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Cover: Shih Chieh Huang, Seductive Evolution of Animated Illumination, detail, 2013, Venice, Italy, collaboration with glass masters from Murano, modification of Renaissance style glass chandelier with mixed household electronics, Courtesy of the artist. Left: Philippe-Jacques van Bree, Interior of the Studio of Van Dael and His Students at the Sorbonne, detail, 1816, oil on canvas, Stoddard Acquisition Fund, 2016.13 access magazine is a publication of the Worcester Art Museum. All rights reserved. Information subject to change. Editor: Julieane Frost Editorial Assistant: Cynthia Allegrezza Design: Kim Noonan Photography: Stephen Briggs, Norm Eggert, Kim Noonan, Dany Pelletier Contributing Writer: Rae Padilla Francoeur
From the Director
Flora in Winter
John O’Reilly: A Studio Odyssey
Reusable Universes: Shih Chieh Huang
Conservation spotlight: Greek Vases
Medieval Galleries reinstallation
Enriching our collection
Spring Master Series
Tours, programs, etc.
Coming this fall
Welcoming “little ones” to WAM
Corporator’s Ball: Heavenly
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From the Director Three years have passed since the Higgins Collection moved across town to become part of the Worcester Art Museum, adding immeasurably to our holdings and our ability to reach new audiences. Since then we have made progress on the monumental work of fully integrating the collection into ours-first with Knights!, which closed in November after a 21/2 year run, and then with the reinstallation of the Medieval Galleries, which opened in December.
The former used art, music, iPads, and even Batman to interpret the Higgins collection in a new way. The latter presentation tells another new story for our audiences by combining WAM’s outstanding collection of ecclesiastical artwork with chivalric arms and armor—along with digital interactives and hands-on experiences. After this, look for arms and armor in galleries throughout the Museum, further rounding out their cultural narrative. Last summer we continued this trend of telling new stories and reaching new audiences with Meow. This museum-wide project piggybacked on the global kitty craze to show visitors how their passion for cats is deeply rooted in art history—and how they can connect with that passion in rewarding museum experiences. By partnering with the excellent Worcester Animal Rescue League we were able to find homes for 18 rescue cats through the contemporary art installation, The Cats-in-Residence Program, bringing the Meow experience full circle.
As I write this, we have just opened our newest show, KAHBAHBLOOOM: The Art and Storytelling of Ed Emberley. Our first exhibition of picture book art has already touched the hearts of thousands of children, librarians, teachers, and adults who grew up loving Ed Emberley’s books. Since kids have their first introduction to art through picture books, KAHBAHBLOOOM gives us yet another opportunity to make our collection relevant to audiences in the here and now.
The common thread weaving through these projects is experimentation and innovation —the foundation of our 2020 Vision and an essential part of the fiber of your new Worcester Art Museum. Our medium size allows us to try “out-of-the-box” ideas and approaches and to push the boundaries of what museums can do to engage visitors with the joy of discovery through art. This, in addition to our location in the Greater Boston region, positions us to offer a personal experience with art and community and to connect with each of our neighbors individually. As an inclusive and welcoming partner we support our local schools and colleges, and we show that great, transformative art experiences are not the privilege of just a few, but are accessible and relevant to everyone.
If you are reading this, you have participated in some way in WAM’s success—through your interest, your support, your advocacy. I thank you for that and invite you to continue this exciting journey with us!
Matthias Waschek The C. Jean and Myles McDonough Director
WORCESTER ART MUSEUM
Board of Trustees 2016
Lisa Kirby Gibbs, President James C. Donnelly, Jr., Vice President Phyllis Pollack, Vice President John Savickas, Vice President James E. Collins, Treasurer Herbert S. Alexander Susan M. Bassick* Sarah G. Berry Karin I. Branscombe Catherine M. Colinvaux Susan M. Foley Mark W. Fuller Gabriele M. Goszcz Abraham W. Haddad Andrew T. Jay* Rachel Kaminsky William D. Kelleher, Jr. Dana R. Levenson* Ronald L. Lombard* Patricia S. Lotuff Lisa H. McDonough Philip R. Morgan Marc S. Plonskier Malcolm A. Rogers Anne-Marie Soullière* Matthias Waschek (ex-officio)
* new members
Learn more at worcesterart.org
Dominican Altar of Our Lady of the Rosary with Christ Child (detail), Peruvian, late 17th – early 18th century, oil on canvas, Roberta and Richard Huber Collection. Photograph by Graydon Wood, Philadelphia Museum of Art.
The remarkable Ed Emberley
ention Ed Emberley’s name at a dinner party or library, and you’ll likely be met by a chorus of ecstatic ooohs and aaaahs.
Art and Stor KAHBAHBLOOOM: The On view through April
ytelling of Ed Emberley
“He attracts enthusiastic, intergenerational audiences to his art and his children’s books,” says Katrina Stacy, co-curator of KAHBAHBLOOOM: The Art and Storytelling of Ed Emberley, along with the highly regarded artist and author Caleb Neelon. The exhibition runs through April 9.
Following several years of art school in Boston and two years making two-color illustrations for a direct-mail ad agency, Emberley published his first book, The Wing on a Flea, in 1961. The New York Times named it—his first of many books about shapes--one of the ten best illustrated books of the year.
For six decades and counting, Emberley’s books have inspired fledgling artists to grab a pencil and express themselves. Since 1962 he’s lived and worked in a 1690 colonial home in Ipswich, Massachusetts. Though he is a powerhouse of energy, ideas, and creativity—he’s published more than 100 books, many of which are evergreen bestsellers—he keeps a low profile and modestly acknowledges the popularity of his work and this critically embraced retrospective at WAM.
Emberley devised a small alphabet of shapes—circle, triangle, line, dot, a squiggle, and rectangle—as the key to drawing everything from a lobster to a tractor to a swamp creature. “Here’s an alphabet that doesn’t rely on words,” he says. “You can take it to Afghanistan. Anyone can use it.”
KAHBAHBLOOOM is the very first museum retrospective of the Caldecott award-winning illustrator’s works. Although the exhibition is comprehensive, it brings to the fore Emberley’s drawing books and his intrepid 60-year evolution as maker of books—from XACTO knife to PDF. His creativity, innovative drive, and how-to-draw process position him as one of this country’s most beloved and celebrated children’s book illustrators.
The 85-year-old artist is revered as an innovator, says Stacy. “With his wonderful imagination, he explores many styles of expression and media. He’s different from other illustrators in that way. He’s a creative soul who cannot stop experimenting. And we appreciate his belief that everyone can have fun drawing.”
He’s as likable as his work. Meet Emberley and you will feel the spirit of Drummer Hoff, Paul Bunyan and, yes, The Big Green Monster. Emberley is lean, energized, and bears a welcoming smile. He likes to talk and he always uses his hands—the hands he draws with—to make points. Open to ideas, he has plenty of his own. He knows himself and, early on, knew what he needed to do to make art and support his family. They were one in the same: be true to his creative voice.
Left: KAHBAHBLOOOM: The Art and Storytelling of Ed Emberley, on view through April 9, 2017.
In the beginning, creating picture books was very time-consuming for Emberley, because of his exacting standards for reproducing colors. After spending two years on Drummer Hoff, the Caldecott-winning book of woodcuts, he realized that, in order to support his family, he would have to produce books more quickly. Emberley told his publisher, “I’ve got this idea for a 32-page book that I can do fast.” That idea turned out to be the first of his very popular drawing books.
His characters, even the inanimate and thumbprint creations, possess a lively spirit that compels people of all ages to try it themselves, to share in the joy of drawing. Adults who learned to draw using Emberley’s techniques now share his books with their children and grandchildren.
“Once you get it, there’s a kind of zing,” says Emberley. “And that zing is addictive. I know I’m after the zing and so are others. Without it, we’d probably still be living in caves.”
KAHBAHBLOOOM: The Art and Storytelling of Ed Emberley is supported in part by The Donald and Mary Melville Contemporary Art Program Fund and The John M. Nelson Fund. Sponsorship support is provided by Cole Contracting, Inc. and Imperial Distributors, Inc. Media partner is Artscope Magazine.
Helmutt’s Drop-in Studio Wednesday-Fridays, 11am-12pm and 1-3pm Sundays, 2-5pm, Higgins Education Wing After experiencing the art in KAHBAHBLOOOM, make some of your own using Ed Emberley’s techniques.
Above: The artist signs books during the opening of KAHBAHBLOOOM on November 17, 2016.
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Flora Winter in
January 26-29, 2017 Come in from the cold to the warmth of WAM's annual floral extravaganza, when the Museum blooms with flower arrangements inspired by works of art. This premier floral design event includes captivating and imaginative interpretations of artworks created by skilled arrangers from across the region and displayed in virtually every Museum gallery. 2017 Flora in Winter Chairs: Kim Cutler, Kathy Michie, and Sarah Ribeiro
Members enjoy free admission to Flora during exhibition hours all four days, except for Flora Opening Party. Nonmembers: Adults $20, youth $6 during exhibition hours
HOURS AND PARkING
Museum & Shop Thursday, January 26: 11am-5pm; The Museum and Shop reopen from 5:30-8pm for Flora Opening Party Friday, January 27: 11am-8pm Saturday, January 28: 10am-8pm Sunday, January 29: 11am-5pm The Museum Café Thursday, January 26: 11am-3pm Friday, January 27: 11am-3pm Saturday, January 28: 11am-3pm Sunday, January 29: 11am-3pm For questions, please contact the Café Manager at 508.793.4358
Parking Valet parking will be available throughout Flora in Winter at the Salisbury Street entrance for a fee of $5 per car. Public docent-led tours Free with Museum admission. Visit worcesterart.org/flora for schedule. Arrange for a private tour for groups of 10 or more by calling 508.793.4338.
Learn more at worcesterart.org
THURSDAY January 26
Flora Opening Party: kAHBAHBLOOOM: An Explosion of Color! 5:30-8pm Reserve early by January 18 for discount: $30 WAM Members; $50 Nonmembers; $25 students After January 18 or at the door: $35 WAM Members; $55 Nonmembers; $30 students Member youth $5; nonmember youth $6 Be among the first to experience this year’s Flora in Winter. Hors d'oeuvres, live music, and cash bar. Dress in the event theme is encouraged! Valet available at both Lancaster and Salisbury Streets: $5 per car. To buy tickets: Call 1.800.838.3006, or buy online: worcesterart.org/flora FRIDAY January 27
Subjective Flora, Flora Live Interpretation in the Gallery (Members Only)
9:30-10am conference, 10am-11am European galleries Members only: $35. Limited to 30 people This special event will tap the expertise of floral designer Sally Jablonski and Flora in Winter Chair Kim Cutler. Enjoy coffee and pastry, view an illustrated talk, Subjective Flora, and watch a live floral design demonstration, inspired by Cornelis van Haarlem’s Paris and Oenone. To buy tickets: call 1.800.838.3006, or buy online: worcesterart.org/flora Interpretive Challenge Class Demonstration: The Judges Challenge* 3:30-5pm Lancaster Welcome Center See how three different floral design judges create flower arrangements from scratch inspired by Rotante dal Foro Centrale by Arnaldo Pomodoro, located in the Stoddard Garden Courtyard.
SATURDAY January 28
Origami Flower Scavenger Hunt* 10am-1pm and 1:30-3:30pm Repeats Sunday, January 29, 11am-1pm and 1:30-3:30pm Throughout Museum Galleries Join Museum educators and docents in an interactive, drop-in, origami-making scavenger hunt throughout the museum. Leave with a bouquet of three handmade flowers!
Floral Demonstration, Lunch, and Tour 10:30am-1pm Higgins Education Wing Members $35, Nonmembers $45, Students $15 (includes Museum admission) Join MaryEllen O’Brien and Diana French as they explore the world of floral design. The demonstration will present exciting combinations of plant materials and new design techniques. Immediately following will be a buffetstyle lunch and then a special docent led tour of Flora in Winter! To buy tickets: Call 1.800.838.3006, or buy online: worcesterart.org/flora SUNDAY January 29
Activity for kids of All Ages: Thumbprint Flowers* 10:30am-12:30pm Higgins Education Wing, Studio 100 Space is limited and is first-come, firstserved. Use inspiration from KABAHBLOOOM: The Art and Storytelling of Ed Emberley to create your own thumbprint flowers.
Lecture: The Role of Flowers in Mythology and Art with Antonella Doucette* 1pm Conference Room Join Antonella Doucette, beloved WAM faculty member, as she discusses the role of flowers in mythology and art.
Concert: Oskar Stenmark & Piatruba* 2:30pm Renaissance Court Piatruba plays traditional melodies from Sweden, as well as original compositions mixed with improvisation and contemporary sounds. * Open to the public; free with Museum admission; reservations not required.
An unparalleled collection comes to WAM Highest Heaven: Spanish and Portuguese Colonial Art from the Collection of Roberta and Richard Huber March 11 – July 9, 2017 Hiatt Gallery
rtists have long grappled with the complexities of representing the sacred realm of saints and angels and making the otherworldly real and believable. When the first Catholic missionaries arrived in the New World in the sixteenth century, they used art to help facilitate the transmission and reception of their faith to the native peoples, whose own beliefs and customs were worlds apart. These exceptional examples of sacred and applied arts have shaped our understanding of the colonial experience.
Highest Heaven: Spanish and Portuguese Colonial Art from the Collection of Roberta and Richard Huber, opening on March 11, presents an extraordinary opportunity to experience some of the finest works from the Iberian colonial world. The exhibition explores the visual traditions that developed during the centuries-long evangelization of the Americas and Asia by the Catholic powers of Spain and Portugal. During this period, artists and artisans of diverse ethnic and racial backgrounds took part in creating local Catholic traditions, often through the development of hybrid aesthetic idioms. The featured works illustrate the role of art in communicating the Catholic faith to local populations and in establishing Christian centers throughout the Iberian colonial world. The distinguished collection of New Yorkers Roberta and Richard Huber—one of a rare kind in the United States—brings together paintings, sculptures, and metal- and woodwork by some of the most prolific masters of the colonial period and reveals a dazzling world of divine splendor.
The exhibition debuted at its organizing institution, the San Antonio Museum of Art, in June 2016 and then traveled to the Crocker Art Museum in Sacramento, California, where it opened in October 2016. The Worcester Art Museum will be its third and final stop, providing a rare glimpse of this important collection that takes visitors on a fascinating journey, tracing the wide reach of Catholicism during the Age of Exploration and beyond.
WAM’s connection with colonial Iberian art dates back to 1901, when Stephen Salisbury III gifted a group of four oil paintings on canvas by unknown Mexican colonial painters. Later in the century, the Museum acquired an exceptionally rare polychrome sculpture of an infant Christ by the Ecuadorian artist Manuel Chilí, known as Caspicara. This charming sculpture, which has not been on view for many years, will be one of WAM’s own contributions to the exhibition.
Highest Heaven, the first new exhibition in WAM’s Hiatt Gallery since Knights! opened in 2014, transforms the space from a world of armored warriors to one of revered saints and archangels. The exhibition’s focus on material and cultural exchange also resonates deeply with the history of Worcester, which has been a cultural crossroads for nearly two centuries. Generations of immigrants from across the world created a mosaic of cultural expressions that is integral to the city’s identity in the present day. The circulation of customs, materials, and processes explored in Highest Heaven is part of a global history to which the city of Worcester has long contributed.
On view through July 9, 2017, Highest Heaven showcases Roberta and Richard Huber’s passion for educating the public about the rich cultural heritage of the Spanish and Portuguese colonial world. We are delighted to be a part of their mission to stimulate a widespread interest in diverse artistic expressions. Justin M. Brown Luce Curatorial Assistant in American Art
Highest Heaven: Spanish and Portuguese Colonial Art from the Huber Collection is funded in part by The Michie Family Curatorial Fund and the John and Ruth Adam, Jr., Exhibition Fund; and through sponsorship from Rand-Whitney Container, media partnership with The Boston Globe and WGBH, and community partnership with the Roman Catholic Diocese of Worcester.
Christ Descending into Hell (detail), Peruvian, 18th century, oil on canvas, Roberta and Richard Huber Collection. Photograph by Robert Schwarz.
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John O’Reilly: A Studio Odyssey May 13 – August 13, 2017
auded by The New York Times as “the greatest living artist of mysterious, erudite, and confounding photomontages,” John O’Reilly creates intricate assemblages that fuse together literature, art history, and autobiography. In a celebration of this Worcester-based artist, this exhibition explores his attraction to the studio, which—literally and figuratively—is the setting for many of his photomontages and collages. A Studio Odyssey also highlights the rich art historical and literary allusions in O’Reilly’s work. Here, the artist shares insights into his creative approach and working process in an interview with WAM curator Nancy Burns.
NB: If there is one consistency between your artwork from the later 1960s until today, it is the act of using print reproductions and photographs for your finished works. How did this become your primary mode of production and how do found materials function in your practice?
JO: These early pictures I made are pre-seen. In other words, I would take an object, photograph it, and take another photograph of some found object or myself that I thought might go with it; there was a “felt” logic to it. All of those early things were meant to look like single, complete photographs. Part of the shock of the picture is when you see that they aren’t. They were made to look real, and had to be cut quite carefully to successfully create the illusion I’m after.
Then, the process began to feel too objectively real but not subjectively real. For some psychological reason, I started working totally by chance, almost like a Dada practice. When I began a picture, I would start with an image that had some meaning to me. Then I would find another unrelated image that merges with it. In my work, I am searching, not looking, for something specific that will have a relationship to the first image I chose. Every time I make a picture I go through the same process.
NB: You describe your works as either photomontage or collage. what is the difference and significance of each type of production?
JO: As I understand it, montage inspires a feeling that can be named. An example is the scene of the Odessa Steps in Sergei Eisenstein’s famous film, Battleship Potemkin. It gives you a distinct feeling. The random forms of a collage are more abstract. They lack a clear narrative, favoring collisions of formal elements. I still see most of my new work as montage even though others may not. I still think they have feelings you can name. But maybe you can’t.
NB: I find it interesting that you describe all of your works as a form of self-portraiture even if your body is not present. what do you mean by that?
JO: A curator once asked me, “Do you create art for the public or do you make art for yourself?” I answered, “For myself.” I remember I had this terrible self-image, and it was tied somehow to the ugliness of our new house. I just ran around the studio and took quick pictures of myself nude with my new Polaroid camera. It was almost crazy. It was like psychoanalysis, a way to try to accept myself and this house. Most of my pictures lead back to crucial events in my life.
In my latest work, I let myself go back into my unhappy childhood in World War II. All of my hate and fear comes out in pink and blue. In that sense it’s a self-portrait. I think it’s the closest and most direct I’ve come to representing myself.
For years I worked as an art therapist. I learned to use all kinds of imagery—including sexuality and nudity—by working with mental patients who gave me the courage to use some of these things. In their artwork anything would come out. This became some of my own therapy and a way to handle various subject matter.
NB: Thank you, John. I have one last question: A Studio Odessey will include a range of works from your early days to the present. How has your artistic process evolved during that time?
JO: I am not a craftsman or media type of person. I use what I have. When Polaroid went out of business, I started to use Kodak color slides. Next I got rolls of Kodak color film. The problem there was, unlike the Polaroids, the film had to be developed somewhere else, like CVS, which prohibited my use of nudity in my subject matter. So, I started using paper again just like in the beginning. I use what I have on hand, and that affects how I make the images and what they look like. That’s one of the reasons the styles have changed.
Early support for John O’Reilly: A Studio Odyssey has been provided by Stephen J. Javaras and Robert A. Collins. Media partner:
John O’Reilly, Self-Portrait, detail, 1965, black paper, various printed matter, gelatin silver print, and casein montage on Masonite, Chapin Riley Fund, 2015.70. © John O’Reilly, used with permission.
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In the studio with Shih Chieh Huang
n a recent visit to Shih Chieh Huang’s studio in New York, Assistant Curator of Asian Art Vivian Li talked with the artist about his upcoming show, Reusable Universes, at WAM. Huang will create his most ambitious immersive environment to date—a kinetic sculptural installation consisting of more than 100 various-sized elements. The artist discussed his artistic process, shopping on Amazon, and his stealth education in programming. VL: where do you source your material these days?
SCH: I have picked up a lot of material from dollar stores in Queens and Brooklyn. I also collect material whenever I go to dollar stores and electric cities in Japan and Taiwan. Lately, I’ve also been buying stuff online. Amazon has this system where if I look for one item they will automatically guess what I might need, and sometimes they do guess it right. It’s very dangerous. VL: For this installation, how are you thinking about the elements working together?
SCH: I am working from a musical aspect. Like these large pieces that I am prototyping right now are the “violin section.” Then I’ll bring in the “wind section,” with individual pieces that will be spread around. Everything in the show will involve computer cooling fans to generate movement. There will also be individual “breathing” structures hung from the ceiling. These will be smaller apparatuses, so there will be a contrast between these simple ones and the complex larger ones—like an infant that grew up. There will be other elements scattered around with their own controls, and then there will be individual controls built into the larger pieces. There’s a lot of things to coordinate—like what turns on first—because it is an immersive space. The gallery has very high ceilings, and so I wanted to work on the vertical aspect of it.
Artist Shih Chieh Huang
Reusable Universes: Shih Chieh Huang June 24 – November 11, 2017
VL: Is the verticality for the wAM installation different from previous installations?
SCH: Usually the space height I work with is roughly 12 feet, so when I saw the Museum’s gallery I noticed the high ceiling (18 feet) immediately. I thought, I need to use this opportunity to create this feeling like you are underneath. In the other spaces I feel more like I am going into a cave, and this one I feel like I am underneath, like underwater. VL: You have been doing this work since the 1990s. How is it evolving with materials available now?
SCH: I can have more control over the materials now. It is almost like an evolutionary process as they become more advanced, more evolved. For me they are almost developing character, too, stronger characters to their functions. Before their characters were more robotic, without that much flexibility. Now they move with more control.
When I needed to learn how to work with more control over how my pieces move, I pretended to be a computer arts student and snuck into a programming class. The computer arts and the fine arts were separate in my grad school (School of Visual Arts in New York City). I asked if I could just replace one art class with a computer class, and they said no. Also, the chair of the fine arts
department didn’t feel like computers could make art. At that time (1990s) New York had a lot of digital art and the words, “digital art” were overused, so there were conflicts between the two departments.
So I walked into the programming class and told the professor that I was waitlisted. And he didn’t ask me anything. So I sat one semester just learning how to program. At the end of the semester he was going to give me a grade, but didn’t see my name on the roll sheet. And so that’s when I told him that I wasn’t enrolled, but I really wanted to learn physical computing. I went back to his class the next semester and he let me study one year of basic programming with him. VL: So some people thought your work is not real art?
SCH: Yes, some people would think this is not art; if you work on the computer, you’re not fine art. My work is always in the middle, but I don’t see my work as dealing with technology. The large Hadron Collider particle accelerator is technology. The “Curiosity” rover on Mars is technology. In my mind, technology for daily life is not “technology.”
Early support for Reusable Universes: Shih Chieh Huang has been provided by: Taipei Cultural Center in New York.
Shih Chieh Huang, Seductive Evolution of Animated Illumination, 2013, Venice, Italy, collaboration with glass masters from Murano, modification of Renaissance-style glass chandelier with mixed household electronics, Courtesy of the artist.
Learn more at worcesterart.org
Learn more at worcesterart.org
Conservation Jeppson Idea Lab: Master Vases from Ancient Greece April 5 – October 1, 2017
hree vases normally on display in the Greek Gallery are featured in a new Jeppson Idea Lab exhibition, putting the spotlight on this beautiful, ancient art form. Resplendently restored by Objects Conservator Paula ArtalIsbrand, the vases are exquisite examples of red-figure, black-figure and white ground painting.
“These are really old pieces that have survived a long time,” says Artal-Isbrand. “They were made by accomplished artists over 2,000 years ago, and you can see that the artists knew techniques (such as foreshortening) that art historians thought were invented in the Renaissance.”
This multi-media Idea Lab, co-curated by Artal-Isbrand and archaeologist Amanda Reiterman, PhD, examines the techniques and materials used to produce the three types of vases—in the context of ancient Greek culture—as well as their recent conservation process at WAM. The exhibition also showcases original research conducted by Artal-Isbrand and the late Conservation Scientist and Paintings Conservator Philip Klausmeyer, who together discovered how the fine relief lines on red-figure vases were created.
Ancient Greeks produced vases for a number of different uses—storing and carrying wine, olive oil, or water; holding scented oils; mixing wine and water—and often decorated them with red-figure or black-figure paintings depicting mythological stories and scenes from daily life. In the redfigure painted wine jar, or stamnos, we can see the sea nymph Thetis—who was decreed by Zeus to marry the mortal Peleus—struggle against the advances of Peleus by transforming herself into various wild animals. The painter illustrates this exciting scene by showing a lion on her left arm, a serpent wrapped around Peleus’s leg, and a dragon-headed fish on her right side.
According to Artal-Isbrand, the ingenious method used to produce the distinctive red and black colors in Greek vases was a milestone in the history of ceramics. “The black portions on the vases are glaze that was applied by brush, like paint, before the piece was fired,” she explains. “During firing the glaze turned black, leaving the unglazed portions the color of the clay body—a terracotta red.”
The red-figure technique, developed after the black-figure one, allowed vase painters to be far more expressive and realistic in their depictions of details within figures and clothing, because they could be painted before firing. In the black-figure vases, “the quality of the lines made to show details, such as eyes, mouths, and garment folds, were
Objects Conservator Paula Artal-Isbrand reassembles one of the Greek vases included in the Jeppson Idea Lab exhibition.
rugged and awkward, because they had to be scratched through the hard black glaze, which had been fired,” she says.
It was during conservation of the red-figure stamnos that ArtalIsbrand and Klausmeyer, using state-of-the-art technology in the Museum’s Conservation Lab, discovered that the lines, while appearing flat to the naked eye, actually had ridged or furrowed profiles. “We examined them under extreme raking light conditions with the help of the Reflectance Transformation Imaging instrument and a 3D laser scanning confocal microscope, which brought out the surface’s three dimensions,” explains Artal-Isbrand. “After that discovery, my goal was to figure out how these different lines were made.”
She did that by making several brushes with various types of hair—horse, human, cat, and pig—in different thicknesses and experimenting painting with a glaze in a similar consistency to the one originally used. Through trial and error, Artal-Isbrand found that by laying the glaze-dipped brush down on the vase surface and lifting it straight up she could create the ridged profile. She made the furrowed relief line by setting down the brush and pulling it across the surface through the glaze, observing that the brush hair itself created the distinctive furrow.
Art historians and conservators around the world now know more about ancient Greek vase painting as a result of ArtalIsbrand and Klausmeyer’s innovative and experimental conservation approach at WAM. The details of their discoveries are revealed in depth in this exciting new Idea Lab exhibition.
Greek, attributed to the Tyszkiewicz Painter, active about 500-475 BCE, Stamnos (fragmentary) - Peleus and Thetis, ceramic, Museum Purchase, 1953.92
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Discovering medieval art: making connections
ne of the goals of the reinstallation of the Medieval Galleries (which reopened in December 2016) was to help visitors of all ages and backgrounds understand and connect with a time period and objects that are historically remote from them and their lives. But how could our interdisciplinary team* accomplish this? We began by digging deeper into our own questions about this distant period. As the educator on our team, I reflected on what I wanted to know, starting with: How were these artworks made and with what materials? As someone who has dabbled in studio arts, I immediately wanted to touch and experience the materials. We decided to create hands-on touch stations—focusing on stone, enamel, and metal—to connect our visitors with the physicality of the materials, giving them the opportunity to experience as much as possible how the objects were created.
The more we talked in our planning meetings, the more I felt a need to understand how people in medieval times experienced communities, relationships, work, and emotions. To address these questions, we created gallery guides that examine mother/child relationships, health and sickness, grief, and the function of armor as protection in violent times. I also wanted to know more about how people lived and what they believed, so we recorded audio descriptions that described how medieval culture was organized around the church and how various objects were used in religious and daily life. As we developed a variety of interpretive tools to answer the questions the art objects themselves posed, we discovered a growing closeness to the distant Middle Ages and the people who lived then, equipping us to share that experience with our visitors.
We invite you to follow the many paths of discovery in the reinstalled Medieval Galleries and to use the variety of tools there to learn more about this fascinating time and peoples. Sit on comfortable seating under the Spanish ceiling and explore its exquisite beauty while tuning into medieval music. Follow the various trade routes, such as the Spice Route and the Silk Route on a gallery map and then find the objects made from some of the materials that journeyed these roads. Try coloring a couple of WAM’s medieval statues on an iPad to find out what they would have looked like when brightly painted. Heft a mallet, lift a metal chisel, and try on a helmet. Take the time to discover medieval art and people through their art objects. I hope you’ll find, as I did, that it’s worth the effort to discover this rich culture and, especially, to learn about people who were not unlike us. Marcia Lagerwey Curator of Education
The renovation and reinstallation of the Medieval Galleries has been supported in part by grants from The Manton Foundation and The Samuel H. Kress Foundation, and by sponsorship from Reliant Medical Group.
This project is part of the Higgins Armory Collection Integration at Worcester Art Museum, which received significant jump-start funding from The George I. Alden Trust, Fred Harris Daniels Foundation, Inc., The Fletcher Foundation, The George F. and Sybil H. Fuller Foundation, The Stoddard Charitable Trust, The Manton Foundation, the Hoche-Scofield Foundation, the Rockwell Foundation, and the Massachusetts Cultural Council. Additional support for the integration has been provided by the Ruth H. and Warren A. Ellsworth Foundation, the Francis A. and Jacqueline H. Harrington Foundation, the Bradley C. Higgins Foundation, and the Mildred H. McEvoy Foundation.
*Curator of Arms & Armor and Medieval Art Jeffrey Forgeng, Curator of Education Marcia Lagerwey, and Kress Interpretive Fellow Katherine Werwie.
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Enriching our collection through acquisitions
uilding a collection through acquisitions is a great pleasure and a serious responsibility for curators. At the Worcester Art Museum, thanks to prescient forebears with names such as Ellis, Gage, Bullock, Garver, Slosberg, Paine, and Riley, endowed funds were established in the past to grow the collections. A breathtaking 1979 gift from the Stoddard family brought our capacity to acquire into the top rank of American museums, allowing us to maintain our hallmark level of quality just at a moment when the art market was starting to escalate.
Strategic acquisitions enrich a living and growing collection like ours. Some institutions take what I call a “stamp collector” approach and look for examples to fill gaps, without prioritizing quality. Others look for trophies, disconnected from their collections and communities. At WAM we look for transformational objects—works that truly change the collection and the stories we can tell. They should address our unique narrative, building on strengths, speaking to a broad public, telling multiple stories, and developing the “narrative of connections” laid out in the 2012 Vision Statement. Three recent acquisitions, which I proposed in June and were accepted by the Museum’s Collections Committee and Board, show how we can meet those criteria in very different ways.
A pair of paintings from 1816 by Philippe-Jacques van Bree depict the interior of the Paris studio of the flower painter Jan Frans van Dael (see detail on page 2). One is a large painting, designed for public exhibition, whereas the other is a small replica, made for van Dael. The remarkable scene features a group of female students in a former chapel at the Sorbonne, each pursuing a different aspect of painting, from setting up an easel and preliminary drawing to sketching on a blank canvas, preparing a palette, laying out a composition in paint, and completing the final touches.
When I first saw these works at TEFAF in Maastricht—the most important international fair for European art—the paintings literally stopped me in my tracks. It wasn’t because the artist was familiar to me, but because the works were spectacularly beautiful, radiantly intelligent, and perfect for Worcester. The pictures have much to tell us about artistic practice—critical for a museum with an active studio program—and its floral theme makes it a fulcrum for WAM’s annual Flora in Winter event. We also have an unusual concentration of European paintings depicting female artists, and this acquisition creates the gravitational pull to bring those works together in order to tell that important story.
The paintings also compel us to bring out neglected parts of the collection, letting us weave new narratives. For example, long in storage, an incredible late 18th-century floral still life attributed to Gerard van Spaendonck is now being treated by Andrew W. Mellon Fellow in Paintings Conservation Roxane Sperber, to debut during this winter’s Flora.
The Pregnant Woman—a startling 1931 painting by Otto Dix—transforms our collection in completely different ways. Twentieth-century European painting remains one of WAM’s primary weaknesses, and it’s very difficult to find significant works that match the quality and importance of our collections. As a result, an acquisition has to speak both to a broad story of modernism and to visitors in visceral and multivalent ways.
The painting is an outstanding example of New Objectivity, an important movement that turned to representational imagery and adopted a politically and socially engaged naturalism in response to the chaos of WWI. The work makes particular sense at WAM, given the strong strand of figuration in our modern and contemporary collections, as well as our strength—not widely known—in German photography, prints, and drawings between the wars.
We also knew this acquisition would transform the collection through the strong, complex, and varied reactions it provokes. Dix’s work goes well beyond filling gaps to make a major statement in and of itself, prompting reflections about the body, motherhood, pregnancy, and beauty—as well as raising important questions about modernism, realism, and the female nude. The latter is a cornerstone of western art but only recently addressed in our European collections with high-profile examples by Veronese and Cornelis van Haarlem. The Dix acquisition therefore allows a new, meaningful narrative to emerge across the galleries. The Pregnant Woman currently dominates a wall in the modern art gallery, which will be reinstalled in the near future to address the new connections it draws out from our current holdings. Other possibilities include a larger project on New Objectivity and Weimar Germany, or a focused presentation of our works by Dix. Our European modern holdings, decimated by the departure of the Dial Collection in the early 1980s, need to have the narrative rebuilt in a new way with major works, and The Pregnant Woman allows us to do just that. Jon L. Seydl Director of Curatorial Affairs and Curator of European Art
Otto Dix, The Pregnant Woman, 1931, egg-tempera, mastic varnish, stand oil, and oil paint on linen, mounted on plywood, Stoddard Acquisition Fund, 2016.11. © 2016 Artists Rights Society (ARS), New York/UG Bild-Kunst, Bonn.
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T H I R D â€ˆ T H U R S D AY S
MASTER SERIES hosted by worcester art museum
Mary Cassatt, Reine Lefebvre Holding a Nude Baby, 1902, oil on canvas, Museum purchase, 1909.15
Mary Cassatt, Reine Lefebvre Holding a Nude Baby (Mother and Child) Program: February 16, 5-8pm Art Talk: 6pm, Conference Room Reception: 5-8pm, Renaissance Court Speaker: Heather Lemonedes, Chief Curator, Cleveland Museum of Art
Learn about Cassattâ€™s impressionistic techniques, her focus on mother and child, and her use of models in her works.
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SPRING 2017 MASTER SERIES Exhibitions and Programs
Programs hosted by the WAM Members Council
he Worcester Art Museum's Master Series offers a new season of highlight exhibitions, 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 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. Free for college students with current / valid I.D.
Gaspar Miguel del Berrío, Our Lady of Mount Carmel with Bishop Saints Program: March 16, 5-8pm Art Talk: 6pm, Conference Room Reception: 5-8pm, Renaissance Court Speaker: Thomas B.F. Cummins, Dumbarton Oaks Professor of Pre-Columbian and Colonial Art, Harvard University
Trace the development and spread of the Catholic faith in South America through the creation and use of religious art for devotion and instruction, such as this masterpiece by del Berrio. Greek, Master Vases Program: April 20, 5-8pm Art Talk: 6pm, Conference Room Reception: 5-8pm, Renaissance Court Speakers: Paula Artal-Isbrand, Objects Conservator, Worcester Art Museum and Amanda Reiterman, PhD, University of Pennsylvania
Discover how these vessels were shaped, decorated and then fired using an ingenious—and mysterious—method, as well their function and relevance in the context of the thriving metropolis of Athens. Chinese, Qing Dynasty, Lady with a Red Box Program: May 18, 5-8pm Art Talk: 6pm, Conference Room Reception: 5-8pm, Renaissance Court Speaker: Vivian Li, Assistant Curator of Asian Art, Worcester Art Museum Hear the history of Florance Waterbury—a painter, art collector, and recognized Chinese art scholar—and the role of the Worcester Art Museum in the early study and collection of Asian art in America. Renaissance Woman in Asia: Florance Waterbury and her Gifts of Asian Art is sponsored by Skinner Auctioneers. AUCTIONEERS
MASTER SER IES SPON SOR :
MED IA PARTN ER :
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Tours and Programs Drop-in Tours
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
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.
Public tours begin in the Lancaster Welcome Center
Five of “The Ten” January 7 and 21 Learn about “The Ten” American Impressionists based in Boston and New York. See examples in the Worcester Art Museum’s collection of five artists from this group.
The Psychology Behind the Art February 4 and 18 Look at art spanning the Renaissance to Impressionism and explore how the artist was influenced by the times, the people, their surroundings, and their contemporaries.
Treasures of the Middle Ages March 4 and 18 Discover the newly reinstalled Medieval Galleries, including the Spoletto frescoes, arms and armor from the John Woodman Higgins collection, and stained glass.
The Art of Couples April 1 and 15 Tour the Museum galleries, meet a variety of couples depicted in art and hear their interesting, and sometimes untold, stories.
American Art: Benjamin West and his Students May 6 and 20 Look at works in our American collection by West and several his students, including Ralph Earl, Samuel Morse, and Gilbert Stuart. Highest Heaven: Spanish & Portuguese Colonial Art June 3 and 17 Examine the paintings, silver, and furniture showcased in this exhibit and explore the cultural and religious world of the Altiplano (high plains) of South America.
Learn more at worcesterart.org
All tours meet at the Lancaster Welcome Center
John O’Reilly July 1 and 15 Discover the complex world of this Worcester-based, nationally celebrated artist, whose intricate assemblages fuse together literature, art history, and autobiography.
Portraits: Stories of People in Art August 5 and 19 Look for clues about the people shown in works of art from the United States and Europe. Please check our website for Tour of the Month topics for the rest of the year.
Zip Tours Saturdays, 1pm Delve into one artist or work of art in these fast-paced, 20-minute tours.
Sunday Tours Sundays, 1-2pm Join one of our docents for an overview of the Museum collection. *Includes Museum admission
Youth/Student Group Tours 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 per student for prearranged school tour groups on either docent-led 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, visit worcesterart.org/events/grouptours.
* Includes Museum admission
Art Carts: Family Fun in the Galleries Wednesdays through Sundays Touch materials, draw things, and learn something new. Check for schedule when you visit. Families @ wAM Tour* First Saturdays, 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. Families @ wAM Make Art* Saturdays 11-11:30am Stay after your family tour or drop in for this fun intergenerational time in the galleries or studios. Materials provided. Helmutt’s Drop-In Studio New! Studio 100, Higgins Education Wing Wednesdays – Fridays 11am-12pm, 1-3pm, Sundays, 2-5pm Enjoy our hands-on studio art time for families.
Stroller Tours New! First and third Wednesdays, 10:3011:15am Our special gallery experience engages caretakers, their infants and toddlers with art and stories focused on different themes. Stay for tea, coffee, juice, and snacks after your tour.
Nude Drawing Thursdays, 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.
Programs for All Ages
Arms + Armor Demonstrations Saturdays and Sundays 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. Homeschool Programs WAM welcomes homeschool groups with tours and gallery studio workshops designed to complement home-based learning for ages 5 and up. Call or email Jan Ewick at 508.793.4338 or janewick@ worcesterart.org or Jesse Rives at
508.793.4335 or firstname.lastname@example.org to schedule your homeschool visit today! Please schedule at least three weeks in advance.
Scout Group Tours Programs for Cub Scouts, Boy Scouts, Brownies, and Girl Scouts include tours and gallery studio workshops designed to complement Merit Badges, patches, and scout interests. To schedule a tour, contact Jan Ewick at 508.793.4338 or email@example.com or Jesse Rives at 508.793.4335 or firstname.lastname@example.org.
Studio Art Classes Four sessions (fall, winter, spring, summer) are offered each year for adults, youth, and teens. Visit worcesterart.org/classes to learn more and register for studio art, school vacation, and summer classes. Feb Fun: Tell me a Story! Tuesday-Friday, February 21 – 24 Art workshops for ages 3-17 inspired by KAHBAHBLOOOM: The Art and Storytelling of Ed Emberley. Check worcesterart.org for information. April Art Tuesday-Friday, April 18 – 21 Creative hands-on workshops for ages 3-17.
Summer Art for Youth Stay creative all summer and learn new skills in our week-long art classes for kids. It’s all the fun of summer camp, without the bugs and sunburn! Registration begins January 23.
Highest Heaven: Opening Party Friday, March 10 7-8pm, Members only 8-11pm, general public Members $10, Nonmembers $20 Celebrate the opening of Highest Heaven: Spanish and Portuguese Colonial Art from the Roberta and Richard Huber Collection. Food trucks, cash bar, and more.
Community Day: Star wars Saturday, April 15, 10am-5pm Engage your inner Jedi Knight or Stormtrooper during our day of Star Wars fun! Come dressed as your favorite character, mingle with re-enactors, learn to wield a light saber, and more. Sponsored by: Media partner:
Art + Market Saturdays, May – September, 10am-5pm Salisbury Street Lawn Get all your locally grown produce with our perennial favorite, Dick’s Market Garden. Free August Free admission throughout the month of August. Sponsored by The Kirby Foundation.
All programs listed are free with Museum admission, unless otherwise noted. Admission is free from 10am-12pm on the first Saturday of each month. *Held weekly July – August. September – June held on First Saturdays only. Visit our website for more information. Connect with us
Coming this Fall Rediscovering an American Community of Color: The Photographs of William Bullard October 14, 2017 – February 25, 2018
Mining a rich collection of 230 unpublished glass negatives by Worcester photographer William Bullard, Rediscovering an American Community of Color: Photographs of William Bullard showcases African Americans and Native Americans living in Worcester’s diverse Beaver Brook neighborhood during the turn of the century. Unlike nearly all known extant collections of photography featuring lower-middle class people of color, Bullard’s includes a logbook identifying over 80% of the individuals in his portraits. The exhibition is able to tell an American narrative of migration and resettlement in the aftermath of Emancipation and Reconstruction specific to the people in the photographs. These striking images address larger themes involving race in American history by telling a compelling story that remains relevant today: people of color claiming their rightful place in society and creating a community in new surroundings. Organized in partnership with Clark University and supported in part by a grant from Mass Humanities.
Winslow Homer, The Gale, 1883-93, oil on canvas, Museum purchase, 1916.48
Coming Away: Winslow Homer and England November 11, 2017 – February 4, 2018
Developed around two iconic Homer paintings—the Worcester Art Museum’s The Gale (1883 – 93) and the Milwaukee Art Museum’s Hark! The Lark (1882)—the exhibition Coming Away: Winslow Homer and England explores the artist’s time in Cullercoats, England, in 1881 and 1882. Jointly coordinated by Worcester and Milwaukee, the exhibition will feature the most comprehensive group of oils made during or emerging directly from Homer’s time abroad. Shown alongside comparative paintings by English artists, these works complicate our understanding of Homer’s art as purely American in subject and style. Following its run in Worcester, the show will be on view at the Milwaukee Art Museum from March 2 – May 10, 2018.
Early support for Coming Away: Winslow Homer and England has been provided by the Terra Foundation for American Art and by the Wyeth Foundation for American Art.
William Bullard, Portrait of Ralph Mendis on a Stoop, about 1902; printed 2016, archival inkjet print on Epson Hot Press Natural paper
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Welcoming “little ones” to WAM
parent with two young children, I understand the challenges of visiting cultural institutions as a family. Art museum visits can seem doubly stressful to parents of young children. However, WAM’s renewed focus on supporting family visits—especially preschoolers —should put your minds at ease.
Starting with the exhibition planning process, we’re thrilled to present KAHBAHBLOOOM: The Art and Storytelling of Ed Emberley. This is the first career retrospective of the prolific Massachusetts artist and picture book illustrator. The exhibition displays not only Emberley’s Caldecott award-winning books and their associated sketches and artwork, but also interactive touch elements and novice-friendly labeling—designed to engage both children of all ages and adults.
Launching alongside KAHBAHBLOOOM is Helmutt’s Drop-In Studio. Operating during set hours, this staffed studio space in the Education Wing hosts projects related to exhibitions and the collection. The studio is first-come, first-served, so that our staff educators can devote special attention to your children.
Learn more at worcesterart.org
We’ve also formally introduced a new Stroller Tour program, which was overwhelmingly popular this summer. This group meets on the first and third Wednesday of each month, a half hour before the Museum opens—so families have private time to enjoy the galleries and each other. These tours focus on family-friendly themes and are followed by coffee and snacks, providing an opportunity for Moms, Dads, or other caregivers to socialize.
Kids get hungry, so the Museum Café offers a special children’s menu, and the Sip Cart in the Lancaster Welcome Center has quick-service snacks and lunches. You can also bring your own snacks to eat in the Welcome Center or, in nice weather, the Stoddard Courtyard. Parents can feel free to breast or bottle feed their infants anywhere in the Museum.
Have any suggestions for new programs and amenities to help support your family’s visit to WAM? Let us know your thoughts! Email email@example.com. Katrina Stacy Associate Curator of Education
Staff News Meet Heather L. Davis, Deputy Executive Director In September 2016, we welcomed Heather L. Davis to WAM as the new Deputy Executive Director. In addition to overseeing all day-to-day Museum business, she also serves as a liaison with the Finance, Investment, and Audit Committees.
Heather, who lives with her husband and daughter in Hudson, brings 18 years of finance, managerial, and operational experience, ranging from small start-up companies to billion dollar organizations. Most recently she was Director of Finance and Operations at CyberSheath Services International. Prior to that she served as Controller for the SES Business Segment of Siemens PLM Software and as Assistant Controller for PanGo Networks, Inc. In addition, Heather serves as treasurer of the Kendall Rose Davis Memorial Foundation, a nonprofit charitable organization
that raises funds for Boston Children’s Hospital that she cofounded in 2007. She holds Masters of Business Administration and Bachelor of Science in Business Administration degrees from Nichols College.
Heather’s mix of senior management and accounting experience, along with her understanding of the special needs of nonprofit organizations, made her our top choice for this important position, according to Matthias Waschek, the C. Jean and Myles McDonough Director of the Worcester Art Museum. “Her expertise and skills will help keep the Museum on its trajectory to long-term financial sustainability and transformation to a regional cultural anchor,” he says. “We are delighted that she is joining the WAM family!” “Being part of the WAM team is a perfect fit for me,” says Heather. “The Museum has been a treasure for me and my family over the years, and I am honored that I will now be a part of its exciting future.”
In Memoriam: Philip A. Klausmeyer, April 11, 1963 – August 25, 2016
Longtime paintings conservator/conservation scientist Philip A. Klausmeyer, PhD, passed away at the age of 53 on August 25, 2016. An esteemed WAM colleague for nearly 20 years, Philip raised the bar for conservation research and practice at WAM by introducing scientific analyses and incorporating a more scientific approach to conservation. In addition, many Worcester Art Museum paintings owe their regained splendor to his beautiful restorations. Among his most significant treatments was on the Vision of Saint Gregory, a fifteenthcentury masterpiece from southern France, which can be seen in Gallery 211. The last work he conserved is David Burliuk's Kosak from 1923, now on view in Gallery 212.
Philip first came to WAM in 1997 as a paintings conservation intern while studying for a master’s degree from the Winterthur/University of Delaware Program in Art Conservation. Under the tutelage of Rita Albertson, chief conservator at WAM, Philip earned an individually designed PhD in conservation science from Clark University in 2009. While pursuing his doctorate, he also established, with funding from the Andrew W. Mellon Foundation, a state-of-the-art technical research capability at WAM that placed the Museum’s conservation department at the forefront of conservation research.
As one example, Philip collaborated with colleagues to introduce a new examination and documentation tool employing Reflectance Transformation Imaging (RTI) to the
Philip A. Klausmeyer with Vision of St. Gregory (1938.80)
conservation field. Far surpassing the quality of traditional raking light photography, RTI has been widely embraced by museums as the preferred method for documenting the surface topography of art objects.
An event celebrating Philip’s life will be held at the Worcester Art Museum on Sunday, April 23, 2017. Donations in Philip’s memory may be made to the Worcester Art Museum Conservation Department.
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Meet Lisa Kirby Gibbs, President of the Board of Trustees
isa Kirby Gibbs of Worcester began serving her first term as President of the WAM Board in December 2016. A longtime Salisbury Society member and supporter of the Museum, Lisa has been a WAM trustee for four years and has served as Founding Chair of the Audience Engagement Committee. At the start of her new leadership role, access interviewed Lisa about the Museum and why she supports it. access: You’ve been involved with wAM for many years. why is the Museum important to you?
LkG: My husband, Peter, and I and two young kids moved to Worcester in 1999. I was so thrilled to find out that the city had a world class art museum with a significant collection, as well as other cultural institutions. Peter and I joined the Salisbury Society right away, and I became increasingly involved with the Museum. For me it is not only a place to view beautiful art, but a place to connect with friends and where I feel like I can have an impact on access to the arts for everyone in Worcester.
access: worcester has changed dramatically since the Museum was founded over a century ago. This is one important reason for the 2020 Vision Statement, which focuses on a relevant and sustainable museum that connects art with individual experiences, joy, and discovery. How does the Board contribute to making that vision a reality?
LkG: The Board plays an important role in the sustainability of the Museum. It is critical for the trustees to have a spirit of ownership and to be involved in either obtaining or giving financial support to the Museum. It is also our responsibility, on a high-level, to make sure that the institution takes care of the collection, and that through programming and engagement the Museum remains relevant and accessible to a broad range of people.
access: You’ve been a big supporter of initiatives and programs to build audiences and engagement with new groups at the Museum. why is that important to you?
LkG: The cultural and socioeconomic fabric of Worcester has changed dramatically over the past 100 years. The Museum dedicates significant resources to provide a welcoming space for our community, with art as a vehicle for connection. I support that 100%.
access: You have also generously supported the Museum by sponsoring free admission during the month of August through The kirby Foundation. why has providing free access to the Museum been a priority for you?
LkG: It's amazing to see the numbers rise significantly in August with free admission. This Museum is and will continue to be a part of our social glue, and free access is an important way to foster that.
we’re pleased to welcome the following new members to the Board of Trustees: Susan M. Bassick Andrew T. Jay
Dana R. Levenson
Ronald L. Lombard
Anne-Marie Soullière Left to right: Dana R. Levenson, Susan M. Bassick, Anne-Marie Soullière, and Andrew T. Jay. Missing: Ronald L. Lombard
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Heavenly Corporators Ball a n n ua l G a l a F u n d r a i s e r save the date: saturday, June 10, 2017 oin us for a divine evening under the stars inspired by Highest Heaven, an acclaimed art exhibition from the Collection of roberta and richard Huber.
enjoy heavenly delights in the company of 300 of our region’s most prominent and influential business leaders, art enthusiasts, and philanthropists. Festivities include red carpet arrival and champagne— ambrosia welcome, a menu fit for the gods prepared by pepper’s artful events, finely-curated silent and live auctions, and a fabulous post-dinner dance party, Divine Madness, with dancing and entertainment. individual ticket prices start at $250 for the entire evening and $50 for the dance party only. seating for dinner is limited. Contact alex Krasowski at 508.793.4438 or firstname.lastname@example.org for early reservation information and corporate sponsorship opportunities. The Corporators Ball celebrates and supports the Museum’s mission to connect art and community. proceeds provide vital support for WaM’s operations, public programs, and exhibitions, which engaged over 120,000 visitors last year. No fundraiser is successful without the support of corporate sponsors. We are especially grateful for the early support of the following sponsors and look forward to prominently recognizing these and others as the event draws near:
Salisbury Society we thank our Salisbury Society members for making the worcester Art Museum and its mission to connect art and community a philanthropic priority. Their unrestricted gifts to the Annual Fund provide essential support to all areas of the Museum. Under the leadership of Society Co-Chairs Lisa Bernat and Chris Collins, the Society has welcomed over 45 new members in the last two years. Gifts received September 1, 2015 through November 30, 2016. Chairman’s Circle $25,000 + Lisa Kirby Gibbs and Peter Gibbs John* and Marianne Jeppson
President's Circle $10,000 - $24,999 Karin I. Branscombe Jeanne Y. Curtis Foundation Mary and Warner Fletcher Mr. and Mrs. B. Anthony King Philip and Gale Morgan John and Ellen Savickas 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 Allen and Sarah Berry William R. Bush Catherine M. Colinvaux and Phillip D. Zamore Mr. and Mrs. J. Christopher Collins James E. and Margaret F. Collins Charles H. N. de Végvár Maria and John Dirlam Mr. and Mrs. James C. Donnelly, Jr. Antonella and Roger Doucette Susan M. Foley Mark and Jan Fuller Dr. Gabriele Goszcz and Douglas Crawford Dr. Abraham and Linda Haddad Maureen and William Kelleher Christine and Dana Levenson Ronald and Angela Lombard Mr. and Mrs. Joseph P. Lotuff C. Jean McDonough Mr. and Mrs. Neil McDonough Marc S. Plonskier Drs. Phyllis Pollack and Peter Metz Clifford J. Schorer Matthias Waschek and Steve Taviner Patron $2,500 - $4,999 Marie and Mike Angelini Anonymous Mr. and Mrs. H. Paul Buckingham III Mr. and Mrs. Vernon Caforio Christos* and Mary T. Cocaine Pablo and Paula Collins Paula H. Connolly Dr. and Mrs. Herbert M. Dean Margery and Richard Dearborn Allen W. Fletcher Patricia A. Fletcher Maureen L. Glowik and Jennifer C. Glowik Roberta Goldman Mr. and Mrs.* James N. Heald 2nd Andrew and Irene Jay Margaret Keith Mr. and Mrs. Arthur G. Kentros Dr. Jean King and Dr. Carl Fulwiler Stephen and Valerie Loring Katharine and Henry Michie Thomas Michie Mahroo and Barry Morgan Nydia and Charles Moser
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Martha R. Pappas and Arthur M. Pappas, M.D.* Marlene and David Persky Cynthia and Stephen Pitcher Sarah and Joe Ribeiro Linda and Ted Robbins Michael and Carol Sleeper George and Lynne Tonna Mr. and Mrs. Leif N. Uptegrove Mark and Barb Wetzel
Member $1,250 - $2,499 Mr. and Mrs. William J. Abodeely John B. and Mary Lou Anderson Drs. Julia D. Andrieni and Robert A. Phillips Drs. Seta and Diran Apelian Anthony and Barbara Trayers Athy Sharon and Richard Avis Robert and Beverly Bachelder Charles P. Ball and Margaret McEvoy-Ball Janet and Brian Barlow 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 Mr. and Mrs. Eugene N. Bernat Lisa M. Bernat and Abram Rosenfeld Richard and Sande Bishop Randolph and Edla Ann Bloom Michael and Cathleen Bollus Mr. and Mrs. A. Shepard Boote Raymond J. Boylan, Jr. Eric Brose and Jan Seymour Dawn and John Budd Vivian Budnik, Ph.D. George and Tammy Butler Thomas W. Caldwell Jay E. Cantor William R. Carrick* Jane Antoun Cartelli Mr. and Mrs. Robert Charles Henry J. Ciborowski* Kim M. Ciborowski Michael F. Collins, M.D. P. Kevin and Clare K. Condron Mrs. Fairman C. Cowan* Tracy A. Craig and Dr. James J. Convery Chris and Betsy 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 Bargo Fargo
Andy and Robin Feldman Marianne E. Felice, M.D. Allen and Yda Filiberti Mrs. John E. Flagg* Justin and Laine Fletcher Richard and Joan Freedman Kathleen H. Gadbois Lee and Dina Gaudette Paul Giorgio Dr. Wayne and Laura Glazier Stephen and Elaine Gordon 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 Amy Harmon and Robert Stefanic Phyllis Harrington Dr. N. Alan Harris and Dr. Diane Lebel George Hecker Frank Herron and Sandy Urie Jock Herron and Julia Moore Dr. Janice Hitzhusen and Dr. James Pease Dr. James and Kathleen Hogan James E. Hogan III Emily and James Holdstein Margaret Hunter Frances and Howard Jacobson James and Nancy Javaras Stephen Javaras Mrs. Tay Ann Jay Jesuit Community at Holy Cross and Thomas Worcester David and Kathleen Jordan Matthew Kamins and Laurian Banciulescu Rachel Kaminsky Mr. and Mrs. Amar V. Kapur Evelyn Karet, Ph.D. Dr. Marshall Katzen and Ms. Bari Boyer Dr. Shubjeet Kaur John F. and Rayna Keenan Daniel Y. Kim, M.D. 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 Thomas J. Logan David Lucht and Susannah Baker Ingrid Jeppson Mach and Dany Pelletier Robert and Minh Mailloux Thomas Manning and Nadine Manning Moira and Charlie Manoog Tom and Elizabeth McGregor Daniel R. McLean and Jon L. Seydl Dr. and Mrs. Glenn A. Meltzer Katie and Louis Messina Dr. Satya and Mrs. Supriya Mitra Mr. and Mrs. Andres Jaime Molina
Mrs. Anne (Nancy) Morgan Michelle Morneau Jim and Patty 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 Robert G. Oriol Edward J. Osowski Susan and Chris Palatucci Donald and Susan Pegg Deborah Penta Sharon L. Peterson Mrs. William O. Pettit, Jr.* Mr. and Mrs. N. William Pioppi The Plourde Family Charitable Trust George Rand Patricia Lin Reedy and Charles L. Joyce Arthur and Debra Remillard Luanne Remillard Dr. Ruthann P. Rizzi and Edwin Barr Carol W. Robey, M.D. Dr. Malcolm A. Rogers Mr. and Mrs. Henry B. Rose Stuart H. Sadick and James Bryant Peter and Anne Schneider Carol L. Seager Linda J. and Robert G. Seega Jeanice Sherman and Dwight Johnson Dr. Shirley S. Siff and Robert M. Siff Dr. and Mrs. Jang Singh Richard and Glena Sisson Jaclyn Skagerlind John J. and Kristina M. Spillane Mark Spuria Mr. and Mrs. John C. Stimpson Katy and Peter Sullivan John J. Szlyk Anne Tardanico George and Sheila Tetler Tony and Martha Tilton Lee and Owen Todd Judith and Gary Vaillancourt Luke and Anna Vaillancourt Judith Vander Salm Mr. and Mrs. Herbert M. Varnum Anthony T. Vaver and Martha P. Heller 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 Kulapat Yantrasast Dr. Edward C. Yasuna * Deceased
Salisbury Society—Join us and enjoy access and art!
Because of their philanthropic spirit, Salisbury members are treated to the following benefits and programs: SALISBURY MEMBER BENEFITS • Free admission and reciprocal member benefits at over 900 museums • Unique Access to Curators and the Director • Salisbury Art Series, including sneak previews • Salisbury Art Travel program • Annual Salisbury Evening
SALISBURY UPCOMING PROGRAMS January
February March April July
Salisbury Art Series: Flora in Winter Chairman’s Tour and Reception Behind-the-Scenes Tour
Salisbury and Benefactor Event/Sneak Preview: Highest Heaven Salisbury Art Travel Tour Salisbury Art Series
Salisbury Art Travel Tour
Salisbury Art Series: WAM Curators: Up-Close and Personal
Salisbury Evening/Sneak Preview: Coming Away: Winslow Homer and England
For questions or more information about joining the Salisbury Society, contact nancyjeppson@ worcesterart.org or 508.793.4325.
Connect with us
f e at u r
WAM Member Monica Hamel
Members are vital to the Museum’s success in connecting art and community. Here, Membership Coordinator Madeline Grim asks Monica Hamel about her involvement with WAM.
MG: People become Museum members for many reasons. what were yours?
MH: I joined the Worcester Art Museum to support an important, local cultural institution. It was a way to have unlimited access to all the benefits the Museum has to offer. MG: what has being a wAM member been like for you?
MH: I'm proud to be a member of a world-class museum like WAM. It's an artistic gem that I love sharing with others. I can visit as often as I like and enjoy special programs, events, and favorite works of art. Every visit reveals a different treasure. MG: Do you have a favorite event?
MH: The annual Flora in Winter is always a favorite and a welcome respite from the cold New England winter. I love how the Museum is filled with beautiful flowers everywhere
Wa m membe
MG: what is your favorite piece or place in the Museum?
MH: I like the grandeur of the Renaissance Court with its open feel and the intimacy of the Chapter House with its peacefulness. And, I just love the architectural details of both.
MG: If you could ask one question of any artist past or present, what would it be?
MH: When viewing art, I'm always intrigued by the artist's inspiration behind the work. Art interpretation and appreciation is very personal. So, no matter who the artist may be, I'd be interested to hear the story behind the art and what ignites their creative spark.
• Free visits all year!
That’s a value of $3,360 per individual across the entire year.
• Special discounts in the Café, Museum Shop, and for studio classes
Members enjoy discounts all year—and 20% off in the Museum Shop during December.
• Member-only privileges
These include Members-only hours, discounted tickets, and “Skip the Line” admission for major events.
• Satisfaction in supporting one of the region’s most treasured cultural destinations. Purchase your Worcester Art Museum membership online at worcesterart.org/Membership, email email@example.com, call 508.793.4300, or stop by one of the Guest Services Desks. For Salisbury or Benefactor level membership, call 508.793.4325.
Learn more at worcesterart.org
you turn. I enjoy seeing the creative floral interpretations of the Museum's artwork that invite you to experience the art in a different way.
What’s the value of WAM membership?
We are grateful to the following foundations for their generous support of the Worcester Art Museum Fletcher Foundation – Higgins Armory Collection Integration
Bank of America – Museums On Us
George I. Alden Trust – Culture LEAP Programming
The Mildred H. McEvoy Foundation – Higgins Armory Collection Integration
Stoddard Charitable Trust – Modern Art and Culture LEAP Programming
Francis A. and Jacquelyn H. Harrington Foundation – Higgins Armory Collection Integration
Sherman Fairchild Foundation – Small Museum Conservation Program
Ruth H. and warren A. Ellsworth Foundation – Higgins Armory Collection Integration
The Manton Foundation – Capacity Building Initiatives
The George F. and Sybil H. Fuller Foundation – Higgins Armory Collection Integration
E. Rhodes and Leona B. Carpenter Foundation – Exhibition Support
The Carl Lesnor Family Foundation – Unrestricted General Operating Support
The Patrick and Aimee Butler Family Foundation – Unrestricted General Operating Support
Bradley C. Higgins Foundation – Higgins Armory Collection Integration
Hoche-Scofield Foundation – Higgins Armory Collection Integration
The Samuel H. kress Foundation – Kress Interpretive Fellow
The Rockwell Foundation – Higgins Armory Collection Integration
The Hanover Insurance Group Foundation, Inc. – Education Programming
Fred Harris Daniels Foundation – Higgins Armory Collection Integration
Christian A. Johnson Endeavor Foundation – Exhibition, Education, and Outreach Programming
J. Irving England and Jane L. England Charitable Trust – Unrestricted General Operating Support Greater worcester Community Foundation for various Exhibition and Education Outreach Programs
Institute of Museum and Library Services Museums for America: American and European Painting Digitization
The kirby Foundation Free August
Massachusetts Cultural Council Cultural Investment Portfolio: Partner; Cultural Facilities Fund; UP-ILN Partner
SALUTE TO SPONSORS
wyeth Foundation for American Art – Winslow Homer Exhibition Catalogue Paine Charitable Trust – Unrestricted General Operating Support
worcester Educational Development Foundation – CultureLEAP Programming Terra Foundation Curatorial Research
Highland Street Foundation Free Fun Fridays René & karin Jonckheere Fund Conservation of The Last Judgment Tapestry The Henry Luce Foundation American Art Curatorial Assistant
Mass Humanities William Bullard Exhibition
The Andrew w. Mellon Foundation Curator of American Art The Coby Foundation Last Judgment Exhibition National Endowment for the Arts Artworks; Teen Happenings at WAM 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.
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. Connect with us
Thank You Business Partners!
Together we make a difference for our community. SPONSORS $20,000+ Unum
$10,000+ AbbVie Fallon Health People's United Bank Saint-Gobain Skinner Auctioneers The TJX Foundation, Inc.
$5,000+ J.J. Bafaro, Inc. Bowditch and Dewey, LLP Cole Contracting, Inc. FLEXcon Company, Inc. Imperial Distributors, Inc. Interstate Specialty Products, Inc. Rand-Whitney Container Reliant Medical Group Tufts Health Plan UniBank United Bank Foundation Massachusetts Worcester Business Journal
$2,500+ Herbert E. Berg Florist, Inc. The Boston Globe CCR Wealth Management, LLC Christie's Commerce Bank Fletcher Tilton PC Foley Incorporated Harvard Pilgrim Health Care iHeart Radio, 96.1 SRS & WTAG Miles Press, Inc. Revelation Productions, Inc. Rotmans Spectrum Health Systems, Inc. Waters Corporation WorkCentral MEMBERS
$1,000+ AAFCPAs Applied Rubber and Plastics, Inc. Avidia Bank Bartholomew & Company, Inc. Bay State Savings Bank The Berry Group of Wells Fargo Advisors Blue Hive Strategic Environments Central One Federal Credit Union Columbia Tech
The Cornerstone Group, Inc. Cutler Capital Management, LLC Data Source, Inc. Davis Publications, Inc. Fiduciary Investment Advisors, LLC Greenberg, Rosenblatt, Kull & Bitsoli, P.C. Idea Agency Leadership Transitions Mercier Electric Company, Inc. Merrill Lynch / The O'Brien Group Mirick Oâ€™Connell Russell Morin Fine Catering MSW Financial Partners J.S. Mortimer, Inc. New England Disposal Technologies Nitsch Engineering PENTA Communications, Inc. Pepper's Artful Events Perfect Focus Eyecare / Goswick Eye Carol Seager Associates Seder and Chandler, LLP SpencerBANK Sullivan Benefits Sunshine Sign Company, Inc. Thomas J. Woods Insurance Agency Virtusa Corporation Webster Five Wings Over Worcester Worcester County Memorial Park
$500+ The Bean Counter Bakery Burr Insurance Agency, Inc. Butler-Dearden Callahan Fay Caswell Funeral Home Coghlin Electrical Contractors, Inc. Cryogenic Institute of New England George's Coney Island Grimes and Company F.W. Madigan Company, Inc. Marr Oil Heat Co., Inc. Janice G. Marsh, LLC NAI Glickman, Kovago & Jacobs Northwood Insurance Agency, Inc. Marsh & McLennan Agency Company Quaker Special Risk Red Lantern Scavone Plumbing & Heating Seven Hills Foundation Joffrey Smith Financial Group Sotheby's Struck Catering Sullivan, Garrity & Donnelly Insurance Agency, Inc. The Willows at Worcester
As of December 16, 2016
Business Partner Spotlight
WAM Business Partner reception hosted by PENTA, April 2016
Wa m business pa r t n e r
The Art of Business WAM’s Ambassador of the East: PENTA Communications, Inc.
PENTA Communications, Inc. celebrates nearly 30 years as a toprated, full-service integrated marketing, advertising, creative services, public relations, web development, social media management, special events, and strategic brand development firm. Headquartered in Westborough, MA, the firm serves all of New England, with an additional collection of clients located throughout the United States. Founded in 1988, it continues to thrive through its commitment to offering Madison Avenue creativity and providing world-class services with a keen focus on ensuring client satisfaction.
Over the years, clients have relied on PENTA for its breadth of expertise in all of its service areas. With a long-standing reputation as an industry leader, the firm has helped numerous companies accomplish growth and strategic initiatives.
Well-recognized for its outstanding record of results, PENTA produces top-rated strategic integrated marketing, and is a partner to numerous companies throughout the region. PENTA is also a vested community partner having contributed over $2.5 million to numerous charities and nonprofit organizations over the years.
BECOME A BUSINESS PARTNER Contact Karmen Bogdesic: 508.793.4326 KarmenBogdesic@worcesterart.org worcesterart.org/business-partners
“As a Business Partner, we are proud to support the initiatives of the Museum and believe it benefits every member of our organization to have this stronger connection to world-class art and the numerous benefits that come with this partnership.”
Deborah Penta, CEO PENTA Communications, Inc. The PENTA Building 208 Turnpike Road Westborough, MA 01581 www.pentamaketing.com 508.616.9900
Connect with us
A GIFT THAT PAYS IT FORWARD AND PAYS YOU BACK
If youâ€™re looking for ways to support the Worcester Art Museum and receive a steady income stream, a charitable gift annuity may be your answer. It is a simple contract between you and the Worcester Art Museum. In exchange for a gift of $10,000 or more, the Museum ZLOOSURYLGHJXDUDQWHHGÂ¿[HGSD\PHQWVWR\RXIRUOLIH 2WKHUEHQHÂ¿WVLQFOXGHWKHIROORZLQJ Q You support the Worcester Art Museum with a substantial gift Q Payments you receive are partially tax free for a period of time Q You receive a charitable deduction in the year of your gift
* Please note that this information is for illustrative purposes and is not intended as tax or legal advice. Rates are subject to change and are based on rates suggested by the American Council on Gift Annuities.
)RUPRUHLQIRUPDWLRQSOHDVHFDOOWKH'HYHORSPHQW2IÂ¿FHDW or email us at email@example.com
On-target Strategies, Powerful Resullts For nearly 30 years, clientts have turned to PENTA A when they want to improve the results of their marketing and advertising programs. To o learn more about how PENTA A can help your orga yo ganiz izatiion, call 508.616.990 0, ext. 117 or email firstname.lastname@example.org.
Proud Winner of Tw wo WBJ Best of Business Aw wards: Best Advertising Agency Best Web Design Firm
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EXPERIENCE THE FINE ART OF HOSPIT TA ALITY The Beechwood Hotel offers luxur y accommodations, fine dining, and an ex traordina ar y collection of fine art. Enjoy a masterful dinner at our award winning CERES . Call 508.754 . 20 2 00 for Reservations.
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Weâ€™re sure to enchant you with our seasonal specials.
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the museum Featuring items inspired by art in the Museum’s collection and current exhibitions.
studio art classes for all ages WORCESTER ART MUSEUM
Try something new! Enroll today! worcesterart.org/classes
ERIC LIMÓN PHOTOGRAPHY
Make your celebration a
masterpiece For more information, visit worcesterart.org/events or call 508.793.4327
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ACT • SING • DANCE • DESIGN
CLASSES FOR CHILDREN • TEENS • ADULTS
Worcester Center for Performing Arts, a registered not-for-profit 501(c)(3) organization, owns and operates The Hanover Theatre for the Performing Arts and Conservatory
508.471.1793 or 877.571.7469 2 Southbridge St • Worcester, MA • 01608
Worcester Center for Performing Arts is a registered not-for-profit 501(c)(3) organization, which owns and operates The Hanover Theatre for the Performing Arts and Conservatory.
WORCESTER ART M U SEU M fifty-five salisbury street worcester, massachusetts 01 6 0 9
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
Use your WOO pass for $2 off admission.
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 508.793.4357 Wednesday-Saturday 11:30am-2pm
We partner with
THE MUSEUM SHOP 508.793.4355 Open during gallery hours
BUSINESS PARTNERS / SPONSORSHIPS 508.793.4326 KarmenBogdesic@worcesterart.org
LIBRARY 508.793.4382 email@example.com Wednesday-Friday 11am-5pm Saturday 10am-5pm
GUEST SERVICES 508.793.4362 firstname.lastname@example.org
SOCIAL & CORPORATE EVENTS RENTAL 508.793.4327 email@example.com
CLASSES Higgins Education Wing firstname.lastname@example.org Registration: 508.793.4333
GROUP TOURS 508.793.4338 JanEwick@worcesterart.org
MEMBERSHIP 508.793.4300 email@example.com
SALISBURY SOCIETY / BENEFACTORS / ANNUAL FUND / LEGACY SOCIETY 508.793.4325 NancyJeppson@worcesterart.org
ACCESSIBILITY For barrier-free access to the Museum, please park in the Tuckerman Street lot and enter via the Stoddard Garden Court or park in the Salisbury Street lot and enter via the access bridge. The Garden entrance is open during Museum hours and while classes are in session. The Salisbury Street access bridge is open during Museum hours only. Wheelchairs and walkers are available on a first-come, first-serve basis 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.
Worcester Art Museum's members publication