Mead Art Museum at Amherst College

Annual Report for the Year 2008-2009

Artist Will Barnet speaking about his work. Photo by Charles Quigg ’09

Front coverArtist Jonathan Meese performing. Photo by Charles Quigg ’09

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Mead Art Museum at Amherst College

Annual Report for the Year 2008-2009

TA B L E O F CO N T EN T S

Report from the Director 2

Acquisitions 5

Loans 17

Grants 18

Curricular Collaborations 19

Exhibitions, Publications, Podcasts 26

Programs 28

Attendance 32

Facility 33

Staff, Interns, Docents, Advisors, Friends 33

Strategic Plan, Status Report 37

Docent Angela Pratt ’11 presenting Will Barnet’s The Dream. Photo by Charles Quigg ’09

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Report from the Director

A raucous performance by Jonathan Meese. A reflec-

tive presentation by Will Barnet. Four new hires. A

bold expansion of open hours. Unanticipated budget

reductions. A fresh website. A major grant from

the Andrew W. Mellon Foundation. Professional

reaccreditation from the American Association of

Museums. The formation of an Advisory Board. The

re-launch of the Friends group. For the Mead Art

Museum, 2008-09 was a year to remember.

Against the somber backdrop of the economic down-

turn, the Mead’s continued progress—made possible

with extraordinary financial assistance from outside

sources, unwavering support from the Amherst Col-

lege administration, and the tireless, creative efforts

of the museum’s dedicated staff—appears vibrant.

Remarkably, in the midst of a global financial crisis,

the Mead was able to fill its vacant staff positions

with talented new colleagues: a curator of American

art, a coordinator of college programs, a post-bacca-

laureate curatorial fellow, and, beginning in Septem-

ber 2009, a curator of Russian art.

The museum made these crucial hires while dramati-

cally reducing college spending on Mead salaries:

three of the four positions have been funded by oth-

er sources. The seven-year term position of Thomas

P. Whitney, Class of 1937, Curator of Russian Art has

been generously sponsored by the Amherst Center

for Russian Culture, the distinguished archive whose

founder also donated his world-class collection of

Russian art to Amherst. The coordinator of college

programs position and post-baccalaureate curato-

rial fellowship have been supported by a $500,000

three-year spendable grant from the Andrew W.

Mellon Foundation’s College and University Art Mu-

seums program. That prestigious award also provides

support for collections-based faculty course develop-

ment seminars and faculty guest curators’ stipends.

Already, the Mellon-sponsored initiatives have begun

to propel the Mead toward its goal of becoming a

center of intellectual life at Amherst, in which the

college’s broad and deep art collections serve the

curriculum across disciplines. More than 1,500 col-

lege students visited the Mead in organized class

visits during the 2008-09 academic year, a figure

equivalent to 90% of the college’s enrollment. Some

visits spurred larger projects, including an installa-

tion of Russian icons linked to a concert performed

by Music students; a podcast museum tour focused

on geometric forms prepared by Calculus students;

a presentation of Roman artifacts to area school-

children made by Classics students; and a display

and lecture on ancient Greek coins also related to a

Classics course. As the museum adopted exception-

ally late open hours—until midnight on school nights

during the academic term—college students became

the Mead’s largest audience group, whose regular

visits helped to increase the museum’s annual at-

tendance by 23%. The addition of comfortable chairs

to the galleries and the presence of free wi-fi have

further helped to make the Mead a desirable campus

study space.

To assist researchers curious to see the Mead’s hold-

ings, museum staff completed a project launched

in 2007-08 to digitize all paintings in the collection,

and then proceeded to photograph other types of

objects, including small works of African sculpture,

Indian miniature paintings, and American portrait

miniatures. As a result of this concerted effort, 24%

of the museum’s collection is now illustrated in the

on-line database. Other improvements also assisted

visitors. In the autumn of 2008, the Mead launched a

new, richly informative website, opened a small café

in the museum’s lobby and bookshop, and began

accepting AC Dollar$ (the campus ID card charge sys-

tem) for purchases. At the same time, the museum

opened Stearns Steeple, the adjacent fragment of

the former college church, as a display space. The

museum‘s volunteer student docents introduced

“Evenings at the Mead,” a regular program of art pre-

sentations paired with a cappella songs, and began

their first art collecting project for the museum. Soon

afterwards, students launched the “No Mic Open

Mic” series of public poetry readings in the mu-

seum’s Rotherwas Room, where Robert Frost once

read his work.

The autumn semester closed with the first meeting

of the Mead’s new Advisory Board, which began

its work by undertaking a successful revision to the

museum’s Code of Ethics. In the spring semester, the

Mead launched a new series of faculty lunchtime

talks, and revived its dormant Friends association.

Generous donations from the group’s members al-

lowed the museum to purchase a scanner that will

be used to digitize artworks on paper and a micro-

scope for use in the study room. The academic year

concluded with the American Association of Muse-

ums‘ award of continuing accreditation to the Mead.

In the year ahead, the Mead will host an exhibition

of paintings and prints by Italian artist Lino Mannoc-

ci; continue to enrich the collection database; refresh

its gallery displays; refine the utility of its website;

engage faculty and students across a range of aca-

demic fields; and offer a variety of events. In sum,

2009-10 promises to be another memorable year. I

hope we’ll have the pleasure of welcoming you back

to the Mead then.

Elizabeth E. Barker, Ph.D.

Director and Chief Curator Photo by Rose Lenehan ’11

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Acquisitions

G i F T S (alphabetical by artist)

Will Barnet (American, born in 1911), The Dream, 1990. Oil on canvas. Gift of Elena and Will Barnet (2008.25)

Will Barnet (American, born in 1911), Study for ‘The Dream’, 1990. Carbon pencil on vellum. Gift of Elena and Will Barnet (2008.26)

Will Barnet (American, born in 1911), Study for ‘The Dream’, 1990. Carbon pencil on vellum. Gift of Elena and Will Barnet (2008.27)

Will Barnet (American, born in 1911), Study for ‘The Dream’, 1990. Carbon pencil on vellum. Gift of Elena and Will Barnet (2008.28)

Will Barnet (American, born in 1911), Study for ‘The Dream’, 1990. Carbon pencil on vellum. Gift of Elena and Will Barnet (2008.29)

Chinese 19th century, Portrait of retired Army General, 2nd or 3rd class Mandarin and Governor of a province, ca.1800. Pigment on scroll. Gift of Lawrence M. Mead (2008.66)

Chinese 19th century, Four panel Kesi screen depicting gentleman with servants, ca.1850. Woven cut silk, pigmented and gold threads. Gift of Lawrence M. Mead (2008.67)

Chinese 19th century, Vase, ca.1850. Porcelain. Gift of Lawrence M. Mead (2008.68)

Chinese 19th century, Jar with lid (blue and white landscape decoration), ca.1850. Porcelain. Gift of Lawrence M. Mead (2008.69.a,b)

Chinese 19th century, Celedon vase, ca.1870. Porcelain. Gift of Lawrence M. Mead (2008.70)

Chinese 19th century, Ball “Chrysanthemum” Vase, ca.1870. Porcelain. Gift of Lawrence M. Mead (2008.71)

Chinese 19th century, Jar-shaped Vase (five children playing). Porcelain. Gift of Lawrence M. Mead (2008.72)

Chinese 19th century, Sang-de-boeuf vase (jar-shaped). Porcelain. Gift of Lawrence M. Mead (2008.73)

Chinese 19th century, Sang-de-boeuf Jar. Porcelain. Gift of Lawrence M. Mead (2008.74)

Chinese 19th century, Courtesan surrounded by children in landscape. Painting on silk. Gift of Lawrence M. Mead (2008.75)

Chinese 10th century, Scroll painting of gods, attendants, donors and donors’ ancestors. Gift of Lawrence M. Mead (2008.76)

Chinese turn of the 20th century, Snuff Bottle with carnelian stopper. Porcelain, carnelian. Gift of Lawrence M. Mead (2009.01)

Chinese turn of the 20th century, Snuff Bottle with coral stopper. Porcelain, coral. Gift of Lawrence M. Mead (2009.02)

Chinese turn of the 20th century, Snuff Bottle with jade stopper. Porcelain, jade. Gift of Lawrence M. Mead (2009.03)

Chinese 19th century, Snuff Bottle with jade stopper. Curly agate, jade. Gift of Lawrence M. Mead (2009.04)

Chinese turn of the 20th century, Snuff bottle in the shape of two melons with coral stopper. Mutton fat jade, coral. Gift of Lawrence M. Mead (2009.08)

Chinese 19th century, Snuff bottle with carnelian stopper. Carnelian. Gift of Lawrence M. Mead (2009.09)

Chinese turn of the 19th century, Snuff bottle with ivory stopper. Jade, ivory. Gift of Lawrence M. Mead (2009.10)

Chinese turn of the 20th century, Snuff bottle. Cloisonné. Gift of Lawrence M. Mead (2009.11)

Chinese late Ching Dynasty, Snuff bottle. Cloisonné. Gift of Lawrence M. Mead (2009.12)

Chinese late Ching Dynasty, Snuff bottle. Cloisonné. Gift of Lawrence M. Mead (2009.13)

Chinese mid-Ching Dynasty, Snuff bottle (inside painted) with jade stopper. Glass, jade, water-based pigment. Gift of Lawrence M. Mead (2009.14)

Chinese late Ching Dynasty, Snuff bottle with ivory stopper. Ivory. Gift of Lawrence M. Mead (2009.15)

Chinese late Ching Dynasty, Snuff bottle with ivory stopper. Amethyst, ivory. Gift of Lawrence M. Mead (2009.16)

Chinese late Ching Dynasty, Snuff bottle (inside painted) with jade stopper. Glass, jade, water-based pigment. Gift of Lawrence M. Mead (2009.17)

Chinese late Ching Dynasty, Snuff bottle made from beak of horn bill bird. Horn bill. Gift of Lawrence M. Mead (2009.19)

Chinese 19th century, Snuff bottle made from beak of horn bill bird. Horn bill. Gift of Lawrence M. Mead (2009.20)

Chinese 19th century, Powdered Incense Clock. Paktong with copper trim. Gift of Lawrence M. Mead (2009.21.a-h)

ABOVE: Slam poet Jared Paul performing in the Jonathan Meese exhibition. Photo by Charles Quigg ’09BELOW: The Libero Quartet performing in an Evening at the Mead. Photo by Charles Quigg ’09

Chinese late Ching Dynasty, Snuff bottle made from the beak of a horn bill bird, Gift of Lawrence M. Mead (2009.19). Photo by Ashley Hogan ’11

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Wendy Ewald (American, born in 1951), Makhoo, Nombuso and Thuli are long at the album - Pamela Zungu, 1992. Silver gelatin print. Gift of Katy Homans (2008.79)

Wendy Ewald (American, born in 1951), The boys standing in the house playing - Bafana Radebe, 1992. Silver gelatin print. Gift of Katy Homans (2008.80)

Wendy Ewald (American, born in 1951), Untitled - René Jansen Van Vuuren, 1992. Silver gelatin print. Gift of Katy Homans (2008.81)

Wendy Ewald (American, born in 1951), Granny having a smoke - Kaith Ntuli, 1992. Silver gelatin print. Gift of Katy Homans (2008.82)

Wendy Ewald (American, born in 1951), A group of the neighbor children standing in the street - René Jansen Van Vuuren, 1992. Silver gelatin print. Gift of Katy Homans (2008.83)

Julie Hedrick (Canadian, born in 1958), Anigh, 1999. Oil on canvas. Gift of the artist in memory of Trinkett Clark (2008.33)

Japanese 20th century, Haori with baseball theme lining. Silk. Gift of Kenneth Rosenthal (Class of 1960) (2009.22)

Koizumi Kishio (Japanese, 1893-1945), Mitsui and Mitsukoshi Department Stores (Mitsui to Mitsukoshi) from ‘One Hundred Woodblock Printed Views of Greater Tokyo in Showa: number 3’ series (Showa Tokyo fukei hanga hyakuzue hanpu ga dai sankei), 1930. Woodblock print. Gift of Charles Wilkes (Class of 1971) and Helen Wilkes, Parents, Class of 2008 (2008.34)

Koizumi Kishio (Japanese, 1893-1945), Central Weather Station (Chuo kishodai) from ‘One Hundred Woodblock Printed Views of Greater Tokyo in Showa: number 41’ series (Showa Tokyo fukei hanga hyakuzue hanpu ga dai yonjuik’kei), 1933. Woodblock print. Gift of Charles Wilkes (Class of 1971) and Helen Wilkes, Parents, Class of 2008 (2008.35)

Koizumi Kishio (Japanese, 1893-1945), Spring Sumo Tournament, Kokugi Hall (Haru basho no Kokugikan) from ‘One Hundred Woodblock Printed Views of Greater Tokyo in Showa: number 59’ series (Showa Tokyo fukei hanga hyakuzue hanpu ga dai gojukyu kei), 1935. Woodblock print. Gift of Charles Wilkes (Class of 1971) and Helen Wilkes, Parents, Class of 2008 (2008.36)

Dominique Labauvie (French, born in 1948) and text by Marcelin Pleynet (French, born in 1933), Une Saison, June 7, 1996. Edition 50/59, published by Dumerchez Editions, France. Hand printed artist’s book with lithograph and woodblock on Arches paper. Gift of Erika Greenberg-Schneider (Class of 1979) in honor of the 30th reunion of the Class of 1979 (2009.165)

Jonathan Meese (German, born in 1970), Die Sphinx (Dr. Rippchen) in der Wuste, 2005. Oil and mixed media on canvas. Gift of Adam Lindemann (Class of 1983) and Amalia Dayan (2008.65)

Jonathan Meese (German, born in 1970), Amherst College Manifesto on seven separate sheets of paper, 2008. Mixed media, collage, photograph, ink, xerox on seven sheets of paper. Gift of the artist (2008.78.a-g)

Johann Elias Ridinger (German, 1698-1767), Cebus, Capite Vulpino. Cebus Minor / Füchsel Manchen - Kleine Meer Katze / La Marmot avec la fete de renard. Marmot petit, ca.1730. Engraving with hand-coloring. Gift of Stephen Kirschenbaum (Class of 1955) (2008.22)

Johann Elias Ridinger (German, 1698-1767), Elephas / Abgerichter Elephant / Elephant dressé / Familia V Fünffhufige, ca.1730. Engraving with hand-coloring. Gift of Stephen Kirschenbaum (Class of 1955) (2008.23)

Johann Elias Ridinger (German, 1698-1767), Camelus / Weisses Kamel / Dromadaire blanc / Familia I Zweihufig, ca.1730. Engraving with hand-coloring. Gift of Stephen Kirschenbaum (Class of 1955) (2008.24)

Lorna Ritz (American, born in 1947), Mt. Norwottuck and Apple Trees, November 6, 2005. Cray-pas on paper. Gift of the artist (2009.164)

Unknown, Stone rubbing of scenes from Wu family Han Dynasty tomb. Gift of Lawrence M. Mead (AC 2008.77)

Andy Warhol (American 1928-1987), Mao Tse-Tung, 1972. Silkscreen. Gift of Kate Butler Peterson (2008.21)

Yeh Chung San (Chinese 1817-1920), Snuff bottle (inside painted) with jade stopper. Glass, jade, water-based pigment. Gift of Lawrence M. Mead (2009.06)

Yeh Chung San (Chinese 1817-1920), Snuff bottle (inside painted) with amethyst stopper. Rock crystal, amethyst, water-based pigment. Gift of Lawrence M. Mead (2009.07)

Yen Yi Tien (Chinese 1895-1918), Snuff bottle (inside painted) with jade stopper. Glass, jade, water-based pigment. Gift of Lawrence M. Mead (2009.05)

Yung Chen Pyn (Chinese, late Ching Dynasty), Snuff bottle with carnelian stopper. Porcelain, carnelia. Gift of Lawrence M. Mead (2009.18)

Andy Warhol, Mao Tse-Tung, 1972, Gift of Kate Butler Peterson (2008.21). Photo by Petegorsky/Gipe Photography

Jonathan Meese, Die Sphinx (Dr. Rippchen) in der Wuste, 2005, Gift of Adam Lindemann ’83 and Amalia Dayan (2008.65). Photo by Jan Bauer

Koizumi Kishio, Spring Sumo Tournament, Kokugi Hall (Haru basho no Kokugikan) from ‘One Hundred Woodblock Printed Views of Greater Tokyo in Showa: number 59’ series (Showa Tokyo fukei hanga hyakuzue hanpu ga dai gojukyu kei), 1935, Gift of Charles Wilkes ’71 and Helen Wilkes, Parents ’08 (2008.36). Photo by Inga Stevens

Ahmed Alsoudani, Untitled (1/30), 2008, Purchase with Funds donated by H. Nichols B. Clark in Memory of Trinkett Clark (2009.24). Photo by Stephen Fisher

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Pu RC h A S E S (alphabetical by artist)

Ahmed Alsoudani (American, born in Iraq in 1975), Untitled (1/30), 2008. Hardground etching, aquatint, spit bite aquatint, drypoint and roulette on Somerset satin, white paper. Purchase with Funds donated by H. Nichols B. Clark in memory of Trinkett Clark (2009.24)

Azechi Umetaro (Japanese, 1902-1999), Graveyard at Sengakuji (Sengakuji hakusho) from ‘15 Scenes of Last Tokyo in Original Wood-cut’ (Tokyo kaiko zue), 1945. Woodblock print. Purchase with William K. Allison (Class of 1920) Memorial Fund (2008.63.13)

Gideon Bok (American, born in 1966), Wingate Studios with Aldo’s Press #2: No Sleep till Hinsdale (1/20), 2008. Hardground etching, aquatint, sugarlift, whiteground and drypoint on Somerset satin, white paper. Purchase, Trinkett Clark Memorial Student Acquisition Fund (2009.23)

Eugène Delacroix (French, 1798-1863), Juive d’Alger (Jewish Woman of Algiers), 1833. Etching on cream-colored laid paper. Purchase with the Samuel B. Cummings (Class of 1926) Art Fund (2008.31)

Fujimori Shizuo (Japanese, 1891-1943), Eleventh Month: Autumn at Haneda, Tokyo Airport (Juichigatsu Haneda no aki Tokyo hikojo) from ‘Twelve Views of Greater Tokyo’ series (Dai Tokyo junikei no uchi), June 22, 1930. Woodblock print. Museum Purcase (2008.62)

Fujimori Shizuo (Japanese, 1891-1943), Tsukijima from ‘One Hundred Views of Modern Tokyo: Sosaku hanga (Shin Tokyo Hyakkei: sosaku hanga), 1929. Woodblock print. Purchase with Wise Fund for Fine Arts (2008.64)

Fukazawa Sakuichi (Japanese, 1896-1946), Distant View of Nikolai Cathedral (Nikkorai enbo) from ‘One Hundred Views of Modern Tokyo: Sosaku hanga (Shin Tokyo Hyakkei: sosaku hanga), first set, no.25, September 29, 1929. Woodblock print. Purchase with Wise Fund for Fine Arts (2008.57)

Fukazawa Sakuichi (Japanese, 1896-1946), Baseball Match Between Waseda and Keio at Jingu Baseball Stadium (Jingu Kyujo Sokeisen) from ‘One Hundred Views of Modern Tokyo: Sosaku hanga (Shin Tokyo Hyakkei: sosaku hanga), fourth set, no.14, December 4, 1931. Woodblock print. Purchase with Wise Fund for Fine Arts (2008.61)

Henmi Takashi (Japanese, 1895-1944), Motomachi Park in Hongo (Hongo Motomachi Koen) from ‘One Hundred Views of Modern Tokyo: Sosaku hanga (Shin Tokyo Hyakkei: sosaku hanga), July 1930. Woodblock print. Purchase with Wise Fund for Fine Arts (2008.59)

Hiratsuka Un’ichi (Japanese, 1895-1997), Wadakura Gate (Wadakura) from ‘Views of Tokyo after the Earthquake’ series (Tokyo shinsai ato fukei), December 1923. Woodblock print. Purchase with William K. Allison (Class of 1920) Memorial Fund (2008.49)

Hiratsuka Un’ichi (Japanese, 1895-1997), Fukagawa Timberyards (Fukagawa kiba) from ‘Views of Tokyo after the Earthquake’ series (Tokyo shinsai ato fukei), April 1924. Woodblock print. Purchase with William K. Allison (Class of 1920) Memorial Fund (2008.50)

Hiratsuka Un’ichi (Japanese, 1895-1997), Seiroka Hospital, Tsukiji (Tsukiji) from ‘Views of Tokyo after the Earthquake’ series (Tokyo shinsai ato fukei), 1923. Woodblock print. Purchase with William K. Allison (Class of 1920) Memorial Fund (2008.51)

Hiratsuka Un’ichi (Japanese, 1895-1997), Asakusa (Asakusa) from ‘Views of Tokyo after the Earthquake’ series (Tokyo shinsai ato fukei), edition 26/50, September 1925. Woodblock print. Purchase with William K. Allison (Class of 1920) Memorial Fund (2008.52)

Hiratsuka Un’ichi (Japanese, 1895-1997), National Sports Palace (Kokugikan) from ‘Views of Tokyo after the Earthquake’ series (Tokyo shinsai ato fukei), edition 17/50, April 1925. Woodblock print. Purchase with William K. Allison (Class of 1920) Memorial Fund (2008.53)

Hiratsuka Un’ichi (Japanese, 1895-1997), Azuma Bridge (Azumabashi) from ‘Views of Tokyo after the Earthquake’ series (Tokyo shinsai ato fukei), edition 17/50, April 1925. Woodblock print. Purchase with William K. Allison (Class of 1920) Memorial Fund (2008.54)

Hiratsuka Un’ichi (Japanese, 1895-1997), Great Gate at Shiba (Shiba Daimon) from ‘Views of Tokyo after the Earthquake’ series (Tokyo shinsai ato fukei), edition 17/50, April 1925. Woodblock print. Purchase with William K. Allison (Class of 1920) Memorial Fund (2008.55)

Hiratsuka Un’ichi (Japanese, 1895-1997), Ryo-tashi (Ryo-taishi) from ‘Views of Tokyo after the Earthquake’ series (Tokyo shinsai ato fukei), edition 17/50, April 1925. Woodblock print. Purchase with William K. Allison (Class of 1920) Memorial Fund (2008.56)

Hiratsuka Un’ichi (Japanese, 1895-1997), Akasaka Palace (Akasaka Rikyu) from ‘15 Scenes of Last Tokyo in Original Wood-cut’ (Tokyo kaiko zue), 1945. Woodblock print. Purchase with William K. Allison (Class of 1920) Memorial Fund (2008.63.2)

Hiratsuka Un’ichi (Japanese, 1895-1997), Sukiya Bridge (Sukiya-bashi) from ‘15 Scenes of Last Tokyo in Original Wood-cut’ (Tokyo kaiko zue), 1945. Woodblock print. Purchase with William K. Allison (Class of 1920) Memorial Fund (2008.63.11)

William Hogarth, William (British, 1697-1764), Beer Street, 1751. Etching and engraving on medium weight laid paper. Purchase with the Samuel B. Cummings (Class of 1926) Art Fund (2008.30)

Inoue Yasuji (Japanese, 1864-1889), The Azuma Restaurant (Tokyo Koamicho Yoroibashidori Azumatei), 1888. Woodblock print (oban tate-e triptych). Museum Purchase (2008.47.1-3)

François Joullain (French, 1697-1778) after Jean-Antione Watteau (French, 1684-1721), Les Agréements de L’eté [sic], 1732. Engraving on paper. Purchase with William K. Allison (Class of 1920) Memorial Fund (2008.32)

Kawakami Sumio (Japanese, 1895-1972), Casino Fleuri, Asakusa Park (Asakusa koen Kajino Foeuri) from ‘One Hundred Views of Modern Tokyo: Sosaku hanga (Shin Tokyo Hyakkei: sosaku hanga), third set, no.1, June 22, 1930. Woodblock print. Purchase with Wise Fund for Fine Arts (2008.58)

Kawakami Sumio (Japanese, 1895-1972), Torii of Kudan (Kudan Dai Torii) from ‘15 Scenes of Last Tokyo in Original Wood-cut’ (Tokyo kaiko zue), 1945. Woodblock print. Purchase with William K. Allison (Class of 1920) Memorial Fund (2008.63.5)

Kawakami Sumio (Japanese, 1895-1972), Night of Ginza (Yoru no Ginza) from ‘15 Scenes of Last Tokyo in Original Wood-cut’ (Tokyo kaiko zue), 1945. Woodblock print. Purchase with William K. Allison (Class of 1920) Memorial Fund (2008.63.12)

Kobayashi Kiyochika (Japanese, 1847-1915), View of Mount Atago (Atagoyama no zu), October 3, 1878. Woodblock print (oban yoko-e). Purchase with Wise Fund for Fine Arts (2008.37)

Kobayashi Kiyochika (Japanese, 1847-1915), Ryogoku Bridge and the One Hundred Stakes (Senpon gui Ryogoku), 1880. Woodblock print (oban yoko-e). Purchase with Wise Fund for Fine Arts (2008.38)

Kobayashi Kiyochika (Japanese, 1847-1915), View of the Great Fire at Ryogoku from Hamacho (the Fire of January 26th, 1881), (Hamacho yori sha Ryogoku taika, Meiji juyonnen shogatsu nijuroku nichi shukka), 1881. Woodblock print (oban yoko-e). Purchase with Wise Fund for Fine Arts (2008.39)

Kobayashi Kiyochika (Japanese, 1847-1915), Outbreak of Fire Seen from Hisamatus-cho (Great Fire on the Night of February 11, 1881) (Hisamatsu-cho yori miru shuk’ka, Meiji juyonen nigatsu juichinichi yoru taika), 1881. Woodblock print (oban yoko-e). Purchase with Wise Fund for Fine Arts (2008.40)

Kobayashi Kiyochika (Japanese, 1847-1915), Night on the Sumida River (Sumidagawa yoru), 1881. Woodblock print (oban yoko-e). Purchase with Wise Fund for Fine Arts (2008.41)

Kobayashi Kiyochika (Japanese, 1847-1915), Night at Nihonbashi (Nihonbashi yoru), 1881. Woodblock print (oban yoko-e). Purchase with Wise Fund for Fine Arts (2008.42)

Kobayashi Kiyochika (Japanese, 1847-1915), One Hundred Stakes on the Okawa (Sumida) River (Okawabata hyappongui), 1884. Woodblock print (oban tate-e). Purchase with Wise Fund for Fine Arts (2008.43)

Kobayashi Kiyochika (Japanese, 1847-1915), Meguro Arsenal (Meguro Ienyuzo), November 10, 1884. Woodblock print (oban tate-e). Purchase with Wise Fund for Fine Arts (2008.44)

Kobayashi Kiyochika (Japanese, 1847-1915), Steel Bridge at Kyobashi, Distant View of Tsukudajima (Tepposhu Kyobashi Tsukudajima enkei), November 10, 1884. Woodblock print (oban tate-e). Purchase with Wise Fund for Fine Arts (2008.45)

Kobayashi Kiyochika (Japanese, 1847-1915), View of Nihonbashi from Ebo Bridge (Edobashi yori Nihonbashi no kei), 1884. Woodblock print (oban tate-e). Purchase with Wise Fund for Fine Arts (2008.46)

Maeda Masao (Japanese, 1904-1974), Akamon of Imp. University) from ‘15 Scenes of Last Tokyo in Original Wood-cut’ (Tokyo kaiko zue), 1945. Woodblock print. Purchase with William K. Allison (Class of 1920) Memorial Fund (2008.63.6)

Maekawa Sempan (Japanese, 1888-1960), Factory Street at Fukagawa (Honjo kojochi ichi) from ‘15 Scenes of Last Tokyo in Original Wood-cut’ (Tokyo kaiko zue), 1945. Woodblock print. Purchase with William K. Allison (Class of 1920) Memorial Fund (2008.63.14)

Maekawa Sempan (Japanese, 1888-1960), Night of Shinjuku (Shinjuku no yoru) from ‘15 Scenes of Last Tokyo in Original Wood-cut’ (Tokyo kaiko zue), 1945. Woodblock print. Purchase with William K. Allison (Class of 1920) Memorial Fund (2008.63.15)

Maekawa Senpan (Japanese, 1896-1946), The Battery at Suijo Park (Mizukami Koen daiba) from ‘One Hundred Views of Modern Tokyo: Sosaku hanga (Shin Tokyo Hyakkei: sosaku hanga), third set, no.7, August 23, 1930. Woodblock print. Purchase with Wise Fund for Fine Arts (2008.60)

Onchi Koshiro (Japanese, 1891-1955), Niju Bridge (Nijubashi) from ‘15 Scenes of Last Tokyo in Original Wood-cut’ (Tokyo kaiko zue), 1945. Woodblock print. Purchase with William K. Allison (Class of 1920) Memorial Fund (2008.63.1)

Onchi Koshiro (Japanese, 1891-1955), Tokyo Station (Tokyo eki) from ‘15 Scenes of Last Tokyo in Original Wood-cut’ (Tokyo kaiko zue), 1945. Woodblock print. Purchase with William K. Allison (Class of 1920) Memorial Fund (2008.63.4)

Onchi Koshiro (Japanese, 1891-1955), Ueno Zoo (Ueno Dobutsuen) from ‘15 Scenes of Last Tokyo in Original Wood-cut’ (Tokyo kaiko zue), 1945. Woodblock print. Purchase with William K. Allison (Class of 1920) Memorial Fund (2008.63.8)

Saito Koshiro (Japanese, 1907-1997), Asakusa Kannon (Asakusa Kannondo) from ‘15 Scenes of Last Tokyo in Original Wood-cut’ (Tokyo kaiko zue), 1945. Woodblock print. Purchase with William K. Allison (Class of 1920) Memorial Fund (2008.63.7)

William Taylor (American, born in 1987, Class of 2009), Worms of the Senses (Series of 20 images), 2009. Linocut. Purchase, Wise Prize (2009.163.1-20)

Utagawa Kunimasa IV (Japanese, 1848-1920), Brocade Picture of the “Pavilion Above the Clouds” Sugoroku (Ryounkaku kikai sugoroku), 1890. Woodblock print. Museum Purchase (2008.48)

Gideon Bok, Wingate Studios with Aldo’s Press #2: No Sleep till Hinsdale (1/20), 2008, Purchase, Trinkett Clark Memorial Student Acquisition Fund (2009.23). Photo by Stephen Fisher

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Yamaguchi Gen (Japanese, 1903-1976), Meiji Shrine (Meiji Jingu) from ‘15 Scenes of Last Tokyo in Original Wood-cut’ (Tokyo kaiko zue), 1945. Woodblock print. Purchase with William K. Allison (Class of 1920) Memorial Fund (2008.63.3)

Yamaguchi Gen (Japanese, 1903-1976), Zojoji Temple (Zojoji) from ‘15 Scenes of Last Tokyo in Original Wood-cut’ (Tokyo kaiko zue), 1945. Woodblock print. Purchase with William K. Allison (Class of 1920) Memorial Fund (2008.63.9)

Yamaguchi Gen (Japanese, 1903-1976), Benkei Bridge (Benkeibashi) from ‘15 Scenes of Last Tokyo in Original Wood-cut’ (Tokyo kaiko zue), 1945. Woodblock print. Purchase with William K. Allison (Class of 1920) Memorial Fund (2008.63.10)

B Equ E S T S (alphabetical by artist)

Japanese 20th century, Kimono with trilateral wave motifs. “Ro” Silk. Bequest of Howard Hamilton (2009.141)

Japanese 20th century, Kimono and matching happi coat. Crepe silk. Bequest of Howard Hamilton (2009.142.a,b)

Japanese 20th century, Kimono with “basket weave” pattern. Silk. Bequest of Howard Hamilton (2009.143)

Japanese 20th century, Jiban. Silk. Bequest of Howard Hamilton (2009.144)

Japanese 20th century, Jiban. Silk. Bequest of Howard Hamilton (2009.145)

Japanese 20th century, Tan Hakama. Silk. Bequest of Howard Hamilton (2009.146)

Japanese 20th century, Striped Hakama. Silk. Bequest of Howard Hamilton (2009.147)

Japanese 20th century, Brown Kimono with Howard Hamilton’s Crest and inside painting of Mount Fuji. Silk. Bequest of Howard Hamilton (2009.148)

Japanese 20th century, Brown Summer Kimono. Silk. Bequest of Howard Hamilton (2009.149)

Japanese 20th century, Blue Yakata with ‘mugen’ reverse swastika pattern. Cotton. Bequest of Howard Hamilton (2009.150)

Japanese 20th century, Blue Kimono with matching Haori. Rayon and silk. Bequest of Howard Hamilton (2009.151.a,b)

Japanese 20th century, Kimono with Otowaya family (Kabuki actors) pattern. Rayon, cotton, and silk. Bequest of Howard Hamilton (2009.152)

Japanese 20th century, “Practice” Hakama (Blue Striped). Silk, cotton, and rayon. Bequest of Howard Hamilton (2009.153)

Japanese 20th century, Hakama (Gray and Blue Striped). Silk, cotton, and rayon. Bequest of Howard Hamilton (2009.154)

Japanese 20th century, Hakama (Blue Striped with monogram). Silk, cotton, and rayon. Bequest of Howard Hamilton (2009.155)

Japanese 20th century, Montsuki Kimono (Black Light Weight). Silk. Bequest of Howard Hamilton (2009.156)

Japanese 20th century, Montsuki Kimono( Black Heavy Weight). Silk. Bequest of Howard Hamilton (2009.157)

Japanese 20th century, White Nagajiban with black eri. Linen. Bequest of Howard Hamilton (2009.158)

Japanese 20th century, Brown Nagajiban. Silk. Bequest of Howard Hamilton (2009.159)

Japanese 20th century, Brown Kimono. Wool. Bequest of Howard Hamilton (2009.160)

Japanese 20th century, Obi sashes. Silk, cotton. Bequest of Howard Hamilton (2009.161.1-12)

Mme Kii, Japanese (20th century), Screen depicting embroidered Noh costumes. Linen, silk. Bequest of Howard Hamilton (2009.162)

Japanese 20th, Bound portfolio of Kumadori in blue linen box. Bequest of Howard Hamilton (not accessioned)

Katsukawa Shunei (Japanese, 1762-1819), The Actor Masumoto Koshiro as a Samurai. Woodblock print. Bequest of Howard Hamilton (2009.131)

Katsukawa Shunei (Japanese, 1762-1819), Act V Chushingura: Sadakuro and Yoichibei. Woodblock print. Bequest of Howard Hamilton (2009.134)

Katsukawa Shunei (Japanese, 1762-1819), The Actor Sawamura Sojuro. Woodblock print. Bequest of Howard Hamilton (2009.138)

Katsukawa Shuntei (Japanese 1770-1820), The Actors Iwai Hanshiro and Onoe Eisaburo. Woodblock print. Bequest of Howard Hamilton (2009.136)

Katsukawa Shunto II also known as Katsukawa Shunsen (Japanese, 1762-1830), The Actor Sawamura Jojuro depicting an evil character. Woodblock print. Bequest of Howard Hamilton (2009.137)

Nomura Ran (Japanese 20th century), Noh Mask representing Ayakashi, carved wood, lacquer, whitewash, pigments. Bequest of Howard Hamilton (2009.25)

Nomura Ran (Japanese 20th century), Noh Mask representing Atsumori, carved wood, lacquer, whitewash, pigments. Bequest of Howard Hamilton (2009.26).

Nomura Ran (Japanese 20th century), Noh Mask representing Chujo, carved wood, lacquer, whitewash, pigments. Bequest of Howard Hamilton (2009.27)

Nomura Ran (Japanese 20th century), Noh Mask representing Deigan, carved wood, lacquer, whitewash, pigments. Bequest of Howard Hamilton (2009.28)

Nomura Ran (Japanese 20th century), Noh Mask representing Doji, carved wood, lacquer, whitewash, pigments. Bequest of Howard Hamilton (2009.29)

Nomura Ran (Japanese 20th century), Noh Mask representing Heita, carved wood, lacquer, whitewash, pigments. Bequest of Howard Hamilton (2009.30)

Nomura Ran (Japanese 20th century), Noh Mask representing Kantan Otoko, carved wood, lacquer, whitewash, pigments. Bequest of Howard Hamilton (2009.31)

Nomura Ran (Japanese 20th century), Noh Mask representing Ko Omote, carved wood, lacquer, whitewash, pigments. Bequest of Howard Hamilton (2009.32)

Nomura Ran (Japanese 20th century), Noh Mask representing Ko Tobide, carved wood, lacquer, whitewash, pigments. Bequest of Howard Hamilton (2009.33)

Nomura Ran (Japanese 20th century), Noh Mask representing Kurohige, carved wood, lacquer, whitewash, pigments. Bequest of Howard Hamilton (2009.34)

Nomura Ran (Japanese 20th century), Noh Mask representing Masugami, carved wood, lacquer, whitewash, pigments. Bequest of Howard Hamilton (2009.35)

Nomura Ran (Japanese 20th century), Noh Mask representing Mikazuki, carved wood, lacquer, whitewash, pigments. Bequest of Howard Hamilton (2009.36)

Nomura Ran (Japanese 20th century), Noh Mask representing Sankojo, carved wood, lacquer, whitewash, pigments. Bequest of Howard Hamilton (2009.37)

Nomura Ran (Japanese 20th century), Noh Mask representing Shakumi, carved wood, lacquer, whitewash, pigments. Bequest of Howard Hamilton (2009.38)

Nomura Ran (Japanese 20th century), Noh Mask representing Shikami, carved wood, lacquer, whitewash, pigments. Bequest of Howard Hamilton (2009.39)

Nomura Ran (Japanese 20th century), Noh Mask representing Shishiguchi, carved wood, lacquer, whitewash, pigments. Bequest of Howard Hamilton (2009.40)

Nomura Ran (Japanese 20th century), Noh Mask representing Shojo, carved wood, lacquer, whitewash, pigments. Bequest of Howard Hamilton (2009.41)

Nomura Ran (Japanese 20th century), Noh Mask representing Tenjin, carved wood, lacquer, whitewash, pigments. Bequest of Howard Hamilton (2009.42)

Nomura Ran (Japanese 20th century), Noh Mask representing Uba, carved wood, lacquer, whitewash, pigments. Bequest of

Howard Hamilton (2009.43)

Nomura Ran (Japanese 20th century), Noh Mask representing Yama Uba, carved wood, lacquer, whitewash, pigments. Bequest of Howard Hamilton (2009.44)

Nomura Ran (Japanese 20th century), Noh Mask representing Yase Otoko, carved wood, lacquer, whitewash, pigments. Bequest of Howard Hamilton (2009.45)

Nomura Ran (Japanese 20th century), Noh Mask representing Yorimasa, carved wood, lacquer, whitewash, pigments. Bequest of Howard Hamilton (2009.46)

Oshiguma (face rubbing) of Onoe Baiko VII (Japanese, 1915-1995) as Arima neko, silk on paper scroll. Bequest of Howard Hamilton (2009.47)

Oshiguma (face rubbing) of Onoe Shōroku II (Japanese, 1913-1989) as Benkei from “Benkei Joshi”, silk on paper scroll. Bequest of Howard Hamilton (2009.48)

Oshiguma (face rubbing) of Ichimura Uzaemon XVII (Japanese, 1916-2001) as Benkei from “Benkei Joshi”, silk on paper scroll. Bequest of Howard Hamilton (2009.49)

Oshiguma (face rubbing) of Onoe Shoroku II (Japanese, 1913-1989) as Benkei and Onoe Tatsunosuke I (Japanese, 1946-1987) as Tosabo from “Benkei Joshi”, silk on paper scroll. Bequest of Howard Hamilton (2009.50)

Oshiguma (face rubbing) of Jitsukawa Enjaku III (Japanese, 1921-1991) as Bannai from “Chushingura”, silk on paper scroll. Bequest of Howard Hamilton (2009.51)

Oshiguma (face rubbing) of Onoe Baiko VII (Japanese, 1915-1995) as Hanako/Oni from “Dojoji”, silk on paper scroll. Bequest of Howard Hamilton (2009.52.1)

Oshiguma (face rubbing) of Onoe Shoroku II (Japanese, 1913-1989) as Oshi Modoshi from “Dojoji”, silk on paper scroll. Bequest of Howard Hamilton (2009.52.2)

Oshiguma (face rubbing) of Onoe Baiko VII (Japanese, 1915-1995) as Hanako/Oni from “Dojoji”, silk on paper scroll. Bequest of Howard Hamilton (2009.53.1)

Oshiguma (face rubbing) of Ichimura Uzaemon XVII (Japanese, 1916-2001) as Oshi Modoshi from “Dojoji”, silk on paper scroll. Bequest of Howard Hamilton (2009.53.2)

Oshiguma (face rubbing) of Onoe Kuroemon II (Japanese, 1922-2004) as Oshi Modoshi from “Dojoji”, silk on paper scroll. Bequest of Howard Hamilton (2009.53.3)

Oshiguma (face rubbing) of Nakamura Utaemon VI (Japanese, 1917-2001) as Hanako/Oni from “Dojoji”, silk on paper scroll. Bequest of Howard Hamilton (2009.54.1)

Oshiguma (face rubbing) of Jitsukawa Enjaku III (Japanese, 1921-1991) as Oshi Modoshi from “Dojoji”, silk on paper scroll. Bequest of Howard Hamilton (2009.54.2)

Oshiguma (face rubbing) of Onoe Kikugoro VII (Japanese, born in 1942) as Hanako/Oni from “Dojoji”, silk on paper scroll. Bequest of Howard Hamilton (2009.55.1)

Oshiguma (face rubbing) of Onoe Shoroku II (Japanese, 1913-1989) as Oshi Modoshi from “Dojoji”, silk on paper scroll. Bequest of Howard Hamilton (2009.55.2)

Nomura Ran, Noh Mask representing Shishiguchi, Bequest of Howard Hamilton (2009.40). Photo by Stephen Fisher

12 13

Oshiguma (face rubbing) of Onoe Baiko VII (Japanese, 1915-1995) as Tomomori from “Funa Benkei”, silk on paper scroll. Bequest of Howard Hamilton (2009.56)

Oshiguma (face rubbing) of Onoe Shoroku II (Japanese, 1913-1989) as Tomomori from “Funa Benkei”, silk on paper scroll. Bequest of Howard Hamilton (2009.57)

Oshiguma (face rubbing) of Sawamura Tanosuke VI (Japanese, born in 1932) as Inari Myojin from “Futari Yaegakihime”, silk on paper scroll. Bequest of Howard Hamilton (2009.58)

Oshiguma (face rubbing) of Kataoka Roen VI (Japanese, born in 1926) as Inage Nyudo from “Gohiki Kanjincho”, silk on paper scroll. Bequest of Howard Hamilton (2009.59)

Oshiguma (face rubbing) of Bando Minosuke VII, later known as Bando Mitsugoro IX (Japanese 1929-1999) as Matano Kagehisa from “Hiruga Kojima” silk on paper scroll. Bequest of Howard Hamilton (2009.60)

Oshiguma (face rubbing) of Ichikawa Sadanji III (Japanese 1898-1969) as Mashiba/Oni from “Ibaraki”, silk on paper scroll. Bequest of Howard Hamilton (2009.61)

Oshiguma (face rubbing) of Nakamura Utaemon VI (Japanese, 1917-2001) as Mashiba/Oni from “Ibaraki”, silk on paper scroll. Bequest of Howard Hamilton (2009.62)

Oshiguma (face rubbing) of Onoe Baiko VII (Japanese, 1915-1995) as Mashiba/Oni from “Ibaraki”, silk on paper scroll. Bequest of Howard Hamilton (2009.63)

Oshiguma (face rubbing) of Onoe Shoroku II (Japanese, 1913-1989) as Kumagai from “Ichinotani”, silk on paper scroll. Bequest of Howard Hamilton (2009.64)

Oshiguma (face rubbing) of Ichimura Uzaemon XVII (Japanese, 1916-2001) as Iruka from “Imoseyama”, silk on paper scroll. Bequest of Howard Hamilton (2009.65)

Oshiguma (face rubbing) of Ichimura Uzaemon XVII (Japanese, 1916-2001) as Iruka from “Imoseyama”, silk on paper scroll. Bequest of Howard Hamilton (2009.66)

Oshiguma (face rubbing) of Ichikawa Ennosuke III (Japanese, born 1939) as Iruka from “Imoseyama”, silk on paper scroll. Bequest of Howard Hamilton (2009.67)

Oshiguma (face rubbing) of Jitsukawa Enjaku III (Japanese, 1921-1991) as Iruka from “Imoseyama”, silk on paper scroll. Bequest of Howard Hamilton (2009.68)

Oshiguma (face rubbing) of Onoe Baiko VII (Japanese, 1915-1995) as Yayoi/Shishi from “Kagami Jishi”, silk on paper scroll. Bequest of Howard Hamilton (2009.69)

Oshiguma (face rubbing) of Nakamura Shikan VII (Japanese, born in 1928) as Yayoi/Shishi from “Kagami Jishi”, silk on paper scroll. Bequest of Howard Hamilton (2009.70)

Oshiguma (face rubbing) of Onoe Kikunosuke IV, later known as Onoe Kikugoro VII (Japanese, born in 1942) as Yayoi/Shishi from “Kagami Jishi”, silk on paper scroll. Bequest of Howard Hamilton (2009.71)

Oshiguma (face rubbing) of Onoe Shoroku II (Japanese, 1913-1989) as Kanu/Kagekiyo from “Kanu”, silk on paper scroll. Bequest of Howard Hamilton (2009.72.1)

Oshiguma (face rubbing) of Onoe Tatsunosuke I (Japanese, 1946-1987) as Kanu’s Son? from “Kanu”, silk on paper scroll. Bequest of Howard Hamilton (2009.72.2)

Oshiguma (face rubbing) of Ichimura Uzaemon XVII (Japanese, 1916-2001) as Benkei from “Kiichi Hogan”, silk on paper scroll. Bequest of Howard Hamilton (2009.73.1)

Oshiguma (face rubbing) of Morita Kan”ya XIV (Japanese, 1907-1975) as Ushiwakamaru from “Kiichi Hogan”, silk on paper scroll. Bequest of Howard Hamilton (2009.73.2)

Oshiguma (face rubbing) of Ichikawa Ennosuke III (Japanese, born 1939) as Inari Myojin from “Kokaji”, silk on paper scroll. Bequest of Howard Hamilton (2009.74)

Oshiguma (face rubbing) of Onoe Shoroku II (Japanese, 1913-1989) as Watonai from “Kokusenya Kassen”, silk on paper scroll. Bequest of Howard Hamilton (2009.75)

Oshiguma (face rubbing) of Onoe Shoroku II (Japanese, 1913-1989) as Goro from “Kongen Soga” (Acts I and IV), silk on paper scroll. Bequest of Howard Hamilton (2009.76.1)

Oshiguma (face rubbing) of Onoe Shoroku II (Japanese, 1913-1989) as Goro from “Kongen Soga” (Act III), silk on paper scroll. Bequest of Howard Hamilton (2009.76.2)

Oshiguma (face rubbing) of Onoe Shoroku II (Japanese, 1913-1989) as Goro from “Kongen Soga” (Act II), silk on paper scroll. Bequest of Howard Hamilton (2009.76.3)

Oshiguma (face rubbing) of Nakamura Utaemon VI (Japanese, 1917-2001) as Tsumagiku from “Kumo no Hyoshimai”, silk on paper scroll. Bequest of Howard Hamilton (2009.77.1)

Oshiguma (face rubbing) of Jitsukawa Enjaku III (Japanese, 1921-1991) as Usui Sadamitsu from “Kumo no Hyoshimai”, silk on paper scroll. Bequest of Howard Hamilton (2009.77.2)

Oshiguma (face rubbing) of Ichikawa Ennosuke III (Japanese, born 1939) as Iwate, the Ogress from “Kurozuka”, silk on paper scroll. Bequest of Howard Hamilton (2009.78)

Oshiguma (face rubbing) of Ichikawa Danshiro IV (Japanese, born 1946) as Goro from “Kusazuri Biki”, silk on paper scroll. Bequest of Howard Hamilton (2009.79)

Oshiguma (face rubbing) of Onoe Tatsunosuke I (Japanese, 1946-1987) as Yakko from “Mitsu Ningyo”, silk on paper scroll. Bequest of Howard Hamilton (2009.80)

Oshiguma (face rubbing) of Onoe Baiko VII (Japanese, 1915-1995) as Sayuri/Demoness from “Modori Bashi”, silk on paper scroll. Bequest of Howard Hamilton (2009.81.1)

Oshiguma (face rubbing) of Bando Mitusgoro VII (Japanese, 1882-1961) as Watanabe Tsuna from “Madori Bashi”, silk on paper scroll. Bequest of Howard Hamilton (2009.81.2)

Oshiguma (face rubbing) of Onoe Baiko VII (Japanese, 1915-1995) as Sarashina/Demon from “Momijigari”, silk on paper scroll. Bequest of Howard Hamilton (2009.82.1)

Oshiguma (face rubbing) of Bando Minosuke VII later known as Bando Mitusgoro IX (Japanese, 1929-1999) as SanJin from “Momijigari”, silk on paper scroll. Bequest of Howard Hamilton (2009.82.2)

William Hogarth, Beer Street, 1751, Purchase with the Samuel B. Cummings (Class of 1926) Art Fund (2008.30). Photo by Stephen Fisher

14 15

Oshiguma (face rubbing) of Nakamura Utaemon VI (Japanese, 1917-2001) as Sarashina/Demon from “Momijigari”, silk on paper scroll. Bequest of Howard Hamilton (2009.83.1)

Oshiguma (face rubbing) of Ichikawa Ennosuke III (Japanese, born 1939) as SanJin from “Momijigari”, silk on paper scroll. Bequest of Howard Hamilton (2009.83.Oshiguma (face rubbing) of Onoe Shoroku II (Japanese, 1913-1989) as Kagekiyo from “Nanatsumen”, silk on paper scroll. Bequest of Howard Hamilton (2009.84.1)

Oshiguma (face rubbing) of Ichimura Uzaemon XVII (Japanese, 1916-2001) as Kokan Koshiro from “Nanatsumen”, silk on paper scroll. Bequest of Howard Hamilton (2009.84.2)

Oshiguma (face rubbing) of Onoe Shoroku II (Japanese, 1913-1989) as Narukami from “Narukami”, silk on paper scroll. Bequest of Howard Hamilton (2009.85)

Oshiguma (face rubbing) of Nakamura Utaemon VI (Japanese, 1917-2001) as Yamata from “Nihon Furisode Hajime”, silk on paper scroll. Bequest of Howard Hamilton (2009.86)

Oshiguma (face rubbing) of Bando Minosuke VII later known as Bando Mitusgoro IX (Japanese, 1929-1999) as Ranpei from “Ranpei Monogurui”, silk on paper scroll. Bequest of Howard Hamilton (2009.87)

Oshiguma (face rubbing) of Onoe Tatsunosuke I (Japanese, 1946-1987) as Ranpei from “Ranpei Monogurui”, silk on paper scroll. Bequest of Howard Hamilton (2009.88)

Oshiguma (face rubbing) of Onoe Shoroku II (Japanese, 1913-1989) as Otojishi and Ichimura Uzaemon XVII (Japanese, 1916-2001) as Kojishi from “Renjishi”, silks on 2 paper scrolls. Bequest of Howard Hamilton (2009.89.a,b)

Oshiguma (face rubbing) of Bando Minosuke VII later known as Bando Mitusgoro IX (Japanese, 1929-1999) as Sambaso from “Sambaso”, silk on paper scroll. Bequest of Howard Hamilton (2009.90)

Oshiguma (face rubbing) of Onoe Shoroku II (Japanese, 1913-1989) as Sekibei from “Seki no To”, silk on paper scroll. Bequest of Howard Hamilton (2009.91)

Oshiguma (face rubbing) of Bando Minosuke VIII (Japanese, 1906-1975) as Sekibei from “Seki no To”, silk on paper scroll. Bequest of Howard Hamilton (2009.92)

Oshiguma (face rubbing) of Yamazaki Gon”ichi (Japanese, 20th century) as unknown character from “Yoshitsune Senbon Zakura” (Act 4 Michiyuki), silk on paper scroll. Bequest of Howard Hamilton (2009.93)

Oshiguma (face rubbing) of Onoe Shoroku II (Japanese, 1913-1989) as Tadanobu from “Yoshitsune Senbon Zakura” (Act 4 Michiyuki), silk on paper scroll. Bequest of Howard Hamilton (2009.94)

Oshiguma (face rubbing) of Onoe Shoroku II (Japanese, 1913-1989) as Otokonosuke from “Meiboku Sendai Hagi”, silk on paper scroll. Bequest of Howard Hamilton (2009.95)

Oshiguma (face rubbing) of Jitsukawa Enjaku III (Japanese, 1921-1991) as Otokonosuke from “Meiboku Sendai Hagi”, silk on paper scroll. Bequest of Howard Hamilton (2009.96)

Oshiguma (face rubbing) of Ichimura Uzaemon XVII (Japanese, 1916-2001) as Otokonosuke from “Meiboku Sendai Hagi”, silk on paper scroll. Bequest of Howard Hamilton (2009.97)

Oshiguma (face rubbing) of Onoe Shoroku II (Japanese, 1913-1989) as Gongoro from “Shibaraku”, silk on paper scroll. Bequest of Howard Hamilton (2009.98.1)

Oshiguma (face rubbing) of Kawarasaki Gonjuro III (Japanese, 1918-1998) as Narita Goro from “Shibaraku”, silk on paper scroll. Bequest of Howard Hamilton (2009.98.2)

Oshiguma (face rubbing) of Ichimura Uzaemon XVII (Japanese, 1916-2001) as Gongoro from “Shibaraku”, silk on paper scroll. Bequest of Howard Hamilton (2009.99.1)

Oshiguma (face rubbing) of Jitsukawa Enjaku III (Japanese, 1921-1991) as Takehira from “Shibaraku”, silk on paper scroll. Bequest of Howard Hamilton (2009.99.2)

Oshiguma (face rubbing) of Ichimura Uzaemon XVII (Japanese, 1916-2001) as Gongoro from “Shibaraku”, silk on paper scroll. Bequest of Howard Hamilton (2009.100.1)

Oshiguma (face rubbing) of Onoe Kuroemon II (Japanese, 1922-2004) as Takehira from “Shibaraku”, silk on paper scroll. Bequest of Howard Hamilton (2009.100.2)

Oshiguma (face rubbing) of Ichikawa Omezo V later known as Ichikawa Sadanji IV (Japanese, born in 1940) as Narita Goro from “Shibaraku”, silk on paper scroll. Bequest of Howard Hamilton (2009.100.3)

Oshiguma (face rubbing) of Onoe Tatsunosuke I (Japanese, 1946-1987) as Shisai from “Shibaraku”, silk on paper scroll. Bequest of Howard Hamilton (2009.100.4)

Oshiguma (face rubbing) of Onoe Baiko VII (Japanese, 1915-1995) as Shishi from “Shuchaku Jishi”, silk on paper scroll. Bequest of Howard Hamilton (2009.101.1)

Oshiguma (face rubbing) of Shikazo (Japanese, 20th century) as Yoten from “Shuchaku Jishi”, silk on paper scroll. Bequest of Howard Hamilton (2009.101.2)

Oshiguma (face rubbing) of Ichimura Uzaemon XVII (Japanese, 1916-2001) as Asahina from “Soga no Taimen”, silk on paper scroll. Bequest of Howard Hamilton (2009.102)

Oshiguma (face rubbing) of Bando Kamesaburo IV later known as Bando Hikosaburo VIII (Japanese, born in 1943) as Asahina from “Soga no Taimen”, silk on paper scroll. Bequest of Howard Hamilton (2009.103)

Oshiguma (face rubbing) of Onoe Kikunosuke IV later known as Onoe Kikugoro VII (Japanese, born in 1942) as Juro; Onoe Tatsunosuke I (Japanese, 1946-1987) as Goro; and Bando Shinsui VIII later known as Bando Hikosaburo VIII (Japanese, born in 1943) as Asahina from “Soga no Taimen”, silk on paper scroll. Bequest of Howard Hamilton (2009.104)

Oshiguma (face rubbing) of Bando Minosuke VII later known as Bando Mitusgoro IX (Japanese, 1929-1999) as Asahina from “Soga no Taimen”, silk on paper scroll. Bequest of Howard Hamilton (2009.105)

Oshiguma (face rubbing) of Bando Kamezo II later known as Bando Hikosaburo VIII (Japanese, born in 1943) as Asahina from “Soga no Taimen”, silk on paper scroll. Bequest of Howard Hamilton (2009.106)

Oshiguma (face rubbing) of Onoe Shoroku II (Japanese, 1913-1989) as Umeomaru and Matsumoto Koshiro VIII (Japanese, 1949-1981) as Matsuomaru from “Sugawara Denju” (Ga No Iwai scene), silk on paper scroll. Bequest of Howard Hamilton (2009.107.a,b)

Oshiguma (face rubbing) of Jitsukawa Enjaku III (Japanese, 1921-1991) as Umeomaru and Ichimura Uzaemon XVII (Japanese, 1916-2001) as Matsuomaru from “Sugawara Denju” (Ga No Iwai scene), silk on paper scroll. Bequest of Howard Hamilton (2009.108.a,b)

Oshiguma (face rubbing) of Bando Minosuke VII later known as Bando Mitusgoro IX (Japanese, 1929-1999) as Umeomaru from “Sugawara Denju” (Act 2: Hippo Denju), silk on paper scroll. Bequest of Howard Hamilton (2009.109)

Oshiguma (face rubbing) of Matsumoto Koshiro VIII (Japanese, 1949-1981) as Matsuomaru from “Sugawara Denju” (Act 3: Kurumabiki), silk on paper scroll. Bequest of Howard Hamilton (2009.110.1)

Oshiguma (face rubbing) of Onoe Baiko VII (Japanese, 1915-1995) as Sakuramaru from “Sugawara Denju” (Act 3: Kurumabiki), silk on paper scroll. Bequest of Howard Hamilton (2009.110.2)

Oshiguma (face rubbing) of Nakamura Kichiemon II (Japanese, born 1944) as Umeomaru from “Sugawara Denju” (Act 3: Kurumabiki), silk on paper scroll. Bequest of Howard Hamilton (2009.110.3)

Oshiguma (face rubbing) of Bando Mitsugoro VIII (Japanese, 1906-1975) as Shihei from “Sugawara Denju” (Act 3: Kurumabiki), silk on paper scroll. Bequest of Howard Hamilton (2009.110.4)

Oshiguma (face rubbing) of Onoe Ushinosuke V later known as Onoe Kikugoro VII (Japanese, born 1942) as Sakuramaru from “Sugawara Denju” (Act 3: Kurumabiki), silk on paper scroll. Bequest of Howard Hamilton (2009.111.1)

Oshiguma (face rubbing) of Ichikawa Omezo V later known as Ichikawa Sadanji IV (Japanese, born 1940) as Matsuomaru from “Sugawara Denju” (Act 3: Kurumabiki), silk on paper scroll. Bequest of Howard Hamilton (2009.111.2)

Oshiguma (face rubbing) of Bando Kamesaburo IV later known as Bando Hikosaburo VIII (Japanese, born 1943) as Umeomaru from “Sugawara Denju” (Act 3: Kurumabiki), silk on paper scroll. Bequest of Howard Hamilton (2009.111.3)

Oshiguma (face rubbing) of Kataoka Ichizo V (Japanese, 1916-1991) as Shihei from “Sugawara Denju” (Act 3: Kurumabiki), silk on paper scroll. Bequest of Howard Hamilton (2009.111.4)

Oshiguma (face rubbing) of Yujiro IV (Japanese, 20th century) as Sakuramaru and Bando Yasosuke IV later known as Bando Mitsugoro IX (Japanese, 1929-1999) as Umeomaru from “Sugawara Denju” (Act 3: Kurumabiki), silk on paper scroll. Bequest of Howard Hamilton (2009.112)

Oshiguma (face rubbing) of Ichigawa Somegoro VI later known as Matsumoto Koshiro IX (Japanese, born 1942) as Matsuomaru; Ichikawa Ebizo X later known as Ichikawa Danjuro XII (Japanese, born 1946) as Sakuramaru; and Onoe Tatsunosuke I (Japanese, 1946-1987) as Umeomaru from “Sugawara Denju” (Act 3: Kurumabiki), silk on paper scroll. Bequest of Howard Hamilton (2009.113)

Oshiguma (face rubbing) of Kawarasaki Gonjuro III (Japanese, 1918-1998) as Shihei from “Sugawara Denju” (Act 3: Kurumabiki), silk on paper scroll. Bequest of Howard Hamilton (2009.114)

Oshiguma (face rubbing) of Kawarasaki Gonjuro III (Japanese, 1918-1998) as Michizane from “Sugawara Denju” (Act 4: Tempaizan), silk on paper scroll. Bequest of Howard Hamilton (2009.115)

Oshiguma (face rubbing) of Kawarasaki Gonjuro III (Japanese, 1918-1998) as Genba from “Sugawara Denju” (Act 4: Terakoya), silk on paper scroll. Bequest of Howard Hamilton (2009.116)

Oshiguma (face rubbing) of Ichikawa Danjuro XI (Japanese, 1909-1965) as Sukeroku from “Sukeroku”, silk on paper scroll. Bequest of Howard Hamilton (2009.117)

Digitization team in Johnson Chapel: Tim Gilfillan, Teddy O’Connor, Inga Stevens, Jim Gipe, Stephen Petegorsky ’75, and Stephen Fisher. Photo by Petegorsky/Gipe Photography

16 17

Oshiguma (face rubbing) of Onoe Kikugoro VII (Japanese, born 1942) as Sukeroku from “Sukeroku”, silk on paper scroll. Bequest of Howard Hamilton (2009.118)

Oshiguma (face rubbing) of Ichikawa Somegoro VI later known as Matsumoto Koshiro IX (Japanese, born 1942) as Sukeroku from “Sukeroku”, silk on paper scroll. Bequest of Howard Hamilton (2009.119)

Oshiguma (face rubbing) of Ichikawa Danjuro XII (Japanese, born 1946) as Sukeroku from “Sukeroku”, silk on paper scroll. Bequest of Howard Hamilton (2009.120)

Oshiguma (face rubbing) of Onoe Shoroku II (Japanese, 1913-1989) as Chichu/Demon from “Tsuchigumo”, silk on paper scroll. Bequest of Howard Hamilton (2009.121)

Oshiguma (face rubbing) of Onoe Tatsunosuke I (Japanese, 1946-1987) as Chichu/Demon from “Tsuchigumo”, silk on paper scroll. Bequest of Howard Hamilton (2009.122)

Oshiguma (face rubbing) of Onoe Shoroku II (Japanese, 1913-1989) as Chichu/Demon from “Tsuchigumo”, silk on paper scroll. Bequest of Howard Hamilton (2009.123)

Oshiguma (face rubbing) of Bando Hideko (Japanese, 20th century) as Ko Zaru from “Utsubo Zaru”, silk on paper scroll. Bequest of Howard Hamilton (2009.123)

Oshiguma (face rubbing) of Kawarasaki Gonjuro III (Japanese, 1918-1998) as Kaidomaru from “Yamauba”, silk on paper scroll. Bequest of Howard Hamilton (2009.124)

Oshiguma (face rubbing) of Ichimura Uzaemon XVII (Japanese, 1916-2001) as Goro from “Yanone”, silk on paper scroll. Bequest of Howard Hamilton (2009.125)

Oshiguma (face rubbing) of Jitsukawa Enjaku III (Japanese, 1921-1991) as Tota from “Yoshinoyama Michiyuki”, silk on paper scroll. Bequest of Howard Hamilton (2009.126)

Oshiguma (face rubbing) of Onoe Shoroku II (Japanese, 1913-1989) as Goro from “Youchi Soga”, silk on paper scroll. Bequest of Howard Hamilton (2009.127)

Oshiguma (face rubbing) of Onoe Shoroku II (Japanese, 1913-1989) as Gennaizaimon from “Zoo Hiki”, silk on paper scroll. Bequest of Howard Hamilton (2009.128.1)

Oshiguma (face rubbing) of Ichimura Uzaemon XVII (Japanese, 1916-2001) as Iruku from “Zoo Hiki”, silk on paper scroll. Bequest of Howard Hamilton (2009.128.2)

Oshiguma (face rubbing) of Onoe Tatsunosuke I (Japanese, 1946-1987) as Usui no Sadamitsu in a parody of famous Kabuki plays performed at the Tokyo’s National Theater, January, 1980. Silk on paper scroll. Bequest of Howard Hamilton (2009.129.1)

Oshiguma (face rubbing) of Kawarasaki Gonjuro III (Japanese, 1918-1998) as Narita Goro in a parody of famous Kabuki plays performed at the Tokyo’s National Theater, January, 1980. Silk on paper scroll. Bequest of Howard Hamilton (2009.129.2)

Tsukioka Kogyo (Japanese, 1869-1927), Nogaku Zue (One Hundred Noh Dramas) Volume 1, 1922-1926. 26 vertical Oban tate-e woodblock prints bound in brocade covered boards. Bequest of Howard Hamilton (2009.130)

Utagawa Sadahide (Japanese, 1807-1873), The Chushingura (Act I, Tsurugaoka Hachiman Shrine), ca. mid 1830s. Woodblock prints. Bequest of Howard Hamilton (2009.140.1) Utagawa Sadahide (Japanese, 1807-1873), The Chushingura (Act II, Palace of Momoi Wakasanosuke), ca. mid 1830s. Woodblock prints. Bequest of Howard Hamilton (2009.140.2)

Utagawa Sadahide (Japanese, 1807-1873), The Chushingura (Act III, Gate of Ashikage Palace), ca. mid 1830s. Woodblock prints. Bequest of Howard Hamilton (2009.140.3)

Utagawa Sadahide (Japanese, 1807-1873), The Chushingura (Act IV, Palace of Enya Hangan), ca. mid 1830s. Woodblock prints. Bequest of Howard Hamilton (2009.140.4) Utagawa Sadahide (Japanese, 1807-1873), The Chushingura (Act V, Yamazaki Highway Shotgun Scene), ca. mid 1830s. Woodblock prints. Bequest of Howard Hamilton (2009.140.5)

Utagawa Sadahide (Japanese, 1807-1873), The Chushingura (Act VI, Kampei’s Suicide), ca. mid 1830s. Woodblock prints. Bequest of Howard Hamilton (2009.140.6)

Utagawa Sadahide (Japanese, 1807-1873), The Chushingura (Act VII, Kyoto Gion Ichiriki Tea House), ca. mid 1830s. Woodblock prints. Bequest of Howard Hamilton (2009.140.7) Utagawa Sadahide (Japanese, 1807-1873), The Chushingura (Act VIII, Bridal Journey), ca. mid 1830s. Woodblock prints. Bequest of Howard Hamilton (2009.140.8)

Utagawa Sadahide (Japanese, 1807-1873), The Chushingura (Act IX, Yuranosuke’s House in Yamashina), ca. mid 1830s. Woodblock prints. Bequest of Howard Hamilton (2009.140.9)

Utagawa Sadahide (Japanese, 1807-1873), The Chushingura (Act X, Storehouse of Merchant Amakawaya), ca. mid 1830s. Woodblock prints. Bequest of Howard Hamilton (2009.140.10) Utagawa Sadahide (Japanese, 1807-1873), The Chushingura (Act XI, Vendetta – Raid on Moronao’s Mansion), ca. mid 1830s. Woodblock prints. Bequest of Howard Hamilton (2009.140.11)

Utagawa Shunsho (Japanese, fl. 1830-1854), The Actor Ichikawa Danjiro as a scowling man holding a beam. Woodblock print. Bequest of Howard Hamilton (2009.133)

Utagawa Shunsho (Japanese, fl. 1830-1854), The Actor Ichikawa Danjuro in the role of Sansho Danyu. Woodblock print. Bequest of Howard Hamilton (2009.135)

Utagawa Shunsho (Japanese, fl.1830-1854), The Actor Arashi Ninasuke. Woodblock print. Bequest of Howard Hamilton (2009.139)

Utagawa Toyokuni (Toyokuni I) (Japanese, 1769-1825), Ichikawa Danjiro VII in the role of Sukeroku. Woodblock print. Bequest of Howard Hamilton (2009.132)

D E ACC E S S i O N S (none)

OwN ER S h i P T R A N S FER

In April 2009, following a twenty-five year extended loan from the estate of Charles H. Morgan, the Mead transferred The Wind from the Sea, a 1947 tempera painting on panel by Andrew Wyeth (American, 1917-2009), to its permanent owner, the National Gallery of Art in Washington D.C.

Loans

L EN D ER S TO T h E M E A D

AnonymousAdam Lindemann (Class of 1983) and Amalia Dayan

O B j EC T S L EN T By T h E M E A D

David Lucas (British, 1802-1881) after John Constable (British, 1776-1837), Old Sarum, from Various Subjects of Landscape, Characteristic of English Scenery, 1830-1832, mezzotint on soft laid paper. Museum Purchase (1979.04.o), to Beautiful Britain: 18thand 19th-Century Landscapes, Smith College Museum of Art, Northampton, Massachusetts (4/25/2008-7/20/2008)

Joseph Wright (American, 1756-1793), Portrait of George Washington, ca.1783, oil on canvas, Bequest of Herbert L. Pratt (Class of 1895) (1945.3), to Picturing Princeton 1783: The Nation’s Capitol, Morven Museum and Garden, Princeton, New Jersey (6/1/2008-1/11/2009)

Edward Hicks (American, 1780-1849), Peaceable Kingdom, ca. 1822-25, oil on canvas, Gift of Stephen C. Clark (AC 1951.384), to American Menagerie, the Portland Museum of Art, Portland, Maine (8/16/2008-11/9/2008)

Jacques Callot (French, c.1592-1635), ‘The Strappado, No. 10,’ from The Miseries and Disasters of War, 1633, etching, Gift of Edward C. Crossett (Class of 1905) (AC 1951.750), to Mystic Masque: Semblance and Reality in Georges Rouault, 1871-1958, McMullen Museum of Art, Boston College, Boston, Massachusetts (8/30/2008-11/28/2008)

Jacques Callot (French, c.1592-1635), The Hanging (La Pendaison), 1633, etching, Gift of Edward C. Crossett (Class of 1905) (AC 1951.751), to Mystic Masque: Semblance and Reality in Georges Rouault, 1871-1958, McMullen Museum of Art, Boston College, Boston, Massachusetts (8/30/2008-11/28/2008)

Richard Yarde (American, born in 1939), Kismet #2, 2006, watercolor and gouache on paper, Purchase with Wise Fund for Fine Arts (AC 2007.12), to Nowhere Else but Here: Studio Arts at the University of Massachusetts, 1958-2008, Herter Art Gallery, University of Massachusetts, Amherst, Massachusetts (9/17/2008-10/31/2008)

Lyonel Charles Adrian Feininger (American, 1871-1956), Fleeing Ships, 1933, watercolor, Gift of Charles H. Morgan (AC 1962.80), to Bauhaus Modern, Smith College Museum of Art, Northampton, Massachusetts (9/26/2008-12/7/2008)

Wassily Kandinsky (Russian, 1866-1944), Kleine Welten I [Small Worlds I], 1922, colored lithograph, Gift of Richard G. Bump, in memory of Elmo Giordanetti (AC 1985.75), to Bauhaus Modern, Smith College Museum of Art, Northampton, Massachusetts (9/26/2008-12/7/2008)

William Stanley Haseltine (American, 1835-1900), Amalfi, Valley of the Molina, ca.1871, oil on paper mounted on canvas, Gift of Herbert W. Plimpton: The Hollis W. Plimpton (Class of 1915) Memorial Collection (AC 1968.25), to William Stanley Haseltine: Painter of Place, Smith College Museum of Art, Northampton, Massachusetts (11/7/2008-2/1/2009)

William Stanley Haseltine (American, 1835-1900), Cannes in the Sixties, c.1867, pencil and watercolor wash drawing on medium weight wove watercolor paper, Gift of Charles H. Morgan (AC

1952.2), to William Stanley Haseltine: Painter of Place, Smith College Museum of Art, Northampton, Massachusetts (11/7/2008-2/1/2009)

Amand-Durand (French, 1831-1905) after Albrecht Dürer (German, 1471-1528), Knight, Death and the Devil, engraving, Museum Purchase (AC 1980.26), to Emulation or Imitation: The Case of Dürer vs. Raimondi, Smith College Museum of Art, Northampton, Massachusetts (1/9/2009-4/19/2009)

Albrecht Dürer (German, 1471-1528), ‘The Presentation of Christ in the Temple’, from The Life of the Virgin series, 1502-1503, woodcut, Gift of Edward C. Crossett (Class of 1905) (AC 1951.1005), to Emulation or Imitation: The Case of Dürer vs. Raimondi, Smith College Museum of Art, Northampton, Massachusetts (1/9/2009-4/19/2009)

Albrecht Dürer (German, 1471-1528), The Sea Monster, c.1501, engraving, Museum Purchase (AC 1969.2), to Emulation or Imitation: The Case of Dürer vs. Raimondi, Smith College Museum of Art, Northampton, Massachusetts (1/9/2009-4/19/2009)

Albrecht Dürer (German, 1471-1528), Knight, Death and Devil, 1513, engraving, Gift of Dr. Beekman Delatour (Class of 1918) in honor of Professor Otto Manthey-Zorn (AC 1975.77), to Emulation or Imitation: The Case of Dürer vs. Raimondi, Smith College Museum of Art, Northampton, Massachusetts (1/9/2009-4/19/2009)

Albrecht Dürer, Knight, Death and Devil, 1513, Gift of Dr. Beekman Delatour (Class of 1918) in honor of Professor Otto Manthey-Zorn (AC 1975.77). Photo by Stephen Fisher

18 19

Marcantonio Raimondi (Italian, c.1480-c.1530) after Albrecht Dürer (German, 1471-1528), ‘The Presentation of the Virgin’ from Life of the Virgin Series, 16th century, engraving, Gift of Professor Harry Bober (AC 1978.62.a), to Emulation or Imitation: The Case of Dürer vs. Raimondi, Smith College Museum of Art, Northampton, Massachusetts (1/9/2009-4/19/2009)

James Wells Champney (American, 1843-1903), Feeding the Chickens, oil on canvas, Gift of Herbert W. Plimpton: The Hollis W. Plimpton (Class of 1915) Memorial Collection (AC 1978.69), to What Can a Woman Do? Women, Work, and Wardrobe 1865-1940, Mount Holyoke College Art Museum, South Hadley, Massachusetts (2/3/2009-5/31/2009)

John Quidor (American, 1801-1881), Peter Stuyvesant’s Voyage up the Hudson River, 1866, oil on canvas, Gift of Herbert W. Plimpton: The Hollis W. Plimpton (Class of 1915) Memorial Collection (AC 1980.88), to New York at 400: The Persistence of Dutch Heritage and the Language of Celebration, The Hudson River Museum, Yonkers, New York (6/13/2009-1/3/2010)

D O N AT i O N S M A D E

In the 2007-08 academic year, the Mead partnered with the Department of Art and the History of Art in presenting the Reimagining the Distaff Toolkit exhibition; with the English Department for the Jared Paul poetry slam; and with the Russian Department on the screening of a film by Hannah Collins. The Mead collaborated with the Department of Music on the Faultlines jazz festival performances with Marty Elrich, Jason Robinson, Bruce Diehl, and Adam Larrabee; the Fortune’s Wheel Medieval Music concert; and the Arvo Pärt concert performed by Jeffers Engelhardt, David Schneider, Jenny Kallick, and singers from the Amherst College Choral Society. Additionally, the museum co-sponsored with Marsh House the No Mic, Open Mic poetry reading series at the Mead; joined the Amherst Area Chamber of Commerce in serving as a venue for the Amherst Art Walk on the first Thursday of each month; and co-sponsored the U. Mass. Fine Arts Center’s Careers in Art History roundtable. The Mead also contributed substantially to the 2009 Amherst College Press publication Who Am I in This Picture? Amherst College Portraits with Brett Cook and Wendy Ewald.

D O N AT i O N S REC Ei v ED

The Mead could never have completed its successful year of exhibitions, acquisitions, and events without the generous support of many individuals and academic departments. Adam Lindemann (Class of 1983) and Amalia Dayan supported the Jonathan Meese exhibition and related artist’s visit and campus performance. Charles Wilkes (Class of 1971) and Helen Wilkes (Parents, Class of 2008) and H. Nichols B. Clark made donations to support specific acquisitions. The revived Friends of the Mead Art Museum raised nearly $15,000 to support the museum’s programs, and museum visitors left cash donations totaling more than $1,000 in the lobby piggy bank. Additionally, the Mead received generous contributions from the Classics Department for Whispering Coins: Echoes of Classical Greece; the office of the Dean of Faculty for the New Faculty Museum Orientation; the Lamont Fund for the lecture by Will Barnet; the Amherst Association of Students for Evenings at the Mead; the Amherst Art Series Fund for numerous special events; the Department of Art and the History of Art and the Department of Music for Tuning in – Musical Variations on Weather with Nathalie Miebach; and the former department for the special reception for Amherst College Honorand Frank Stella.

G R A N T S REC Ei v ED

In December 2009, the Andrew W. Mellon Foundation awarded the Mead a prestigious three-year, $500,000 grant to support staffing, assist faculty in integrating museum collections into teaching and research, and provide curatorial fellowships to recent Five Colleges graduates. The grant supports a full-time staff position devoted to increasing awareness of Amherst’s art collection as a cross-disciplinary resource for teaching and research; two faculty course-development seminars focused on the Mead’s collection each year; stipends for faculty guest curators; and two, two-year Post-Baccalaureate Curatorial Fellowships to allow exceptionally promising recent Five Colleges graduates from any field of study to undertake substantive curatorial work during the crucial interval between college and graduate study. Also in December 2009, the Julia A. Whitney Foundation presented the Mead with $50,000 in support of initiatives to conserve, catalogue, and present the Thomas P. Whitney (Class of 1937) Collection of Russian Art.

Curricular Collaborations

In 2008–09, the Mead strengthened and expanded

its links to the curriculum—efforts reflecting the

museum’s refocused educational mission, and

greatly assisted by the Mellon Foundation grant

(listed above). Educator Christine Paglia, who joined

the Mead’s staff in August 2008, and her successor,

Interim Andrew W. Mellon Coordinator of College

Programs Susan Anderson, who began work in Janu-

ary 2009, oversaw this crucial work.

Not surprisingly, the vast majority of Amherst Col-

lege courses in studio art, the history of art, and

museum studies met for at least one session in the

museum. Notably, Professor Andaleeb Banta’s Art

and the History of Art 1 (Introduction to the History

of Western Art) met weekly during the fall semes-

ter in the galleries or in the study room to examine

original objects from ancient Egypt to the present

day. Professor Carol Clark’s Art and the History of Art

71 (American Art at the Mead) followed suit in the

spring semester, with twice-weekly meetings at the

Mead, studying American art from the Colonial era

through the early twentieth century.

Building upon efforts from 2007-08, the museum

also welcomed new and returning faculty and

students from across the Humanities, Social Sci-

ences, and Natural Sciences. In September, Professor

Benjamin Hutz’s Math 13 (Multivariable Calculus)

visited the galleries to measure objects and construct

computer-generated models, and Professor Karen

Koehler’s Art 91 (Apocalypse and Utopia: German

Architecture, Art and Design in the Twentieth Cen-

tury) viewed prints by the German Expressionists.

In October, Professor Carol Clark’s American Studies

11 (The American Dream) considered nineteenth-

century American landscape paintings in terms of

national identity; Professor Manuela Picq’s Women’s

and Gender Studies 3 (Gender and Ethnicity in Latin

America) viewed Latin American jewelry, textiles

and related tools; and Professor Alexander Chee’s

William Taylor ’09, Worms of the Senses (No. 1 in a series of 20 linocuts), 2009, Purchase, Wise Prize (2009.163.1). Artist photo

Grants

AwA RDS G i v EN

In May 2009, the Mead awarded the 2009 Wise Fine Arts Award to William Taylor, Class of 2009. As a requirement of the prize, twenty linocuts from Mr. Taylor’s senior thesis exhibition entered the special Wise Prize collection overseen by the Mead. In recognition of the number of works acquired, the prize amount was increased in this instance to $2,000. Also in May 2009, the Mead Art Museum and the Department of Art and the History of Art awarded four Summer Fellowships for 2009. Oscar Bedford, Class of 2011, received $1,000 to prepare a photographic documentary project involving family and cultural identity; Colombina Valera, Class of 2010, received $1,000 to participate in an eight-week internship at DNA Gallery, Provincetown, Massachusetts; Porsche Dames, Class of 2012, received $500 to participate in a ten-week internship at the Rubin Museum, New York; and Ashley Hogan, Class of 2012, received $500 to participate in the Summer Institute for Art Museum Studies at Smith College, Northampton, Massachusetts.

ABOVE: Docent Katherine Eisen ’12 presenting Ahmed Alsoudani’s Untitled to the acquisitions board of the Trinkett Clark Memorial Student Acquisition Fund. Photo by Samuel Masinter ’04BELOW: Docent Miranda Marraccini ’12 exploring an interactive installation at Mass MOCA. Photo by Teddy O’Connor

20 21

English 26 (Fiction Writing 1) visited the galleries for

inspiration. In November, Doug Culhane’s Art and

the History of Art 91 (Five College Advanced Drawing

Seminar) viewed drawings and prints from a range of

cultures and eras, and Professor Karen Sanchez-Ep-

pler’s English 5 (Reading Historically) considered ob-

jects related to Edith Wharton’s The House of Mirth.

In December, Professor Timothy Van Compernolle’s

Asian Languages and Civilizations 21 (Traditional

Japanese Literature) contrasted Japanese wood-

block prints depicting scenes from the popular play,

Chushingura, with their literary counterpart; Profes-

sor Luca Grillo’s Latin 15 (Latin Literature: Catullus

and the Lyric Spirit) read, transcribed, and translated

passages from Medieval and Renaissance illuminated

manuscript pages; and Professors Amanda Walling’s

and Jane Taubman’s Russian 1 (First-Year Russian I)

practiced speaking Russian within a display of Rus-

sian art.

Also in the fall semester, the Mead participated in

many of the college’s twenty-five required First Year

Seminars. In September, Professor Marni Sandweiss’s

First Year Seminar 7 (Telling Lives) examined early

American portraits as visual counterparts to written

memoirs of the same period. In October, Professor

Frank Couvares’s First Year Seminar 5 (Drugs in His-

tory, Society, and Culture) studied images of drug use

alongside decorative arts objects related to smoking

and drinking; Professor Ronald Rosbottom’s First Year

Seminar 10 (Pariscape: Imagining Paris in the Twen-

tieth Century) considered the shifting pleasures and

anxieties of Parisian life depicted in French prints and

photographs from the mid-nineteenth through the

mid-twentieth centuries; Professors Joel Upton’s and

Arthur Zajonc’s First Year Seminar 13 (Erôs and In-

sight) viewed Anna Kagan’s A Suprematist Composi-

tion through the mindful lens of intense meditation;

Professors Carol Clark’s and Elizabeth Aries’s First

Year Seminar 19 (Growing up in America) considered

photographs, drawings, and sculpture of American

childhood from the mid-nineteenth century through

the present day; and Professor Cathy Ciepela’s First

Year Seminar 22 (Strange Russian Writers) viewed

Constructivist works as a visual manifestation of

contemporaneous writings. In November, Professors

Paola Zamperini’s and Timothy Van Compernolle’s

First Year Seminar 8 (Figures of Ill-Repute: China,

France, Japan) studied images of geishas, courtesans,

and prostitutes in Japanese and French prints.

The spring semester proved equally productive.

In February, Professor Kevin Sweeney’s History 37

(Material Culture of American Homes) examined

Pianist Elaine Rombola performing in Nathalie Meibach’s Tuning in—Musical Variations on Weather. Photo by Geoffrey Giller ’10

ABOVE: Professor Andaleeb Banta considering works of art in storage. Photo by Charles Quigg ’09BELOW: Students in Professor Grillo’s Life in Ancient Rome class with children from Girls, Inc. Photo by Charles Quigg ’09

22 23

American furniture and considered its manufac-

ture and function; Professor Jeffers Engelhardt’s

Music 49 (Seminar in the Anthropology of Music)

discussed Russian icons in relation to the composi-

tions of Estonian composer Arvo Pärt; Professor

Robert Hayashi’s English 1 (American Wilderness)

considered American landscape painting as inspira-

tion for written compositions; Professor Rebecca

Sinos’s Classics 34 (Archaeology of Greece) discerned

original Greek artifacts from reproductions; Profes-

sor Rick Lopez’s History 54 (Environmental History of

Latin America) considered the varied representations

of South America in landscape painting; Professor

David Schneider’s Music 21 (Music and Culture I)

studied and sang from an illuminated manuscript

of medieval chant with the assistance of the profes-

sional musical group, Fortune’s Wheel; and Professor

Benjamin Hutz’s Math 12 (Intermediate Calculus)

measured three-dimensional objects (with the as-

sistance of Mead staff) and calculated their volumes.

In March, Professor Wendy Woodson’s Theater

and Dance 25 (Scripts and Scores) drew inspiration

from the Mead’s gallery spaces and artworks on

view to compose movement-based performances;

Professor Ronald Rosbottom’s European Studies 14

(Napoleon’s Legends) contrasted French and Brit-

ish official and popular printed images of Napoleon

Bonaparte; and Professor Karen Sanchez-Eppler’s

American Studies 68 (Research Methods in American

Culture) considered American portraits as primary

research tools. In April, Professor Heidi Gilpin’s Eu-

ropean Studies 65 (Making Memorials) investigated

the shifting iconographic traditions and intellectual

and emotional functions of memorials and monu-

ments from ancient Greece through contemporary

photojournalism; Professor Luca Grillo’s Latin 2

(Intermediate Latin) read, transcribed, and trans-

lated Latin passages from medieval and Renaissance

manuscript pages; Professor Boris Wolfson’s Russian

32 (War Stories) compared Eastern Orthodox icons

to Western European altarpieces of the Renaissance;

Professor Laure Katsaros’s French 42 (Women of Ill

Repute) considered images of prostitution and fin-

de-siècle Parisian life in light of nineteenth-century

French literary sources; and Professor Manuela Picq’s

Women’s and Gender Studies 7 (Gender and the

Environment) critiqued images of women and labor

in the Third World.

Throughout the academic year, faculty from outside

of Amherst College also used the Mead’s resources.

In September, Western New England College Profes-

sor Lorna Ritz’s studio art class visited the galleries;

in October, U. Mass. Amherst Professor Kathryn

Lachman’s French Studies 384 (Orient in the French

Imagination) viewed orientalizing imagery by Delac-

roix, Gros, and Gérôme; In February, Paul Berman’s

History of Photography, from the Five College Learn-

ing in Retirement program, studied nineteenth-cen-

tury photographs; and in March, Hampshire College

Professor Karen Koehler’s Art 163 (Guernica: 1936 to

the Present) considered prints by Picasso and Goya.

Some class visits generated larger projects. During

the fall, Professor Benjamin Hutz’s Math 13 (Multi-

variable Calculus) returned for the third semester to

measure objects and create digital computer models

of them. The resulting podcasts exploring the rela-

tionship of math and art are available on the Mead’s

website and as part of the museum’s iPod tours of

the galleries. In the spring, Professor Hutz returned

with Math 12 (Intermediate Calculus) for a similar

exercise in which students calculated the volume

of various three-dimensional objects, including an

ancient Roman alabastron and twentieth-century

Mexican jar. Students in Professor Jeffers Engelhar-

dt’s Music 29 (Seminar in the Anthropology of Music)

compared Russian icons to their auditory equivalents

in the musical compositions of Arvo Pärt; arranged

for the musician and icon painter Nektarios Antoniou

to speak about the technique of icon painting; pre-

pared wall texts for a museum display of icon paint-

ings; and participated in a public performance of

Pärt’s music with singers from the Amherst College

Choral Society, a recording of which is now played

in continuous loop in the related gallery display.

Students in Professor Wendy Woodson’s Theater and

Dance 25 (Scripts and Scores) took inspiration from

ABOVE: Professor Jeffers Engelhardt presenting the concert Icons in Sound: Music of Arvo Pärt. Photo by Charles Quigg ’09BELOW: Professor Luca Grillo discussing the Assyrian reliefs in a Faculty Lunchtime Talk. Photo by Charles Quigg ’09

24 25

the Mead’s public spaces and displays in composing

subtle, movement-based performances, which they

debuted at the Mead in an unadvertised “happen-

ing” before a happily surprised audience of museum

visitors. Students in Professor Luca Grillo’s Classics

28 (Life in Ancient Rome) developed their original

research on seventeen Roman artifacts in the Mead’s

collections into a rotating public installation, web

site feature, and—as part of a new partnership with

Amherst College’s Center for Community Engage-

ment—engaging presentations to area children in

Big Brothers Big Sisters, Girls, Inc., and the Pipeline

academic enrichment program.

In a few instances, faculty projects sparked new

Mead projects. In November, Professor Luca Grillo

organized two lectures related to a group of ancient

coins on loan to the Mead from a private collection,

a project that began as a class visit by students in

Latin 1 (An Introduction to Latin Language and Litera-

ture) and resulted in a refreshed gallery display and

forthcoming scholarly article. Inspired by Professor

Jason Robinson’s Faultlines jazz performance series,

which explored music that defies conventional

categorization by genre, Mellon coordinator Susan

Anderson organized an exhibition of master prints

by Hendrick Goltzius that showed the sixteenth-

century engraver “riffing” on the styles of earlier

artists. That exhibition, in turn, prompted an April

lecture by Professor Andaleeb Banta about the term

“masterpiece” as applied to early northern prints.

Also in the spring, Amherst College Artist in Resi-

dence Nathalie Miebach presented her recent woven

sculpture—derived from weather data—and pianist

Elaine Rombola performed Miebach’s related musical

score in the museum’s Bassett Gallery, surrounded

by nineteenth-century landscape paintings evoking a

similar range of weather conditions.

In spring 2009, the Mead launched a new series

of ten-minute Faculty Lunchtime Talks. Coach Billy

McBride enthralled listeners with a discussion of

two George Bellows lithographs depicting boxing;

Professor Andaleeb Banta presented new research

on Sano di Pietro’s The Adoration of the Child with

Saints Bernard and Bernardino; and Professor Luca

Grillo offered an engaging discussion of the Mead’s

renowned Assyrian reliefs.

FAC u LT y S EM i N A R

In June 2009, the Mead held its first Mellon-funded

faculty seminar, on the topic of American portrait

miniatures, led by Robin Jaffee Frank of the Yale

University Art Gallery. Five College faculty members

from a range of academic disciplines considered

miniatures by the Peales, Edward Greene Malbone,

and others as a tokens of mourning and of love, as

family heirlooms, as evidence for biography and

inspiration for literary fiction, and as symbols of pub-

Oedel, Professor of Art History, U. Mass. Amherst;

Laura Sizer, Professor of Philosophy, Hampshire Col-

lege; and Paul Staiti, Professor of Art History, Mount

Holyoke College.

S T u D EN T i N vO Lv EM EN T

Spurred by the Mead’s curricular engagement initia-

tives, dramatically expanded open hours, and the

presence of comfortable seating, free wi-fi, and a

lobby espresso bar, Amherst students continued to

feel at home in the Mead in 2008-09. In November,

students approached the Mead with the request to

host slam poet Jared Paul. That successful perfor-

mance inspired other students to organize a series of

No Mic, Open Mic poetry readings in the museum’s

Rotherwas Room, where Robert Frost once read his

works when on campus between 1949 and 1962.

The museum’s volunteer student docents, led in turn

by Christine Paglia and Susan Anderson, in collabora-

tion with director Elizabeth Barker and volunteer Jill

Bierly, continued to offer museum tours, and to re-

search and record podcast audio guides. The docents

restructured the 2007-08 Fall into Art and Spring

into Art events into Evenings at the Mead, a series of

Coach Billy McBride discussing works by George Bellows in a Faculty Lunchtime Talk. Photo by Geoffrey Giller ’10

lic allegiance. Participants included Melissa Burch,

Professor of Psychology, Hampshire College; Carol

Clark, Professor of Art History and American Studies,

Amherst College; Heidi Gilpin, Professor of German,

Amherst College; Robert Hayashi, Professor of Eng-

lish and American Studies, Amherst College; Chaia

Heller, Professor of Gender Studies, Mount Holyoke

College; Karen Koehler, Professor of Art History,

Hampshire College; Ronald Lembo, Professor of So-

ciology, Amherst College; Michael Lesy, Professor of

Literary Journalism, Hampshire College; Richard Mil-

lington, Professor of English, Smith College; William

Back: Angela Pratt ’11, Samantha Schnell ’11, Chelsea Amegatcher ’11, Clare Howard ’10, Christina Martinez ’10, Seguin Strohmeier ’10, Teddy O’Connor, Elizabeth Barker, Brittany Berckes ’10, Erin Morrison ’09, Kendra Stern ’11, Margaret Tato ’09, Brooke Bennett ’11. Front: Alexandria Valera ’10, Katherine Eisen ’12, Louisa Sonstroen ’12, Timothy Clark ’12, Miranda Marraccini ’12, Caroline Stern ’11, Erin Downey ’11, Sara Sligar ’10. Not pictured: Iris Aliaj ’12, Jessica Ball ’09, Daniel Bamba ’11, Brittany Berckes ’10, Katie Breen U. Mass. Amherst ’09, Brenna Brown ’12, Olivia Chase ’12, Porsche Dames ’12, Caroline Darmody ’10, Caitlin Demkin ’11, Grace Deveney ’09, Kristin Dier ’10, Elizabeth Ganley-Roper Hampshire College ’11, Jennifer Kane Hampshire College ’09, Nary Kim ’10, Maryam Khan ’10, Emily Mackey ’10, Christina Martinez ’10, Rebecca Martinez ’10, Katrina Moreno ’10, Abigail Murray ’11, Kathleen Paeth ’12, Alexandra Poreda ’12, Maggie Shannon ’10, Louisa Sonstroem ’12

brief gallery talks wittily paired with a cappella songs.

The year’s eight Evenings featured the Bluestock-

ings, Route 9, the Sabrinas, the Zumbyes, the DQ,

Hampshire College’s Gin and Tonics, and the Libero

chamber group.

Also new in 2008-09, the docents participated in a

year-long practicum in museum acquisitions using

funds established in honor of Trinkett Clark (1951-

2006), former curator of American art at the Mead.

Following several months’ consideration of the topic

through readings, field trips, and guest speakers,

the docents identified three strong candidates for

acquisition, and argued their cases in teams before

26 27

an Acquisitions Board comprised of museum staff,

faculty, and local experts. After the Board selected

Gideon Bok’s 2008 print, Wingate Studio with Aldo’s

Press, No Sleep ’Til Hinsdale for acquisition, Board

member H. Nichols B. Clark surprised the docents by

generously offering to purchase for the museum a

second student-proposed print, Ahmed Alsoudani’s

Untitled, 2008, as well. The Mead displayed both

prints in a summer exhibition.

Fu T u RE PL A N S

The Mead is gearing up for another successful year

in 2009-10, with various class projects and faculty

lunchtime talks already in the works to keep the

Mead humming by day—and Evenings at the Mead

and No Mic Open Mic sessions on tap to energize

the museum at night. Highlights of the coming

academic year include an expanded schedule of new

student orientation events; an exhibition featuring

the paintings and prints of Lino Mannocci, an Italian

artist active in London; a sports-themed Homecom-

ing Weekend museum tour; a display of Russian

costume designs related to a museum performance

of Silver Age music by Arthur Lourié; and a January

2010 Mellon Faculty Seminar on Pre-Hispanic Central

and South American art led by Rosemary A. Joyce,

Richard and Rhoda Goldman Distinguished Profes-

sor of Social Sciences, and Chair of the Department

of Anthropology, at the University of California,

Berkeley. Also in 2009-10, Professor of Political Sci-

ence Thomas Dumm will publish (in the winter issue

of The Massachusetts Review) an article developed

from his insightful February 2009 public conversation

with the artist Will Barnet about the painting series,

My Father’s House.

Exhibitions Held

Celebrating a Transforming Legacy: Russian Art from the Collection of Thomas P. Whitney, Class of 1937March 14, 2008-January 4, 2009This special installation of eleven highlights from the collection of Thomas P. Whitney, Class of 1937, was organized in memory of the extraordinary donor to Amherst College.

ALARM de ALARM (PROPAGANDA IN ALASKA): New and Recent Works by Jonathan Meese from the Collection of Adam Lindemann ’83 and Amalia DayanOctober 19-December 14, 2008This temporary installation of paintings and sculpture offered a glimpse into the German artist’s expressive, energetic vision, and provided a context for his December 7th performance at Amherst—his first at an American college.

Interpreting “The Dream”: A Recent Painting by Will Barnet in ContextJanuary 4-April 26, 2009This exhibition drawn from the collection featured and contextualized gifts from the esteemed artist Will Barnet and his wife, Elena, of four works (one painting and four related drawings) from the series My Father’s House.

Hendrick Goltzius’s ‘Life of the Virgin’: Surpassing TraditionMarch 17-October 11 2009 This installation featured the six-print series depicting scenes from the life of the Virgin Mary by Hendrick Goltzius, who demonstrated his rightful place among an established canon of great masters by adapting and transforming the style and iconography of such earlier artists as Albrecht Dürer, Lucas van Leyden, and Federico Barocci.

DivinationApril 24, 2009-May 16, 2010This special cross-cultural installation drawn from the collection explored objects, rites and traditions of divination in Africa, Europe, and the United States.

What Avant-Garde WasMay 1-August 9, 2009This special installation from the collection surveyed American art from 1960 to 1990, including Color Field Painting, Pop Art, and Postmodern assemblage.

Publications

PRi N T Pu B L i C AT i O N S (none)

EL EC T RO N i C Pu B L i C AT i O N S A N D wEB FE AT u RE S

In September 2008, the Mead launched the consortial on-line catalogue, Will Barnet: My Father’s House, which documents the seven paintings and related preparatory drawings generously donated by the artist and his wife to the museums at Amherst, Bowdoin, Mt. Holyoke, Smith, and Williams Colleges, and Yale University. During the fall semester, the Mead launched new episodes of its Museum Audio Tours podcasts recorded by students in the museum’s volunteer Docent program, available as free iTunes downloads and on handsets distributed at the museum’s lobby information desk. In the spring 2009 semester, the museum posted on line new Gallery Talk Videos of the Faculty Lunchtime Talks. Additionally, the Mead recorded and web-published several class projects: the student-organized exhibition, Boudoir, Bath and Temple: Life in Ancient Rome; virtual models of

ABOVE RIGHT: Artist Jonathan Meese, Professor Lawrence Douglas, and collector and author Adam Lindemann ‘83 discussing the artist’s work. Photo by Jan BauerBELOW RIGHT: Artist Frank Stella Hon. ’09 with Professor Carol Clark and a museum visitor at the Mead’s reception. Photo by Charles Quigg ’09

28 29

museum artworks created by students in Intermediate Calculus and Multivariable Calculus; and an exhibition-related concert of the music of Arvo Pärt.

Programs

All programs took place at the Mead Art Museum unless otherwise noted.

FA L L 20 0 8

New Faculty Museum OrientationThursday, September 18, 2008, 4:30 p.m.

Amherst Art Walk: Annual Block Party co-sponsored with the Amherst Area Chamber of CommerceThursday, October 2, 2008, 5:00 p.m.

Public ConversationThe Psychology of Collecting: Henry Hacker, New York-based art collector and lecturerFriday, October 3, 2008, 1:00 p.m.

Museum ForumTuesday, October 7, 2008, 4:30 p.m.

Jazz PerformanceFaultlines: Mapping Jazz in the 21st Century: Jason Robinson, Visiting Assistant Professor of Music at Amherst College, and Marty Ehrlich, Associate Professor of Music at Hampshire CollegeTuesday, October 7, 2008, 8:30 p.m.

Gallery TalkAhoi de Angst: Meese, Myth and Culture: Kim Conaty, Museum of Modern Art-based scholarStirn AuditoriumSunday, October 19, 2008, 3:30 p.m.

Public ConversationThe Art Market, Old Master works, and Collecting Art on Paper: Susan Schulman, New York-based dealer in master printsFriday, October 24, 2008, 1:00 p.m.

Student-Led Family Weekend Museum Tours: DocentsSaturday, October 25, 2008, 12:00, 12:30, 1:00, 1:30 p.m.

Slide LectureFrom the English Landscape Garden to the American Frontier: The Transatlantic Taste for Romantic Hermits: Elizabeth Barker, Director and Chief CuratorPruyne AuditoriumSaturday, October 25, 2008, 3:00 p.m.

Evenings at the MeadDocent-Organized Student Celebration and Museum ToursSpecial Guests: The BluestockingsWednesday, October 29, 2008, 8:00 p.m.

Amherst Art Walk: Annual Block Party co-sponsored with the Amherst Area Chamber of CommerceThursday, November 6, 2008, 5:00 p.m.

Special PresentationWhispering Coins: Echoes of Classical Greece: Peter van Alfen, Margaret Thompson Associate Curator of Greek Coins at the American Numismatic Society, and Luca Grillo, Assistant Professor of Classics at Amherst CollegeThursday, November 6, 2008, 4:30 p.m.

Student-Led Homecoming Weekend Tours: DocentsFriday, November 7, 2008, 1:00, 1:30, 2:00, 2:30 p.m.

Museum TourLuminaries and Legacies: American Art in Amherst College’s Mead Art Museum: Randall Griffey, Curator of American ArtFriday, November 7, 2008, 3:00 p.m.

Museum TourFresh Takes on the Old Masters: A Renewed Liberal Arts Mission for the Mead: Elizabeth Barker, Director and Chief CuratorSaturday, November 8, 2008, 11:30 a.m.

Gallery TalkNo Cause for Alarm: Elizabeth Barker, Director and Chief CuratorSaturday, November 8, 2008, 2:00 p.m.

Filmmaker Discussion and Film Screening: Hannah CollinsCo-sponsored with the Amherst College Russian DepartmentFayerweather 115 Wednesday, November 12, 2008, 4:00 p.m.

Evenings at the MeadDocent-Organized Student Celebration and Museum ToursSpecial Guests: The DQWednesday, November 12, 2008, 8:00 p.m.

Poetry Slam: Jared PaulOrganized by Maxwell Suechting, Class of 2011 and Michael Harrington, Class of 2011, on behalf of Marsh Arts HouseWednesday, November 19, 2008, 8:00 p.m.

No-Mic Open-Mic Poetry ReadingOrganized and hosted by Max Kaisler, Class of 2011, on behalf of Marsh Arts House Wednesday, December 3, 2008, 9:00 p.m.

Amherst Art Walk: Annual Block Party co-sponsored with the Amherst Area Chamber of CommerceThursday, December 4, 2008, 5:00 p.m.

Artist’s Conversation: Lawrence Douglas, James J. Grosfeld Professor of Law, Jurisprudence and Social Though; Adam Lindemann, collector and author; and artist Jonathan MeeseSunday, December 7, 2008, 12:00 p.m.

Artist’s PerformanceDRIVE ME HOMEESE BABYBABY, TO ERZLAND (ACHTUNG): Jonathan MeeseKirby TheaterSunday, December 7, 2008, 7:30 p.m.

Evenings at the MeadDocent-Organized Student Celebration and Museum ToursSpecial Guests: The ZumbyesWednesday, December 10, 2008, 8:00 p.m.

S PRi N G 20 0 9

Amherst Art Walk: Annual Block Party co-sponsored with the Amherst Area Chamber of CommerceThursday, January 1, 2009, 5:00 p.m.

Museum ForumWednesday, February 4, 2009, 4:30 p.m.

Amherst Art Walk: Annual Block Party co-sponsored with the Amherst Area Chamber of CommerceThursday, February 5, 2009, 5:00 p.m.

Evenings at the MeadDocent-Organized Student Celebration and Museum ToursSpecial Guests: The ZumbyesWednesday, February 11, 2009, 8:00 p.m.

Special InstallationDarwin Days @ Amherst: Feejee MermaidThursday, February 12, 2009

Special PresentationICONS “R” US: Aesthetics of Representation and Liturgical Icons: Nektarios Antoniou, conductor and icon collectorFriday, February 13, 2009, 1:00 p.m.

Docent Fieldtrip: Wingate StudiosSunday, February 15, 2009, 12:30 p.m.

No-Mic Open-Mic Poetry ReadingOrganized and hosted by Max Kaisler, Class of 2011, on behalf of Marsh Arts House Wednesday, February 18, 2009, 9:00 p.m.

Curator’s Tour of Interpreting the Dream: A Recent Painting by Will Barnet in Context: Randall Griffey, Curator of American ArtThursday, February 19, 2009, 4:30 p.m.

Faculty Lunchtime TalkBellows and Boxing: Billy McBride, Assistant Athletic Director and Senior CoachFriday, February 20, 2009, 12:00 p.m.

Gloria Martinez ’11 and Nicholaus Mollel ’10 at an Evening at the Mead. Photo by Charles Quigg ’09

A demonstration of Russian icon painting by conductor and icon collector Nektarios Antoniou. Photo by Katherine Berry ’12

Sotheby’s specialist Scott Niichell ’06 discussing the market for Russian art. Photo by Rose Lenehan ’11

Cindy Li ’12 and Andrew Kelly ’12 in Professor Hutz’s Multivariable Calculus class. Photo by Geoffrey Giller ’10

30 31

Medieval Music Concert: Fortune’s WheelSunday, February 22, 2009, 3:00 p.m.

Artist’s Conversation: Artist Will Barnet and Thomas Dumm, Amherst College Professor of Political ScienceStirn AuditoriumTuesday, February 24, 2009, 4:30 p.m.

Evenings at the MeadDocent-Organized Student Celebration and Museum ToursSpecial Guests: The DQWednesday, February 25, 2009, 9:00 p.m.

ConcertIcons in Sound: Music of Arvo Pärt: Jeffers Engelhardt, Assistant Professor of Music; David Schneider, Associate Professor of Music; Jenny Kallick, Professor of Music; and singers from the Amherst College Choral SocietySunday, March 1, 2009, 4:00 p.m.

No-Mic Open-Mic Poetry ReadingOrganized and hosted by Max Kaisler, Class of 2011, on behalf of Marsh Arts House Wednesday, March 4, 2009, 9:00 p.m.

Amherst Art Walk: Annual Block Party co-sponsored with the Amherst Area Chamber of CommerceThursday, March 5, 2008, 5:00 p.m.

Docent Field Trip: William College Museum of Art, Sterling and Francine Clark Art Institute, and MASS MoCASunday, March 8, 2009

Artist’s Talk and ConcertTuning in-Musical Variations on Weather: Nathalie Miebach, Artist

in Residence, and pianist Elaine RombolaTuesday, March 10, 2009, 4:30 p.m.

Jazz PerformanceFaultlines: Mapping Jazz in the 21st Century: Bruce Diehl, Senior Lecturer and Director of Jazz Performance, and guitarist Adam LarrabeeTuesday, March 10, 2009, 8:00 p.m.

Evenings at the MeadDocent-Organized Student Celebration and Museum ToursSpecial Guests: The Libero QuartetWednesday, March 11, 2009, 8:00 p.m.

No-Mic Open-Mic Poetry ReadingOrganized and hosted by Max Kaisler, Class of 2011, on behalf of Marsh Arts House Tuesday, March 24, 2009, 9:00 p.m.

Faculty Lunchtime TalkSano di Pietro’s The Adoration of the Child with Saints Bernard and Bernardino: Andaleeb Banta, Visiting Assistant Professor of the History of ArtFriday, March 27, 2009, 12:00 p.m.

Evenings at the MeadDocent-Organized Student Celebration and Museum ToursSpecial Guests: The Gin and TonicsWednesday, April 1, 2009, 8:00 p.m.

Amherst Art Walk: Annual Block Party co-sponsored with the Amherst Area Chamber of CommerceThursday, April 2, 2009, 5:00 p.m.

Docent Art Acquistion ProjectFriday, April 3, 2009, 1:00 p.m.

Curator’s Tour of Hendrick Goltzius’s Life of the Virgin Series: Surpassing Tradition: Susan Anderson, Interim Andrew W. Mellon Coordinator of College ProgramsTuesday, April 7, 2009, 4:30 p.m.

No-Mic Open-Mic Poetry ReadingOrganized and hosted by Max Kaisler, Class of 2011, on behalf of Marsh Arts House Wednesday, April 8, 2009, 9:00 p.m.

Public ConversationThe Rising Market for Russian Paintings: Scott Niichel, Class of 2006, Russian art specialist at Sotheby’sFriday, April 10, 2009, 1:00 p.m.

Observance of 5-year Anniversary of Iraq Museum Looting in conjunction with SAFE (Saving Antiquities for Everyone)Special Installation: Iraqi children’s artworkGallery Talk: Jill Bierly, University of Massachusetts doctoral candidate in Anthropology; Claudia Lefko, Coordinator of the Iraqi Children’s Art Exchange; and Mead DocentsStearns Steeple, Neuhoff Sculpture Court, Mead Art MuseumTuesday, April 14, 2009, 4:30 p.m.

Evenings at the MeadDocent-Organized Student Celebration and Museum ToursSpecial Guest: The BluestockingsWednesday, April 15, 2009, 8:00 p.m.

Faculty Lunchtime TalkThe Assyrian Reliefs: Luca Grillo, Assistant Professor of ClassicsFriday, April 17, 2009, 12:00 p.m.

Special Conversation with Girls, Inc.Life In Ancient Rome: Luca Grillo, Assistant Professor of Classics, and his studentsTuesday, April 21, 2009, 9:00 a.m.

Public ConversationLife In Ancient Rome: Luca Grillo, Assistant Professor of Classics, and his studentsTuesday, April 21, 2009, 4:30 p.m.

No-Mic Open-Mic Poetry ReadingOrganized and hosted by Max Kaisler, Class of 2011, on behalf of Marsh Arts House Wednesday, April 22, 2009, 9:00 p.m.

Slide LectureMeisterstiche as Masterpieces: The Prints of Albrect Dürer, Lucas van Leyden and Hendrick Goltzius: Andaleeb Banta, Visiting Assistant Professor of the History of ArtThursday, April 23, 2009, 4:30 p.m.

Special Conversation with Big Brothers and Big SistersLife In Ancient Rome: Luca Grillo, Assistant Professor of Classics, and his studentsTuesday, April 28, 2009, 4:00 p.m.

Museum ForumWednesday, April 29, 2009, 4:30 p.m.

Amherst Art Walk: Annual Block Party co-sponsored with the Amherst Area Chamber of CommerceThursday, May 7, 2009, 5:00 p.m.

Book Signing PartyWho Am I in This Picture?: Amherst College Portraits: Artist Brett Cook, and Wendy Ewald, Visiting Artist-In-ResidenceFrost LibraryThursday, May 7, 2009, 4:30 p.m.

Curator’s Tour of Hendrick Goltzius’s Life of the Virgin Series: Surpassing Tradition: Susan Anderson, Interim Andrew W. Mellon Coordinator of College ProgramsThursday, May 28, 2009, 11:00 a.m.

Museum TourA New Mead for the Next Generation: Art’s Central Role in the Amherst Education: Elizabeth Barker, Director and Chief CuratorThursday, May 28, 2009, 4:00 p.m.

Museum TourExtraordinary Art for a Great College: Highlights of the Mead Art Museum: Elizabeth Barker, Director and Chief CuratorFriday, May 29, 2009, 1:00 p.m.

Museum TourTreasures in Our Midst: American Art at Amherst’s Mead Art Museum: Randall Griffey, Curator of American ArtFriday, May 29, 2009, 3:00 p.m.

Artists’s ConversationThe Artistic Vision of Thomas Cornell, Class of 1959: Elizabeth Barker, Director and Chief Curator, and Thomas Cornell, Class of 1959, Artist-in-Residence at Bowdoin CollegeSaturday, May 30, 2009, 2:30 p.m.

Museum TourTreasures in Our Midst: American Art at Amherst’s Mead Art Museum: Randall Griffey, Curator of American ArtSaturday, May 30, 2009, 4:30 p.m.

ABOVE: The Zumbyes performing in an Evening at the Mead. Photo by Charles Quigg ’09BELOW: Visitors to Professor Banta’s public lecture Meisterstiche as Masterpieces. Photo by Charles Quigg ’09

32 33

AttendanceM uS Eu M

July 2008–June 2009: 14,788 (2,997 for special events)

July 2008: 798 (53 for special events) . . . ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚

August 2008: 804 (84 for special events) . . . ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚

September 2008: 928 (205 for special events) . . . ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚

October 2008: 1,934 (77 for special events) . . . ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚

November 2008: 1,412 (477 for special events) . . . ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚

December 2008: 761 (283 for special events) . . . ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚

January 2009: 576 (17 for special events) . . . ❚ ❚ ❚ ❚ ❚ ❚

February 2009: 1,512 (512 for special events) . . . ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚

March 2009: 1,435 (340 for special events) . . . ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚

April 2009: 1,873 (312 for special events) . . . ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚

May 2009: 2,097 (586 for special events) . . . ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚

June 2009: 658 (51 for special events) . . . ❚ ❚ ❚ ❚ ❚ ❚ ❚

S T u Dy RO O M

July 2008 – June 2009: 1,529

July 2008: 3 . . . . . . . . . . . .

August 2008: 1 . . . . . . . . . . . .

September 2008: 170 . . . . . . . . . . . . ❚ ❚ ❚ ❚ ❚ ❚ ❚

October 2008: 346 . . . . . . . . . . . . ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚

November 2008: 170 . . . . . . . . . . . . ❚ ❚ ❚ ❚ ❚ ❚ ❚

December 2008: 66 . . . . . . . . . . . . ❚ ❚

January 2009: 1 . . . . . . . . . . . .

February 2009: 199 . . . . . . . . . . . . ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚

March 2009: 108 . . . . . . . . . . . . ❚ ❚ ❚ ❚

April 2009: 300 . . . . . . . . . . . . ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚

May 2009: 128 . . . . . . . . . . . . ❚ ❚ ❚ ❚ ❚

June 2009: 37 . . . . . . . . . . . . ❚

S C h O O L G ROu P S

July 2008-June 2009: 576

July 2008: 53 . . . . . . . . . . . . ❚ ❚

August 2008: 72 . . . . . . . . . . . . ❚ ❚ ❚

September 2008: 43 . . . . . . . . . . . . ❚ ❚

October 2008: 82 . . . . . . . . . . . . ❚ ❚ ❚

November 2008: 21 . . . . . . . . . . . . ❚

December 2008: 11 . . . . . . . . . . . .

January 2009: 17 . . . . . . . . . . . .

February 2009:16 . . . . . . . . . . . .

March 2009: 141 . . . . . . . . . . . . ❚ ❚ ❚ ❚ ❚ ❚

April 2009: 85 . . . . . . . . . . . . ❚ ❚ ❚

May 2009: 10 . . . . . . . . . . . .

June 2009: 25 . . . . . . . . . . . . ❚

Facility

Various projects undertaken in 2008-09 improved

visitors’ experiences and streamlined the Mead’s

daily operations. The erection of a freestanding, il-

luminated exterior signboard in which museum staff

can mount daily listings of events has eliminated

the need to produce costly vinyl banners (destined

for landfills) that previously marred the Mead’s

architecture. The opening of the lower level of

Stearns Steeple (part of the college’s Gothic Revival

Victorian church, which stands immediately adja-

cent to the Mead’s entrance) as an installation/new

media space, and the placement of an explanatory

granite marker at its base has helped to clarify that

once confusing structure in the museum’s sculpture

courtyard. And the creation of a small café in the

museum’s lobby, where visitors can enjoy espresso-

based coffee drinks, tea, and cookies (treats that

Amherst College students and employees may now

charge to their ID cards using the convenient “AC

Dollar$” system) has offered a welcome meeting and

refueling space.

and photographs. To permit the display of such art-

works on paper, which are particularly vulnerable to

fading, in the sunlit Rotherwas Room, the museum

has begun to build a stock of protective curtains

fitted to the new frames and embroidered with the

instructive words “Please Lift.”

Additionally, the Mead introduced an electronic

access system for the office wing; upgraded the

electronic notification systems for its intrusion and

fire alarms; remodeled two supply storage areas—in

part, to accommodate the storage of a Parlor Grand

piano, which the department of Music has gener-

ously placed on long-term loan to the museum for

use in professional concerts; and modified the lobby

coat check system to speed retrieval and eliminate

the need for wasteful paper number tags.

Staff

T R A N S i T i O N S

In September 2008, Dr. Randall Griffey became Cura-

tor of American Art, responsible for the research,

cataloguing, exhibition, publication, and growth of

the Mead’s most celebrated holdings. A specialist in

American art before 1945, Randy previously served

as associate curator of American art at the Nelson-

Atkins Museum (where he curated the 2003 Mars-

den Hartley retrospective), and as visiting associate

professor of art history at the University of Missouri-

Kansas City.

In January 2009, Dr. Susan Anderson became interim

Andrew W. Mellon Coordinator of College Programs,

responsible for engaging faculty and students with

the Mead’s collections. Susan succeeded Christine

Paglia, who served as the Mead’s first full-time Edu-

cator from August through October 2008. A special-

ist in Dutch old master drawings, Susan previously

served as Curatorial Research Associate at the Fogg

Art Museum, where she contributed to a forthcom-

ing highlights catalogue of Dutch and Flemish draw-

ings.

Docent Miranda Marraccini ’12 and Olivia Chase ’12 at an Evening at the Mead. Photo by Charles Quigg ’09

Other improvements have impacted the museum’s

operations behind the scenes. Throughout the

2008-09 year, as funds permitted, the Mead contin-

ued to replace its outdated black metal frames with

stronger, more attractive white-stained ash frames in

standard sizes for use in exhibiting drawings, prints,

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34 35

In July 2009, Susan passed her responsibilities to Dr.

Pamela j. Russell, the Mead’s “permanent” Andrew

W. Mellon Coordinator of College Programs. Pam,

a scholar of classical antiquities, curator, professor,

and museum educator, will bring her unique fusion

of talents to bear on the crucial work of linking the

Mead’s collections to the curriculum.

In July 2009, Katrina Greene (Smith College Class

of 2008) became the Mead’s first Andrew W. Mel-

lon Mellon Post-Baccalaureate Curatorial Fellow,

a grant-funded two-year position that will provide

the museum with an additional researcher, and give

Katrina the chance to prepare her first small exhibi-

tion and accompanying publication before she begins

graduate school.

In September 2009, Dr. Bettina Jungen will become

the Mead’s first Thomas P. Whitney Class of 1937

Curator of Russian Art, responsible for the research,

cataloguing, exhibition, publication, and growth of

the Mead’s distinguished collection of Russian art,

notable for its fine quality and broad-ranging works

of the first Russian avant-garde. A specialist in Rus-

sian art of the early twentieth century, Bettina previ-

ously taught in her native Zurich, Switzerland, and

contributed to the catalogues of exhibitions held at

the Kunstmuseum Bern, the Museum für Kunst and

Gewerbe Hamburg, the Hamburger Kunsthalle, and

the Kunsthaus Zurich.

News

In December 2008, Elizabeth Barker’s short essay,

“Wright of Derby and Industry,” was published in

The History of British Taste, Volume 2: 1600 to 1870,

edited by David Bindman. In January 2009, her book-

length article, “Documents related to Joseph Wright

‘of Derby’ (1734-1797)” appeared in the journal of

the Walpole Society. In March, Lizzie delivered a pa-

per related to a forthcoming article at The Intimate

Portrait symposium held at the Paul Mellon Centre

for Studies in British Art, London. In June, the Joseph

Wright of Derby in Liverpool exhibition catalogue

that Lizzie co-authored was named as a finalist for

the William M.B. Berger Prize for British Art History.

During the fall of 2008, Heath Cummings became a

First Aid and CPR (Cardiopulmonary resuscitation)

with AED (automated external defibrillator) instruc-

tor, recertification that has enabled him to train mu-

seum guards, college staff and students, and commu-

nity members. Heath updated the museum’s security

policies and procedures, and developed a new fire

safety and prevention procedures specialized training

course for the museum’s guards.

In May 2009, Randall Griffey was awarded “Out-

standing Article, Catalogue Essay, or Extended

Catalogue Entry of 2008” from the Association of

Art Museum Curators for his article “Marsden Hart-

ley’s Aryanism: Eugenics in a Finnish-Yankee Sauna,”

which was published in the Smithsonian journal

American Art.

In November 2008, Teddy O’Connor exhibited with

Ali Osborn and Raphael Griswold in the group show

DESIGNPADDLEPATTERNS, held at the Window

Gallery in Northampton, Massachusetts. Teddy is

currently preparing work for an autumn exhibition in

Pittsfield, Massachusetts, and a winter 2010 exhibi-

tion at the University Gallery at the U. Mass Amherst

Fine Arts Center.

PRO FE S S i O N A L S TA FFSusan Anderson, Ph. D., Interim Andrew W. Mellon Coordinator of College ProgramsElizabeth E. Barker, Ph.D., Director and Chief CuratorKaren Cardinal, Accounting, Web, and Marketing ManagerHeath Cummings, Head of Security and Facility ManagerStephen Fisher, Collections Manager Tim Gilfillan, Preparator Randall R. Griffey, Ph.D., Curator of American ArtTeddy O’Connor, Assistant in the Mead Art MuseumInga Stevens, Assistant Collections Manager

S EC u Ri T y GuA RDSJill Bierly, Lead GuardGil BolducJerry DevineMary HazlettJoe KosiorekChester PalermaTony YacuzzoArthur WilliamsonMary Lovett

LO B By AT T EN DA N T SCatherine Bryars, Class of 2011Sarah Farron, Class of 2010Angela Pratt, Class of 2011Madeline Tamagni, Class of 2009Malia Chan, Class of 2009Peter Krensky, Class of 2011Emily Dick, Class of 2011Helen Tsai, Class of 2009Samantha Regenbogen, Class of 2011Ashley Hogan, Class of 2011Lilia Kilburn, Class of 2012

PA i D S T u D EN T i N T ERN SKatherine Eisen, Class of 2012Caroline Dulaney, Class of 2010Ashley Hogan, Class of 2011Nary Kim, Class of 2009Angela Pratt, Class of 2011Sara Sligar, Class of 2010

vO Lu N T EER S T u D EN T D O C EN T SSara Sligar, Class of 2010, Head DocentKatherine Eisen, Class of 2012, Head DocentIris Aliaj, Class of 2012Chelsea Amegatcher, Class of 2011Jessica Ball, Class of 2009Daniel Bamba, Class of 2011Brooke Bennett, Class of 2011Brittany Berckes, Class of 2010Katie Breen, UMASS Amherst Class of 2009Brenna Brown, Class of 2012Olivia Chase, Class of 2012Timothy Clark, Class of 2012Porsche Dames, Class of 2012Caroline Darmody, Class of 2010Caitlin Demkin, Class of 2011Grace Deveney, Class of 2009Kristin Dier, Class of 2010Erin Downey, Class of 2011Elizabeth Ganley-Roper, Hampshire College Class of 2011Clare Howard, Class of 2010Jennifer Kane, Hampshire College Class of 2009Nary Kim, Class of 2010E

Maryam Khan, Class of 2010Emily Mackey, Class of 2010Miranda Marraccini, Class of 2012Christina Martinez, Class of 2010Rebecca Martinez, Class of 2010Katrina Moreno, Class of 2010Erin Morrison, Class of 2009Abigail Murray, Class of 2011Kathleen Paeth, Class of 2012Alexandra Poreda, Class of 2012Angela Pratt, Class of 2011Samantha Schnell, Class of 2011Maggie Shannon, Class of 2010Louisa Sonstroem, Class of 2012Caroline Stern, Class of 2011Kendra Stern, Class of 2011Seguin Strohmeier, Class of 2010Margaret Tato, Class of 2009

A Dv i S O Ry B OA RDDanielle Allen, Amherst College Trustee Elizabeth Barker, Mead Art Museum Director and Chief CuratorGreg Call, Dean of the Faculty, Professor of MathematicsNicola Courtright, Associate Dean of the Faculty, Professor of Art and the History of ArtLinda and Ronald Daitz, Class of 1961Suzannah Fabing, Director Emerita, Smith College Museum of ArtWilliam Ford III, Class of 1983, Amherst College Trustee, and Charlotte FordAdam Lindemann, Class of 1983, and Amalia DayanAnthony Marx, Amherst College PresidentJohn Middleton, Class of 1977, Amherst College TrusteeMegan Morey, Amherst College Chief Advancement OfficerBrooke Kamin Rapaport, Class of 1984, Chair, and Richard RapaportKenneth Rosenthal, Class of 1960, Secretary Perrin Stein, Class of 1984Elizabeth and Thomas Sturges II, Class of 1966Helen and Charles Wilkes, Class of 1971, Vice Chair Patricia and Philip S. Winterer, Class of 1953, Amherst College Life Trustee

FRi EN DS O F T h E M E A D A R T M uS Eu M

OfficersLandis Olesker, Class of 1961, PresidentJames B. Lyon, Class of 1952, TreasurerH. Hylton Cooke, Class of 1986, Vice PresidentSuzannah J. Luft, Class of 2008, Vice President

Members3MFred Aronow, Class of 1967Sarah Bacon, Class of 1998Lucy BensonDirck Born, Class of 1955Will and Lee BridegamJohn Burlingham, Class of 1956Barkley, Class of 1962, and Barbara Clark Dan Cochran, Class of 1968Ron, Class of 1961, and Linda DaitzSteve DeLapp, Class of 1967 Lindsey Echelbarger, Class of 1974Jynx Eldredge, Class of 1966 Avril and Sam Ellenport, Class of 1965 Bruce Evans, Class of 1961 Fred Gardner, Class of 1949, Trust

Back: Karen Cardinal, Heath Cummings, Elizabeth Barker, Tim Gilfillan, Stephen Fisher. Front: Teddy O’Connor, Inga Stephens, Randall Griffey, Susan Anderson. Photo by Jim Gipe/Pivot Media

36 37

ii. Enter all didactic wall labels and exhibition

texts concerning collection objects into

database (Administrative Assistant and forth-

coming ‘Green Dean’, ongoing, no special

funding required)

iii. Establish, monitor clear cataloguing research

goals for curatorial staff (Curatorial staff, 2008,

no special funding required)

Arnold and Susi FriedmannKaren Friedman, Class of 1986Cora Lee Gibbs Jim Gipe Werner Gundersheimer, Class of 1959Hartford Foundation for Public GivingGrant Haskell, Class of 1975Harvey Hecht, Class of 1958Geof Hendricks, Class of 1953Fred Hill, Class of 1967Richard and Ann Holt Bill Jacobi, Class of 1965Dom Kaschak, Class of 2002Bill KennickSteve Kunian, Class of 1960Jim Lyon, Class of 1952Roger Marshall, Class of 1953Evan Maurer, Class of 1966Drake McFeely, Class of 1976Len Meeker, Class of 1937Whitney Morsman Ebmeyer, Class of 1996James and Suzannah MusprattVic Noerdlinger, Class of 1952Sarah and Andy Olesker, Class of 1961, George Pendleton, Class of 1949Stephen Petegorsky, Class of 1975Pivot Media Inc.Ross Read, Class of 1973Ken Rosenthal, Class of 1960Barret Schleicher, Class of 1953James and Burd SchlessingerJoanne and Paul Schnell, Class of 1976Van Seasholes, Class of 1955 Barret Schleicher, Class of 1953Jim Shook, Class of 1971Anne SpencerSara Spink, Class of 2006Tom Sturges, Class of 1966Greg Sutphin, Class of 1971Jon Sutton, Class of 1966David and Arlene ThropeBill Vickery, Class of 1957Mandy Vincent, Class of 2008W. W. Norton & Company, Inc.Helen and Charles Wilkes, Class of 1971Phil Winterer, Class of 1953

FAC u LT y A Dv i S O R SLuca Grillo, Assistant Professor of Classics (Ancient Art)Samuel C. Morse, Professor of Art and Art History and of Asian Languages and Civilizations (Asian Art)John Pemberton, Professor Emeritus of Religion (African Art)Rowland O. Abiodun, Professor of Art and Art History and of Black Studies (African Art)Rebecca H. Sinos, Professor of Classics (Ancient Art)Rick A. Lopez, Assistant Professor of History (Mexican Art)

REPORT ON ThE STRATEGiC PLAN

In the text that follows, the passages written in Ro-

man letters represent the strategic plan adopted in

January 2007; annotations inserted in italics docu-

ment the Mead’s progress in meeting those goals

and objectives during the 2008-09 academic year.

Goals and Objectives

1. Improve access to and information about the

permanent collection.

A. Digitize the collection

i. Photograph and link to the online catalogue:

a. All paintings (Professional photographers,

summer 2008, Amherst College support)

b. All drawings (Museum staff, 2008-2009,

Museum funding)

c. All sculpture (Professional photographers,

2009-2010, grant support)

d. Applied arts (Professional photographers,

2010-2011, grant support)

e. Photographs and Prints (To be determined

in 2010)

Although museum staff have adjusted the order in

which collections areas are digitized to accommodate

various logistical considerations, the overarching

effort remains on target, with more than 24% of the

collection illustrated in the on-line database in sum-

mer 2009 (a sizeable increase from 2% in 2007). In

2008-09, aided by generous support from Amherst

College, the Mead completed a project to photo-

graph all paintings in the collection. Additionally,

museum staff photographed all African sculpture,

and adopted the policy of making images of every

work requested for use in the Study Room.

B. Enrich cataloguing information recorded in the

database:

i. Catalogue thoroughly all new acquisitions and

outgoing loans (Curatorial staff, ongoing, no

special funding required)

TOP: No-Mic Open-Mic poetry reading.MIDDLE: Participants in Girls, Inc. admiring artifacts presented by students in Professor Grillo’s Life in Ancient Rome class. Photo by Charles Quigg ’09BOTTOM: Siobhan McKissic ’12 at an Evening at the Mead. Photo by Charles Quigg ’09

Docent Miranda Marraccini ’12 presenting Frans Snyders’s Still Life. Photo by Charles Quigg ’09

In 2008-09, collection cataloguing work continued,

aided by the presence of a new curator of American

art, and by vital contributions from exceptionally

skilled student interns. Didactic display texts not only

entered the electronic database, but also became

accessible to general readers following an adjust-

ment to the cataloguing software. The director and

curator of American art launched plans for future

catalogues of collections highlights and of American

paintings, and the search for the Mead’s first curator

of Russian art made the production of a catalogue of

the Russian collection by 2016 a central responsibility

for that position.

C. Expand the opening hours of the Study Room

i. Increase position of Assistant Collections Man-

ager to full time (2008-2009 academic year,

Amherst College funding)

ii. Create ‘Green Dean’ two-year competitive,

rotating position for graduating student

to oversee Study Room, learn the ropes of

museum work, assist in cataloguing the col-

38 39

lection, and curate a small in-house exhibition

of works on paper (2009-1010 academic year,

Amherst College funding)

delayed the desired introduction of cross-referenced

library and museum electronic catalogues, staff at

the Frost Library and the Mead worked in close col-

laboration to share information about related hold-

ings with one another and with curious researchers

through traditional tools such as printed finding aids.

2. Increase opportunities for curricular, including

interdisciplinary, collaboration with and involving

the Museum.

A. Hire a full time Museum Educator to promote

and coordinate institutional research involving

the Museum (2008, Amherst College funding)

B. Invite faculty to participate in exhibitions and

special events (Curatorial staff, ongoing, no

special funding required)

C. Establish a Museum Forum open to faculty,

students, and the public to exchange ideas and

information with Museum staff at least four

times per year (Director and Chief Curator,

then Museum Educator, 2008, no special fund-

ing required)

D. Expand curatorial experiences offered to stu-

dent docents (currently Director and Chief

Curator, later in collaboration with Museum

Educator, ongoing, no special funding required)

E. Offer Interterm courses that provide opportuni-

ties for students to learn about museum work

and to curate exhibitions (currently Director

and Chief Curator, later in collaboration with

other Curators and Museum Educator, ongoing,

no special funding required)

F. Provide internship opportunities for students

(Curatorial staff, ongoing, Museum and Amherst

College funding)

The Mead met all of these goals, although its inter-

term event involving the distinguished artist Will Bar-

net was delayed by several weeks to accommodate

the artist’s schedule.

3. Create small, innovative, collections-based,

curriculum-related exhibitions. (Curatorial staff

in collaboration with Faculty coordinated by

Museum Educator, planning to begin in 2008,

resulting exhibitions to appear by 2010, Museum

funding with possible support from outside

sources)

In 2008-09, the Mead continued this important work,

which resulted in telling displays of Japanese ukiyo-e

prints alongside European and American 19th-

century paintings, and (perhaps less predictably),

an exploration of the theme of divination across

cultures, ranging from West African ritual objects

to South American photographs to Native American

drawings to U.S. American and European paintings

and prints. The faculty guest curator stipends funded

by the Mead’s Mellon grant promise to expand the

possibility for such projects in future years.

4. Engage a wide community of Museum stake-

holders.

A. Form a Mead Advisory Board comprised of

trustees, major donors, alumni collectors, re-

gional museum professionals, and senior admin-

istrators to oversee acquisitions, deaccessions,

and museum policies (Director and Chief Curator

pending the approval of the College’s Board of

Trustees, 2008, no special funding required)

B. Create a Museum Forum open to faculty,

students, and the public to share information

Visitors to Coach McBride’s Faculty Lunchtime Talk. Photo by Geoffrey Giller ’10

A visitor admiring Greek coins at a reception for Whispering Coins: Echoes of Classical Greece. Photo by Charles Quigg ’09

The assistant collections manager position increased

to full time in 2007-08; in 2008-09, the expanded po-

sition began to report to the director and chief cura-

tor. A generous three-year spendable grant from the

Andrew W. Mellon Foundation allowed the Mead to

create a green dean position beginning in July 2009:

a two-year Post-Baccalaureate Curatorial Fellowship

open to recent graduates from the Five Colleges.

D. Encourage the use of the Study Room

i. Meet with incoming faculty at orientations

(Director and Chief Curator, beginning in 2008,

no special funding required)

ii. Approach specific faculty members with ideas

relating collection objects to specific courses

(Museum Educator, Curatorial staff, ongoing,

no special funding required)

iii. Post Study Room information on the Frost

Library website, where student research-

ers are likely to encounter it (Museum Educa-

tor, 2008, no special funding required)

The director, educator, and then interim Mellon

coordinator of college programs met the first two ob-

jectives, resulting in more than 1,525 visitors to the

study room (a figure equivalent to 90% of Amherst’s

student body) in 2008-09. While technical challenges

40

and ideas about exhibitions, events, and services

(Director and Chief Curator and Museum Educa-

tor, 2008, no special funding required)

C. Relaunch the Friends of the Mead Art Museum

(Director and Chief Curator in coordination

with Advancement, 2008, no special funding

required)

D. Strengthen relationships with local and regional

groups and institutions (specific priorities and

activities to be developed by the Museum Edu-

cator in conjunction with the Director and Chief

Curator, Advisory Board, Museum Forum, and

Friends, 2008-2010, funding needs and sources

to be determined)

In May 2008, the Amherst College Board of Trustees

approved the charter for the Mead Art Museum

Advisory Board, whose twenty-four members are

listed on the museum’s website. The Advisory Board

met in December 2008 and April 2009, and revised

the museum’s Code of Ethics among its first matters

of business. The Mead launched its Museum Forum

meetings in October 2008, and met subsequently

in February and April of 2009; meeting minutes are

posted on the museum’s website. In February 2009,

the museum revived the Friends of the Mead Art Mu-

seum, which raised a remarkable $15,000 in its first

months of existence. The museum made less rapid

progress in its community outreach efforts, slowed by

the cancellation of an anticipated full-time coordi-

nator of community programs position due to the

economic downturn, and by a campus outbreak of

the H1N1 virus that forced the postponement (until

early October) of a docent-led Community Day event

scheduled for May 2009.

Assessment

The Museum will provide status reports on its prog-

ress in meeting these goals and objectives in its an-

nual reports for 2008, 2009, 2010, and 2011. In 2011,

informed by the experiences of the current plan, and

with the assistance of a complete professional staff,

a lively Museum Forum, and active Friends group,

the Mead Advisory Board will reopen the planning

process to draft a new, longer-term institutional plan

for the Museum.

Painting storage racks. Photo by Jessica Mestre ’10

Mission

The Mead Art Museum at Amherst College seeks

to stimulate thought, inspire creativity, provide

insight, interrogate preconceptions, and invite

contemplation through interaction with the

original works of art that the Museum collects,

researches, interprets, exhibits, publishes, and

preserves.

To realize its mission, the Museum makes its

collections available to the students, faculty, staff

and alumni of Amherst College, and to visitors

from around the world; develops innovative

exhibitions drawn primarily from the permanent

collection and linked meaningfully to the cur-

riculum and to the wider intellectual life of the

College; engages faculty, students, and other

visitors in fresh, sometimes interdisciplinary

inquiries involving art and visual understanding;

and produces original, engaging, academically

rigorous publications.

Vis ion

The Mead strives to become an essential, inte-

grated participant in the intellectual and cultural

life of Amherst College; a leader among college

and university art museums; and a destination for

a diverse range of visitors from around the world.

VAlues

Authenticity • The Museum grounds all of its ac-

tivities in the unique experience of original works

of art, which offer irreproducible insights into the

human condition.

Integrity • The Museum endeavors to meet

the highest professional, academic, and ethi-

cal standards in all of its activities, policies, and

procedures.

Excellence • The Museum is committed to provid-

ing the best possible experiences for its various

audiences, and to undertaking rigorous and

regular self-assessment to ensure its ongoing

advancement.

Agility • The Museum seeks to act rapidly to real-

ize new ideas that serve its mission, and by exten-

sion, the educational mission of Amherst College.

Innovation • The Museum strives continuously to

test fresh ideas and implement improvements.

Diversity • The Museum aims to present art rep-

resenting a wide range of cultures and historical

periods; to offer a rich array of interpretative and

educational programs; and to cultivate an envi-

ronment in which visitors from all backgrounds

feel welcome.

Accessibility • The Museum recognizes its re-

sponsibility to make the art collection of Amherst

College available in person, in print, and in new

electronic media to its audiences, and to make

its facility accessible to many types of visitors,

including people with disabilities.

Inquiry • The Museum pursues its activities in

a spirit of intellectual curiosity, always testing

received ideas and seeking new understanding.

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