Owens Corning’s enduring partnership with the Toledo Museum of Art. 10 Honoring the Past, Reimagining the Future
How the Libbeys’ vision is guiding TMA’s bold reinstallation project.
Discover
Behind the Scenes
Meet Protective Services, the team who keeps staff, visitors and our collection safe.
See where our collection is traveling.
Reading between the lines of Park Seo-Bo’s Écriture No. 16-76
A celebration of jewels, makers, designers and retailers from the collection of Neil Lane.
On View & Upcoming
See what exciting exhibitions await you at TMA.
Holiday Shopping Guide
Shop the TMA Store and Sanda Findley
Collector’s Corner this holiday season.
Jenny Gorkowski’s one-of-a-kind heirloom jewelry.
From the Director’s Desk
A Legacy of Excellence, a Future of Innovation
In1912, at the dedication of the Toledo Museum of Art’s Beaux-Arts building designed by architect Edward B. Green, Edward Drummond Libbey gave his annual address to the Board of Directors. His words were both ambitious and precise: the Toledo Museum of Art, he declared, would collect only works of the highest quality—masterpieces from around the world, across media, and across time. That commitment to quality has defined this Museum ever since.
It is little wonder that Libbey spoke in those terms. His work in cut glass was built on a reputation for excellence. Having relocated his company to Toledo in the 1880s, Libbey transformed the city into a global center of glass production. His success came not only from artistry but also from innovation, marrying beauty with technical expertise. By the time of his passing in 1925, his vision had reshaped both the Museum and the community that he called home.
This fall, we showcase the brilliant fusion of beauty and technical expertise in the medium of jewelry with our major exhibition of the season, Radiance and Reverie: Jewels from the Collection of Neil Lane A celebrated jewelry designer, Neil Lane has built one of the most important private collections of historical jewels in the United States. For the first time ever, his collection, which focuses on jewelry created between 1850 and 1950, will be seen in public, with works by Tiffany, Cartier, and Harry Winston sparkling in our Glass Pavilion galleries. Fittingly, Libbey’s iconic punch bowl—one of the finest examples of American cut glass—will be displayed alongside these world-class jewels, reminding us of how light, material, and form converged during this period to create breathtaking works of art across media.
Libbey, though, saw a future in which industrialization and automation could make glassware more widely available. Among his many ventures, one eventually led to the development
Left: Libbey Glass Company (American, 1892-1919), John Rufus Denman (American) and Patrick H. Walker (American), Punch Bowl and Stand. Thick colorless glass. Blank blown, probably in a mold, and finished by tooling. Cut with a variant of the Grand Prize pattern, 1903–1904. Overall: 21 1/2 × 23 7/8 × 23 7/8 in. (54.6 × 60.6 × 60.6 cm). Gift of Libbey Glass Company, division of Owens-Illinois Glass Company, 1946.27A-Y Toledo Museum
of fiberglass—an innovation whimsically used first for a glass dress created for Infanta Eulalia of Spain, before ultimately serving as the technological foundation for one of our community’s enduring anchor organizations, Owens Corning. This ability to innovate while honoring tradition echoes in Neil Lane’s career. Lane has partnered with KAY Jewelers, the presenting sponsor of Radiance and Reverie, to bring his historically inspired jewelry designs to a broader audience, ensuring that quality design is accessible to many, not just a few.
It is in this spirit of innovation and relevance that I am honored to share an extraordinary announcement. Owens Corning, one of the companies that continues Libbey’s legacy of experimentation and industry, has made a $2-million gift to the Toledo Museum of Art. This is the largest contribution the company has ever made to our institution, and in recognition of their generosity the Glass Pavilion’s primary hot shop will now be named the “Owens Corning Hot Shop.” The gift is both a profound investment in the Museum’s future and a poignant reminder of how Libbey’s vision continues to ripple outward—linking artistry, industry and community across generations.
As members of the Museum, you are vital partners in advancing this legacy. Your support makes exhibitions like Radiance and Reverie possible as well as the bold initiatives that ensure the Toledo Museum of Art remains a model art museum. Libbey’s 1912 words continue to guide us, but it is your generosity and engagement that give them life today.
With gratitude for your ongoing partnership, Adam Levine Edward Drummond and Florence Scott Libbey President, Director and CEO
Think
Moving The Cloister
Conservation specialists work to deinstall The Cloister as part of the Museum’s ongoing reinstallation project, while upholding our architectural legacy. “The Cloister’s relocation is part of a carefully planned reinstallation strategy,” explains Vanessa Applebaum, Director of Conservation. “We have collaborated with expert architectural conservators to ensure that The Cloister is preserved while helping create a richer, more connected experience of art across cultures and time, reflecting our commitment to thoughtful stewardship and meaningful engagement.” Upon completion of the reinstallation, the Museum’s collection will be presented chronologically, creating a tapestry of artists from around the world whose lives and work are woven together across history.
Building a Stronger Community
Owens Corning’s Enduring Partnership with the Toledo Museum of Art
For more than 70 years, Owens Corning has been one of the Toledo Museum of Art’s (TMA) most dedicated corporate partners, championing a shared belief that access to art and education is essential to a thriving community.
From foundational support in the mid-20th century to significant recent investments in the Museum’s bold reinstallation project, Owens Corning has helped shape TMA’s ability to serve and inspire.
Through its decades of support, Owens Corning has helped TMA grow and evolve, all the while ensuring the Museum remains a welcoming, enriching space for all. Today, Owens Corning continues to support our mission to integrate art into the lives of people with a substantial investment in fundraising efforts for the Museum’s reinstallation. The reinstallation project reimagines the Museum’s galleries for the 21st century in a chronological way, with an emphasis on more inclusive narratives, interactive experiences and improved accessibility. Financial backing from Owens Corning is helping to make those new experiences possible.
“Owens Corning’s support will allow TMA to leverage its historic commitments of quality and community access in a fresh and exciting way,” explains Adam Levine, Edward Drummond
and Florence Scott Libbey President, Director and CEO. “TMA’s reinstallation project is more than just refreshing galleries. We’re working to create a Museum that is easier to navigate, more welcoming to all and rich with opportunities for deeper connection. Owens Corning understands that vision and is helping us make it real—not just for today’s visitors, but for generations to come.”
Upon completion of the reinstallation, Museum visitors will journey through 6,000 years of human history across the 125,000 square feet of galleries.
The company’s philanthropic efforts are directed through the Owens Corning Foundation, currently led by President Don Rettig. Since joining the company in 2011, after a tenure as Director of Metroparks Toledo, Rettig has helped expand the company’s philanthropic vision. Under his leadership, the Foundation has supported a broad spectrum of Museum efforts including community outreach programs, educational initiatives, and general operating support that helps keep the Museum free and open to the public.
These contributions reflect a deep understanding of what it means to be a true community partner. Owens Corning doesn’t just support exhibitions or programs; they help build the capacity of institutions like TMA to engage, educate and uplift. Their corporate membership, for example, provides meaningful general operating support that helps fund everything from family art classes to school tours and behind-the-scenes preservation work.
The impact Owens Corning has on the greater Toledo community extends well beyond the Museum. Along with other worthy causes, the company has been a leading supporter of Maumee Valley Habitat for Humanity for over 20 years. This long-term commitment to housing equity complements their support for arts and culture. Together, these efforts speak to a holistic vision for strengthening the fabric of community life.
Leadership at the highest levels reinforces this commitment. Brian Chambers, Board Chair, President, and Chief Executive Officer of Owens Corning, also serves on TMA’s Board of Directors. His presence on the board reflects the company’s integrated approach to civic engagement where the roles of corporate leadership, community responsibility and cultural stewardship go hand in hand.
As the Museum looks ahead to the future, the relationship with Owens Corning stands as a model of how business and culture can work together to create a lasting and meaningful impact. It is with deep appreciation that we share yet another extraordinary demonstration of the commitment Owens Corning has made to the Toledo Museum of Art and, through us, our community: a gift of $2 million, the company’s largest-ever contribution. In recognition of this generous gift, the primary hot shop in the Glass Pavilion will now be named the “Owens Corning Hot Shop.”
The Toledo Museum of Art is proud to recognize Owens Corning not only as a donor, but as a trusted collaborator in our shared mission to serve all the people of Toledo.
Toledo Museum of Art Winter 2025
Honoring the Past, Reimagining the Future
How the Libbeys’ vision is
guiding TMA’s bold reinstallation project.
Guest Writers
Doreen Cutway, Senior Public Relations Manager
Olivia Vallandingham, Public Relations Intern
When
Edward Drummond and Florence Scott Libbey helped found the Toledo Museum of Art (TMA) more than a century ago, they envisioned a place where art could enrich lives for generations to come. Today, 113 years later, TMA is honoring that vision with one of its most ambitious undertakings in decades: a comprehensive reinstallation of the galleries.
This is the first full reinstallation in more than 40 years. When complete in 2027, the new galleries will guide visitors through a chronological journey of art history, presenting a richer, more inclusive narrative that reflects the breadth of human creativity.
The Memory of the Past
TMA’s Archivist and Manager of Library and Archive Services, Julie McMaster, described Edward Drummond Libbey as an everyday man. The son of William Libbey, owner of the New England Glass Company, he once dreamed of becoming a priest. When a throat infection left him unable to project his voice, his path shifted, and he joined his father’s business.
“He worked for his father as the kid who swept floors and did everything you do when you’re first learning the business,” McMaster said. “He worked his way up in management, and when his father died in 1883, he took over the company.”
Innovations in glassmaking quickly made Libbey’s business thrive, and he looked to move his New England company to the Midwest for lower costs and better opportunities. He ultimately settled in Toledo for a personal reason.
“What brought him to Toledo is Florence Scott,” McMaster explained. “She was the unmarried daughter of a very wealthy man—everyone courted her, but she always turned down potential suitors. But when Libbey asked her to marry him, she said yes.”
Edward Drummond Libbey, about 1910. Toledo
The idea of an art museum arose from a local Tile Club meeting, where Toledo’s civic leaders pitched the concept to the Libbeys. Inspired, they helped incorporate the Museum in 1901. Through the energy of early Museum directors like George Stevens, TMA quickly grew.
“Stevens began to put up exhibition after exhibition, once a month, one after another,” McMaster said. “The Museum began to offer adult and children’s education, launched a women’s business club, and provided tours. They did anything they could to get people to visit and be engaged.”
Soon, the Museum needed more space. The Edward B. Green Building was built and inaugurated in 1912. Another expansion in 1926 provided more room for education and community engagement.
Libbey fully funded this expansion himself. Sadly, he never saw its completion. The newly expanded Green Building opened in 1926 just a few months after his premature death. He left behind a onemillion-dollar endowment fund for the Museum, his collection of 42 paintings, and a fortune for his wife.
“When Mr. Libbey passed away, Mrs. Libbey signed off her life rights to the money he left for her,” McMaster said. “She told the Museum that it was their money, not hers. The Museum used that money to employ thousands of Toledoans during the Great Depression, adding more new wings and the Peristyle.”
Florence Scott Libbey passed in 1938, leaving a large portion of her estate to an endowment fund that continues to support Museum operations and acquisitions today.
“We will always honor our history and the foundation it created,” McMaster said. “This reinstallation both pays tribute to the past and boldly charts a course for the future.”
An Understanding of the Present
Just as the Libbeys envisioned a museum for their community, today’s reinstallation has been shaped by listening to the voices of Toledo. Nearly 1,000 community members have shared input on the reinstallation through engagement activities, surveys, and focus groups.
Community members told the Museum they wanted to see more voices represented, more stories told, and more ways to connect with art. The reinstallation’s focus on quality from across time and space will allow the Museum to highlight artists from a broader range of cultures and backgrounds, while also making the galleries easier to navigate with clearer signage and improved accessibility.
“This project isn’t for us—it’s for our members and visitors,” said Andrea Gardner, Deputy Director, TMA. “We wanted to make sure the community’s input guided every step of the process.” To assist in evaluating and implementing that input, the Museum worked closely with our Community
Florence Scott Libbey, about 1910.
“This project isn’t for us—it’s for our members and visitors. We wanted to make sure the community’s input guided every step of the process.”
Andrea Gardner, Deputy Director
Council, a diverse group of around 30 Museum members who meet regularly to provide their insights on key Museum decisions and initiatives.
The outcome is the first comprehensive gallery installation at TMA in more than 40 years. It will present the Museum’s collection chronologically, showcasing how cultures have always interacted during different periods of history, explained Gardner. At the same time, critical infrastructure— from HVAC to roofing—is being upgraded to keep the building itself in top condition. These upgrades aren’t just about the building—they’re about the collection
and the people who visit and work here. Improved climate control will safeguard artworks while also making the galleries more comfortable year-round.
“By combining the reinstallation of the galleries alongside the unwinding of deferred maintenance, this project helps us care for both the collection and architecture,” Gardner said. “Updating our curatorial narrative while galleries are already closed for essential maintenance upgrades also minimizes disruption to the visitor experience and reduces the museum’s overall costs.”
Photo taken during a Community Council Listening Session.
Toledo Museum of Art
“To the memory of the past, to an understanding of the needs and conditions of the present, and to a future of increasing understanding.”
Edward Drummond Libbey
Inaugural Address, January 17, 1912
Visitors will also notice thoughtful enhancements designed to make exploring the galleries more welcoming. From added seating and improved lighting, to more accessible wall texts and digital guides, the reinstallation is being planned with comfort, learning and inclusivity in mind.
The SANAA-designed Glass Pavilion also will evolve into a space for expanded experimentation and innovative programming. The space will stay open during the Green Building’s renovations. Once that work is complete, the focus will shift to the Glass Pavilion, which will continue to house the Hot Shop and the Sara Jane DeHoff Guest Artist Pavilion Project (GAPP), but also will become a hub for more dynamic programming like artist commissions, immersive installations and multi-generational educational activities.
“We hear repeatedly from our outreach to community that people look to us to experiment and to challenge them,” Gardner said. “The Glass Pavilion will be a place for artist projects, immersive experiences, and news ways for the community to engage with the Museum.”
A Future of Increased Understanding
Change is never easy, but it is essential to growth. The Libbeys understood that when they laid the foundation for TMA in 1901. Today’s leadership is carrying that spirit forward with this reinstallation, ensuring that the Museum remains a place of inspiration for generations to come.
The new galleries will not only display art differently—they will invite visitors to experience art differently. Integrated storytelling, greater accessibility, and innovative displays will create connections across cultures and time periods. Visitors will see themselves reflected in the collection and encounter new perspectives that spark dialogue.
For example, TMA is excited to reinstall the period room from the Château de Chenailles as part of this transformation. As an example of how
technology and history can coincide, this 17thcentury space will feature digital components that immerse visitors in its historical context. Through interactive interpretation, guests will explore how the Château was used, discover architectural and decorative details, and engage with stories that bring the room to life. These enhancements are designed to resonate with visitors of all ages, making history feel immediate and personal.
The Château de Chenailles is indicative of the ways that the Museum will engage technology as a complement to rather than a distraction from the artistic experience. Ubiquitous power and data will provide programmatic flexibility; features such as soundproofing, modular walls and advanced projection/audio equipment will allow us to present works from the collection in ways we could not before.
“As many museums embark on these types of large-scale projects, TMA is uniquely positioned to tell a chronological story that makes connections across cultures—we’re designing engaging experiences that our members will love, and visitors will return to see again and again,” Gardner said. “With the Libbeys’ vision, with feedback from this community, and with the passion of the people who make TMA what it is today, the new Museum will be amazing. We can’t wait to show you.”
Discover
The Lugard Masquerade, 2024
While exploring the galleries and the collection, young visitors stop to learn more about The Lugard Masquerade, a painting TMA commissioned from contemporary Nigerian artist Wole Lagunju. His creative approach is deeply influenced by his Yoruba heritage, particularly the traditional practices and aesthetics of Yoruba masks and rituals, in which he skillfully reinterprets traditional motifs through a contemporary lens. His work blends a traditional gelede mask in TMA’s permanent collection with elements of Western iconography, creating a unique dialogue between African and Western cultural paradigms.
Behind the Scenes
With TMA’s Protective Services
Moderator and Guest Writer
Jennifer McCary, Chief Culture and Brand Experience Officer
Panelists
Risa Smith, Director of Protective Services
Henry Burgess, Protective Services Officer
Rose Letherby, Protective Services Officer
Brandon Szparagowski, Protective Services Officer
Whenvisitors arrive at the Toledo Museum of Art (TMA) they may notice members of the Protective Services team stationed at entrances, in galleries, or moving between events. At first glance, it may seem as if these discreet professionals are there only to guard the artwork. Their role, however, extends far beyond keeping watch over the Museum’s world-renowned collection. Every day they share their expertise as ambassadors of hospitality, as community partners and— critically—as first responders in times of need.
To better understand their work, we sat down with Risa Smith, Henry Burgess, Brandon Szparagowski and Rose Letherby, who shared insights into their mission, challenges and what makes their work at TMA meaningful.
Protective Services at TMA
Most of us take for granted that TMA is a welcoming space where we don’t have to worry about our safety, and that’s thanks to Protective Services. “Our mission,” explains Smith, “is to promote a safe and secure environment for those who visit, study or work on our campus, and to protect the distinguished collection.”
They are charged with safeguarding the collection; as Burgess states, “We protect the art.” But that responsibility also puts the team in a unique position among Museum staff; they are always at the center of the action. Szparagowski describes the team as “the eyes and ears of the Museum,” while Letherby adds, “We keep visitors safe, too.” This balance between safeguarding priceless art and caring for people defines the department’s work.
On any given day, Protective Services officers may find themselves playing multiple roles simultaneously as greeters, guides and guardians. It’s a job that requires skill—and a fair amount of intuition.
“You get a sense for people and how they act,” Szparagowski explains. “But you always approach them with kindness and warmth. If someone is breaking a rule, you don’t jump in harshly. You inform them with respect and help them feel like a guest rather than someone being watched.” It’s that kind of consideration that encourages visitors to return, again and again.
Burgess notes the role requires a lot of “juggling”: greeting visitors, watching artwork, answering questions, and handling unexpected situations. “It’s about balance, and sometimes having a sense of humor helps,” he says.
Training for the Unexpected
No one ever wants to experience an emergency while visiting the Museum, but when the unexpected happens, Protective Services is ready. The team undergoes extensive preparation for their work in the Museum setting, starting with fundamental
“Our mission is to promote a safe and secure environment for those who visit, study or work on our campus, and to protect the distinguished collection.”
Risa Smith, Director of Protective Services
emergency skills. “We learn the layout of the Museum,” recalls Szparagowski, “and we’re trained in CPR, AED (Automated External Defibrillator) use, first aid—skills that can be critical in an emergency.”
Additionally, the entire department recently completed the Museum Defender course provided by Museum Training Resources, a program designed specifically for cultural institutions. Smith shares that the training included how to respond to art-related emergencies, weather events and strategies for protecting their designated post, or “area of responsibility.”
While much of the team’s work goes unseen, there are countless moments when their care shines through. Each of them has memories of special encounters.
Letherby recalls a visitor at the Glass Pavilion who bumped into one of its glass walls but was reluctant to seek help. “I got her ice and made sure she was okay, while gathering the information without making it feel like an incident report.”
Smith remembers another visitor who longed to see the closed Peristyle. After assessing the situation, she escorted him in. “The view brought back childhood memories, and he was brought to tears.”
During large events such as the Block Party, officers often handle multiple cases of children separated from adults, a particularly distressing situation where calm professionalism can be especially comforting. “It’s always a priority to reunite families quickly,” Letherby says.
That cool confidence comes from being prepared to handle whatever comes their way, and the team has been recognized by local authorities and hospitals for life-saving acts when visitors experienced medical emergencies. When help is needed, they are there, no matter what.
Tools of the Trade
Like many cultural institutions, TMA relies on a combination of technology and human vigilance. For Protective Services, that means working with cameras, radios and objectprotection systems, but as Szparagowski points out, “The most important tool is our staff. Without our eyes and ears, nothing else works.”
Part of the challenge of providing security at a museum is making the tools used seem invisible. TMA prides itself on its accessibility, so it is a priority to have its security infrastructure recede into the background so visitors can enjoy the art and each other. For example, most visitors wouldn’t know we have a control room and no one other than staff knows where it is—that’s by design, and information like this is off-limits, even to our members.
Despite their critical role, misconceptions about Protective Services do persist and the team is quick to counter these ideas.
“Some people think we don’t do anything,” Burgess says. Letherby laughs and adds, “Others think it’s boring.” Szparagowski acknowledges that at times it can seem quiet, “but there’s always something going on—concerts, events, emergencies.” Smith chimes in, adding that “everything we do is about protecting visitors, employees and the art.”
Above all, the officers want guests to know they are allies. “If you’re here, we’re watching out for you,” Szparagowski emphasizes.
Working Across the Museum
Most visitors don’t realize that Protective Services is deeply interconnected with nearly every department at TMA. In fact, Protective Services is the single biggest department at the Museum.
“We work closely with Facilities,” Szparagowski explains. “If there’s a spill or issue, it’s usually resolved within minutes because of that partnership.” The team also collaborates with Visitor Services, Glass Studios and Culinaire, especially around special exhibitions and events.
Burgess finds this cross-departmental work invigorating: “If I were just walking the galleries every day, I wouldn’t still be here. There’s always something happening.” Letherby, who previously worked in accounting for 35 years, says, “This is much more stimulating” than her previous career.
Safety is a shared responsibility that extends beyond TMA’s walls. Letherby explains that the team has strong partnerships with the Toledo Police Department, Toledo Fire & Rescue, and even the Toledo Lucas County Public Library, which collaborated on emergency preparedness guidelines.
Letherby also participates in the Cultural Safeguard Alliance, a global network of museum and cultural property security leaders. “It’s invaluable to have colleagues across the world to exchange experiences and advice,” she says.
Despite the challenges, the Protective Services team finds deep satisfaction in their work. Szparagowski enjoys meeting people and having daily access to world-class art. Letherby values the camaraderie with coworkers and the joy of welcoming visitors back to a place they may remember from childhood. Burgess appreciates the thrill of working concerts and connecting with stagehands and artists behind the scenes. “There’s also a certain prestige to working here,” he admits.
For Smith, the highlight is leading her team. “I genuinely care about their morale and the place we’ve reached as a department. I love that every day is unpredictable—I can have a plan, and then it changes at the drop of a dime. Our team is agile and responsive, and I’m proud of that.”
Advice for Visitors
Having spent so much time interacting with and helping visitors, the team is in a unique position to share a few things to keep in mind as you explore the Museum.
Keep a safe distance. “Stand back two feet from the artwork,” Burgess advises.
Read the signage. “It’s there to guide you,” Szparagowski notes.
Be aware of your surroundings. Letherby reminds visitors that all artworks on display are originals: “We ask you to stay back because the work is irreplaceable.”
Follow simple etiquette. As Smith recalls from a colleague: “Look with your eyes, point with your words.”
An ongoing challenge is backpacks. While TMA allows them, they cannot be carried on the back. “Backpacks can easily bump into visitors or artwork,” the team explains. “We ask for cooperation because safety always comes first.”
Guardians of Art and Community
As our conversation ends, it’s clear that Protective Services at TMA is about more than security. This team cares deeply about art, safety and our community. Their efforts make the Museum a place where art and people connect.
The sense of wellbeing they give visitors, paired with genuine hospitality, is a key part of what makes time spent at the Museum enjoyable—and unforgettable.
Museum visitors observing works in Gallery 35. Toledo
Art on the Move
While the TMA galleries are undergoing reinstallation, we have the opportunity to share select works from our collection with art lovers far and wide, furthering our mission of integrating art into the lives of people—everywhere.
1. Ralph Albert Blakelock (American 1847–1919), Brook by Moonlight Oil on canvas, before 1891. Painting: 72 × 48 in. (182.9 × 121.9 cm); Frame: 86 ¾ × 62 ¾ × 5 ½ in. (220.3 × 159.4 × 14 cm). Gift of Edward Drummond and Florence Scott Libbey, 1916.4
2. Henry Ossawa Tanner (American, 1859-1937), The Disciples on the Sea. Oil on canvas, about 1910. Painting: 21 ½ × 26 ½ in. (54.6 × 67.3 cm); Frame: 27 ⅞ × 33 ⅞ × 3 ½ in. (70.8 × 86 × 8.9 cm). Gift of Frank W. Gunsaulus, 1913.127
3. Edward Jean Steichen (American, 1879–1973), Across the Salt Marshes, Huntington. Oil on canvas, about 1905. Painting: 15 × 18 in. (38.1 × 45.7 cm); Frame: 27 × 30 × 3 ¼ in. (68.6 × 76.2 × 8.3 cm). Gift of Florence Scott Libbey, 1912.4
Mood Lighting: Three Paintings That Explore the World at Night
On view through May of 2027
Visitors to the Huntsville Museum of Art, Huntsville, Alabama are enjoying three fascinating and “moody” paintings from the TMA collection: Ralph Albert Blakelock’s Brook by Moonlight, Edward Jean Steichen’s Across the Salt Marshes, Huntington, and Henry Ossawa Tanner’s The Disciples on the Sea.
Displayed throughout the HMA galleries, these works explore the distinctive atmospheres created by the light—or the lack thereof—at night. Views that may have been familiar on a sunny day are transformed by moonlight, mist and storm into mysteries yet to be solved. What emotions rise from the shadows? What is hidden? What is revealed?
This effort is in conjunction with Art Bridges Partner Loan Network, an art-sharing initiative that provides support to institutions seeking to loan or borrow artworks from museum collections. These evocative works of art will return to Toledo in 2027 upon completion of the reinstalled Museum.
Toledo
A Closer Look
Reading Between the Lines
Guest Writer
Tanya Pattison-Arraiza, Brian P. Kennedy Leadership Fellow
Écriture No. 16-76 (1976) asks a fundamental question: what does it mean to paint? By drawing a series of lines on a wet canvas, South Korean artist Park Seo-Bo (b. 1931, d. 2023) forces us to closely consider one of the primary elements of art, the line.
Newly gifted to the Toledo Museum of Art (TMA) collection by the Georgia Welles Apollo Society—generous patrons of the Museum who work together to fund new acquisitions—Écriture appears grey from a distance, but upon closer inspection, we can see nine intentional rows, or registers, of lines. Gaps between each row appear as Park makes the decision to shorten the pencil strokes periodically, creating two gaps in between each of the nine tiers. This pattern creates a reprieve for the eye, so as not to be overwhelmed by the monotony of the diagonal graphite lines. Upon reflection, we realize these are not just scribbled lines on a canvas. This is an intentional meditation of each individual pencil movement.
The Écriture series was originally named 묘법 (Myobop), loosely translated as “the method of drawing.” It was not until later, when a critic first encountered this series in 1973, that the title Écriture (French, meaning “writing”) was first introduced, inherently connecting the series to written language rather than visual art. But Park himself did not want to place meaning in his composition. In his mind, there was no image and thus there was nothing to consider other than the formal elements of the canvas. In this respect, it is up to the viewer to consider if the resulting composition has meaning, or if it is simply a repetitive motion on canvas.
If we consider Écriture within the larger history of painting, we realize that the line has long been seen as an important element of art. Consider TMA’s recently acquired Moon Jar for comparison (Joseon Dynasty, 1392-1910). When viewed simply for its formal qualities, we see a white circular container with brown lines painted on the surface. And yet when we look at this grouping of
lines, their fluidity suggests that we are looking at an organic form. The lines themselves flourish outward from the center in ways reminiscent of a flower. The longer, thinner lines represent stems; the smaller, thicker lines represent buds. While the ability to identify these gestural brushstrokes of ceramic glaze as “flowers” may seem obvious, it is actually quite remarkable. There is no obvious verisimilitude between the stem, leaves, and any specific flower, and yet, even the Toledo Museum of Art audience looking at this vessel centuries after it was made can understand how to interpret these lines.
Écriture takes a more ambiguous approach to how lines make meaning. By creating an abstract composition, Park invites us to question what, if anything, the line means on its own. In this work, as in many minimalist works of this period, the answer is not enforced by the artist; it is open to the viewer’s interpretation.
Left: Park Seo-Bo (South Korean 1931–2023), Écriture No. 16-76. Pencil and oil on canvas, 1976. Painting: 72 × 48 in. Overall: 51 3/4 × 63 7/16 in. (131.5 × 161.2 cm). Gift of The Georgia Welles Apollo Society, 2025.139
Below: Korean (Joseon Dynasty, 1392-1910), Jar with Orchid Plants Design. Porcelain with underglaze, 17th century. Overall: 12 × 13 × 6 in. (30.5 × 33 × 15.2 cm). Purchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey, 2025.136. Image courtesy Kochukyo, Ltd. Tokyo
Experience
A Welcoming Space for Special Exhibitions
During the gallery reinstallation in the Green Building, the SANAA-designed Glass Pavilion will be home to most special exhibitions. This unique space will allow us to continue sharing the work of artists past and present with our community, even as we work to create innovative and engaging gallery spaces that will invite all visitors to experience art differently, to see themselves reflected in the collection, and to feel at home.
Radiance & Reverie
Hollywood’s Jewels, Parisian Glamour, and New York Style
Guest Writers
Diane C. Wright, Senior Curator of Glass and Contemporary Craft
Kelli Fisher, Curatorial Research Associate of Glass and Contemporary Craft
Radiance and Reverie: Jewels from the Collection of Neil Lane showcases nearly 200 extraordinary jewels made between 1850 to 1950. The exhibition highlights celebrated makers, designers and retailers from Europe and the United States who defined modern glamour. This is the first time the vintage jewelry collection owned by celebrity jewelry designer Neil Lane will be on view in its entirety, and it will sparkle in an impressive installation in the Museum’s Glass Pavilion.
Neil Lane’s Career, Jewel Collection, and Hollywood Borrowing
Neil Lane is best known for his storied Hollywood career. His keen eye for quality has made him the go-to expert for jewelry among movie and television stars and led to the development of his own line of engagement rings at KAY Jewelers. His influence as a Hollywood tastemaker has its origins in the 1990s, when extensive media coverage of the fashion and accessories worn on the red carpet was in its early stages.
Lane’s collection was built over more than five decades and traces a transition in how celebrities— and by extension popular culture—approached jewelry. As Lane collected statement jewelry that once belonged to early studio actors Mae West, Hedy Lamarr and Joan Crawford, Hollywood red carpets were changing. Fewer stars owned jewelry they would repeatedly wear at celebrity functions, opting instead to borrow glamorous jewels to suit each premiere and award show look. The superb quality and historic significance of Lane’s collection made it highly
prized as a source for glamorous loans. Zoë Saldaña, Jennifer Lawrence, Jennifer Hudson, Lady Gaga and Madonna—all highlighted in the exhibition—have graced red carpets and performance stages adorned in selections from Lane’s personal collection. It’s no wonder that when Joan Rivers asked, “Who are you wearing?” stars would beam and answer, “Neil Lane.”
Today, Lane continues to offer his advice on jewelry to hopeful brides and grooms on ABC’s The Bachelor series and its spin-offs, further cementing his renown in the field of jewelry.
Jewelry Across Time and Place
Showcasing the jewelry in roughly chronological order, Radiance and Reverie transports visitors to three key centers for jewelry and designer fashion: Paris, New York City and Los Angeles, home to Hollywood. Each section contextualizes the pivotal decades that shaped changing appetites for jewelry and fashion, starting in the mid-nineteenth century.
Paris: The World Stage
The experience begins with Paris: The World Stage. With the rise of haute couture, nineteenthcentury Paris became the bastion of high fashion. The decorative arts, including jewelry, flourished.
Paris hosted multiple world’s fairs where designers could showcase their creations and several notable jewelers established houses within the city. This section of the exhibition displays a wide range of revival styles that were popular in the second half of the nineteenth century. These romanticized designs looked to the styles and forms of the past for inspiration, including newly uncovered jewels and metalwork from archaeological excavations.
Castellani, an Italian jewelry firm, became famous for replicating ancient techniques, particularly with gold, through their interpretations of Etruscan, Egyptian and Byzantine designs. The Knot of Herakles brooch by Castellani is a remarkable work, displaying the simple elegance of a single material, gold, as well as the harmony found with symmetry. The central interlocked knots draw inspiration from the ancient world, meeting the modern, matching rosettes to create a fresh new design.
French company Wièse looked to the past as well. The gem-set box designed by Jules Wièse is a beautiful example of nineteenth-century Romanesque revival with its leafy scrolls of figures and animals amid several large semi-precious stones. Made in Paris, the box was shown at London’s International Exhibition of 1862, one of nearly a dozen works from world’s fairs featured in the exhibition.
Next, visitors enter the bustling metropolis of New York City. Centered around more than 40 Tiffany jewels from Lane’s collection, the section New York: An American Jewel House illustrates the importance and success of the Tiffanys, both father and son. Charles Lewis Tiffany established Tiffany & Co. in 1837. His son, Louis C. Tiffany (LCT) is primarily known for leaded glass lamps and windows but entered the realm of jewelry-making in 1902 when his father died. Works by talented designers Julia Munson and Meta Overbeck, employed by LCT, are represented. Both contributed a distinctive design sense to their jewelry, and held positions of leadership in LCT’s Art Jewelry department, an experimental group that was later purchased by and operated as part of Tiffany & Co. Two notable jewelry sets by Overbeck are included in the show, including a necklace—featured on the cover of this issue— and earring set made of gold, green garnets and enamel, with large central cabochon sapphires.
While LCT was a leader in hiring women in his studios, other women jewelry designers helped shape the Arts and Crafts movement popular at the time and are featured in the New York section. Brooklyn-born Marie Zimmermann was a famed designer and metalworker who ran a bustling studio in the early twentieth century, employing several workers and contractors during the height of the 1920s. She was best known for her bold designs in enamel with prominently placed stones. Her enamel box is a striking example of Zimmermann’s approach, with a geometric design in richly colored enamel and a large medallion of lapis lazuli. While elevated jewelry design took place in several city centers across the United States, American jewelry flourished in New York at the turn of the century.
the Libbey Endowment, Gift of Edward Drummond Libbey, by exchange, and with funds
the James F. White, Jr. Family in memory of Susan (“Sue”) Serrott White, 2022.28A-J
Toledo Museum of
Hollywood: Glamour
The silver screens of golden-age Hollywood helped redefine American jewelry in the twentieth century. In Hollywood: Glamour, the exhibition concludes with the ways celebrities shaped taste for jewelry in a new era. Movie actresses were often defined by the extraordinary gemstones they wore both on and off camera, blurring the lines between movie role and reality as stars carefully crafted and maintained their public image.
Jewelry, as it often has been across history, was a status symbol. Projected across thousands of movie screens and printed in publicity materials, these jewels took on a new level of meaning and influence. Joan Crawford commissioned a statement set from the American jeweler Raymond C. Yard Inc. Famous for his Art Deco designs, Raymond Yard created a striking citrine and gold necklace for Crawford accompanied by a citrine cuff bracelet. She wore this bold necklace in the film When Ladies Meet (1941) and a print advertisement for Royal Crown Cola (1947).
This proliferation of glamorous imagery reached far beyond American movie screens. Increasingly, style was shaped by designers in America and Europe, which were popularized by Hollywood stars. Glamorous women set the trends and helped to spread them.
One notable French designer was Suzanne Belperron, who designed for Boivin. Her strong aesthetic and modern style became her hallmarks, as seen in the cutting-edge, sleek design of the platinum, gold and diamond Godrons Cuff Bracelet. So confident in her singular sense of design, Belperron rarely signed her work, famously exclaiming, “My style is my signature.”
Organized by the Toledo Museum of Art (TMA) and curated by Diane C. Wright, Senior Curator of Glass and Contemporary Craft, TMA, and Dr. Emily Stoehrer, Rita J. Kaplan and Susan B. Kaplan Senior Curator of Jewelry, Museum of Fine Arts, Boston. Radiance and Reverie: Jewels from the Collection of Neil Lane will be on view October 18, 2025–January 18, 2026. It is slated to travel to additional locations after closing in Toledo. A lavishly illustrated catalog, published by Rizzoli Electa, is available in the TMA Store.
Radiance and Reverie: Jewels from the Collection of Neil Lane is made possible through the generous support of National Presenting Sponsor KAY Jewelers. Additional funding is provided by the Toledo Museum of Art’s Presenting Sponsors Susan and Tom Palmer, Season Sponsor Taylor Automotive Family, Platinum Sponsor Sotheby’s, and Silver Sponsors Toledo Museum of Art Ambassadors, Rita Barbour Kern Foundation, and the Ohio Arts Council, which receives support from the State of Ohio and the National Endowment for the Arts
Above: Joan Crawford wears her gold-and-citrine necklace, earrings, and ring by Raymond Yard and her gold-and-citrine bracelet in a publicity still taken around 1940. Photograph: Everett Collection
TRANSIENT BLOOM merges Claude Monet’s fascination with light and nature’s impermanence with a digital reflection on the evolving tides of cultural attention and impression. Created by artist Beeple (also known as Mike Winkelmann)
this generative digital artwork recreates an everchanging garden, where icons of digital art and internet culture are embedded as statues and structures that grow, decay and fade away, mimicking the blending of our digital and natural worlds.
Craig Fisher: Lines of Discovery, Expressions in Copper
On view through January 25, 2026
Edward B. Green Building, Robert C. and Susan Savage Community Gallery
Reception: December 5, 2025, 5:30 p.m.–7:30 p.m.
This exhibition highlights artist Craig Fisher’s exploration of printmaking, focusing on the expressive potential of intaglio and woodblock printmaking techniques. Works draw on architecture, geometry and world cultures to create layered, monumental compositions.
MLK Day at TMA
January 19, 2026
Glass Pavilion
Each year, TMA opens on Martin Luther King Jr. Day—the Museum is usually closed on Mondays—for a day of inspiration and creativity. Families can enjoy hands-on art activities and hear keynote speaker Dr. Maurice Stinnett in a celebration of justice, equality, and community.
Great (Glass) Art Escape
December 27–28, 2025
Glass Pavilion
This year’s Great Art Escape moves to TMA’s Glass Pavilion, our winter “snow globe” on the other side of Monroe Street. Families can enjoy favorite activities like sock skating and a hot chocolate bar, plus festive art experiences and glass blowing demonstrations. It’s a fresh location, but the Great (Glass) Art Escape will offer the same beloved holiday tradition of creativity and fun for everyone.
Sara Jane DeHoff Guest Artist Pavilion Project (GAPP): Hiromi Takizawa
GAPP Residency: February 18–27, 2026
GAPP Artist Talk: February 26, 2026, 6 p.m.
Glass Pavilion
Curiosity, experimentation, narrative, and materiality encapsulate the artistic practice of Hiromi Takizawa. “I strive to integrate the wonders, discoveries, and natural phenomena that captivate me into my studio practice… The intrinsic properties of glass, such as transparency, reflection, refraction, and optical qualities, serve as primary material to highlight my narrative.”
Above artwork by artist Dean Davis. The Change Wall, Mural. Glenwood Lutheran Church
Toledo
Gifts Fit for the Giving Season
The TMA Store and Sanda Findley Collector’s Corner make holiday shopping a treat with unique, memorable gifts for everyone on your list.
Shop this specially curated collection in person or online today! Scan or visit toledomuseum.org/holiday
A. Exhibition Catalog for Radiance and Reverie: Jewels from the Collection of Neil Lane—$75
B. William Morris Bourne Tie—$48
C. Labradorite Teardrop and Navy Enamel Necklace by Jenny Gorkowski—$110
D. Lidded Porcelain Vessel by Carol Green, Patent Leather Petite Spaceship—$150
E. Beckham Feather Plum Thicket Pin—$65
F. Donerail Feather Plum Thicket Pin—$65
G. Radiance Roll-On Essential Oil Aromatherapy—$24
H. Perfume Bottle by Janet Kelman, Bottle 9 Black—$225
I. Pink Keshi Long Carrotwood Pearl Necklace by Amy Beeler—$375
J. Dichroic Glass Earrings by Trudi Cooper—$52
K. Silk Scarf by Susan Skove, Cut Velvet Magenta—$170
L. TMA 2025 Limited Edition Ornament, Butterfly—$95
M. TMA 2025 Limited Edition Goblet—$195
N. Carew Feather Bowtie—$225
O. Old Ben Feather Bowtie—$225
William Morris Bourne Silk Tie
$48
Acclaimed maker of unique, hand-finished silk apparel, Fox & Chave transform legendary designer William Morris’s classic Bourne pattern into an elegant men’s tie. A handsome gift with classic style.
Dimensions: 59" L × 3 1/4" W
2025 Limited Edition
Butterfly Ornament
$95
Grace your holiday tree with the perfect symbol of transformation and growth. Exclusive to TMA and handcrafted by Ohio native, glass artist Bandhu Dunham, no two Butterfly ornaments are alike.
Dimensions: 4" H × 4" W × 1 3/8 D
Gold Filled and Lab Aquamarine Earrings by Katy Mims
$115
Designed and handcrafted by Toledo jewelry artist Katy Mims, these unique earrings make each day special with a sleek, polished look that catches the light with every movement.
Dimensions: 1 1/2" L
Old Ben Feather Bowtie
$225
Handcrafted in Charleston, South Carolina, this distinctive bow tie features sustainably sourced, iridescent turkey feathers. Each tie takes approximately five hours to create and is destined to make a statement.
Dimensions: 2 1/2" H × 4 1/2" W
Adjustable strap and hook closure—fits neck sizes 11" to 20"
Exhibition Catalog
$75
Hardcover. 9 1/2" W × 12" H, 320 pages.
Companion to the first exhibition of celebrated designer Neil Lane’s fabled jewelry collection, this lavish catalog explores over a century of artistry and iconic jewels, from the legendary fashion houses of Paris to the glamour of Hollywood’s red carpet. Filled with sumptuous photographs—including images of pieces worn by Hollywood legends Mae West, Joan Crawford, Madonna, Zoë Saldaña and many more—it makes a dazzling holiday gift.
From the Sanda Findley Collector’s Corner
Jenny Gorkowski
For over 30 years, artist Jenny Gorkowski has been creating one-of-a-kind heirloom jewelry. Working from her sunny studio in Toledo’s Old West End, she shapes each piece into its final form, combining vintage and antique finds—fragments from forgotten places—with semi-precious stones, pearls, sterling silver, gold and more. “Suddenly,” she says, “these pieces reveal themselves in a completely different light…they carry a kind of soul that new things don’t always have.”
Gorkowski has been making jewelry since she was seven years old, inspired by a family history of creative pursuits. “I come from a line of makers,” she notes, “my father’s mother was a rug weaver and ceramicist in the 1930s, and my mother’s mother was a seamstress.”
“My parents raised me in antique shops and at estate sales, where I learned early on to see the beauty in things that others often overlooked.” The objects tucked in corners, the bins of forgotten stock in a dusty warehouse—to Gorkowski, these pieces aren’t junk, they are starting points. “They have history—and stories baked into them…I love the tension between what’s been discarded and what can become precious again.”
Surrounded by her eclectic collections—everything from vintage fabrics and paintings by self-taught artists to modernist design and the ceramics of the American Southwest—Gorkowski lets the materials guide her. “Most days, my studio feels like a mix between a workshop, a treasure chest, and a whole lot of chaos. I move between whatever caught my eye the week before and pieces I’ve been holding onto for 35 years. I’ve never been one to keep things separate. I like the edges to blur.”
She describes this process as the magic of making jewelry. “It isn’t just about the finished piece; it’s about following a thread of curiosity, about bringing my ‘finds’ to life again and revealing their stories.” Each piece Gorkowski creates is a unique work of art waiting to merge its history with the life of someone new. A stunning selection of these unique treasures can be found at the TMA Store, available in-store and online.
Temporary Relocation
As part of the Museum’s preparations for gallery reinstallations, the TMA Store and Sanda Findley Collector’s Corner have temporarily relocated to Gallery 3 in the Green Building. You’ll still find the same curated selection of TMA merchandise, books, and exhibition-inspired gifts—plus a wide range of original artwork by local artists. Shop online at store.toledomuseum.org
Experience the Toledo Museum of Art like never before with exclusive member benefits, including access to dynamic programs, captivating exhibitions, behind-the-scenes insights and valuable discounts. Learn more and become a member at toledomuseum.org/membership.
