access worcester art museum magazine
winter-spring 2014 / february / march / april
From the New Board president
i am honored to have been elected as the new president of the Museum's Board of Trustees. i was first introduced to this Museum when my husband came to worcester for graduate school more than twenty years ago, and i have loved it ever since. when our family moved back to the area in 1999 (we live in Northborough), we quickly found ourselves involved with the Museum again: as gallery visitors (i have wrestled strollers up the Lancaster steps quite a few times!), as participants in art school classes and activities, as supporters and friends. we became members, were drawn more and more into the Museum’s orbit, and truly came to understand how greatly this marvellous institution enhances every aspect of our lives in the worcester area. After a few more years, i found myself on the collections committee, and then on the Board of Trustees, then on executive committee, and with each further involvement, i only became more inspired by the Museum, both for its brilliant collection and for the brilliant people who make it such an asset for the community. As a result, i was both humbled and excited to be asked to succeed cliff Schorer as the worcester Art Museum's next president. i would like to thank the Board and the corporators of the worcester Art Museum for their trust in my ability to oversee the next steps of this wonderful institution in times of continued change and galvanizing opportunities.
over the years, my understanding of the operations of the Museum has deepened. i was privileged to first serve on the Museum’s board with Jim welu as director, to continue in that capacity during the transition under cliff’s leadership, and to be intimately involved in discussions, planning and negotiations over the Higgins integration.
As wonderful as wAM already is, i believe deeply that the Museum is poised for an even greater future as it expands its access and relevance, not just for our already committed members and existing Museum-goers, but also for new audiences in our community and across the region. while maintaining the many qualities that we already know and love, the wAM of tomorrow will look very different. Last year, the Board of Trustees endorsed a vision for 2020: by 2020, wAM intends to attract 200,000 visitors annually and expand its critical role in the culture and economic vitality of the city of worcester. Though bold, this vision is eminently achievable with planning, discipline, and above all, a commitment to be relevant to and engaged with you, our audience, the people of the city of worcester and beyond. Already, the gift of the Higgins Armory collection is sparking transformation, not only because of the world class collection we will receive, but also through the armor’s magical ability to captivate family audiences.
Through this period of change, the Board of Trustees and i stand firmly behind our director, Matthias waschek, and his talented team, and we have tremendous confidence in their ability to chart a sustainable course. we are proud to do our part on that road to greater success for wAM and for worcester. i would like to invite each of you to join with us. The Museum needs you to be involved. we need your passion, your enthusiasm, your commitment and your support.
i look forward to serving you — and to meeting you. when you next see me wandering the galleries, please introduce yourself. Sincerely,
catherine M. colinvaux
Worcester Art Museum Board of Trustees FY14
Catherine M. Colinvaux, President Phyllis Pollack, Vice President Marie Angelini, Vice President Charlie Moser, Vice President Joseph J. Bafaro, Jr., Treasurer Karin Branscombe, Clerk
From the director
A warm welcome to catherine colinvaux, our new Board president!
catherine is a long time supporter of the worcester Art Museum and has been a valuable member of our Board. She played an important role in the changes that took place during the tenure of her predecessor, cliff Schorer, notably transition of leadership and integration of the Higgins. A lawyer by training, catherine was key in the negotiations that led to keeping the Higgins collection of Arms and Armor in worcester and integrating it into the collections of wAM. i very much look forward to transforming wAM with her and the Board into an even more sustainable institution that reflects the diversity of our constituencies and attracts 200,000 visitors by the end of this decade.
Let me also take this occasion to thank outgoing president cliff Schorer for his hard work in a tenure that has proven to be transformative for wAM. He always believed in the incredible opportunities of the Higgins and strongly pushed for the articulation of a vision statement. compensating for temporary lack of capacity, he became our ‘ad hoc curator,’ connecting the Museum with new collectors and directing our attention to new opportunies, far beyond his passion for european Masters. cliff will continue to be engaged, both as a member of the Board and of our collections committee. Two new key appointments:
Firstly, i would like to introduce Jon Seydl, our new director of curatorial Affairs and curator of our european collection. A brilliant and visionary art professional, Jon comes from the cleveland Museum of Art, where he was in charge of an outstanding european collection. He has his work cut out for him; besides overseeing the Higgins integration, Jon will work with Audience engagement to rethink our collections, their presentation and distribution on our premises. He will also build our curatorial team in order to support a robust and exciting exhibition schedule.
Herbert S. Alexander Julia d. Andrieni Sara Buckingham John B. dirlam Susan M. Foley gabriele M. goszcz Abraham Haddad rachel Kaminsky Lisa Kirby gibbs patricia S. Lotuff Katharine M. Michie philip r. Morgan Moira Moynihan-Manoog John Savickas clifford J. Schorer
i am equally excited to announce the appointment of Nora Maroulis as our next director of philanthropy. The position was vacant for a very short amount of time— it speaks very much to our momentum that we were able to fill it with someone of her track record. She was trained at major institutions out of state and looks back on successful tenures, the most recent one being at the decordova Sculpture park and Museum, where she served as deputy director for external Affairs. Nora and our highly successful development team will assist with integrating the Higgins and preparing a capital campaign.
This access magazine also includes our annual report. There is a web component as well, with further detail. As you will see, 2013 has been a stellar year (pun with cover intended!): there has been tremendous growth, reassuring consolidation, and major excitement. please find additional details in my annual report to the corporators, which is posted in its entirety on our web site, under the “information” tab, select “from the director,” and enjoy.
Matthias waschek catherine colinvaux and Matthias waschek stand before the worcester State University student art installation: Voyeur constructed by the Visual and performing Arts department's interdisciplinary Arts Seminar. instructor, Michael Hachey.
John woodman Higgins’ collection of arms and armor has traditionally been displayed on its own in a purpose-built museum. while this has conferred many advantages, it also tends to isolate these objects from their broader cultural context and limits the collection’s potential as a hook to attract the public into museum-going more generally. Arms and armor has a tremendous public appeal, particularly for young people, and we can expect that the lure of the Higgins collection will help future generations fall in love with the Museum, and with museums in general, during those crucial formative years of childhood.
The task of moving a collection from one museum to another is a huge undertaking. Under most circumstances, the Higgins collection would have gone into storage for a decade while preparations were made to put it on public view again. But because the worcester Art Museum is in its own moment of transformation, we have the opportunity to make the Higgins collection part of that transformation, and to keep its highlights on view with a hiatus measured in months rather than years. – Jeffrey Forgeng, paul S. Morgan curator, Higgins Armory Museum
The worcester Art Museum is a treasure for central Massachusetts and all of New england. From the [remastered] collection to the coming Knights exhibit, wAM offers an inspiring artistic experience for all who enter their halls. wgBH is proud to be a partner with wAM supporting and contributing to the region's vibrant and growing arts community. – Jon Abbott, president and ceo, wgBH
integrating the Higgins collection and dynamic approach to programming into the worcester Art Museum will broaden the appeal of the Art Museum, worcester’s premier cultural institution, and provide visitors with an exceptional opportunity to view the arms and armor in a broader context. – Suzanne Maas, interim executive director, Higgins Armory Museum
Grateful thanks to the following foundations for their financial support of the Higgins Jump-Start Integration Campaign: 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
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each places the other in a richer, deeper context. They tell stories of people and cultures now gone and connect us with the roots of our shared humanity.
There is no sharp distinction between art and armor. The 4,000 year old corinthian helmets, the 2,000 year old gladiator helmet and the armors and weapons from Asia, india and europe are objects of beauty and symbols of status as much as tools of war.
Knights! Opening Party
Renaissance Faire Weekend
Saturday, March 29 / 10am - 5pm
Left: Northwestern european, Composite Armor, late 16th-early Above: Stefan rormoser of innsbruck, Armor for field and tilt, of count Franz von 17th century, steel, 73 lb. 8 oz., The John woodman Higgins Teuffenbach, detail, 1554, steel, brass, lampblack, with modern leather, 181.6 x 78 Armory collection, H.1000.1-16. Woman at her Toilette, School cm (57 lb. 5 oz.), The John woodman Higgins Armory collection, Higgins Armory of Fontainebleau, 1550-1570, oil on panel, 111.8 x 87.6 cm, Museum, H.2630.1-16 / School of Madrid, Portrait of a Young Noblewoman with the Museum purchase, 1932.23 Initials LVSS (or IVSS), detail, about 1630, oil on canvas, 203 xw114.9 cm orce S T(79 e r15/16 A r T. o r g x 45 1/4 in.), Museum purchase, 1913.43
Sunday, March 30 / 11am - 5pm
This spring, visitors will be able to stand in the shadow of a knight and his steed, compare the Flemish Portrait of a Woman (1556) with her high fashion chainmail-like accessories to a threequarter armor from 1610 and hear stories reflecting the culture and history of an indian Zulfiqar sword from the 1800s. plus, visitors will discover innovative and experimental programming for children and families that combine art, history, and exciting hands-on education. Kids might even be able to create their own legend or design a new batmobile—stay tuned!
Community Day sponsored by Unibank
The pulitzer center on crisis reporting is collaborating with the museum to introduce an installation within Knights! that explores the real world ramifications of using arms and armor. The first grouping of work explores the tragedy associated with ongoing gang violence in the United States and Latin America.
Friday, March 28 / 8-11pm (7 - 8pm Members only)
Knights! will pair Higgins collection artifacts and armor with current wAM artworks to tell the fascinating stories of arms and armor from around the world, throughout history, and in relation to contemporary times and pop culture. “once you start looking at arms and armor and knights, you realize how deeply our culture is permeated with these influences,” says Marcia Lagerwey, Head of education.
Sponsored by Fallon community Health plan and Saint-gobain with additional support from imperial distributors, inc.
Swords, sabers, breastplates. Knights at a round table. chivalry. Love and war. gang violence. Batman. opening on March 29, 2014, the Knights! exhibition at the worcester Art Museum will reveal the remarkable connections between these divergent objects and themes. Using the encyclopedic holdings of the worcester Art Museum as context, this exhibition will present the best of the renowned Higgins collection in an innovative visitor experience. “The integration of the Higgins collection creates an exciting opportunity for the Museum to transform the way we share art with the public, particularly with children and families,” says Matthias waschek, worcester Art Museum director.
Sponsored in part by cole contracting, inc.. and Unum.
The Higgins collection is more than knights in shining armor. it tells stories that range from Scheherazade to the Samurai and from Beowulf to Shakespeare. This is a landmark that few institutions anywhere have ever achieved. it represents the “can do” side of worcester at its best and secures a cultural asset that cannot be replicated by other institutions anywhere at any price. – Jim donnelly, Board president, Higgins Armory Museum
The combination [of Higgins and wAM] gives new meaning to both collections.
“we don’t want the helmet to look new—that’s the
beauty of ancient museum pieces.
They are old and valuable and unique. we just help to make them presentable so they can tell their story on their own.”
– paula Artal-isbrand, objects conservator, worcester Art Museum
Missyurka Skull cap (before treatment) Higgins Armory collection photo: paula Artal-isbrand © worcester Art Museum
Missyurka Skull cap (after treatment), Higgins Armory collection, H.NN.228 © Higgins Armory Museum
A Knight’s Tale
How a conservation team is bringing Knights! to life wAM’s objects conservation team has been hard at work collaborating with the Higgins Armory Museum conservator to conserve objects for the upcoming Knights! exhibition, and to prepare for the integration of the Higgins Armory collection into the Museum’s vast art collections.
paula Artal-isbrand, object conservator at wAM, has been working on several ancient objects scheduled for viewing within Knights!. The objects currently on her neatly organized workbench in the Museum’s conservation Lab – some made of bronze, others of iron – are being studied and treated for the upcoming exhibition. As the team works on items selected by the curator of the Higgins Armory Museum, Jeffrey Forgeng, several highlights have emerged.
This Missyurka skull cap originates from the ottoman empire, or caucasus, and dates to the 16th century. A popular cavalry cap, it was wrapped with a turban around the base. Artal-isbrand explains that the cap, made of iron, was broken in many pieces which had been mended improperly in the past. “i was able to restore the cap’s bowl, the ear pieces and missing chain links using a thick colored Japanese paper made from the mulberry tree bark.” The skull cap is exciting for Artal-isbrand in many ways, one being that this particular item had always remained in storage and deemed too damaged for display. “The Higgins’ curator was thrilled to see this core collection piece conserved because now it can be displayed for the first time and shared with our Museum visitors.”
corinthian Helmet (after treatment), Higgins Armory collection, H.1504 photo: Steve Briggs © worcester Art Museum
The Montefortino style of helmet originated among the celtic people of gaul (now modern France). This piece from about 400 - 200 B.c.e., made of bronze and iron, is Montefortino Helmet (after treatment), probably etruscan. its Higgins Armory collection, H.1135 corroded surface, rich in photo: Steve Briggs © worcester Art Museum greens and browns, tells us that it was discovered in an archaeological excavation. The top part of the helmet – now mostly lost – was fitted with a separate iron knob and probably a tall crest of horsehair was attached to it. Visible are also remnants of a pair of iron sockets at the sides, roughly above the temples. during a conversation with the curator, Artal-isbrand learned that the earflaps had been incorrectly placed on the outside edge of the helmet in a past restoration. She was able to gently remove the hinges holding the earflaps, reattach them to their correct interior location, and repair the incurred damage to the helmet’s rim. This repair is now invisible to the untrained eye.
“wAM conservators are trained in conservation programs where we not only learn hands-on treatment skills, but we are also taught how art objects are made, and what restoration materials can be used in association with them during the conservation treatment, so that they won’t interfere with the original materials” explains Artal-isbrand.
Another piece being prepared for the exhibit is a greek helmet, made of bronze, that dates from about 550 - 450 B.c.e. its exquisite green patina is also evidence that it came from an archaeological excavation. Artal-isbrand was able to utilize the Japanese paper technique again to reinforce cracks and stabilize the helmet. As you can see, the large hole—perhaps from a deadly weapon blow – remains on one side of the helmet. Not repairing it, she explains, is the intention of the conservators. “we don’t want the helmet to look new—that’s the beauty of ancient museum pieces. They are old and valuable and unique. we just help to make them presentable so they can tell their story on their own.” opposite page and far left: ottoman Missyurka (skull cap),1500s-1600s, iron, The John woodman Higgins collection, Higgins Armory w o r cMuseum, e S T e r AH.228 r T. o r g
on permanent view “ Many museums show lovely paintings; wAM’s [remastered] presents those works in brilliant new ways that will also ‘transform’ onlookers into connoisseurs.” –Arts: Memorable arts moments of 2013 / The Metrowest daily News / chris Bergeron / december 29, 2013
[remastered] is “… an intelligent attempt to rethink wAM’s 16th-18th century holdings – to display them to their best effect, certainly, but also, with a bit of theater, to slow us down, to suggest alternative insights, and to stimulate new pleasures.” –New look at Old Masters in Worcester exhibit / Boston globe / Sebastian Smee / october 25, 2013
did you know that director david o. russell and actors christian Bale, Bradley cooper and Jennifer Lawrence filmed portions of American Hustle in the worcester Art Museum’s [remastered] galleries? 8
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–Nicole Huss-Howland ’16, worcester State University student
Best re-hangs of permanent collection: [re-mastered], worcester Art Museum – Boston globe’s [Sebastian Smee] 2013 visual art picks
“ More great things are happening…bringing terrific vitality back to the Museum…”
– wgBH / Jared Bowen / Morning edition – November 14 and open Studio, November 15, 2013
–Museum, Remodeled / wall Street Journal / Judith H. dobrzynski / November 13, 2013
join today / worcesterart.org
“ The most meaningful step taken so far is [remastered], which encourages museumgoers to linger in the galleries, looking for commonalities among the paintings in each assemblage...No two museums are alike, but if Mr. waschek's experiment isn't being watched closely by other museums, it should be.”
Become a WAM Member
“...it was an honor to be a part of something so revolutionary. The whole experience has made me develop a personal relationship with each work in the gallery, and that is an amazing thing to have.”
M A W M ME
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Nude drawing in the galleries Thursdays from 2-5pm Free with Museum admission
“ To attend the Nude drawing in the gallery program at the worcester Art Museum has been an incredibly valuable opportunity for me. Here i am able to practice drawing from observation of life in a context enriched by backdrops painted by the masters. The most amazing thing is that through a program like this i no longer feel like an ordinary ‘visitor’ to a museum but a contemporary participant enmeshed in the long-lasting conversation of artists, whose depictions of reality, as seen through their eyes, speak to us all around as we exert our own efforts in the task which they themselves once undertook.” 10
– Michael russo (class of 2015, college of the Holy cross) w o r c e S T e r A r T. o r g
photo: Steve Briggs © worcester Art Museum
The nude takes center stage among our old masters. Try your hand at drawing a live nude model with the guidance of our expert faculty among masterworks by Veronese, el greco and rembrandt.
Ongoing programs at WAM
drop-in activities for everyone every day! please check our online calendar and/or follow us on Facebook or Twitter for up to date information on ongoing and new programs.
Sunday Sermons Sundays / 1:30pm
Book Club Meets in the Library / 6pm
Visit us online at worcesterart.org for more information about programs and workshops
Worcester Art Museum: Artist Speakers’ Series
enjoy this engaging series of talks with international, renowned and contemporary artists, authors and curators. pre-registration is recommended. Maryanne O’Hara / Author event and Book Signing / February 20 / 6-8pm Garth Evans / Sculpture & works on paper / March 19 / 6-7:30pm Pedro Alonzo / Freelance curator / May 28 / 6-7:30pm
Professional Artist Immersion Workshops
Study with regional artists in their chosen media and enhance your own artistic skill in a creative community environment. (peregistration is required. Find schedule and more online at worcesterart.org/education/immersionworkshops/) Large Scale Relief Printing with randy LeSage / Friday, February 7 / 10am-4pm Found Object Transformation with Kitty wales / Saturday, February 8 / 10am-4pm Ashkal Alan “Shapes and Colors” with Bayda Asbridge / Saturday, March 1 / 10am-4pm
Big Author Little Artist with Suzy Becker / Picture Book Making / Sunday, March 23 / 10am-4pm
Open House for Educators
Thursday, February 27 / 4-6:30pm / Free
For K-12 teachers, home school educators, and college/university professors. Learn about our educational resources, including tours, gallery/studio workshops, professional development, public programs, the museum library, special exhibitions, and classes. enjoy complimentary wine, cheese and crackers, museum giveaways, and participate in tours and handson fun. please rSVp by Thursday, February 20 to Jesse rives at 508-793-4335 or email@example.com.
he du W le ed @ dr ne a aw sd gl w in a an AM g ys ce cl Ta ub lks : 1 Th : n -3 u oo pm Nu rsd n de ay dr s aw Fr ing i St day :2 or s -5 M yT pm ed im ita e: tio 11 n: -1 Sa no 1:4 t Fa urd on 5 m ay ily s Tim Su e: 10 Su nda :3 nd ys 0ay 11 Se rm on s: 1: 30
Cascade by Maryanne o’Hara, discussion and tour with the author Leonardo and the Last Supper by ross King, discussion and tour with John garton, Associate professor, Art History, clark University The Acts of King Arthur and his Noble Knights by John Steinbeck, discussion and tour with Jeffrey Forgeng, curator, Higgins Armory Museum
Members: Free / nonmembers: $14 worcesterart.org/education/lecture-series/
NEW! Contemporary Art Self-Guided Tour This tour provides a brief introduction to some of wAM’s most compelling works, prompting questions about meaning, context and materials. Stop by the Visitor Services desk to pick up a free copy.
celebrate Black History Month in February and women's History Month in March with Sunday Sermons by preeminent scholars and community leaders and musical performances. enjoy music and lend your voice to these important conversations. FeB 2 Knowledge, Tragedy & Forgiveness in Lincoln’s Second Inaugural Address FeB 9 The First Emancipation: Barre’s Qourk Walker & the End of Slavery in Massachusetts FeB 16 Sunday Sermons take a break as we celebrate the holiday weekend. FeB 23 African Roots of New Orlean's Jazz and Louisiana Cajan Music MAr 2 Radishes & Petunias: Women’s Revolutionary Thought MAr 9 The Tender Trap: Jacob Duck's Card Players and Merry Makers MAr 16 Refrigerators: A Social & Cultural History MAr 23 Gender & the City Apr 6 Telling Stories About Knights
take a contemporary art tour
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NEW! Art & Books Tour – Beginning in February Second Saturday, 1:30pm, meet in Library Join conservator Birgit Sträehle on an art history themed tour and explore works of art relating to the month’s theme. Visitors will learn surprising facts and hear about hidden details from an insider’s point of view. Subsequent to the tour wAM Librarian, debby Aframe will welcome you back to the library to discuss relevant literature and create an appetite for further reading. Feb 8: Love in the Afternoon/Affection, Lust & Desire in Art Mar 8: Sparkling Splendor/Gold Leaf in Art Apr 12: Pleasing to the Palette/Food in Art Family Time: Tour and Make Art
Free with Museum admission. Free admission for all on the first Saturday of each month between 10am-noon.
Tour: Saturdays, 10:30-11am explore the Museum galleries with your family on a docentguided discovery tour. Hear fun facts, stories and enjoy sharing observations and time together. Tours last approximately 30 minutes. Make Art: Saturdays 11-11:30am Families –Stay after your family tour or drop-in for this fun intergenerational time in the galleries. get inspired by art and try making something uniquely yours. Materials will be provided. come recover your childlike sense of free spirited play!
Zip Tours Saturdays, noon Zip tours are fast paced views of one artist or work of art, and last only 20 minutes. Free with Museum admission; Admission free for all the first Saturday of each month between 10am-noon.
Sunday Tours Sundays, 1-2pm Join one of our talented Museum docents for an overview of the Museum collection. Free with Museum admission.
Tours of the Month Select wednesdays and Saturdays each month, 2pm each month, a Museum docent picks a topic of special interest and creates a tour through the Museum based upon that subject matter. This is an opportunity for visitors to glean a more in depth knowledge about the collection. don’t miss out! Free with Museum admission.
Feb 19 & 22: Portraiture: Reality or Façade? Mar 19 & 22: The Caravaggisti Apr 16 & 19: Alchemy & Magic in Art 12
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You are Here
contemporary gallery Through August 31, 2014
You are Here has been conceived around several contemporary artists whose art re-imagines the body and its boundaries. incorporating a symbolic figurative presence as an alternative to the external appearance of a human figure – a traditional marker of our existence – these works locate the body through materials, spaces, sensations, and information that exist in relation to it (and to us).
elements of architecture, altered apparel and jewelry define the body in terms of spaces and surfaces that surround it. Sculptural and photographic translations of domestic objects simulate associations of physical and mindful engagements of the body. disembodied fragments act as surrogates for a whole being while conveying primal sensorial experiences of touch and need. digitally converted dNA profiles extend the body’s boundaries to beneath the skin.
Formal strategies including dramatic scale shifts, the subversion of familiar materials, and the implied potential of movement of unfixed elements, not only challenge conventional ideas of the figurative in art but also propose an understanding of the body not as a biological constant but as a definable variable.
Artists include claire Barclay, Alice channer, Tory Fair, Byron Kim, Jim Lambie, charles Ledray, Annette Lemieux, iñigo Manglano-ovalle, rona pondick, Amanda ross-Ho, Milagros de la Torre, and gillian wearing. This project is supported by the Don and Mary Melville Contemporary Art Fund. rona pondick, American, born 1952, Treats, 1992, plastic and rubber, gift of Ursula Hodell, 2005.219 © rona pondick w o r c e S T e r A r T. o r g
Jeppson Idea Lab: Michael Benson
Carina Nebula Through June 22, 2014
This Jeppson Idea Lab project introduces a photograph of the Carina Nebula printed exclusively for WAM and acquired for the collection in 2013. It represents a unique point of contact between contemporary art and science. One of the overriding questions provoked by viewing this image in an art museum is, “When is data art?” It is a question that is closely tied to the history of photography and the evolving role of technology in image production. While humans have been fascinated with the sky since prehistory, a vista with this level of detail has only been available to us quite recently. This seamless photographic mosaic combines the talents and imaginations of astronomers and engineers using both space and land-based telescopes with sophisticated cameras, and artist Michael Benson. The Carina Nebula, an area of space about 10,000 light years away, is among the brightest parts of the Milky Way visible from Earth. It is an area teeming with new and dying stars — clouds of dust and gas, eroding dust pillars sculpted by radiation from powerful stars, and lobes of stellar material.
Working with archives primarily used by planetary scientists and astronomers, Benson’s explorations are focused on aesthetic, not scientific discoveries. Taking raw image data acquired for research purposes, Benson edits, combines, composites, and repurposes it for his photography. Due to the limitations of our visible light spectrum, official image releases from the Hubble Space Telescope are frequently presented in “representative” colors. These colors are quite different from the actual hues humans would be able to perceive if looking upon the Carina Nebula themselves.
In order to better represent how the human eye might see the nebula— albeit enhanced by the power of the telescope to gather vastly more light than our unassisted senses ever could—Benson has replaced the falsecolor information of the original Hubble image with true-color data derived from lower-resolution Earth-based observations. In this way, he retains the incomparable detail of the Hubble mosaic composite while enhancing Carina Nebula’s color accuracy by utilizing the visible-light wavelength observations recorded by the European Southern Observatory between 1999 and 2003. 14
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About the artist
Michael Benson, a photographer, writer and filmmaker, is widely recognized for bringing the visual legacy of space exploration to public view in photography exhibitions and books. Beyond: Visions of the Interplanetary Probes (2003), his internationally best-selling book of photographs derived from digital data collected by space agencies, was developed into an exhibition by the Smithsonian Institution and was presented at WAM in 2009. Additional publications include Far Out: A Space-Time Chronicle (2009) and Planetfall: New Solar System Visions (2012). Apart from his own awardwinning films, Benson has worked with director Terence Malick to help realize space sequences in the film Tree of Life, which won the Palm d’Or at the Cannes Film Festival in 2011, and his work has also appeared in Chilean filmmaker Patricio Guzmán’s 2011 feature documentary Nostalgia for the Light. He currently lives in Boston, where he is working at MIT on a project titled Nanocosmos.
What is the Idea Lab?
An exciting collection initiative that was launched in summer 2013 is the Jeppson Idea Lab, taking place in the Jeppson gallery located on the 3rd level and dedicated to highlighting single objects (or small groups of objects) from the permanent collection. Rather than presenting a formal thesis, which is more often the case for exhibitions, the Idea Lab will be a public forum for sharing questions and ongoing research about objects that may lead to future exhibitions, reattributions, or publications.
Artist Talk: Michael Benson Sunday, February 9, 2014, 2pm
Held in conjunction with the Jeppson Idea Lab: Michael Benson, Benson will discuss his amazing colorized photo of deep space. Free with Museum admission. Michael Benson book available in Museum Shop.
Generously sponsored by the Amelia & Robert Hutchinson Haley Memorial Lectures Fund
Hubble Space Telescope, March and July 2005 and european Southern observatory 2.2 meter telescope, La Silla, chile, 1999, 2000, 2001, 2003 / image created in 2008 by combining data from the NASA-eSA Hubble Space Telescope and from the Mpg-eSo (Max planck Society and european Southern observatory) 2.2 meter telescope in La Silla, chile, detail, chromogenic print, 2012, Stoddard Acquisition Fund, 2013.4 © Michael Benson w o r c e S T e r A r T. o r g
Majima, ryoichi, Japanese, born 1947, The 4th, 1987, ed.17/18, collagraph, 26.35 x 19 inches, gift of ryoichi Majima via The wise collection, 2011.385
Majima, ryoichi, Japanese, born 1947, The Food, 1987, ed.7/18, collagraph, 30.25 x 23.375 inches (image and sheet), gift of ryoichi Majima via The wise collection, 2011.383
“Majicolor” Prints by Majima Ryoichi February 5 – November 2014 chinese corner gallery
The Japanese artist Majima ryoichi (b. 1947) studied art in california. His “Neo-pop” prints are imaginative and irreverent examples of “east meets west,” rendered in a vivid palette. The collagraph entitled The Color, one of the three prints shown, depicts a paint tube; the riddle-like backwards lettering of its label-text includes the brand name “Majicolor,” a playful reference to the artist’s name.
Majima aims to energize and nourish viewers and to provide “food for thought.” in his depiction of a “sushi burger” the artist criticizes foods and 24-hour convenience stores (konbini). He considers such fast foods and stores to be models of a westernized consumer culture and society that has destroyed traditional neighborly relationships between sellers and customers. Majima is famous for having created a “Majimart” installation at a Tokyo gallery and for his humorous plastic sculptures of foods. His empathy for animals, which he stresses have emotions, is sensed in his whimsical depiction of a chinese dragon.
< Majima, ryoichi, Japanese, born 1947, The Color, detail, 1987, ed.7/19, collagraph, 34 x 25 inches (image and sheet), gift of ryoichi Majima via The wise collection, 2011.384
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Nancy Kathryn Burns has been promoted to the position of Assistant curator of prints, drawings, and photographs. Burns, who earned a BA from the college of the Holy cross and a MA from Brown University, served as curator for the exhibition, Leisure, Pleasure, and the Debut of the Modern French Woman (2011), and contributed to the catalogue accompanying Kennedy to Kent State: Images of a Generation (2013). Most recently, she organized Winogrand’s Women are Beautiful (2013). Burns will continue to organize exhibitions utilizing the Museum’s collection of works on paper and serve as the curatorial liaison for internal and external access to that area of the collection.
Moving on Up
Nancy Burns brings her love of european and American Modern Art, as well as a strong teaching history, to her new position of assistant curator of prints, drawings, and photographs.
After teaching at the college of the Holy cross then at clark University from 2003 to 2008, Burns came to wAM in November 2008 as a curatorial assistant. it was her feeling that working directly with objects in a museum setting would offer her a new way of engaging with and researching artworks.
Burns found her passion for art history as a result of fortuitous circumstances—a friend coerced her to enroll in a 20th century art history class—within two weeks Burns recalls she was convinced she needed to spend her life engaging with art in a significant way.
unquestionably my primary engagement was with paintings … i got very lucky when a job as a curatorial assistant opened up here at wAM and the former curator in this department decided to hire me despite the fact that my specialty was in another medium.” Her first year at wAM, Burns dove into a self-study of print processes, which she credits as inspiration for her current show on the printmaking techniques.
“i remember being overwhelmed by references to print techniques like ‘spit biting, roulette, and sugarlift etching.’ i wanted to tap back into my confusion about those techniques and try to explain them to an everyday visitor to the museum.”
Burns’s future plans include more exhibitions that integrate works on paper alongside other media like “it was probably the second week of painting and sculpture. “eventually i’d like to do a major exhibition with class when my then-professor showed piet Mondrian’s Composition an accompanying catalogue juxtaposing later 19th century/early in Oval with Color Planes 1,” recalls 20th painting (mainly impressionist & Burns, “and it completely blew my Modernist painting) with photography mind. i went to the professor after from the later 20th century,” she that class and asked her what i had to do to become an art historian, explains. “There’s a really interesting despite the fact that i was already an similarity between the two media in english major.” terms of their use of color, light, and scale that i feel should be explored Burns explains her road to art from the perspective of social history history was a circuitous one, as and formal construction.” was her move to paper. “when i was a grad student at Brown,
photo: Louie despres
exhibition Works in Process: from Proof to Print Through April 5, 2014
Alfred Leslie, American, born 1927, Permanently (working proof with green, red, yellow and white inks with adhered paper), detail, 1959, Screenprint and collage, richard A. Heald Fund, 1995.67.20, © Alfred Leslie
examining various printmaking techniques like lithography, screenprinting, and woodcutting, this exhibition underscores the often arduous process of creating graphic impressions. Sketches, proofs, even woodblocks, hang alongside finished prints showcasing each print’s evolution from start to completion. Artworks included in the exhibition span three centuries and two continents featuring artists such as Félix Bracquemond, gustave Baumann, Francesco Bartolozzi, and Alfred Leslie.
w o r c e S T e r A r T. o r g
Salisbury Society Sneak previews â&#x20AC;&#x201C; special access
As a benefit of membership, Salisbury Society Members enjoy sneak previews of exhibitions and special access to gifts of art and new acquisitions of art throughout the year. in August, Salisbury Members were treated to a first viewing of Venus Disarming Cupid by paolo Veronese only hours after it arrived in the Museum before it was even framed. The Society then had a sneak preview of the [remastered] galleries on September 19th where they were able to view the reinstalled galleries, including the Veronese painting, a gift from collector Hester diamond of New York made in honor of her stepdaughter, rachel Kaminsky, a board member of the Museum.
on october 25th at the panel Symposium on the Orantes: Ancient Statues from South Italy, in the new Jeppson idea Lab, international and renowned experts in conservation and the ancient study of tombs presented their studies and findings to the Society. Salisbury Members heard the fascinating behindthe-scenes stories of the conservation and circuitous acquisition process of the orantes on view â&#x20AC;&#x201C; a truly unique experience! For a complete listing of Salisbury Society programming, including the Salisbury Art Series and Easel Talks, visit worcesterart.org.
cUrreNT eVeNTS for Salisbury Society Members
Thursday, January 23 Salisbury Preview and Tour of Flora in Winter 4-5pm private tour of Flora in Winter 5-6pm cocktail reception / conference room
Thursday, March 27 Salisbury Preview of Knights! exhibition 5:30pm
To become a Salisbury Society Member or for more information, visit our website or contact Nancy Jeppson at firstname.lastname@example.org / 508.793.4325
pictured above: John graham, geri graham, Tom dolan and (far right) Jang Singh pictured inset: chris collins and Lisa Bernat, Salisbury Society co-chairs
“The Salisbury Society is a unique and extraordinary way of supporting the worcester Art Museum. As a member, you have the rare opportunity to interact in an intimate way with the artwork, the Museum’s exceptional professional staff, experts in a variety of associated fields, and often living artists.
The collection speaks to the human condition. it changes with the context of your life, and nourishes it in so many ways. wAM is a place of solace, inspiration, inspection, learning and shared experience. i look forward with anticipation to the always exciting possibilities for programming: viewing new acquisitions, conversations with collectors, new discoveries in conservation, gallery talks and travel. it has been a privilege to be involved with the committee, and Society. what could be better than celebrating, contemplating, and connecting with great art and a wonderful community? A decade has flown by!”
– Lisa Bernat, co-chair, Salisbury Society committee
M A W ME
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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.
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with Membership My way, you pick a category that fits your unique needs and we’ll 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.
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Start enjoying your benefits while supporting the Worcester Art Museum
Questions? contact the Membership department: 508.793.4300 / email@example.com
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Stefan rormoser of innsbruck, Armor for field and tilt, of count Franz von Teuffenbach, detail, 1554, steel, brass, lampblack, with modern leather, Higgins Armory Museum, H.2630.1-16
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Your partnership supports wAM programs and exhibitions. To join, renew or learn more: 508.793.4326 or KarmenBogdesic@worcesterart.org
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grace Hartigan, King of the Hill, 1950, oil on canvas, © grace Hartigan estate, Sarah c. garver Fund, 1971.114
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willem de Heush, Italian Landscape with Peasants, gift of Mr. and Mrs. John Adam, Jr., 1986.89
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For tickets visit T For TheHanoverTheatre.org heHanoverTheatre.org or call 877.571.SHOW 877.571.SHOW (7469) 4PVUICSJEHF 4USFFU t 8PSDFTUFS ." 4PVUICSJEHF 4USFFU t 8PSDFTUFS ." Discounts Disc ounts available available for for members members,, g groups, roups, kkids, ids, studen students, ts, and WOO card card holders holders.. Worcester Center Performing Arts, not-for-profit owns operates Hanover W orcester C enter ffor or the P erforming A rts, a registered registered not -for-profit 501(c)(3) organization, organization, o wns and oper ates TThe he Hano ver TTheatre heatre for for the Performing Performing Arts. Arts.
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on cover: Carina Nebula, Hubble Space Telescope, March and July 2005, and european Southern observatory 2.2 meter telescope, La Silla, chile, 1999, 2000, 2001, 2003. image created by Michael Benson in 2008 by combining data from the NASA-eSA Hubble Space Telescope and from the european Southern observatory 2.2 meter telescope, La Silla, chile. chromogenic print, 2012 Stoddard Acquisition Fund, 2013.4