access: Worcester Art Museum's members magazine

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access WORCE S TE R ART MUSEUM fall / winter 2 0 2 0




From the Director


The Kimono in Print: 300 Years of Japanese Design


Inside Chiso: A Conversation with Kimono Designer Imai Atsuhiro


Conservation Now: How to Rescue a Shipwrecked Mother and Child


Distinguished Folk Art Collection Coming to WAM


How COVID-19 Changed WAM


Find Yourself at WAM


Southeast Asia Artists-in-Residency


The WAM Docent Program Turns 50!


Ongoing / Upcoming Exhibitions


Tours and Programs


Seen at WAM!


Membership and Giving22 Seen at WAM!


Membership and giving

Cover: Reginald Gammon, Holy Family, 1964, acrylic on Masonite, Blake Robinson Fund, 2019.46. Š 2020 Estate of Reginald Gammon / Licensed by VAGA at Artists Rights Society (ARS), NY Left: Docent Cathryn Oles leads a tour with students from Worcester's Jacob Hiatt Magnet School in 2016. access magazine is a publication of the Worcester Art Museum and funded in large part by the Herron-Dresser Publications Fund. All rights reserved. Information subject to change. Editor: Julieane Frost Editorial Assistant: Cynthia Allegrezza Design: Kim Noonan Photography: Jeffrey Baker, Stephen Briggs, Kim Noonan, Troy B. Thompson Photography Contributing Writers: Cynthia Allegrezza, Sarah Leveille

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from the director

Years from now, we will look back on 2020 as a watershed moment—a crucial and irreversible turning point for WAM and our entire global community. The dual crises of the COVID-19 pandemic and national outrage over systemic racial injustice this summer caused us to pivot, rethink our priorities, and take a good hard look at who and what we are. When we entered the mandated lockdown on March 13, we did not know how long we would be closed or how our lives would be changed. The realization had not yet sunk in that WAM’s mission fulfillment via onsite content—through the presentation of art in our galleries, changing exhibitions, public programming, art classes, and special events—would become impossible until we could reopen, or even longer than that. Every challenge, however, is also an opportunity for growth, and this was no exception. Director of Education and Experience Marnie Weir describes how WAM has responded to COVID-19 on page 14. Ensuring the Museum survives the financial impact of the pandemic was another urgent challenge. Quick thinking and strategic action, along with generous support by our community, brought stability to our balance sheet and allowed us to pay 100% of our staff for 14 weeks, through June 21. We are so very grateful to our members, donors, sponsors, and foundations, who have continued financial contributions to the Museum during this difficult time. While we—along with organizations and businesses throughout the country—were focused on our pandemic-related challenges, the events in early June following the brutal police killing of George Floyd in Minneapolis put them into a harsh new light. The Worcester Art Museum cannot achieve its mission of connecting people, communities, and cultures without acknowledging the harm and pain Black, Indigenous, and people of color have endured due to racism in the past and today. While WAM embraces the art of all cultures and people by design, we were forced to recognize how much work is needed to overcome systemic racism in our organization. Black lives matter. We are unequivocally committed to making this not just a value statement, but an integral part of WAM’s organizational DNA. We are prioritizing works by artists of color in our acquisitions, diversifying our Board of Trustees, and changing our hiring practices. Last year we launched a Diversity, Equity, and Inclusion staff committee to support staff learning, which is ongoing. Recent collaborations with the India Society of Worcester, the Southeast Asia Coalition of Central Mass, and our city’s Black community on programming and exhibitions are helping us reach new and diverse audiences. Through community partnerships with Head Start, Worcester Public Schools, Clemente Course, and Arts Alternative, we strive to connect children and adults of all backgrounds to the transformative power of art. Our new strategic plan will build on this foundation with specific goals and action plans. I look forward to sharing that plan with you in the coming year. The past several months have not been easy, I imagine, for all of you. I hope you are well and thank you again for your support. WAM continues to be here for you, online for sure, and with all the required safety measures, when we welcome you again to the Museum this fall.

Matthias Waschek Jean and Myles McDonough Director

The Worcester Art Museum's mission is to connect people, communities, and cultures through the experience of art.


Board of Trustees 2019-2020 Lisa Kirby Gibbs, President Mark W. Fuller, Vice President Lisa H. McDonough, Vice President Thomas P. McGregor, Treasurer Susan M. Bassick Sarah G. Berry Karin I. Branscombe Douglas S. Brown Dorothy Chen-Courtin James C. Donnelly, Jr. Antonella Doucette Jennifer C. Glowik-Adams Karen M. Keane Arthur G. Kentros Sohail Masood Philip R. Morgan Malcolm A. Rogers John Savickas Clifford J. Schorer Anne-Marie Soullière Valerie Zolezzi-Wyndham Ex Officio Matthias Waschek, Jean and Myles McDonough Director

Image right: Toby Sisson, American/naciremA 1, 2018, encaustic monotype on paper mounted on wood; in two parts, Thomas Hovey Gage and Helen Sagoff Slosberg Funds, 2018.48. Photo: @2018 Toby Sisson


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exhibitions The Kimono in Print: 300 Years of Japanese Design February 6 – May 2, 2021


he Kimono in Print: 300 Years of Japanese Design is the first show devoted to examining the kimono as a major source of inspiration and experimentation in Japanese print culture, from the Edo period (1603–1868) to the Meiji period (1868–1912). This dialogue between print and kimono design is illustrated by approximately 70 Japanese prints, as well as a selection of illustrated woodblock printed books and paintings, primarily drawn from the Museum’s 3,000 Japanese ukiyo-e woodblock prints gifted in 1901 from John Chandler Bancroft (1835–1901) Featured in The Kimono in Print is a one-of-a-kind contemporary wedding kimono by Chiso, the important 465-year-old, Kyotobased kimono house. The Worcester Wedding Kimono is the first ever kimono commissioned as an artwork for an art museum. Celebrating the 120th anniversary of WAM’s transformative acquisition of the Bancroft collection, the contemporary wedding kimono reflects the Museum’s vision for Japanese art in the 21st century. Print artists from 17th- to 20th-century Japan documented everevolving trends in fashion, popularized certain styles of dress, and even designed kimonos. The works begin with early prints from the late 17th century, when a more complex and sophisticated attitude toward clothing first appeared, as seen in the lavish prints of the floating world’s celebrity kabuki actors and courtesans. Modern design books and prints from the early 20th century, inspired by or made for kimono, demonstrate how the boundaries between print and textile fashion and design became more fluid. The commission of a kimono as an artwork, rather than for a specific client or occasion, gave Chiso and its designer significant creative space to give form to their outlook regarding the present and future art of the kimono. Inspired by the New England foliage and Worcester’s famed seven hills, Chiso’s Senior Designer Mr. Imai Atsuhiro incorporated the iconic maple leaf throughout the kimono design, as well as seven textile techniques, ranging from newly developed to endangered ones. Documentary photographs of the process are included in the exhibition. The Worcester Wedding Kimono reveals in stunning detail Chiso’s continuing commitment and aspiration to Japanese beauty and steadfast dedication to innovation, design, and creativity—in the present and for the future.

The exhibition is accompanied by a catalog edited by guest curator Vivian Li, with contributions by Nagasaki Iwao, Ellis Tinios, Matsuba Ryōko, Fujita Kayoko, and Stephanie Su. Published by Hotei Publishing, in association with the Worcester Art Museum, the catalog is available for purchase for $49. To purchase, please call 508.793.4354. This exhibition is generously supported by the E. Rhodes and Leona B. Carpenter Foundation. Early research for this project was made possible by the Japan Foundation and the Institute for Museum and Library Services.

Kimono Couture: The Beauty of Chiso A Virtual Exhibition Begins on November 28 at We are honored to partner with Chiso, the distinguished Kyotobased kimono house, on their first ever virtual exhibition of historic and contemporary kimonos from their collection, as an accompaniment to The Kimono in Print: 300 Years of Japanese Design. Kimono Couture highlights the history and exquisite artistry of the prestigious 465-year-old garment maker through the presentation of nine kimonos. In addition, a selection of related works—paintings, kimono fragments, and woodblockprinted books—from the Chiso art collection reflects the creative collaborations between Chiso and several celebrated Japanese artists since the late 19th century. The exhibition shows Chiso’s profound championing of the rigorous artistic traditions of Japanese kimono-making, while highlighting the company’s gift for beauty and versatility. Kimono Couture: The Beauty of Chiso is accompanied by a catalog, authored by the exhibition guest curators, Vivian Li and Christine Starkman, with contributions by Riyo Kikuchi and Yukio Lippit. Published by D Giles Limited, London, in association with the Worcester Art Museum, the catalog is available for purchase in the Museum Shop for $34.95. For phone orders, please call the Shop at 508.793.4354. Kimono Couture: The Beauty of Chiso is organized by the Worcester Art Museum in partnership with Chiso, the revered 465-year-old kimono design and production house based in Kyoto, Japan. Support is provided by the Fletcher Foundation and Michie Family Curatorial Fund. Research for this project was made possible by the Japan-United States Friendship Commission and the Northeast Asia Council of the Association for Asian Studies. Additional support is provided by Sandy Hubbard and Thomas J. Logan and Emily and James Holdstein. The exhibition is sponsored by Cornerstone Bank and Imperial Distributors, Inc.

Media Partner: Above: Chiso Co., Ltd., Uchikake with Clouds and Pine Trees Design, Made for Nishimura Tokuko, the fourteenth Madame Nishimura, 1938, embroidery on woven silk. Opposite page: Kobayashi Kiyochika, The Tenmei Era, 1896, woodblock print (nishiki-e); ink and color on paper, with mica (kirazuri), Harriet B. Bancroft Fund, 1993.28


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Inside Chiso: A Conversation with Kimono Designer Imai Atsuhiro The following is an edited excerpt of an interview with the designer of the Chiso wedding kimono commissioned by the Worcester Art Museum. The full interview by Monica Bethe, Vivian Li, and Christine Starkman appears in the exhibition catalog, Kimono Couture: The Beauty of Chiso, published by Giles Press. VL: We would first like to talk about your training as a designer. What was your training, how did you arrive at Chiso, and how did you adapt to being a kimono designer? Imai: I joined the company in 1998. I didn't actually learn about kimono at university as I was more focused on my own artwork. I tried to take in a lot about traditional Japanese art and culture during my studies, but when I joined Chiso, that world was completely different. There was much to absorb, and there was much hands-on learning in Chiso’s design department. We acquire drawing skills from the people in the design department. Because there is a production department, we can look at the actual kimono being made there and also at the beautiful old kimonos that the company has collected. In this way, it is possible to learn and absorb the technical aspects related to the designs. Additionally, in talking with the craftspeople and getting information from them, one learns which


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techniques are used to express which design elements. You then consider which techniques would be right for your own personal expression. There are two approaches to designing a kimono at Chiso. One is to design according to the techniques, and the other is to select the most appropriate techniques for the design. There are various roles and features of each technique, so I place more emphasis on how they can best bring out a given design. CS: This seems to be a negotiation: once you decide on one technique, it affects the visual impact of other techniques, which in turns affects others. Imai: You can say that. When I visited Worcester last year, I proposed ten designs for the kimono commission. The design selected was the most distinctive among them, and in a sense, it had the most possibilities in the use of different techniques. The other designs had a specific method in mind from the beginning. The design

chosen was more experimental and had more flexibility in how it might be expressed. CS: Your presentation of the ten design proposals was interesting because in a way, numbers one to eight went through the history of kimono design. And it was quite surprising when you got to nine, you were almost there and [we were] thinking, “Maybe that’s possible.” But then we had reservations that it was still traditional. MB: It seems as if you passed through time periods and arriving at the modern, embracing the Western, finally came to [the final design] that is neither Japanese nor Western: it is Imai-san. VL: During the presentation you talked about how this also represents the marriage between Japan and Japanese culture and art with Worcester art and the culture of New England. Can you talk about how you got that idea and how you translated it into the kimono design?

Imai: A theme suggested by the Worcester Art Museum was the “Seven Hills of Worcester,” so we wanted to focus on the number seven. Worcester and Japan both have an abundance of natural beauty. The Japanese have always regarded nature very closely in design, and I felt we needed to include that element here. I decided the kimono type should be an uchikake (wedding kimono), which, in Japan, is worn for the most formal celebrations. Regarding the number seven, we incorporated seven special techniques. The design also has seven gradations of color to represent the changing seasons. In addition, I included the octagon, which is the Chiso trademark, and this also is reflected in seven concentric octagons that frame the design. I rendered the maple leaf as an octagon, making it into a pattern. This is then placed such that it offers a sense of beauty throughout the design. The kimono is beautiful when it is spread out; it has a different beauty when it’s worn. When this uchikake is worn, the two halves of an octagon come together to form one octagon at the front. One half represents Chiso, while the other half represents Worcester. So, it is expressing a bond between the two places. The octagon formed by the overlapping front panels, which only appears when the kimono is worn, was one of the most crucial concepts of this design. VL: What is the relationship you hope this commissioned kimono will have with the U.S. public even after the exhibition is over? Imai: We are presenting something that we believe is beautiful. It is something sent from Japan, from Kyoto, yet there is always a different viewpoint regarding Japan and its art when seen by foreigners. I think there are many ways to look at the work; however, many people have a slightly oldfashioned image when it comes to kimono. I am confident that this design can be appreciated by an American audience—the people in Worcester—and the world as a contemporary kimono. I hope it will be received as [an emblem of] the beauty of Chiso and the beauty of Japan.

Monica Bethe is Director of the Medieval Japanese Studies Institute, Kyoto; Vivian Li is the Lupe Murchison Curator of Asian Art and Global Contemporary Art, Dallas Museum of Art, former Associate Curator of Asian Art and Global Contemporary Art at the Worcester Art Museum, and co-curator of Kimono Couture: The Beauty of Chiso; Christine Starkman is an independent curator and co-curator of Kimono Couture: The Beauty of Chiso. Above: CHISO, Ltd., Worcester Wedding Kimono, 2020, various dyeing methods with gold leaf, and embroidery on woven silk, Stoddard Acquisition Fund Left and Opposite Left: Imai Atsuhiro works on the Worcester Wedding Kimono design. Other photos: Chiso artisans at work on the kimono. Images courtesy of CHISO, Ltd.

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Conservation Now: How to Rescue a Shipwrecked Mother and Child In December 2019 Objects Conservator Paula Artal-Isbrand began a year-long restoration of Shipwrecked Mother and Child, a life-size marble sculpture by American artist Edward Augustus Brackett. The work is being done in the Jeppson Idea Lab so that WAM visitors can watch Artal-Isbrand’s progress throughout the project from start to finish. The conservation project was paused when the Museum temporarily closed in March 2020 due to the COVID-19 pandemic. However, when the Museum reopens to the public in October, visitors will once again be able to witness the sculpture’s amazing transformation. We checked in with Artal-Isbrand for an update on the project for our access magazine readers. access: What was the condition of the sculpture when you started the project? PA-I: The sculpture was completed over 150 years ago, and at some point before arriving at WAM, it was displayed outdoors, which for marble can be especially damaging. Parts of the surface, especially horizontal sections, seem to be eroded from sitting and pooling water, and in nooks and crannies I found what appear to be bits of twigs and leaves. Since its acquisition by WAM in 1904, the overall surface had become grimy from touching and exposure to pollution. Remember, Worcester was a thriving industrial city. The factories primarily used coal as fuel. The city air was polluted, and a veil of greasy soot from a bygone era can still be found on art that has lingered in our storage rooms for decades. Also old coatings and paint residues were found on the surface of the sculpture like this one. access: How do you approach a project of this scope and scale? PA-I: As a conservator I need first to become familiar with the artwork, understand how it was made and what its condition issues are. Our well-equipped conservation lab provides scientific instruments to help us identify materials or techniques used in the fabrication of the artwork and understand deterioration processes. We also refer to publications and consult with curators to further understand the work. Each piece is different, with a unique set of needs. For those that require surface cleaning, we test different solutions or cleaning approaches in inconspicuous parts of the artwork. When the


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study and testing phase is complete, a treatment proposal is prepared, and the treatment can commence. access: What steps are you following in treating Shipwrecked Mother and Child? PA-I: The treatment has two phases: cleaning the sculpture and restoring the lost parts. I plan to restore the missing fingers and toes using a conservationgrade composite material made of a white stone powder, held together with an acrylic resin. In order to get the complex shapes exactly right, we will use cutting-edge 3D laser scanning and printing technology in collaboration with a team from Worcester Polytechnic Institute. Stay tuned for the next article about this fascinating aspect of the project. access: What do you think will be the biggest challenge? PA-I: During the initial testing phase I found many different types of dirt, grime, accretions, coatings, and other deposits on the surface—each one needing a different cleaning approach. In order to remove each of these materials I have developed a three-step cleaning protocol.

cotton pads, and residues are cleared off with water. Using a solvent inside a gel allows for a longer contact time with the dirty surface. For this step I use a local fume extractor because of the toxicity of some components. For the third and final step, I will use a laser tool to remove dark markings and scuffs scattered over the entire surface. It is the same type of laser used for hair removal in beauty salons! access: What is it like to work on Shipwrecked Mother and Child? PA-I: A conservator develops a relationship with a work while treating it and the longer the project is, the tighter this connection becomes. I love to come to the gallery and work on this beautiful sculpture and see its condition improve—hour by hour. It is very satisfying and gratifying. This project is generously funded by the Henry Luce Foundation. Ongoing support for conservation is provided by the George F. and Sybil H. Fuller Conservation Fund and the Andrew W. Mellon Conservation Fund.

In the first and most time-consuming step, I remove the thickest layer of dirt and grime using a water-based scientifically formulated cleaning solution, applied with brushes and swabs. Next, I use different gels that hold solvents to dissolve waxes and other substances from the surface of the sculpture. The gel is applied with a brush and left to sit for a few minutes; then both gel and dissolved substances are removed with brushes and

Edward Augustus Brackett, Shipwrecked Mother and Child, 1848-1851, white marble, Gift of Edward Augustus Brackett, 1904.64 Right: Objects Conservator Paula Artal-Isbrand works on cleaning the sculpture.

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collection Distinguished Folk Art Collection Coming to WAM


his summer we were delighted to learn that longtime WAM supporters Barbara and David Krashes have gifted their distinguished collection of American folk art to the Worcester Art Museum. Carefully and lovingly gathered over six decades, the more than 40 works are remarkable for their cohesiveness, distinctiveness, and quality. Representing the most important and notable names in American folk art from the post-revolutionary period—including such artists as Sturtevant Hamblin, Edwin Plummer, Rufus Porter, and William Matthew Prior— this extraordinary gift places the Museum at the forefront of museums with such collections. After recognizing that many of the portrait painters they collected originated from or worked in Central Massachusetts, the Krashes began to understand the sensibility that develops between artists and a place. Thus, their collection of American folk art provides a unique opportunity to study art making and artistic styles typically perceived as “outside” the field of mainstream art. It reflects the larger social transformations taking place in the region at that time, such as economic expansion, immigration, and the emergence of a middle class. The Krashes began collecting in 1965, at a time when American folk art—a broad category encompassing everything from samplers to duck decoys, quilts and painted furniture, oil paintings and whirligigs—was thought unworthy of art historical attention. Newly married, the couple purchased an empty 18th-century farmhouse in Central Massachusetts. With limited funds to furnish their new home, the Krashes attended an auction and purchased an antique two-drawer maple blanket chest at an astonishingly low price. From that moment, the Krashes began their lifelong passion for collecting early Americana, attracted to

the strong forms, rich colors, and diverse textures of the works, as well as regional craftsmanship that operated outside of fine art schools “with little regard to the ultimate value of things.”1 Slowly, they developed a keen connoisseur’s eye by going to auctions and working with notable dealers and collectors of American folk art, such as Roger Bacon and Nina Fletcher Little. Learning through example, the Krashes surrounded themselves with objects of New England’s past, creating inviting interiors in their farmhouse through a kaleidoscope of color and texture. Trailblazers in the burgeoning field of Americana, the Krashes are alongside such 20th-century luminaries as Electra Havemeyer Webb, Clara Endicott Sears, Abby Aldrich Rockefeller, Henry Francis du Pont, and Malcolm Karolik, who established preeminent American folk art collections that now constitute the foundation of several museums. With no widely accepted criterion of what constituted folk art, these collectors followed their intuition in preserving what they felt was beautiful and extraordinary. For instance, Electra Havemeyer Webb, who would later found Shelburne Museum in Vermont, defied her family’s passion for French Impressionism to “collect something that nobody else was collecting.”2 In recognizing the value in objects often overlooked or discarded, these pioneers ushered in and helped form the loose parameters of the field of American folk art. The Krashes operated in these circles, quietly seeking out superb examples of early Americana and folk art from New England. Their collection of 20 paintings, 11 works on paper, five sculptures, four pieces of furniture, and one textile—with an emphasis on works made in post-revolutionary agrarian New England—serves as an excellent study of folk art collecting in the 20th century.

William Edmondson, Squirrel, early 20th century, limestone, Gift of David and Barbara Krashes The Krashes’s only departure from collecting folk art of New England was acquiring four freestanding animal sculptures— three birds and one squirrel—by William Edmondson (1874-1951). The son of freed enslaved people, Tennesseeborn Edmondson worked as a janitor, railroad and manual laborer until later in life, when he felt a spiritual call to begin stone carving. Using discarded limestone blocks and chisels from railroad spikes, he carved tombstones and eventually progressed to abstracted animals and figures.

The addition of the Krashes’ collection of American folk art to WAM is an exciting moment in the Museum’s history. We are honored to take over the stewardship of these works—cherished and cared for by David and Barbara for nearly their entire married life—and look forward to sharing them with future generations of WAM visitors. —Erin Corrales-Diaz, Ph.D., Assistant Curator of American Art 1 David Krashes, “Introduction,” in American Folk Art, Lovingly Collected, by Paul S. D’Ambrosio (Worcester, MA: Worcester Art Museum 2015), 11. 2

Town & Country 113 (1959): 98.

Opposite: William Matthew Prior, Eliza C. Allen, signed 1846, oil on board, Gift of David and Barbara Krashes

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How COVID-19 Changed WAM

As the WAM Leadership Team sat around the conference table on March 12, I was struck by how surreal it felt, like a scene from some museumbased action drama. Faced with the previously unthinkable, when WAM made the decision to temporarily close beginning March 13, it was not done lightly. Many conversations and emails were exchanged; numerous scenarios and contingencies laid out; local, state, and federal guidelines tracked; and questions and concerns brainstormed—all to help inform decisions about a landscape that was evolving by the minute. Staff, community partners, and family members were understandably worried. The enormity of the circumstances could not be ignored. But I was also impressed at the focus, respect, and even humor that my colleagues shared in those difficult moments. The weight of the topic at hand was understood by all, with mutual determination to ensure the safety of employees, volunteers, visitors, and the collection as much as we possibly could. Literally overnight, WAM—like so many other museums—had to immediately pivot toward digital production of content and communication with its constituents. This proved challenging, as our focus had been to “connect people, communities, and cultures” primarily through onsite exhibitions, programs, and art experiences. Nevertheless, staff regrouped quickly and organically, posting art-making challenges, Q&A sessions with curators, and collection highlights so as not to lose en14

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gagement with the community. A cross-institutional “Think Tank” model was formed to help support our rapid output on social media. Comprised of departments from across the Museum, this model was based loosely on that of newspapers and magazines, which are designed to circulate information 24/7 amidst continuallychanging developments—exactly what we were facing. By early April, we had begun collecting data and analyzing our channels of connection to our audiences. As we honed our approach to digital engagement, additional questions arose. How can we broaden our outreach to support a society that is now experiencing everything together and in very real time— families having to homeschool their children indefinitely; individuals dealing with loss of employment and financial uncertainty; citizens protesting police brutality—all occurring against the backdrop of a pandemic and communal grief? And, practically, what do we do when the Museum reopens and staff—many of whom are critical to supporting WAM’s online presence—must return to their “onsite” jobs? How can digital engagement further support WAM’s work both in the community and in its own learning and development? Wrestling with such challenges has helped us better understand how valuable virtual engagement can be. Videoconferencing platforms have allowed for more efficient and practical meetings for staff and supporters. Social media channels, previously underutilized due to other priorities, have now been jump-started and help enliven our conversations with the public. “Going digital” means our studio classes, art presentations, tours, and other educa-

tional programs are reaching new audiences who can experience WAM from home—be it down the street or across oceans. It brings with it a personal intimacy of communication that can transform how we participate with art. There’s no doubt that COVID-19 has permanently impacted humanity and will be studied for generations. The trauma— personal, economic, and cultural— experienced around the globe is undeniable, evolving, and must be acknowledged in order to move forward. Ever the optimist, however, I believe strongly that with pain can come healing. Here, too, art has a role to play as an instrument of such healing. Throughout almost 20 years in the field of Museum Education, I have witnessed time and again the radical power of art in helping to engage, question, challenge, cope, and inspire. I’m struck by an article recently shared with me by a colleague, which quotes Fred Rogers: “Often, when you think you’re at the end of something, you’re at the beginning of something else.” That’s exactly where we now find ourselves. As we consider how this crisis has permanently changed the way we think about and engage with our audiences, it’s clear we’re on the precipice of something huge, exciting, and even a little scary! But while we may not know all the answers or how this might alter the future, we continue to learn, grow, and work forever toward our mission to connect people, communities, and cultures through the experience of art. —Marnie Weir, Director of Education and Experience

Find yourself at WAM

Works of art speak to us in different ways; sometimes we find ourselves returning to the same piece over and over. Members of the WAM community tell us about their favorite works in the Museum’s collection.

The Discovery of Honey by Bacchus caught my eye I have several favorites at the Worcester Art Museum, but one in particular stands out. Several years ago, I decided I wanted a better understanding of art, so I enrolled in an online Art History and Appreciation class. As a final assignment, we were asked to write about a piece of art from a local museum. This was my first visit to the Worcester Art Museum. I walked the Museum for about an hour before The Discovery of Honey by Bacchus caught my eye.

Piero di Cosimo (Italian, 1462–1522), The Discovery of Honey by Bacchus, about 1499, oil on panel, 1937.76

“I can’t help but smile every time I see it, because it reminds me of my own journey of learning to appreciate art.”

I never spent much time studying Greek mythology, so much of the meaning escaped me at first. While I eventually came to understand many of the allegorical aspects, the painting still strikes me as whimsical, and I’ve often imagined what the scene would feel like if it came to life. What are they saying to each other? Can they even hear each other over the racket made by the group trying to coax the bees into the tree? Silenus certainly looks like he is having a good time; is it all just one big party? Art really does speak differently to each person! More than a decade after my first visit to the Worcester Art Museum, Discovery of Honey remains one of my favorites. I can’t help but smile every time I see it, because it reminds me of my own journey of learning to appreciate art and how the Worcester Art Museum continues to be a part of that process. Carlos Ramos Rivera is a Salisbury Society member and enjoys taking classes at WAM. He lives in Douglas with his wife, Luz.

The most welcoming place in the Museum is the Renaissance Court Given my line of work, people usually ask me what my favorite museum is when I first meet them. My response is, generally, “the last one I visited.” There is some truth in that, but the real answer is WAM. Few art museums are as encyclopedic and approachable as the Worcester Art Museum. WAM is welcoming. To me the most welcoming place in the Museum is the Renaissance Court, so open and full of light. I pause each time to let my eyes take in the panorama, sometimes populated with people, young and old. It is my space for reflection before mentally planning how I will explore WAM that day. With its mix of ancient and contemporary art to help me decide, I can then choose any direction to pursue from that one place. Occasionally I am helped by the suggestion of the person at the front desk, telling me what’s new and exciting (often with a touch of passion in his/her voice). I go to my stop on the left side of the desk, just entering the Renaissance Court, ready to think about that new exhibition as my first stop or to visit an old friend or two, like the portrait of Sarah and Ann Haden, by Joseph Wright of Derby. The Renaissance Court is my compass for exploration of the wonders of WAM. Katherine Burton Jones is Director of the Graduate Program in Museum Studies at the Harvard Extension School and a Salisbury Society member.

The Renaissance Court at Worcester Art Museum

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Southeast Asia Artists-in-Residency


onnecting two far corners of the globe to further cross-cultural friendship and creativity is the essence of the Southeast Asia Artists-in-Residency at WAM. Launched in 2018 as a collaboration with the Southeast Asian Coalition of Central Massachusetts and Indochina Arts Partnership (IAP), the initiative brought four artists from Vietnam and Singapore to Worcester over two summers. Through a variety of public programs—from open studios and informal gatherings with members of the local art and Southeast Asian communities to engaging multigenerational audiences at Worcester’s annual art festival, StART-on-the-Street—the unique residency greatly enhanced cultural understanding and appreciation of the Southeast Asian region in our community. The six-week residency opens up a new world for emerging to mid-career artists from Southeast Asia who live in areas where infrastructure and institutional support for contemporary artists are scarce or nonexistent. The four artists who have participated in the residency so far include Nguyễn Thế Sơn, a photographer from Hanoi; Nguyễn Kim Tố Lan, a multidisciplinary artist from Ho Chi Minh City; Richard Streitmatter-Tran, a painter from Ho Chi Minh City; and Jennifer Teo, representing

an independent cultural and social art collective in Singapore called Post-Museum. Due to COVID-19 travel restrictions, the 2020 program needed to be reimagined. Rachel Parikh, Assistant Curator of Asian and Middle Eastern Art, reconnected with the four alumni artists for a virtual “reunion” with WAM audiences. Reflections garnered through interviews with each artist—including memories from their time in Worcester, how the program and WAM’s collection inspired them, and what they are working on now—can be found on the Museum’s blog, WAM Updates. The Southeast Asia Artists-in-Residency Program is sponsored by the Indochina Arts Partnership Fund at WAM. For over 30 years, IAP, founded by Vietnam War veteran David Thomas, facilitated art, cultural, and educational exchanges between the United States and Vietnam. When the organization closed last year, IAP made a legacy gift to WAM to continue the Southeast Asia Artists-in-Residency into the future. In addition to the IAP Fund at WAM, support for this year’s program is provided by the Southeast Asian Coalition of Central Massachusetts under Anh Vu Sawyer, John M. Nelson Fund, The Crawford Foundation, and Robert and Minh Mailloux.

“We are so very grateful to David Thomas and the Indochina Arts Partnership for their generous donation and commitment to fostering cultural exchange between Southeast Asia and the U.S. through the arts,” said Rachel Parikh. “The residency has long lasting benefits both for the artists, who can explore new ideas and creative expression, as well as for Worcester and the Worcester Art Museum, who are enriched by new perspectives and experiences offered by the visiting artists.”

Nguyễn Kim Tố Lan, a multidisciplinary artist from Vietnam, talks to visitors at her open house in September 2018.

A Heartfelt Thank You To everyone who has shown their support to the Museum and its staff since our closing in March, I want to extend heartfelt thanks and gratitude. The financial support we have seen has been extraordinary and has made an enormous difference to our long-term outlook. The generosity of so many through our Virtual Give-a-thon in June; extra donations made by Members when renewing their membership; unsolicited surprise founda- “The Worcester Art Museum has been tion gifts and personal donations we have feeding my soul since I was a child.” received in the mail, and many notes, —Give-a-thon donor messages, and accolades we have received have demonstrated the value and importance so many of you place on the need for art in your lives. “Thank you” does not seem adequate for the validation, motivation, and support these gifts have provided. I want to assure you that your donation made a difference, and that we are using your money wisely and carefully as we navigate forward. Please stay well and know that we are all working hard to provide you with the very best programming possible, no matter what circumstances we all face. —Marillyn Earley, Chief Advancement Officer


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Our Virtual Give-a-thon on June 12 included virtual docent and curator art talks throughout the day. A highlight was the special “Draw Live” event on Facebook with award-winning author/illustrator and former WAM art student Jarrett Krosoczka.

The WAM Docent Program Turns 50!


very year nearly 20,000 visitors— including hundreds of Worcester Public School students—experience the Worcester Art Museum on a docent-led tour. This fall, we celebrate the 50th anniversary of the docent program, the cornerstone of the Museum’s education program and vital to its mission of connecting people, communities, and cultures through the experience of art. “These devoted volunteers are great lovers of art, whose commitment to sharing that passion comes through with every Museum conversation,” says Aileen Novick, manager of public and education programs, which includes the docents. The docent program began in 1970, when Richard C. Mühlberger, the then-curator of Museum Education at WAM, announced a new initiative to train a corps of volunteer gallery instructors to expand group tour services for the following year. Women who “expressed an interest in art and an affection for WAM” were invited to participate in a 30-week training program, which began on September 28, 1970. Classes were conducted in the galleries and designed to give the volunteer guides a working knowledge of the Museum’s permanent collection. The 82 female participants enthusiastically embraced and rose to the challenge. The first docent-led tours of the Museum were offered to college instructors and publicschool principals in September 1971. By April 1972, 51 docents had conducted 445 tours.

lesson experience with a specific theme for children from the Worcester Public Schools. Docents went to schools before and after they visited the Museum. Otti Levine, a 31-year WAM docent, participated in the DIS program at Elm Park Community School. “This was a great program for the children. They were always excited to come to the Museum,” she recalls. “There was a special bond formed with the docent and the students because of these visits.” A college student recognized Otti from the DIS program years later. “She told me she was getting a degree in art!” she recalls. This feedback inspires Otti’s role as a docent. “Because of the interaction with people, I can really make them see, engage, and appreciate art,” she explains. In 1987 additional coursework was added to introduce the docents-in-training to the critical-thinking skills necessary to integrate information with the experience of looking at works of art. And by the 1990s— and continuing through today—docents became even more proficient in introducing art and the Museum’s collection and exhibitions to visitors of all ages. Some current docents are children of the early volunteers. Leslie Vigneau’s mother, Jean Miles, was a member of the second docent class of 1972 and a Docent Emeriti. “My mother continually told me I should become a docent because it was such a special time in her life,” Leslie explains.

With each subsequent training session, parameters changed. In the mid-1970s, classes met for 16 months, the course syllabus included an in-depth survey of the history of art and methods of visual presentation plus the study of the WAM Collection. Written applications were required, and participation was limited to the 19 most qualified candidates.

Leslie eventually joined a class and has been a docent for 11 years. “My mother’s health began to decline around that time, and I would bring her to the Museum and attend classes with her. We even did a few tours together,” Leslie said. Jean continued as a WAM docent until her death in 2017. “My mother was right,” she adds, “I love being a docent! I am a retired teacher and that really helps with tours. I am most comfortable with children.”

The program continued to adapt to the needs of the Museum and community. In the 1980s, trainees were especially encouraged to develop participatory activities for children. In 1981, the Docent-in-theSchools (DIS) program provided a three-

In 1994 men joined the ranks of WAM docents. Paul Mahon, a former science professor and longtime collector of Asian art, became a docent when he retired from academia in 2007. He relished the opportunity “to teach about magnificent art while

Some early WAM docents.

standing in front of it, and no grading, to boot!” Becoming a docent allowed Paul to incorporate knowledge he acquired while visiting hundreds of museums in Europe and Asia. “I enjoy sharing my love of art with visitors of all ages, from cub scouts to seniors,” he says. “I also love training fellow docents in STEAM tours where my science background is especially helpful.” Jan Ewick, tour programs supervisor, has worked with WAM docents for nearly three decades. “These dedicated volunteers share their passion for art, the Museum, and discovery with visitors of all ages each year,” she said. “Their contributions of time and knowledge are immeasurable and, in keeping with the Museum’s mission of connecting people, communities, and cultures through the experience of art, our docents truly walk the walk.” These sentiments are echoed by Director of Education and Experience Marnie Weir, "We couldn’t do what we do without our docents. They are an incredible group, whose engagement and enthusiasm tell such a special story.”

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“The great virtue of this capacious exhibition, Beyond Midnight: Paul Revere, is how it emphasizes the manysidedness of this notably many-sided man.” —Mark Feeney, Boston Sunday Globe, February 23, 2020

Beyond Midnight: Paul Revere Extended to November 7, 2020 We know him as a revolutionary war hero, but Paul Revere was also an artisan, entrepreneur, master networker, and inventor. Drawing on the American Antiquarian Society’s unparalleled collection, as well as loans from other collections, Beyond Midnight: Paul Revere reveals the man behind the legend—bringing to life his creative spirit, tremendous capacity to adapt to changing times, and his lasting impact on the social, economic, and political life in America. Originally due to close in June 2020, the exhibition has been extended until November 7, 2020. Generous support is provided by CHAViC, Center for Historic American Visual Culture, AAS; Henry Luce Foundation; and Richard C. von Hess Foundation. Additional support is provided by Jim and Carol Donnelly and Dr. and Mrs. Glenn A. Meltzer. Sponsored by: The Berry Group and Cole Contracting, Inc.

Miyagawa Chōshun, Amusements at Cherry-Blossom Viewing Time, detail, Kyōhō era (1716–1736), pair six-panel folding screen; ink, color, and gold on paper, Harriet B. Bancroft Fund & Stoddard Acquisition Fund, 1993.72.1-2

Japanese Gallery Installation Through January 17, 2021 The Japanese gallery will feature a rotation of a pair of sixpanel folding screens by Miyagawa Chōshun (1682-1752), the preeminent ukiyo-e painter of the first half of the 18th century. The two rare screens are marvels in execution. They feature cherry-blossom-viewing parties across two different scenes. One depicts elegantly dressed men and women participating in a variety of indoor and outdoor activities around a teahouse, while the other shows boating parties along the Sumida River, with the famous Ryogoku Bridge, the center of Edo’s main amusement area. The meticulous details, from the eating utensils to the musical instruments; sumptuous kimono fabrics; subtle colors; delicate lines; and large, glittering gold clouds culminate in a soft, luxurious quality for which Chōshun’s work is revered.

Paul Revere, Coffeepot, 1773, silver, Gift of Frances Thomas and Bessie Sturgis Paine in memory of Frederick William Paine, 1937.58

Nature Imagined by Susan Swinand Through February 7, 2021

Susan Swinand, Interdependence, 2018, watercolor and gouache on paper

Recent work by Susan Swinand, winner of the Sally R. Bishop Best in Show Prize at the 2019 ArtsWorcester Biennial, is presented in this solo exhibition. A longtime faculty member in WAM’s studio art program, Swinand’s work has been shown widely throughout central New England for many years. Her long career spans a variety of media but consistently engages with dichotomies: metamorphosis and stasis, form and formlessness, and organic and manmade—reflecting her personal observations of a harmony of opposites in the natural world and in our own human nature. Known for her radical use of materials, such as using watercolors as oils or acrylics and vice versa, Swinand says, “I always wanted a painting to feel like it was alive, happening, filled with the unexpected. I wanted watercolor to be a real painting medium and not just pretty, tinted drawings.” This exhibition is organized in partnership with ArtsWorcester


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Leslie Graff (top) On Her Mind, 2020, acrylic on canvas, (bottom) On His Mind, 2020, acrylic on canvas, Courtesy of the Artist

Central Massachusetts Artist Initiative: Leslie Graff Through May 16, 2021 Sutton, MA-based artist Leslie Graff examines the fundamental human experience in her acrylic and mixed-media paintings. Her portrait-based series explore individual identity as it is defined by relationships, especially within family settings. Perhaps Graff's best-known series, Domestics, considers everyday household activities from a woman's point of view, negotiating personal desires with the expectations outlined by society. She focuses on objects, like desserts or vintage technology, as symbols of our existence and interactions with others. Graff says, “I frequently use repeated or cumulating elements or depict seemingly mundane activities emphasizing that much of the meaning and richness of life is actually found in small or ordinary things. There are metaphors for our larger struggles embedded in many simple daily activities.”

Neri di Bicci, Madonna with Child, 1400s, oil on panel, The Selldorff Family in memory of Richard Neumann

What the Nazis Stole from Richard Neumann (and the search to get it back) Opening May 2021 What the Nazis stole from Richard Neumann (and the search to get it back) will present the extraordinary story of Dr. Richard Neumann (18791959) a discerning Austrian-Jewish collector who was committed to promoting the important role of the arts in civic life. Through a presentation of 13 Old Master paintings and sculptures from Neumann’s once extensive art collection, we will follow his escapes from Nazioccupied Vienna and Paris during World War II, his passion for art, and the family’s 50-year effort to reassemble the collection alongside restitution advocates, provenance researchers, and museum allies. The small fraction of his collection that has been successfully restituted to his heirs, is currently on extended loan to the Worcester Art Museum in keeping with Dr. Neumann’s lifelong desire to have great art accessible and enjoyed by the public. Sponsored by Fallon Health

The Iconic Jersey: Baseball x Fashion June 12 – September 12, 2021 Coinciding with the projected opening of the new Polar Park Stadium in spring 2021, a groundbreaking exhibition at WAM will focus on one of the most recognizable garments in American culture: the baseball jersey. Inspired by the move of the Boston Red Sox’s Triple-A Affiliate to Worcester, The Iconic Jersey: Baseball x Fashion will feature more than 35 historic and contemporary jerseys and baseball-inspired fashion to trace the development, experimentation, and dissemination of the iconic American-style baseball shirt in the sport, on the runway, and in everyday life. Organized by Erin R. Corrales-Diaz, WAM’s assistant curator of American art, the exhibition will explore the baseball jersey as an entry point into 170 years of baseball uniforms. Pioneering in its approach, The Iconic Jersey will be the first exhibition solely devoted to the baseball jersey in an art museum. Manufactured by W.A. Goodman & Sons, Houston Astros Uniform Shirt, worn by Joe Niekro, 1983, polyester, National Baseball Hall of Fame and Museum, B-50-83.

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tours and programs

WAM Reopening We have missed you and look forward to seeing you back at the Museum! Museum Galleries reopen for Members only on October 1 and for the general public on October 7. WAM will be open on Columbus Day, October 12. Timed tickets will be required for all visitors, and can be reserved after September 21. See you soon!

Tours Zip Zoom Tours* Our new virtual, docent-led art discussions focus on select works in the collection. These 30-minute spotlights include time for audience comments and questions. Free. Group Tours Due to the COVID-19 pandemic, group tours at the Worcester Art Museum are temporarily suspended for fall 2020 and winter 2021. To schedule a group adult or youth/student tour for spring or summer 2021, please email

Family programs Art Together Join us for creative time online with stories and enriching art activities! These easy-tofollow, recorded sessions are sure to inspire young budding artists. Each program features story time with an illustrated children's book, an inspiration work of art from the WAM Collection, art activities for PreK to fifth-grade children, and a downloadable PDF of the lesson and associated materials. Art Together videos are posted regularly on the WAM Facebook page and then on our website, where you can also find all past lessons.

Art + Activities Every other week, our Studio Class program posts fun, downloadable activity packets, featuring art from the Museum’s collection in connection with a variety of themes! Explore subjects such as animals, nature, science, space, math, writing, engineering, history, culture, and more. Each packet is appropriate for upper elementary and middle school students and has at least three parts—a learning activity, an art project, and something just for fun! Each new Art + Activities packet is posted first on WAM’s Facebook page and then on its website, where you can also find all past activities.

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Travel the Silk Road Virtual Community Day * Sunday, November 8, 2020 Join us for a virtual Community Day focused on stories and artworks of the ancient Silk Road! Free.

Programs for all ages #WAMArtChallenge You’re invited to take the WAM Art Challenge! Most Tuesdays we post an art prompt on Facebook and Instagram to inspire your creativity and have some fun. We love the art you make inspired by our collection. Check out our photo gallery and submit your work at photos/worcesterartmuseum. We hope to see yours there! Virtual Arms & Armor Presentations* Saturdays, September 26 to December 26, at 11:30am. Online. Learn all about different types of arms and armor, including those used by Roman soldiers, Medieval knights, and more! Sessions are recorded and posted on WAM’s YouTube channel for later ondemand viewing. Programming and schedule subject to change.

*For virtual programs, please visit our online calendar at for details and links to programs.


Community events

Deck the Halls!* WAM gets merry and bright for the holidays with new, artful decorations inspired by the Museum’s collection and by Worcester’s past and present! Join us for festive programming for adults and children alike, including seasonal music, beautiful trees created by Sally Jablonski of Herbert E. Berg Florist Inc., an icecarving demonstration, and a virtual performance of Sir George and the Dragon by the Pumpernickel Puppets. Don’t forget! Members enjoy 20% off in the Museum Shop from December 1-24. Member Holiday Virtual Event* Watch for details.

Youth and Teen Classes

Flora in Winter February 25 – 28, 2021 Get a welcome taste of spring during WAM’s trademark floral event when the Museum is filled with fresh flower arrangements inspired by works of art and created by the area’s leading floral designers! For the safety of guests and staff alike, Flora programs—demonstrations, lectures, guided tours, and more—will be offered online this year. Program information will be available on our website after January 1, 2021. To comply with Massachusetts safety and capacity requirements due to COVID-19, Flora in Winter at the Worcester Art Museum will be a Member-only event for 2021. In addition, a virtual Flora in Winter will be offered online (free to Members and with fee to nonmembers). Flora in Winter is supported in part by the Spear Fund for Public Programs.

Studio Art Classes This fall, we are excited to offer a variety of youth and adult online programs! Taught through Zoom, classes, workshops, and lectures cover a variety of subjects and media. All classes are encrypted and secure. To view course offerings and register, visit Adult Classes Our fall lineup of online classes runs from September to December, and includes studio classes, art history, workshops, and more. A varied schedule allows students to sign up for both one-time workshops and 4-, 6-, or 8-week long classes. Offerings include the classics, Beginning Drawing, Pastel Drawing, and Creating a Series, among others; some recent online favorites, such as Serenity Art and the Basics of Painting in Acrylics and Oils; and exciting new additions like Color Mixing Workshop, Memoir Writing, and Art Critique Workshops. Visit classes for the full schedule.

Our fall schedule for Youth and Teen kicks off in September. We will offer classes for elementary, middle, and high school students, in a variety of subjects, mediums, and themes—topics include watercolor and acrylic painting, fantasy art, drawing the figure, and more! For the full schedule of Youth and Teen Classes, please visit

New! WAM Teen Council Do you know a teen who would like to be involved in building WAM programs? We’d love to meet them! As part of grant funding from the National Endowment of the Arts, we will develop online teen programs over the course of the fall—spearheaded in part by Worcester’s own teens! Reach out to us at to get involved in programs such as teen docents, paid internships, teen nights, and more! Class Scholarships Scholarships are available for online classes. Individuals with financial need who would like to apply for a scholarship may contact us at 508.793.4339.

New! We Are the Museum (WAM) Art Clubs! These weekly clubs—one for Elementary students (Grades 1 – 4) and one for Middle School Students (Grades 5 – 8)—aim to provide a fun, creative way to make new friends, try engaging projects, learn about art, and build artistic community. Each club “member” receives an art kit, a special discount on classes, and the chance to be in an exclusive Higgins Education Wing exhibition! You can learn more by visiting

Open Door Arts After a successful art education program made for ASPiRE! this past spring, WAM and Open Door Arts, MA are partnering to create accessible, live programming in both a wide-reaching webinar demonstration format and more intimate, small-group classes. These programs use WAM’s own extensive collection, works by ASPiRE! artists, and works by the wide variety of artists exhibited in the Open Door Galleries both in Boston and Worcester. Learn more about Open Door Arts programs at

MASTeR SeRIeS 2020-2021 The Worcester Art Museum’s Master Series highlights selected works of art in galleries throughout the Museum. Each work is the focus of a Third Thursday art talk presented by a scholar in the field. During fall 2020 and winter 2021, this popular series will take place virtually! Free to Members, $10 nonmembers, $8 seniors, $5 students. Visit our online calendar at for details and links to programs. Hosted by the WAM Members Council, the Master Series is presented with support from the Bernard G. and Louise B. Palitz Fund and the Amelia and Robert H. Haley Memorial Lecture Fund.

Thursday, November 19, 6pm Speaker: Diane Radycki, Ph.D., author of Paula Modersohn-Becker: The First Modern Woman Artist, Yale University Press, 2013 Art Talk: WAM's recent acquisition of Modersohn-Becker's Three Boys Bathing by a Canal and Vincent van Gogh’s Portrait of Postman Roulin, currently on loan to WAM from the Detroit Institute of Arts.

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exhibition openings and community days to VIP tours and our annual Gala, WAM has been Seen at WAM! From the scene of many art-full and memorable moments. We look forward to resuming them in the future!


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philanthropy In Memoriam Barrett “Barry” Morgan (1939-2020) The Worcester Art Museum lost an extraordinary friend with the passing of Barrett “Barry” Morgan on April 17, 2020. Barry’s life was filled with the love of family and friends, an interest and appreciation of art of many cultures and genres, international travel, community engagement, and a never-ending sense of curiosity. A true renaissance man, he was a devoted resident of the city of Worcester. Barry deeply believed in giving back to his community and enthusiastically supported numerous Worcester cultural and civic institutions. We are proud and grateful for Barry’s many years of meaningful involvement at the Worcester Art Museum. Barry showed his unwavering commitment to the Museum in many ways. He and his wife, Mahroo, joined the Salisbury Society in 1994 and have been dedicated members ever since. In addition, Barry served on the Collections Committee for more than 25 years, and was a Corporator for over a decade. He was a steadfast friend of the Library, and an avid benefactor of the Fuller Conservation Lab.

Barry and Mahroo have generously supported the Museum for decades through contributions to the collection, curatorial funds, conservation, and the Library. Two particularly notable gifts included their remarkable support toward the reopening of the Salisbury Street entrance and, most recently, the family’s special support of the exhibition, Preserved Pages: Book as Art in Persia and India, 1300-1800, made in honor of Mahroo—a surprise she discovered at the exhibition opening. Barry was a truly exceptional man who left his mark on the Worcester Art Museum and this community through his philanthropy, commitment to excellence, and his warm and genuine persona. We remember him as an outspoken and supportive friend. We will miss his insightful advice and commentary delivered with a twinkle in his eye, his ardent vision for the Museum, and his larger-than-life presence.

Barrett “Barry” Morgan

Legacy Society The Legacy Society was formed to recognize those individuals who have included the Worcester Art Museum in their will or estate plans. These generous and visionary members ensure that the Museum is a vibrant institution that will deliver transformative experiences for future generations. We are grateful to the following who have either left a legacy gift to WAM or have included the Museum in their estate plans, thereby making WAM a priority during their lifetime and beyond: Mrs. Margery A. Adams Mr.* and Mrs. William C. Arthur. Jr. Ms. Ann Baumann* Elaine W. Beals* Sarah and Allen Berry Mr. and Mrs. Howard M. Booth* Philip H. Brewer Karl and Dorothy Briel* Dr. Elaine and Mr. Robert Bukowiecki Elizabeth Burguet* Douglas P. Butler* Estate of Dr. and Mrs. William T. Carleton William R. Carrick* Alexandra Cleworth and Gary Staab Paula H. Connolly Susan C. Courtemanche Mrs. Fairman C. Cowan* Jeanne Y. Curtis* Mary S. Cushman* Janet B. Daniels* Dix and Sarah Davis

Brenda Verduin Dean Robert A. DeLuca Patricia and Richard Desplaines, Jr. Henry B. and Jane K. Dewey Maria and John Dirlam Andrea N. Driscoll Estate of Shirley Look Dunbar Mr. and Mrs. I. R. Freelander* Esther and Howard Freeman* Estate of Judith S. Gerrish Lisa Kirby Gibbs and Peter Gibbs Daniel Grim and Irene Browne-Grim Robert D. Harrington, Jr.* Mrs. Milton P. Higgins* Dr. James and Mrs. Kathleen Hogan Prof. Louis J. Iandoli Frances and Howard Jacobson Peter Jefts John and Marianne Jeppson* Joan Peterson Klimann Sarah Bramson Kupchik* Claude M. Lee III

Irving and Marie Lepore* Dr. Paul J. Mahon Patricia F. Mallard* Carl A. Mangano* Jodie and David Martinson Mr.* and Mrs. Robert K. Massey Myles* and Jean McDonough Ellen E. McGrail* Dr. and Mrs. Glenn A. Meltzer Don and Mary Melville* Estate of Jean H. Miles Mrs. David J. Milliken* Mrs. Anne (Nancy) Morgan* Ileana Muniz Linda and John* Nelson Viola M. Niemi* Douglas Cox and Edward Osowski Fund for Photography Mrs. Mae I. Palmgren* Richard Prouty* Sarah and Joe Ribeiro Mr.* and Mrs. Chapin Riley

Estate of Blake Robinson Mrs. Elijah B. Romanoff* Mr. and Mrs. Henry B. Rose Mr.* and Mrs. Sidney Rose Estate of Edith Safford The Estate of Leonard B. Safford Mr. Norman L. Sharfman* Dr. Shirley S. Siff and Robert M. Siff* Mary Skousgaard Ivan and Virginia Spear* Helen M. and Thomas B. Stinson* Helen E. Stoddard* Estate of Madeline Tear Richard S. Teitz* Mr. and Ms. Jack Tobin* Grace Van Tassel* Hester N. Wetherell* Margaret Ray Whitney* Irving N. Wolfson, M.D.* Mrs. Ledlie L. Woolsey* Elton Yasuna* * Deceased

If you are interested in naming the Worcester Art Museum in your will or estate plans, please contact the Development Office by calling 508.793.4404 or emailing us at

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philanthropy Consider becoming a Benefactor Did you know that if you donate over $250 to the Museum, in any given year, you qualify for a Benefactor membership? You can enjoy special benefits while supporting your museum. $350 – $649 SPONSOR MEMBERSHIP All benefits from Friend Membership plus:

$250 – $349 FRIEND MEMBERSHIP • Unlimited free admission for 4 adults and 4 children • Reciprocal membership for 4 at 43 other museums through the Museum Alliance Reciprocal Membership Program, including ICA/Boston, Currier Museum of Art, Portland Museum of Art, Guggenheim Museum • 2 single use guest admission passes • Invitation to annual Benefactor and Salisbury Evening with an artist or art scholar

• Reciprocal membership for 4 at over 400 museums through Reciprocal Organization of Associated Museums (ROAM), including Harvard Art Museums, Boston Athenaeum, Clark Art Institute, DeCordova Sculpture Park and Museum, Danforth Museum, Frick Collection • 2 additional single use guest admission passes for a total of 4

To join or upgrade to the Benefactor level with a gift of $250 or more,

► donate online at or call 508.793.4325.

$650 – $1,499 FELLOW MEMBERSHIP All benefits from Friend and Sponsor Membership plus: • Reciprocal membership for 4 at over 1,000 museums through North American Reciprocal Museum (NARM) program, including Wadsworth Atheneum Museum of Art, Museum of Russian Icons, Fruitlands Museum, Norman Rockwell Museum, Peabody Essex Museum • 2 additional single use guest admission passes for a total of 6 • Complimentary Double membership to give as a gift in December

The Worcester Art Museum connects people, communities, and cultures through the experience of art. WAM works daily to meet its mission through the collection and presentation of art from throughout the world and by teaching and developing a passion for art through art-making. In addition to exhibitions and studio classes, WAM develops programs, both in-person and online, for teachers in our public schools and families that homeschool their children. Art education and the nurturing of creative expression also takes place through working with our community partners including: Seven Hills Foundation through a program for people with disabilities; the Clemente Course for adult learners with limited financial means; Southeast Asian Coalition though the Southeast Asia Artists-in-Residency program; Worcester Head Start; and by working with the Worcester County Juvenile Courts.

Your unrestricted gift to the WAM Fund supports our mission, strengthens our community, and demonstrates your understanding of the many ways an internationally recognized museum improves our quality of life.

Please give to the WAM Fund today at, by sending a check, or calling 508.793.4325

Thank you!


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membership Member Spotlight: Omar Wahab Omar Wahab, a member of the WAM Members’ Council, works as an Investment Consultant, splitting his time between Worcester and Miami, FL. As a recent transplant from Florida, he relishes exploring Worcester and the surrounding areas. He enjoys reading, hiking, swimming, and of course, museums. Before WAM closed in March due to the COVID-19 pandemic, Omar visited WAM at least once a month, often with family and friends. Membership Manager Tara Leahy interviewed him for access magazine. TL:

Since you have not been able to visit the Museum during the past several months, what have you missed the most? OW: Visiting the Museum to see the works of art in person is like traveling back in time. It's like you have a personal window into the lives of the artists and their subjects. WAM has done an excellent job in keeping things 'alive' during the pandemic closure, but the inperson experience of being present with the art cannot be substituted, and I dearly miss it. What has helped you stay connected with WAM while it has been closed? OW: WAM has helped me feel connected as a member through their regular emails that are full of interesting factoids and in-depth information. It has helped me feel that the Museum 'is still there' despite the pandemic closure. I am also a member of the Finance Committee, which has been holding its regular meetings over Zoom. Being part of a committee is a very effective way of remaining involved and feeling connected.


MEMBER WAM Member Omar Wahab



You seem to care deeply about art. Why do you feel art is important? OW: I think art is a powerful tool for making people feel a sense of shared heritage. In the case of the Worcester Art Museum, where you have exhibits from different cultures, civilizations, and historical epochs, it really drives home the idea that there is such a thing as a 'human' heritage. My family background and personal circumstances may not tie me directly to most of the art in the Museum, but because it's presented effectively, it makes me feel connected to them across space and time. TL: Do you have a favorite WAM memory? OW: I have fond memories from my visits to all the exhibits, but I have to say that the first time I entered the Museum through the Renaissance Court, it really caught me off guard—in a good way. I was not prepared to see such stunning and impressive mosaics upon entering. It was a great first impression. TL:

Which works of art or galleries are you most looking forward to seeing again when the Museum reopens? OW: The mosaics in the Renaissance Court are gems, and not simply because of their sizes. They are in such good condition that it really is not hard to imagine them in someone's house centuries ago. But really, the entire permanent collection is spectacular. To be able to go through so many civilizations in such a beautiful building is the heart of WAM's experience for me.

What is the value of WAM Membership? • Free visits all year! • Special discounts in the 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 Members-only Reading Group and virtual presentations, plus Flora in Winter. • Satisfaction in supporting one of the region’s most treasured cultural destinations. Purchase your Worcester Art Museum membership online at, email, call 508.793.4300, or stop by one of the Guest Services desks. For Salisbury or Benefactor level membership, call 508.793.4325.

Thank you to our Institutional Members Anna Maria College Assumption College Bancroft School Becker College Clark University College of the Holy Cross Eagle Hill School Fay School

MCPHS University Quinsigamond Community College Saint John’s High School The T.E.C. Schools Worcester Academy Worcester Polytechnic Institute Worcester State University

To learn more about Institutional Membership, contact Marleen Kilcoyne at 508.793.4323 or

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Salisbury Society members love to experience and learn about art with unique programs and experiences in-person and online! Salisbury Society members make WAM and art and culture in this community a priority. Their unrestricted gifts to the Annual Fund of $1,500 or more provide essential support to all areas of the Museum. Because of their philanthropy and commitment, Salisbury members are treated to a full array of benefits and exclusive programs. With the closing of the Museum, Salisbury members have enjoyed bi-weekly/monthly art programs by the Director and the Curators. These exclusive Drinks with the Director/Cocktails with the Curator talks are videotaped and available at a website only accessed by Salisbury members, including the following past programs: • “New Light on an Old Master at WAM (Gonçal Peris) and Another Old Master in a Roman Chapel (Caravaggio)” by Jean and Myles McDonough Director Matthias Waschek • “Love Stories exhibition from the National Portrait Gallery in London” (coming to WAM in November 2021) by Claire Whitner, Ph.D., the Director of Curatorial Affairs and James A. Welu Curator of European Art • “A Tour of WAM’s Collection and New Acquisitions Representing Turn-of-the-century Paris” by Nancy Burns, the Stoddard Associate Curator of Prints, Drawings and Photographs • “Discoveries from the Vault: New Findings from the Higgins Collection” by Jeffrey Forgeng, Ph.D., the Higgins Curator of Arms and Armor and Medieval Art • “Highlights from WAM's South Asian and Islamic Works on Paper Collection” by Rachel Parikh, Ph.D., Assistant Curator of Asian and Middle Eastern Art. • “Portrait Revival Miniatures from the Worcester Art Museum” by Erin R. Corrales-Diaz, Ph.D., Assistant Curator of American Art • “Worcester's Seven Saints under the Microscope at the Getty Museum” by Rita Albertson, The George F. and Sybil H. Fuller Term Chair in Conservation and Chief Conservator* • “Reflections: Hope and Healing in the Time of COVID” by Director Emeritus James A. Welu

Salisbury Spotlight: Dr. Sara Shields and Bruce Fishbein Sara and Bruce have appreciated WAM since moving to Central Massachusetts in 1994. As a family medicine professor at UMass Medical School and the Family Health Center of Worcester, Sara co-taught a humanities curriculum for family medicine residents. This included teaching observation, teamwork, and communication skills at WAM by looking at art together. In 2018, Sara became a WAM docent and particularly loved giving her maternity care colleagues tours of the recent exhibition, With Child: Otto Dix/Carmen Winant. Bruce enjoys the behind-the-scenes curator tours that come with Salisbury membership, and they both look forward to staying involved with the Museum.

If you missed one or more of these virtual presentations, please email Nancy Jeppson at for the link to view them.

Portrait of Postman Roulin, Vincent van Gogh On loan from The Detroit Institute of Arts, Vincent van Gogh’s Portrait of Postman Roulin, hangs next to our own (Te Faaturuma) The Brooding Woman by Paul Gauguin. The pairing of our Gauguin with Van Gogh’s Postman allows us to explore the impact these titans of PostImpressionism had on each other.

*This presentation was not recorded.

Future Salisbury presentations will include: • October 2020: Beyond Midnight: Paul Revere by Erin R. Corrales-Diaz, Ph.D., Assistant Curator of American Art, and Elizabeth Fox, Luce Curatorial Assistant of American Art. • November 2020: Vincent van Gogh, Portrait of Postman Roulin by Claire Whitner, Ph.D., the Director of Curatorial Affairs and James A. Welu Curator of European Art • December 2020: Edward Augustus Brackett, Shipwrecked Mother and Child sculpture by Paula Artal-Isbrand, Objects Conservator 26

Learn more at

Vincent van Gogh, Portrait of Postman Roulin, 1888, oil on canvas, The Detroit Institute of Arts, Gift of Mr. and Mrs. Walter Buhl Ford II, 1996.25


Under the leadership of Lisa Bernat and Chris Collins, the Society has welcomed 16 new and rejoining members this fiscal year as of August 31, 2020: Anonymous Toni Begman Catherine Choquette Larry and Marla Curtis Justin and Laine Fletcher Kathleen Gadbois Philip McArthur Frederick and Christine Parson Carlos Ramos Rivera Shelley and Todd Rodman Sara Shields and Bruce Fishbein (see Salisbury Spotlight) Brian and Monique Spear Cynthia L. Strauss Susan and Phil Treide Kulapat Yantrasast Valerie Zolezzi-Wyndham We thank them for their increased support and dedication to the Worcester Art Museum! For questions or more information about joining the Salisbury Society, contact or 508.793.4325.

When the Museum reopens, benefits for Salisbury Members will include: • Free admission and member benefits at over 1,400 museums • Unique access to Curators and the Director through virtual and in-person presentations • Salisbury Art Series, including sneak previews • Salisbury Art Travel program to other museums • Annual Salisbury Evening with a renowned speaker

Painting by Marion Olch Ruhman.

Marion Olch Ruhman education Fund Marion Olch and her entire family visited the Worcester Art Museum when she was a child. They enjoyed the exhibitions and concerts offered at WAM. Marion knew early on that she had a passion for art. In recognition of her exceptional talent, Marion received a scholarship to study at the Museum School in the late 1940s. She left Worcester after she married Smil Ruhman, Marion Olch Ruhman but the influence of art stayed with her as she sculpted, drew, and painted throughout her life. Over her lifetime, Marion’s art was a defining influence and source of great pleasure to her and others, and a much valued legacy to her children and grandchildren. Her drafting and drawing skills were the base for her work at the Weizmann Institute in Israel on scientific publications and presentations. When Marion passed away in 2012, her sister, Wilma Stern, her daughter, Jeanette Even, and her husband, Smil, approached the Museum about honoring Marion and the continuous thread of art in her life. To honor her memory in a permanent way, the Marion Olch Ruhman Education Fund was established and endowed at the Museum by her family and friends to support education programs with a preference for tuition grants, art materials, and classes for students. We are grateful for the generosity and loving tribute of those dear to her in creating this lasting legacy for Marion. Through the thoughtfulness of her family and friends, the joy she experienced from her exposure to art beginning at WAM will continue to inspire and captivate future generations. If you would like to establish an endowed fund in your name or in honor of a loved one, please contact the Development Office at 508.793.4325.

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Thank You Business Partners! Together we make a difference for our community SPONSORS $10,000+ AbbVie Cornerstone Bank Fallon Health FLEXcon The Hanover Insurance Group Foundation Saint-Gobain Skinner Auctioneers UMass Memorial Health Care United Bank Foundation Massachusetts Unum WinnCompanies $5,000+ The BHR Life Companies Bowditch and Dewey, LLP Cole Contracting, Inc. Fidelity Bank Imperial Distributors, Inc. Interstate Specialty Products, Inc. Rand-Whitney Container Reliant Medical Group UniBank Webster Five Worcester Business Journal DONORS $2,500+ J.J. Bafaro, Inc. Herbert E. Berg Florist, Inc. The Boston Globe CCR Wealth Management, LLC Christie's Commerce Bank Country Bank Fletcher Tilton PC Foley Incorporated Harvard Pilgrim Health Care iHeart Radio, 961 SRS & WTAG Lamoureux Pagano Associates | Architects Mirick O’Connell Spectrum Health Systems, Inc. TD Bank WBUR MEMBERS $1,000+ AAFCPAs Avidia Bank Bartholomew & Company, Inc. Bay State Savings Bank The Berry Group Biomere Blue Cross Blue Shield of Massachusetts Blue Hive Strategic Environments Central One Federal Credit Union Columbia Tech Cutler Capital Management, LLC Data Source, Inc. Davis Publications, Inc. Fiduciary Investment Advisors, LLC Green Leaf Construction Greenberg, Rosenblatt, Kull & Bitsoli, P.C. Greenwood Industries InThink Agency Kelleher and Sadowsky Associates, Inc.

Leadership Transitions, LLC L.E.I. Corporation Lock 50 / Russo Mercier Electric Co., Inc. Merrill Lynch / The O'Brien Group Miles Press, Inc. Morgan Stanley, Mark Cote, Financial Advisor Russell Morin Catering and Events J.S. Mortimer, Inc. New England Disposal Technologies, Inc. Niche Hospitality Group Nitsch Engineering North Pointe Wealth Management Penta Communications, Inc. Peppers Artful Events Perfect Focus Eyecare / Goswick Eye Phoenix Communications Polar Beverages Portland Group / Spritzo Provo Wealth Management Group Quaker Special Risk Risk Strategies Company Rollstone Bank and Trust Carol Seager Associates Seder and Chandler, LLP Sentinel Benefits & Financial Group Seven Hills Foundation Southgate at Shrewsbury St. Mary's Credit Union Sullivan Benefits Sunshine Sign Company, Inc. Table Talk Pies Stephen F. Wentzell, CPA The Wetzel Group at Morgan Stanley Thomas J. Woods Insurance Agency, Inc. Wings Over Worcester FRIENDS $500+ Akuity Technologies Applied Interactive Burr Insurance Agency, Inc. Callahan Fay Caswell Funeral Home Coghlin Electrical Contractors, Inc. Cryogenic Institute of New England, Inc. Erland Construction Erskine & Erskine LLC Franklin Realty Advisors, Inc. F.W. Madigan Company, Inc. George's Coney Island Grimes & Company Integrated Financial Partners Janice G. Marsh, LLC JM Coull, Inc. Longden Company Marsh & McLennan Agency, LLC MSW Financial Partners NAI Glickman, Kovago & Jacobs Nypro, Inc. Joffrey Smith Financial Group Sotheby's Struck Catering Sullivan, Garrity & Donnelly Insurance Agency, Inc. The Willows at Worcester Tufts Health Plan As of August 31, 2020

Image left: CHISO, Kimono for merchant class with eight scenic places in Omi Province design, Mid-18th century, Edo period, yüzen dyeing and embroidery on dark blue figured satin, Collection of CHISO Co. Ltd. © CHISO

The art of business We’re proud to be celebrating 100+ Business Partners! These companies know that supporting the arts means good business. We thank them for their support and feature two of our Business Partners:

“The mission of UMass Memorial Health Care is to improve the health of our community. As the region’s premier academic health care system, and its largest employer, we take this obligation very seriously. One of the ways we can do so outside our walls is to help improve access to our beloved arts and cultural institutions. Art helps us to heal and to reflect more deeply on the human condition, which makes us all more whole.

WA M Busin E pA R t n s s ER

“The health and vibrancy of our community owes a lot to our local nonprofits, supporting their good work is important to our firm. Having a museum of the caliber of the Worcester Art Museum—the world class collection and exhibits, the historic building and unique venue it provides—is a treasure that we don’t take for granted.” —Katie Crockett President Lamoureux Pagano Associates | Architects

The Worcester Art Museum is one of the best of its kind in the country, and we are thrilled to be able to help tell its story and make its amazing offerings more accessible to members of our region, particularly to communities of color and other diverse populations. We are proud to support WAM and are grateful for its significant contribution to the vitality of our community.” —Douglas S. Brown President of Community Hospitals and CAO UMass Memorial Health Care

Business Partner members enjoy an opportunity to socialize and network at our annual holiday celebration.

Join us!


For information about how your company can co-brand with WAM through a Business Partnership or Sponsorship, contact Marleen Kilcoyne, Corporate Relations Manager, at 508.793.4323 or

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The Worcester Art Museum gratefully acknowledges the following foundations and government agencies for their support during fiscal year 2020 (as of 8/31/20).

We are grateful to the many local and national foundations that make our work possible and sustain the Museum’s innovative exhibitions, public programs, and educational and community endeavors, as well as maintain and improve our exceptional facilities. To learn more about WAM’s institutional priorities and ways that foundations and government agencies might assist, please contact Christine Proffitt, Senior Manager of Institutional Giving, at George I. Alden Trust Barr Foundation Patrick and Aimee Butler Family Foundation E. Rhodes and Leona B. Carpenter Foundation The Crawford Foundation Fred Harris Daniels Foundation Dirlam Charitable Trust East Bay Community Foundation Ruth H. and Warren A. Ellsworth Foundation J. Irving England & Jane L. England Charitable Trust

Fidelity Charitable Gift Fund Fidelity Foundation Fletcher Foundation George F. and Sybil H. Fuller Foundation Greater Worcester Community Foundation Hanover Insurance Group Foundation, Inc. Bradley C. Higgins Foundation Highland Street Foundation Hoche-Scofield Foundation Institute of Museum and Library Services The Kirby Foundation The Klarman Family Foundation Carl Lesnor Family Foundation

Henry Luce Foundation Lunder Foundation The Manton Foundation Mass Cultural Council – Cultural Districts Initiative Mass Cultural Council – Cultural Investment Portfolio Massachusetts Cultural Facilities Fund Mass Humanities C. Jean and Myles McDonough Charitable Foundation Mildred H. McEvoy Foundation National Endowment for the Arts National Endowment for the Humanities

Paine Charitable Trust Amelia Peabody Charitable Fund The Richard and Ann J. Prouty Foundation The Schwartz Charitable Foundation Stoddard Charitable Trust Terra Foundation for American Art TIAA Charitable Gift Fund Worcester Educational Development Foundation, Inc. Wyman-Gordon Foundation

TRIBUTE TO ENDOWED FUNDS Worcester Art Museum was founded on a passion for art and community made possible through philanthropy. For nearly 125 years, the Worcester Art Museum has relied on the generosity of donors who believed in the value of the Museum. We honor and recognize the following families who have supported the Museum by creating endowed funds. The income produced by these funds is used to support the purposes communicated by the donor. These funds provide important financial support to WAM and its programs. The Museum is grateful for this enduring legacy of support provided by the following endowed funds: Ruth and John Adam, Jr. Exhibition Fund George I. Alden Trust Assistant Director of Education Fund George I. Alden Trust Docent Education Fund Harriet B. Bancroft Fund S.N. Behrman Library Fund Sally Riley Bishop Fund Barbara A. Booth Flower Fund Karl L. and Dorothy M. Briel Library Fund Alexander H. Bullock Fund Burrow Movie Fund Isabel Baker Carleton Memorial Fund Abbie S. and Mildred L. Cather Fund Dorothy Frances Cruikshank Education Fund Charles E. Culpeper Conservation Laboratory Fund Dwight A. Davis Fund Alexander and Caroline Murdock DeWitt Fund Docent Education Fund Ruth and Loring Holmes Dodd Fund Frank F. Dresser Fund Theodore T. and Mary G. Ellis Fund J. Irving England & Jane L. England Charitable Trust David Freelander Memorial Education Fund

Susan Ella Reed-Lawton Fund Hiatt FAME Fund David J. Freelander Scholarship Fund Arthur J. Remillard, Jr. Youth Education Jacob Hiatt Scholarship Fund George F. and Sybil H. Fuller Fund Higgins Armory General Endowment Fund Conservation Fund Romanoff Education and Library Fund The Higgins Curator of Arms and Armor Thomas Hovey Gage Memorial Fund Marion Olch Ruhman Education Fund and Medieval Art Endowment Fund Austin S. Garver Fund (see highlight on page 27) Hoche-Scofield Foundation Sarah C. Garver Fund William S. Sargent Fund Christian A. Johnson Discovery Fund Edward F. Goggin Fund Norman and Dorothy Sharfman Education Christian A. Johnson Exhibition Fund Nehemias Gorin Foundation Fund Fund Greater Worcester Community Foundation The Christian A. Johnson Resource Helen Sagoff Slosberg Fund Center Fund Booth Family Fund for Education and Ethel M. Smith Education Fund Frances A. Kinnicutt Fund Outreach Spear Fund for Public Programs Philip Klausmeyer Conservation Fund Martha A. Cowan Fund Stoddard Acquisition Fund Joseph and Shirley Krosoczka Memorial Jeppson Memorial Fund Stoddard Associate Curator of Prints, Youth Scholarship Fund Louise R. and John F. Reynders Fund Drawings, and Photographs Endowment Macomber Conservation Fund Marvin Richmond Fund Fund Jean and Myles McDonough Director Chapin Riley Fund Stoddard Charitable Trust Directors Fund Endowment Fund Helen M. and Thomas B. Stinson Fund Stoddard Discovery Fund Nathan and Barbara Greenberg Discovery Andrew W. Mellon Foundation St. Wulstan Society Fund Conservation Fund Fund Sudbury Foundation Scholarship Fund Nathan and Barbara Greenberg Education Don and Mary Melville Contemporary Art Alice Eliza Waite Memorial Fund Fund Fund Miriam Washburn Trust Fund Michie Family Curatorial Fund Amelia and Robert H. Haley Memorial Karl B. A. Wass/Lundquist Family John M. Nelson Fund Lecture Fund Scholarship Fund Paine Charitable Trust Charles A. Hamilton Fund Museum is grateful to our corporate James sponsors for understanding A. Welu Curator of European Art ElizaArt S. Paine Fund Richard A. Heald Curatorial Fund The Worcester and Louise B.exhibitions, Palitz Fund projects, Fund Edith Florence Hendricks Scholarship the value ofBernard makingG.the Museum’s and programs possible. Jerome A. Wheelock Fund Hall and Kate Peterson Fund Fund Mary Louise Wilding-White Fund Mary E. and Irene L. Piper Scholarship Herron-Dresser Publications Fund Worcester Art Society Fund Chester D. Heywood Scholarship Fund



For more information about how your company can co-brand with WAM through a Business Partnership or Sponsorship, contact Marleen Kilcoyne at 508.793.4323 or

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SAFER TRAVEL. The Delta CareStandardSM and partnerships with industry-leading experts create a new standard of care in the travel industry.




All ages & levels!



Mysteries can be lovely in art, but tricky in law. Having the right legal counsel on your side can make all the difference. Bowditch proudly supports the museum’s mission to connect art and the community.





WORCESTER ART MUSEUM fifty-five salisbury street worcester, massachusetts 01609 WORCESTERART. ORG

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WAM reopens on October 7 Members-only days: October 1 – 4 Admission is by timed-ticket only. Visit to reserve. Members-only: Wednesday, 10am-Noon Public: Wednesday, Noon-4pm Thursday – Sunday, 10am-4pm 3rd Thursday, 10am-8pm Closed Mondays, Tuesdays, and Holidays

LIBRARY 508.793.4382 Closed until further notice.


CLASSES Higgins Education Wing Registration: 508.793.4333

GUEST SERVICES 508.793.4362

THE MUSEUM CAFÉ Check for reopening date.

GROUP TOURS 508.793.4338

THE MUSEUM SHOP Open during Museum hours. For curbside pickup or mail delivery, call 508.793.4355, or email

MEMBERSHIP 508.793.4300

ADMISSION Members: Free / Adults: $18 Seniors and Students: $14 Ages 17 and under: Free First Sundays 10am-4pm: Free (The first Sunday of each month.) Sponsored in part by Saint-Gobain EBT, WIC, ConnectorCare cardholders: Free


ACCESSIBILITY All visitors are asked to enter the Museum through the Salisbury Street entrance, which is barrier-free. Designated spaces for visitors with disabilities are available in the Salisbury Street lot. 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


General operating support is provided by the Mass Cultural Council, Patrick and Aimee Butler Family Foundation, Carl Lesnor Family Foundation, Paine Charitable Trust, Jeppson Memorial Fund, and J. Irving England and Jane L. England Charitable Trust.

Unless otherwise stated, all images © Worcester Art Museum, all rights reserved.

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