired photographs by artist Bev Grant with archival materials from Northwestern University Libraries to illuminate a pivotal moment in American public life. After attending a women’s liberation workshop in 1967 that she described as “an awakening,” Grant’s work became deeply rooted in feminist consciousness and collective political action.

Working in what she called “participant-based photojournalism,” Grant embedded herself within the movements she documented. Between 1968 and 1972, she photographed the formation of the women’s movement alongside the activities of the Black Panthers, the Young Lords, and anti-Vietnam War protests. Her images move fluidly between sweeping scenes of mass demonstrations and intimate moments of organizing, capturing both the scale and the human texture of social change.

The exhibition featured seventeen photographs from The Block’s collection, presented alongside posters, buttons, newspapers, and other ephemera drawn from the Charles Deering McCormick Library of Special Collections and University Archives. Additional works by Chicago artists, including Peggy Lipschutz, Pearl Hirshfield, and the Women’s Graphic Collective, underscored the intersectional commitments of feminist and activist practices during this period. Together, these materials situated Grant’s photographs within a broader ecosystem of dissent, community-building, and cultural production.

Although Grant’s photographic career was relatively brief, her work offers a powerful and enduring record of a transformative era in U.S. history. She later continued her activism through music as a folksinger, extending her commitment to social justice across media.

Acquisition of works in the exhibition was made possible by the Irwin and Andra S. Press Collection Endowment Fund. The Block is also grateful to OSMOS, which represents the artist. The exhibition has been curated by 2023–24 Block Graduate Fellow Ruslana Lichtzier and Corinne Granof, Academic Curator. The Graduate Fellow is generously supported by The Graduate School (TGS), Northwestern University.

The power of documentary photography on view in “Dissident Sisters”

View exhibition press coverage

Capturing the Struggle: Bev Grant in Conversation [Video]

Explore Dissident Sisters in our digital app

Watch exhibition video

Songs, Stories, and Struggles: Northwestern Students on Bev Grant’s Campus Visit

Federico Solmi: The Great Farce

September 18 - December 1, 2024

Federico Solmi (b. 1973, Bologna, Italy) has described his monumental and immersive ninechannel animated video installation The Great Farce (2017) as a “re-enactment in an amusement park” that brings to life the misconceptions that populate narratives of American history. The work deftly blends the handmade and the high tech—with drawings and paintings enlivened using various media, including 3D digital animation and video game technology—to create a dizzying visual and sound universe. The Great Farce presents challenging content and jolts the senses, creating an art-viewing experience that can at turns be captivating, overwhelming, disorienting, and disruptive.

The Great Farce collapses references across time and place, linking American narratives to broader histories of imperialism and colonialism and their contemporary manifestations. The work is not meant to be a literal representation of history. Instead, as the title implies, The Great Farce presents an absurdist, theatrical fiction and, through this, points to what the artist sees as larger truths. Solmi employs both satire—which mixes irony and exaggeration—and the grotesque—characterized by vulgarity and ugliness—to make hyper-visible the violence and excesses of capitalism and power as well as the contradictions and misrepresentations of historical narratives and those implicated in them.

Grotesque depictions of several historical leaders including Julius Caesar, Christopher Columbus, Marie Antoinette, and George Washington, populate the work. This treatment removes the veneer of heroism that is often associated with these figures and offers an explicit critique of their actions. By doing so, it asks us to question the ways in which history has sanitized or glorified their legacies. Pointing to the history of European and American colonization in the Americas, Solmi presents a fictional view of first encounters between European colonizers and Indigenous peoples and stages a battle that evokes colonial violence. These depictions are channeled through the fictions about and stereotypes of Native Americans that persist in mainstream American culture. Solmi’s deployment of these caricatures and their impact is a reminder of the potential violence of representation.

The Great Farce is a complex, layered work. It challenges us to reflect critically on how myths, stereotypes, and images power narratives of national identity and on the consequences of perpetuating them.

This exhibition was supported by The Block Museum Science and Technology Endowment and the Constance and Dudley Godfrey Trust.

The Great Farce: Federico Solmi's immersive, satirical American history on view at The Block

What is History: An Interview with Federico Solmi

Satire and Spectacle: Federico Solmi on 'The Great Farce' [Video]

Watch the Making of The Great Farce video

The Block Collects

September 18 - December 1, 2024

The Block Museum of Art’s collection supports learning across disciplines through exhibitions, research, and class and co-curricular visits. One of the ways this resource continues to grow is through an annual student-led collecting initiative undertaken by The Block Museum Student Associates (BMSA), an interdisciplinary group of Northwestern undergraduates. Throughout the academic year, students learn about museum collecting practices, culminating in their recommendation to purchase one or more works of art centered around a theme. The 2023–2024 BMSA acquisition focused on humor as an artistic strategy. In this installation, BMSA acquisitions were presented alongside other works from the museum’s collection related to this theme.

Over the course of the year, students’ understanding of humor evolved through research and discussion. While no universal theory defines the phenomenon of humor, studies show that it is often used to process uncomfortable feelings or to address serious situations through strategies such as exaggeration, absurdity, contradiction, and ambiguity. Humor can also deliver a sharp critique. The perception of something as humorous or amusing often depends on context, prompting questions: Who is in on the joke? Is the joke at somebody’s expense? When, why, and how is a work understood to be humorous, and when is it not?

The 2023–2024 Student Associates recommended the purchase of two works by photographer Cara Romero that poke fun at the many ways Indigenous communities have been misrepresented and stereotyped in American culture. Romero’s work TV Indians (2017), also selected by the BMSAs, was on view in the Looking 101 exhibition nearby.

Explore The Block Collects in our Digital App "Sense of Humor is Medicine": Cara Romero's Campus Visit

Read more about the student acquisition on view Search the Works in the Museum Collection

LOOKING 101

September 18 - December 1, 2024

This exhibition invited visitors into The Block’s teaching gallery to experience a core classroom activity: close looking. Most museumgoers spend less than 30 seconds with a work of art, often forming immediate judgments. This gallery encouraged visitors to slow down,observe deeply,and reflect on how personal experiences shape interpretation.

Deliberately presented without wall labels, the exhibition prioritized direct engagement with the artworks. Information and prompts were available via brochures and online, supporting both individual reflection and group conversation.

The exhibition supported Northwestern’s undergraduate curriculum—especially first-year seminars—by featuring works from The Block’s collection selected in collaboration with faculty across disciplines. Each artwork related to course themes, demonstrating the value of visual analysis across fields of study.

Explore the exhibition works

WOVEN BEING: ART FOR ZHEGAGOYNAK/ CHICAGOLAND

January 25 - July 13, 2025

Through the perspectives of four collaborating artists with connections to Zhegagoynak— Andrea Carlson (Grand Portage Ojibwe/European descent), Kelly Church (Match-E-Be-NashShe-Wish Tribe of Pottawatomi/Ottawa), Nora Moore Lloyd (Lac Courte Oreilles Band of Lake Superior Ojibwe), and Jason Wesaw (Pokagon Band of Potawatomi)—Woven Being explored confluences that continued to shape Indigenous creative practices in the region and beyond.

The Chicagoland region has long been a cultural and economic hub for Indigenous peoples, including the Council of Three Fires—the Ojibwe, Potawatomi, and Odawa—as well as the Menominee, Miami, Ho-Chunk, Sac, Fox, Kickapoo, and Illinois nations. People from many Indigenous nations called the region home, and the city of Chicago has the third-largest urban Indigenous population in the United States.

Despite this rich history, Indigenous voices have often been excluded from Chicago's art histories. Guided by Indigenous collaborations, priorities, and voices, the exhibition foregrounded the perspectives of Indigenous artists based in the city and those from nations forcibly displaced from the area in the nineteenth century.

Collaborating artists partnered with The Block to create “constellations” of their own artwork and historical and contemporary artworks, primarily by Indigenous artists of the region. Overall, Woven Being presented more than 80 works by 33 artists that spoke to the diversity of Indigenous art, materials, and time, including several new and commissioned works and installations. Selections highlighted themes identified in dialogue with diverse project advisors: kinship between materials, relations across regional landways and waterways, and the weaving together of past, present, and future.

Seen together, the exhibition works formed intimate and interwoven stories that resisted monolithic storytelling. Instead of offering a comprehensive overview of regional art, Woven Being integrated four Indigenous perspectives of Chicagoland’s layered art histories. Such perspectives were central not only to understanding Chicago and its region, but also to understanding the widely interconnected Indigenous stories that have been, and continue to be, woven across the entirety of Turtle Island (North America).

WOVEN BEING TEAM

Woven Being project development was led by a collaborative team including Kathleen Bickford Berzock (Associate Director of Curatorial Affairs), Jordan Poorman Cocker (Kiowa), Terra Foundation Guest Co-Curator); Janet Dees (former Steven and Lisa Munster Tananbaum Curator of Modern and Contemporary Art); Erin Northington (Susan and Stephen Wilson Associate Director, Campus and Community Education and Engagement); Dan Silverstein (Associate Director of Collections and Exhibition Management). The project Terra Foundation Fellows are Marisa Cruz Branco (Isleta Pueblo) and Teagan Harris (Cherokee Nation). Lois Taylor Biggs (Cherokee Nation and White Earth Ojibwe) served as Terra Foundation Curatorial Research Fellow and Curatorial Assistant from 2021-2023.

At Northwestern, we are grateful for the participation of the Center for Native American and Indigenous Research and its affiliates. We are also grateful for the participation of Indigenous knowledge sharers, including artists, community leaders, and scholars, and non-Indigenous allies, who are contributing to the exhibition process and to Woven Being’s presentation at Northwestern University.

For more information about Native American and Indigenous research at Northwestern University, visit the Center for Native American and Indigenous Research (CNAIR). https://cnair.northwestern.edu/

Image (l to r): Dan Silverstein, Jason Wesaw, Kathleen Bickford Berzock, Andrea Carlson, Kelly Church, Nora Moore Lloyd, Jordan Poorman Cocker, Janet Dees, Erin Northington.

BY THE NUMBERS

5

Years in the making

Audience & engagement

25,158

Visitors to the exhibition Over six months

27 Public programs

33 Contemporary artists

80+ Works on view

400+

Guests at opening With welcome from President Schill

100+ Private group tours

20+ Works acquired

SUPPORTERS

Woven Being was part of Art Design Chicago, a citywide collaboration initiated by the Terra Foundation for American Art that highlighted the city’s artistic heritage and creative communities. Lead support for Woven Being was generously provided by the Terra Foundation for American Art. Major support was provided by the Andy Warhol Foundation for the Visual Arts. This project was supported in part by the National Endowment for the Arts, The Joyce Foundation, and by a grant from the Illinois Arts Council. Additional generous support was provided by the Sandra L. Riggs Publication Fund and the Alumnae of Northwestern University.

COLLABORATING ARTISTS

EXHIBITION PUBLICATION

A major companion publication to Woven Being was released in July 2025. Edited by Kathleen Bickford Berzock, Jordan Poorman Cocker, and Janet Dees, the 160-page, multi-authored volume centers Indigenous voices and expands on the exhibition’s themes through essays, poetry, installation views, and a resource guide to Indigenous-led arts organizations in Chicago. Contributors include Blaire Morseau (Pokagon Band of Potawatomi), Denise Lajimodiere (Turtle Mountain Band of Ojibwe), John Low (Pokagon Band of Potawatomi), Jacqueline Lopez, and Anne Terry Straus. Published by The Block Museum of Art and distributed by the University of Washington Press, the richly illustrated volume documents the exhibition and its constellation of artists, ideas, and collaborations.

COMMUNITY ROOM

As part of Woven Being, The Block Museum created a dedicated Community Room designed “in the hope that conversation, reflection, laughter, and learning will flourish here.” Centering Indigenous community while remaining open to all, the space invited visitors to gather, talk, learn, and reflect together, while engaging with one another’s creativity in unique ways.

The Community Room included a Reading Nook featuring books and media that inspired and informed the Woven Being artists and project team throughout the development of the exhibition. An artist interview installation presented reflections from collaborating artists Andrea Carlson, Kelly Church, Nora Moore Lloyd, and Jason Wesaw through a shared set of prompts, making the artists’ voices present within the space even when they could not be onsite. Visitors were invited to continue the conversation by reflecting on what they observed in the galleries and engaging with others in the room.

A Community Forum Wall displayed visitor responses to discussion prompts, including reflections, sketches, and written responses selected by Block staff. Together, these elements created a space dedicated to community, dialogue, creativity, and shared learning.

Collaborating Artists Community Room Welcome Video

WOVEN BEING PRESS

98

PIECES OF COVERAGE

across online, print, broadcast & social media

64 ONLINE PIECES articles, reviews, previews & listings

Coverage highlights

237M

COMBINED AUDIENCE of all outlets featuring coverage

54

UNIQUE OUTLETS

national, regional & specialty press

236M

ONLINE READERSHIP combined visitors to sites featuring coverage

A selection of the most-read national, regional, and specialty arts press features

Forbes

'Art For Zhegagoynak' At Block Museum Outside Chicago By Chadd Scott · Mar 13, 2025 108M audience · 160K views

ARTnews

Andrea Carlson's Frenetic Landscapes Channel Disjointed Histories and Deep Time

1.06M audience · Jan 6, 2025

Hyperallergic

Woven Being Interweaves the Complexities of Native Art and Life By Lori Waxman · Mar 24, 2025 1.78M audience · 1,950 engagements

Encyclopedia Britannica

How One Artist Connects to an Indigenous Heritage She Almost Lost — on Nora Moore Lloyd 19.2M audience · 33K views

Beyond the page: broadcast, podcast & specialty pre

NBC Chicago, Fox News Chicago & WGN-TV brought Woven Being to broadcast audiences across the Chicago metro area

WBEZ Chicago, WMUK & WDCB Radio covered the exhibition in radio segments and arts programming

Indian Country Today, Native News Online, MVSKOKE Media & The Circle News centered Indigenous voices and perspectives in their coverage of the exhibition

872K ESTIMATED VIEWS lifetime predicted reach across all coverage

4,090

SOCIAL ENGAGEMENTS likes, comments & shares on social

Chicago Tribune

Art for winter 2025: 10 shows, from revisionist surveys to solos By Lori Waxman · Jan 14, 2025

16.6M audience · 10.9K views

Artforum

Jordan Poorman Cocker on Indigenous curatorial practice The Checklist · Mar 1, 2025 260K audience · 2,040 views

Indigenous artists offer perspectives on the art of Chicagoland in new exhibition

Passing It On: Kelly Church Shares Generations of Knowledge through Art

"This Woven Being": Poetry Reading & Panel with River Kerstetter, Mark LaRoque, Elise Paschen, and Mark Turcotte [Video]

Watch Woven Being Exhibition Trailer

"Woven Being: A Sound Reflection" offers a new way to engage with the exhibition

Explore Facing the Camera in our digital app

Explore Woven Being in our digital app

“We are in the present, and we have always been here:” Woven Being Exhibition Opening Celebration [Video]

Art for Zhegagoynak: A Resource Guide to a Local History

More than 20 new works acquired by The Block in conjunction with the exhibition "Woven Being"

Read Exhibition Press

“Exhibitions like ‘Woven Being’ at Northwestern’s Block Museum show what is possible when institutions decide to make genuine efforts... If museums are to remain relevant, they must move beyond the cycle of temporary inclusion toward a structural reckoning— one that doesn’t just check boxes but addresses the very systems of control that have long been embedded in their operations. The question is not whether museums can create space for marginalized narratives—but whether they are willing to relinquish their control over how those narratives are told, and whether they will sustain the changes necessary to make that a reality.”

– Art for Zhegagoynak and the Politics of Space: Lessons from “Woven Being”

Fariha Koshul, Art Design

Chicago, March 2025

it takes a long time to stay here: Paintings by Jordan Ann Craig

January 25 - April 13, 2025

Artist Jordan Ann Craig’s solo exhibition at The Block Museum was her largest institutional exhibition to date and her first in the Chicago area. Featuring seven large-scale abstract paintings shown together for the first time, the exhibition highlighted Craig’s exploration of grid-based geometric abstraction inspired by Northern Cheyenne and Cheyenne beadwork and quillwork, Pueblo pottery, and other artistic traditions connected to her heritage and home in New Mexico’s Pojoaque Valley. Through subtle variations and bold contrasts of color, Craig’s paintings drew attention to intricate patterns, exacting technique, and the interplay between controlled precision and chance elements.

The exhibition’s title, it takes a long time to stay here, comes from the poem “spinning air” by m.s. RedCherries and evokes ideas of rootedness, reflection, and deep connection to people, cultures, and landscapes. The exhibition encouraged slow contemplation and close looking, inviting visitors to spend extended time with the paintings as meaning shifted through the interplay of Craig’s enigmatic titles, intricate compositions, and each viewer’s personal interpretation. Craig also extended the visual language of the paintings into the gallery through custom textile designs for bench cushions, playfully questioning distinctions between art and utility while encouraging visitors to settle into the space.

it takes a long time to stay here: Paintings by Jordan Ann Craig was curated by Kathleen Bickford Berzock, Associate Director of Curatorial Affairs; Janet Dees, former Steven and Lisa Munster Tananbaum Curator of Modern and Contemporary Art; and Jacqueline Lopez, 2024–25 Interdisciplinary Graduate Fellow, at The Block Museum of Art.

The exhibition was partially supported by the Alsdorf Gallery Endowment and a grant from the Illinois Arts Council. Additional generous support was provided by the Alumnae of Northwestern University. Support for the publication was provided by Hales Gallery, New York. The 2024–25 Interdisciplinary Graduate Fellow was generously supported by The Graduate School at Northwestern University.

The Block Museum of Art Announces Solo Exhibition by Jordan

Ann Craig

Putting Down Roots: Jacqueline Lopez on the work of Jordan Ann Craig

"it takes a long time to stay here”: Keynote with Jordan Ann Craig and m.s. RedCherries [Video]

The Block Museum of Art Announces National Tour of Jordan Ann Craig Exhibition, with First Stop at Tulane University

The Block Museum Acquires "Sharp Tongue: Used to Cut Deep" by Jordan Ann Craig [Video] Download Exhibition Brochure

A New State of Matter: 2025 Art, Theory, and Practice MFA Thesis Exhibition

May 9 - June 22, 2025

In Spring 2025, Daniel Dobrow, bree gant, Breanna Robinson, Renee Royale, and José Taymani—candidates for the Master of Fine Arts degree—presented their thesis projects and concluded their residencies in the Department of Art, Theory, and Practice at Northwestern University. The exhibition marked the culmination of two years of intensive studio work, experimentation, and research, highlighting the artists’ distinct approaches to material, image, performance, installation, and social practice. Presented in collaboration between the Department of Art, Theory, and Practice and The Block Museum of Art, the exhibition provided a platform for emerging voices in contemporary art and reflected Northwestern’s ongoing commitment to supporting interdisciplinary inquiry, critical dialogue,and ambitious creative practice.

This exhibition and its associated events were co-organized by the Department of Art, Theory, and Practice and The Block Museum of Art at Northwestern University. Support was provided by the Norton S. Walbridge Fund;the Myers Foundations;the Jerrold Loebl Fund for the Arts;and the Alsdorf Gallery Endowment.

EXHIBITION TOURS 2024-2025

EXHIBITION TOURS 2024-2025

PROGRAMS 2024-2025

Exhibition Tour – Dissident Sisters: Bev Grant and Feminist Activism, 1968-72

September 26, 2024

Art Talks! The Block Collects and the 2023-2024 Student Acquisition October 6, 2024

Exhibition Keynote: Bev Grant in Conversation October 9, 2024

“The Night Watchman”: One Book One Northwestern Online Collection Talk October 17, 2024

Art Talks! Dissident Sisters: Bev Grant and Feminist Activism, 1968–72 October 19, 2024

Exhibition Keynote: Federico Solmi in Conversation October 23, 2024

Art Talks! Dissident Sisters: Bev Grant and Feminist Activism, 1968–72 November 3, 2024

Gallery Talk: Looking 101 November 9, 2024

Cara Romero in Conversation: Students Shape the Collection November 13, 2024

Art Talks! Looking 101 November 16, 2024

“The Night Watchman”: One Book One Northwestern Online Collection Talk

January 16, 2025

Opening Celebration – Woven Being: Art for Zhegagoynak/Chicagoland February 1, 2025

Woven Being Community Room Drop-in: Puzzle and Conversation

February 5, 2025

Art Talks! it takes a long time to stay here: Paintings by Jordan Ann Craig

February 8, 2025

The Indians Won: Woven Being Gallery Talk with Marisa Cruz Branco

February 15, 2025

Art Talks! it takes a long time to stay here: Paintings by Jordan Ann Craig February 16, 2025

Art Talks! Woven Being: Art for Zhegagoynak/Chicagoland March 9, 2024

"Woven Being" Curator Tour with Jordan Poorman Cocker February 26, 2025

Exhibition Keynote: It takes a long time to stay here: Painting by Jordan Ann Craig February 26, 2025

Art Talks! it takes a long time to stay here: Paintings by Jordan Ann Craig March 1, 2025

Woven Being Community Room Drop-in: Indigenous Board Games

March 5, 2025

ATP Visiting Artist Performance-Lecture: Laura Ortman March 6, 2025

Unfinished Edges: Indigenous Roots, Playful Titles, and the Balance Between Precision and Chaos in Jordan Ann Craig's Art March 8, 2025

Art Talks! Woven Being: Art for Zhegagoynak/Chicagoland

March 9, 2025

Art Talks! Woven Being: Art for Zhegagoynak/Chicagoland

March 15, 2025

Woven Being Community Room Drop-in: Beadwork Demonstration

April 2, 2025

Indigenous Noise: Woven Being Gallery Talk

April 5, 2025

Art Talks! Woven Being: Art for Zhegagoynak/Chicagoland

April 12, 2025

Birchbark Biting Workshop with Kelly Church

April 16, 2025

Black Ash Basket Weaving Workshop with Kelly Church

April 17, 2025

Art Talks! Woven Being: Art for Zhegagoynak/Chicagoland

April 19, 2025

"The Night Watchman": One Book One Northwestern Online Collection Talk

April 24, 2025

Community Day: Gichigamiin Indigenous Nations Museum & Block Museum

April 26, 2025

Decades of Connection: Woven Being Gallery Talk with Nora Moore Lloyd April 26, 2025

Art Talks! Woven Being: Art for Zhegagoynak/Chicagoland

April 27, 2025

Art Talks! Woven Being: Art for Zhegagoynak/Chicagoland

May 4, 2025

Woven Being Community Room Drop-in: Ojibwe Language Circle

May 7, 2025

Art Talks! Woven Being: Art for Zhegagoynak/Chicagoland

May 11, 2025

Art Talks! Woven Being: Art for Zhegagoynak/Chicagoland

May 24, 2025

This Woven Being: Reading & Panel with Chicago Indigenous Poets

May 28, 2025

Woven Being Community Room Drop-in: Maker’s Circle

June 4, 2025

Opening Celebration: A NEW STATE OF MATTER

June 6, 2025

Looking Closely at the Indifference of Fire: Gallery

Talk

June 21, 2025

Woven Being Community Room Drop-in: Closing Dinner and Reflections

July 2, 2025

Woven Being: Talk and Campus Landscape Walk

July 12, 2025

PUBLIC PROGRAMS 2024-2025

1,807+

PROGRAMS

artist talks, tours, panels, workshops & performances

Speaker highlights

PRESENTERS

visiting artists, scholars, faculty, staff & students

A selection of the visiting artists, scholars, and performers who shaped the year

Megan Bang (Ojibwe and Italian descent), professor of learning sciences and Northwestern CNAIR Director

Sarah Brown

director of the Women's Center at Northwestern University

Kelly Church (Match-E-Be-Nash-She-Wish Tribe of Pottawatomi/Ottawa), artist

Jordan Poorman Cocker (Kiowa Tribe), curator of indigenous art at the Crystal Bridges Museum

Jordan Ann Craig (Northern Cheyenne), artist

Noelle Garcia (Klamath and Northern Paiute), artist

Aaron Golding (Seneca Nation), co-chair of the Chicago American Indian Community Collaborative education committee and sr. program administrator in the School of Education and Social Policy at Northwestern University

Bev Grant artist

River Kerstetter (Oneida), poet

Mark LaRoque (White Earth Ojibwe), poet

Nora Moore Lloyd (Lac Courte Oreilles Band of Lake Superior Ojibwe), artist

Terra Foundation for American Art

Andy Warhol Foundation for the Visual Arts

National Endowment for the Arts

The Joyce Foundation

Illinois Arts Council

Crystal Bridges Museum of American Art

ATTENDEES

across all 45 public programs

Michaela Marchi (Isleta Pueblo), singer and CNAIR program assistant

Laura Ortman

(White Mountain Apache), musician

Elise Paschen (Osage), poet m.s. RedCherries (Northern Cheyenne), poet

Cara Romero (Chemehuevi), artist Özge Samanci

associate professor in the School of Communication, Keyman Modern Turkish Studies Program faculty board at Northwestern University

Michael Schill president of Northwestern University Federico Solmi

artist

Eli Suzukovich III

(Little Shell Band of Chippewa-Cree/Krajina Serb), assistant professor of instruction in Northwestern's Environmental Policy and Culture program; director of cultural preservation and compliance (Office of Research); and CNAIR faculty affiliate

Mark Turcotte (Turtle Mountain Band Anishinaabe), poet

Jason Wesaw (Pokagon Band of Potawatomi), artist

PROGRAMMING PARTNER HIGHLIGHTS

Gichigamiin Indigenous Nations Museum Center for Native Futures

OSMOS Gallery / OSMOS Books

Third World Newsreel

Center for Native American & Indigenous Research (CNAIR) One Book One Northwestern

Department of Art, Theory & Practice

School of Communication

School of Education and Social Policy

Northwestern Women's Center

Department of English Environmental Policy & Culture

CINEMA PROGRAMS 2024-2025

Revisiting Films by Women/Chicago '74 with Patricia Erens and B. Ruby Rich

September 25, 2024

Dorothy Arzner Double Feature: DANCE, GIRL, DANCE (1940)

September 28, 2024

Dorothy Arzner Double Feature: CRAIG’S WIFE (1936) September 28, 2024

ATTICA (1974) and I AM SOMEBODY (1970)

October 4, 2024

Activist Lens: Bev Grant & Newsreel Films

October 10, 2024

The Feminist Film Collectives of Cinenova

October 11, 2024

WILL (Jessie Maple, 1981) –New 4K Restoration October 17, 2024

Background Echoes: Mexicanness and the Production of Race in Hollywood October 18, 2024

STRAWBERRY FIELDS (1997) with filmmaker Rea Tajiri October 24, 2024

WISDOM GONE WILD (2022) with filmmaker Rea Tajiri October 25, 2024

No Master Territories: Feminist Short Films with Curator Erika Balsom October 30, 2024

Fables of Dematerialization: Erika Balsom on oceanic cinema October 31, 2024

KONKOMBE: THE NIGERIAN POP MUSIC SCENE (1979) November 7, 2024

WEST INDIES (Med Hondo, 1979) – New 4k Restoration November 8, 2024

Not By Magic: Animated Films by Women from Serious Business Company

November 15, 2024

2024 Eyeworks Experimental Animation Series

November 16, 2024

Climate Crisis + Media Arts

Showcase Night I: Sanctuary Stations

November 21, 2024

Climate Crisis + Media Arts

Showcase Night II: Forecasting November 22, 2024

THE HUMAN SURGE (2016) with filmmaker Eduardo Williams February 5, 2025

THE HUMAN SURGE 3 (2023) with filmmaker Eduardo Williams February 6, 2025

SHORT FILMS BY EDUARDO WILLIAMS (2011-2019) with filmmaker in attendance February 7, 2025

TIME PASSAGES (2024) with filmmaker Kyle Henry

February 13, 2025

Amy Halpern’s FALLING LESSONS (1992) with guest author Laura Paul

February 21, 2025

STILL FILM (2023) with filmmaker James N. Kienitz Wilkins

February 27, 2025

I AM NOT THIS BODY (1971) with trans science researcher Dr. Os Keyes

March 5, 2025

I AM MY OWN WOMAN & COMMUNICATION FROM WEBER with Elizabeth Purchell March 6, 2025

The Rebel Girls (2024) with filmmaker Felicia D Henderson & Cast

March 7, 2025

First Person Plural: New and Rediscovered Trans Documentary Shorts with filmmaker Connor O’Keefe

March 13, 2025

DESIRE LINES (2024) and BROS BEFORE (2022) with Jules Rosskam and Henry Hanson

March 14, 2025

Collective Messages: Short Films of Grupo Chaski

March 21, 2025

THE WAITING ROOM (1973) with guest Karen Sperling (OFFSITE)

April 3, 2025

THE DAWN IS TOO FAR (2024) with filmmaker Persis Karim

April 4, 2025

DIRECT ACTION (2024) with filmmaker Ben Russell

April 6, 2025

Suspension Bridges: Films by Alee Peoples

April 10, 2025

IO CAPITANO (2023) with panel discussion

April 17, 2025

BARAKA (1992) with composer Michael Stearns

April 18, 2025

11 x 14 (1977) in 35mm with filmmaker James Benning

April 24, 2025

THE UNITED STATES OF AMERICA (2022) with filmmaker James Benning

April 25, 2025

Voices of Deoli (2025) with director Lulu Men and producer Joy Ma

May 1, 2025

SEARCHING FOR MR. RUGOFF (2019) with director Ira Deutchman

May 2, 2025

ALL I WANNA DO (aka STRIKE!) (1998) in 35mm with Ira Deutchman

May 3, 2025

BITTERROOT (2024) with director Vera Brunner-Sung and actor Wa Yang

May 8, 2025

Endless Reveries: Water in Experimental Film with Greta Snider

May 22, 2025

Eco-friendly Film Processing Workshop with Greta Snider May 23, 2025

Temporal Territories: Indigenous Experimental Cinema with filmmakers

Lindsay McIntyre & Adam Piron of COUSIN Collective

May 29, 2025

Cameraless Filmmaking Workshop with COUSIN Collective May 30, 2025

Origins / DeparturesDocumentary Media MFA Showcase 2025

June 11 - June 12, 2025

KANENON:WE (ORIGINAL SEEDS, 2024) featuring presentation by Dr. Rebecca Webster

June 27, 2025

CINEMA 2024-2025

Visiting artists & speakers

67 filmmakers, scholars, curators, and artists in person

Film reels awaiting Block Cinema screening.

Gríma Irmudóttir

Northwestern MFA Doc Media

Persis Karim

San Francisco State University

David Kelley

filmmaker

Dr. Os Keyes

UMass Lowell

James N. Kienitz Wilkins filmmaker, NYC

Blake Knecht

Northwestern MFA Doc Media

Joy Ma producer, VOICES OF DEOLI

Paloma Martinez

Northwestern RTVF

Dan McAdams

Northwestern, Psychology

Brigid McCaffrey

filmmaker

Lindsay McIntyre

COUSIN Collective

Lulu Men filmmaker, NYC

Christina Nguyen

Northwestern RTVF

Connor O'Keefe

filmmaker, Chicago

Laura Paul writer, Los Angeles

Alee Peoples

filmmaker, Los Angeles

Adam Piron

COUSIN Collective

Ai-jen Poo

Caring Across Generations

Charlotte Procter

Cinenova / LUX London

Elizabeth Purchell

queer film historian, Brooklyn

Emmanuel Ramos Barajas

Northwestern Screen Cultures

B. Ruby Rich

UC Santa Cruz

Jules Rosskam

filmmaker

Ben Russell

filmmaker

Laura Isabel Serna

USC

Jesseca Ynez Simmons

filmmaker

Jacob Smith

Northwestern, Sound Arts & Industries

Greta Snider

San Francisco State University

Ines Sommer

Northwestern PPSL

Karen Sperling

filmmaker

Michael Stearns

composer

Courtney Stephens

filmmaker

Alexander Stewart

Eyeworks Festival

Rea Tajiri

Temple University / filmmaker

Debra Tolchinsky

Northwestern RTVF

Domietta Torlasco

Northwestern, French & Italian

Michael Anthony Turcios

Northwestern RTVF

Shirin Vossoughi

Northwestern, School of Education

Kylie Walters

Northwestern Screen Cultures

Xiaolu Wang

Northwestern MFA Doc Media

Dr. Rebecca Webster

U. Minnesota Duluth / Oneida Nation

Eduardo "Teddy" Williams filmmaker, Argentina

Jiayu Yang

filmmaker

Wa Yang actor, BITTERROOT

CINEMA 2024-2025

48 PROGRAMS

Sept 2024 – June 2025

all free and open to all

67

VISITING GUESTS

filmmakers, scholars, curators, and artists

4,705

MINUTES OF PROGRAMMING

The work

5

68 PARTNER ORGS co-presenting, lending, supporting programs

≈ 78 hours · the equivalent of more than 3 days of continuous cinema

NEW RESTORATIONS

commissioned or premiered by Block Cinema

8+

16MM PROGRAMS

analog film prints, including multiple new preservations

5 new restorations and transfers

3

35MM SCREENINGS

rare archival prints in a digital age

Block Cinema directly commissioned or partnered on multiple film recoveries this year

WILL (Jessie Maple, 1981)

New 4K restoration · co-presented with IU Black Film Center, Smithsonian NMAAHC, Janus Films

WEST INDIES (Med Hondo, 1979)

New 4K restoration · with Harvard Film Archive and Ciné-Archives

NANCY, HENRI, AND ELIZABETH (1973)

New 4K restoration by USC Hugh M. Hefner Moving Image Archive in partnership with Block Cinema

THE WAITING ROOM (Karen Sperling, 1973)

New digital transfer commissioned by Block Cinema from BAVC · unseen publicly for over 50 years

I AM NOT THIS BODY (1971)

New scan from the last surviving print · first public screening in decades

3

HANDS-ON WORKSHOPS eco-friendly film processing and cameraless filmmaking

BLOCK CINEMA STORIES

Block Cinema is Northwestern's gathering place for the moving image. As a screening space, research site, and public forum, it welcomes audiences to discover important films and underseen voices. Always free and open to the public, the program brings filmmakers and stories often absent from mainstream cinema culture, with introductions and conversations from artists, scholars, and community members. Block Cinema also supports teaching and research, fosters professional development for students, and sustains film culture through workshops and archival initiatives.

Block Cinema’s Weekly Research Screenings spark discovery and scholarship

"Take risks, be radical:" James Benning Inspires MFA Doc Students in Block Cinema Masterclass

Block Cinema Awarded National Grant to Preserve Films by Kentucky Animator Ed Counts

Crafting Films with Plants and Sunlight: Inside Block Cinema’s Phytogram Workshop

The Block Museum of Art and Gene Siskel Film Center Celebrate 50 Years of Films by Women/Chicago '74

Block Cinema unveils projects from its climate-focused mediafunding initiative

Block Cinema Presents "Trans Portraiture" Series: Rediscovering Lost Trans Histories in Film

Block Cinema to Showcase Rarely Seen Works by Amy Halpern in Citywide Collaboration

Rediscovering Karen Sperling: Block Cinema Presents the First Public Screening of "The Waiting Room" in Over 50 Years

CINEMA 2024-2025

Partner organizations

68 collaborators across archives, festivals, foundations, and Northwestern

FILM ARCHIVES & DISTRIBUTORS

Academy Film Archive

Anthology Film Archives

Arsenal – Institute for Film and Video Art (Berlin)

Austrian Film Museum

BAVC (Bay Area Video Coalition)

Canyon Cinema

Center for African American Media Arts

Cinenova (UK)

Ciné-Archives

COUSIN Collective

Guarango Cine y Video / Peru Ministry of Culture

Harvard Film Archive

Indiana University Black Film Center & Archive

Janus Films

Library and Archives Canada

National Film Preservation Foundation

Pacific Film Archive

Reserve Film and Video Collection, NYPL

Smithsonian NMAAHC

Third World Newsreel

USC Hugh M. Hefner Moving Image Archive

FESTIVALS, VENUES & FOUNDATIONS

beatsoftheheart.tv

Chicago Filmmakers

Earth Rising Foundation

Elastic Arts

Ford Foundation

Gene Siskel Film Center

Gichigamiin Indigenous Nations Museum

Inga Bookshop

Italian Cultural Institute of Chicago

Numero Group

Onion City Experimental Film Festival

Pioneer Works (Eyeworks)

Tone Glow

Walker Art Center / Ruben-Bentson Collection

Watershed Art and Ecology

Wirtz Center Chicago

Women's Film Preservation Fund

NORTHWESTERN PARTNERS · 27 DEPARTMENTS, INSTITUTES & PROGRAMS

Alice Kaplan Institute for the Humanities

Asian American Studies Program

Asian Languages and Cultures

Backward Glances Conference

Black Arts Consortium

Black Screens Club

Buffett Institute for Global Affairs

Center for Global Culture & Communication

Climate Crisis + Media Arts Working Group

Colloquium for Global Iran Studies

Department of Black Studies

Department of French & Italian

East Asia Research Forum

Gender & Sexuality Studies Program

Hoffman Visiting Artist Series

Medill School of Journalism

MENA Studies Program

MFA in Documentary Media

MS in Leadership for Creative Enterprises

Pritzker Pucker Studio Lab

RTVF Department

School of Communication

Screen Cultures Program

Sexualities Project

Shifting Shorelines Working Group

Sound Arts and Industries (MA)

South Asia Research Forum

One Book One Northwestern: The Night Watchman

The 2024–25 One Book One Northwestern selection, The Night Watchman by Louise Erdrich, inspired a curated selection of prints and photographs from The Block Museum’s collection exploring themes of identity, family, tradition, community action, and the enduring impact of history. Based in part on the experiences of Erdrich’s grandfather, Patrick Gourneau, the novel reflects on the fight against House Concurrent Resolution 108, legislation that threatened the sovereignty and land of the Turtle Mountain Band of Chippewa.

Drawn from The Block’s permanent collection, the selected works highlighted experiences of kinship, rural and urban life, resistance, and standing up for one’s rights. Accompanying texts offered brief contextual descriptions and suggested connections to Erdrich’s novel while encouraging viewers to reflect on their own personal and collective histories, relationships to place,and responsibilities to one another.

The presentation invited the Northwestern community and broader public to engage with the novel through art, whether through quiet contemplation or shared conversation, and underscored art’s power to deepen understanding of complex historical, cultural, and emotional experiences. A shareable PDF booklet was also created to support teaching and engagement across campus and beyond.

View Works in Collection Database

One Book Collection Talk: Shan Goshorn, "Cherokee Burden Basket: A Song for Balance"

One Book Collection Talk: Claire (Millman) Mahl Moore, "Speed Up" (1936) [Video]

One Book Collection Talk: W. Eugene Smith, "Jean Pearson, from the series Theater Girl, for Life Magazine"

REFRAME: ART AND ATHLETICS

What happens when you bring together student-athletes, artists, museum professionals, and community leaders to imagine a different kind of campus culture? You get Reframe, an ongoing partnership between The Block Museum of Art and Northwestern Athletics that is changing the game.

Developed out of a multi-year commitment and launched in 2024 with a celebratory kickoff event, Reframe has evolved into a meaningful annual event for connection, creativity, and reflection across campus communities. This year, the initiative reached new heights as Northwestern Athletics took the lead, with artist and alum Dwight White serving as featured creative.

The collaboration culminated in a vibrant evening at the Walter Athletics Center, where student-athletes, coaches, artists, and Northwestern leadership gathered to explore the power of art and storytelling. Guests moved through a showcase of creative work, enjoying conversations with a dynamic lineup of featured artists and social impact leaders in Chicago. Reframe invited attendees to consider how the arts can amplify voice, build empathy, and expand definitions of success and leadership for all.

Reframe 2.0: NU Athletics and The Block celebrate a vision for community at Northwestern

2024-2025 STUDENT ART ACQUISITION: CHITRA GANESH

The 2024–2025 Block Museum Student Associate (BMSA) cohort announced the acquisition of three works by Chitra Ganesh (b. 1975) from her series She the Question (2012).

Each academic year, the Student Associates selected artwork for acquisition, offering students the opportunity to learn about museum collecting practices and engage firsthand in the acquisition process. Each cohort’s selection was guided by a new theme. This year’s theme was“horror and dystopia.”

Throughout the fall quarter, the Student Associates collaborated with Block curatorial interns and Associate Curator of Collections Essi Rönkkö to develop a shortlist of artists whose work engaged with the theme. Student Associate Ethan Bledsoe (2026) reflected on the collaborative nature of the process:“The acquisition process was really special for me. Everyone has their own personal tastes when it comes to art, but having thoughtful and meaningful discussions about what it would mean to bring these artworks into The Block’s collection was really meaningful.” Following extensive discussion, research, and presentations during the winter quarter,the cohort voted to acquire Ganesh’s work.

about the Acquisition Watch Video on the Acqusition

The theme of horror and dystopia provided an important entry point for the process, but as our conversations progressed throughout the year, our students’ ideas around this theme became more nuanced, expansive, and complex.

– Erin Northington, Susan and Stephen Wilson Associate Director, Campus and Community Education and Engagement

2024-2025 COLLECTION COUNCIL ART ACQUISITION: MARTIN WONG AND SAMMY BALOJI

In Spring 2025, The Block Museum announced that its Collection Council selected and supported for acquisition works by Martin Wong and Sammy Baloji. Throughout the 2024–25 academic year, the Council convened virtually to debate and narrow a shortlist of artists nominated by Council members and The Block’s curatorial team. Guided by this year’s theme, “the city,” the selected works explored the changing dynamics of urban life and reflected the Council’s commitment to strengthening the museum’s collection as a resource for teaching,learning,and research across Northwestern University.

The Council selected Traffic Signs for the Hearing Impaired (School for Deaf) (1990) by Martin Wong, a pair of street signs originally installed in New York City as part of a public art project. Wong (1946–1999), a Chinese American artist associated with the East Village art scene, was known for his depictions of New York’s neighborhoods and communities, as well as his interest in language and public space. The Council also selected Raccord #1, Cité de Kawama (2011) by Sammy Baloji (b. 1978), a photographer from the Democratic Republic of the Congo whose work examines the impact of mining, industry, and colonialism in the Katanga region through photography and archival materials.

Read about the Acquisition

These acquisitions reflect the Council’s commitment to bringing powerful works into the collection that will challenge, engage, and inspire faculty and students to integrate them into teachingandlearningforyearstocome.

– Lisa Corrin, The Block’s Ellen Philips Katz Executive Director

COLLECTION PRESERVATION, CONSERVATION & DISPLAY

The Block's collections team carried out a wide range of stewardship work this year. Highlights include:

Restoring Jean Arp's Feuille se reposant to its original light

Jean Arp's Feuille se reposant (Resting Leaf) is a highlight of The Block's outdoor sculpture garden. Conceived by Arp in 1959, The Block's version of the bronze sculpture was cast in 1967, while another iteration, in the collection of the Geneva Municipal Contemporary Art Fund, was cast in 1965.These large-scale versions of Arp's sculpture were intended by the artist to be installed outside, heightening the form's connections with nature. Over time, The Block's sculpture has suffered wear, oxidation, and loss of its original soft brown patina. This year, the collections team worked with Third Coast Conservation to relacquer and rewax Feuille se reposant with a focus on restoring its original tone and color.The work was deinstalled and stored offsite during treatment and reinstalled in August 2025.

Preparing Jordan Ann Craig's Sharp Tongue, Used to Cut Deep, for a national tour

In 2024, The Block purchased Jordan Ann Craig's painting Sharp Tongue; Used to Cut Deep (2024). Craig, who is Northern Cheyenne and lives in Santa Fe, New Mexico, draws inspiration for her crisply geometric paintings from Cheyenne bead and quillwork and Pueblo pottery. The Block's painting was one of seven paintings on view in The Block's exhibition it takes a long time to stay here: Paintings by Jordan Ann Craig, the artist's first solo exhibition in a major museum. Art Bridges is now touring the exhibition to mid-sized museums in Montana, New Jersey, New Orleans, and Pennsylvania through 2027. The Block's acrylic on canvas painting measures 70 x 70 x 2.5 inches. To prepare it for travel, the collections team invited a conservator from L. Liparini Studio to undertake an assessment of its condition. The conservator recommended the creation of a backing board that would place soft cotton batting between the stretcher bars to stabilize them for shipment.

COLLECTION PRESERVATION, CONSERVATION & DISPLAY

Time-Based Media Initiative

This past year, the collections team formally engaged time-based media consultant Kate Weinstein to support the development and implementation of processes and best practices to care for and properly store time-based media works. Her contributions included formalizing standard intake procedures, tracking systems, storage protocols, and general stewardship, rooted in accepted norms across the field. She also helped enhance documentation standards in The Block Museum's database for the collection. With updated knowledge and tools now in place, we are actively addressing the time-based media works the museum has already acquired, which now number over two dozen. These works are being brought up to current standards for documentation, tracking, and storage, which is important for their preservation and future use. Additionally, we are digitizing collection items that previously existed only in non-digital formats, such as video cassettes and DVDs. As new time-based media works enter the collection, we upload them to the museum's Vimeo or SoundCloud accounts, linking them to their corresponding records on our website collection search via secure or password-protected links. This approach has streamlined access and made it easier to share media works in classroom settings and with the public overall, including easy access for professors who want to include time-based media in their classroom presentations.

Installation of Jesús Moroles’s Ellipse in Campus Art Walk

In 2024, Chris and Bill Robb gifted Ellipse by Jesús Moroles to The Block Museum’s collection, marking the first addition to the sculpture garden in 25 years.The sculpture had previously resided for most of its existence in the donors’ private garden, where the Robbs had worked with the artist on their installation of his work. The work was also very well maintained throughout their ownership. As a result, little to no conservation intervention was required, and the work was successfully installed in The Block’s sculpture garden in August 2025. The new installation echoes the aesthetic of its previous setting, with the sculpture positioned within a circular bluestone cutout. To accommodate this placement, the original installation hardware was extended and redesigned, allowing the sculpture to be rotated and removed from its mount, and accommodating The Block's unique placement of the work within its sculpture garden.

COLLECTION SPOTLIGHTS

In 2024–2025,The Block Museum’s Collection Spotlight blog series continued to illuminate artworks from the museum’s permanent collection, offering new entry points for reflection, teaching, and engagement. Each post highlights a single artwork, sharing insights into the artist’s practice, historical context, and relevance to contemporary questions. Written by interns, researchers, and staff, the series showcases the breadth of The Block’s holdings while encouraging close looking and interdisciplinary thinking.

Fred Biesel, Untitled (Window Still Life) Etching Plate (1929)

by Corinne Granof, Academic Curator

“This copper plate, used to create the final etching now held in the museum’s collection, serves as a direct link to Biesel’s studio and technique. The image it produces captures a quiet, intimate view from a city apartment window.”

Seba Calfuqueo, Tray Tray Ko (2022)

by Bobby Yalam, 2024 Curatorial Assistant

“Tray Tray Ko is a six-minute media artwork by Seba Calfuqueo, a Mapuche artist whose practice spans video, performance, ceramics, and installation. The work centers on trayenko—waterfalls—which hold deepsignificanceinMapuchecosmology.”

Lee Godie, Figures [Staying Alive] (1993/94)

by Helaina Harris, 20242025 Undergraduate Curatorial Intern

“Godie’s work is an important example of someone who functioned on the margins of society while participating in Chicago’s art scene in an unconventional way. Turning the streets of Chicago into her home, storefront, and studio suggests a dedication to the city that made Godie a well-known, eccentric figure among locals and an artistwithauniqueperspective.”

Igshaan Adams, Klip Gooi (stone throw) iii (2021)

by Kathleen Bickford Berzock, Associate Director of Curatorial Affairs

“The sculpture is among the works Adams calls 'dust clouds,' a reference to the rieldans, one of the oldest dances in South Africa. Rieldans is known for the dust raised through the kicking and stomping of dancers’ feet. It is particularly relevant to Adams’s autobiography, as he is Nama-Khoe through his maternal grandparents, and the rieldans is part of their cultural heritage. The dust kicked up in the rieldans erupts and spirals in clouds that Adams evokes visually in sculptures like this.”

Mark Dion, Chart 35, Anatomy of Global Warming (2021)

by Llewyn Blossfeld, Curatorial Associate

“This list labeling the skeleton’s structure reflects Dion’s belief that humanity cannot be separated from nature—and that the interior of the human body itself embodies the effects of climate change. The image calls attention to how educational tools like anatomy diagrams often present knowledge as objective or neutral, and thus encourage memorization without questioning from the learner. Dion uses this recognizable format to propose an alternative: a human body labeled with ecological catastrophe, insisting that our relationship with the planet is both personal and political.”

Karl Wirsum, Dune Not For Saki (1991)

by Helaina Harris, 2024–2025 Undergraduate Curatorial Intern

“Karl Wirsum’s artworks are colorful, chaotic, and joyous, and have playful titles. Dune Not For Saki, for example, is a wordplay on the biblical verse “do not forsake me.” The images redefine cartoon characters, elevating these figures from the scale of comic book pages into monumental portraits.”

Dawoud Bey, A Woman and Three Children (1985)

by Raya Bryant-Young, 2024–2025 Undergraduate Curatorial Intern

“A Woman and Three Children is situated within Bey’s broader practice of documenting Black life across the United States. This piece is part of the larger series An American Project. While Bey’s early work in Harlem is rooted in the tradition of street photography, he began to take new directions in the 1980s. Unlike many street photographers, whose subjects are often unaware of the camera, A Woman and Three Children reflects a shift toward engagement—an evolution that underscores Bey’s growing focus on agency in portraiture.”

2024-2025 2024-2025

2024–2025 ACQUISITIONS

Igshaan Adams (South African, born 1982)

Klip Gooi (stone throw) iii 2021

Wood, glass, gemstones, beads, metal 110.79 x 28.74 x 36.61 inches

Mary and Leigh Block Museum of Art, Northwestern University, gift of James and Anne DeNaut courtesy Vail Caldwell Projects 2025.15

John Taylor Arms (American, 1887 - 1953)

U.S.S. Columbia Under Construction at New York Shipbuilding Corporation, Camden, N.J. 1945

Etching and drypoint on paper image: 12 1/4 × 17 1/4 in. (31.1 × 43.8 cm) sheet: 15 3/8 × 20 5/8 in. (39.1 × 52.4 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of the Estate of Edward C. Kokkelenberg, PhD '81 2025.2.1

Kader Attia (French, Algerian, born 1970) Réfléchir la Mémoire (Reflecting Memory)

2016

Single channel HD video, color, sound

Duration: 48 minutes, 1 second

Mary and Leigh Block Museum of Art, Northwestern University, gift of the artist 2025.11 (images page 62)

William Baziotes (American, 1912 - 1963) Untitled 1962

Watercolor on paper 14 x 17 inches

Mary and Leigh Block Museum of Art, Northwestern University, gift of Ellen Philips Katz 2025.3.2

William Baziotes (American, 1912 - 1963)

Untitled (Blue and burnt orange) 1960

Watercolor and graphite on paper sheet: 14 3/4 × 11 3/4 in. (37.5 × 29.8 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of Ellen Philips Katz 2025.3.1

Fred Biesel (American, 1893 - 1962)

copper plate for "untitled (window stilllife)"

1929

Copper etching plate

3 15/16 × 5 in. (10 × 12.7 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of Robert Alter and Sherry Siegel 2024.20

Roy Boney (Cherokee, born 1978)

ᏕᎭᎾᏥᎧᎪ (Come to Chicago)

2024

Acrylic on illustration board

24 × 30 in. (61 × 76.2 cm) frame: 30 × 36 in. (76.2 × 91.4 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Advisors Endowment Fund purchase 2025.6

Seba Calfuqueo (Santiago de Chile, Ngulumapu/Chile, born 1991)

Tray Tray Ko

2022

Single-channel video, color, sound

Duration: 6 minutes, 13 seconds

Mary and Leigh Block Museum of Art, Northwestern University, gift of Institute for Studies on Latin American Art (ISLAA), New York 2024.27

Kelly Church (Match-E-Be-Nash-She-Wish Band of Pottawatomi/Ottawa, born 1967)

Looking to the Future—What would you Choose?

2024

Black ash, copper strips, size 15 beads, sinew, vial containing corn seeds, vial containing gold flakes, and flash drive with video 9 1/4 × 4 3/4 × 4 3/4 in. (23.5 × 12.1 × 12.1 cm)

Duration: 2 minutes, 40 seconds

Mary and Leigh Block Museum of Art, Northwestern University, Irwin and Andra S. Press Collection Endowment Fund purchase, with additional purchase funds provided by Kim AllenNiesen, Mary Baglivo, Stu Bohart, Nicole Druckman, Kate Ezra, Cheryl Johnson-Odim, Sandi Riggs, Christine Robb, and Eden Romick, in honor of Janet Dees (Steven and Lisa Munster Tananbaum Curator of Modern and Contemporary Art, 2015-2025), in recognition of her contributions to the museum 2025.5.1

Kelly Church (Match-E-Be-Nash-She-Wish Band of Pottawatomi/Ottawa, born 1967)

Dragonflies and Turtle 2024

Birch bark 5 × 6 in. (12.7 × 15.2 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Irwin and Andra S. Press Collection Endowment Fund purchase 2025.5.2 (image page 60)

Willie Cole (American, born 1955)

Sarah, from the series Beauties 2012

Intaglio and relief print on paper

63 1/2 x 22 1/2 inches

Mary and Leigh Block Museum of Art, Northwestern University, Block Art and Community Fund purchase 2025.4

Bruce Conner (American, 1933 - 2008) #113

1970

Lithograph on paper image: 11 5/8 × 9 7/16 in. (29.5 × 24 cm) sheet: 11 3/4 × 9 1/2 in. (29.8 × 24.1 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of The Conner Family Trust, San Francisco 2025.1.1

Bruce Conner (American, 1933 - 2008) #114

1970

Lithograph on paper image: 8 3/8 × 10 11/16 in. (21.3 × 27.1 cm) sheet: 11 1/8 × 13 in. (28.3 × 33 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of The Conner Family Trust, San Francisco 2025.1.2

Bruce Conner (American, 1933 - 2008) #116

1970

Lithograph on paper image: 7 3/4 × 10 3/4 in. (19.7 × 27.3 cm) sheet: 11 × 13 1/8 in. (27.9 × 33.3 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of The Conner Family Trust, San Francisco 2025.1.3

Adams (South African, born 1982) (stone throw) iii

glass, gemstones, beads, metal

28.74 x 36.61 inches

Leigh Block Museum of Art, Northwestern University, gift of and Anne DeNaut courtesy Vail Projects

Taylor Arms (American, 1887 - 1953)

Columbia Under Construction at New Shipbuilding Corporation, Camden,

and drypoint on paper

12 1/4 × 17 1/4 in. (31.1 × 43.8 cm)

3/8 × 20 5/8 in. (39.1 × 52.4 cm)

Leigh Block Museum of Art, Northwestern University, gift of the Edward C. Kokkelenberg, PhD '81

Attia (French, Algerian, born 1970) la Mémoire (Reflecting Memory)

channel HD video, color, sound 48 minutes, 1 second

Leigh Block Museum of Art, Northwestern University, gift of the (images page 62)

Baziotes (American, 1912 - 1963)

Watercolor on paper inches

Leigh Block Museum of Art, Northwestern University, gift of Philips Katz

Baziotes (American, 1912 - 1963) (Blue and burnt orange)

Watercolor and graphite on paper

3/4 × 11 3/4 in. (37.5 × 29.8 cm)

Leigh Block Museum of Art, Northwestern University, gift of Philips Katz

Fred Biesel (American, 1893 - 1962)

copper plate for "untitled (window stilllife)" 1929

Copper etching plate

3 15/16 × 5 in. (10 × 12.7 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of Robert Alter and Sherry Siegel 2024.20

Roy Boney (Cherokee, born 1978)

ᏕᎭᎾᏥᎧᎪ (Come to Chicago)

2024

Acrylic on illustration board

24 × 30 in. (61 × 76.2 cm) frame: 30 × 36 in. (76.2 × 91.4 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Advisors Endowment Fund purchase 2025.6

Seba Calfuqueo (Santiago de Chile, Ngulumapu/Chile, born 1991)

Tray Tray Ko

2022

Single-channel video, color, sound

Duration: 6 minutes, 13 seconds

Mary and Leigh Block Museum of Art, Northwestern University, gift of Institute for Studies on Latin American Art (ISLAA), New York 2024.27

Kelly Church (Match-E-Be-Nash-She-Wish Band of Pottawatomi/Ottawa, born 1967)

Looking to the Future—What would you Choose? 2024

Black ash, copper strips, size 15 beads, sinew, vial containing corn seeds, vial containing gold flakes, and flash drive with video 9 1/4 × 4 3/4 × 4 3/4 in. (23.5 × 12.1 × 12.1 cm)

Duration: 2 minutes, 40 seconds

Mary and Leigh Block Museum of Art, Northwestern University, Irwin and Andra S. Press Collection Endowment Fund purchase, with additional purchase funds provided by Kim AllenNiesen, Mary Baglivo, Stu Bohart, Nicole Druckman, Kate Ezra, Cheryl Johnson-Odim, Sandi Riggs, Christine Robb, and Eden Romick, in honor of Janet Dees (Steven and Lisa Munster Tananbaum Curator of Modern and Contemporary Art, 2015-2025), in recognition of her contributions to the museum 2025.5.1

Kelly Church (Match-E-Be-Nash-She-Wish Band of Pottawatomi/Ottawa, born 1967)

Dragonflies and Turtle 2024

Birch bark 5 × 6 in. (12.7 × 15.2 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Irwin and Andra S. Press Collection Endowment Fund purchase 2025.5.2 (image page 60)

Willie Cole (American, born 1955)

Sarah, from the series Beauties 2012

Intaglio and relief print on paper 63 1/2 x 22 1/2 inches

Mary and Leigh Block Museum of Art, Northwestern University, Block Art and Community Fund purchase 2025.4

Bruce Conner (American, 1933 - 2008) #113

1970

Lithograph on paper image: 11 5/8 × 9 7/16 in. (29.5 × 24 cm)

sheet: 11 3/4 × 9 1/2 in. (29.8 × 24.1 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of The Conner Family Trust, San Francisco 2025.1.1

Bruce Conner (American, 1933 - 2008) #114

1970

Lithograph on paper image: 8 3/8 × 10 11/16 in. (21.3 × 27.1 cm)

sheet: 11 1/8 × 13 in. (28.3 × 33 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of The Conner Family Trust, San Francisco 2025.1.2

Bruce Conner (American, 1933 - 2008) #116

1970

Lithograph on paper image: 7 3/4 × 10 3/4 in. (19.7 × 27.3 cm)

sheet: 11 × 13 1/8 in. (27.9 × 33.3 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of The Conner Family Trust, San Francisco 2025.1.3

2024–2025 ACQUISITIONS

2024–2025 ACQUISITIONS

Clark Dean (American, 1926 - 2017)

Untitled [King's Palace Liquor] ca. 1945

Gelatin silver print image: 7 7/16 × 7 7/16 in. (18.9 × 18.9 cm) sheet: 7 15/16 × 7 15/16 in. (20.2 × 20.2 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of the Bauhaus Chicago Foundation 2024.21.1

Howard Dearstyne (American, 1903 - 1979) Untitled 1950

Color photograph image: 9 1/4 × 13 5/8 in. (23.5 × 34.6 cm) sheet: 10 7/8 × 13 15/16 in. (27.6 × 35.4 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of T. Paul Young, in memory of the artist 2024.21.2

Mark Dion (American, born 1961)

Chart 35, Anatomy of Global Warming 2021

Screenprint on cloth and paper, with stained maple dowels

32 7/8 × 21 3/8 × 7/8 in. (83.5 × 54.3 × 2.2 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Advisors Endowment Fund purchase 2025.10.1

Mark Dion (American, born 1961) Marine World 2021

Screenprint on cloth and paper, with stained maple dowels

32 7/8 × 17 5/8 × 7/8 in. (83.5 × 44.8 × 2.2 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of the artist 2025.10.2

Fritz Eichenberg (American, born Germany, 1901 - 1990)

Saint Christopher 1949

Wood engraving on paper image: 7 1/2 × 5 5/16 in. (19.1 × 13.5 cm) sheet: 12 1/4 × 9 in. (31.1 × 22.9 cm) folder: 15 7/8 × 13 in. (40.3 × 33 cm) (folded)

Mary and Leigh Block Museum of Art, Northwestern University, gift of the Estate of Edward C. Kokkelenberg, PhD '81 2025.2.3

Chitra Ganesh (American, born 1975)

She the Question, Patience 2012, printed 2025

Inkjet print on paper sheet: 17 7/8 × 14 in. (45.4 × 35.6 cm) image: 16 15/16 × 12 15/16 in. (43 × 32.9 cm)

Mary and Leigh Block Museum of Art, Northwestern University, 2024–2025 Block Museum Student Associates acquisition, purchase funds provided by Craig Ponzio and Block Student Impact Fund 2025.12.1

Chitra Ganesh (American, born 1975)

She the Question, She the Garbage Picker 2012, printed 2025

Inkjet print on paper sheet: 12 1/4 × 39 5/8 in. (31.1 × 100.6 cm) left image: 10 5/8 × 21 3/4 in. (27 × 55.2 cm)

right image: 10 5/8 × 15 7/8 in. (27 × 40.3 cm)

Mary and Leigh Block Museum of Art, Northwestern University, 2024–2025 Block Museum Student Associates acquisition, purchase funds provided by Craig Ponzio and Block Student Impact Fund 2025.12.2

Chitra Ganesh (American, born 1975)

She the Question, The History of Encounter 2012, printed 2025

Inkjet print on paper sheet: 22 × 18 in. (55.9 × 45.7 cm)

top image: 8 7/8 × 17 in. (22.5 × 43.2 cm)

left image: 10 7/8 × 7 5/8 in. (27.6 × 19.4 cm)

right image: 10 7/8 × 8 in. (27.6 × 20.3 cm)

Mary and Leigh Block Museum of Art, Northwestern University, 2024–2025 Block Museum Student Associates acquisition, purchase funds provided by Craig Ponzio and Block Student Impact Fund 2025.12.3

Chitra Ganesh (American, born 1975)

Sultana's Dream: Solar Hands 2018

Linocut on paper

20 1/8 × 16 1/8 in. (51.1 × 41 cm)

Mary and Leigh Block Museum of Art, Northwestern University, purchase funds provided by Craig Ponzio, Block Student Impact Fund, and Irwin and Andra S. Press Collection Endowment Fund 2025.14.2

Chitra Ganesh (American, born 1975)

Sultana's Dream: Sentimental Nightmare 2018

Linocut on paper

20 1/8 × 16 1/8 in. (51.1 × 41 cm)

Mary and Leigh Block Museum of Art, Northwestern University, purchase funds provided by Craig Ponzio, Block Student Impact Fund, and Irwin and Andra S. Press Collection Endowment Fund 2025.14.1

Lee Godie (American, 1908 - 1994)

Figures 1993/94

Mixed media on canvas frame: 28 × 35 in. (71.1 × 88.9 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of Paul & Pamela Boneham 2024.26

Leonidas Goulandris (Greek, 1927 - 2011) Kronos 25 1999

Acrylic on paper 30 x 22 inches

Mary and Leigh Block Museum of Art, Northwestern University, gift of Ellen Philips Katz 2024.23.1

Dor Guez (Israeli/Palestinian, born 1983) Letters from the Greater Maghreb #1 (6), from the series Letters from the Greater Maghreb #1 2021, printed 2025

Inkjet print image: 14 1/8 × 42 7/16 in. (35.9 × 107.8 cm) sheet: 16 × 44 1/4 in. (40.6 × 112.4 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Lisa Munster Tananbaum and Steven Tananbaum Fund purchase 2025.17.1

Dor Guez (Israeli/Palestinian, born 1983) Letters from the Greater Maghreb #1 (8), from the series Letters from the Greater Maghreb #1 2021, printed 2025

Inkjet print image: 14 1/8 × 35 1/4 in. (35.9 × 89.5 cm) sheet: 16 × 37 1/8 in. (40.6 × 94.3 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Lisa Munster Tananbaum and Steven Tananbaum Fund purchase 2025.17.2 (image page 66)

Dean (American, 1926 - 2017)

[King's Palace Liquor]

silver print

7/16 × 7 7/16 in. (18.9 × 18.9 cm)

15/16 × 7 15/16 in. (20.2 × 20.2

Leigh Block Museum of Art, Northwestern University, gift of the Chicago Foundation

Dearstyne (American, 1903 - 1979)

photograph

1/4 × 13 5/8 in. (23.5 × 34.6 cm)

7/8 × 13 15/16 in. (27.6 × 35.4

Leigh Block Museum of Art, Northwestern University, gift of T. Young, in memory of the artist

Dion (American, born 1961) Anatomy of Global Warming

Screenprint on cloth and paper, with maple dowels

21 3/8 × 7/8 in. (83.5 × 54.3 × 2.2

Leigh Block Museum of Art, Northwestern University, Block Advisors Endowment Fund 2025.10.1

Dion (American, born 1961) World

Screenprint on cloth and paper, with maple dowels

17 5/8 × 7/8 in. (83.5 × 44.8 × 2.2

Leigh Block Museum of Art, Northwestern University, gift of the

Eichenberg (American, born Germany, 1990) Christopher

engraving on paper

1/2 × 5 5/16 in. (19.1 × 13.5 cm)

1/4 × 9 in. (31.1 × 22.9 cm)

7/8 × 13 in. (40.3 × 33 cm)

Leigh Block Museum of Art, Northwestern University, gift of the Edward C. Kokkelenberg, PhD '81

Chitra Ganesh (American, born 1975)

She the Question, Patience 2012, printed 2025

Inkjet print on paper sheet: 17 7/8 × 14 in. (45.4 × 35.6 cm) image: 16 15/16 × 12 15/16 in. (43 × 32.9 cm)

Mary and Leigh Block Museum of Art, Northwestern University, 2024–2025 Block Museum Student Associates acquisition, purchase funds provided by Craig Ponzio and Block Student Impact Fund 2025.12.1

Chitra Ganesh (American, born 1975)

She the Question, She the Garbage Picker 2012, printed 2025

Inkjet print on paper sheet: 12 1/4 × 39 5/8 in. (31.1 × 100.6 cm) left image: 10 5/8 × 21 3/4 in. (27 × 55.2 cm)

right image: 10 5/8 × 15 7/8 in. (27 × 40.3 cm)

Mary and Leigh Block Museum of Art, Northwestern University, 2024–2025 Block Museum Student Associates acquisition, purchase funds provided by Craig Ponzio and Block Student Impact Fund 2025.12.2

Chitra Ganesh (American, born 1975)

She the Question, The History of Encounter 2012, printed 2025

Inkjet print on paper sheet: 22 × 18 in. (55.9 × 45.7 cm)

top image: 8 7/8 × 17 in. (22.5 × 43.2 cm)

left image: 10 7/8 × 7 5/8 in. (27.6 × 19.4 cm)

right image: 10 7/8 × 8 in. (27.6 × 20.3 cm)

Mary and Leigh Block Museum of Art, Northwestern University, 2024–2025 Block Museum Student Associates acquisition, purchase funds provided by Craig Ponzio and Block Student Impact Fund 2025.12.3

Chitra Ganesh (American, born 1975)

Sultana's Dream: Solar Hands 2018

Linocut on paper

20 1/8 × 16 1/8 in. (51.1 × 41 cm)

Mary and Leigh Block Museum of Art, Northwestern University, purchase funds provided by Craig Ponzio, Block Student Impact Fund, and Irwin and Andra S. Press Collection Endowment Fund

Chitra Ganesh (American, born 1975)

Sultana's Dream: Sentimental Nightmare 2018

Linocut on paper 20 1/8 × 16 1/8 in. (51.1 × 41 cm)

Mary and Leigh Block Museum of Art, Northwestern University, purchase funds provided by Craig Ponzio, Block Student Impact Fund, and Irwin and Andra S. Press Collection Endowment Fund

2025.14.1

Lee Godie (American, 1908 - 1994) Figures 1993/94

Mixed media on canvas frame: 28 × 35 in. (71.1 × 88.9 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of Paul & Pamela Boneham 2024.26

Leonidas Goulandris (Greek, 1927 - 2011) Kronos 25 1999

Acrylic on paper 30 x 22 inches

Mary and Leigh Block Museum of Art, Northwestern University, gift of Ellen Philips Katz 2024.23.1

Dor Guez (Israeli/Palestinian, born 1983)

Letters from the Greater Maghreb #1 (6), from the series Letters from the Greater Maghreb #1 2021, printed 2025

Inkjet print image: 14 1/8 × 42 7/16 in. (35.9 × 107.8 cm) sheet: 16 × 44 1/4 in. (40.6 × 112.4 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Lisa Munster Tananbaum and Steven Tananbaum Fund purchase 2025.17.1

Dor Guez (Israeli/Palestinian, born 1983)

Letters from the Greater Maghreb #1 (8), from the series Letters from the Greater Maghreb #1 2021, printed 2025

Inkjet print image: 14 1/8 × 35 1/4 in. (35.9 × 89.5 cm)

sheet: 16 × 37 1/8 in. (40.6 × 94.3 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Lisa Munster Tananbaum and Steven Tananbaum Fund purchase 2025.17.2 (image page 66)

2025.14.2

2024–2025 ACQUISITIONS

1832–47

2025.2.4

2025.3.3

Untitled 1942-45

Photogram sheet and 27.6 cm)

Mary and Northwestern Bauhaus

2024.21.3

Untitled 1942-45

Photogram sheet and 28.3 cm)

Mary and Northwestern Bauhaus

2024.21.4

2024.21.16

2024–2025 ACQUISITIONS

Yuichi Idaka (Japanese-American, 19142012)

Untitled 1946

Gelatin silver print image: 4 1/16 × 4 in. (10.3 × 10.2 cm) sheet: 5 × 4 in. (12.7 × 10.2 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of the Bauhaus Chicago Foundation 2024.21.5

Barbara Jones-Hogu (American, 19382017)

Untitled 1969

Color screenprint on paper 22 × 29 1/2 in. (55.9 × 74.9 cm)

Mary and Leigh Block Museum of Art, Northwestern University, The Block Art and Community Fund purchase 2025.9.14

Barbara Jones-Hogu (American, 19382017)

Be Bold, from the series Photo-Posters 2009

Inkjet print on paper image: 18 3/8 × 11 5/8 in. (46.7 × 29.5 cm) sheet: 19 × 13 in. (48.3 × 33 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of David Lusenhop in honor of the artist 2025.9.2

Andrew Karoly (American, 1893 - 1978) The Year-Mart in Rouen 1939

Etching on paper image: 13 3/4 × 10 7/8 in. (34.9 × 27.6 cm) sheet: 15 1/2 × 12 5/8 in. (39.4 × 32.1 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of the Estate of Edward C. Kokkelenberg, PhD '81 2025.2.5

Mark Klett (American, born 1952)

Byron Wolfe (American, born 1967)

Point Imperial on the Grand Canyon, 50% Ansel Adams, 50% Red Wall

Limestone, from the series Reconstructing the View: The Grand Canyon

Photographs of Mark Klett and Byron Wolfe

2008

Inkjet print sheet: 24 × 31 3/8 in. (61 × 79.7 cm) frame: 26 1/8 × 31 3/8 in. (66.4 × 79.7 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of Ellen Philips Katz 2025.3.4

Mark Klett (American, born 1952)

Byron Wolfe (American, born 1967)

View down river from Toroweap Point, with rafters approaching Lava Falls, from the series Reconstructing the View: The Grand Canyon Photographs of Mark Klett and Byron Wolfe

2008

Inkjet print sheet: 24 × 54 3/8 in. (61 × 138.1 cm) frame: 26 1/4 × 56 3/8 in. (66.7 × 143.2 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of Ellen Philips Katz

2025.3.5 (image pg 70)

Mark Klett (American, born 1952)

Byron Wolfe (American, born 1967)

Man peering into space, from the series Reconstructing the View: The Grand Canyon Photographs of Mark Klett and Byron Wolfe

2008

Inkjet print sheet: 23 7/8 × 24 3/8 in. (60.6 × 61.9 cm) frame: 26 1/8 × 26 5/8 in. (66.4 × 67.6 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of Ellen Philips Katz

2025.3.6

Mark Klett (American, born 1952)

Byron Wolfe (American, born 1967)

Site of a dangerous slip, now overgrown, from the series Reconstructing the View: The Grand Canyon Photographs of Mark Klett and Byron Wolfe

2008

Inkjet print sheet: 15 1/8 × 22 in. (38.4 × 55.9 cm) frame: 17 1/4 × 24 1/8 in. (43.8 × 61.3 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of Ellen Philips Katz

2025.3.7

Mark Klett (American, born 1952)

Byron Wolfe (American, born 1967)

Stereo view of Isis Temple, from the series Reconstructing the View: The Grand Canyon Photographs of Mark Klett and Byron Wolfe

2010

Inkjet print frame: 14 5/8 × 25 in. (37.1 × 63.5 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of Ellen Philips Katz 2025.3.9

Mark Klett (American, born 1952)

Byron Wolfe (American, born 1967)

Alvin Langdon Coburn’s storm passing through three seasons and ninety eight years (1911, 2007, and 2009), from the series Reconstructing the View: The Grand Canyon Photographs of Mark Klett and Byron Wolfe

2009

Inkjet print sheet: 23 3/4 × 56 in. (60.3 × 142.2 cm) frame: 26 1/4 × 58 5/8 in. (66.7 × 148.9 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of Ellen Philips Katz 2025.3.8

Philipp Lachenmann (German, born 1963)

Grey Study (Surfer)

2003

LightJet print behind acrylic 49 1/2 x 66 inches

Mary and Leigh Block Museum of Art, Northwestern University, gift of Ellen Philips Katz 2024.23.2

Denise Lajimodiere (Turtle Mountain Band of Ojibwe, born 1951)

Flower 2024

Birch bark 3 1/2 × 6 in. (8.9 × 15.2 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Irwin and Andra S. Press Collection Endowment Fund purchase 2025.5.4

Nora Moore Lloyd (Lac Courte Oreilles Band of Lake Superior Ojibwe, born 1947)

Alberta O'Shogay (Oneida), from the series Chicago’s Native American Community: Our Elders Look Back, 19982010

1998, printed 2024

Inkjet print 16 7/16 × 13 7/16 in. (41.8 × 34.1 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Advisors Endowment Fund purchase 2024.19.1

Idaka (Japanese-American, 1914 -

silver print

1/16 × 4 in. (10.3 × 10.2 cm)

× 4 in. (12.7 × 10.2 cm)

Leigh Block Museum of Art, Northwestern University, gift of the Chicago Foundation

2024.21.5

Jones-Hogu (American, 1938 -

screenprint on paper

1/2 in. (55.9 × 74.9 cm)

Leigh Block Museum of Art, Northwestern University, The Block Community Fund purchase

2025.9.14

Jones-Hogu (American, 1938from the series Photo-Posters

print on paper

18 3/8 × 11 5/8 in. (46.7 × 29.5 cm)

× 13 in. (48.3 × 33 cm)

Leigh Block Museum of Art, Northwestern University, gift of Lusenhop in honor of the artist

Karoly (American, 1893 - 1978)

Year-Mart in Rouen on paper

13 3/4 × 10 7/8 in. (34.9 × 27.6 cm)

1/2 × 12 5/8 in. (39.4 × 32.1 cm)

Leigh Block Museum of Art, Northwestern University, gift of the Edward C. Kokkelenberg, PhD '81

Klett (American, born 1952)

Wolfe (American, born 1967)

Imperial on the Grand Canyon, 50% Adams, 50% Red Wall

Limestone, from the series Reconstructing The Grand Canyon

Photographs of Mark Klett and Byron Wolfe

print × 31 3/8 in. (61 × 79.7 cm)

1/8 × 31 3/8 in. (66.4 × 79.7 cm)

Leigh Block Museum of Art, Northwestern University, gift of Philips Katz

Mark Klett (American, born 1952)

Byron Wolfe (American, born 1967)

View down river from Toroweap Point, with rafters approaching Lava Falls, from the series Reconstructing the View: The Grand Canyon Photographs of Mark Klett and Byron Wolfe

2008

Inkjet print sheet: 24 × 54 3/8 in. (61 × 138.1 cm)

frame: 26 1/4 × 56 3/8 in. (66.7 × 143.2 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of Ellen Philips Katz

2025.3.5 (image pg 70)

Mark Klett (American, born 1952)

Byron Wolfe (American, born 1967)

Man peering into space, from the series Reconstructing the View: The Grand Canyon Photographs of Mark Klett and Byron Wolfe

2008

Inkjet print sheet: 23 7/8 × 24 3/8 in. (60.6 × 61.9 cm)

frame: 26 1/8 × 26 5/8 in. (66.4 × 67.6 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of Ellen Philips Katz 2025.3.6

Mark Klett (American, born 1952)

Byron Wolfe (American, born 1967)

Site of a dangerous slip, now overgrown, from the series Reconstructing the View: The Grand Canyon Photographs of Mark Klett and Byron Wolfe

2008

Inkjet print sheet: 15 1/8 × 22 in. (38.4 × 55.9 cm)

frame: 17 1/4 × 24 1/8 in. (43.8 × 61.3 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of Ellen Philips Katz 2025.3.7

Mark Klett (American, born 1952)

Byron Wolfe (American, born 1967)

Stereo view of Isis Temple, from the series Reconstructing the View: The Grand Canyon Photographs of Mark Klett and Byron Wolfe

2010

Inkjet print frame: 14 5/8 × 25 in. (37.1 × 63.5 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of Ellen Philips Katz 2025.3.9

Mark Klett (American, born 1952)

Byron Wolfe (American, born 1967)

Alvin Langdon Coburn’s storm passing through three seasons and ninety eight years (1911, 2007, and 2009), from the series Reconstructing the View: The Grand Canyon Photographs of Mark Klett and Byron Wolfe

2009

Inkjet print sheet: 23 3/4 × 56 in. (60.3 × 142.2 cm)

frame: 26 1/4 × 58 5/8 in. (66.7 × 148.9 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of Ellen Philips Katz

2025.3.8

Philipp Lachenmann (German, born 1963)

Grey Study (Surfer)

2003

LightJet print behind acrylic 49 1/2 x 66 inches

Mary and Leigh Block Museum of Art, Northwestern University, gift of Ellen Philips Katz 2024.23.2

Denise Lajimodiere (Turtle Mountain Band of Ojibwe, born 1951)

Flower

2024

Birch bark

3 1/2 × 6 in. (8.9 × 15.2 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Irwin and Andra S. Press Collection Endowment Fund purchase 2025.5.4

Nora Moore Lloyd (Lac Courte Oreilles Band of Lake Superior Ojibwe, born 1947)

Alberta O'Shogay (Oneida), from the series Chicago’s Native American Community: Our Elders Look Back, 19982010

1998, printed 2024

Inkjet print

16 7/16 × 13 7/16 in. (41.8 × 34.1 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Advisors Endowment Fund purchase 2024.19.1

2024–2025 ACQUISITIONS

2024–2025 ACQUISITIONS

Teresa Montoya (Diné, born 1984)

Tó Łitso #1 (Yellow Water #1), from the series Tó Łisto (Yellow Water)

2016, printed 2024

Inkjet print

15 15/16 × 23 15/16 in. (40.5 × 60.8 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Advisors Endowment Fund purchase 2024.22.1

(right page #3, #22, #2, #7 #6, #14)

Teresa Montoya (Diné, born 1984)

Tó Łitso #2 (Yellow Water #2), from the series Tó Łisto (Yellow Water)

2016, printed 2024

Inkjet print

16 × 24 in. (40.6 × 61 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Advisors Endowment Fund purchase

2024.22.2

Teresa Montoya (Diné, born 1984)

Tó Łitso #3 (Yellow Water #3), from the series Tó Łisto (Yellow Water)

2016, printed 2024

Inkjet print

16 × 24 in. (40.6 × 61 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Advisors Endowment Fund purchase 2024.22.3

Teresa Montoya (Diné, born 1984)

Tó Łitso #4 (Yellow Water #4), from the series Tó Łisto (Yellow Water) 2016, printed 2024

Inkjet print

16 × 24 in. (40.6 × 61 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Advisors Endowment Fund purchase 2024.22.4

Teresa Montoya (Diné, born 1984)

Tó Łitso #5 (Yellow Water #5), from the series Tó Łisto (Yellow Water)

2016, printed 2024

Inkjet print

16 × 24 in. (40.6 × 61 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Advisors Endowment Fund purchase 2024.22.5

Teresa Montoya (Diné, born 1984)

Tó Łitso #6 (Yellow Water #6), from the series Tó Łisto (Yellow Water)

2016, printed 2024

Inkjet print

15 15/16 × 23 15/16 in. (40.5 × 60.8 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Advisors Endowment Fund purchase 2024.22.6

Teresa Montoya (Diné, born 1984)

Tó Łitso #7 (Yellow Water #7), from the series Tó Łisto (Yellow Water)

2016, printed 2024

Inkjet print

16 × 24 in. (40.6 × 61 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Advisors Endowment Fund purchase 2024.22.7

Teresa Montoya (Diné, born 1984)

Tó Łitso #8 (Yellow Water #8), from the series Tó Łisto (Yellow Water)

2016, printed 2024

Inkjet print

16 × 24 in. (40.6 × 61 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Advisors Endowment Fund purchase 2024.22.8

Teresa Montoya (Diné, born 1984)

Tó Łitso #9 (Yellow Water #9), from the series Tó Łisto (Yellow Water)

2016, printed 2024

Inkjet print

16 × 24 in. (40.6 × 61 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Advisors Endowment Fund purchase 2024.22.9

Teresa Montoya (Diné, born 1984)

Tó Łitso #10 (Yellow Water #10), from the series Tó Łisto (Yellow Water)

2016, printed 2024

Inkjet print

16 × 24 in. (40.6 × 61 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Advisors Endowment Fund purchase 2024.22.10

Teresa Montoya (Diné, born 1984)

Tó Łitso #11 (Yellow Water #11), from the series Tó Łisto (Yellow Water)

2016, printed 2024

Inkjet print

15 15/16 × 23 15/16 in. (40.5 × 60.8 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Advisors Endowment Fund purchase 2024.22.11

Teresa Montoya (Diné, born 1984)

Tó Łitso #12 (Yellow Water #12), from the series Tó Łisto (Yellow Water)

2016, printed 2024

Inkjet print

16 × 24 in. (40.6 × 61 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Advisors Endowment Fund purchase 2024.22.12

Teresa Montoya (Diné, born 1984)

Tó Łitso #13 (Yellow Water #13), from the series Tó Łisto (Yellow Water)

2016, printed 2024

Inkjet print

16 × 24 in. (40.6 × 61 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Advisors Endowment Fund purchase 2024.22.13

Teresa Montoya (Diné, born 1984)

Tó Łitso #14 (Yellow Water #14), from the series Tó Łisto (Yellow Water)

2016, printed 2024

Inkjet print

16 × 24 in. (40.6 × 61 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Advisors Endowment Fund purchase 2024.22.14

Teresa Montoya (Diné, born 1984)

Tó Łitso #15 (Yellow Water #15), from the series Tó Łisto (Yellow Water)

2016, printed 2024

Inkjet print

16 × 24 in. (40.6 × 61 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Advisors Endowment Fund purchase 2024.22.15

Montoya (Diné, born 1984)

#1 (Yellow Water #1), from the Łisto (Yellow Water)

printed 2024

print × 23 15/16 in. (40.5 × 60.8 cm)

Leigh Block Museum of Art, Northwestern University, Block Advisors Endowment Fund 2024.22.1

page #3, #22, #2, #7 #6, #14)

Montoya (Diné, born 1984)

#2 (Yellow Water #2), from the Łisto (Yellow Water)

printed 2024

Teresa Montoya (Diné, born 1984)

(40.6 × 61 cm)

Leigh Block Museum of Art, Northwestern University, Block Advisors Endowment Fund

Montoya (Diné, born 1984)

#3 (Yellow Water #3), from the Łisto (Yellow Water)

printed 2024

print

in. (40.6 × 61 cm)

Leigh Block Museum of Art, Northwestern University, Block Advisors Endowment Fund

Tó Łitso #6 (Yellow Water #6), from the series Tó Łisto (Yellow Water)

2016, printed 2024

Inkjet print

15 15/16 × 23 15/16 in. (40.5 × 60.8 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Advisors Endowment Fund purchase 2024.22.6

Teresa Montoya (Diné, born 1984)

Tó Łitso #7 (Yellow Water #7), from the series Tó Łisto (Yellow Water)

2016, printed 2024

Inkjet print

16 × 24 in. (40.6 × 61 cm)

Teresa Montoya (Diné, born 1984)

Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Advisors Endowment Fund purchase 2024.22.7

Teresa Montoya (Diné, born 1984)

Tó Łitso #8 (Yellow Water #8), from the series Tó Łisto (Yellow Water)

2016, printed 2024

Inkjet print

16 × 24 in. (40.6 × 61 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Advisors Endowment Fund purchase 2024.22.8

Montoya (Diné, born 1984)

#4 (Yellow Water #4), from the Łisto (Yellow Water)

printed 2024

(40.6 × 61 cm)

Leigh Block Museum of Art, Northwestern University, Block Advisors Endowment Fund

Montoya (Diné, born 1984)

#5 (Yellow Water #5), from the Łisto (Yellow Water) printed 2024

Tó Łitso #11 (Yellow Water #11), from the series Tó Łisto (Yellow Water)

2016, printed 2024

Inkjet print

15 15/16 × 23 15/16 in. (40.5 × 60.8 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Advisors Endowment Fund purchase 2024.22.11

Teresa Montoya (Diné, born 1984)

Tó Łitso #12 (Yellow Water #12), from the series Tó Łisto (Yellow Water)

2016, printed 2024

Inkjet print

16 × 24 in. (40.6 × 61 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Advisors Endowment Fund purchase 2024.22.12

(40.6 × 61 cm)

Leigh Block Museum of Art, Northwestern University, Block Advisors Endowment Fund

Teresa Montoya (Diné, born 1984)

Tó Łitso #9 (Yellow Water #9), from the series Tó Łisto (Yellow Water)

2016, printed 2024

Inkjet print

16 × 24 in. (40.6 × 61 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Advisors Endowment Fund purchase 2024.22.9

Teresa Montoya (Diné, born 1984)

Tó Łitso #10 (Yellow Water #10), from the series Tó Łisto (Yellow Water)

2016, printed 2024

Inkjet print

16 × 24 in. (40.6 × 61 cm)

Teresa Montoya (Diné, born 1984)

Tó Łitso #13 (Yellow Water #13), from the series Tó Łisto (Yellow Water)

2016, printed 2024

Inkjet print

16 × 24 in. (40.6 × 61 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Advisors Endowment Fund purchase 2024.22.13

Teresa Montoya (Diné, born 1984)

Tó Łitso #14 (Yellow Water #14), from the series Tó Łisto (Yellow Water)

2016, printed 2024

Inkjet print

16 × 24 in. (40.6 × 61 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Advisors Endowment Fund purchase 2024.22.14

Teresa Montoya (Diné, born 1984)

Tó Łitso #15 (Yellow Water #15), from the series Tó Łisto (Yellow Water)

2016, printed 2024

Inkjet print

16 × 24 in. (40.6 × 61 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Advisors Endowment Fund purchase 2024.22.15

Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Advisors Endowment Fund purchase 2024.22.10

ACQUISITIONS

2024–2025 ACQUISITIONS

Sylvia Pixley (American, born 1942)

Hidcote Gardens #1

Wood engraving on paper image: 4 × 2 in. (10.2 × 5.1 cm) sheet: 6 × 4 in. (15.2 × 10.2 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of the Estate of Edward C. Kokkelenberg, PhD '81 2025.2.8

Robert Polidori (Canadian/American, born 1951)

Escalier des salles de l'Afrique, Versailles (Staircase for Africa Rooms, Versailles)

1985

Color photographic print 60 x 50 inches

Mary and Leigh Block Museum of Art, Northwestern University, gift of Ellen Philips Katz 2024.23.3

Alison Saar (American, born 1956) Blonde Dreams

2021 Block print and screenprint on paper 66 x 12 inches

Mary and Leigh Block Museum of Art, Northwestern University, gift of Kip and Sara Kirkpatrick 2024.25.1

Alison Saar (American, born 1956) Congolene Resistance

2021

Screenprint, acrylic spray paint, and gloss varnish on aluminum tin

18 1/2 x 18 1/2 x 2 inches

Mary and Leigh Block Museum of Art, Northwestern University, gift of Kip and Sara Kirkpatrick 2024.25.2

Joyce Scott (American, born 1948) Jumped Overboard 2023

Glass beads and thread

25 3/4 × 15 5/8 in. (65.4 × 39.7 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Advisors Endowment Fund purchase 2024.15

Soo Shin (Korean, born 1981)

Pas de Deux 3.13.24-4 (Pacific Ocean)

2024

Ink on Pacific Ocean water on paper sheet: 27 7/8 × 21 7/8 in. (70.8 × 55.6 cm) frame: 30 3/4 × 24 13/16 × 1 1/2 in. (78.1 × 63 × 3.8 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Advisors Endowment Fund purchase 2025.13

Art Sinsabaugh (American, 1924 - 1983) Seed Pods #5 1950 - 55

Gelatin silver print sheet: 8 × 9 15/16 in. (20.3 × 25.2 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of the Bauhaus Chicago Foundation 2024.21.19

Art Sinsabaugh (American, 1924 - 1983) Untitled 1945 - 50

Gelatin silver print image: 9 3/4 × 7 11/16 in. (24.8 × 19.5 cm) sheet: 9 15/16 × 8 in. (25.2 × 20.3 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of the Bauhaus Chicago Foundation 2024.21.18

Lawrence Beall Smith (American, 19091995)

Pent House 1938

Lithograph on paper image: 10 × 11 5/8 in. (25.4 × 29.5 cm) sheet: 11 3/4 × 16 1/8 in. (29.8 × 41 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of the Estate of Edward C. Kokkelenberg, PhD '81 2025.2.9

Trine Søndergaard (Danish, born 1972) Interior #5 2008

Dye coupler print (chromogenic print) 47 x 47 inches

Mary and Leigh Block Museum of Art, Northwestern University, gift of Ellen Philips Katz 2025.3.10

Art Spiegelman (American, born 1948)

Crossroads

1997

Lithograph on paper image: 25 1/8 × 18 in. (63.8 × 45.7 cm) sheet: 30 3/4 × 23 in. (78.1 × 58.4 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Lisa Munster Tananbaum and Steven Tananbaum Fund purchase 2025.8

Kali Spitzer (Kaska Dena/Jewish (Canadian), born 1987)

Eloise Spitzer, from the series An Exploration of Resilience and Resistance

2015, printed 2025

Inkjet print and sound

40 × 32 in. (101.6 × 81.3 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Lisa Munster Tananbaum and Steven Tananbaum Fund purchase 2025.16.1 (page 76 left)

Kali Spitzer (Kaska Dena/Jewish (Canadian), born 1987)

Kali Spitzer, from the series An Exploration of Resilience and Resistance 2022, printed 2025

Inkjet print

40 × 32 in. (101.6 × 81.3 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Lisa Munster Tananbaum and Steven Tananbaum Fund purchase 2025.16.2 (page 76 right)

Theodore Stamos (Greek-American, 19221997)

Weight of Narcissus 1946

Pastel, gouache, and ink on paper 24 x 18 inches

Mary and Leigh Block Museum of Art, Northwestern University, gift of Ellen Philips Katz 2025.3.11

Charles Swedlund (American, born 1935) Signature Page, from the portfolio Portfolio of Color Prints 1973

Photolithograph on paper

Mary and Leigh Block Museum of Art, Northwestern University, gift of the Bauhaus Chicago Foundation 2024.21.20a

Pixley (American, born 1942)

Gardens #1

engraving on paper

× 2 in. (10.2 × 5.1 cm)

× 4 in. (15.2 × 10.2 cm)

Leigh Block Museum of Art, Northwestern University, gift of the Edward C. Kokkelenberg, PhD '81

Polidori (Canadian/American, born

des salles de l'Afrique, Versailles

(Staircase for Africa Versailles)

photographic print

inches

Leigh Block Museum of Art, Northwestern University, gift of Philips Katz 2024.23.3

Saar (American, born 1956)

Dreams

print and screenprint on paper inches

Leigh Block Museum of Art, Northwestern University, gift of Kip Kirkpatrick

2024.25.1

Saar (American, born 1956) Congolene Resistance

Screenprint, acrylic spray paint, and gloss on aluminum tin

18 1/2 x 2 inches

Leigh Block Museum of Art, Northwestern University, gift of Kip Kirkpatrick 2024.25.2

Scott (American, born 1948)

Overboard

beads and thread

15 5/8 in. (65.4 × 39.7 cm)

Leigh Block Museum of Art, Northwestern University, Block Advisors Endowment Fund

Soo Shin (Korean, born 1981)

Pas de Deux 3.13.24-4 (Pacific Ocean)

2024 Ink on Pacific Ocean water on paper sheet: 27 7/8 × 21 7/8 in. (70.8 × 55.6 cm) frame: 30 3/4 × 24 13/16 × 1 1/2 in. (78.1 × 63 × 3.8 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Advisors Endowment Fund purchase 2025.13

Art Sinsabaugh (American, 1924 - 1983)

Seed Pods #5 1950 - 55

Gelatin silver print sheet: 8 × 9 15/16 in. (20.3 × 25.2 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of the Bauhaus Chicago Foundation 2024.21.19

Art Sinsabaugh (American, 1924 - 1983)

Untitled 1945 - 50

Gelatin silver print image: 9 3/4 × 7 11/16 in. (24.8 × 19.5 cm) sheet: 9 15/16 × 8 in. (25.2 × 20.3 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of the Bauhaus Chicago Foundation 2024.21.18

Lawrence Beall Smith (American, 19091995)

Pent House

1938

Lithograph on paper image: 10 × 11 5/8 in. (25.4 × 29.5 cm) sheet: 11 3/4 × 16 1/8 in. (29.8 × 41 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of the Estate of Edward C. Kokkelenberg, PhD '81 2025.2.9

Trine Søndergaard (Danish, born 1972)

Interior #5

2008

Dye coupler print (chromogenic print)

47 x 47 inches

Mary and Leigh Block Museum of Art, Northwestern University, gift of Ellen Philips Katz 2025.3.10

Art Spiegelman (American, born 1948) Crossroads 1997

Lithograph on paper image: 25 1/8 × 18 in. (63.8 × 45.7 cm)

sheet: 30 3/4 × 23 in. (78.1 × 58.4 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Lisa Munster Tananbaum and Steven Tananbaum Fund purchase 2025.8

Kali Spitzer (Kaska Dena/Jewish (Canadian), born 1987)

Eloise Spitzer, from the series An Exploration of Resilience and Resistance

2015, printed 2025

Inkjet print and sound 40 × 32 in. (101.6 × 81.3 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Lisa Munster Tananbaum and Steven Tananbaum Fund purchase 2025.16.1 (page 76 left)

Kali Spitzer (Kaska Dena/Jewish (Canadian), born 1987)

Kali Spitzer, from the series An Exploration of Resilience and Resistance 2022, printed 2025

Inkjet print 40 × 32 in. (101.6 × 81.3 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Lisa Munster Tananbaum and Steven Tananbaum Fund purchase 2025.16.2 (page 76 right)

Theodore Stamos (Greek-American, 19221997)

Weight of Narcissus 1946

Pastel, gouache, and ink on paper 24 x 18 inches

Mary and Leigh Block Museum of Art, Northwestern University, gift of Ellen Philips Katz 2025.3.11

Charles Swedlund (American, born 1935)

Signature Page, from the portfolio Portfolio of Color Prints 1973

Photolithograph on paper

Mary and Leigh Block Museum of Art, Northwestern University, gift of the Bauhaus Chicago Foundation 2024.21.20a

2024–2025 ACQUISITIONS

2024.21.20c

2024.21.20e

2024.21.20f

2024.21.20g

2024–2025 ACQUISITIONS

David Windsor (American, 1932 - 2013)

Untitled 1950s

Gelatin silver print image: 9 11/16 × 6 1/2 in. (24.6 × 16.5 cm) mat: 14 × 11 in. (35.6 × 27.9 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of the Bauhaus Chicago Foundation 2024.21.24

David Windsor (American, 1932 - 2013)

Untitled 1950s

Gelatin silver print image: 13 7/16 × 9 5/16 in. (34.1 × 23.7 cm) mat: 14 × 11 in. (35.6 × 27.9 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of the Bauhaus Chicago Foundation 2024.21.21

Martin Wong (American, 1946 - 1999) Traffic Signs for the Hearing Impaired (School for Deaf) 1990

Vinyl on aluminum Triangle: 29 1/8 × 29 7/8 in. (74 × 75.9 cm) Square: 30 × 29 13/16 in. (76.2 × 75.7 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Block Collection Council Fund and Block Director's Discretionary Fund purchase 2025.18a-b (page 80)

Tsuki Yoshitoshi

Tsuki no yotsu no o, Semimaru (The Moon's Four Strings, Semimaru), from the series Tsuki hyakushi (One Hundred Aspects of the Moon), 1891 Color woodblock print on paper image: 13 × 8 3/4 in. (33 × 22.2 cm) sheet: 14 1/4 × 9 5/8 in. (36.2 × 24.4 cm)

Mary and Leigh Block Museum of Art, Northwestern University, gift of the Estate of Edward C. Kokkelenberg, PhD '81 2025.2.10

2024–2025 ACQUISITIONS

Windsor (American, 1932 - 2013)

silver print

9 11/16 × 6 1/2 in. (24.6 × 16.5 cm)

× 11 in. (35.6 × 27.9 cm) and Leigh Block Museum of Art, Northwestern University, gift of the Bauhaus Chicago Foundation 2024.21.24

Windsor (American, 1932 - 2013)

silver print

13 7/16 × 9 5/16 in. (34.1 × 23.7 cm) × 11 in. (35.6 × 27.9 cm)

and Leigh Block Museum of Art, Northwestern University, gift of the Bauhaus Chicago Foundation 2024.21.21

Wong (American, 1946 - 1999)

Signs for the Hearing Impaired for Deaf)

on aluminum

Triangle: 29 1/8 × 29 7/8 in. (74 × 75.9 cm)

Square: 30 × 29 13/16 in. (76.2 × 75.7 cm)

and Leigh Block Museum of Art, Northwestern University, Block Collection Council Fund and Block Director's Discretionary Fund purchase 2025.18a-b (page 80)

Yoshitoshi

Includes beadwork, birch

Artists added to the collection

no yotsu no o, Semimaru (The Moon's Strings, Semimaru), the series Tsuki hyakushi (One Hundred Aspects of the Moon), 1891 woodblock print on paper

13 × 8 3/4 in. (33 × 22.2 cm)

14 1/4 × 9 5/8 in. (36.2 × 24.4 cm) and Leigh Block Museum of Art, Northwestern University, gift of the of Edward C. Kokkelenberg, PhD '81 2025.2.10

Igshaan Adams

John Taylor Arms

Kader Attia

William Baziotes

Fred Biesel

Roy Boney

Seba Calfuqueo

Kelly Church

Willie Cole

Bruce Conner

Jordan Ann Craig

Rose Crosman

Clark Dean

Howard Dearstyne

Mark Dion

Fritz Eichenberg

Chitra Ganesh

Lee Godie

Leonidas Goulandris

Dor Guez

Utagawa Hiroshige

Candida Höfer

Yuichi Idaka

Barbara Jones-Hogu

Andrew Karoly

Mark Klett & Byron Wolfe

Philipp Lachenmann

Denise Lajimodiere

Nora Moore Lloyd

Vivian Maier

Wanesia Misquadace

Teresa Montoya

Jesús Moroles

Richard Nickel

Joseph Pennell

Sylvia Pixley

Robert Polidori

Alison Saar

Joyce Scott

Soo Shin

Art Sinsabaugh

Lawrence Beall Smith

Trine Søndergaard

Art Spiegelman

Kali Spitzer

Theodore Stamos

Charles Swedlund

Tadao Takano

Peter Uka

John Walker

Dyani White Hawk

David Windsor

Martin Wong

Tsuki Yoshitoshi

2024–2025 LOANS

Andrea Carlson: Shimmer on Horizons

Museum of Contemporary Art Chicago

August 3, 2024 - February 5, 2025

Andrea Carlson (Grand Portage Ojibwe and European descent, born 1979)

Perpetual Genre 2024

Oil, acrylic, gouache, ink, colored pencil, and graphite on paper, 45 1/2 × 59 5/8 in. (115.6 × 151.4 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Advisors Endowment Fund purchase, 2024.2a-d

It takes a long time to stay here: Paintings by Jordan Ann Craig

Andrea Carlson: Shimmer on Horizons

Newcomb Art Museum of Tulane

Museum of Contemporary Art Chicago

August 3, 2024 - February 5, 2025

August 3, 2024 - February 5, 2025

Jordan Ann Craig (Northern Cheyenne, born 1992)

Sharp Tongue; Used to Cut Deep 2024

Acrylic on canvas

70 1/8 × 70 × 2 1/2 in. (178.1 × 177.8 × 6.4 cm)

Mary and Leigh Block Museum of Art, Northwestern University, Julie and Lawrence Bernstein Family Art Acquisition Fund purchase, 2024.17

2024–2025 DONORS

$50,000 and above

Elizabeth Bohart and Stuart Henry Bohart

Ellen Philips Katz

Est. Eugene E. Myers

Christine Olson Robb and William John Robb III

$25,000-$49,999

Tara M. Peters and Michael Alexander Peterson

Craig Ponzio

Sandra L. Riggs

Est. Dorothy J. Speidel

$10,000-$24,999

Kim Allen-Niesen and Keith Allen-Niesen

Mary L. Baglivo and James Meguerian

Anne DeNaut and James A. DeNaut

Dianne Dardes Loeb and Stephen B. Loeb

Andra S. Press and Irwin Press

Eden Salenger Romick and Steven T. Romick

Nicole E. Siskind and Kenneth M. Siskind

Martha P. Tedeschi and Michael Lukasiewicz

$5,000-$9,999

Fabiola Delgado and Kenneth N. Thompson

Nicole E. Rubens Druckman and James N. Druckman

Barbara Nitchie Fuldner

Amy O. Geier and James Geier

Lynn E. Hauser and Neil L. Ross

Steven P. Henry

Lynne Jacobs and Avery Scheiner

Susan Johnson and Henry Johnson

Cheryl Johnson-Odim

Sari Klein and James A. Klein

Katherine Laun Olson

Susan Gecht Rieser and Richard M. Rieser

Mary Lu R. Roffe and Kenneth Roffe

Susan B. Rubnitz

Tina Ruttenberg and David W. Ruttenberg

$1,000-$4,999

Nancy A. Abshire

Katherine Best and Robert J. Best

Nancy Elizabeth DaSilva

Kay Kujala Deaux

Sally Dumas

Dora Eang

Mary Eisner Eccles and Robert N. Eccles

Kristin Peterson Edwards

Judith Rachel Freeman

Carol Ginsburg and Jerome J. Ginsburg

Denise Jennings Gunter

Jennifer Heller and Brian L. Heller

Karen Zak Kent and Evan M. Kent

JoAnn Kruger and Bernard Kruger

Rosalyn M. Laudati and James B. Pick

Jane Houston Peterson

Sarah M. Pritchard and Neal E. Blair

Jessica Rothstein and Kurt G. Lageschulte

Nicholas Rubnitz

Jean E. Shedd

Pin P. Tan

Margaux Tarantino and Thomas F. Lesinski

$500-$999

Christine Meleo Bernstein and Armyan

Bernstein

Kate Ezra

Cynthia Kop and Philip Yau

Susan Wascher-Kumar and Prem Kumar

Maria Nardelli and William R. Levin

Vicki L. Sauter and Joseph S. Martinich

James R. Shaeffer

Marissa Solomon Sutker and Jake Sutker

Leslie A. Wiley and Larry Irving

David H. Zarefsky, PhD

Ellen Soo Hoo Zurfluh and Thomas O. Zurfluh

$250-$499

Ruth Adler and Charles Adler

Kelsey Joanne Allen-Niesen

Bryna Goldman Gamson and Edward P. Gamson

Edwin G. Goldstein

Mariel Stevens Henkoff

Christopher P. Huisinga

Josiah Richard Jenkins

Daniel S. Katz

Matthew Alan Kluk

Gifts of Art

John B. Davidson

Helen Frankenthaler Foundation

Jesse Freidin

Linda Adelman Gotskind and Paul C. Gotskind

Est. Thomas J. Hamilton

Sami Khalife

Kohler Foundation Inc.

Fred Perlberg

Caroline Shapiro and Peter Frey

Saul Steinberg Foundation

Diane Solomon and Craig Solomon

Philip Yau

Vickie Yau Living Trust

2024–2025 INSTITUTIONAL SUPPORT

$50,000 +

Illinois Arts Council Agency

$25,000 - $49,999

Myers Foundations

$10,000 - $24,999

Alumnae of Northwestern University

Fidelity Investments Charitable Gift Fund

Jewish Communal Fund

Loeb Family Charitable Foundation

Terra Foundation for American Art

The Joyce Foundation

$5,000 - $9,999

Hulda B. & Maurice L. Rothschild Foundation

JP Morgan Charitable Giving Fund

Kaplan Humanities Institute

Katherine L. Olson Charitable Foundation

National Film Preservation Foundation

Rubens Family Foundation

Schwab Charitable Fund

The Ruttenberg Foundation

Up to $4,999

American Online Giving Foundation, Inc.

Morgan Stanley Global Impact Funding Trust Inc.

REVENUE $4,634,843

EXPENSES $4,634,843