Dallas Museum of Art Announces Unprecedented Gift Of 3 Private Collections Encompassing 800 Works Of Art And Future Acquisitions By Collectors
Marguerite And Robert Hoffman Collection Cindy And Howard Rachofsky Collection And House Deedie And Rusty Rose Collection
Monet’s Water Lilies – The Clouds (1903) Also Donated To Museum By Margaret McDermott
Museum Also Announces Crossing Threshhold of $100 Million In Endowment Campaign
Additional $32 Million Given For Acquisitions, Bringing Total to $70 Million
Dallas, TX, February 16, 2005—The Dallas Museum of Art (DMA) today announced a series of gifts from longtime Museum patrons that will bring more than 800 works from three outstanding private collections of modern and contemporary art into the DMA’s permanent collection. In a civic initiative unprecedented in the United States, leadership from Dallas’s cultural community has joined together to vest the city with their distinguished collections, securing the Dallas Museum of Art’s future, enhancing its encyclopedic collection, and further establishing the city of Dallas as a center for the study and enjoyment of contemporary art.
The gifts to the Museum, which will include all future acquisitions and will enter the DMA’s collection over time, encompass:
- The Marguerite and Robert Hoffman Collection including works by Beuys, Duchamp, de Kooning, Twombly, Kelly, and Richter
- The Cindy and Howard Rachofsky Collection including works by Judd, Nauman, Polke, Gonzalez-Torres, Friedman, and Fontana, as well as The Rachofsky House designed by Richard Meier
- The Collection of Deedie and Rusty Rose including works by LeWitt, Ryman, Laib, Mendieta, and Tuttle
- In addition, Margaret McDermott made a promised gift to the Dallas Museum of Art of Monet’s Water Lilies – The Clouds (1903), which is the most important Impressionist painting in private hands in Texas.
Simultaneously, the Dallas Museum of Art announced that it has raised $100 million in an initiative to secure the Museum’s financial future. Further enhancing the DMA’s resources, the Museum also announced an anonymous $32 million endowment gift to support acquisitions that has been added to a private foundation exclusively dedicated to the enrichment of the DMA’s collection, bringing the total amount of acquisition funds available to the Museum from various sources to $70 million. Together, these exceptional gifts build additional stability while enabling the DMA to pursue its mission in new and expanded ways in the future.
“We are deeply grateful to our friends Marguerite and Robert Hoffman, Cindy and Howard Rachofsky, Deedie and Rusty Rose, and Margaret McDermott for their overwhelming generosity,” said John R. Lane, The Eugene McDermott Director of the Dallas Museum of Art. “Their gifts seed the future with new opportunities for exhibitions, research, programs, and discoveries we cannot yet imagine. Our encyclopedic collection, which we hold in trust for the people of Dallas and our visitors from around the world, is our foundation. On behalf of the people of Dallas and future generations, who are the beneficiaries of this gift, I want to thank our generous friends for their remarkable civic spirit and vision.”
The addition of these collections dramatically enhances the institution’s existing strengths in contemporary art, making the Dallas Museum of Art a leading center for exploring, studying, and enjoying art of the previous 50 years. While the DMA’s collection is encyclopedic and distinguished by strength across its full geographical and chronological range, the Museum’s holdings of recent art are exceptional. From the roots of Abstract Expressionism in the 1940s through work created today, the DMA’s collection incorporates every important movement in contemporary art.
The Dallas Museum of Art has crossed the $100 million mark in its ongoing campaign, securing $65 million for the Museum’s endowment and $35 million for focused building and technology upgrades, art acquisitions, and program augmentation. Launched in conjunction with the DMA’s centennial in 2003-04, the campaign has been entirely funded through a wide range of individual and foundation sources. The DMA continues to work towards its campaign goal of $185 million to ensure the Museum’s continuing stability and growth. The $85 million balance to be raised is necessary to provide the financial resources for the DMA to be among the leading institutions in the world in museum education and the engagement of communities with art (a $40 million goal), to sustain the DMA’s ambitious exhibition program (a $30 million goal), and to enhance its facility to accommodate the Museum’s programmatic and collecting achievements (a $15 million goal).
The Centennial Campaign took a huge leap forward when the Hoffmans, who at the time co-chaired the campaign, issued a bold challenge: If the Museum reached its goal for the first phase, they would bequeath to the Dallas Museum of Art their art collection and an endowment to care for the collection as well as make a generous gift to the campaign. The Rachofskys quickly joined and pledged their Richard Meier-designed House, an operating endowment to allow the House to be used for public purposes, and their extraordinary collection, to which they added outright gifts of artworks and campaign funds, followed by the Roses who also committed their collection, outright gifts of a number of artworks, and a major contribution of funds to the campaign.
Mrs. McDermott, who has been the Dallas Museum of Art’s most magnanimous benefactor for more than half a century, made a promised gift of Monet’s Water Lilies – The Clouds (1903), which will join the six Monet paintings in the DMA’s permanent collection. Water Lilies – The Clouds (1903), promised by Mrs. McDermott in honor of benefactor Nancy Hamon, with its sheer beauty and brilliant coloration, will be iconic in resonance and will further show the evolution of Monet’s works currently at the Museum. Mrs. Hamon has made a gift of a painting by René Magritte in Mrs. McDermott’s honor. Over the past several decades Mrs. Hamon has joined Mrs. McDermott as the two most important supporters of the Museum.
“Our ongoing capital campaign is distinguished by the fact that we have already raised $100 million that is not tied to an expansion project or new building, but to ensuring the stability and, in turn, vitality of the Museum,” Lane said. “The acquisition funds further enable the institution to respond quickly in acquiring works in strategic ways.”
These achievements in the DMA’s campaign and acquisition funds represent an incredible commitment on behalf of local cultural leaders to establish and support publicly accessible collections in Dallas and the Dallas Arts District. As the first institution to relocate to the Dallas Arts District in the 1980s, the DMA’s building designed by Edward Larrabee Barnes is a cornerstone of the arts community. The neighboring, newly built Nasher Sculpture Center, designed by Renzo Piano and home to one of the world’s most important collections of modern sculpture, opened to the public in 2003 through the exceptional philanthropic gift of Raymond Nasher, who, with his family, is a longtime patron of the Dallas Museum of Art.
The Arts District is home to a distinguished group of arts and cultural institutions, including the Morton H. Meyerson Symphony Center designed by I.M. Pei. A number of other cultural facilities are currently under development in Dallas, including the Booker T. Washington High School for the Performing and Visual Arts being designed by Brad Cloepfil of Allied Works Architecture (opening in 2008), and the Dallas Center for Performing Arts, which comprises the Charles and Dee Wyly Theater being designed by the Office for Metropolitan Architecture – Rem Koolhaas (opening in 2009) and the Margot and Bill Winspear Opera House designed by Norman Foster (opening in 2009).
“The gifts announced today, together with the Nasher Sculpture Center, represent a new civic investment in the city of Dallas’s visual arts institutions of more than three-quarters of a billion dollars. However, the true value, measured by the ongoing impact on the people of the region and art lovers internationally, is truly incalculable,” Lane said.
The Marguerite and Robert Hoffman Collection
The Marguerite and Robert Hoffman Collection includes significant concentrations of work by Joseph Beuys, Joseph Cornell, Marcel Duchamp, Willem de Kooning, Mark Rothko, Cy Twombly, Jasper Johns, Ellsworth Kelly, and Gerhard Richter. Other major postwar artists and younger contemporary artists such as Lucien Freud, Susan Rothenberg, Bill Viola, and Wolfgang Laib are also represented in the collection. Among other works, the collection includes Summer (1954) and Studio Landscape (1975) by Philip Guston, Sanary (1954) by Ellsworth Kelly, Lehigh (1956) by Franz Kline, as well as Familie (1964) and Zwei Kerzen (Two Candles) (1982) by Gerhard Richter. The collection also encompasses sculptures by Louise Bourgeois, Robert Gober, Martin Puryear, and Rachel Whiteread, as well as a major brick wall installation by Sol LeWitt.
Marguerite and Robert Hoffman have each been actively involved with studying and collecting art for 30 years. They were originally drawn to newer work by young artists before shifting their focus to American and European postwar masterpieces. Mrs. Hoffman currently serves as the Chairman of the Board of Trustees. Her husband co-chairs the continuation of the campaign with Trustee Catherine Marcus Rose.
Cindy and Howard Rachofsky Collection and House
Distinguished by its concentrations of Arte Povera and Minimalist art, The Rachofsky Collection of leading-edge contemporary art features works by Donald Judd, Bruce Nauman, Gerhard Richter, Sigmar Polke, Felix Gonzalez-Torres, Tom Friedman, Kiki Smith, Robert Gober, Mona Hatoum, and Jim Hodges, as well as numerous works by emerging and younger artists. The collection also includes Concetto spaziale, la fine di Dio (1964) by Lucio Fontana, Untitled (Perfect Lovers) (1987-90) by Felix Gonzalez-Torres, Self II (1998) by Mark Quinn, and a landscape installation Tilted Planes (1999) by Robert Irwin.
Completed in 1996, The Rachofsky House was designed by Richard Meier to showcase this extensive art collection, which Howard Rachofsky had begun to build in the early 1980s. Intended to accommodate rotating installations of art, the House is the result of a close collaboration between the architect and the Dallas collector. The multilevel, glass-and-steel building extends over 11,000 square feet plus an expansive garden for sculpture and site-specific works. The generous commitment of the Rachofsky Collection and House includes an endowment for maintaining the complex.
The Rachofskys are longtime patrons of the Dallas Museum of Art and have previously given a significant number of paintings, sculpture, and works on paper to the DMA’s contemporary collection. Among the recent gifts are Private School in California (1984) by Julian Schnabel, Rotating Circle (1988) by Charles Ray, and Argonne Pavilion II (1998) by Dan Graham. Mrs. Rachofsky serves on the Dallas Museum of Art Board of Trustees and is chair of its development committee. Mr. Rachofsky is a member of the committee on collections. They have been instrumental in the establishment of the six-year-old Dallas Museum of Art/amfAR Benefit Auction, one of the country’s most successful charity art events, proceeds from which have enabled the Museum to significantly enhance its contemporary art collection.
The Deedie and Rusty Rose Collection
The Deedie and Rusty Rose Collection encompasses the work of contemporary artists, with a strong emphasis on sculpture, modern furniture, and handmade objects. Among artists represented are Sol LeWitt, Robert Ryman, Bruce Nauman, Sigmar Polke, Franz West, Ana Mendieta, and Richard Tuttle, as well as emerging artists primarily working in sculpture.
Former president of the DMA board Deedie and her husband Rusty Rose are noted leaders and patrons in the Dallas arts community. Past gifts to the Museum include Artauds Kreuz (Artaud’s Cross) (1987) by Martin Kippenberger, Untitled (1967-68) by Blinky Palermo, and Nanni and Kitty (1969) by Gerhard Richter, among others.
“The Dallas collecting community is exceptionally tight knit,” said Marguerite Hoffman, chairman of the DMA Board of Trustees. “We have looked for ways to collaborate with each other for the benefit of the city, the Museum, and the people who live in our hometown and visit its cultural institutions from afar. For instance, when acquiring works by the same artist, we will often buy works from different periods because we’ve shared a vision of our collections going to the DMA. We also anticipate that other private collections of modern and contemporary art in Dallas will ultimately be given to the Museum, and we’re working together to build complementary strengths.”
In the true spirit of cooperation, these patrons have previously partnered with the Dallas Museum of Art to jointly acquire Stadtbild Mü (1968) by Gerhard Richter (which was made possible by the Hoffmans and the Rachofskys), Shadow Puppet Spinning Head I (1990) by Bruce Nauman and Cook Up Art with a Culinary Flair (2002) by Sigmar Polke (both made possible by the Rachofskys), and Splatter Analysis (2002) by Polke (made possible by the Roses).