access WORCESTER ART MUSEUM magazine summer/fall 2015
ÂŠ Hassan Hajjaj (detail)
From the Director
American Folk Art, Lovingly Collected
Spotlight on education
Spotlight on conservation
Jeppson Idea Lab
Spotlight on studio art classes
Tours, programs, etc.
Master Series: Fall 2015
Using art to train doctors
A Celtic-themed wedding
Cover: Zedekiah Belknap, Girl in White Dress with Black Cat (detail), about 1830-35, oil on canvas, Private Collection. Inside front cover: Yuko Shimizu, Panda Girl, (detail), 2004, reproduction of ink drawing with digital color, ÂŠ courtesy of Yuko Shimizu
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© Moira Hahn (detail)
From the Director Since I arrived at the Worcester Art Museum in 2011, I have talked and written often about accessibility — in the physical, aesthetic, intellectual, and social senses — and the goal of making sure that everyone has a place and is welcome at the Worcester Art Museum regardless of age. We are making great strides! The Samurai! opening party in April saw the most diverse audience we have seen to date. In addition to loyal friends and supporters, there were families with kids, high school students, and over 110 college students — the largest number we’ve ever had at an opening party.*
In July we continue along this road with American Folk Art, Lovingly Collected, which will focus on translating the reality of folk art (of which Central Mass was a hotbed) in a fresh and unexpected way — again creating relevance for a broad audience. In the fall, we begin our second Master Series, including the marvelous Pierre Bonnard painting, Dining Room in the Country, from the Minneapolis Institute of Arts, and explore a whole new medium — world music — with Hassan Hajjaj: My Rock Stars.
We will not reach all of our audiences, however, without full physical accessibility to the Museum. Significant progress is being made on this front as well. This fall we will complete the new “access bridge” to the Salisbury entrance, so that families with strollers, visitors with disabilities, those who have a hard time using stairs, and those who simply choose not to use stairs no longer need to use our ADA-compliant back entrance.
This project and our commitment to accessibility earned WAM a Massachusetts Cultural Council (MCC) 2015 Commonwealth Award. The Museum was honored for integrating universal design principles into its mission in ways that expand access to its collections and programs. In addition, we were selected to participate in the MCC’s UP initiative, which supports the growth and development of organizations that recognize the power of inclusive design to grow audiences and enhance cultural experiences for everyone, as well as embrace inclusivity as core to their mission and organization. Through participation in this year-long program, we are building our capacity to innovate even further in the area of accessibility.
Another proud moment for WAM was becoming an official polling site for the City of Worcester in the fall of 2014. I can think of no better way to serve our community than by offering a safe, accessible location for the voters in Ward Three, Precinct Two to exercise their precious right to vote.
Thank you for your support in helping us reach these important milestones on the road to achieving our vision.
Matthias Waschek * See page 14 for an interview with our new Curator of Education, Marcia Lagerwey, and examples of how we are working to reach the family audience.
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WORCESTER ART MUSEUM
Board of Trustees FY15
Catherine M. Colinvaux, President Phyllis Pollack, Vice President Marie Angelini, Vice President John Savickas, Vice President Joseph J. Bafaro, Jr., Treasurer Karin Branscombe, Clerk Herbert S. Alexander James E. Collins Susan M. Foley Gabriele M. Goszcz Abraham Haddad Rachel Kaminsky William D. Kelleher, Jr. Lisa Kirby Gibbs Patricia S. Lotuff Lisa H. McDonough Philip R. Morgan Marc S. Plonskier Clifford J. Schorer Matthias Waschek (Ex-officio)
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American Folk Art, Lovingly Collected July 15 â&#x20AC;&#x201C; November 29, 2015 PDP Gallery
Explore the rich folk art tradition that flourished in the mid-19th century in more than 40 works from an important private collection based in central Massachusetts and recognized as one of the best of its kind in existence. The exhibition features an array of paintings and furniture, many on display for the first time, with a particular emphasis on portraits of children, portraits which illustrate folk artistsâ&#x20AC;&#x2122; unique approach to using color in the figurative treatment of their subjects.
Examined in the light of the growing economic development in New England during the 1800s, American Folk Art, Lovingly Collected showcases the work of home-grown artists, who traveled from town to town to paint portraits for rural families of their loved ones. The artists represented in the exhibition highlight a distinctive folk-art practice that grew out of a popular demand for personal keepsakes, and include John Brewster, Zedekiah Belknap, Ruth Henshaw Bascom, William Matthew Prior, and Sturtevant Hamblin, among others.
July 18, 2015 10am-5pm
Featuring Art + Market (Art, Craft, Food, and More!) 10am-1pm Enjoy a full day of folk music (with Bow Thayer and others), dance, hands-on activities, and food trucks. Connect with artisans and farmers, learn about the history of folk music, and more! Free with Museum admission. FOLK FESTIVAL SPONSORED BY
MEDIA SPONSOR FOR BOTH FOLK FESTIVALS
SPONSORED BY AUCTIONEERS AND APPRAISERS OF OBJECTS OF VALUE
August 22, 2015 10am-5pm
Featuring Art + Market (Art, Craft, Food, and More!) 10am-1pm Watch craftspeople from Old Sturbridge Village demonstrate 19th-century techniques, enjoy art making, family activities, and food trucks, plus connect with artisans and farmers. Antiques Appraisals: 11pm-4pm Verbal appraisals by Skinner, Inc. of your folk art antiques or flea market finds. ($25 for up to 3 objects) Pre-registration is recommended, but walk-ins are welcome. To register call 508-793-4450 or visit worcesterart.org/education. COMMUNITY SPONSOR
An exhibition catalog for American Folk Art, Lovingly Collected is available for $24.95 in the Museum Shop or by calling 508.793.4355. Image left: Attributed to Mary B. Tucker, Two Children in Blue, (detail), about 1840, watercolor and graphite on paper, Private Collection
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Understanding the folk art tradition The rich American folk art tradition has deep roots in Central Massachusetts, which provided unusual economic and creative opportunities for non-traditional artists. Here Elizabeth Athens, the Worcester Art Museum’s assistant curator of American art, interviews Guest Curator Paul D’Ambrosio about the primitive art movement and its role in 19th-century culture. EA: How do you define “folk art?” How might it differ from other work in the Worcester Art Museum’s American galleries?
PD: Folk art is a broad category of works created by artists with little or no formal training in the fine arts and working in a style that emphasizes pattern and design, as well as bold color. This includes portraits, landscapes, needlework pictures, quilts, carvings, painted furniture, shop signs, and decorative arts. While American fine artists aspired to European standards of three-dimensional modeling of forms, subtle and realistic coloration, and believable spatial recession, folk artists compensated for their lack of training by focusing on patterns created by flatter forms. They learned their skills through trial and error, careful observation, or intergenerational example. The appreciation of American folk art began in the early 20th century when Modernist artists such as Robert Laurent began to collect “primitive” paintings near his summer studio at Ogunquit, Maine. One of the works he collected, Girl in White Dress with Black Cat by Zedekiah Belknap, is among the paintings exhibited at WAM this summer.
Assistant Curator of American Art, Elizabeth Athens
EA: Many of the paintings in the exhibition originate from Central Massachusetts. In what way does place inform these works?
PD: Central Massachusetts was changing rapidly during the period these works were created. In 1800, the population of Worcester County was about 61,000; by 1840 it had grown to about 95,000, a gain of 34,000 people in forty years. In the decade between 1840 and 1850, the population grew to more than 130,000, a gain of an additional 35,000 people in just ten years. Advances in industrial technology, along with improvements in transportation and increased population brought unprecedented levels of commercial activity and prosperity to the area. These tens of thousands of new residents, many working in trades and professions that cemented their middle-class status, fueled the demand for portraits and other decorated household goods. The folk artists represented here actively met this demand and, by doing so, made a living for themselves while documenting the achievements of this new middle class.
Master Series Third Thursday Thursday, September 17, 6pm
Hear Paul D’Ambrosio speak in person about Portrait of Mary Coffin, by John Brewster, Jr. (1766-1854).
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Guest Curator Paul D’Ambrosio
EA: Mary Chapin Warren and Ruth Henshaw Bascom are two of the artists featured in this exhibition. Were many folk artists women?
PD: Yes, quite a few, mainly in the textile arts (quilting and weaving) and in the area of academy or school work. Mary Chapin Warren is one of the latter, as she learned her needlework skills in finishing school and applied her talents to documenting her family in a elaborate silk embroidery. Works such as this are extraordinarily complex, involving thousands of stitches applied over the course of months. Female portrait painters are relatively rare, and often worked in media more commonly associated with women’s education: mainly watercolor and pastel. Most of these artists tended to stay closer to home and made fewer works than their male counterparts, and many ceased painting for a living after marriage. Bascom is an exception in two ways: she was as prolific as any male portraitist (making more than one thousand portraits in her lifetime), and she was innovative in her use of materials, in particular her collage technique. By contrast, the portraitist Mary Tucker, also represented in this collection, is known for a body of work comprising only 17 extant portraits.
Paul D’Ambrosio is a nationally recognized scholar of American folk art. He serves as president and chief executive officer of the Fenimore Art Museum and The Farmers’ Museum, Inc., in Cooperstown, New York. Unknown (American), Edward Hibbard, 19th century, oil on canvas, Private Collection
The Worcester Art Museum likes to do things differently and shake things up. —Jared Bowen, WGBH
Japanese myth and tradition in the contemporary imagination Through September 6, 2015 Contemporary Gallery
Bouncing from lethal weapons and fearsome armor to bunnies and a Bushi ballet, the Samurai! exhibition is a fascinating journey of connect-the-dot surprises. They start in the Lancaster Lobby where giant samurai-inspired murals with female warriors greet visitors the moment they walk through the door. The surprises continue inside the redesigned Contemporary Gallery. There, a majestic suit of samurai armor holds court before a floor-to-ceiling rendition of the famous Hokusai wave — with white rabbits spilling from its foam. Colorful contemporary works juxtaposed with ancient objects burst energetically from every corner. Yet, at the back of the gallery, tatami-covered benches offer a quiet place to rest, read books about Japanese art and culture, and contemplate a very different-looking exhibition — white, calm, and serene — from that perspective. Finally, the journey of surprises continues to Helmutt’s House in the Knights! exhibition, where our youngest visitors can take delight in Stan Sakai’s comics depicting Usagi Yojimbo, the adventurous rabbit ronin, as well as interactive Japanese-themed activities. Funding for Samurai! has been provided in part by a generous grant from the E. Rhodes and Leona B. Carpenter Foundation and with sponsorship support from United Bank Foundation Massachusetts.
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While paying homage to the historical objects, we create a risky dialogue between history and the present day by inserting elements of popular culture, personal stories, and gender roles... —Eric Nakamura, guest curator
I know that by the time this show goes down, I will still not have begun to scratch the surface of all of the resonances, of all of the dialogues, the buzz that’s happening in this space... You get bounced back and forth between past and present not once, but multiple times. —Jeffrey Forgeng, curator of arms and armor and medieval art
Top: Samurai! murals in the Lancaster Lobby were created by (l-r) Mari Inukai, Audrey Kawasaki, and Andrew Hem. Above: A young visitor relaxes on a tatami bench in Samurai! Opposite: Samurai! exhibition, on view through September 6.
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Coming full circle with Samurai! An Interview with Shawn Cheng
Born in Taiwan and raised on Long Island, artist Shawn Cheng studied painting & printmaking at Yale University. He now lives and works as a painter, cartoonist, and illustrator in New York City. His painting, The Scourge Vanquished, was created for the Worcester Art Museum’s Samurai! exhibition, on view through September 6, 2015. Opposite, the artist views the painting at the Samurai! opening party with his two daughters. Below, he explains his creative process and how the samurai has influenced his work.
access: What interested you about being a part of Samurai!?
SC: A lot of my work features Japanese imagery and iconography, so when Eric (Nakamura)* approached me last year about a samurai-themed show, we both agreed it’s “in my wheelhouse.” I’ve worked with Eric and Giant Robot for many years, so I knew it would be a cool show with a great lineup of artists.
access: You were born in Taiwan, but grew up in New York. Where did your interest in the samurai come from and how has it influenced your work as an artist?
SC: Spending my early childhood in Taiwan definitely primed me for my interest in samurai later on. Japanese culture has a big influence in Taiwan, so I was exposed to Godzilla and samurai and all that, but beyond that I think it’s the ambient cultural elements – like textile
patterns, kanji characters, street signs, folktales and legends – that all became part of my subconscious. So when I encountered Japanese or Japaneseinspired stuff later on in America, I felt drawn to it. It was familiar. When I was a kid, it was the Ninja Turtles, and later on, Blade of the Immortal. And then when I was studying art I learned about ukiyo-e and printmaking. In my own work, I try to elicit a visceral response from the viewer, so when I’m creating the work I take inspiration from the things that I have a visceral connection with. access: How did you approach creating The Scourge Vanquished, and what does it tell us about your feelings about the samurai?
SC: I approached this painting the same way I usually do. I had a cast of characters and a narrative in mind. In this case, it was the samurai Minamoto no Yorimitsu and his retainers battling the demon king Shuten-dōji. So with that as a starting point, I tried to create a visually interesting picture – for me that means putting in maximal detail. In a way, the big painting is a series of smaller paintings – each piece of clothing is a mini abstract composition, each face in the crowd is a mini portrait. In the end, if the piece is successful, it all works together. And of course it’s much easier to do complexity and detail when it’s a subject you’re passionate about and familiar with, so hopefully that comes across in this piece.
access: The Scourge Vanquished includes representations of some of the historical arms and armor objects that are also shown in the exhibition. How did these objects influence the piece?
SC: I do a lot of research for my drawings and paintings. Part of it is to be historically accurate. Part of it is, more often than not, the actual things that exist are weirder and more imaginative than what I could’ve come up with. Before I start on a piece I load my brain up with all these visual elements, then shuffle them up to get inspiration. Like, wow, here’s an articulated metal lobster – that would look cool on a helmet. Or, whoa, here’s an early firearm that’s more or less a small pistol-shaped canon – it would be funny to have a small demon try to handle it.
access: What was your reaction on opening night when you saw the exhibition for the first time?
SC: It was wonderful to be able to attend the opening. I had seen some of the stuff online but actually being there – it all made sense, seeing the new artwork alongside the old artifacts. You really got a sense that the visual tradition of the samurai is an ongoing, evolving thing. Like, seeing the suit of armor in person, you realize that when it was new it must’ve been as vibrant as the contemporary art around it. What we consider venerable tradition now was contemporary culture once upon a time.
* Eric Nakamura, founder of Giant Robot, is guest curator of Samurai! Photograph © Yuka Suzuki.
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Meet Marcia Lagerwey, new Curator of Education at WAM
arcia Lagerwey’s enthusiasm for all things artand education-related is palpable. It makes sense that in her new role as the Worcester Art Museum’s Curator of Education she will continue her mission to infuse children and families of all ages with the joy and discovery of art. She is well qualified for the position, having been at the Museum for more than 25 years and closely involved with directing and growing the youth and adult art classes and workshops. Marcia now oversees all education programming, including tours, events, and programs.
“Departments and divisions here work more collaboratively now than ever,” she explains. “When I became the Curator of Education, it also reflected ongoing changes in how the Education and Curatorial Departments work together.”
“We emphasize a narrative of connecting art with individual experiences, joy, and discovery.” —From the Worcester Art Museum Vision Statement 2020
“It is such an exciting position for me because I work closely with the curators right from the beginning on the proposal and development of exhibitions for the Museum,” she continues. “Audience engagement is a driving motivation behind what we create for these exhibitions. We’re currently planning exhibitions and programs for next year and beyond. There are plenty of wonderful things in the works for all audiences. We continue to build on what we’ve accomplished so far.”
In addition, Marcia works with the Museum’s Curatorial Department on all forms of interpretation geared to broad and various audiences—especially families—and their educational and experiential needs.
For example, she points to the reinstallation of the [remastered] galleries. “We opted to change the traditional wall label that contains all of the exhibit’s information. Instead, we created gallery guides with minimal information and provided iPads loaded with more information as well as relevant books for those who wanted to dig even deeper,” Marcia explains.
“As an experiment, we provided an opportunity to write your own label and also read labels written by other viewers,” she said. The reaction from audiences? “Some
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people loved it; others not so much. However, this feedback provides helpful information for us to consider with the next reinstallation.”
Another form of audience interpretation—and quite popular—Marcia adds, is the drop-in nude drawing program on Thursday afternoons in the galleries. “This offers an alternative way to view the stunning paintings in those spaces while creating your own nude drawings,” she says.
iPads also are used in a variety of experiential ways to help visitors explore the Knights! exhibition. “Audiences can choose to try on a gauntlet, look at the fine detail in a sword with a magnifying glass, use an iPad to learn about the helmets in Knights of the Round Table, or explore Venus at the Forge of Vulcan, one of my favorites, with its multiple scenes that demonstrate how arms and armor were made,” Marcia said. Within Knights! families can hang out in Helmutt’s House, named for the Museum’s family-friendly mascot, try on arms and armor, read a book, or do an activity. “Our Sunday arms and armor demonstrations are popular with adults and kids, so that’s a fun spot for the entire family,” she points out.
What’s more, the Museum’s new Art Carts! encourage families to explore art with expert staff members and docents, and then create art within the galleries.
“The Education Department welcomes thousands of school children and their teachers to the Museum for tours and/or hands-on art making experiences,” Marcia said. “A tour is wonderful, and it is even more exciting when you can first look at the art and then get your hands dirty creating something yourself.”
She adds that children enjoy this, but so do adults. “You are never too old or too young to discover the joy of art!” Marcia exclaims. “I have seen infants and toddlers look at bright, colorful paintings from their strollers or on their parent’s arm, and they are elated. I’d love to do more for the children-under-three audience. If you fall in love with art as a baby, it will enrich your life forever! I invite parents to bring their children to the Museum and share the joy of discovering art and creativity together.”
Stay tuned, says this Curator of Education, the Museum is creating many new ways for families to enjoy the Museum.
Curator of Education, Marcia Lagerwey, poses in Helmutt’s House, which has been redecorated with a Samurai theme.
Philip Klausmeyer, conservation scientist and paintings conservator, and Gretchen Hirschauer, associate curator of Italian and Spanish Paintings at the National Gallery of Art and co-curator of the Piero di Cosimo show, pose with The Discovery of Honey by Bacchus while it was on display at the National Gallery of Art.
Loan brings attention to WAM’s The Discovery of Honey by Bacchus
t’s not every day that the National Gallery of Art in Washington, D.C. and the Galleria degli Uffizi in Florence, Italy ask to borrow a painting from the Worcester Art Museum. In 2013, however, that’s exactly what happened, when the two eminent museums jointly organized the 2015 traveling exhibition, Piero di Cosimo: The Poetry of Painting in Renaissance Florence. The resulting loan of WAM’s The Discovery of Honey by Bacchus, painted by Piero in about 1500 and one of the Museum’s great Renaissance masterpieces, created a career highlight for Philip Klausmeyer, PhD, conservation scientist and paintings conservator at WAM. Before the painting could travel, first to the National Gallery of Art (February 1 - May 3, 2015) and then to the Galleria degli Uffizi (June 23-September 27, 2015), it required conservation treatment, which Philip carried out in WAM’s state-ofthe-art conservation lab. “It was such a privilege to work on this one-of-a-kind painting, which has been on display at the Museum for decades,” he says.
Piero di Cosimo (1462–1522) painted many important religious and mythological pictures that were acclaimed even during his lifetime. Considered a rather mysterious artist, his eccentric personality is reflected especially in his paintings of strange animals and fantastic scenes. His whimsical, The Discovery of Honey by Bacchus, an oil on panel painted for the home of Giovanni Vespucci, depicts an allegorical setting featuring the mythological figures of Bacchus
and Ariadne, accompanied by satyrs and maenads, who make noise to attract a swarm of bees to settle in a hollow tree. The result? The discovery of honey, considered a step forward in the history of civilization, which is symbolized in the background by the juxtaposition of the idyllic view of a town (left) and the wild and forbidding landscape (right).
In the conservation world, Philip’s time to work on the Piero painting was relatively short. He had from September through December 2014 to improve the condition of the piece and ensure its safe travel to Washington, DC. “Fortunately, since the panel painting is considered structurally sound, the needs were essentially aesthetic in nature,” Philip says.
Nevertheless, treating the masterpiece, which is over 500 years old, was painstaking and thorough. It consisted primarily of removing two coats of synthetic resin varnish, which had developed a hazy appearance since their application in 1971 and again in 1985. An underlying thin layer of natural resin varnish was left in place and a new varnish applied to achieve the proper saturation and surface sheen. The treatment also included “inpainting,” or fixing minor losses and scratches, delicately shading, and repairing past retouches that had discolored. To help future conservators, Philip used conservation-grade paint and varnish that, if necessary, will allow for easy removal decades from now.
As a result, viewers can now appreciate more fully the illusion of depth, form, and clarity of detail achieved by Piero. “The guiding principle in all such conservation work is to bring the appearance of the painting as close as possible to what is considered the artist’s original intent, without attempting to deny the painting’s age,” Philip explains. In addition to the conservation treatment, Museum Preparator Trevor Toney worked with the Conservation Department to build a special, sealed climate chamber to maintain preservation conditions for the painting’s journey to Washington and Italy. The Discovery of Honey by Bacchus will return to the Museum in fall 2015.
To reciprocate for the Piero painting, Raphael’s Renaissance masterpiece, The Small Cowper Madonna, is on loan from the National Gallery of Art at the Museum through September 27, 2015. No doubt Piero would be grateful for the tender care Philip and Trevor provided so that his magnificent painting could travel the world – over five centuries after he painted it.
Learn more about conservation at the Worcester Art Museum at worcesterart.org/collection/conservation.
Piero di Cosimo, Italian, The Discovery of Honey by Bacchus, (detail), about 1500, oil on panel, Museum purchase, 1937.76
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Jeppson Idea Lab
Portrait of a Man by Anthony van Dyck March 14 - October 11, 2015
entering on a major conservation treatment by former Mellon Fellow Matthew Cushman, this Idea Lab presentation looks at a portrait of an unknown Antwerp man, painted by Anthony van Dyck very early in the artist’s career, just after his departure from Rubens’ studio. The conservation process revealed numerous changes to the sitter’s costume, to keep up with evolving fashions, and led to the discovery of the picture’s date. Below, read more about this fascinating project in an access magazine interview with Matthew Cushman. access: How did this painting by Anthony van Dyck come to be at WAM?
MC: The painting is in the collection of the Royal Museum of Fine Arts Antwerp (KMSKA), which is in the midst of extensive renovations and scheduled to reopen in 2018. With this loan KMSKA is able to house one of its paintings in a stable environment; an under-appreciated painting is closely studied, given conservation treatment, and exhibited; and the Worcester Art Museum is able to display a work by a major artist who is absent from its European galleries. access: Did you anticipate that there were mysteries beneath the surface, or was it a surprise?
MC: The changes in the sitter’s attire were entirely expected – they were visible to the naked eye as pentimenti (visible underlying images) – and we could guess the presence of the window behind the curtain from comparable van Dyck works from that period. However, the inscription at upper left was a surprise. Of the 160-plus paintings by van Dyck before he left Antwerp in 1621, only seven were known to carry an inscription with a date. Once we recognized the presence of letters and numbers under certain lighting conditions, we used traditional imaging techniques (infrared reflectography and X-radiography) to try to make the inscription legible. However, those technologies yielded no useful information. Using Reflectance Transformation Imaging to accentuate the contours of each character in the inscription, we were able to tease out the full inscription: ANNO 1619.
access: What did the conservation treatment entail?
MC: The conservation work involved two phases: cleaning and retouching. In the cleaning phase, discolored varnishes and old retouchings that had become visually inaccurate with age were removed. After applying a new varnish,
Matthew Cushman (right) and Nico van Hout, curator at the Royal Museum of Fine Arts Antwerp, pose with the van Dyck painting during its conservation treatment.
losses in the panel and in the paint layers were filled and inpainted using reversible materials to match their surroundings. Finally, some of the pentimenti were suppressed enough to not be visually distracting, and the area in the background that was covered with a very old overpaint was retouched to create a believable transition across the background.
The aim was to present the painting as a unified object, reflecting the state the painting was in when changes were made to the sitter’s costume. The treatment allows the many changes to be seen upon close inspection.
access: What do you hope visitors to the Idea Lab will take away from seeing Portrait of a Man and the story revealed in the exhibition?
MC: I hope that visitors will get a sense of the work that conservators do and the thought processes that go into conservation treatment. I also wish for visitors to gain an understanding of how small, sometimes hidden details can reveal information about the history of a work of art. But above all, I hope that visitors will have an opportunity to study the painting closely and appreciate van Dyck’s incredible talent even at nineteen or twenty years old.
Matthew Cushman served as a graduate intern in the Worcester Art Museum conservation department in 2006-2007 and as an Andrew W. Mellon Fellow in painting conservation from September 2010 - March 2014. Currently he is a conservator at Yale University’s Institute for the Preservation of Cultural Heritage, where he is working with a small collection of 19th-century portraits of Haitian heads of state.
Learn how you can support programs like this by calling the Development Office at 508.793.4325. Anthony van Dyck, Flemish, 1599-1641, Portrait of a Man (after treatment), 1619, oil on wood, on loan from The Royal Museum of Fine Arts, Antwerp, Belgium
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Spotlight on studio art classes
Connecting with students’ lives see things differently and understand the process.” For example, she explains, an origami class might build up to having students design and construct kites that can actually fly.
shley Occhino wants to make sure that the studio art experience at WAM doesn’t end when students leave the classroom. Working with about 40 faculty members and colleagues, the Museum’s manager of studio class programs develops hundreds of courses each year. Her goal is to connect children and adults not only to what’s happening in the Museum galleries, but also to what’s happening in their lives. Young children, for example, may create a work of art to display on the fridge, but more importantly they develop and enhance a lifelong learning partnership. Older kids begin to work independently in classes that focus on process and problem solving. “We create lessons that require students to take a step back and reflect,” Ashley says. “We try to help them
Course planning also involves teaming up with curatorial staff, who Ashley says are “a wonderful source of inspiration.” Brainstorming with colleagues and faculty is also a way that Ashley ensures WAM’s courses are relevant and engaging. “If I wouldn’t want to take a class, how can I expect anyone else to be excited about it?” she asks.
One unusual result of this cross-departmental collaboration is a new martial arts course that begins with close observation of swords and armor in the Knights! and Samurai! exhibitions. “It’s less of a martial arts class and more about seeing these things in a historical context. Students get a really rich understanding of how and why an item was made, what it represents and even how to develop effective movement and creativity with a sword,” Ashley explains.
When it comes to courses for teens and adults, Ashley is passionate about making sure that students come away with something “tangible and qualitative— whether that’s developing a portfolio for college, exhibiting their artwork, or being able to instruct someone else and transfer their skills.”
With many school districts cutting arts education, WAM fills the void for high school students who are preparing for a career in the arts. “We help them build a strong art background and feel more prepared for college,” Ashley says. WAM classes also offer access to tools and techniques, such as printmaking equipment, that are rarely found in other pre-college classroom settings. Adult classes range from an unintimidating introduction to different media for beginners, to intensive courses geared toward advanced and professional artists.
Ashley’s passion for art began in childhood, when her mother was the director of an art museum in her hometown. Both of her parents were educators at various points in their careers, and the family made frequent trips to the Museum of Fine Arts in Boston. “I basically grew up in a museum,” she laughs. That led her to pursue an undergraduate degree in textile design and art history at UMass Dartmouth and a master’s degree in fiber arts and museum studies at the Savannah College of Art and Design. She joined WAM in June 2014.
When asked about her own creative endeavors, Ashley says, “I do try to stay active. I’m not necessarily building my body of work right now, but I’m still having fun with it. It’s about keeping my artistic skills sharp, too—I’ve got to practice what I preach!”
Isn’t it time to sign up for that art class you’ve always wanted to take? Get inspired by visiting worcesterart.org/classes to browse our selection of studio art classes for children, teens, and adults. Whether you are a beginning or experienced artist, there is a class for you!
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Jeena Ann Kidambi and Aradhana Mudambi
Nurturing a growing passion for art
eena Ann Kidambi is a precocious four-year old with expressive, brown eyes and a passion for art that is years ahead of her time. She talks about artists the way some children talk about Disney characters or sports figures, explaining that she needs “to know about art for when I grow up and have my own gallery.” Aradhana Mudambi, of Webster, suspected her daughter had a special talent for art when Jeena Ann was just two years old. While working on her doctoral dissertation, a computer program called Score Best, which uses animated cartoons as a vocabulary learning curriculum, she was taken aback when Jeena Ann drew in pupils that were missing from the cartoon characters’ eyes. “I hadn’t noticed that the pupils were missing, but Jeena Ann had,” Aradhana says. Mother and daughter began participating in drop-in art activities. After Jeena Ann turned three years old, they enrolled in their first Saturday morning art class at WAM with Priscilla Harvey (Miss Priscilla) – and have taken classes together continuously since then. “I liked the atmosphere here,” says Aradhana. “Miss
Priscilla encourages the individual process for each child, and I like the fact that she takes the children into the galleries.”
When Jeena Ann is not taking classes at WAM, she attends preschool at St. Joseph’s Catholic School in North Grosvenordale, CT. She also volunteers every Friday at St. Mary’s Health Care Center in Worcester, where she visits and shares her love of art with her adopted grandmother, Sister Marie Bissonette, a former WAM art teacher.
Jeena Ann’s taste in art reflects a young and eager mind, absorbing all that it can. Vincent van Gogh is her favorite artist “because of the colors,” she loves abstract art, because “it’s totally messy,” and says the Greek Gallery is her favorite place in the Museum. Looking at the stars with her grandfather inspired her to recreate van Gogh’s The Starry Night, which now hangs on the wall in her grandparents’ house.
Her mother is determined to let Jeena Ann follow her passion for art, which is being nurtured at WAM. “She is really learning here,” says Aradhana. “It is friendly, but the teachers still push the kids to learn something.”
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Tours, programs, etc.
Group of students studying Ellsworth Kelly’s Orange White, 1963.80, in our 20th-Century Gallery.
Tours of the Month Select Wednesdays and Saturdays, 2pm Get an in-depth look at the Museum’s collection in these special docent-led tours. Free with Museum admission. July: Sand, Surf, Summer Wednesday, July 15 and Saturday, July 18 Enjoy images of summer in a variety of works.
August: Home-Grown: American Folk Art Wednesday, August 19 and Saturday, August 22 Discover highlights of American Folk Art, Lovingly Collected.
September: The Pharaoh Didn’t Wear a Shirt: Images of Power in an Encyclopedic Art Museum Wednesday, September 16 and Saturday, September 19 Examine examples of power throughout the galleries.
October: Modern Art: A Matter of Taste Wednesday, October 21 and Saturday, October 24 Explore some of the “ingredients” used to create art of the 20th and 21st centuries. November: Portraiture: Styles and Stories Wednesday, November 18 and Saturday, November 21 Join in a survey of changing styles in portraits through four centuries of American art. December: Winter Solstice Wednesday, December 16 and Saturday, December 19 View reflections on winter in the galleries.
Learn more at worcesterart.org
Sunday Tours Sundays, 1-2pm Join one of our talented Museum docents for an overview of the Museum collection. Free with Museum admission.
Zip Tours Saturdays, noon Delve into one artist or work of art in these fast-paced 20minute tours. Free with Museum admission. Admission free for all the first Saturday of each month between 10am-noon. Audio Tours Available at the Visitor Services Desks at the Lancaster and Salisbury Street entrances. Offered in English and Spanish. A self-guided audio tour of some of the Museum’s greatest treasures is available for rent (free for Members).
Adult Group Tours Private, docent-led group tours for 10 or more can be arranged by calling 508.793.4338. Adult tour groups pay Museum admission and a $2 service fee per person Youth/ Student Group Tours All tours meet at the Lancaster Street entrance
WAM special exhibitions and permanent collections can be used to support your curriculum through tours, hands-on workshops, teacher resources, and other events. Guided by trained volunteer docents, tours are tailored to meet your specific needs, goals, and interests. Tours are $5.00 per student for prearranged school tour groups on either docentled or self-guided tours.* Chaperones are free. Admission is free for Worcester Public School students and their chaperones. For more information and to book a tour, call 508.793.4338 or visit worcesterart.org/events/group_tours.
*Includes Museum admission
Arms + Armor Demonstrations Sundays, 12:30 and 2:30pm
Join us for this fun interactive program, and learn all about different kinds of arms and armor used by knights and soldiers, including Roman soldiers, Medieval knights, and beyond! Visit our website for weekly schedule. Art Carts Get hands on with a stop at one of our interactive Art Carts located throughout the WAM galleries. WAM’s Art Carts are filled with fun, informative, interactive activities suitable for all ages. Check for the schedule when you visit.
Family Tour First Saturdays of the Month, 10:30-11am Explore the Museum galleries with your family on a docent-guided discovery tour. Hear fun facts, stories, and enjoy sharing observations and time together. Tours last approximately 30 minutes. Families @ WAM Make Art First Saturdays of the Month, 11-11:30am Stay after your family tour (starting time 10:30 am), or drop-in for this fun intergenerational time in the galleries or studios. Get inspired by our art and try making something uniquely yours. Come recover your childlike sense of free spirited play! (Small materials fee)
Programs for all ages
COMMUNITY Day: Folk Music Festival* Saturday, July 18, 10am-5pm Featuring Art + Market (Art, Craft, Food, and More!) 10am-1pm Enjoy a full day of folk music (with Bow Thayer and others), dance, hands-on activities, and food trucks. Connect with artisans and farmers, learn about the history of folk music, and more! Free with Museum admission. Sponsored by Reliant Medical Group. COMMUNITY Day: Folk Art Festival Saturday, August 22, 10am-5pm Featuring Art + Market (Art, Craft, Food, and More!) 10am-1pm Watch craftspeople from Old Sturbridge Village demonstrate 19th-century techniques, enjoy art making, family activities, and food trucks, plus connect with artisans and farmers. Antiques Appraisals: 11pm-4pm
Verbal appraisals by Skinner, Inc. of your folk art antiques or flea market finds. ($25 for up to 3 objects) Pre-registration is recommended, but walk-ins are welcome. To register call 508.793.4450 or visit worcesterart.org/education. Community Partner: Old Sturbridge Village Folk Festivals media sponsor: Worcester Magazine
Art + Market Art, Craft, Food, Music, and More! Saturdays, July 18 and August 22, 2015 10am-1pm WAM’s Lancaster Street Lawn and Lobby Connect with artisans, farmers, musicians, and more.
COMMUNITY Day: World Music Celebration* Saturday, November 14, 10am-5pm Enjoy world music artists throughout the Museum in celebration of the exciting music-themed contemporary exhibition opening this weekend, Hassan Hajjaj: My Rock Stars. Join us for performances, art-making experiences, food, and more. Free with Museum admission. Media sponsor: Worcester Magazine Holidays at WAM November 29 – December 24
Revel in WAM’s holiday festivities with festive live performances in the Renaissance Court, special seasonal children’s programming, decorations inside and outside of the Museum— and best of all, a double Museum Shop discount for Members! Media sponsor: WSRS Gingerbread Castle Competition November 29 – December 13 Don’t miss our second annual Gingerbread Castle Competition. View a sweet display of gingerbread castles created by both professional and amateur competitors and vote for your favorite. Castle submissions are welcome! Visit worcesterart.org for information and to download an application. Media sponsor: baystateparent
One-Day Artist Residencies Let the WAM collection provide inspiration as you create a work of art in the Museum’s galleries. While visiting, take a picture, draw, write, and respond to the works on display with art. Send a photograph of your work to firstname.lastname@example.org.
Nude Drawing in the Galleries Thursdays from 2-5pm Try your hand at drawing a live nude model with the guidance of our expert faculty among masterworks by Veronese, El Greco, and Rembrandt. Gallery locations change monthly; please check at visitor services desk.
Senior September WAM celebrates our senior visitors each Wednesday in September with free admission! Each Senior September Wednesday includes guided docent tours at 11:30am. As an added bonus, everything in the Museum Shop will be discounted 10% on Wednesdays, just for seniors. Sponsored by Tufts Health Plan Medicare Preferred. Open House for Educators Thursday, September 24, 4-6:30pm Calling K-12 teachers, home school families, and college/university professors! Learn about WAM’s educational resources, including tours, gallery/studio workshops, professional development, public programs, the Museum library, public programs, special exhibitions, and classes. In addition, enjoy complimentary wine and cheese, Museum giveaways, tours, and hands-on activities in the studios.
All programs listed are free with Museum admission, unless otherwise noted. * WAM Members are invited to bring a friend to Community Days for free!
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T H I R D T H U R S D AY S
The Fall Master Series Exhibitions and Programs Programs hosted by the WAM Members Council
hosted by worcester art museum
he Worcester Art Museum's Master Series offers a new season of highlight lectures, focused on ways to look closely at works by signature artists. Exhibited in different galleries throughout the Museum, these intimate displays allow for contemplation and study of some of the world's most celebrated artists. Each mini-exhibition is accompanied by a special Master Series Third Thursday event, hosted by the WAM Members Council, allowing you to learn even more about these signature artists and works. Enjoy an art talk related to one of the featured artists, plus music, cash bar, cheese and crackers — and the company of other art enthusiasts! Free with Museum admission.
Learn more at worcesterart.org
Dining Room in the Country by Pierre Bonnard October 14, 2015 – May 1, 2016
Program: Thursday, February 18, 2016, 6pm Explore Bonnard’s enigmatic and delightful country scene through this exciting loan.
Speaker: Matthias Waschek, director, Worcester Art Museum
Pierre Bonnard, Dining Room in the Country, 1913, oil on canvas, on loan from the Minneapolis Institute of Arts, The John R. Van Derlip Fund. Image © Artist Rights Society (ARS), New York/ADAGP, Paris
Portrait of Mary Coffin by John Brewster, Jr. July 15 – November 29, 2015 Program: Thursday, September 17, 6pm
John Brewster, Jr. (1766-1854) was a prolific, deaf itinerant painter, who produced many portraits of New England families, especially their children. Learn more about this fascinating portrait and its artist. Speaker: Paul D'Ambrosio, President and CEO, Fenimore Art Museum & The Farmers' Museum
Attributed to John Brewster, Mary Coffin, about 1810, oil on canvas, Private Collection.
Static Variations: Blue x 2 by Terri Priest September 16 – December 13, 2015 Program: Thursday, October 15, 6pm
Work by Worcester native Terri Priest (who passed away in 2014) is as varied as it is loved. Learn more about the woman behind this newly acquired work by WAM.
Speaker: Roger Dunn, Bridgewater State University
Terri Priest, Static Variations: Blue x 2, 1971-1972, acrylic on canvas, Helen Sagoff Slosberg Fund, 2014.1192 © Estate of Terri Priest, used with permission
Olmec, Standing Male Leader November 14, 2015 – April 15, 2016 Program: Thursday, November 19, 6pm
Although small in stature, this stone figure reveals much about Olmec religion and culture. Learn what research performed in WAM's conservation lab has uncovered about this figure's facial scarification, body modification, and other spiritual symbols.
Speaker: John Garton, Clark University
Olmec, Mexico, Standing Male Figure, 800 BCE, dark green stone, Museum Purchase, 1958.32
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There is no more difficult art to acquire than the art of observation... – Sir William Osler (1849-1919), founding professor of Johns Hopkins Hospital
Sherrilyn Sethi, DMH, assistant residency director of curriculum development and assessment at the UMass Medical School (fourth from left) poses with medical residents in the Art Since the Mid-20th Century Gallery.
Using art to train doctors
ou won’t see them wearing their iconic white coats and stethoscopes, but residents in the UMass Medical School’s Worcester Family Medicine Residency (WFMR) visit WAM each year during their three-year program to study art. Sherrilyn Sethi, DMH, assistant residency director for curriculum development and assessment at the medical school, says incorporating art into the residents’ training teaches them skills that will help them on their journey to become strong family physicians. “We ask our residents to use the vehicle of the visual arts to think about two main questions during their visits to the Museum: How can the art help me understand my patient? And, how can the art help me as a physician?” says Sherrilyn. Learning how to use the arts to mitigate stress and avoid physician burn-out is an important goal of the program, which was designed by a group of UMass Medical School faculty*. In addition, residents learn to use art as a tool to hone their observation and communication skills, to see things from a new perspective, and to be inspired to be creative in their care of
Learn more at worcesterart.org
patients. “Thoughtful patient-centered management is improved by creative approaches,” Sherrilyn says. “The Museum visits take residents out of their usual fast-paced environment and give them an opportunity to observe, reflect, and consider different points of view.”
The WAM experience, also led by Hugh Silk, MD, MPH, and Sara Shields, MD, encompasses themes such as communication (how art teaches about methods of communication), self-reflection (how art can help us learn about the self), and narrative (how art can be used to weave a story). During the two to three- hour workshops, groups of four to six residents study selected works of art in the galleries and then journal and discuss their thoughts about the experience. In the second and third years, residents now have the opportunity to explore the themes further by creating their own works of art.
Dr. Paul Steen, a retired physician and WAM docent, enjoys working with groups of residents during their gallery visits. He shows them four or five works he has
selected and leads a four-step exercise of observation, description, analysis, and interpretation on each work. “I like to choose paintings that have numerous details, portraits, symbolism and are ambiguous or mysterious,” he says. A favorite is Old Woman Praying, 1655, by Nicolaes Maes (Dutch 1634-93), because “it is loaded with detail, that is easily recognizable, but harder to interpret because of the symbolism that was intended for a 17th-century audience.”
Art museums are well suited to teach observation skills and build on what is taught in medical school, where students “learn by rote memorization that findings A + B mean the patient has a specific disease; for example, cough + fever in January could be flu,” Paul says. “Observation is at the very heart of the ‘art of medicine.’ Experts have stated that it takes 10 years to become accomplished at any skill. At the very least, these workshops aspire to shorten this time.”
*The Longitudinal Medical Humanities Curriculum faculty at the UMass Medical School includes Hugh Silk, MD MPH, Sara Shields, MD, Tina Runyan, PhD, and Virginia Van Duyne, MD.
© Franco Pagetti
September 23, 2015 - February 28, 2016 Photojournalism gallery in Knights!
Sheets line the devastated streets of Aleppo, Syria, acting as shields to obscure Free Syrian Army soldiers from the view of Bashar al-Assad’s security force snipers. Before the war, these sheets served a very different purpose as residents used them for privacy or to protect their homes from harsh weather. This exhibition features the work of Milan-based photojournalist Franco Pagetti, who worked in Aleppo at the start of the Syrian civil war.
Hassan Hajjaj: My Rock Stars November 7, 2015 - March 6, 2016
Hassan Hajjaj: My Rock Stars presents a video installation by Moroccanborn, United Kingdom-based artist Hassan Hajjaj, along with a related series of photographs, in a salon installation designed expressly for the exhibition. The video, My Rock Stars Experimental, Volume I (2012) pays tribute to individuals who—though they may not all be famous—have inspired the artist personally. The video features nine separately filmed performances by an international group of musicians and singers whose influences include hip-hop, jazz, as well as Gnawa (traditional North African spiritual songs by descendants of enslaved West Africans). This exhibition was organized by the Newark Museum.
Hassan Hajjaj, Mr. Tolliver, 2010, metallic Iambda print on 3mm white dibond. © Courtesy of the artist and Taymour Grahne Gallery, New York
Tsukioka Yoshitoshi, Capable: A Kyoto Waitress of the Meiji Era (detail), (1868-1912), May 15, 1888, ink and color on paper, Harriet B. Bancroft Fund, 2003.113
A magical evening
hank you very much to all who participated in the June 13th launch of the Corporators Ball, an annual black-tie gala in celebration and support of the Worcester Art Museumâ&#x20AC;&#x2122;s mission to connect art and community. The magical evening featured a live and silent auction, sumptuous dining, and unique entertainment throughout the Museum under the glow of a multitude of Japanese lanterns. We extend our gratitude to the following who worked tirelessly to make this event a success:
Event Co-Chairs Jennifer C. Glowik Luke M. Vaillancourt
Corporator Council John B. Anderson, Co-Chair Susan M. Palatucci, Co-Chair Barbara T. Athy Susan M. Bassick Tracy A. Craig Jyoti Datta Justin L. Fletcher Maureen L. Glowik James E. Hogan Luke M. Vaillancourt
We also wish to express a special note of appreciation to the Board of Trustees, the Salisbury Society Program Committee, and the Members Council for their creative ideas and input. In addition, we thank our Honorary Committee for lending their names and support to this event: Honorary Committee The Honorable Harriette L. Chandler Consul General Tsutomu Himeno Eric Nakamura Emily Rauh Pulitzer Kulapat Yantrasast
No fundraiser is successful without the support of corporate sponsors. WAM is especially grateful for our sponsors of this event who value our cultural significance in Worcester:
AUCTIONEERS AND APPRAISERS OF OBJECTS OF VALUE
Please visit worcesterart.org for pictures of the Corporators Ball. A complete listing of donors will appear in the next issue of access.
Learn more at worcesterart.org
Wendy and Eoin Horgan receive a wedding toast during their reception in the Renaissance Court.
A Celtic-themed wedding reception
endy and Eoin Horgan took their vows in front of their family and closest friends inside the majestic 19th-century Abbeyglen Castle in Connemara, Ireland. Their intimate wedding was the culmination of a week-long celebration last year in Eoin’s homeland. Wendy, who is Scottish, and Eoin returned to their home in Boxborough, Massachusetts, following their nuptials. That’s where the Worcester Art Museum comes into play. The Horgans have many friends here who wanted to celebrate the couple’s marriage. The task was to find a unique site close to their home that would be ideal for their reception.
“Eoin and I are joined together by a Celtic connection and wanted our reception to reflect that,” Wendy said. “We were thrilled when we walked into the Museum. The grand staircase and the upper-balcony level overlooking the Renaissance Court mirrored the castle where we were to be married. The Museum would be a perfect venue.” As the luck of the Irish would have it, the August date they wanted was available.
At their reception, a bagpiper in full-tartan regalia greeted guests at the Museum’s main entrance. Continuing the Irish-Scottish connection, Wendy incorporated a Celtic knot symbol on the menu and a signature sage color into the party’s theme. Her sons wore tartan kilts of the McIntyre clan, Wendy’s maiden name, and she donned a ladies’ tartan sash—the traditional accessory for Scottish brides.
The couple wove Eoin’s Irish heritage into the festivities with a cèilidh band led by Terry Traub that also provided music for traditional Scottish dancing. “We went for a six-month-long class to learn Scottish country dancing,” Wendy said. “Terry even called out the steps so our guests could dance, too.”
served at tables dotted along the upper balcony. Afterwards, they could visit the European Painting Galleries.
What advice does Wendy have for couples tying the knot at the Museum? “Keep your mind open to the suggestions from the top-notch event-planning staff, the florist, and the caterer. I’m so glad I did, because it enhanced what I wanted,” she said, praising Janice Potter, Museum event sales manager and wedding consultant, and her team.
Adding to the evening’s merriment was the photographer from Ericson-Wolfe Photography, taking a photo of all the guests assembled on the grand staircase. “We wanted to create a memory of everyone here at our reception,” Wendy said.
Other cultural touches included floral arrangements created by Jeff French, By all accounts, they did that August night which featured the distinctive cup-shaped at the Museum! Bells of Ireland. Contact WAM Wedding Consultant Janice Potter to learn how you can add Rembrandt,
The 102 guests enjoyed cocktails in the Monet, and Matisse to your wedding guest Renaissance Court and an elegant seated list. Call Janice at 508.793.4327 or email dinner, catered by Pepper’s Fine Catering, email@example.com
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What is your “Master Work?” Most of us have a favorite work of art in the WAM collection, a piece that speaks to us in a special way and that we return to again and again. At our gala auction in June 2014, we invited guests to think about their favorite WAM art work and bid on the opportunity to "adopt" it for a year with their name on the label. We're delighted that longtime Museum supporters Warner and Mary Fletcher and Chris and Cathy Collins won this unique auction item and are being recognized alongside their chosen pieces until the end of 2015. Below Warner discusses the Fletcher’s chosen “Master Work.” Camille Pissarro, French, 1831-1903, The Duquesne and Berrigny Bassins at Dieppe, Overcast Weather (Bassins Duquesne et Berrigny á Dieppe, temps gris), 1902, oil on canvas, Gift from the Estate of Robert W. Stoddard, 1999.67
“My aunt, Helen Stoddard, and her husband, Robert, acquired this painting in 1951. In 1978 it was stolen from their home in Worcester. In 1998 the painting came to light out in Cleveland, Ohio. Our law firm (Fletcher Tilton) was able to orchestrate its recovery, whereupon it subsequently came back to Worcester to reside permanently at the Worcester Art Museum. This was likely the only time in my life that I will ever play a key role in bringing something of such quality and beauty to a museum...and, boy, did it feel great! Consequently, I feel a strong attachment to this particular painting.” Warner and Mary Fletcher
Learn more at www.worcesterart.org
– Warner Fletcher
Salisbury Society We THANK the following Annual Fund donors whose gifts qualify them for the Salisbury Society. These generous supporters take a leadership role in strengthening the Museum’s core functions through annual operating support, which in turn enhances our exhibitions, educational programs and classes, and conservation work. For their level of support, members are treated to a Salisbury Art Series, sneak previews and an annual Gala celebration. Under the leadership of Lisa Bernat and Chris Collins as Co-chairs, the Society has welcomed 18 new members thus far this year. Members 9/1/2014 – 5/15/2015 PRESIDENT’S CIRCLE $10,000 +
Karin Branscombe Catherine M. Colinvaux and Phillip D. Zamore Mary and Warner Fletcher Lisa Kirby Gibbs and Peter Gibbs Mr. and Mrs. B. Anthony King Clifford J. Schorer Mr. and Mrs. Theodore E. Shasta
DIRECTOR’S CIRCLE $5,000 - $9,999
Herbert and Maura Alexander Kristin and Joseph Bafaro, Jr. Jack and Susan Bassick Mr. and Mrs. William R. Bush Mr. and Mrs. J. Christopher Collins James E. and Margaret F. Collins Mr. and Mrs. David F. Dalton Maria and John Dirlam Mr. and Mrs. James C. Donnelly, Jr. Diana R. Glimm Dr. Gabriele Goszcz and Douglas Crawford Dr. Abraham and Linda Haddad Mr. and Mrs. James N. Heald 2nd Marianne Jenner Jeppson Maureen and William Kelleher Mr. and Mrs. Joseph P. Lotuff C. Jean McDonough Mr. and Mrs. Neil McDonough Philip and Gale Morgan Nydia and Charles Moser Drs. Phyllis Pollack and Peter Metz John and Ellen Savickas PATRON $2,500 - $4,999
Marie and Mike Angelini Sharon K. and Richard M. Avis Lisa M. Bernat and Abram Rosenfeld Allen and Sarah Berry Mr. and Mrs. H. Paul Buckingham III Mr. and Mrs. Vernon Caforio Pablo and Paula Collins Margery and Richard Dearborn Mr. and Mrs. Charles H. N. de Végvár Antonella and Roger Doucette Allen W. Fletcher Patricia A. Fletcher Susan and Jay Foley Roberta Goldman Margaret Keith Tristan and Susanne Laurion Stephen and Valerie S. Loring Moira and Charlie Manoog Mr. and Mrs. Henry T. Michie Thomas Michie Martha R. and Arthur M. Pappas, M.D. Marlene and David Persky Marc S. Plonskier and Heni Koenigsberg Sarah and Joe Ribeiro Michael and Carol Sleeper Mr. and Mrs. John C. Stimpson George and Lynne Tonna Matthias Waschek and Steve Taviner Mark and Barb Wetzel
MEMBER $1,250 - $2,499
John B. and Mary Lou Anderson Julia Andrieni and Robert Phillips Drs. Seta and Diran Apelian John and Jeri Baker Thomas J. and Lynora S. Bartholomew Dr. and Mrs. Frederick L. Bayon Elaine W. Beals Whitney Beals and Pamela Esty Lisa and Rod Beittel Barbara and George Bernardin Eleanor C. Bernat Richard and Sande Bishop Michael and Cathleen Bollus Mr. and Mrs. A. Shepard Boote Raymond J. Boylan, Jr. Karl Lombard Briel Eric Brose and Jan Seymour Dawn and John Budd George and Tammy Butler Thomas W. Caldwell William R. Carrick Mr. and. Mrs. Robert R. Charles Henry J. and Elaine M.* Ciborowski Christos* and Mary T. Cocaine Paula H. Connolly Tracy A. Craig and Dr. James J. Convery Mrs. Fairman C. Cowan* Chris and Betsy Crowley Mr. and Mrs. David Crowley Dix and Sarah Davis Howard G. Davis III Phil and Laurie Davis Henry B. and Jane K. Dewey David DiPasquale and Candace Okuno Tom and Joan Dolan Dr. and Mrs. John A. Duggan David and Sandy Ekberg Cathleen C. Esleeck Birgit Faber-Morse Paul and Judith Falcigno Barbara E. Fargo Andy and Robin Feldman Dr. Marianne Felice Allen and Yda Filiberti Mrs. John E. Flagg* Justin and Laine Fletcher Richard and Joan Freedman Mark and Jan Fuller Kathleen H. Gadbois Paul J. Giorgio Dr. Wayne and Laura Glazier Maureen L. Glowik and Jennifer C. Glowik John and Geri Graham Maureen and Bob Gray Drs. Ivan and Noreen Green Joel P. Greene and Ann T. Lisi David R. and Rosalie A. Grenon Dr. Thomas and Mrs. Patricia Halpin Dr. and Mrs. James B. Hanshaw Phyllis Harrington Dr. N. Alan Harris and Dr. Diane Lebel
SALISBURY SOCIETY MEMBERS WILL ENJOY THE FOLLOWING UPCOMING PROGRAMS
July 15th: American Folk Art, Lovingly Collected—Opening party
September 11th: Arrivederci Raphael— A Salisbury gala celebration with an Italian flair
George Hecker Frank Herron and Sandy Urie Jock Herron and Julia Moore Dr. Janice Hitzhusen and Dr. James Pease James E. Hogan III Dr. James and Kathleen Hogan Margaret Hunter Frances and Howard Jacobson Candace Jaegle Jesuit Community at Holy Cross and Thomas Worcester David and Kathleen Jordan Rachel Kaminsky Dr. Marshall Katzen and Ms. Bari Boyer Shubjeet Kaur John F. and Rayna Keenan Daniel Y. Kim, M.D. Dr. Jean King and Dr. Carl Fulwiler David and Barbara Krashes Tracy and Morey Kraus Mr. and Mrs. Warren C. Lane, Jr. Albert and Anna LaValley Claude M. Lee III Mary Beth Leonard Christine and Dana Levenson Thomas J. Logan David Lucht and Susannah Baker Ingrid Jeppson Mach and Dany Pelletier Robert and Minh Mailloux Thomas Manning and Nadine Manning Mr. and Mrs. David R. McCann Christian McCarthy Daniel R. McLean and Jon L. Seydl Don and Mary Melville Dr. and Mrs. Glenn A. Meltzer Mr. and Mrs. Andres Jaime Molina Mrs. Anne (Nancy) Morgan Mahroo and Barrett Morgan Mr. and Mrs. Peter S. Morgan James and Patricia Moynihan Jim Mullen and Nola Anderson Frederic and Victoria Mulligan Charlene Nemeth Drs. Dominic Nompleggi and Ann E. Brown Dr. and Mrs. Joseph C. Oakley Edward Osowski Deborah Penta John and Patricia Peterson Mrs. William O. Pettit, Jr.*
Mr. and Mrs. N. William Pioppi Cynthia and Stephen Pitcher The Plourde Family Charitable Trust George Rand Arthur and Debra Remillard Luanne Remillard Linda and Ted Robbins Mr. and Mrs. Henry B. Rose Peter and Anne Schneider Carol L. Seager Jeanice Sherman and Dwight Johnson Dr. Shirley S. Siff and Robert M. Siff Dr. and Mrs. Jang Singh Rick and Glena Sisson Mitchell and Gwen Sokoloff Erik Sontheimer Ph.D. and Catherine Brekus John J. and Kristina M. Spillane Andrew Spindler Mark Spuria Katy and Peter Sullivan Anne Tardanico George and Sheila Tetler Tony and Martha Tilton Lee and Owen Todd Mr. and Mrs. Gary F. Vaillancourt Luke M. Vaillancourt and Anna Vaillancourt Judith Vander Salm Herb and Jean Varnum Kristin Waters Roger and Elise Wellington James A. Welu Judy and Steve Wentzell Barbara Wheaton Peter and Shirley Williams Joanne and Douglas Wise Susan and David Woodbury Ken and Dorothy Woodcock John Worcester Dr. Edward C. Yasuna *Deceased
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Membership My Way
Select your membership level: Single / $60 — 1 adult / 1 child
Double / $80 — 2 adults / 2 children Triple / $100 — 3 adults / 3 children
Choose your categories:
$20 per category (more than one can be chosen)
Enjoy meeting new people and socializing?
• “Early Access” to a special event
• One 10% off coupon for use at WAM’s Café
• Two guest passes to bring friends, family or colleagues to the “Early Access” event
• Register for classes 24 hours in advance of the
Introducing a unique twist to our membership packages. While we remain committed to the same annual membership price, we’re offering a new, customized plan for our membership packages that will change the way you interact with the Worcester Art Museum. We’re calling it Membership My Way.
public (call 508.793.4333)
• Additional 10% off WAM class registration when you sign-up for more than one class
• Invitation to the Family Summer Picnic
With Membership My Way, you pick a category that fits your unique needs and customize that membership to focus upon your own personal tastes and preferences. Offering you discounts, alerts, and preferential treatment, Membership My Way provides you with access to the Museum in ways that are meaningful to you—our valued member.
• Reserved seats for Artist Talks ahead of time (call 508.793.4301 to reserve)
• Access to 33 additional Museums
through the Museum Alliance Reciprocal
Learn more at worcesterart.org
Is creating and exploring your idea of fun?
• Register for classes 24 hours in advance of the
All Members enjoy
Love an inside scoop?
• An invitation to an Insider’s Tea and Docent Tour
• Unlimited free admission to the Museum • 10% savings at the Museum Shop and 20% off during the holidays • Up to 15% discount on WAM classes • $35 discount on children’s birthday parties (call 508.793.4334 to reserve) • Invitations and discounts to WAM exhibit openings and social events • Free audio tours • Subscription to access magazine • Members Express Line at major events • Select member days, when you can share your membership with friends and family
Looking for family discounts and entertainment?
public (call 508.793.4333)
• Additional 10% off WAM class registration when you sign-up for more than one class
• An invitation to an Artist Talk Q & A
Start enjoying your benefits while supporting the Worcester Art Museum Purchase your Worcester Art Museum membership online at worcesterart.org/Membership, email firstname.lastname@example.org, call 508.793.4300, or stop by the Visitor Services Desk at the Museum. For Salisbury or Benefactor level membership, call 508.793.4325.
members access [community
F E AT U
Member spotlight: Kristina Jones
WA M MEMB
are always a blast, too! My kids must have spent half an hour drawing chalk art in the parking lot one year. They also enjoy the scavenger hunts.
adeline Grim has served as Membership Coordinator for WAM since 2014. In her role, she manages the Museum’s Membership My Way program and works closely with the Members Council on special events. Here, Madeline puts the spotlight on WAM Members Council member Kristina Jones.
MG: Most of us have a work of art or gallery at WAM that we return to again and again. What is that special piece or place in the Museum for you -- and why?
KJ: A friend of mine was a member of the council, and her family had been coming to and volunteering at the Museum for many years. She was so excited to talk about it, that I got excited, too! I have grown up and lived in the area and couldn't even remember the last time I had been to the Museum, even though I drove by it almost daily. Now I strive to make sure other people like me, who know about WAM but don't REALLY KNOW it, learn more, come to an event, and get involved.
MG: If you could ask one question of any artist – from the past or present -- who would you choose and what would you ask?
MG: People become Museum members for many different reasons. What were yours when you joined WAM?
MG: What has it been like being involved on the Members Council?
KJ: It has been a great experience. I have met so many different people with different backgrounds who are all united by a love for the Museum and a passion to share it with others! I am a "people person," so I love working at the events, talking to members and guests. MG: What’s been your favorite event at the Museum?
KJ: Flora in Winter is always amazing. It is an invigorating event, and I love the "spring" energy in the air! The family days
KJ: I enjoy the American gallery, as I love seeing the completely different ways the portraits are painted. The styles are so unique. I especially love the portrait of Sampson Wilder. It is striking to me and captures me every time I walk by. Although I always stop by and visit this painting, I really love that every time you visit the museum there are new displays and exhibitions to enjoy. It truly is a different museum every time! KJ: That's a tough question. It always amazes me how much information the art society knows about many artists and their works, and I learn so much every time I take a tour, or even overhear a docent sharing information on another tour. I have to admit that some of the contemporary art and especially abstract art do not speak to me as much as some of the classics, so I would have to pick an artist in that category and have him or her really explain their inspiration and what they "see" in their pieces!
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WA M BUSINES S PA R T N E R
Business Partners! Together we make a difference for Worcester. SPONSORS $20,000+ Unum
$15,000+ Skinner Auctioneers
$10,000+ Fallon Health People's United Bank Saint-Gobain The TJX Foundation, Inc. United Bank Foundation Massachusetts
$5,000+ Bowditch and Dewey, LLP Fletcher Tilton P.C. FLEXcon Company, Inc. Harvard Pilgrim Health Care Imperial Distributors, Inc. Interstate Specialty Products, Inc. National Grid Reliant Medical Group Tufts Health Plan Medicare Preferred UniBank Worcester Business Journal
$2,500+ J.J. Bafaro, Inc. Herbert E. Berg Florist, Inc. CCR Wealth Management, LLC Christie's Commerce Bank Country Bank Foley Incorporated Highland-March Office Business Centers Revelation Productions, Inc. Spectrum Health Systems, Inc. Waters Corporation Webster Five Worcester Magazine MEMBERS
$1,000+ AAFCPAs Avidia Bank Bartholomew & Company, Inc. Bay State Savings Bank BenefitsLab - Health Insurance Solutions 34
Learn more at worcesterart.org
Central One Federal Credit Union Columbia Tech Data Source, Inc. Davis Publications, Inc. Fiduciary Investment Advisors Floral Elegance Greenberg, Rosenblatt, Kull & Bitsoli, P.C. Mercier Electric Company, Inc. Merrill Lynch / The O'Brien Group Miles Press, Inc. Russell Morin Fine Catering J.S. Mortimer, Inc. New England Disposal Technologies, Inc. Penta Communications, Inc. Pepper's Fine Catering Perfect Focus Eyecare Carol Seager Associates, Inc. Seder and Chandler, LLP Spencer Bank Thomas J. Woods Insurance Agency, Inc. Worcester County Memorial Park
$500+ The Berry Group of Wells Fargo Advisors Burr Insurance Butler-Dearden Charlton Manor Rest Home Checkerboard Ltd. Coghlin Electrical Contractors Cryogenic Institute of New England, Inc. Cutler Capital Management George's Coney Island Leadership Transitions F.W. Madigan Company, Inc. Marr Oil Heat Co., Inc. Mirick Oâ&#x20AC;&#x2122;Connell Northwood Insurance Agency, Inc. The Protector Group, a Marsh & McLennan Agency Company Quaker Special Risk Joffrey Smith Financial Group Sotheby's Struck Catering Sullivan Benefits Sullivan, Garrity & Donnelly Insurance Agency, Inc. Sunshine Sign Company, Inc. Wings Over Worcester As of May 15, 2015
Courtesy of Country Bank
Business Partner Spotlight
Proud to be an integral part of our local communities since 1850, Country Bank is now one of the most highly capitalized financial institutions in the Commonwealth. They are committed to helping the families and businesses in our communities prosper by offering the latest, innovative financial solutions modern banking has to offer. We spoke with Paul F. Scully, President/CEO of Country Bank about his Business Partner experience.
access: Companies become Museum Business Partners for varying reasons. What were yours?
PS: Country Bank proudly supports many local non-profits in all the communities we serve. We will be opening a branch on 278 Park Avenue this summer and knew that a partnership with the museum would be a perfect fit for us and a way to celebrate our commitment to the Worcester Community.
access: Why do you feel supporting the WAM is important as a community business leader?
PS: We feel that it is our civic responsibility to support such treasured landmarks in our communities. We do what we can to help them thrive for years to come.
access: What sort of activities have you enjoyed so far as a new Business Partner?
PS: We held our Annual Meeting at WAM on March 9th to unveil the opening of our new location in Worcester. Our officers, Trustees and Corporators were in attendance. The event was simply amazing, and our guests had a wonderful time viewing the exhibits and all the Museum has to offer.
B U SIN ESS PA R TN ER S / worcesterart.org/business-partners Contact Karmen Bogdesic: 508.793.4326 / email@example.com
American Folk Art, Lovingly Collected
(opens July 15)
See the art, hear the music, and try out the crafts in our summer exhibition and related Folk Festival Community Days – which include Art + Market! Folk Music Festival: Saturday, July 18, 10am – 5pm Folk Art Festival: Saturday, August 22, 10am – 5pm
Challenge your idea of the samurai in this contemporary interpretation of Japanese myth and tradition
Summer Art Classes
Paint, draw, photograph, and sculpt your way through summer! Check out our new sword play classes. Learn more and register at worcesterart.org/classes.
Experience Family-Friendly Fun all summer long! Taste Visit
Learn more at worcesterart.org
Touch, try on, and “tour” the Museum with Helmutt, WAM’s new top dog!
Café and Sip
Enjoy a delicious lunch in WAM’s beautiful outdoor café, or buy a sandwich or snack-to-go at the Sip cart in the Lancaster Lobby. (The Café will be closed July 18 and August 22)
Visit for FREE throughout the month of August Made possible by a generous gift from the Kirby Foundation
THE KIRBY FOUNDATION wants to DOUBLE YOUR GIFT to the WAM FUND
In addition to renewing its generous support of FREE AUGUST at the Worcester Art Museum, the Kirby Foundation has just announced its intent to commit up to $50,000 to MATCH all NEW or INCREASED GIFTS to the WAM FUND from June 1 through August 31, 2015.
Don’t miss out on this opportunity to double your contribution to this critical source of unrestricted operating funds, which directly supports the Museum’s mission to connect art and community. Contact the Development Office at 508.793.4325, or visit www.worcesterart.org/give/wam-fund/ to make and double your gift today!
We are grateful to the following foundations
We are grateful to the following foundations for their generous support of the Worcester Art Museum for their generous support of the Worcester Art Museum: George I. Alden Trust – Culture LEAP Programming J. Irving and Jane L. England Charitable Trust – Unrestricted General Operating Support The Patrick and Aimee Butler Family Foundation – Unrestricted General Operating Support Stoddard Charitable Trust – Modern Art and Culture LEAP Programming Bank of America – Museums On Us Sherman-Fairchild Foundation – Small Museum Conservation Program The Patrick and Aimee Butler Family Foundation – Unrestricted General Operating Support Mildred H. McEvoy Foundation – Higgins Armory Collection Integration Hoche-Schofield Foundation – Higgins Armory Collection Integration Sherman Fairchild Foundation – Small Museum Conservation Program Francis A. and Jacquelyn H. Harrington Foundation – Higgins Armory Collection Integration René & Karin Jonckheere Fund – Conservation of the Last Judgment tapestry Hoche-Schofield Foundation – Higgins Armory Collection Integration Bradley C. Higgins Foundation – Higgins Armory Collection Integration LLH/LHM Foundation – Unrestricted General Operating Foundation – Unrestricted General Operating LLH/LHM Ruth H. and Warren A. Ellsworth Foundation – Higgins Armory Collection Integration The Manton Foundation – Higgins Armory Collection Integration Foundation – Capacity Building Initiatives The Manton The Samuel H. Kress Foundation – Raphael’s Collaborations Symposium The Rockwell Foundation – Higgins Armory Collections Integration RhodesFoundation & Leona B. – Carpenter Foundation – Japanese Art & Poetry Exhibition TheE. Rockwell Higgins Armory Collection Integration John & Kelley Joseph Family Foundation – Arts Alternative Programming Christian A. Johnson Endeavor Foundation – Exhibition, Education, and Outreach Programming E. Rhodes and Leona B. Carpenter Foundation – Samurai and Uncanny Japan Exhibitions The Schwartz Charitable Foundation – Higgins Curatorial Support Trust J. Irving and JaneFoundation L. England–Charitable rust – Unrestricted General Operating Support Endeavor Exhibition,T Education, and Outreach Programming Christian A. Johnson Stockmen Family Foundation Trust – Conservation Equipment Greater Worcester Community Foundation Worcester Greater W orcester various Exhibition and Education for Community Foundation Programs Outreach
Highland Street Foundation Highland Street Free Fun Fridays
for various Exhibition and Education Outreach Programs
Foundation Free Fun Fridays
René & Karin Jonckheere Fund René & Karin Conservation of the Last Jonckheere Fund Judgment tapestry
Institute of Museum and Library Services and Library Services Museums Museums for for America: America: American and European Digitization American Painting and European Institute of Museum
Conservation of the Last Judgment tapestry
The Henry Luce Foundation The Henry Luce American Art Curatorial Assistant
The Kirby Kirby Foundation Foundation Free August The
Foundation Assistant Curator of American Art
Free Summer 2013
Massachusetts Cultural Council Massachusetts CulturalInvestment Council Portfolio: Partner; Cultural Cultural Investment Cultural Facilities Fund; UP-ILN Partner Portfolio: Partner Cultural Facilities Fund
The W. W Mellon Foundation Curator of American Art Andrew W. Foundation . Mellon TheAndrew Curator of American Art
SALUTE TO SPONSORS CORPORATORS BALL for the2015: Arts Festival of Lanterns National Endowment ArtWorks: Teen Artists at WAM
AUCTIONEERS AND APPRAISERS OF OBJECTS
The European Fine Art Foundation Conservation of Hogarth Portrait Pair National Endowment for the Humanities Sustaining Cultural Heritage Collections; Collection Sustainable Storage Initiative TJX Foundation Free First Saturday mornings 10am-noon
The Worcester Art Museum is grateful to our corporate sponsors for understanding the value of making the Museum’s exhibitions, projects, and programs possible. National Endowment for the Humanities Sustaining Cultural Heritage Collections; Collection Sustainable Storage Initiative
The European Fine Art Foundation COMMUNITYConservation DAY: Dia de of los Muertos Hogarth Portrait Pair
National Endowment for the Arts Artworks; Teen Happenings at WAM
TJX Foundation Free First HOLIDAYS at WAM Saturday mornings 10am-noon
AMERICAN FOLK ART: Lovingly Collected AUCTIONEERS AND APPRAISERS OF OBJECTS
COMMUNITY DAY: Cherry Blossom Festival
FLORA in WINTER
COMMUNITY DAY: Folk Festival
STAR WARS DAY
For more information about how your company can co-brand with WAM through a business partnership or sponsorship, contact Karmen Bogdesic at 508.793.4326 or firstname.lastname@example.org. 38
Learn more at worcesterart.org
Phoro: Eric Limon - www.maweddingphotographers.com
Phoro: KLC Photography
Special Events Make your event a masterpiece.
W O R C E S T E R A R T M U S E U M To book a social or corporate event visit www.worcesterart.org or call 508.793.4327.
shop the museum
Café Lunch with us. We’re sure to enchant you with our seasonal specials.
Job Adriaensz. Berckheyde, The Baker, about 1681, oil on canvas, Gift of Mr. and Mrs. Milton P. Higgins, 1975.105
The Museum Shop offers items inspired by art in the permanent collection and in museums worldwide. Visit today to see our latest selections that celebrate our exhibitions and appreciate art around the world.
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The pursuit of art on a regular basis may be the key to healing our minds and bodies. â&#x20AC;&#x201C; Kim Blair, contemporary artist
A STRONG HISTORY OF RESULTS For over 25 years, clients have turned to PENTA when they want to improve the results of their marketing and advertising programs. Discover why our clients rated integrity, trust, phenomenal service, creativity and great results as their top five reasons for working with our firm.
To learn more about how PENTA can help your organization get to the next level, call Deborah Penta at 508.616.9900, ext. 117.
Register for Adult Classes Make something great!
Enjoy 7 Broadway Tony Award-winning shows at one of the top theatres in the world! -Pollstar
BROADWAY’S SMASH HIT!
PRODUCERS TM & © 1957, 2015 Dr. Seuss Enterprises, L.P.
NOV 6-8, 2015
JAN 29-31, 2016
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MAR 11-13, 2016
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Annie photo credit: Joan Marcus
OCT 23-25, 2015
JUNE 7 - 12, 2016
SUBSCRIBE NOW & SAVE ON GUARANTEED GREAT SEATS
TheHanoverTheatre.org 877.571.SHOW (7469) 2 Southbridge Street • Worcester, MA Worcester Center for Performing Arts, a registered not-for-profit 501(c)(3) organization, owns and operates The Hanover Theatre for the Performing Arts.
New shows are added all the time! Visit TheHanoverTheatre.org for our current schedule.
WORCESTER ART MU SEU M
Non-Proﬁt Org. U.S. Postage
PA I D
fifty-five salisbury street worcester, massachusetts 01 6 0 9
Permit # 2098 Worcester, MA
ADMISSION Members: Free / Adults: $14 Seniors and Students: $12 Youth 4-17: $6 / Children under 4: Free First Saturday Mornings 10am-noon: Free (The first Saturday of each month. Supported in part by TJX Foundation Inc.) EBT card holders: $2/person WOO Card holders: Show your card for $2 off general admission for up to 4 adults GALLERY HOURS Wednesday 11am-5pm Thursday 11am-5pm* Friday 11am-5pm Saturday 10am-5pm Sunday 11am-5pm *3rd Thursday 11am-8pm Closed Mondays, Tuesdays, and Holidays THE MUSEUM CAFÉ 508.793.4358 Wednesday-Saturday, 11:30am-2pm
We partner with
THE MUSEUM SHOP 508.793.4355 Open during gallery hours
MEMBERSHIP 508.793.4300 email@example.com
LIBRARY 508.793.4382 firstname.lastname@example.org Wednesday-Friday 11am-5pm
SALISBURY SOCIETY / BENEFACTORS / ANNUAL FUND 508.793.4325 NancyJeppson@worcesterart.org
SOCIAL & CORPORATE EVENTS RENTAL 508.793.4327 email@example.com
CLASSES Higgins Education Wing firstname.lastname@example.org Registration: 508.793.4333 / 4334
GROUP TOURS 508.793.4338 JanEwick@worcesterart.org
BUSINESS PARTNERS / SPONSORSHIPS 508.793.4326 KarmenBogdesic@worcesterart.org
VISITOR & VOLUNTEER SERVICES 508.793.4321 during Museum hours email@example.com
ACCESSIBILITY For barrier-free access to the Museum, park in the Tuckerman Street lot and enter the Stoddard Garden Court. Follow the pathway to the outdoor Café and enter the Museum via the ramp on the right. The Garden entrance is open during Museum hours and while classes are in session. Wheelchairs are available for loan. Please request upon arrival. p 508.799.4406 / f 508.798.5646
Unless otherwise stated, all images © Worcester Art Museum, all rights reserved