WAM: Access MagSummer13

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From the DirectorA Renaissance for the John Woodman Higgins Armory Museum is happeningat WAM: you will see the fruits of this regeneration evolving over the next 5years and beyond. Leadership from WAM and the Higgins Armory have been and continue towork collaboratively to plan and implement a meaningful integration of thespirit and collection of the Higgins Armory into that of the Museum. Theincorporation of the Higgins is transformative for the Museum. WAM will nowhave an opportunity to tell the story of our collections differently, creatingaccessible connections to art, resulting in our ability to engage a broadeningaudience. The Higgins collection, one of the major collections of its kind, willremain in Worcester, sustainably. More about this specific subject will be inthe next issue of access, details about our integration thoughts are on pages4 and 5 of this issue and on the web at worcesterart.org.The integration of the Higgins happens at a time when the Museum is on theupswing. Our attendance in the galleries has grown substantially since 2011.This is thanks to the success of our exhibition Kennedy to Kent State: Imagesof a Generation, which we were able to extend until June 9. New initiativesare being hatched every day in our new Audience Engagement Division underthe leadership of Adam Rozan, who started with us on February 1.This issue of access is particularly rich in information, ranging from thecompletion of a spectacular gift of art – the Smith Collection (p.6) to aninternal thought process about seating in the galleries (p.17). I would like towhet your appetite about another important initiative, without which theHiggins integration and our future evolution are unthinkable: the beginning ofa museum wide “activation plan,” with wHY Architecture, under the leadershipof Kulapat Yantrasast. More about that towards the end of this year. What elsecan I say but “stay tuned.”

Matthias WaschekWorcester Art Museum

Board of Trustees

Clifford J. Schorer, PresidentMarie A. Angelini, Vice President

Catherine M. Colinvaux, Vice PresidentDr. Phyllis Pollack, Vice President

Joseph J. Bafaro Jr., TreasurerHerbert S. AlexanderDr. Julia D. AndrieniKarin I. Branscombe

Sara BuckinghamJohn B. DirlamSusan M. Foley

Dr. Gabriele M. GoszczRachel KaminskyLisa Kirby GibbsPatricia S. Lotuff

Katharine M. MichieCharles H. Moser

Moira Moynihan-ManoogJohn Savickas

Cover: Northern Italy (Milan), Three-quarter field armor, possibly for HenryHerbert, second Earl of Pembroke, 1560-70, Steel (once blued) with gilding;brass; iron; modern leather, John Woodman Higgins Armory Museum, 427.a-m

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WAM welcomes Adam RozanThe Worcester Art Museum announced in late January, theappointment of Adam Reed Rozan to the position of Director ofAudience Engagement. The Audience Engagement Division is anewly formed team focusing on attracting and retaining diverseaudiences through developing and promoting fresh programming,expanding promotion and deepening the Museum’s connection tothe community and beyond. This group will also establish a morewelcoming, visitor-centric environment for all museum patrons.“The creation of an Audience Engagement Division positions WAMat the forefront of innovative, audience-based museum thinking.What has been considered the traditional core audience is no longercomprehensive enough. In order to remain viable, we must look athow we engage broader audiences through an entirely new lens,”said Matthias Waschek, director.WAM launched a national search to fill this unique position. “Wewere looking for someone who could inspire creative thinking andpromote positive change and dialogue in the community,” saidWaschek. “Out of an exceptional pool of candidates, Adam rose tothe top due to his variety of professional experience and thecontagious creative energy he emanates that reflects whatmuseums should be all about.”Rozan has held marketing, public relations, teaching andprogramming positions at a number of Boston-area culturalinstitutions, including Harvard University Art Museums, the Museumof Fine Arts, Boston Children’s Museum, Boston Public Library, andthe Children’s Museum. He has consulted widely on the topics ofsocial media and audience engagement, and has written numerousarticles for HuffingtonPost.com, Museum id, and the Warholian.com,among others. Rozan earned a bachelor of fine arts degree fromElon University, Elon, N.C., and a master’s degree in liberal arts inmuseum studies from the Harvard University Extension School.Rozan was most recently the audience development manager withthe Oakland Museum of California.Please join us in welcoming Adam to Worcester.

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The framework of our current thinking is the following –fasten your seatbelts!Spring 2014 (as soon as possible after the Higgins site closes): A major arms and armor exhibition, Knights!, opens at WAM; it willhighlight the relationship with our existing collections. Innovative andexperimental programming will set the stage for a Museum-widerethinking about audience engagement – the Higgins spirit will inform usin that endeavor.2015 - 2016: The acquisition of about 2,000 works of arms and armor isa major project and will take a long time. At the end, we will haveincreased our existing collection by about 5%. 2018+: To make space for a permanent home, we will relocate the librarywithin the Museum campus. Defining at the same time the role of an artlibrary in the 21st-century, will be our main challenge and we are gladlytaking it on. 2019+: The future home of the Higgins collection will comprise 4,000 sq.ft. on two floors, with a Grand Hall on the upper level and open storageon the lower one. The entirety of the collection will be on view. Equallyexciting: The Grand Hall is going to be enhanced by our monumentaltapestry of The Last Judgment (around 1500), which has been in storagefor more than two decades, and our Spanish Ceiling (before 1500).

The collection now finds a new home in the good company of our existingencyclopedic collection that you all know and cherish.

< Close helmet for combat at the barriers. Augsburg, about 1590 (HAM 2205.a)

A Renaissance for the Higgins at WAM

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WAM announces the Frank Channing Smith, Jr. Collection

Ten panel paintings of the early Renaissance, purchased during the 1920s and 1930s byFrank Channing Smith, Jr., a prominent Worcester attorney, Museum Trustee, and for ashort period, president of the Museum, have been donated to the Museum’s permanentcollection. When Smith died in 1952, these extraordinary works were divided between hisnieces, Amy Bess Willliams Miller and Margery Anne Williams Adams, who were sisters.

In 2003, the Museum received the following five paintings from the estate of Ms. Miller(former president of Hancock Shaker Village) of Pittsfield, Massachusetts:

Taddeo di Bartolo, Christ Carrying the Cross

Alvaro Pirez, Scene from the Lives of Cosmos and Damian (Stoning)

Alvaro Pirez, Scene from the Lives of Cosmos and Damian (Beheading)

Master of San Miniato, Death of St. Catherine of Siena

Master of the Madonna with a Parrot, Madonna and Child with St. Joseph

In 2007, Ms. Adams of Charlotte, North Carolina, appreciating the value of keeping thefamily’s collection together, put on long-term loan as promised gifts to the Museum the fivepaintings she had inherited from her uncle. In June of 2012, Ms. Adams formally donatedthese works to the Museum:

Bernardo Daddi, Madonna and Child

Bernardo Daddi, Crucifixion

Giovanni del Biondo, Communion of the Sick

Giovanni del Biondo, Extreme Unction

Master of the Accademia Annunciation, Pietà

Two of the ten masterworks will be on view in the Museum galleries in July 2013.

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Master of the Accademia Annunciation, Italian (active in Florence), Pietà, about 1380, tempera on panel, Gift of Margery Williams Adams, 2012.83

June 22 - December 1, 2013

Orantes are terracotta statues from the 3rdcentury BCE that were discovered in ancientunderground tombs in Canosa, located in south-eastern Italy. These half-life-sized femalefigures, with arms and hands raised in gesturesof praying or mourning (their name derives fromthe Latin verb orare, meaning “to pray”),surrounded the deceased. Today, fewer than 50orantes survive in museums around the world.The two orantes in the Museum’s collection,which have recently undergone extensivetechnical study and conservation treatment,have a fascinating history. When they first came as a pair to Worcester in1927, one was severely damaged in transit.Shortly thereafter, the intact figure was soldwhile the broken one remained in storage.Nearly seven decades later, the rediscovery ofthe broken statue in storage coincided with aserendipitous opportunity to purchase its long-lost mate, which by then had traveled half-wayaround the world. After more than 80 years,these reunited orantes, joined by a third one onloan, will be displayed together for the first timein Orantes: Ancient Statues from South Italy, inthe new Jeppson Idea Lab.

What is the Idea Lab?An exciting collection initiative that isbeing launched this season is theJeppson Idea Lab, taking place in theJeppson gallery located on the 3rd leveland dedicated to highlighting singleobjects (or small groups of objects) fromthe permanent collection. Rather thanpresenting a formal thesis, which is moreoften the case for exhibitions, the IdeaLab will be a public forum for sharingquestions and ongoing research aboutobjects that may lead to future exhibitions,reattributions, or publications.

IDEALAB

ORANTESJEPPSON

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Canosan, Statue of a Woman, 3rd century BCE, terracottawith white slip, Stoddard Acquisition Fund, 2008.50

May 18 - October 13, 2013Nancy Spero’s innovative graphiccompositions and commitment to socialissues rooted in gender established her as one of the leading feminist and post-modern voices. During her six-decadecareer, Spero (1926-2009) employed a vast and consistent vocabulary of imagescollected from various histories andmythologies, focusing since the mid-1970sexclusively on those depicting women’sexperiences, often their resilience in theface of oppression and violence. Completedin 2005, Cri du Coeur (Cry of the Heart) isSpero’s last monumental work on paper.This work has been described as “apassionate cry against war, death, anddestruction that is both political andpersonal, social and metaphysical.”

The hand-printed frieze wraps around thewalls at floor level of an otherwise emptygallery. The recurring figures – a group ofancient Egyptian female mourners whoseorigin is a painted scene in the tomb ofRamose of Thebes (14th century BCE) –are universal symbols of grief unbound bytime and place. Through dramatic shifts in color, tone, anddensity, the relentless nature of the friezeand its legibility become increasinglycomplex and somber. As one slowly walksalong the gallery walls, looking down todecipher details, one has the realization ofbecoming a participant in this processionand collective narrative of loss and memory. This exhibition is supported by the Don and MaryMelville Contemporary Art Fund.

Nancy Spero: Cri du Coeur

Nancy Spero, Cri du Coeur, detail, 2005, hand-printingon paper mounted on polyester poplin, 25 x 1,925inches. ©Estate of Nancy Spero. Licensed by VAGA,New York. Courtesy Galerie Lelong, New York

related eventsGallery Talk: Nancy SperoThursday, June 6, 2013 / 5:30Susan Stoops, Curator of Contemporary Art Contemporary Gallery

Chamber Music Concert Saturday, June 8, 2013 / 5:30pm Worcester Chamber Music SocietyContemporary Gallery Visit worcesterart.org/chambermusic

related classesWriting of the Heart with Laurel KingRegistration and additional fee required.Thursdays, July 11 - August 1, 2013 / 6 - 9pm

Sculpture of Emotion with Thomas KellnerThursdays, July 11 - August 1, 2013 / 6 - 9pm

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Robert & Shana ParkeHarrisonWall at WAMNow on view

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With its iconography of the remains of a grand feastand its themes of contemporary wealth, decadence,and disregard for the environment, the new Wall atWAM commission was created by the collaborativehusband and wife team, Robert and Shana Parke-Harrison, as a visual and conceptual counterpoint tothe Museum’s 6th-century Hunt mosaic from Antioch.The artists recently responded to several questionsabout their concept and process posed by SusanStoops, Curator of Contemporary Art. Susan Stoops: Has the Wall at WAM commissionpresented any new challenges for you?

Robert and Shana ParkeHarrison: The immense scale of this commission and the duration it is displayedare the two major challenges of this project. In thebeginning our desire was to create a continuousdetailed tableau photograph for the mural site.Creating a photograph at this immense scalepresented far more of a challenge than we hadimagined. In our studio, we photographed theelaborate image using multiple negatives that werescanned and merged together to retain the overalldetail and resolution for this image.

The other challenge was creating a photograph thatoffers a provocative and intriguing experience forviewers over the duration of its installation. Weset out to create a lush mural with visceral detailsand opulence that responded to its surroundings. The opportunity to respond to the Worcester Hunt was exciting and stimulating. It was simply theexecution that presented logistical and technicalchallenges. As former Worcester residents, we havelong coveted the opportunity to ‘take on’ the Wallat WAM. Our affinity for the Wall made the challengeall the more thrilling for us.

SS: Unlike many previous Wall at WAM murals, yourproject engages specifically the Museum’s 6th-century Hunt mosaic from Antioch, which occupies the floor beneath the mural. Can you discuss thatrelationship?

R & SP: Researching the symbolism, history andculture of Antioch offered intriguing content to our creative process. The brutality displayed in the Worcester Hunt became fertile ground for us to explore the cruelty and gluttony of the time inwhich the mosaic was created. The concept for ourmural offers a window into contemporary issues ofuse and misuse by referencing the past. The centralfigure of the Worcester Hunt stands awkwardly yet

casually as a scene of animal brutality is enactedaround him. This character is referenced in ourimage by a man holding a slain deer. In our image it is unclear if his action is aggressive orsympathetic. Clearly the feast in our imagereferences decadence, both past and present. We titled our piece, These Days of Maiuma.Maiuma was a religious festival in the ancientworld. In Antioch, it became a reason for partieswhich lasted between five and thirty days. Thisobservance evolved into such a corrupt and decadentdisplay of all forms of excess that it wasperiodically outlawed or tempered. This festival ofexcess seems aligned with the excesses visible inthe mosaic and in the lifestyles of ancient Antioch.

SS: Can you describe the collaborative nature ofyour practice?

R & SP: Collaboration is an organic process for us.We work from our shared vision and love for art. We have a great amount of trust and respect for oneanother’s diverse artistic visions. Our collaborativeprocess is similar to a game of throwing a ball backand forth. In our collaborative game, we startthrowing the ball far from each other and progressivelyget closer and closer until we meet in middle.

SS: What are some of the influences that inform yourphotography?

R & SP: The influences on our work are vast anddiverse from everyday experiences to research inhistory, literature, religion, ritual, dance andart, theater and film. We are constantly searchingfor new influences for our work. Influence is anactive process of ‘filling the well.’ For this muralcommission we delved into the influence of theAntioch mosaics and the history and culture of thistime period, while looking for similarities tocontemporary issues.

Artist Talk: Robert and Shana ParkeHarrisonSunday, May 19, 2013, 2pmConference RoomFree with Museum Admission.

This project is supported by the Don and Mary MelvilleContemporary Art Fund. Additional generous support providedby David and Marlene Persky and an anonymous donor.

Image: Robert and Shana ParkeHarrison, These Days of Maiuma,2013, inkjet, 17 x 67 feet. Courtesy of the artists and Jack ShainmanGallery, New York

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Portrait Photographs of ArtistsMay 4 - July 14, 2013It is a long-held truism of art history that representational artists often inventfigures that look like themselves. For many, there is a perception that knowinghow an artist looks helps the viewer better understand the artist’s experience,and perhaps relate more directly to their work. Drawn from the permanentcollection of the Worcester Art Museum, Portrait Photographs of Artists willpresent sixty photographic portraits chronicling over a century of Americanand European artists. There are formal portraits, images intended forpublication, and snapshots of artists at work and play. Further, many of thewide-ranging painters, sculptors, photographers, and printmakers featured inthis exhibition can be found throughout the Museum.

Philippe Halsman, Salvador Dali, 1949, Gelatin silver print, Gift of G.W. Einstein Company, Inc.,1989.28Photo © Philippe Halsman Archive.

Hugo Erfurth, German, Otto Dix,about 1925, Gelatin silver print,

Anonymous Fund, 1987.2


Winogrand's Women Are BeautifulAugust 10 - November 10, 2013

Hailed as a pioneer of the “snapshot aesthetic,” Garry Winogrand used a wide-angle Leica M4 camera to produce spontaneous images emphasizing howeveryday subjects, like people, dogs, or crowds, interact with the landscapearound them. His work features oblique perspectives, often resulting in awkwardlycomposed photographs made by the stealthy eye of a private investigator.

However, Winogrand is routinely criticized for exploiting the subjects of his work,especially women. His 1975 publication Women Are Beautiful features eighty-fivephotographs of young adult women walking the streets of New York City, Texas,and London, England in the 1960s through the mid-1970s. Often “caught” with legsuncrossed or obviously braless, “Winogrand’s women” are typically photographedfrom particular angles to emphasize their breasts and buttocks making singularbody parts the focus of the photographs, rather than the individuals inhabitingthose bodies. Still, his off-kilter and aggressive style often resulted in a seeminglyhaphazard type of documentary photography not seen before.

Friend and fellow photographer Joel Meyerowitz, said of Winogrand, “[his] picturesare both a slam and an embrace. He’s a contradiction, and so the pictures arecontradictions.” Featuring sixty-seven photographs from Women Are Beautiful, thisexhibition attempts to negotiate these contradictions to provoke a new andinsightful engagement with Winogrand both formally and contextually.

Untitled (Woman in a Telephone Booth, New York), about 1972, gelatin silver print, Gift of the Schorr FamilyCollection, 1991.280 © The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

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New acquisition: The Scarlet Letter VIIn 1982, the artist, activist, and educator Tim Rollinsfounded the art collective, Tim Rollins and K.O.S.(Kids of Survival). This unique collaborative practiceof Rollins and a group of South Bronx high schoolstudents combined lessons in reading literatureclassics with the collective production of works of art.For this painting, while one student read aloud fromthe text, other K.O.S. members created images thatrelated aspects of Hawthorne’s narrative to their ownexperiences of exclusion and difference. Working inwhat has become their signature style, they pasted orrecreated their images and marks on cut-out pagesof the book laid down in a grid and glued to a canvas.

The seven variant “A” motifs in the painting are, attheir most literal, allusions to the enforced wearing of the letter “A” by heroine Hester Prynne aspunishment for adultery. They also suggest therange of interpretations by K.O.S. individuals. Rollinsexplained, “Just as Hester is wrongly condemned toa life of poverty and silence, so is the South Bronxand too many of its individuals. The kids are reallyinto signifying and identity. This is the major impetusbehind graffiti—this verifying of an identity in ahostile, leveling environment. And so our ScarletLetter is about taking an unjust stigma and turning it into a transcendent emblem of pride.”


Looking West and Looking East: Landscape Prints by Yoshida Tōshi (1911-95)June 5, 2013 – November 2013An installation in the Japanese Gallery honors andacknowledges a generous gift from Judith and Paul A.Falcigno of prints by the 20th-century Japanese artistYoshida Tōshi (1911-95). The selected works exemplifyTōshi’s successful development of the Yoshida familytradition of depicting landscapes. To appeal to Westerncollectors Tōshi depicted seasonal views of famous placesin Japan as well as of celebrated sites in foreign countries,including the U.S., which the artist visited on his many trips.The print illustrated here, for example, depicts MonumentValley, Utah, in moonlight. Many of Tōshi’s later landscapesfocus on the animals and places that inspired him the most(i.e., wild animals in Africa).

Yoshida Tōshi, Monument Valley (detail), 1971, self-carved woodblockprint, ink and color on paper; Gift from the Judith and Paul A. FalcignoCollection, 2010.105

Gallery Talk: Yoshida Tōshi (1911-95)—Surmounting the Odds for the Good of ManyThursday, June 13, 2013, 5:30Louise Virgin, Curator of Asian ArtJapanese GalleryFree with Museum admission

The Japanese artist Yoshida Tōshi survived polioand training under his demanding father, YoshidaHiroshi (1876-1950), to become the innovative headof the famous Yoshida Family Studio. Loyal to hisfamily legacy, Tōshi designed landscape prints ofscenic places in Japan, as well as in other Asian andWestern countries (including the U.S.). Later he alsoenjoyed creating abstract works as well as scenes ofAfrican wildlife. This gallery talk will explore howTōshi's life experiences and quiet dictum, “Do notlook upward, do not look down. But develop moreinside,” contributed to his outgoing personality. It alsoimbued his woodblock prints, paintings andillustrations in an animal picture book series forchildren, with an understated, harmonious grandeur.

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Bostonians in Miniature: Portraits and Lives, 1810-1835 On view through June 30, 2013Marianne E. Gibson Gallery

Eleanor Boland Elwood Fleming and WilliamFleming, about 1824, watercolor on ivory,Courtesy the Local History Room Collection,Gale Free Library, Holden, Massachusetts

Please note: In our previous issue (winter 2013, p. 20) weillustrated a detail of a map of Boston, but did not indicate thesource. We would like to thank our colleagues at the AmericanAntiquarian Society in Worcester for the use of this image fromtheir collection: Plan of the City of Boston (detail), published withThe Boston Directory, Hunt and Stimpson, 1828

Lecture: Bostonians in MiniatureSunday, June 2, 2013, 2pm Conference Room

David Hummon, Professor Emeritus, College of the Holy Cross has completed extensiveresearch on these fascinating objects. Hispresentation offers a look at some Bostonfamilies who have intimate connections with theWorcester area. Free with Museum Admission.

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please sit+ talkIn the spring of 2012, WAM commissioned Yvonne Fehling and Jennie Peiz of the

German design firm Kraud Inc to create public seating for the Museum’s 12th-century

Chapter House. Deconstructed stone by stone and transported to the Worcester Art

Museum in 1927 from the Benedictine Priory of Saint John at Le Bas-Nueil in west-

central France, the Chapter House once served the needs of a small celibate

community of men engaged in a life of prayer, study, and reflection. The Chapter

House was a gathering space where the monks broke their vow of silence and were

allowed to converse and talk about non-secular topics. Moving forward to the 21st

century, Yvonne and Jennie’s constellation of chairs once again encourages dialogue

and contemplation within the Chapter House.

This seating project is the first in a series of ongoing explorations of artist-designed

seating for WAM’s gallery spaces. WAM director Matthias Waschek discusses the

project with designers Jennie and Yvonne on the next page.

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MW: Jennie and Yvonne, at the beginningof 2012, you came to Worcester toexplore with us new seating for theMuseum’s Chapter House. Can you commenton the process – ours and yours – thatled to the wonderful result we can nowsee in situ?

J+Y: Following the initial e-mailcontact and photos we received of theChapter House, we immediately (a meretwo weeks later) visited Worcester,where we were given a very warm welcomeand were able to get an initialimpression for ourselves. We had theopportunity to talk to people involvedand to start working on first designs.

Back in Germany we designed the chairand the bench constellation, and triedout the designs in a 3D model of theChapter House. The fine details of theconstruction took a lot of time. Forthis we worked closely with the chairfactory and the craftsmen, checking onprogress and the quality of the work inthe factory itself.

Throughout we were in constant e-mailand telephone contact with WAM teammembers.

Using CAD data, we came up with aninitial model made of beech, then asecond with corrections, and finally the first model in walnut.

MW: You pay a lot of attention to thematerial – in our case wood. What makesyou use one material rather than anotherone? Is this dictated by the function ofthe work, by your personal preferencesor other factors?

J+Y: The choice of material is animportant aspect of our design work. We tend to use traditional rather thanhigh-tech materials and try to expandthe areas of use of classic materialsand the way they are handled.

Wood is a living, highly expressivematerial, for which we certainly have a preference. Our choice of materialdepends, however, on various factors, in particular an object’s function andpurpose.

In the case of the Chapter House benchesthe wood and the choice of the type ofwood underline the animate quality ofthe chair constellations. On the onehand, there is a marvelous contrastbetween form, color, and finish, and thestone used for the Chapter House, whileon the other the benches blend inharmoniously with the location, forginga link between the present day and theera of the Chapter House.

MW: The model for the Chapter House wasStuhlhockerbank (chair stool bench).This work has had quite some success inthe museum world – I actually contactedyou after I saw this work in Rolandseck,at the Arp Museum. Could you commentabout the history of this work?

J+Y: The Stuhlhockerbank was conceivedas seating for the public domain. Theconcept is about “sitting down” and therelationship created between peoplewhile they are sitting. The boundariesbetween individual types of furniture(chair, stool and bench) are dissolvedby their melding. Unalterableconstellations emerge.

The first Stuhlhockerbank model was anindependent project that represents ourdesign approach very well. It goesbeyond an object’s actual function andtakes on a narrative component. It seemsfamiliar and surprising at one and thesame time, enriched with a sensual andpoetic dimension.

When Klaus Gallwitz, then director of the Arp Museum, came across theStuhlhockerbank at an exhibition, heasked us to design new constellationsfor the Museum’s new building, which atthe time was still just a shell. We wereable to be involved from the outset andspecifically take into account thearchitecture, the way the art was hung,the works of art themselves, and the wayvisitors behave, and as such have aninfluencing role as well.

Since the opening in 2007, variousStuhlhockerbank constellations have been on permanent display throughout the entire exhibition space in the newRichard Meyer Building.

Yvonne Fehling and Jen

nie Peiz

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MW: Seating is a very important part ofyour work. Any thoughts you would like to share about seating in museums? What is the ideal seating for you in a gallery space?

J+Y: Seating in museums is an importantelement in an exhibition, though it mustnot “steal the show” from the exhibits,but rather be restrained, and at bestsupport the exhibition. Not infrequentlyit seems like a necessary evil, to givetired exhibition visitors a chance for a short rest or an opportunity to take a longer look at a work of art.Sometimes design and positioning evenseem awkward.

The same goes for ideal seating –itshould be inconspicuous and purelyfunctional. Seating can also createfurther levels of meaning between thevisitor, artworks and architecture.Museum furniture is in direct contactwith the visitor and, from thebackground, can tell its own “story” andforge a link between the visitor and theart, or the museum world and the outsideworld.

MW: What do museums mean to you? Are youomnivores or is it only one thing – suchas design – that attracts yourattention?

J+Y: We are omnivores. We don’t think incategories, either with regard tomuseums or our way of working. We’reopen to any “discipline” that is capableof delivering enrichment andinspiration.

MW: Could you talk about how you work asa team, why you chose to work in tandem,and what the problems are in a worldthat is more focused on individuals?Does it matter that you are two femaledesigners – is there such a thing as“female” design?

J+Y: Every designer has a differentapproach, regardless of whether he orshe works on their own or in a team, andin which country or environment. Wewouldn’t generalize or talk of “femaledesign”, especially not as far as ourdesigns are concerned. We don’t think incategories. The works should speak forthemselves.

MW: You are part of a generation ofGermans that have lived formative yearsbefore and after the iron curtain camedown. Is that pertinent for your designpractice at all?

J+Y: It influences our everyday designlife inasmuch as the world has becomemore open and it is possible for us toexchange views with countries and peoplewhere previously contact would not havebeen possible.

Learn more about the designers:http://www.kraud.de/en/

sunday sermonsChapter House / 2-2:45pmJoin us in the Chapter House for the launch of this exciting program featuring provocative

conversations with prominent directors of our area’s leading cultural institutions. These inspiring

speakers will highlight diverse and engaging topics that will leave you feeling challenged and

creatively fed. Free with Museum admission.June 9—Joe Cox, President, Ecotarium on “Inspiring a Passion for Science and Nature”

June 16—William Wallace, Executive Director, Worcester Historical Museum on “The Mickey Mouse Club in Worcester”

June 23—Ellen S. Dunlap, President, American Antiquarian Society on “The Power of Curiosity”

June 30— Katherine F. Abbott, Executive Director, Tower Hill Botanical Garden on “Why Plants Matter”

July 14—Matthias Waschek, Director, Worcester Art Museum on “Spiritual Perspectives on Art Museums”

July 21—Dan Yaeger, Executive Director, New England Museum Association on “Road Archeology”

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Visitor ActivitiesMay Tour of the MonthRule BritanniaWednesday, May 15, 2pm Saturday, May 18, 2pm

Join Docent Ginny Powell-Brasier for a trip backthrough time to when Great Britain ruled much of theWestern World. Free with Museum admission.

Drop-In Public ToursSundays, 1-2pm

Zip ToursSaturdays, 12 noon

Zip tours are fast paced views of one artist or work ofart, and last only 20 minutes. Free with Museumadmission. Check our website for weekly topics.

Drawing ClubWednesdays, 1-3pmWant an opportunity to draw in the WAM galleries?Need help getting started? Drop-in every Wednesdayfrom 1-3pm and draw in a different gallery each week.Discover our art and make it your own. Supplies will beprovided, or bring your own. All ages welcome.(Gallery location rotates: check with the visitor servicesdesk upon arrival). Free with Museum admission.

Families @ WAMFamily ToursSaturdays 10:30amExplore the museum galleries with your family on adocent-guided discovery tour. Hear fun facts, storiesand enjoy sharing observations and time together.Tours last approximately 30 minutes. Free for children17 and under; free for adults with Museum admission;Museum admission free for all the first Saturday ofeach month between 10am - noon.

Make Art!Saturdays 11-11:30am Stay after your family tour, or drop-in for this funintergenerational time in the galleries. Get inspired byour art and try making something uniquely yours.Materials will be provided. Come recover your childlikesense of free spirited play! Free with Museumadmission.

WAM One-Day ArtistResidenciesInspired by the Worcester ArtMuseum collection, each artistcreates a work-of-art-in-a-day in the museum’s galleries. All work isshared by the museum on our Flickr and Facebook sites.

Paul Toussaint

Paige Dansinger Paul Toussaint Rebecca Venn

Rebecca Venn

Paige Dansinger Lizzie Abelson

Paige Dansinger

Paul Toussaint Paige Dansinger Lizzie Abelson

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Kristina Jones – Members’ Council, PresidentKristina Jones is the President of the Members’ Council and alocal investor in the Worcester community. A property manager,and Realtor with Coldwell Banker Residential Brokerage inWorcester, Kristina has been a Members’ Council member since2009 and a Corporator with WAM since 2011. As President ofthe Council, she loves working with the group of dedicatedindividuals with varying backgrounds, careers and personalitieswho all have one thing in common: the love of WAM and itsmission. She enjoys sharing the Museum with friends,acquaintances and various connections, and letting them knowwhat an amazing place the Museum is and what WAM offers toits community. Beyond her role as President of the Members’Council, Kristina enjoys her husband, three daughters and twodogs. She has a passion for shopping (especially local!),reading, running and fitness as well as enjoying an occasionalice cream! For more info about the WAM Members’ Council,contact Kristen Baker, Membership Manager, at 508.793.4300or [email protected].

Members Council 2012-2013Ursula ArelloJoan Barry Marianne Belanger Suzanne Campbell-LambertKenya Prince CohaneTracy A. Craig Philip F. CoppingerJohn DionDonna Dufault Kate EgnaczakPeggy Glavin Jennifer GlowikMonica HamelSandy HubbardKurt HultgrenMariam Hyder-FarooqTim Jalbert Kristina L. Jones, PresidentJessica JolinLydia Keene-KendrickEliza Michie LaurentBrad Lisak Vernon McClish Susan O’Neil Marguerite Snow (Peggy), Secretary Maryann SpiroLuke Vaillancourt Luke Yanka

Members’ Council The Members’ Council at WAM was createdto help promote and support the goals andactivities of the Museum. Such supportincludes the recruitment of new members,building of overall membership base,developing and coordinating fundraisingactivities as well as volunteering for andparticipating in numerous programs acrossthe Museum. Membership Council membersbecome active in the everyday life andbecome advocates for the Museum both inand outside. Many Council members follow ina long line of WAM supporters and love toshare their wealth of knowledge with newmembers. A big part of what they do is to turnWAM’s friends and neighbors into lifelongmembers.


The Worcester Art Museum would like to extenda grateful Thank You to our generous supporters.Patrick and Aimee Butler Family Foundation: in memory ofKate Butler Peterson designated for FY 2013 general operatingsupport.

Digital Commonwealth: Digitization of Museum ExhibitionCatalogues; 1896 – 1945

The Fletcher Foundation: Open the Salisbury Doors

J. Irving England and Jane L. England Charitable Trust:Unrestricted general operating support

Highland Street Foundation: is again funding WAM’sparticipation in their Free Fun Friday programming for thesummer of 2013. WAM’s participation is scheduled to be theFree Fun Friday Summer ’13 Launch Friday, June 28.

The Jonckheere Fund, King Baudouin Foundation,Brussels, Belgium: awarded a grant for conservation andrestoration treatments of the Museum’s monumental LastJudgment tapestry (1935.2) to be performed by De WitKoninklijke Manufactuur van Wandtapijten n.v. (De Wit) inMechelen, Belgium.

The Andrew W. Mellon Foundation: awarded grant to fund the recruitment, hiring, and ancillary support for a Curator ofAmerican Art for five years (2013 – 2017 inclusive).

The Stoddard Charitable Trust: Unrestricted pledge

The European Fine Arts Foundation (TEFAF) MuseumRestoration Fund, Maastricht, Netherlands: awarded forconservation treatments of the Museum’s signed and datedportrait pair of William and Elizabeth James (1910.3 and1910.4) by William Hogarth (1697 -1764).

Worcester Public Schools: 21st-Century CommunityLearning: “My Museum Initiative”

For more information about grant programs and fundingopportunities, contact Trip Anderson at 617.793.4322 [email protected].

Transforming the Future of the MuseumThe transformations underway at the Worcester Art Museumare generating an exciting buzz in the grant-making world, andthe Museum is benefitting directly from this renewed energyand interest. In recent months the Museum has actuallyreceived a number of un-solicited invitations to submitproposals for grant funding. Some of these are coming fromfoundation trustees who have funded WAM in the past or havestrong existing ties to the Museum, such as the Patrick andAimee Butler Family Fund. Others come from foundations thatare familiar with WAM’s innovative work in specific museumfields. And still others come from major grant-makers to fundspecific strategic goals the Museum has identified to ‘jump-start” its transformation, such as The Andrew W. MellonFoundation. Worcester Art Museum has even attracted theattention of international organizations as evidenced by theinvitations from entities such as The European Fine ArtFoundation (TEFAF) based in the Netherlands and Belgium’sRené & Karin Jonckheere Fund. Local foundations andinstitutions are stepping up to the plate as well, including awide range of entities from the state funded Mass Humanitiesand Massachusetts Cultural Council to the Greater WorcesterCommunity Foundation. Also included in this group are anumber of collaborative initiatives proposed and co-sponsoredby the Museum’s partners in the Colleges of WorcesterConsortium (CoWC). Collectively, the generosity of this support is empowering theMuseum’s strategic push to strengthen its financialsustainability, and make tangible progress towards its 2020vision of increased visitation and relevancy.

24 WORCESTERART.ORG

Business Partner Program“The Worcester Art Museum holds a very special place in the heart of thelocal business community. As members of the community, we cherish thevalue that the Museum adds as a cultural resource that enriches the life ofthe entire community. As businesspeople, we understand that the Museumserves as a beacon drawing visitors and economic activity and helping toattract qualified employees to the area. By becoming a Business Partner,you can play a positive role in enriching the cultural life of CentralMassachusetts while at the same time having a positive impact on yourown business.” –John Savickas, Chair of the Business Partner CommitteeJohn Savickas, Chair of the Buisness Partner committee, is President ofInterstate Specialty Products, a leading producer of precision die-cutcomponents for medical, industrial and scientific applications. John and hiswife Ellen reside in Paxton with their five daughters. John is a frequentvisitor to the Museum and finds it a “great place to rekindle my spirit.”“I really enjoyed my time as a committee member of the Business PartnerProgram at the Worcester Art Museum. During my 10+ years on thecommittee and my 7 years as Chair, I have had the pleasure of working witha lot of great committee members and staff. We have all worked hard notonly to make the program a success for the Worcester Art Museum in termsof providing a valuable source of funding, but also to make it rewarding andmeaningful for its business partners. I am proud to say that we have grownthe program to include over 50 Business Partners representing an array ofindustries and businesses throughout Central Massachusetts. I am excitedfor John Savickas to be the program’s next chair. He has a great passion forthe Worcester Art Museum and a great vision for the future of the BusinessPartner Program.” –Joseph J. Bafaro, Jr., Former Chair of BusinessPartner Committee

John Savickas and Joseph J. Bafaro, Jr.

25WORCESTERART.ORG

Anonymous (1)Anonymous* (3)Mrs. Margery W. AdamsAnn and Bill ArthurPhilip* and Elaine BealsAllen and Sarah BerryMrs. Howard M. Booth*Karl and Dorothy* BrielDr. Elaine and Mr. Robert BukowieckiElizabeth B. BurguetDouglas P. ButlerWilliam R. CarrickAlexandra Cleworth and Gary StaabPaula H. ConnollySusan C. CourtemancheMartha A. Cowan*Jeanne Y. Curtis*Mr.* and Mrs. Robert CushmanMr.* and Mrs. Bruce G. DanielsDix and Sarah DavisHenry B. and Jane K. DeweyMaria and John DirlamAndrea N. DriscollMr. and Mrs I. R. Freelander*Esther and Howard FreemanDaniel Grim and Irene Browne-GrimMrs. Milton P. Higgins*James and Kathleen HoganFrances and Howard JacobsonPeter JeftsJohn* and Marianne JeppsonHenry W. Keyes

Sarah Bramson KupchikIrving and Marie Lepore*Patricia F. MallardCarl A. ManganoMr.* and Mrs. Robert K. MasseyMyles* and Jean McDonoughDon and Mary MelvilleMrs. David J. MillikenIleana MunizDr. and Mrs. Haim G. Nagirner*Linda and John* NelsonEdward OsowskiMrs. Mae I. PalmgrenSarah and Joe RibeiroMr.* and Mrs. Chapin RileyBlake Robinson*Mr. and Mrs.* Elijah B. RomanoffMr. and Mrs. Henry B. RoseMr.* and Mrs. Sidney RoseMr. Norman L. Sharfman*Dr. Shirley S. Siff and Robert M. SiffMary SkousgaardHelen M. Stinson*Helen E. Stoddard*Richard S. TeitzMr. Jack Tobin*Irving N. Wolfson, M.D.*Mrs. John M. Woolsey, Jr.*Mr. O. Bradley Wood*Elton Yasuna*

*deceased

Legacy Society MembersLegacy Society membership is extended to individuals who haveincluded the Worcester Art Museum as a beneficiary in a will or otherestate arrangement. These generous members create a legacy for thefuture of the Worcester Art Museum.

Conservation in Action I have been working on this nearly 3000 year-old Assyrian relief for just over ayear now. This carving of a winged protective being was executed in alabaster,and once adorned the palace of King Ashurnasirpal II in Kalhu (near modern-day Mosul, Iraq). To date, I have logged over 300 hours on the piece, whichincludes historical research, scientific analysis, and conservation treatment.This particular photo shows the process towards the beginning – I had alreadyremoved fill material from between the nine segments and was beginning toremove dirt, grime, degraded coatings and restoration paint from the surfaceusing specially formulated cleaning gels applied with cotton swabs. Thecleaning is nearly complete now – the next step involves filling the cracks andcuts that divide the piece. The ultimate goal is to allow visitors to view thepiece in something that approaches its original state, free of the distractingpresence of old restorations and discolored coatings. —Kari Kipper

Kari Kipper is the Mellon Fellow in Objects Conservation, a three year position endowed by the Andrew W. Mellon Foundation. Kari is a 2011 graduate of the Buffalo State College ArtConservation Masters Program.

For more information about the Legacy Society at WAM, contact Jere Shea at508.793.431 3 or [email protected].

26

CorporatorsHerbert S. AlexanderJohn B. AndersonJulia D. AndrieniMarie A. AngeliniBarbara Trayers AthyJoseph J. Bafaro, Jr.Thomas J. BartholomewSusan M. BassickIsabel A. BayonBarbara Apelian Beall-FofanaWhitney BealsLisa BeittelGeorge Flynn BernardinCharles A. BirbaraRichard L. BishopDavid M. BodahMaurice J. BoisvertMelinda J. Boone*Karin I. BranscombeNicole Brathwaite-HuntMary Ann S. BrockelmanChristopher A. BrownAnn E. BrownSara Buckingham

Douglas P. ButlerAlta-Mae ButlerCaroline A. CamougisSuzanne R. Campbell-LambertWilliam R. CarrickFilomena CesareoHarriette L. ChandlerRobert R. CharlesKim M. CiborowskiAlexandra E. CleworthSandra CohenCatherine M. ColinvauxJames E. CollinsPaula H. ConnollyLeonard CowanElizabeth Adams CrowleyLeslie K. CutlerJyoti DattaLaurel DavisElizabeth Kennedy DeHoratiusJeffery L. DillJohn Frederick DionJohn B. DirlamThomas M. DolanKent D. dur RussellCathleen C. Esleeck

Barbara Elliott FargoAndrew FeldmanJustin L. FletcherSusan M. FoleyJoan Levine FreedmanSusan Gately*Lisa Kirby GibbsPaul J. GiorgioLaura GlazierRichard H. GlewMaureen L. GlowikJohn GoldsberryGabriele M. GoszczJohn E. GrahamMaureen R. GrayIvan R. GreenMichael GusarPatricia A. HalpinLura HarrisonMarjorie Hastings-O'ConnellFrank F. HerronJames E. HoganJames E. HoganMargaret Patella HunterLouis J. IandoliJanet Ann JaworskiTay Ann JayKristina L. JonesRachel KaminskyAmar V. KapurJudith S. KingJean A. KingBrendan J. KingWarren C. LaneGordon B. LanktonTristan LaurionRafael LazoNel A. LazourDiane LebelSteven J. LedbetterDavid A. LemoinePaul J. LevensonOttilie LevineBrad S. LisakVincent LombardiPatricia S. LotuffEdgar LunaIngrid J. MachMark F. ManceviceThomas D. ManningDominick N. MarciglianoChristian McCarthyKathleen M. McDonoughLisa Hill McDonoughMartha Barry McKennaRichard J. McNallyJ. William MeesRuthann MelanconToni K. MeltzerKatharine M. MichieThomas S. MichieErwin H. MillerSatya B. MitraJane Lucia MolinaCharles F. MonahanAnna Mitra Morgan

Michelle S. MorneauLeonard J. MorseCharles H. MoserMoira Moynihan-ManoogVictoria MulliganDominic J. NompleggiBeata I. O'BrienCandace OkunoJean C. OsborneEdward John OsowskiSusan Melden PalatucciMartha R. PappasDeborah PentaMary Ann PervierWilliam O. PettitJoseph M. Petty*Genevieve K. PioppiStephen M. PitcherRoger P. PlourdePhyllis PollackGeorge C. RandAnne ReisingerSarai RiveraLinda B. RobbinsSusan D. RobertsHelen A. RonanHenry B. RoseJennifer Nancy RoyBetsy P. SargissonJohn SavickasPeter B. SchneiderClifford J. SchorerSue Ellen ScroginCarol L. SeagerJanice E. SeymourJeanice Caryle ShermanJang B. SinghToby SissonJoshua Lee SmithDavid W. SnellKristina M. SpillaneMark J. SpuriaRobin S. R. StarrDonald F. StoddardKaty K. SullivanJohn J. SzlykJoyce TamerAnne C. TardanicoVickie ThebeauJulie ThomasLynne M. TonnaJosephine R. L. TruesdellJudith C. VaillancourtCarmen D. VazquezBarent W. WalshKristin B. WatersBarbara Ketcham WheatonHillary WhiteEmily V. WolfStacy E. WoodsThomas WorcesterJohn T. WorcesterEdward C. YasunaAlan S. Yoffie

*ex officio

Corporator Roles and ResponsibilitiesCorporators, as stewards of the public trust, ensure that theWorcester Art Museum’s mission—to collect, to preserve, toexhibit, and to educate—continues in perpetuity. Corporators arecommitted to the Museum and are expected to consider it as oneof their top philanthropic priorities. Corporators serve asambassadors, contributors, and participants. The Board ofTrustees, which is elected by and from the Corporation, governson behalf of the Corporation.

As Ambassadors, Corporators:• are committed to being knowledgeable about the Museum• reach out to new constituencies in the communities where they

live and work• identify and involve new prospects including corporations and

foundations

As Participants, Corporators:• attend Corporator events including the Annual Meeting, Mid-

Year Meeting, and Corporator Orientation• may be asked to serve on committees relevant to their expertise• participate in the broad variety of exhibitions, programs, and

events• participate in the nominating process by identifying new

Corporator prospects

As Contributors, Corporators:• maintain an active membership• are asked that the Museum be a priority for their charitable

giving and consider membership in the Salisbury Society • contribute to fundraising efforts and capital campaigns• leverage financial support for the Museum

Corporators are elected to a five-year term and are eligible forreelection to one additional, five-year term. A one-year hiatus isrequired before a second-term Corporator can be nominated for asubsequent term.

27WORCESTERART.ORG

In MemoriamNathan Greenberg Our community lost a passionatechampion, Nathan Greenberg, onFebruary 12, 2013. At 93, Nate leftbehind his beloved wife, Barbara, 5 children and 11 grandchildren.Nate was the founder of Greenberg,Rosenblatt, Kull and Bitsoli, a leadingaccounting firm in Worcester. He lenthis expertise and zest for life to many

non-profits, of which the Museum was one.Nate became a Corporator in 1984, a Trustee in 1987 and a Trustee Emeritus in 1993. He served on the Audit and Development Committees and chaired theInvestment Committee.He and Barbara established the Nathan and BarbaraGreenberg Education Fund at WAM that supportseducational and docent programs. Nate was a tireless volunteer and champion of the Museumand so many other charities, including UMass MemorialFoundation, the United Way of Central Massachusetts, theJewish Federation of Central Massachusetts and so manyothers. His ever present wit and his legacy of philanthropy will be missed.

John JeppsonThe Worcester Art Museum and the Board of Trustees ofthe Worcester Art Museum expresses its heartfelt sympathyto the Jeppson family, particularly John’s wife, Marianne,and recognizes John Jeppson as an individual who prizedhis family, enjoyed a remarkable career, and demonstratedhis dedication to his community through his many generousgifts and service. We are grateful for his commitment to theWorcester Art Museum and all that he accomplished on itsbehalf.John Jeppson, of Worcester and Brookfield, passed awayon February 10th, 2013 at the age of 96. John was firstelected a Corporator in 1954 serving until 1960, and thenagain in 1980 through 1995. He served as a trustee from1960 until 1988 when he was elected a Trustee Emeritus.John and his wife Marianne received the Members’ CouncilAward of Merit in 1995 and in 2011 were also bestowed theMuseum's highest honor, the Salisbury Award. In 1989 theJeppson Gallery, located on the Museum’s third floor, wasnamed in honor of John and Marianne's generous support.The Jeppson’s largess also extended to gifts of works ofart, most notable Opal by Anders Zorn and Promenade #3by Charles Prendergast and fourteen prints by GeorgesRouault. John and Marianne were founding members ofboth the Museum's Salisbury and Legacy Societies.

John's devotion to his native city was demonstrated by the many civic organizations he actively engaged in andsupported. The Worcester Art Museum mourns the loss of John and his distinguished service to community and the Museum.

John M. NelsonOn January 21, 2013, TheWorcester Art Museum lost abeloved friend and supporter, JohnM. Nelson. A long-time Worcesterresident, John and his wife Lindahad been living in Boston and on the Cape (summer home) the lastfew years, and had just moved in October 2012 to their home in Winter Park, Florida.

As a prominent leader in the community John served onmany boards, both corporate and non-profit. He heldleadership positions with the Norton Company, Saint-Gobain, Wyman-Gordon, the Commonwealth NationalBank in Worcester and TJX. John was a model supporter of the Worcester Art Museum.He offered continuous and active involvement in manycommittees during his years of engagement with WAM.John and Linda were the first Charter Members of theLegacy Society and he served as Corporator (1988-99),Trustee (1989-99), and was the Chairman of WAM’sCentennial Campaign. His commitment to the Museum’scollection was evident from the John and Linda NelsonFund for Contemporary Art. The community and WAM willmiss him dearly.

John and Marianne Jeppson in Stoddard Garden Court

Nathan Greenberg

John M. Nelson

28 WORCESTERART.ORG

Don’t MissChamber Music Series ConcertMichelle Graveline, harpsichord / Monica Hatch, sopranoSunday, May 12, 2013 2:30pm / American galleryProgram will include: J.S. Bach: Partita No. 5 in G Major forharpsichord / Kuhnau: The Biblical Sonatas (David and Goliath) /J.S. Bach: Arias from “Notebook for Anna Magdalena Bach”(including Bist du bei mir) / Purcell and Handel: Selected arias Intermission talk with Nancy Burns, Curatorial Assistant, willfeature maternal-themed works including Mrs. Elizabeth Freakeand Baby Mary.Post concert reception with the musicians in the WAM CaféUse Lancaster Street entrance. Limited seating.Reserve on line at www.worcesterart.org. $25 Members/$35 nonmembers / $10 Student Rush (at door dayof concert only)For more information, contact Karmen Bogdesic at 508.793.4326or [email protected] The Chamber Music Series is generously sponsored by a gift from Nydia and Charles Moser.

An Artistic Contemporary Brunch Join us for a sumptuous Mother's Day Brunch in the Museum Café provided by Russell Morin Fine Catering Sunday, May 12, 2013Seatings at 10:30am and 1pm$31.95 Adults / $16.95 Children 12 and under, plus gratuity and taxReservations required. Please call 508-793-4328 Please use Lancaster Street entrance to access the Café

Curator Talk: From Drip Paintings to Brillo Boxes Wednesday, May 15, 2013 / 6pm / Conference RoomNancy Burns (Assistant Curator, Prints, Drawings, andPhotography) will lead this exploration of the transition from purecolor fields and aggressive gestural strokes of abstract painting inthe 40s toward the absorption of popular culture and mainstreammedia as the source of fine art production in the 50s and 60s. In asingle generation, artists who favored the elevation of a personaland spiritual connection made a radical shift to incorporating comicbooks, newspaper clippings and Hollywood actresses as thesubjects of their work. She will discuss Jackson Pollock, Willem deKooning, Mark Rothko, Robert Rauschenberg, Jasper Johns,Richard Hamilton and Andy Warhol. Free with Museum admission.

Art All-State 2013May 24 - 25For 26 years Art All-State has been touching the lives of young artists and arteducators across Massachusetts with its award-winning model. Take 145 artstudents at the end of their junior year in high school, mentor them over thecourse of an intensive two days in the studios and galleries of a renowned artmuseum, expose them to the work, personality and teaching of contemporaryartists, challenge them to work collaboratively with limited materials in smallstudio groups.This model of encouraging, educating and guiding young artists through amountain-top experience with contemporary artists in a museum setting isstructured in a way to have a lasting impact on the lives of emerging artists andto strength the professional stature of artists, art educators and museums in ourcommunities and beyond.Art All-State 2013 is made possible by generous funding from: Unum, the David Jay Freelander EducationFund, the Massachusetts Art Education Association (MAEA), National Endowment for the Arts (NEA), andDrs. Phyllis Pollack and Peter Metz. At the time of this printing we appreciate the additional assistance in theform of in-kind donations from: Cocoon Graphix, Corner Grill, Curry Printing & Copy Center, EducationalSketchbook Program, Fallon Community Health Plan, Institute of Contemporary Art, Papa Gino's, PolarBeverages, Price Chopper, Sysco Corp., and Utrecht Art Supply.

29WORCESTERART.ORG

Further support received from:

SUMMER

July & Augu

FREE

30

“One of our biggest priorities is to make the Worcester Art

Museum more accessible to the community and the world.”

“Free admission during the months of July and

August provides access to all. We hope to deliver

the message to the community that we welcome

and encourage everyone to experience all that

the Museum has to offer.”—Matthias Waschek, WAM Director

Generously sponsored by

R

ust at WAM!

31Paul Signac, Golfe Juan (detail), 1896, oil on canvas, Gift from the Chapin and Mary Alexander Riley Collection, 1964.27

32 WORCESTERART.ORG

MAY 1 Wednesday Drawing Club, 1-3pm

3 Friday REdesign: Libraries, 2pm

4 Saturday First Free Saturdays, 10am-noon, sponsored by TJX Companies

Familes @ WAM Tour, 10:30am

Familes @ WAM: Make Art!, 11-11:30am

Zip Tour: Renoir’s Old Arab Woman, noon

5 Sunday Public Tour, 1pm

8 Wednesday Drawing Club, 1-3pm

11 Saturday Nancy Spero: Cri du Coeur (Cry of the Heart) opens, Contemporary Gallery



Zip Tour: The Peale Family, noon

12 Sunday Mother’s Day

Public Tour, 1pm

Brunch, 2 seatings, 10:30am and 1pm, $ Reservations required, 508.793.4328

Chamber Music Concert, 2:30pm, Michelle Graveline, harpsichord and Monica Hatch, voice, $ RR, call 508.793.4326

13 Monday Adult classes summer session begins $ RR

15 Wednesday May Tour of the Month: Rule Britannia, 2pm

Drawing Club, 1-3pm

Curator Talk: From Drip Paintings to Brillo Boxes, 6pm, free with Museum admission

16 Thursday Museum open until 8pm – 50% off admission from 5-8pm

18 Saturday Familes @ WAM Tour, 10:30am


Zip Tour: Portrait of Loisa Cowles, noon

May Tour of the Month: Rule Britannia, 2pm

Adult Class: From Easel to Web: The Business of Art, 10am-4pm, $ RR


Artist Talk: Robert and Shana ParkeHarrison, 2pm, free with Museum admission,

22 Wednesday Free admission, Sponsored by American Association of Museum Directors (AAMD)

Drawing Club, 1-3pm

24 Friday Bob Dylan Day, Free admission to visitors dressed as Bob Dylan

Art All-State

25 Saturday Art All-State





Calendar $ denotes additional fee RR Registration Required: online or by calling 508.793.4334RSVP online or by calling 508.793.4323All dates and times are correct at time of publication. Visit www.worcesterart.org for up-to-date event information.

33WORCESTERART.ORG

JUNE1 Saturday First Free Saturdays, 10am-noon, sponsored by TJX Companies



Zip Tour, noon


Lecture: Bostonians in Miniature, 2pm, free with Museum admission


6 Thursday Curator Talk: Nancy Spero: Cri du Coeur, 5:30pm, free with Museum admission

7 Friday Salisbury Gala Evening, 6-9pm



Zip Tour, noon

Chamber Music Concert, 5:30pm, Contemporary gallery, Worcester Chamber Music Society, $ RR, call 508.793.4326


Sunday Sermon, 2pm

Adult Class: Beyond the Auto Mode, 1-4pm, $ RR

Kennedy to Kent State: Images of a Generation exhibition closes


13 Thursday Curator Talk: Yoshida Tōshi—Surmounting the Odds for the Good of Many, 5:30pm, free with Museum admission



Zip Tour, noon


Sunday Sermon, 2pm

16 Tuesday Artz Museum Tour, 11am-12pm, RSVP www.ArtzAlz.org


June Tour of the Month, 2pm

20 Thursday Museum open until 8pm – 50% off admission from 5-8pm

22 Saturday Idea Lab: Orantes opens



June Tour of the Month, 2pm


Sunday Sermon, 2pm

Adult Class: Focus + Exposure, 1-4pm, $ RR


28 Friday Free Fun Friday, Sponsored by Highland Street Foundation



Zip Tour, noon


Sunday Sermon, 2pm

34 WORCESTERART.ORG

JULY3 Wednesday Drawing Club, 1-3pm

4 Thursday Independence Day: Museum Closed

6 Saturday First Free Saturdays, 10am-noon, sponsored by TJX Companies



Zip Tour, noon


8 Monday Youth classes begins $ RR

Teachers Institute: Artful Teaching STEM to STEAM $RR

9 Tuesday Adult Institute begins $ RR




Zip Tour, noon


Sunday Sermon, 2pm


July Tour of the Month, 2pm

18 Thursday Museum open until 8pm



Zip Tour, noon

July Tour of the Month, 2pm


Sunday Sermon, 2pm

22 Monday Youth classes begin $ RR




Zip Tour, noon



$ denotes additional fee RR Registration Required: online or by calling 508.793.4334RSVP online or by calling 508.793.4323All dates and times are correct at time of publication. Visit www.worcesterart.org for up-to-date event information.

free general admission

35WORCESTERART.ORG

AUGUST3 Saturday First Free Saturdays, 10am-noon, sponsored by TJX Companies



Zip Tour, noon


5 Monday Adult classes begin $ RR

Youth classes begin $ RR




Zip Tour, noon



15 Thursday Museum open until 8pm



Zip Tour, noon



August Tour of the Month, 2pm



Zip Tour, noon

August Tour of the Month, 2pm


Story Hour with Suzy Becker, Chapter House, 1pm




Zip Tour, noon

free general admission

Florainwinter ’13

THANK YOU SPONSORS!

THE WAM EXPERIENCE

38 WORCESTERART.ORG

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Business PartnersWORCESTER ART MUSEUM thanks our

For more information on becoming a Business Partner, please contact Karmen Bogdesic at 508.793.4326 or at [email protected]

Together we make a difference for Worcester

Sponsors $5,000 and up

Fallon Community Health PlanFLEXcon Company, Inc.Imperial Distributors, Inc.Interstate Specialty Products, Inc.People's United BankThe TJX Foundation, Inc.UnumWorcester Business Journal

Members $1,000

Bartholomew & Company, Inc.BenefitsLab - Health Insurance SolutionsHerbert E. Berg Florist, Inc.Central One Federal Credit UnionColumbia TechCommcreative Davis Publications, Inc.Fidelity BankFiduciary Investment AdvisorsGreenberg, Rosenblatt, Kull & Bitsoli, P.C.Highland March Office Business CentersMercier Electric Company, Inc.Russell Morin Fine CateringJ.S. Mortimer, Inc.MSW Financial PartnersPerfect Focus Eyecare

UniBankWebster FiveThomas J. Woods Insurance Agency, Inc.Zelle Hofmann Voelbel & Mason LLP

Donors $2,500

J.J. Bafaro, Inc.Christie'sFletcher Tilton P.C.Foley Industrial EnginesMiles Press, Inc.RDW Group, Inc.Saint-GobainWaters Corporation

Friends $500

Alexander, Aronson, Finning & Co., P.C.

Bowditch and Dewey, LLPBurr InsuranceCentral Massachusetts PodiatryCheckerboard Ltd.Coghlin Electrical Contractors

Skinner, Inc.Sotheby'sStruck CateringSullivan, Garrity & Donnelly Insurance Agency, Inc.

As of April 2013

At WAM you can find inspiration of the heart, soul and mind. The Museum reflects the strength of Worcester’s past and the possibility for its future. If you are interested in investing in community, WAM will never disappoint.—J. Christopher Collins, Senior Vice President & General Counsel, Unum US

worcesterart.org

Berry Financial Consulting Group of Wells Fargo Advisors

Pepper's Fine Foods Catering

Hispanic-American Chamber of Commerce of Greater BostonMarr Oil Heat Co., Inc.Mirick O’Connell

39

Events

To book a social or corporate event visit www.worcesterart.org or call 508.793.4327

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Custom Picture Framing & Art Gallery

Upcoming: Salisbury Gala Evening Sneak Preview of the Smith Collection Friday, June 7

For more information, please contact Nancy Jeppson at [email protected] / 508.793.4325

Salisbury Society members enjoy meaningful access.

at the Salisbury Sneak Preview of Kennedy to Kent State.

enjoy meaningful access.Salisbury Society members

enjoy meaningful access.Salisbury Society members

enjoy meaningful access.

enjoy meaningful access.

at the Salisbury Sneak Preview of

at [email protected] / 508.793.4325For more information, please contact Nancy Jeppson

Friday, June 7Sneak Preview of the Smith Collection

sbury Gala Evening Upcoming: Sali

Kennedy to Kent State.at the Salisbury Sneak Preview of

at [email protected] / 508.793.4325For more information, please contact Nancy Jeppson

Sneak Preview of the Smith Collectionsbury Gala Evening

For more information, please contact Nancy Jeppson

Sneak Preview of the Smith Collection

The Museum

Café Enjoy lunch outdoors this summer.Try our seasonal specials as well as sublime appetizers, soups, salads, sandwiches, entrées and desserts.

New England’s preeminent auction house20+ specialty areas | 50+ auctions annually | Internationally competitive prices

63 Park Plaza, Boston, MA 02116 | 617.350.5400274 Cedar Hill Street, Marlborough, MA 01752 | 508.970.3000 www.skinnerinc.com

A U C T I O N E E R S A N D A P P R A I S E R S O F O B J E C T S O F V A L U E

Hanging Scroll, China, in the Manner of Zhang Daquan (1899-1983); Andy Warhol (American, 1928-1987) Liz, 1964; Alexander Calder (American, 1898-1976) Untitled [Red Nucleus], 1964; Aaron Siskind (American, 1903-1991) from the series Pleasures and Terrors of Levitation; Francisco Miralles y Galup (Spanish, 1848-1901) Portrait of an Elegant Lady Reading in a Park; American School, possibly Joseph Proctor (New York, mid-19th Century) Still Life with a Basket of Fruit, Flowers, and a Cornucopia

MA/lic. #2304

The Clayton F. and Ruth L. Hawkridge FoundationThe Frank M. Bernard Foundation

Library Archival Slide Digitization

National Endowment for the Arts ArtWorks: Teen Artists at WAM

Mass Humanities: Crisis, Community, and Civic CultureKennedy to Kent State Exhibition Programming

Institute of Museum and Library Services Museums for America: American and European Painting Digitization

René & Karin Jonckheere Fund Conservation of the Last Judgment tapestry

Massachusetts Cultural Council Cultural Investment Portfolio: Partner

TJX FoundationFree First Saturday mornings10am-noon

Target CorporationArts and Culture in Schools: Adopt-A-Portrait

Worcester Art Museum would like to extend a grateful THANK YOU to our supporters!

Charles Sheeler, City Interior (detail), 1936, Aqueous adhesive and oil on composition board, Museum purchase in memory of Jonathan and Elizabeth M. Sawyer, 1937.3

The Patrick and Aimee Butler Family FoundationUnrestricted General Operating

The Stoddard Charitable TrustUnrestricted General Operating

Highland Street Foundation Free Fun Friday’s

The Andrew W. Mellon Foundation Curator of American Art

The European Fine Art FoundationConservation of Hogarth Portrait Pair

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May - August worcesterart.org/classes

Summer Classes for Adults and Kids!

508-869-6111 11 French Drive, Boylston, MA Exit 24 off I-290

Discover Gardening as Art Plan your visit to Tower Hill

Don’t miss our 28th Annual

Plant & Garden

Accessory Sale, June 1st!

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WICN is . . .“...a beautiful thing!” ~ Esperanza Spaulding

“...a vital arts resource.” ~ Wynton Marsalis

“There’s no better place!” ~ John Pizzarelli

“You’re the Best!!” ~ Grace Kelly

“WICN–Keep Swinging!” ~ J. Geils

Donate online at worcesterart.org or call 508.793.4325.

Please give this year to the ANNUAL FUND

I implore you—go to Worcester. See works by all of the greats you’ve never seen before. Revel in your discoveries...You will be bowled over. I promise. Jared Bowen, WGBH Greater Boston, July 20, 2012

The museum knows how to pay it back with free admission…other museums: there’s a lesson here

Arts Journal, June 20, 2012

City’s museum a masterpieceAlbert Southwick, Telegram & Gazette, September 20, 2012

one of the nation’s great collectionsSebastian Smee, Boston Globe, October 23, 2011

It should be a landmark. But around Boston it's almost like secret knowledge. Spread the word.Greg Cook, The Phoenix, November 7, 2012

This past year, gifts from supporters like you helped the Museum:

Your gift matters

The public and media have responded with overwhelming appreciation, Help us build on these successes,

WORCESTER ART MUSEUMworcesterart.org

worcesterart.org

49WORCESTERART.ORG

Members of the Worcester Art Museum enjoy many bene�ts including free admission, invitations to special events and discounts to the Museum Shop and classes. Become a member today at worcesterart.org/join

Membership has its perks

the museum

shopstay current withWAM t-shirts\catalogs\scarves

Providing counsel tomanufacturers and distributors financial institutions real estate developers educational institutions high net worth individuals

Boston Framingham Worcester

508.791.3511 bowditch.com

Diligence. Expertise.

Subscribe to our 6 Broadway Show Package for only three payments of $73

Save $50 or more per subscriber while reserving the best seats in the house & save 35% on NEW students and kids subscriptions. Visit TheHanoverTheatre.org to previewour upcoming shows and events or call us at 877.571.SHOW (7469) 2 Southbridge Street, Worcester, MA 01608

Worcester Center for the Performing Arts, a registered not-for-profit 501(c)(3) organization, owns and operates The Hanover Theatre for the Performing Arts.

*

-The Washington Post

Nov 22-24, 2013

Jan 2-5, 2014

Jan 21-Feb 2, 2014

Feb 28-Mar 2, 2014

Jun 5-8, 2014

Nov 1-3, 201Nov 1-3, 201

Nov 1-3, 2013

Jan 2-5, 2014

Jun 5-8,2014

Nov 1-3, 2013

Experience the Thrill of Broadway in One of the Top 100 Theatres in the World!

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WORCESTER ART MUSEUMFifty-five Salisbury Street

Worcester, Massachusetts 01609

www.worcesterart.org

Non-Profit Org.U.S. Postage

PAIDVillanti

Mailed from 05401

A D M I S S I O NMembers Free

nonmembers $14 Adults / $12 Seniors and College Students with ID

FREE for kids 17 and underFREE FIRST Saturday Mornings

(the first Saturday of each month) 10am-noon Supported in part by TJX Foundation Inc.

GALLERY HOURSWED 11am – 5pmTHU 11am – 5pm *

FRI 11am – 5pmSAT 10am – 5pmSUN 11am – 5pm

*3rd Thursdays 11am – 8pmClosed Mondays, Tuesdays and Holidays

THE MUSEUM CAFÉ5 0 8 . 7 9 3 . 4 3 5 8

WED – SAT 11:30am – 2pm

THE MUSEUM SHOP 5 0 8 . 7 9 3 . 4 3 5 5

Open gallery hours

SOCIAL & CORPORATE EVENTS RENTAL5 0 8 . 7 9 3 . 4 3 2 7

[email protected]

L I B R A RY5 0 8 . 7 9 3 . 4 3 8 2

[email protected] – FRI 11am – 5pm

SAT 10am – 5pm

CLASSESHiggins Education Wing

[email protected]: 508.793.4333 / 4334

TO U R S 5 0 8 . 7 9 3 . 4 3 3 8

[email protected]

M E M B E R S H I P 5 0 8 . 7 9 3 . 4 3 0 0

[email protected]

B U S I N E S S PA R T N E R S 5 0 8 . 7 9 3 . 4 3 2 6

[email protected]

SALISBURY SOCIETY5 0 8 . 7 9 3 . 4 3 2 5

[email protected]

VISITOR & VOLUNTEER SERVICES 5 0 8 . 7 9 3 . 4 3 6 2

[email protected]

ACCESSIBILITYFor barrier-free access to the Museum,

park in the Tuckerman Street lot and enter the Stoddard Garden Court.

Follow the pathway to the outdoor Café and enter the Museum via the ramp on the right.

The Garden entrance is open during Museum hours and while classes are in session.

A few wheelchairs are available for loan at Visitor Services. Please call ahead if you

will need a wheelchair, 508.793.4362

Free Wi-Fi Museum-wider

WAM WOO's do you? Visit www.woocard.org

WAM: Access MagSummer13

Documents

Transcript of WAM: Access MagSummer13