Farnsworth Magazine Winter 2018

Farnsworth Art Museum WINTER 2018

Highlights in this issue: AI WEIWEI An international superstar lands in Rockland [COLLECTIVE] BASH The stars align for a Zodiac Prom PORTRAITS OF ROCKLAND All about the familiar faces that grace our Main Street windows this winter

2018 BOARD OF TRUSTEES

Charles Altschul, President FALL 2017

FARNSWORTH MAGAZINE VOLUME 18, WINTER 2018

Ed Waller, Vice President Ron Stern, Secretary Susan M. Deutsch, Treasurer Stephanie L. Brown

Farnsworth is a publication and member benefit of the Farnsworth Art Museum

Dick Costello Sylvia A. de Leon Victoria Clark Dibner

(cover) Ai Weiwei, Circle of Animals/Zodiac Heads: Gold – Dragon, 2010

Victoria Goldstein Connie Hayes Gerald A. Isom Jean Kislak

The Farnsworth Art Museum is a 501(c)

Lawrence J. Lasser

(3) nonprofit organization supported by

Ann M. Rothschild

generous donations from the public

Susan Schreiber Kenneth Shure James P. Smith, Jr. Susan Allen Thomas Louise Turan Laura Wack Presidents Emeritae/i Richard Aroneau H. Allen Fernald Anne W. Jenkins Wick­ha­­m Skinner Trustee Emerita Gail Catharine Bertuzzi Ex Officio Christopher J. Brownawell, Director

Director Chris Brownawell welcoming Farnsworth members to a private tour of On A Mountain in Maine, currently on exhibition in the Library Gallery.

WELCOME TO 2018!

#Farnsworth365 means that winter is not a time to for

After a whirlwind of a 2017 season that saw our attendance

hibernation at the Museum. We will once again be offering a

increase by over 30% the Museum continues on its exciting

full schedule of classes, lectures and workshops, as well as our

pace with a full schedule of extraordinary programs and events

not to be missed BASH, scheduled for April 7.

to usher in 2018 – it’s a year packed with fabulous, exhibitions, educational opportunities and community gatherings.

As we welcome 2018, we also celebrate our 70th anniversary which provides a moment to reflect on the Museum’s impressive

Though many of our wonderful exhibitions currently on view

trajectory. From Lucy Farnsworth’s vision to build a museum

such as Black and White: Louise Nevelson/Pedro Guerrero

and library in honor of her father which opened with a modest

and Andrew Wyeth: Her Room will continue through the late

collection and handful of programs to the institution of today,

winter, all eyes are focusing on March 24 when we open Ai

that welcomes visitors from around the globe to enjoy programs

Weiwei: Circle of Animals/Zodiac Heads: Gold. Arguably, one

of exceptional quality and breadth, telling the amazing story

of the most influential artists of our time, Ai’s work has been

of Maine’s important role in American art in Rockland, the Art

exhibited throughout the world. Ai Weiwei’s Circle of Animals/

Capital of Maine. The Museum is so proud of our work and we

Zodiac Heads: Bronze series – his first work of monumental

thank you for your unflagging support and generosity!

public art drew worldwide attention in spring of 2011 when the artist was detained by Chinese authorities a month before the

My best wishes for a safe, healthy and arts filled New Year!

work was debuted in New York City. Ai is recognized around the world as a creative force and cultural commentator, and he continues to redefine the role of both artist and activist. Ai Weiwei’s exquisitely designed and fabricated golden Zodiac Heads are featured in this exhibit, the first presentation of the internationally known artist’s work in Maine.

Christopher J. Brownawell, Director

E X H I B I T IO N S + C O MMU N ITY E VENTS

January

February SATURDAY, FEB. 24 Millay Without Borders: 126th Birthday Reading

FRIDAY, JAN. 19 PechaKucha Night 7 p.m. at the Rockport Opera House

Farnsworth Auditorium

DRAMATIC READING: Museum Pecha Kucha

Saturday, January 27, 2 p.m.

Farnsworth Auditorium

Millay Without Borders

Adas Yoshuron Synagogue

RO C K P O RT O PE R A H O U S E Fr i d a y Ja n . 1 9 , 2 0 1 8 @ 7 p m Doors open at 6:30 pm | Reception to follow

$ 5 AT T H E D O O R

SATURDAY, FEB. 3 DRAMATIC READING: Edward Albee’s Occupant

SUNDAYS, JAN. 7-28 Art for Us: Let’s Discuss!

Sessions 1 & 2 in Farnsworth auditorium Sessions 3 & 4 at CMCA

March

April SATURDAY, MAR. 25 Exhibition opens AI WEIWEI

SATURDAY, APRIL 7 [BASH] Save the Date!

Rothschild Gallery

Ai Weiwei, Circle of Animals/Zodiac Heads: Gold

Everyman Repertory Theatre Presents Bakersfield Mist

FRIDAY, APRIL 13 PechaKucha Night Zodiac Prom Bash!

7 p.m. at the Strand Theatre

March 10–March 25, Saturday evenings and Sunday matinees

O P P O S I T E : Ai Weiwei in his Beijing studio examining early versions of heads from Circle of Animals/Zodiac Heads: Gold, 2010

AI WEIWEI | CIRCLE OF ANIMALS/ZODIAC HEADS: GOLD OPENS MARCH 24, 2018

Ai Weiwei’s Circle of Animals/Zodiac Heads: Gold will

be shown at the Farnsworth Art Museum from March 24, 2018 through January 1, 2019 in the museum’s

Rothschild Gallery. It will be the first exhibition in

Maine of this internationally renowned artist’s work.

A lively re-envisioning of the twelve animals of the Chinese zodiac, Circle of Animals/Zodiac Heads reaches back to a dark episode in China’s relationship with the West: The Second

Opium War (1856-1860), and the wanton destruction in 1860 by British troops of the Yu-

anming Yuan, the Garden of Perfect Brightness. An imperial retreat built a century earlier, the Yuanming Yuan featured an ornate, European-style section with grand fountains, gar-

dens, and palaces. At the center was a splendid zodiac water-clock fountain whose spouting bronze-headed stone figures, representing the animals of the Chinese zodiac, marked the

hours of the day. Looted and carried off long ago, the seven bronze heads that survive have

in recent years become fraught symbols of the cultural achievements of the eighteenth-cen-

tury Qing era, China’s period of humiliation by the West, and contemporary China’s complicated relationship to its own history.

Seizing on the rich and contradictory symbolism of the

heads, Ai Weiwei re-interpreted the entire set of twelve as a contemporary installation work, which began an

international tour in New York and London in 2011.

This set was his first work of monumental public art,

which drew worldwide attention in spring 2011 when the artist was detained by Chinese authorities shortly before the work debuted in New York. Held incom-

municado for eighty days, Ai Weiwei was released only after an international protest campaign was mounted by museums, artists, and concerned citizens.

In Circle of Animals/Zodiac Heads, Ai Weiwei employs the traditional symbolism of the twelve zodiac

animal heads and the history of the Yuanming Yuan to

expose the contradictions of the contemporary government-sponsored patriotism in the People’s Republic of China. Contrary to a rhetoric that presents the twelve bronze zodiac heads as emblems of Chinese identity, the animals as reinterpreted by Ai are symbols of an

early globalization. They exemplify the uses to which

history is imbedded in his art, investing even the most unassuming objects with layers of meaning.

In addition to creating these large-scale bronzes,

Ai also created a set of twelve smaller gilded bronze

zodiac heads, closer in size to the originals that inspired them. This is the set that will be exhibited in the Farnsworth. His decision to do them in gold refers to the

high prices recent sales of the surviving originals have

brought at auction. There is also a spirit of playfulness that extends to the treatment of the cylindrical bases

that support the heads. Their twisted forms refer to the water that spouted from the mouths of the originals,

while the disks on the snake’s base is another reference to the high prices the few remaining originals have

brought. The wooden bases on which the gold heads are mounted were also designed by the artist.

Ai Weiwei, Circle of Animals/Zodiac heads: Gold – Ram, 2010

Yi Lantai, Haiyantang ximian (West Façade of Hall of Calm Seas) from The European Pavilions at the Garden of Perfect Clarity, 1783–86, mounted on heavy paper, 19 ¾ x 34 ½ inches (50 x 87.5 cm)

T H E Y UA N M I N G Y UA N

The story begins with the creation of the original

The cultural context of Ai’s zodiac heads is a rich one,

treat established in the early eighteenth century by the

having to do with the circumstances surrounding the

creation of the originals in eighteenth-century Beijing, China’s interaction with the West that contributed

to their creation, their subsequent destruction in the nineteenth century at the hands of western powers,

and the place of the zodiac in Chinese culture, including the complex and ongoing story of China’s claims

for the return of the original zodiac head as part of its cultural patrimony.

zodiac heads for the Yuanming Yuan. An imperial reKangxi Emperor (reigned 1661-1722), the Yuanming

Yuan was enjoyed by a succession of Qing dynasty rul-

ers, including Kangxi, his son, the Yongzheng Emperor (reigned 1722-35), and his grandson, the Qianlong Emperor (reigned 1735-96). It was the Qianglong

Emperor who, in the mid-1700s, initiated the ambitious architectural project for which the Yuanming

Yuan is best known: a series of grand European-style

fountains, gardens, and palaces designed to house and

display imperial treasures. Created under the direction

ing throughout Europe and in Asia, Africa, and the

court, the European-style buildings and grounds oc-

when Italian and French Jesuits served at the Qianlong

of Italian and French Jesuits serving at the emperor’s

cupied only a small fraction of the Yuanming Yan’s vast acreage; the greater part was filled with Chinese-style

gardens and traditional architecture constructed largely of wood. In 1860, the Yuanming Yuan was looted and burned by foreign troops in the Second Opium War. Ironically, it was the ornately carved stone fountains and palaces of the European section that survived,

albeit in ruins. The Yuanming Yuan was destroyed, its treasures carted off by invading forces, its usable fragments scavenged by nearby residents.

Of the many works carried away from the Garden

of Perfect Brightness were the twelve bronze heads

depicting the animals of the Chinese zodiac, which

had been designed as spouts for an elaborate zodiac

water-clock fountain. Positioned before the largest of the European Palaces – the Haiyan Tang, or Palace of the Calm Seas – the bronze heads were the defining

element in a complex set-piece that combined sculp-

ture, hydraulics, and Chinese and European esthetics.

THE JESUITS Central to China’s formal engagement with the West

were the Jesuits. The Roman Catholic order formally

known as the Society of Jesus, the Jesuits were founded in 1540 by the soldier turned mystic, Saint Ignatius of Loyola (1491-1556). They quickly assumed a promi-

nent role in the Counter-Reformation, including mak-

ing education and evangelization the society’s principal work. Within months of its founding Ignatius sent Saint Francis Xavier (1506-1552), his most gifted

companion, and three others to undertake missionary work outside Europe. By the time of Ignatius’s

death in 1556, some 1,000 Jesuits were already work-

New World. By the middle of the eighteenth century, Emperor’s court, there were more than 22,000 Jesuits spread throughout the world.

The Jesuits’ work in China began in 1601, when

the Italian Jesuit Matteo Ricci (1552-1610) obtained

permission to reach Beijing. The richness and vastness of the empire, coupled with an intellectual culture that the Jesuits found comparable to that of Europe, led

them to consider China a promising place for conversion. They soon realized that to be successful they

would need to learn not only the Chinese language but Chinese culture. They began to cultivate relationships with the imperial court which they sought to do by

offering the Qing rulers the services of European sci-

entists, mathematicians, and, importantly, artists, most of whom were Jesuits. The Chinese emperors were

eager to take advantage of Western achievements, and

to incorporate them into what would become a shared store of knowledge.

Of the Jesuit artists who played a role in this

exchange, the Italian painter Giuseppe Castiglione

(1688-1766) was the most important, not only mak-

ing his own works but also collaborating with Chinese court artists. Another was the Italian clockmaker

Angelo di Borgo S. Siro, who brought another aspect

of European culture and technology into the imperial court and its workshops.

The Yuanming Yuan represented another facet of

this interchange between China and the West. Chi-

nese emperors had seen illustrations of Versailles and Italian villas, which led to the Quianlong emperor to

commission Castiglione to design a section of the imperial gardens to create the Garden of Perfect Brightness, a project whose completion took from 1747 to 1783. Castglione was in turn asked to recommend

someone who could design fountains in the style of

those seen in illustrations of European palaces. Casti-

correspond to the twelve signs of the Western zo-

1774) to design and build the fountains for the various

Though they are significant in the annual cycle of

glione invited his fellow Jesuit, Michel Benoist (1715European-style pavilions and surrounding gardens

of nearly 750 square acres. Within this vast complex

were the stone and bronze heads of the twelve figures of the Chinese zodiac. At the hour represented by

each animal, the fountain’s water would spurt from the

animal’s mouth. These animals were the inspiration for Ai Weiwei’s zodiac heads.

T H E CH I NESE ZODIAC To understand the meaning of Ai’s zodiac heads, it

is important to understand the place of the zodiac in

Chinese culture. The twelve animals represented in the Yuanming Yuan’s fountain are popularly known in the West as the “Chinese zodiac” of the lunar cycle. The animals – rat, ox, tiger, rabbit, dragon, snake, horse,

ram, monkey, rooster, dog, and boar – however, do not

Contemporary folk-art paper cuts of the zodiac animals

diac nor are they representations of its constellations.

Chinese cosmology, they also mark three other series

of twelve: months, days, and the twelve double-hours that mark the traditional Chinese day. It was these

double-hours of the twenty-four hour day that were represented in the fountain in the form of bronzeheaded stone animals.

These double-hour periods began with the rat, for

the period from 11pm to 1am, and the ox from 1am to 3am. Thereafter came the tiger, rabbit, dragon, snake, horse, ram, monkey, rooster, dog, and lastly the boar, which closed the cycle with the time from 9pm to

11pm. At the beginning of each double-hour, water

would spew from the appropriate animal’s mouth until the next period began and water emerged from the

next animal. Representations of the twelve animals can be traced back more than two millennia, and were by

the time of the Yuanming Yuan fountain a fundamental part of Chinese cosmology.

The four time-related series of twelve are the build-

ing blocks of the traditional Chinese lunar-solar calendar, the system that regulated official life in China from antiquity through the end of the last imperial dynasty, the Qing, in 1911. The origins of this cal-

endar are tied to ancient astronomy and, importantly, to the symbolism of the number twelve: twelve was

considered the number of heaven, the perfect measure for calendrical calculations.

The twelve animals are also the symbolic equiva-

lents of the twelve earthly branches, another ancient

system to track the passing of time. The branches refer to both directions (north, south, east, and west) as well as to the solstices and equinoxes, and to the twelve

moons of the solar year. Western and Chinese tra-

ditional astronomy – and hence each culture’s astrol-

ogy – differ on a fundamental point: Western systems are based on the path of the sun in the sky, while the

Chinese was based on observations of the monthly full moon in relation to certain stars and their position in relation to the equator.

Over time, these and other philosophical connec-

tions eventually gave rise to the animals’ associations

with the calendar, and a system of fortune-telling for specific dates and times. This system has played an

important role in Chinese life, even up to recent times.

By the nineteenth century, Western visitors to China observed that the Chinese identified themselves as

having been born under a certain animal or to belong to one, just as Westerners associate themselves with the zodiac sign under which they were born. These

deep-rooted identifications were seen to predict one’s

future as well as to aid in finding suitable spouses and to determine dates for various rituals, ceremonies,

travel, or business transactions. Though this ancient system has become much simplified over time, the

beliefs underlying it persist today within China and Chinese communities elsewhere.

Ai Weiwei, Circle of Animals/Zodiac heads: Gold – Dog, 2010

LOOTING, CHINESE N AT I O N A L I S M A N D R E PAT R I AT I O N O F T H E ZODIAC BRONZES The centuries-old cosmological system connecting de-

pictions of the twelve zodiac heads to Chinese culture, and China’s complex history with the West, lies at the

core of Ai Weiwei’s project. The inclusion of the heads in the Yuanming Yuan were themselves evidence of this history and an example of global collaboration.

When the palaces and gardens were devastated and

pillaged by Anglo-French troops in 1860 in retalia-

tion for the killing of a number of European diplomats sent to negotiate with the Chinese emperor, another

chapter in this complex history emerged. A number

of the fountain’s animal heads were taken out of China (some were presumably lost or melted down for their

material), eventually entering foreign collections. The

entire Yuanming Yuan suffered years of further pillaging and neglect, ending only in the era following Mao Zedung’s death in 1976.

In recent times, the Chinese government, with the

help of Chinese collectors, has been trying to repa-

on loan to The Metropolitan Museum of Art, while

public relations campaign that presents these objects

Neither of these sales raised even mild opposition from

triate all the heads that remain abroad, mounting a

as symbols of the suffering of China at foreign hands.

China’s concept of “national humiliation” began to take shape in the early twentieth century, and was formal-

ized with Mao Zedong’s speech founding the People’s

Republic of China in 1949 in which he proclaimed the liberation of the new Communist state from its past humiliations.

After the 1989 events in Beijing’s Tian’anmen

Square, the government relaunched its efforts to focus public energies toward a common foreign enemy,

creating a mass patriotic education campaign that

included programs in the following year to commemorate the 150th anniversary of the Yuanming Yuan’s

destruction at the hands of Western powers. There is a certain irony to China’s position in that the palace

complex, including its zodiac heads, was a collabora-

tion between China and the West. This collaboration

involved the Chinese emperor and his court, European missionaries, Chinese artisans and builders, and a mixture of European and Chinese design and technology.

In addition, the West’s cult of ruins and its presence

in its visual culture especially through the medium of

photography were typically avoided in Chinese culture, as such images of ruins were considered inauspicious.

The irony is that it was through Western photogra-

phers’ images of the Yuanming Yuan’s battered state

that they became domestic icons of China’s humiliation at imperialist hands.

Opportunities arose that enabled the Chinese gov-

ernment to attempt to reclaim the zodiac heads and, in the process, to become even more potent symbols

of not only its culture but also of Western humiliation.

In the late 1980s five of the original zodiac bronzes

came up for sale at Sotheby’s. In October 1987 the

monkey and bear were sold in New York after being

the ox, horse, and tiger were sold in London in 1989.

China at the time, but events at Tian’anmen Square

changed its position. When the ox and monkey heads appeared at an April 2000 sale at Christie’s in Hong

Kong, and the tiger head at a Sotheby’s sale two days later, the Chinese government and its citizens ob-

jected strongly based on the heads’ looting from the

palace complex in 1860. Its objections unable to stop the sale, a Beijing-based group acquired all three and placed them in a state-owned museum, and decribed

them as “invaluable ‘national treasures’”. A Taiwanese

collector acquired the boar head in 2003 from another Taiwanese collector and donated it to the museum,

and in 2007 purchased the horse head for China from Sotheby’s Hong Kong. Both the auction house and China’s State Administration of Cultural Heritage

publicly commended the collector for his indisputable patriotism.

The next event of import took place in 2009 when

Christie’s Paris included the heads of the rat and rabbit in a sale from the estate of fashion designer Yves Saint Laurent and his partner Pierre Bergé. SinoFrench relations were already strained by the Dalai

Lama’s 2008 visit to France, and the sale intensified

the political and cultural conflict. The Chinese gov-

ernment formally complained to France and Chinese lawyers attempted unsuccessfully to prevent the sale.

Bergé further incensed the Chinese government by announcing he would return the heads to China on the condition that the government restore human rights

and political and religious freedom to Tibet. The sale went forward and the bronzes sold to a Chinese art

dealer. The dealer refused to pay, however, stating he bid falsely on behalf of the entire Chinese people in order to stop the sale. With accusations of official

but uncorroborated Chinese government complicity

Ai Weiwei in his Beijing studio examining early versions of heads from Circle of Animals/Zodiac Heads: Gold, 2010

in the dealer’s actions in the background, there were

mixed reactions to what was seen as a stunt that would

prevent the heads’ legitimate return to China, damaged

its reputation as a trustworthy actor on the world stage, and exploited nationalistic fervor to increase the sale

price at auction. The bronzes were subsequently withdrawn from the sale after the fact, and sources report that the heads were quietly returned to Bergé.

In December 2009 an eight-member delegation

of Chinese cultural experts, accompanied by a televi-

sion crew from state-owned China Central Television,

visited a dozen major U.S. art museums to identify and begin seeking to reclaim looted Yuanming Yuan items

from around the world, thus further highlighting their claims to what they see as their cultural patrimony.

Under existing international repatriation laws, how-

ever, the zodiac heads are not considered items subject to being returned to their culture of origin.

AI WEIWEI It was this series of events that led Ai Weiwei to

undertake his project. His works and political activi-

ties inextricably linked, and are rooted in his personal history. Born in Beijing in 1957, his early life was

marked by privations his family suffered under com-

munist rule. His father, Ai Qing (1910-1996), was one of the country’s most revered modern poets. Jailed and tortured as a leftist by the Kuonmintang in the 1930s, he became a key literary figure in the early days of the

communist People’s Republic, only to be swept up in a purge of intellectuals in the 1950s under the Chinese

leader Mao Zedong. The family was banished to a re-

gion in China’s far west, and then during the first wave of the Cultural Revolution, they were further banished to a camp on the edge of the Gobi Desert. Qing was forbidden to read or write and was pressed into daily labor cleaning latrines. Only after Mao’s death in

1975 was Ai’s family allowed to return to Beijing.

oppression. He has exhibited throughout the world

he enrolled in the Beijing Film Academy and studied

Germany; the Hirshhorn Museum in Washington,

There Ai soon began his artistic training. In 1978

animation, and then joined an early avant garde art

group known as the “Stars,” with whom he exhibited.

In 1981 he came to the United States, studying Eng-

lish at the University of Pennsylvania and the University of California, Berkeley. He then moved to New

York, studying briefly at the Parsons School of Design

and attending classes at the Art Students League from 1983 to 1986. He later dropped out of school, making a living by drawing street portraits and working odd

jobs, at the same time familiarizing himself with the

work of various twentieth-century avant garde artists.

While living in the East Village from 1983 to 1993, Ai took up photography.

In 1993 he returned to China when his father

became ill, and helped establish an experimental artist

group while publishing a number of books about them.

In 1999 Ai moved to Caochangdi in the northeastern part of Beijing and built a combined home and

studio, his first architectural project. Five years later

he founded the architecture studio FAKE Design. In

2008 he collaborated with the Swiss architects Herzog & de Meuron as the artist consultant on the Beijing National Stadium for the 2008 Olympics.

Ai’s visual art includes sculptural installations,

woodworking, video, and photography. Writer

and performer of music, he has also created several

documentary videos, many critical of corruption and

to universal acclaim, including Documenta in Kassel, DC; the Tate Museum in London; the National Gallery in Prague; the Israel Museum in Jerusalem; and the Park Avenue Armory in New York. His most

recent projects include a film entitled Human Flow,

focusing on the worldwide plight of refugees. Con-

nected to the film is his installation, Good Fences Make Good Neighbors, described in The New York Times as “a gargantuan undertaking of new public art works

in New York, running from Harlem to Flushing.” Its

title is taken from American poet Robert Frost’s wellknown 1914 “Mending Wall.” Ai is the recipient of

numerous international awards for both his art and his activism, among them Lifetime Achievement Award for Chinese contemporary art; the International Ar-

chitecture Award from the Anthenaeum Museum of

Architecture and Design, Chicago; the Kassel Citizen

Award; Václav Havel Prize for Creative Dissent of the

Human Rights Foundation; and Amnesty International’s Ambassador of Conscience Award, with folk singer Joan Baez. Ai currently lives in Berlin.

The text for this article is drawn from Ai Weiwei:

Circle of Animals, edited and with an introduction

by Susan Delson (Prestel: Munich, London, New

York, 2011). This publication will be available in the Museum Store.

FA R N S W O RT H S U M M ER G A L A Presenting the Maine in America Award to Toshiko Mori S A V E T H E D A T E F R I D A Y, J U L Y 2 0 , 2 0 1 8 Sponsorships currently available. Tickets on sale June 1, 2018.

For more information, contact Annie Brown at abrown@farnsworthmuseum.org or (207) 390-6013

ANDREW WYETH: MAINE DRAWINGS | THROUGH MARCH 4, 2018

WYETH STUDY CENTER :

A LIFETIME IN DRAWING drawings were collected and organized by the

artist’s wife, Betsy. Drawing Studies m1830 and

m1833 for the tempera Open House give visitors a sense of the artist’s creative process.

Other drawings stand alone as complete works of art in themselves such as Shag from Georges

River and the portrait Siri Erickson - first draw-

ing. From left to right in Shag from Georges River Wyeth’s sensitive, delicate drawing of head and

A

ndrew Wyeth at 100: Maine Drawings ex-

plores the artist’s Maine interests through

portraits, landscape, architecture and animals. It also includes four rarely seen sketchbooks and

the artist’s drawing tools. Drawing is perhaps the most direct and immediate forms of visual communication that Andrew Wyeth used to explore and understand his world.

Created along the path to a finished tempera,

neck feathers develops into bold dark slashes of

graphite that push the paper to its physical limits in the tail and feet, resulting in a truly unique

and 3D object that must be seen in person. Siri Erickson - first drawing marks the beginning of a decades-long relationship with a model and

friend. Other portraits of models and friends in the exhibition include Christina Olson, Walt

Anderson, Betsy Wyeth, George Erickson and Ann Call.

many of the drawings are artifacts of Wyeth’s

The exhibition Andrew Wyeth at 100: Maine

who viewed them as a means to an end, these

lery through March 4th 2018.

painting process. Often put aside by the artist

Drawings will be on display in the Hadlock Gal-

WHAT IS THE WYETH STUDY CENTER? The Wyeth Study Center collection focuses on

Wyeth’s works inspired by

the Maine coast. They span the artist’s career, from

early childhood drawings to more contemporary

paintings. Exhibitions of Andrew Wyeth’s work, largely drawn from the

collection, are presented in the Hadlock and Wyeth Study Center Galleries and are changed each

spring and fall. In addition to paintings and drawings,

“I love the quality of pencil. It helps me get to the core of a thing, and it doesn’t compete with the painting. With the pencil I can study things in detail–it gives me the architectural structure–but the color stays like a dream at the back of my mind until I come to paint.”

- ANDREW WYETH

many exhibits include

supporting materials, such as childhood drawings,

props, and letters to and from models.

Christina’s Windows YOUR HELP IS NEEDED!

18 windows at the Olson House are still in need of funding. Please help us match the generous funds already received!

Contributions of any size are welcome.

All donors will be acknowledged on a plaque placed at the Olson House.

Or, sponsor a window for $2,500!

A plaque will be placed by the restored window designating your sponsorship.

Your help is greatly appreciated!

BECOME AN OLSON HOUSE SPONSOR OR LEARN MORE > Please contact Kit Stone, Development Officer, 207-390-6014, kstone@farnsworthmuseum.org This project is supported in part by grants from The Stephen and Tabitha King Foundation, The Morton-Kelly Charitable Trust and the Belvedere Historic Preservation Fund of the Maine Community Foundation

G R A N T S A N D F O U N DAT I O N G I F T S Awarded between February 1 and December 15, 2017 •

Anonimo Foundation, Arts-in-Education Program

•

Bank of America Charitable Foundation, Arts-in-Education Program

•

Belvedere Historic Preservation Fund of the Maine Community Foundation,

Olson House Windows Restoration

•

Davis Family Foundation, Black and White: Louise Nevelson /

Pedro Guerrero Exhibition

•

Emily and William Muir Community Fund II of the Maine Community

Foundation, Memory Gallery

•

Maine Arts Commission, an independent state agency supported in part

by the National Endowment for the Arts, general support

•

Mattina R. Proctor Foundation, children’s education programs

•

Nellie Leaman Taft Foundation, Arts-in-Education project

•

Otter Island Foundation, general support

•

Seth Sprague Educational and Charitable Foundation, Arts-in-Education Program

•

Stephen and Tabitha King Foundation, Olson House Windows Restoration

•

Walton Family Foundation, general support

•

Wyeth Foundation, Share the Wonder

Farnsworth Art Museum admission is always free for Rockland residents!

2017 PORTRAITS OF ROCKLAND “We have enjoyed the Farnsworth Museum since it opened 1948 and are proud to have a world class art museum in our home town — a museum worthy of support.”

- GIL AND KENDALL MERRIAM

Beginning in the New Year the Farnsworth Art Museum’s Main Street windows will be featuring a project that is sure to turn heads throughout the Rockland Community. Entitled Faces of Rockland, this series of large-scale window banners will feature stunning portraits of well-known Rockland residents. A quote from them about the Farnsworth will accompany each portrait. The project was conceived by Farnsworth Trustees Connie Hayes and Susan Thomas as an effort to publically affirm the importance that the Rockland community holds for the Farnsworth.

The portraits themselves were created by the award-winning photographer Joyce Tenneson.

The author of fifteen books, she is the recipient of numerous awards, including the International Center of Photography’s Infinity Award for best applied photography, the 2012 Lifetime Achievement Award from the Professional Photographers of America, and the 2016 Maine in America Award.

In addition, she has been named “Photographer of the Year” by the international organization Women in Photography.

The Farnsworth Art Museum’s very existence is predicated on the generosity of a single Rockland resident. Lucy Farnsworth died in 1935 and left an estate of $1.3 million. She directed that the bulk of it be used to establish the William A. Farnsworth Library and Art Gallery (now simply known as the Farnsworth Art Museum).

In honor of her tremendous generosity, the Farnsworth resolved to give all Rockland residents free admission to the museum.

John and Mary Alice Bird Rockland is my home town – I grew up here. After college, I worked in four large metropolitan areas but was always drawn back to Rockland. We have been extremely active in this community and love the positive direction it has taken in the past years. We love Rockland, because it is a diverse community that has a grit-

tiness which I hope is never totally gentrified – it will lose its creative spirit if it does! Rockland has reinvented itself. The Farnsworth is now a cultural anchor for this community.

Jared Cowan, Cristina Fowlie, and Wayne Cowan I grew up in Rockland and, after college, moved back here to start my own gallery –Asymmetric Arts.

I also am a full time art instructor at Oceanside High School. My wife Cristina is a nurse at the hospital, and we are so excited to have our son Wayne who will be going to school here in Rockland as well! I feel like the Farnsworth has always been a part of our lives.

And now as adults and a family we look forward to continuing the tradition.

Andrea Curtis and her Grand Aunt Georgia Tasho I have lived in Rockland since 1930. My mother and sister came through Elis Island when they arrived in the U.S. I am a retired school teacher. I love this coast

line and everything about it. I still have many friends from my high school days in Rockland and see them once a month for lunch. My father had a fruit store here on Main Street, and I worked there when we were teenagers – we met so many wonderful people there.

We love the Farnsworth’s commitment to public school education through free programs for students and teachers that connect learning to creativity, curiosity and fun.

child, I came back to Rockland – I knew this was the place I wanted to bring up a family. My daughter Rachel is now the fourth generation born in Rockland! I started Dream Local in 2009. It is now a national company, and we have thousands of clients around the country. Rockland has become such a vibrant community, and the Farnsworth is at the heart of it all.

Nathan Davis Steel House is an incubator for projects that might not otherwise exist in our community, or for that matter in the world. Rockland is profoundly welcoming to people who work at and visit Steel House. We owe that in part to the Farnsworth, which serves as an anchor for cultural innovation in Rockland.

Randy Lamkins with Cadence, age 12 and Marina, age 15 The Farnsworth Art Museum has offered my family multiple opportunities to learn and challenge ourselves. The Educators’ Cohort provides dozens of professional development options for local teachers. The Farnsworth Art Museum’s Stories of the Land and Its People helps teach our children to examine and analyze the natural wonders all around us.

Shannon Kinney with Rachel, age 8 I grew up in Maine and then after college worked in Silicon Valley.

When I decided I wanted to have a

John C. McDonald As Superintendant of Schools here in Rockland, I am very proud that we are now building two new schools for the children in

our community! We have a lot of work to do, but I know that we are headed towards accomplishing our important goals. The Farnsworth offers fantastic opportunities for our teachers and students to weave art and literacy into creative expressions while learning about their communities.

Gil and Kendall Merriam We are brothers from a large family that grew up in Rockland and have lived here all our lives. Kendall is a poet, and I am retired but volunteer at the historical society. We can’t imagine living anywhere else. This town is in our blood, and we are so proud to be a part of this community.

FIRST ROW John C. McDonald Jared Cowan, Cristina Fowlie, and Wayne Georgia Tasho and Andrea Curtis Gil and Kendall Merriam SECOND ROW John and Mary Alice Bird Nathan Davis Shannon Kinney with Rachel Randy Lamkins with Cadence and Marina

SESSION 1

SESSION 2

FA R SN WOR T H AUD IT ORIUM

FARSNWORTH AUDITORIUM

Sunday, January 7, 2 pm

Sunday, January 14, 2 pm

What is Art?

What is the Role of the Art World?

Farnsworth Art Museum In this four-part discussion series led by long-time art museum educator and university instructor Roger Dell, participants will answer important questions concerning modern and contemporary art and its historical context.

Each session’s theme will be introduced by a brief presentation, followed by a jargon-free conversation about the complexity of understanding art.

Take-home readings will be provided at each session to follow up on ideas and prepare for the next session.

ART FOR US: Let’s Discuss!

“Art is about being curious. About knowing how things hold meaning – trying to make sense of oneself, one’s environment.” Kiki Smith

Session One: What is Art?

Is art anything an artist does? Can we be satisfied with that? Writer and critic Susan Sontag believed that art is the process of producing objects of grace, intelligence, expressiveness, energy, and sensuousness. This session will go beyond these two definitions of art, while examining many different answers to the question: “What is art?”

SESSION 3

SESSION 4

CENTER FOR M A I N E C ON TE MPOR A RY A R T

CENTER FOR MAINE CONTEMPORARY ART

Sunday, January 21, 2 pm

Sunday, January 28, 2 pm

What is Artistic Beauty?

What is the Role of Art within the Humanities?

“Some museums pull people in with familiar beauties; other museums send people out with new ideas. The best do both. Holland Cotter

Session Two: What is the Role of the Art World?

The world of art is so much more than the discrete, stand–alone objects we call art. As soon as art objects leave the studio and are encountered by viewers, people in the gallery and museum worlds, their reception becomes unpredictable – and truly exciting! We will also look at our personal roles when it comes to the experience of art.

“The function of art is to change mental patterns so we can think differently.” – Dubuffet

Session Four: What is the Role of Art within the Humanities?

While aesthetics and art history are typically found within the humanities departments today, the production of art is not. In this discussion, we will examine whether art is its own field, one allied with the humanities, and/or whether it is an integral part of the humanities.

SIGN UP!

“A man’s work is nothing but a slow trek to rediscover thru the detours of art those one or two images in whose presence his heart first opened.” - Camus

Session Three: What is Artistic Beauty?

Can it be as simple as “beauty is in the eye of the beholder?” How is beauty defined in contemporary art, and do contemporary artists even consider beauty when creating their work? What happens when Eurocentric concepts of beauty are applied to Asian art or contemporary art, for example?

Roger Dell

S T UDIO C L AS S E S

Why not develop your own creativity and neurological well-being this winter?

Our talented partners are local teaching artists who will guide you through the artistic process, helping you to create your own style. What better way to spend time with others who are on a quest to enhance their artistic experience?

We also offer a variety of programs to connect visual art in the galleries to theater, music and more.

Please join us!

Vas Prabhu Director of Education vprabhu@farnsworthmuseum.org

Punch Needle Rug Hooking Workshop with Holly Berry Saturday and Sunday, January 6 and 7, 10 a.m. to 3 p.m.

Cost: $100; $80 members ($30 materials fee payable to instructor at first class) Create a small square or circular wool hooked mat of your own design. With a punch needle threaded with yarn, the rug is worked from the back to form the loops, instead of from the front, as in traditional rug hooking. MORE > Painting in Watercolor, Part I with Erica Qualey Fridays, January 12–February 16, 9:30 a.m. to 12:30 p.m.

Cost: $235; $198 members Painting with watercolor can be such a rewarding experience with the right tools and understanding of its nature.

We will focus on painting from observation and learn to express mood and the overall feeling you want to portray.

Fabric Design Techniques with Trelawney O’Brien Saturday, January 13, 10 a.m. to 2 p.m. MORE > Cost: $110; $86 members (includes materials) Experiment with indigo dyeing, traditional resist pattern-making, and carve rubber stamps to create one-of-a-kind, hand-printed fabric. Cotton napkins and dishtowels will be provided. Feel free to bring extra fabric for experimentation. MORE > Still Life Watercolors with Susan Van Campen Saturday and Sunday, January 20 and 21, 9 a.m. to 3 p.m.

Cost: $180; $156 members We will focus on still life painting in the studio, and explore the process of setting up and arranging, as well as composing and painting. Color and movement will guide our focus – passion and vision being our motivators. Participants should bring still life items they feel inspired by. MORE >

Bring the kids!

Punch Needle Rug Hooking Workshop

Still Life Watercolors

Fabric Design Techniq

ques

Celebrate Chinese New Year! School Vacation Week Art Camp with Avis Turner Tuesday through Thursday, February 20 to 22, 9 a.m. to noon Cost: $98; $80 members Participants ages 5 to 7 years old will learn how to turn old fashioned sock puppets into dragons using buttons, ribbon streamers, and more. With our fiery new friends, we will have a traditional dragon parade! We will also be inspired by calligraphy and poems, and the Chinese Dancing Monkeys painted by young artist Wang Yani. MORE > Painting in Watercolor, Part II with Erica Qualey Fridays, March 2 through 23, 9:30 a.m. to 12:30 p.m.

Cost: $160; $132 members In this optional extension of Painting in Watercolor, Part I, we will continue to practice designing strong compositions, build and layer dynamic washes, and bring paintings to completion. Our time will be packed full of demonstrations showing multiple approaches and techniques. MORE >

Drawing and Painting for Ages 6 to 86 with Sam Cady Saturdays, March 3 to May 5, 1 to 4 p.m.

Cost: $360; $300 members Many approaches are taught from different drawing-media to water-based painting. Working out of a personal, natural inclination is stressed more than a specific style or approach to making art. The class includes participants of all ages and skill levels. MORE > Flexing Your Muscles: Poetry Writing Workshop with Kathleen Ellis Monday through Friday, March 12 to 16, 10 a.m. to 1 p.m.

Cost: $195; $165 members Expand your range of poetry writing styles and explore new strategies for re-energizing your work by creating tension and surprise. Using models of contemporary poems and current exhibits at the Farnsworth, we will jump-start new poems. All levels welcome. MORE >

February Vacation Camp

Calder’s Circus: School Vacation Week Art Camp with Avis Turner Tuesday through Thursday, April 17 to 19, 9 a.m. to noon Cost: $98; $80 members Participants ages 8 to 12 years old, we will explore the work of sculptor Alexander Calder. Most known for his mobiles, Calder also constructed a small, playful, puppet-like circus, which he carried in a valise. After viewing photographs in books and video footage of Calder performing his tiny circus, participants will be encouraged to create their own small circus acts. We will use wire, felt, feathers, pieces of wood, corks, paints, glitter, foil, shells, buttons, and more.

An Introduction to Watercolor Painting with Erica Qualey Fridays, May 4 to 25, 9:30 a.m. to 12:30 p.m.

Cost: $160; $132 members In this introductory workshop, we will explore techniques such as masking, building dynamic washes, stamping, pouring and splattering paint, and how to incorporate them into paintings. Individuals will work on a painting throughout the workshop, starting with building an interesting and successful composition through thumbnail sketches and color & value studies, then jumping into the painting process. MORE >

MORE >

April Vacation Camp

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Poetry Workshop

HE JOIN T SERIES

Art for Us: Let’s Discuss!

THEATER

Sundays, January 7 to 28, 2 p.m. (Snow dates on Mondays, 2 p.m.)

Cost: Series $36; $30 for Farnsworth and CMCA members. Single sessions $12; $10 Farnsworth and CMCA members In this four-part discussion series led by long-time art museum educator and university instructor Roger Dell, participants will answer important questions concerning modern and contemporary art and its historical context.

Each session’s theme will be introduced by a brief presentation, followed by a jargonfree conversation about the complexity of understanding art. Take-home readings will be provided at each session to follow up on ideas and prepare for the next session.

Session themes include:

DRAMATIC READING: Edward Albee’s Occupant Saturday, February 3, 2 p.m.

(Snow date: Sunday, February 4, 2 p.m.) at the Adas Yoshuron Synagogue, 50 Willow Street, Rockland Cost: $15; $12 Farnsworth and Adas Yoshuron Synagogue members This play reveals the inexplicable selfdetermination that propelled the slow and unlikely ascent of a once Rockland resident, artist Louise Nevelson, into the upper (and predominantly male) regions of the New York art world. Presented

by The Actors Studio of Newburyport, this program is a collaboration between the Farnsworth and the Adas Yoshuron Synagogue.

• “What is Art?” • “What is the Role of the Art World?”

• “What is Artistic Beauty?”

• “What is the Role of Art within the Humanities?”.

The exhibition Black and White: Louise Nevelson/Pedro Guerrero is on view through April 1, 2018. MORE >

Art on Stage: Everyman Rep at the Farnsworth Back by popular demand! Join us in the Farnsworth auditorium for these two dramatic readings. Reserve tickets at farnsworth-museum.org.

MORE >

DRAMATIC READING: Museum Saturday, January 27, 2 p.m.

Cost: $15, $12 members Museum takes place on the final day of a group show of three fictional contemporary American artists being exhibited in a major museum of modern art. Many people walk through the show and this huge cast of characters passes commentary both playful and observant, revealing their own yearnings and predilections.

Playwright: Tina Howe.

Everyman Repertory Theatre Presents Bakersfield Mist March 10–March 25, Saturday evenings and Sunday matinees FMI and to purchase tickets, see www.everymanrep.org Venue TBD A beloved dramatic reading in last year’s Art on Stage: Everyman Rep at the Farnsworth, a fully staged production will take place this winter. Maude, a fifty-something unemployed bartender, has bought a painting from a thrift store and is convinced it’s a lost masterpiece by Jackson Pollock worth millions. But when a world-class art expert arrives to authenticate the painting, he has no idea what he is about to discover. Farnsworth members will receive discounted tickets. MORE >

MORE >

The series is being copresented by the Farnsworth and CMCA; Sessions 1 & 2 will be held in the Farnsworth auditorium and sessions 3 & 4 will be held at CMCA. MORE >

Art for Us

Everyman Repertory Theatre

Bakersfield Mist

TALKS, TOURS & LECTU RES Brilliant Interplay: The Art of Marguerite Zorach Saturday, January 6, 11 a.m.

Cost: Free with admission Join curator Jane Bianco for a final lecture and tour of the exhibition Marguerite Zorach—An Art-Filled Life (closing on Jan. 7) with a focus on Zorach’s fantasy gardens and idyllic settings of pagan figures among flora and fauna.

PechaKucha Night Friday, January 19, 7 p.m. at the Rockport Opera House Cost: $5 at the door Join us for another inspiring evening of presentations! The Farnsworth is a proud partner organization.

Memory Gallery Thursdays, January 25 and March 29, 10:30 to 11:15 a.m.

The Farnsworth welcomes adults with memory loss, along with their care partners and/ or loved ones, for a free gallery tour and social gathering each month. Engage and share conversation about art on view with new friends who are experiencing similar circumstances.Please pre-register by calling 207-390-6006 or email dmitchell@farnsworthmuseum.org.

Millay Without Borders: 126th Birthday Reading Saturday, February 24, 2 p.m.

(Snow date: Feb. 25, 2 p.m.) in the Farnsworth auditorium Cost: $10; $8 members Celebrate the birthday of Pulitzer Prize poet Edna St. Vincent Millay with Maine poets reading the poet’s letters and poems about her travels as well as their own. MORE > Presented in collaboration with the Millay House Rockland and the UMaine Humanities Center.

PechaKucha Night Friday, April 13, 7 p.m. at the Strand Theatre Cost: $5 at the door Join us for another inspiring evening of presentations! The Farnsworth is a proud partner organization.

S AV E T HE DATE S!

OUSE PE R A H O RT O 7pm RO C K P 2018 @ , 9 1 . n follow Fr i d a y Ja : 3 0 p m | R e c e p t i o n t o t 6 a n e p o R Doors O O D HE $ 5 AT T

Friday, January 19, 7 p.m. at the Rockport Opera House

Friday, April 13, 7 p.m. at the Strand Theatre!

PechaKucha is a presentation style in which 20 slides are shown for 20 seconds each (6 minutes and 40 seconds in total). The format, which keeps presentations concise and fast-paced!

Marguerite Zorach

Edna St. Vincent Millay

Wherever you call home...

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It’s never too late!

Gifts to the Farnsworth Art Museum’s Annual Fund are accepted ALL year – any season – it’s never too late to give!

Your gift today provides vital funds for: Beloved Community Programs Exhibitions of National Distinction Innovative Educational Programs Outreach Initiatives ...and virtually every aspect of the Museum’s operational expenses Can we count on you?

READ MORE OR DONATE NOW >>

celebrate Maine’s role in American art!

DO YOU LOVE ART? DO YOU LOVE PEOPLE? Who are the Farnsworth docents?

Men and women who are former teachers and school administrators, college professors, nurses, accountants and financial planners, marketers, active artists, book designers, writers…Docents participate year-round, seasonally, or during the summer.

Shirley Stenberg and Lolly Mitchell Retire from Docent Program

What do they say about being an art museum docent?

“I think the greatest thing about being a docent is the wonderful group of people that we get to work with.

Many good friendships have resulted from these experiences” “I wanted to explore the world of art in order to be able to share it with others” “Becoming a docent has been extremely stimulating intellectually”

What is the commitment?

We ask for a minimum of two years because of the ongoing and substantial time and study required of the program. Meetings take place on select Monday mornings. Interactive and lecture tours are given to school groups and adults.

How do I apply?

Prior art experience is helpful but not required to become a docent. Having an eagerness to share your love of art with others is a must. Training and mentoring is provided through a series of active, enjoyable, and engaging sessions.

If you are interested in becoming a Farnsworth docent, please contact Denise Mitchell, Coordinator of School and Docent Programs at 207-390-6006 or dmitchell@ farnsworthmuseum.org.

The Museum thanks Shirley Stenberg (left) and Lolly Mitchell (right)–two of the Farnsworth’s esteemed volunteers recently retired with a combined service of 33 years (40 years with Lolly’s time on the board of trustees). The museum will miss these leaders of the docent program who also served as ambassadors of the museum.

Shirley Stenberg, MA in American and New England Studies In 1991 Shirley became a docent, two years prior to the official organization of the program and served as docent chair and gave tours for 26 years. She gave gallery tours for adults and school groups, with expertise in the Wyeths and the Olson House. As an avid reader and researcher she contributed art history knowledge and scholarship to the program.

Lolly Mitchell, BA in History/Political Science and Certificate in Business Administration from Harvard-Radcliffe Program In 1991 Lolly served as a Farnsworth Trustee for 7 years, and held the post of Secretary. In 2010, she became a docent giving Homestead tours, and gallery tours for adult and school groups—with special interest in modern art and architecture.

Her skills in organizing docent trips to other museums enhanced the program.

Robert Indiana, LOVE, 1996

The Farnsworth preserves the past…

For seven decades, the Farnsworth Art Museum has steadfastly served the Rockland community, Maine and the nation by stewarding the museum’s unique collection of American art, historic sites, and a highly prized library of art books, many of them rare and unusual.

When the museum opened in 1948, it had just 91 books. Today it is home to some 10,000 books, periodicals and other publications. Art enthusiasts, from the youngest school child to established art scholars have used the Farnsworth’s library to learn more about their chosen art subject. The library has long been a favorite spot in the museum for study, quiet respite, special lessons, lectures, concerts and even the occasional party.

The Lucy Farnsworth Circle honors friends of the Farnsworth Art Museum who make a gift to the museum through a bequest, charitable gift annuity, trust or other estate plan provisions. Make your planned gift to the Farnsworth today and become a member of the Lucy Farnsworth Circle.

You can preserve its future!

With a planned gift you can help ensure the vitality and permanence of the Farnsworth and all its programs, including the library, for many years to come.

H ER E ’ S H OW: • Make a bequest to the museum in your will or through a revocable trust • Participate in a life income arrangement for the benefit of the museum, such as the museum’s charitable gift annuity program

Make your planned gift to the Farnsworth today. You will become a member of the Lucy Farnsworth Society and help secure the museum’s future.

• Create a charitable lead trust for the benefit of the museum • Name the museum as a beneficiary of a retirement fund or life insurance policy • Make a gift of real estate or tangible personal property to the museum

More information about the Lucy Farnsworth Circle and its associated benefits can we found at www.farnsworthmuseum.org/support or you can contact the Gift Planning Officer at 207.390.6014.

Are you a [Collective] member?

A $25 add-on with any Membership Level The [Collective] is a group of diverse and dynamic individuals that comes together to participate in intriguing, vibrant programs and social events at the Farnsworth.

READ MORE ABOUT BECOMING A [COLLECTIVE] MEMBER! >

$40 to the public | FREE to [Collective] members! | 21+ event Inspired by the Ai Weiwei Gold Zodiac Heads on display from March 24, our network of makers brings to you the dopest, hand jiviest, [BASH] yet: the ZODIAC PROM. Featuring a pop-up art environment, Boston’s Jittery Jack and Miss Amy will perform live in an old high school gym. Our pals at Rollie’s will provide the punch (and a cash bar), we’ll provide the corsages.

Sure to sell out, get your tickets early (available here and at the Farnsworth Admission Desks).

Don’t forget to brush up on your jitterbug! Come wearing your finest cummerbund, slickest crinoline or as you are.

FEATURING

Jittery Jack & Miss Amy! Jittery Jack and Miss Amy bring East Coast bang to the world of Rockabilly and 50’s inspired Rock ‘n’ Roll.

Boston based, they have headlined at the Viva Las Vegas festival numerous times, and toured internationally headlining many festivals including UK’s the Rockabilly Rave and Australia’s Camperdown Cruise.

Welcome New Members!

Thank you for joining our membership family between September 1, 2017 – November 30, 2017.

Ms. Karen Adam and Mr. Robert Glennon Ms. Susan Aasen and Mr. David Rutkin Ms. Kate Alex Ms. Anne Bagnall Mary Sue Beeler Kevin Beers Ms. Nancy Bloch Mr. William Bracken and Mr. Noah Bracken Ms. Connie Brickson Ms. Cynthia Bridgman Ms. Susan Brookman Mrs. Celeste Carey Ms. Kim Case Mr. and Mrs. Jud Caswell Mr. Edward Cella Ms. Victoria Charkut Mr. and Mrs. Stephen Clark Ms. Elizabeth Cook Mr. and Mrs. Merv Coover Ms. Jane Cote Mrs. Carrol L. Crocker Mr. Thomas Cubberley Ms. Patricia M. Daniels Mr. John D. Doherty and Mr. John W. Partridge Mr. James Doran Ms. Diane DuBois Ms. Ruth Ellison Elizabeth Ernst Ms. Deborah Fisher Ms. Sarah P. Fuller Ms. Brenda Gay Ms. Stacy Glassman Mr. and Mrs. Anthony Grassi Ms. Laura Growdon Ms. Sue Hatfield-Green Mr. Paul Heffernan Mr. and Mrs. Walt Henes Mrs. Lindsay Hocking-Hauser Mr. and Mrs. James Hunter Mr. and Mrs. Tom Irwin Ms. Wendy Jablow Mr. and Mrs. David Jacobson Dr. Roxanne Jansen Mr. Jay Levine

Mr. Richard Malchon Ms. Marla Mazar-Carr Ms. Cynthia McGuirl Mr. and Mrs. David W. Miller Mrs. Mary Nightingale Mr. Laurence Novotney Ms. Margaret Orrick Mr. and Mrs. Gerald Otterson Ms. Evelyn Pass Ms. Donna Pinel Ms. Gigi Ragasa Ms. Nina Rayer Mr. and Mrs. Thomas Renyi Mr. and Mrs. Richard Reynolds Ms. Jeanne Rhein Mr. Frank J. Rief and Ms. Diane S. Egner John Rogers Ms. Pamela Romilly Ms. Sascha Sandberg Ms. Judith A. Saner Mr. and Mrs. Arthur Schaefer Mr. and Mrs. Christopher Shea Mr. and Mrs. Michael Sheehan Ms. Carla Skinder Mr. and Mrs. Noel S. Smith Mr. and Mrs. David L. Smith Ms. Karen Staloch Ms. Phyllis Stibler Ms. Rachel A. Strachan Ms. Maria E. Suarez Mr. and Mrs. Tom Taber Mr. and Mrs. Paul Tenan Mr. and Mrs. Fred Trani Mr. John H. Turner and Ms. Harriet T. Taggart Ms. Cynthia Varney Mr. and Mrs. Dennis C. Wadsworth, Jr. Ms. Rosemary Warnock Mr. and Mrs. Adam Wheeler Ms. Susan Tobey White Dr. Amy Williams-Beers Mrs. Hayden Williamson Mr. and Mrs. Rennie Worsfold Mr. Carmine Yannie

MUSEUM STORE at the farnsworth

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