[Congressional Record (Bound Edition), Volume 147 (2001), Part 9]
[Senate]
[Pages 13300-13302]
[From the U.S. Government Publishing Office, www.gpo.gov]



                      SMITHSONIAN BOARD OF REGENTS

  Mr. COCHRAN. Madam President, last week I introduced two resolutions 
appointing citizen regents of the Board of Regents of the Smithsonian 
Institution. It is an honor to serve on the Board of Regents as one of 
the three United States Senators privileged to do so. My fellow 
Regents, Senators Frist and Leahy join me as cosponsors of both 
resolutions.
  At its May 7, 2001 meeting, the Board of Regents voted to nominate 
Ms. Anne d'Harnoncourt for a second term and Mr. Roger W. Sant to fill 
the vacancy caused by the resignation of the Honorable Howard H. Baker, 
Jr.
  For the information of the Senate, I ask unanimous consent that the 
curriculum vitae of Ms. d'Harnoncourt and the biographical sketch of 
Mr. Sant be printed in the Record, following my remarks.
  There being no objection, the material was ordered to be printed in 
the Record, as follows:

     Curriculum Vitae of Anne d'Harnoncourt (Mrs. Joseph J. Rishel)

       Born September 7, 1943, Washington, DC.
       Present Position: The George D. Widener Director and Chief 
     Executive Officer Philadelphia Museum of Art.
       Education: The Brearley School, New York City, 1949-1961.
       Radcliffe College, Cambridge, MA, 1960-1965: Majored in 
     History and Literature of Europe and England since 1740, with 
     additional course work in the history of architecture. B.A. 
     thesis on comparative aspects of the poetry of Shelley and 
     Holderlin. B.A. magna cum laude, June 1965.
       Courtauld Institute of Art, London University, 1965-1967: 
     First year course: Seminar in European art since 1830. Second 
     year: specialized research on the period 1900-1915 in Italy, 
     France and Germany, M.A. thesis on moral subject matter in 
     mid-19th century British painting, with emphasis on the Pre-
     Raphaelites. M.A. with distinction, June 1967.
       Honors: Elected to Phi Beta Kappa in 1964; Captain Jonathan 
     Fay Prize, Radcliffe College, 1965; Chevalier dans l'Ordre 
     des Arts et

[[Page 13301]]

     des Lettres, Republic of France, 1995; Philadelphia Award, 
     1997.
       Museum Experience:
       1966-1967--Tate Gallery, London. Six months of work as part 
     of Courtauld M.A. thesis, preparing full catalogue entries on 
     30 Pre-Raphaelite paintings and drawings in the Tate 
     collection.
       1967-1969--Philadelphia Museum of Art, Curatorial 
     Assistant, Department of Painting and Sculpture.
       1969-1971--The Art Institute of Chicago, Assistant Curator 
     of Twentieth-Century Art.
       1972-1982--Philadelphia Museum of Art, Curator of 
     Twentieth-Century Art.
       1982-1996--Philadelphia Museum of Art, The George D. 
     Widener Director.
       1997--Philadelphia Museum of Art, The George D. Widener 
     Director and Chief Executive Officer.


                          BIOGRAPHICAL SUMMARY

       Curator of Twentieth-Century Art. For a decade between 1972 
     and 1982, Miss d'Harnoncourt served as Curator of 20th 
     Century Art at the Philadelphia Museum of Art. A specialist 
     in the art of Marcel Duchamp, she co-organized a major 
     retrospective exhibition in 1973-74, which originated in 
     Philadelphia and traveled to The Museum of Modern Art, New 
     York and The Art Institute of Chicago. Other exhibitions 
     organized or co-organized by Miss d'Harnoncourt include 
     Futurism and the International Avant-Garde (1980), Violet 
     Oaklev (1979), Eight Artists (1978) and John Cage: Score & 
     Prints (1982). During her tenure as curator, she reinstalled 
     the permanent galleries in the wing of the Museum devoted to 
     20th-century art, creating rooms specifically dedicated to 
     the work of Duchamp and the sculpture of Brancusi. During her 
     curatorship the Museum made the commitment to building a 
     substantial contemporary collection, acquiring works by 
     Ellsworth Kelly, Dan Flavin, Brice Marden, Agnes Martin, 
     Claes Oldenburg, Katherine Anne Porter, Dorothea Rockburne, 
     James Rosenquist, and Frank Stella, among others.
       Director: Projects undertaken by the Museum during Miss 
     d'Harnoncourt's directorship to date include a sequence of 
     major exhibitions originated by Museum curators, such as: Sir 
     Edwin Landseer (1982), The Pennsylvania Germans: A 
     Celebration of Their Arts (1983), Masters of 17th-Century 
     Dutch Genre Painting (1984), Federal Philadelphia (1987), 
     Anselm Kiefer (1988), Workers: The Photographs of Sebastiano 
     Salgado (1993), Japanese Design (1994) major retrospectives 
     of Brancusi (1995) and Cezanne (1996), The Splendor of 18th-
     Century Rome (2000), Hon'ami Kooetsu (2000) and Van Gogh: 
     Face to Face (2000). She encouraged a series of scholarly 
     publications devoted to the permanent collections: British 
     Paintings (1986), Oriental Carpets (1988), Northern European 
     Paintings (1990), Paintings from Europe and the Americas: A 
     Concise Catalogue (1994), a new Handbook (1995), and a 
     Handbook to the Museum's textile collections (1998).
       Between 1992 and 1995, in a massive building project 
     undertaken to reinstall all of the Museum's European 
     collections, over 90 galleries were renovated and relit, 
     while thousands of works of art were examined, conserved and 
     placed in fresh contexts. During her tenure as director, 
     appointments to the professional staff include senior 
     curators of Prints, Drawings and Photographs and European 
     Decorative Arts, curators of Indian Art, Prints and 
     Twentieth-Century Art, as well as a Senior Curator of 
     Education, a new Librarian and conservators in the fields of 
     decorative arts, furniture, painting and works on paper. Most 
     recently, following her assumption of additional 
     responsibilities in 1997 upon the retirement of Robert 
     Montgomery Scott as President of the Museum, Miss 
     d'Harnoncourt and the newly appointed Chief Operating Officer 
     led the institution through a long-range planning process 
     with a view to celebrating the Museum's 125th anniversary in 
     the year 2001 with a number of new initiatives.
       In the year 2000, the Museum acquired a landmark building 
     across the street and embarked upon a comprehensive 
     masterplan for its use and the additional steps necessary to 
     meet the Museum's 25-year requirements for new or renovated 
     space. Twenty galleries for modern and contemporary art were 
     renovated and reopened in the fall of 2000. A capital 
     campaign with a goal of $200 million was formally launched in 
     December 2000, and $100 million was raised by March of 2001.
       Institutional Boards (Current): Regent of the Smithsonian 
     Institution, Washington, D.C.; Visiting Committee, J. Paul 
     Getty Museum, Malibu, CA; Academic Trustee for the School of 
     Historical Studies, Institute for Advanced Study, Princeton, 
     NJ; Board of Directors, The Henry Luce Foundation, Inc., New 
     York, NY; Board of Trustees, Fairmount Park Art Association 
     of Philadelphia, Philadelphia, PA; Board of Overseers, 
     Graduate School of Fine Arts, University of Pennsylvania, 
     Philadelphia, PA; Board of Trustees, Fairmount Park Art 
     Association of Philadelphia, Philadelphia, PA; Board of 
     Overseers, Graduate School of Fine Arts, University of 
     Pennsylvania, Philadelphia, PA; Board of Directors, The 
     Georgia O'Keeffe Foundation, Abiquiu, NM.
       Memberships (Current): Trustee, Association of Art Museum 
     Directors: Advisory Committee, The Fabric Workshop, 
     Philadelphia, PA; Member, American Philosophical Society, 
     Philadelphia, PA; Advisory Board, Foundation for French 
     Museums Inc.; Fellow of the American Academy of Arts and 
     Sciences, Cambridge, MA.
       Institutional Memberships (Past): Museum Panel, National 
     Endowment for the Arts, 1976-78; Visual Arts Panel, National 
     Endowment for the Arts, 1978-80; Board of Trustees, Hirshhorn 
     Museum and Sculpture Garden, Washington, D.C., 1974-86; 
     Museum Program Overview Panel, National Endowment for the 
     Arts, 1986-87; Indo/U.S. Subcommission on Education and 
     Culture, 1983-87; National Endowment for the Arts, Indemnity 
     Panel, 1985-88; Harvard University Art Museums Visiting 
     Committee, 1983-88; Board of Advisors, Center for Advanced 
     Study in the Visual Arts (CASVA), National Gallery of Art, 
     1987-89; Pennsylvania Council on the Arts, 1992-99.
       Exhibitions Organized:
       Marcel Duchamp. The Philadelphia Museum of Art, The Museum 
     of Modern Art, The Art Institute of Chicago, 1973-74. 
     (Collaboration with Kynaston McShine, The Museum of Modern 
     Art).
       Philadelphia: Three Centuries of American Art. Philadelphia 
     Museum of Art, 1976. (One of several collaborators under the 
     direction of Darrel Sewell. Curator of American Art, 
     Philadelphia Museum of Art).
       Eight Artists. Philadelphia Museum of Art, 1978.
       Violet Oakley. Philadelphia Museum of Art, 1979. 
     (Collaboration with Ann Percy, Philadelphia Museum of Art).
       Futurism and the International Avant-Garde. Philadelphia 
     Museum of Art, 1980.
       John Cage: Scores and Prints. Whitney Museum of American 
     Art, Albright-Knox Museum, Philadelphia Museum of Art, 1982. 
     (Collaboration with Patterson Sims, Whitney Museum).
       Publications:
       ``Etant Donnes . . . Reflections on a New Work by Marcel 
     Duchamp.'' Philadelphia Museum of Art Bulletin (double issue 
     April/June and July/September 1969). Co-author with Walter 
     Hopps.
       Introduction to exhibition catalogue for Marcel Duchamp, 
     1973. Chronology and catalogue entries prepared jointly with 
     Kynaston McShine of The Museum of Modern Art.
       ``A. E. Gallatin and the Arensbergs: Pioneer Collectors of 
     20th-Century Art,'' Apollo, July 1974 (special issue devoted 
     to Philadelphia Museum of Art collections).
       132 biographies and catalogue entries in ``Philadelphia: 
     Three Centuries of American Art'', 1976.
       ``The Cubist Cockatoo: Preliminary Exploration of Joseph 
     Cornell's Hommages to Juan Gris,'' Philadelphia Museum of Art 
     Bulletin, June 1978.
       ``The Fist of Boccioni meets Miss FlicFlic ChiapChiap,'' 
     Art News, November 1980.
       Introductory essay to exhibition catalogue for Futurism and 
     the International Avant-Garde (Philadelphia Museum of Art, 
     1980).
       ``We have eyes as well as ears,'' essay for publication 
     accompanying exhibition ``John Cage: Scores and Prints'', 
     1982.
       ``Duchamp, 1911-1915,'' in the exhibition catalogue Marcel 
     Duchamp (Tokyo, The Seibu Museum of Art). Reprinted as 
     ``Before the Glass: Reflections on Marcel Duchamp before 
     1915'' in the exhibition catalogue Duchamp (Barcelona: 
     Fundacio Joan Miro, 1984).
       Preface to ``Marcel Duchamp, Notes'', arranged and 
     translated by Paul Matisse (Boston: G. K. Hall & Company, 
     1983).
       Preface to ``Marcel Duchamp, Manual of Instructions for 
     Etant Donnes . . .'' (Philadelphia Museum of Art, 1987).
       ``Paying Attention,'' in the exhibition catalogue 
     Rolywholyover/A Circus/John Cage (Los Angeles: Museum of 
     Contemporary Art, 1983).
                                  ____


                  Biographical Sketch of Roger W. Sant

       Mr. Sant is Chairman of the Board of the AES Corporation, 
     which he co-founded in 1981. AES is a leading global power 
     company comprised of competitive generation, distribution and 
     retail supply businesses in 27 countries. The company's 
     generating assets include interests in one hundred and sixty-
     six facilities totaling over 58 gigawatts of capacity. AES's 
     electricity distribution network has over 920,000 km of 
     conductor and associated rights of way and sells over 126,000 
     gigawatt hours per year to over 17 million end-use customers. 
     In addition, through its various retail electricity supply 
     businesses, the company sells electricity to over 154,000 
     end-use customers. AES is dedicated to providing electricity 
     worldwide in a socially responsible way.
       Mr. Sant chairs the Board of The Summit Foundation, and is 
     a Board Member of Marriott International, WWF-International, 
     Resources for the Future, The Energy Foundation, and The 
     National Symphony. He recently stepped down as Chairman of 
     the World Wildlife Fund-US after six years in that capacity 
     and now serves on the National Council.
       Prior to funding AES, Mr. Sant was Director of the Mellon 
     Institute's Energy Productivity Center. During this period he 
     became widely known as the author of ``The Least Cost Energy 
     Strategy''--where it was shown that the cost of conserving 
     energy is usually much less than producing more fuel.

[[Page 13302]]

       Mr. Sant earlier served as a political appointee in the 
     Ford administration and was a key participant in developing 
     early initiatives to fashion an energy policy in the US. 
     Before entering government service, he was active in the 
     management or founding of several businesses, and taught 
     corporate finance at the Stanford University Graduate School 
     of Business. He received a B.S. from Brigham Young University 
     and an MBA with Distinction from the Harvard Graduate School 
     of Business Administration.
       He is a co-author ``Creating Abundance--America's Least-
     Cost Energy Strategy'' by McGraw Hill and numerous articles 
     and publications on energy conservation.

                          ____________________