In Memoriam: Dani Levinas, Champion of Contemporary Art

The Phillips Collection mourns the passing of Dani Levinas, Chair Emeritus of the Board of Trustees, and expresses its deepest condolences to his family, friends, and the Washington, DC, community he loved.

Dani Levinas in his Georgetown home. Photo: Rhiannon Newman

Dani, along with his late wife, Mirella, was a true advocate for contemporary art and experimentation. His extraordinary dedication and leadership during his tenure as Chair of the Board from 2016 to 2022, as the Phillips celebrated its centennial, helped the museum dramatically expand its focus on contemporary art, community engagement, and diversity, equity, accessibility, and inclusion. Like the museum’s founder Duncan Phillips, Dani was passionate about supporting living artists, collecting art of his time, and living with his art. This was evident by his art-filled Georgetown home and his recent book, The Guardians of Art: Conversations with Major Collectors—both of which he generously shared with the Phillips community. The Phillips was honored to host an intimate evening with Dani last October celebrating the launch of The Guardians of Art, which highlights the motivations, passions, and practices of major art collectors around the world.

Dani and Mirella Levinas at The Phillips Collection 2016 Annual Gala

Through his decades-long work as a collector, writer, publisher, and curator, Dani was particularly dedicated to contemporary Latin American art and artists. He connected the Phillips with Spanish artists Bernardí Roig and Daniel Canogar and Cuban artists Los Carpinteros, who, because of Dani’s generosity and vision, are now part of the museum’s permanent collection. He made an indelible mark on the Phillips by encouraging the museum to be more innovative, experimental, and global in scope.

With their travels and time spent living in Argentina, Spain, and Miami, Dani and Mirella were intimately aware of urgent social issues in the US and around the world. Dani’s support made possible the groundbreaking and expansive exhibition The Warmth of Other Suns in 2019, which shared poignant stories about global displacement. Dani also cared deeply about expanding access to art through technology and reimagining the role of cultural institutions by spearheading enhancements to the visitor experience.

Dani Levinas and curators Massimiliano Gioni and Natalie Bell at the opening of The Warmth of Other Suns: Stories of Global Displacement. Photo: Rhiannon Newman

“Dani was a crisp and intelligent thinker and a joyful and passionate advocate for contemporary art and artists. His network of friends, colleagues, and people who loved and appreciated him spans the globe,” says Vradenburg Director & CEO Jonathan P. Binstock. “Indeed, well before reconnecting with him in my role at the Phillips, like many, I saw Dani regularly at art events in global cultural capitals year after year. He was steadfast in his warmth and welcoming posture, and his eagerness to discuss all the latest developments in the art world and beyond. I learned a lot from Dani. He will be sorely missed.”

“Dani Levinas’s passion and enthusiasm for art by living artists will have an enduring impact on The Phillips Collection. We will truly miss his inspiration and guidance,” says Phillips Board Chair John Despres.

Jennifer Bartlett’s Process

Jennifer Bartlett: In and Out of the Garden is on view through April 30, 2024.

This installation presents selections from Jennifer Bartlett’s In the Garden series, created from 1979 to 1983. Bartlett depicted several views of the same garden scene using an astounding range of techniques, styles, and media, including pencil, charcoal, ink, Conté crayon, watercolor, pastel, and gouache.

Julie Matsumoto, Jennifer Bartlett’s sister, describes the artist’s process of creating the In the Garden series:

“Each day Jennifer taped a fresh piece of drawing paper onto her table and settled in to peer through the French doors and draw the garden. For each drawing she would use one of the ten or so drawing materials she had decided upon; pencil, pen and ink, brush and ink, charcoal, pastel, etc. The rule she established was that the drawing was finished when she had something else to do and left the table. She would not return to it. When she had finished using each media, she moved forward using combinations of different media – left side of the paper, pencil, right side of the paper, pen and Ink and so on. Once she had exhausted all combinations, she wrote the name of each media on a slip of paper and placed the papers in a bowl. She would then ask Marianne and I to pick two slips of paper out of the bowl which would determine that day’s drawing. Setting up a system helped her work, but she inevitably broke her system’s rules and enjoyed the randomness of the outcome. Establishing a system, then breaking the rules is evident in many of her works. I think the system was comforting and breaking the rules exciting. It was a way she could really think and work.”

Hear more from Julie Matsumoto, as well as Bartlett’s daughter Alice Carriere, and studio manager Joan LiPuma on the Bloomberg Connects app or on Soundcloud.

Honoring the Black Artists of Howard University

The Phillips Collection Fellow and Howard University student Arianna Adade reflects on the 34th James A. Porter Colloquium on African American Art and Art of the African Diaspora (you can view the livestream of the proceedings at The Phillips Collection on April 5 on YouTube) and the installation of Where We Meet: Selections from the Howard University Gallery of Art and The Phillips Collection (on view through August 15, 2024).

From left to right: Elizabeth Catlett, Black Girl, 2004, Lithograph, Howard University Gallery of Art, and Alma W. Thomas, Breeze Rustling through Fall Flowers, 1968, Acrylic on canvas, The Phillips Collection, Gift of Franz Bader, 1976

When people think of Howard University, art may not be the initial thought that comes to mind. However, Howard is home to some of the most revolutionary Black artists. From Sylvia Snowden and Lois Mailou Jones to David Driskell and Elizabeth Catlett, Howard is home to trailblazing Black artists that are often under-appreciated in today’s art world.

David Driskell, Figures, 1954, Oil on canvas, Howard University Gallery of Art.

I had an amazing experience viewing Where We Meet: Selections from the Howard University Gallery of Art and The Phillips Collection. Seeing the legendary Alma Thomas and Elizabeth Catlett’s works side by side was beautiful to witness—Catlett’s black-and-white lithograph adjacent to Thomas’s multicolored acrylic canvas highlighted the remarkable contribution Black women have given to the art world. The unique works of art on view gave me an even deeper appreciation for Howard as a grounding source for Black artistic talent throughout the centuries.

Afro-Cuban art shined brightly within the exhibit, capturing the essence of cultural and ancestral fusions and legacies in Howard’s art collection. Wifredo Lam, known for his contribution to Afro-Cuban artistic expression particularly stood out to me. Howard has always been known as the heart of Black diasporic identities, and it is no different pertaining to art.

Wifredo Lam, Exodus, 1948, Oil on burlap, Howard University Gallery of Art, Gift of Arthur B. Spingarn, New York, 1951

The Phillips’s connection to Howard began with the establishment of the Howard University Gallery of Art in 1928 under the leadership of James A. Porter. The Phillips Collection was seen as an intimate space for the art talent at Howard, as many students would come to the museum when they were excluded from other museums during segregation. Howard professor James Lesesne Wells is just one of many artists whom the Phillips family valued and his work was acquired by Duncan Phillips, making Wells one of the first Black artists to be acquired by a major Washington museum. Wells was an influential figure in Black art, as he was a mentor to some of the most well-known icons of the Harlem Renaissance, such as Jacob Lawrence and Charles Alston.

Top to bottom: James Lesene Wells, Journey to Egypt, 1931, Oil on canvas mounted on cardboard, The Phillips Collection, Acquired 1931. James Lesene Wells, Adoration of the Magi, 1950, Oil on canvas, Howard University Gallery of Art

Attending Howard University’s 34th James A. Porter Colloquium on Friday, April 5, was enlightening, to say the least. As a Black woman, it was inspiring to be in the presence of so many Black women (many of whom are Howard alumni) who serve in impactful positions in major museums around the country. From curators to directors and educators alike, these women continue to break down barriers and reshape the narrative of representation in the art world.

Left to right: Camille Brown, Assistant Curator, The Phillips Collection; Jessica Bell Brown, Curator and Department Head of Contemporary Art, Baltimore Museum of Art; Dr. Adrienne Childs, Senior Consulting Curator, The Phillips Collection; Dr. Elyse Nelson, Assistant Curator of European Sculpture, The Metropolitan Museum of Art; and Dr. Denise Murrell. Associate Curator, Nineteenth and Twentieth Century Art, The Metropolitan Museum of Art

Even though Black women are the most underrepresented in museums as employees and artists, there was no underrepresentation of intelligence, resilience, and talent present at the Colloquium. I am so grateful to witness the wisdom and knowledge of individuals with whom I share similar backgrounds have such an impact on the contemporary art world. Their presence and contributions not only reshape their art institutions but also pave the way for future generations of Black women, such as myself, to finally see themselves reflected in these once-exclusive spaces.

Left to right: Jada Brooks, Art Major in Photography, Howard University; Taylor Aldridge, Visual Arts Curator and Program Manager,  California African American Museum (CAAM), Los Angeles; Dr. Rhea Combs,  Director of Curatorial Affairs, Smithsonian National Portrait Gallery, Washington DC; Kinshasha Holman Conwill, Deputy Director Emeritus, Smithsonian National Museum of African American History and Culture; Dr. Gwendolyn Everett, Associate Dean, Chadwick A. Boseman College of Fine Arts, Howard University; and Sacha Reid, Interdisciplinary Humanities Major and Painting Minor, Howard University