access WOR C E S TE R ART MUSEUM winter / spring 2020
From the Director
Beyond Midnight: Paul Revere
Designing a kimono for Worcester
Exquisite kimono prints are more than meets the eye
Distinguished guests in the European galleries
How to move a shipwrecked mother and child
Scholarships open doors to art
Find yourself at WAM
Tours and programs
Nature imagined by Susan Swinand
Seen at WAM!
Membership and giving
Cover: 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.
Left: Guests at the opening party for Photo Revolution: Andy Warhol to Cindy Sherman, November 15, 2019
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: Stephen Briggs, Louie Despres, Kim Noonan, Dany Pelletier, Troy B. Thompson Photography Contributing Writer: Sarah Leveille
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from the director
Artist rendering of the Lancaster stairs
Coming soon—a new Lancaster Plaza!
You have undoubtedly noticed the construction fence and equipment at our Lancaster Street entrance. Notably thanks to the generosity of the C. Jean & Myles McDonough Charitable Foundation, we are making our busiest entrance fully accessible. The project entails demolishing the existing concrete stairs, constructing new stairs, and installing an elevator that will provide an accessible entrance to the Higgins Education Wing. wHY Architecture has designed a graceful and welcoming entrance plaza on Lancaster Street that connects physically and aesthetically with the access bridge at the Salisbury entrance—also designed by wHY in 2015. Construction of the stairs is expected to be completed in the spring of 2020, with the elevator installed later in the year.
The Higgins Education Wing, though state-of-the-art when it was built 50 years ago, reflected the then widely practiced separation of access for different needs. Art students and visitors with mobility challenges had to use an elevator within the Museum and navigate a long corridor to reach the second-floor studios. In addition, visitors with strollers or heavy loads arriving at the Lancaster entrance faced a multi-level staircase to enter the building. Thankfully, those days will soon be over, and the Worcester Art Museum will be fully accessible via all entrances! Look for project updates on our website and social media platforms.
On another note: this spring we achieve three “firsts” for art museums. Our exhibition, The Kimono in Print: 300 Years of Japanese Design is the first ever show devoted to 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). Accompanying it is Kimono Couture: The Beauty of Chiso, the first ever exhibition outside Japan of historic and contemporary kimonos from the collection of the 465-year-old and distinguished kimono house in Kyoto. The final “first” is our commission of an original, handcrafted contemporary wedding kimono—never before done by a museum. Inspired by the New England foliage and utilizing seven techniques informed by the city’s seven hills, Worcester will soon have its own Chiso wedding kimono— permanently in the WAM collection!
It is because of you—our members, donors, funders, and sponsors—that the Worcester Art Museum can break new ground—literally in the case of our new Lancaster Plaza and figuratively with our exhibitions and acquisitions—to connect people, communities, and cultures through the experience of art. I thank you for continuing to support your Museum and hope you enjoy this beautiful issue of access magazine!
Matthias Waschek Jean and Myles McDonough Director
WORCESTER ART MUSEUM
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 Patricia S. Lotuff 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
Kikugawa EIzAN, The Courtesan Yoyoyama of Matsubaya with Her Two Kamuro Standing Under Cherry Blossom Branches, detail, about 1830, woodblock print, John Chandler Bancroft Collection, 1901.59.2650
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Beyond Midnight: Paul Revere
February 15 – June 7, 2020
“Listen, my children, and you shall hear of the midnight ride of Paul Revere...”
Utter these opening lines from Henry Wadsworth Longfellow’s famous 1860 poem and countless generations of schoolchildren can complete the recitation of “Paul Revere’s Ride.” Longfellow’s poem transports the reader along Revere’s urgent ride on the eve of the battle of Lexington and Concord to warn the patriots “The British are coming!” With this poem, the 19th-century poet catapulted the 18th-century silversmith to national legend. Yet Longfellow’s patriotic tribute to a hero of the Revolutionary War skewed public perception of the man behind the ride. In idolizing Revere’s role in the American Revolution, Longfellow obscures Revere’s accomplishments as a craftsman, manufacturer, inventor, activist, and entrepreneur, contributions that equally revolutionized the formation of the new nation.
Organized by the American Antiquarian Society (AAS), Beyond Midnight: Paul Revere re-examines the midnight messenger beyond his eponymous ride. The exhibition, featuring over 100 objects largely drawn from the unparalleled collections of the Worcester Art Museum and AAS, reveals the complexities and nuances of Revere’s artistic career, including his political engravings of the Boston Massacre; elegant silver tea services for patriots and loyalists alike; and a kettle manufactured from the first commercially viable copper sheet factory, in Canton, Massachusetts.
Born on December 21, 1734, Revere apprenticed at his father’s silversmith shop before inheriting the business upon his father’s death in 1754. Through careful cultivation of patrons, Revere established a thriving shop in Boston’s North End. However, an economic depression before the Revolutionary War forced Revere to diversify his trade beyond luxury goods to
include silver items such as buckles, spurs, and medical instruments for various price points and means. Highly proficient at elaborate engraving, Revere began to incise copper and silver sheets for printing. His shop produced thousands of prints— from clock advertisements to currency for Massachusetts to political illustrations.
One of these early prints, The Bloody Massacre, created a mere three weeks after the disastrous event of March 5, 1770, would become Revere’s most iconic propagandistic political engraving. With stark visual economy and strong composition, the print shows Revere at his most effective, albeit not his most original. A few days following the massacre, Henry Pelham, an artist, engraver, and halfbrother of the painter John Singleton Copley, showed Revere an unpublished rendition of the print. Aware of the image’s power, Revere quickly distributed his own version of the massacre before Pelham was able to sell copies of his own print. Furious, Pelham penned a scathing letter to Revere accusing him of copying the plate, but by then it was too late as Revere’s massacre took the public by storm. Due to the print’s popularity, local and international engravers began to make their own versions, including one by Jonathan Mulliken, a clockmaker from Newburyport, and an English broadside printed by William Bingley. For the first time, all of these versions of the Bloody Massacre will be on view, offering a rare opportunity for comparison and analysis.
Toward the end of his life, Revere embarked on another patriotic mission— the development of rolled copper sheathing. A vital component of the longevity of naval vessels, copper sheathing protected wooden ships from decay. As the U.S. Navy sought to cut its dependency on foreign goods, the technology, a guarded English secret, needed to be mastered in the new nation. Revere saw an opportunity. He used his extensive networks, entrepreneurial skills, and knowledge of metallurgy to become the
Above, right: Paul Revere, The Bloody Massacre Perpetuated in King-Street Boston on March 5th 1770, Boston, 1770, engraving with hand coloring, gift of Nathaniel Paine. Courtesy of the American Antiquarian Society
first American to successfully roll copper into malleable sheets. Establishing a copper rolling mill, Revere became the primary supplier of sheathed copper for the U.S. Navy. But malleable copper presented more applications than ships’ hulls. Revere would sell his copper sheets to other craftsmen to manufacture kettles and other domestic utensils. Even the dome of the Massachusetts State House was originally covered with Revere’s copper sheets. A vital figure in the country’s transition from small-scale artisan production to industrial manufacturing, Revere existed in both realms, freely combining old and new techniques in the face of rapid change. Coinciding with the lead-up to the 250th commemoration of the American Revolution, Beyond Midnight: Paul Revere pulls back the mythmaking curtain to reveal the lesser-known story of Revere’s patriotic endeavors on the workbench and in the factory. — Erin Corrales-Diaz, Assistant Curator of American Art
This exhibition is organized by the American Antiquarian Society with generous support from 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.
Beyond Midnight: Paul Revere is sponsored by The Berry Group and Cole Contracting
Opposite page: John Singleton Copley, Paul Revere, 1768, oil on canvas, Gift of Joseph W. Revere, William B. Revere and Edward H. R. Revere, Museum of Fine Arts, Boston, 30.781, photograph © 2019 Museum of Fine Arts, Boston
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exhibitions Designing a kimono for Worcester
Kimono Couture: The Beauty of Chiso
he exhibition, Kimono Couture: The Beauty of Chiso breaks new ground for both the Worcester Art Museum and the distinguished Kyoto-based kimono house of Chiso. It is the first ever exhibition outside Japan of historic and contemporary kimonos from the 465-yearold firm, with 14 kimonos from the mid-1600s to 2014 on display. For the first time, a museum is presenting the kimono as a contemporary art practice—through the commissioning of WAM’s own kimono.
Undertaking such a commission was a radical approach to an exhibition of kimonos—and an exceptional occasion for an art museum in the United States to collaborate with a Japanese kimono company. For Chiso, recognized as one of the top kimono makers in Japan, this commission also marked its first collaboration with an art institution in its four centuries of operation. The commission of a kimono as an artwork for an art museum, rather than for a specific client or event—and by its own fashion designers—gave Chiso limitless creative space to give form to its ethos regarding the present and future art of the kimono.
The project began last May when Chiso’s senior kimono designer, Imai Atsuhiro, visited Worcester. As part of his research, he made excursions exploring the landscape surrounding Worcester and our suggested theme of the city’s iconic seven hills. The selected design for the “Worcester Wedding Kimono,” to be unveiled at the exhibition opening, was inspired by the shared appreciation in Japan and New England for the fall season and brilliant maple leaves. Incorporating the seven hills theme, Imai created an overall maple leaf pattern in seven gradations of color as a depiction of seasonal change. He also employed seven advanced textile techniques for the decoration: barrel tie-dyeing (okedashi shibori), paste-resist dyeing (yūzen), colored flour paste-resist dyeing (iro utsushi itchin yūzen), thread-line pasteresist dyeing (itome yūzen), “snowstorm” wax-resist dyeing (fubuki rōketsuzome), gold leaf, and embroidery (shishū). Some
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April 25 – July 26, 2020
of the techniques are new while others are endangered because their labor intensiveness is not attractive to younger artisans.
Last July, we, in turn, visited Chiso in Japan. We were granted special access to the studios of the various artisans who would work on the seven techniques for our commissioned kimono. (Chiso employs over 600 craftspeople, and all are part of a collaborative process requiring meticulous precision and quality control at every phase.) Most of the studios we visited have collaborated with Chiso for generations, some exclusively so. These long-term partnerships also encourage the innovation and invention of techniques unique to Chiso. The technique of colored flour paste-resist dyeing, for example, which allows the colored pasteresist to be rubbed away from the cloth after the flour dries, was developed in the 1990s by Chiso and one of its yūzen dyeing artisans. His son, Kamachi Yutaka, today carries on perfecting this technique along with his son, Kamachi Shota (FIG. 1). On the other hand, two of the seven textile specialists—barrel tiedyeing and “snowstorm” wax-resist dyeing—may be the last of their line as there are no apprentices continuing the practices.
The barrel tie-dyeing process uses a wooden barrel specifically made for dyeing large sections of fabric in this shibori technique. Once the design of the textile is isolated, or reserved, in the interior of the barrel, the barrel is sealed and sent to the dyer to immerse in a vat of color. The barrel tie-dyeing craftsman, Itsuo Matsuyama, who knows how to seal the barrel correctly, is the last such specialist in Chiso’s network (FIG. 2). Chiso envisioned our commissioned kimono—now part of WAM’s collection— as a marriage between Worcester and Japan. It will also serve as a time capsule of sorts, showcasing the range and coexistence of textile techniques supported by the kimono industry today, to be shared with countless future generations.
The commissioning of a new kimono from Chiso allowed us to experience firsthand the intimate relationship between Chiso’s curatorial and design team and their network of talented textile artists, who mutually sustain (and are sustained by) the kimono industry. We also learned that for Chiso, “contemporary” is not a matter of time but of aesthetic taste. According to Isomoto En, the firm’s senior managing director, Chiso’s core value is bi hitosuji, what we might translate as “straight to beauty.” Defining beauty from the perspective of Japanese women and as a reflection of their present-day lifestyles, Isomoto maintains that Chiso values what is beautiful above all else and, as such, their designs are always contemporary. — Vivian Li and Christine D. Starkman, Guest Co-Curators
This exhibition 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 Michie Family Curatorial Fund. Research for this project was made possible by the JapanUnited States Friendship Commission and the Northeast Asia Council of the Association for Asian Studies.
The exhibition is sponsored by Imperial Distributors, Inc.
Opposite page: CHISO, Furisode with Wave and Crane Design, 1938, made for the 14th Madame Nishimura, 1938, yüzen dyeing and embroidery; Collection of CHISO Co. Ltd © CHISO
conservation Exquisite kimono prints are more than meets the eye
himmering surfaces, embossed textures that mimic the decorated elements on fabric, and intricate patterns are some of several exquisite effects featured in the over 60 woodblock prints, books, and paintings in the exhibition, The Kimono in Print: 300 Years of Japanese Design, on view March 28 through June 28, 2020.
The Kimono in Print serves as a companion to the exhibition, Kimono Couture: The Beauty of Chiso (April 25 – July 26, 2020), and shares the fascinating relationship that existed between prints and the kimono fashion industry in Japan from the 17th to the 20th centuries. Widespread interest in kimono fashion influenced the production of prints, and in turn, prints were a source of inspiration for kimono designs. Several print designers in the exhibition also designed kimono pattern books, giving a sense of how intertwined these fields could be.
The 17th to the 20th centuries also span the development of the woodblock print in Japan, which reached its apex in the 1700s when multi-colored prints were printed more frequently than hand-colored (FIG. 12). At this time, woodblock print production was a well-organized process that included a publisher, artist, carver, and printer. Often the publisher commissioned the artist, who produced a drawing, which was sent to the carver. After pasting a copy of the drawing (known as the underdrawing or shita-e) to a woodblock and carving out the design, the block was sent to the printer, who printed several impressions in black ink, which were sent back to the artist. The artist
would then mark the prints, indicating what colors and techniques to use in the final print. The annotated prints were returned to the carver, who cut additional blocks for each color and sent them to the printer, who produced the final prints. For special projects, the printer would enhance the surfaces of prints and mimic effects seen in textiles, such as delicately fading colors (bokashi), blind printing to add dimensionality (karazuri), and adding mica powder (kirazuri) to create shimmering surfaces, all techniques represented in the works in The Kimono in Print.
To prepare for The Kimono in Print, I examined each print through a stereomicroscope, an instrument used to view a print at very close range (FIG. 4). By also using raking light—light that is positioned on the surface of an object at an oblique angle—I was able to study carefully the print’s surface topography and identify the most prominent techniques used to produce each work. This information will be included in the exhibition catalog and the wall labels to help visitors understand how artists created these exquisite prints.
The works on view in The Kimono in Print are truly artistic masterpieces, showing vibrant compositions, beautiful kimono designs, and an incredible range of effects that enhance many of the prints’ surfaces. When visiting the exhibition, I hope you will take a close look, using the magnifiers provided, to observe and delight in the magnificent effects present in this rarely displayed body of work.
FIG. 1: Torii Kiyoshige’s woodblock print, The Actor Onoe Kikugorō I (1901.66) from the 18th c. is an example of a beni-e print, which translates to “pink pictures.” Beni-e are hand-colored prints that feature a pink ink derived from safflower (benibana), common in the first half of the 18th c. This detail highlights the brushed boundaries of the ink, a clue that the color was applied by brush as opposed to printed.
FIG. 2: Torii Kiyomitsu’s The Kabuki Actors Bandō Hikosaburō II as the Samurai Shida no Kotarō and Sanogawa Ichimatsu I as Chihara Hayato (1901.59.2121) from 1755-58 is an example of a benizuri-e print, which translates to “pink printed pictures.” Benizuri was an early technique used to produce color prints in red and green inks. Yellow or another color sometimes was added, as well. They were common in the mid-18th century. FIG. 3: By 1764, nishiki-e, which translates to “brocade pictures” began to be produced in multiple colors, the final stage of color woodblock print development. Hashiguchi Goyo’s exquisite woodblock print, Woman Applying Make-up (1996.41) from 1918 epitomizes the sophistication achieved.
FIG. 4: Paper Conservator, Eliza Spaulding, examining Tsukioka Yoshitoshi’s woodblock print (nishiki-e), Looking Undecided: Customs and Manners of a Proprietess of the Kaei Era (2003.64) from 1888, through a stereo-microscope to help identify the techniques present in the print.
— Eliza Spaulding, Paper Conservator
The Kimono in Print: 300 Years of Japanese Design 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.
Opposite page: ITO Shinsui, Woman with Marumage Hairstyle, July 1924, color woodblock print with burnishing (shomenzuir) on silver mica ground, Gift of Edward Kenway, 1960.7
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Valentin de Boulogne, Soldiers Playing Cards and Dice (The Cheats), ca. 1618/1620, oil on canvas, The National Gallery of Art, D.C., Patrons’ Permanent Fund, 1998.104.1
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
Distinguished guests in the European galleries
his spring, we have the exciting opportunity to show several works from other major museums in our permanent European galleries. While signature paintings from our Museum are on loan to exhibitions in Germany, Italy, and across the United States, we will host masterpieces from the National Gallery of Art in Washington, D.C., the Detroit Institute of Arts, and the Museum Barberini in Potsdam, Germany.
Our magnificent painting, The Calling of Saint Matthew, from ca. 1620 by Bernardo Strozzi will feature prominently in the exhibition A Superb Baroque: Art in Genoa, 1600-1750—opening first at the National Gallery of Art and then traveling to Rome, where it will be shown at the Scuderie del Quirinale until early 2021.
While Strozzi’s masterpiece is away on loan, our visitors will be able to enjoy a painting by Valentin de Boulogne: the National Gallery’s Soldiers Playing Cards and Dice (The Cheats), ca. 1618/20. Born in France, Valentin—a contemporary of Strozzi— spent most of his career in Rome. Like Strozzi, he was an admirer of the artist Caravaggio, and employed light and shadow, known as chiaroscuro, to create highly lifelike images. He was likely inspired to paint figures playing cards by Caravaggio’s Cardsharps, currently in the collection of the Kimbell Art Museum in Fort Worth, Texas.
In Gallery 211, where visitors can see our paintings by Monet and Gauguin, we will have two important works on view during the spring: Gustave Caillebotte’s Chemin montant (The Uphill Path), 1881, from the Museum Barberini, and Vincent van Gogh’s iconic Portrait of Postman Roulin, 1888, from the Detroit Institute of Arts. Caillebotte is perhaps the least recognizable name of the artists associated with Impressionism. A friend of Degas, Renoir, and Monet, he regularly participated in exhibitions of Impressionist
painting and built a strong collection of his contemporaries’ work, now in the collection of the Musée d’Orsay in Paris. Caillebotte was financially secure and, as a result, did not sell his paintings. Consequently, very few works by this lesser known master are in public collections and most remain in private hands. Thus the opportunity to see a painting by Caillebotte is a rare treat.
Van Gogh’s Portrait of Postman Roulin will hang next to Worcester’s The Brooding Woman (Te Faaturuma) by Gauguin before both works feature in Van Gogh in America in Detroit from June 21 to September 27, 2020. Joseph Roulin was the postman in Arles, France, where Van Gogh had been living since February 1888. He and Van Gogh developed a close friendship, and Roulin was among the first people in the town to have his portrait painted by the artist. Detroit’s picture is one of at least six versions, each bearing slight alterations in expression, head position, and background decoration. The period when these portraits were painted overlaps with Gauguin’s notoriously tumultuous nine-week stay in Arles, at the invitation of Van Gogh. A few years later, Gauguin left Europe for Tahiti, where he painted Brooding Woman in 1891. The pairing of our Gauguin with Van Gogh’s Postman allows us to explore the impact these titans of Post-Impressionism had on each other.
WAM visitors will not want to miss this unique opportunity to see these masterpieces right here in Worcester. Furthermore, like a special exhibition, these distinguished guests have the power to illuminate new aspects of highlights from our own permanent collection. — Claire Whitner, Director of Curatorial Affairs and the James A. Welu Curator of European Art
Opposite page: Gustave Caillebotte, Chemin montant, 1881, oil on canvas, Museum Barberini, Potsdam, Germany, S-2019-084
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The boxed sculpture is moved under low ductwork on its journey out of the basement. Christine Peterson/Worcester Telegram & Gazette
From left: Consultant Jean-Louis Lachevre, Associate Registrar Sarah Gillis, and professional mover Michael Deblasio pull plastic off the Shipwrecked Mother and Child after its arrival in the Jeppson Idea Lab. Christine Peterson/Worcester Telegram & Gazette
How to move a shipwrecked mother and child
irst they were shipwrecked, then trapped for nearly 80 years as the Museum grew around them. Now, thanks to the efforts of WAM’s Registration team—as well as six outside consultants, contractors, and specialists— Edward Augustus Brackett’s masterwork Shipwrecked Mother and Child, from 1848-1851, has risen from the depths and is on display in the Jeppson Idea Lab. There it will undergo a year-long conservation treatment, which visitors will be able to observe.
Following its display at the Boston Atheneum, Brackett gave the 1,500 pound marble sculpture to WAM in 1904, where it was immediately put on public view. After that, the sculpture’s history becomes something of a mystery. However, we do know that by 1933 the sculpture had been moved to a basement storage room. Outside the storage room, blocked-up windows and doors hint that the basement once had direct access to the outside, but subsequent additions were built up around it, sealing the Shipwrecked Mother and Child inside.
“We’ve been trying to get her back on display since 2008, but lacked both a way to get her out of the basement and the funds to do it,” explains Associate Registrar Sarah Gillis, who managed the sculpture move from start to finish. Funding from the Henry Luce Foundation removed the latter obstacle. That left the remaining logistical hurdles of getting the sculpture mobile and finding a path for it through the Museum.
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To solve the first problem, WAM called on the expertise of Jean-Louis Lachevre, an objects conservator specializing in large stone sculpture, to help design a new, permanent steel frame. With wheels that swivel and lock for easy transport, this frame serves not only as a cart by which to move it, but also a sustainable support system for the piece that can handle its immense weight for decades without degradation.
At the same time, planning began on the sculpture’s basement escape route. Only one elevator at WAM can accommodate the weight and size of the Brackett piece—a freight elevator in the Frances L. Hiatt Wing. However, the route from the object storage room to the elevator is interrupted by a gap created by two phases of past construction, what Gillis calls a “weird void between additions.” To cross it, one must go down five steps, traverse a space of less than 30 feet under a large HVAC duct, and then climb another five steps.
To get the Shipwrecked Mother and Child across this gap, WAM brought in a team of engineers to construct a steel and wood bridge, creating a flat surface between the two doorways. Though only a temporary construction, the bridge needed to be sturdy enough to support the combined weight of sculpture and frame (around 2,500 pounds).
First, a rigging company specializing in large art pieces hoisted the sculpture onto its new frame, using chains and counterweights. According to Gillis, this
was no easy task—the wooden pallet had become virtually attached through weight and inertia, needing to be carefully removed. “Everyone held their breath at this part,” she said. But finally the sculpture was free, lowered onto the new steel cart, locked in place, and protected by a solid cover, ready to go.
Of course, over 2,000 pounds of weight does not maneuver easily, so the transportation team carefully pushed the sculpture and guided it using cables, across the bridge—where it passed below the HVAC duct with just a few inches to spare--and up a ramp through the boiler room.
Meanwhile, three stories above ground, Museum staff created a safe path for moving the sculpture through the Sidney and Rosalie Rose Gallery. On the second day of the move, Shipwrecked Mother and Child was brought up the elevator, then slowly guided through the Rose Gallery and down the hall to the Jeppson Idea Lab.
Once the move was complete, Gillis and her team were able to breathe easy. “I remain awed and, at the same time baffled, as to exactly how they got the sculpture down into the storage areas,” Gillis said. “Though many hints remain, we will probably never know how the original move was accomplished. Regardless of this mystery, Brackett’s masterwork will never see the darkness of storage again, as it rightfully belongs in our galleries.”
This project is generously supported by the Henry Luce Foundation.
Scholarships open doors to art
ccessibility to art education has been an important part of the Worcester Art Museum since its earliest days. In 1898, only six months after the Museum opened its doors, the first class of 30 studio art students sat down for their lessons. At the same time, WAM introduced free evening classes, with some form of tuition relief continuing through the decades. Today our 55 instructors offer dozens of classes every semester, attended by at least 1,200 registered students every year. Thanks to scholarship programs generously supported by both individuals and foundations, 25% of our studio class students attend tuition-free every year.
While most adult and youth scholarships are awarded based on financial need, Ruth Hemenway, studio class programs supervisor, says there are sometimes extenuating circumstances. “We always take children in foster care, regardless of the family’s financial situation, as well as cases of medical necessity, too.” Medical groups—including both hospital and patient support organizations—sometimes refer patients to WAM classes to help recover muscle control or coordination after an accident.
Referrals also come from organizations supporting recent immigrants. “Some of these students were professional artists in their home countries. Some come for the social interaction and a chance to meet others.” Many referrals are received from schools, churches, veteran groups, homeless shelters—as well as from other scholarship students.
As part of the application process, Ruth inquires about interests, goals, and experiences. “Some are very good artists who just can’t afford their own studio. Many are adults who haven’t taken an art class since high school. They raised their families, had their careers, and now are retired and want to start again.” Studio art classes range from introductory lessons to advanced studies in a variety of media. “I look at their strengths, interests, desires, and schedules—then put them where they belong.”
WAM’s current model of need-based scholarships was introduced in the 1970s, after the opening of the Higgins Education Wing. Prior scholarship funding had always come from private donors and funds, most notably the Knowles Memorial Art Fund and the George I. Alden Trust Fund. However, a class sizes continued to grow, it became difficult to provide a proportional number of scholarships.
“This place has genuinely changed my life. Without the Worcester Art Museum...I literally don’t know who I would be.” —Angela Germain, scholarship recipient, who is now a student at Massachusetts College of Art and Design.
During the 1980s, large gifts from several donors allowed the scholarship program to become one of the largest of its kind among art museums nationwide. Thanks to the Hoche-Scofield Fund, the Jacob Hiatt Scholarship Fund, and many private donors, WAM can consistently offer scholarships to all who need them— and keep our classes open to students from all walks of life.
Our program has generated many success stories. Among them is Jarrett J. Krosoczka—local artist, author, and illustrator of Lunch Lady and Star Wars: Jedi Academy fame—who took many classes at the Museum as a young child. He now holds a Sketcha-Thon every year to raise money for the Joseph and Shirley Krosoczka Memorial Youth Scholarship Fund, in honor of his grandparents. Many more students have gone on to attend art school, show their art in galleries, or teach art to children. Perhaps most importantly, about half of scholarship students, especially the younger ones, return year after year to continue working on their art, meeting with their favorite instructors, and simply enjoying the experience. “Our classes help accomplish the Museum’s mission of connecting people, communities, and cultures through the experience of art,” says Hemenway. “They foster a life-long love of art that keeps them coming back.” To donate to our scholarship program, please visit our website (portal.worcesterart.org/give) or email Elizabeth Buck, studio classes manager, at ElizabethBuck@worcesterart.org.
Scholarship Restricted and Endowed Funds Abbie S. and Mildred L. Cather Fund David Freelander Scholarship Fund Edward F. Goggin Fund
Charles A. Hamilton Fund
Edith Florence Hendricks Scholarship Fund Chester D. Heywood Scholarship Fund Jacob Hiatt Scholarship Fund Hoche-Scofield Foundation
Joseph and Shirley Krosoczka Memorial Youth Scholarship Fund Mary E. and Irene L. Piper Scholarship Fund St. Wulstan Society Fund
Stoddard Charitable Trust
Sudbury Foundation Scholarship Fund Alice Eliza Waite Memorial Fund
Karl B. A. Wass/Lundquist Family Scholarship Fund
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curatorial news In November 2019, Erin Corrales-Diaz, assistant curator of American art, presented on a panel titled: “Boundless Museums: Breaking Down Barriers for All Visitors,” at the New England Museum Association (NEMA), Burlington, Vermont. She also contributed an essay, “The Very Essence of New England: Clara Endicott Sears and the Hudson River School,” in Pastoral Present (The Trustees: Fruitlands Museum, 2019) and gave a talk on the subject on November 2, 2019 at Fruitlands Museum. The exhibition will be up through March 2020 at Fruitlands.
Jeffrey L. Forgeng, Higgins curator of arms & armor and medieval art, was the keynote speaker for the symposium, “The Heart of the Art of Combat: Exploring Medieval Manuscript I.33,” hosted by the Royal Armouries Museum (Leeds, UK) in May 2019 and celebrating the release of his book, The Medieval Art of Swordsmanship: Royal Armouries MS I.33.
In January 2020, Elizabeth Fox, curatorial assistant in American art, presented a talk titled, “Windows to the Past: WAM’s Memorial Stained Glass by Tiffany and La Farge,” as part of the McIver Lecture Series at the Needham Free Public Library.
Marcia Lagerwey, former director of education and curator for the exhibition, With Child: Otto Dix/Carmen Winant, presided over a panel, titled Otto Dix’s The Pregnant Woman (1931): Female and Male Responses in the #MeToo Movement, at the New England Museum Association conference in Burlington, Vermont in November 2019.
Director of Museum Services Gareth Salway wrote the forward to The Last Years of Coal Mining in South Wales: Volume Two: from Aberdare to Pembrokeshire by Steve Grudgings. The book was published in 2019 by Folly Books.
Learn more at worcesterart.org
Reginald Gammon, Holy Family, 1964, acrylic on Masonite, Blake Robinson Fund, 2019.46. © 2020 Estate of Reginald Gammon / Licensed by VAGA at Artists Rights Society (ARS), NY
New to the Collection
WAM’s recent acquisition by Reginald Gammon (1927 – 2007), depicts a haunting portrayal of devotion and courage in the face of racial and social inequality. Holy Family, 1964, is a rare painting from his time in Spiral, an African American artists’ collective whose members worked exclusively in black and white as a symbolic reference to the civil rights struggle. Its title and subject allude to the pietà, a visual tradition in Christian art history in which the Virgin Mary holds the
dead body of Christ, and draw a connection between the plight of African Americans, especially in the South, and the persecution of Christ and his followers.
Learn more about this masterpiece and the artist at our April Master Series Art Talk. Kimberly Bobier, PhD, assistant visiting professor in the department of history of art and design at Pratt Institute, will present “Reginald Gammon: Notes on Assembly,” on Thursday, April 16 at 6pm.
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.
Corzas’ Self Portrait creates a special connection
Francisco Corzas, Self Portrait, 1967, oil on canvas, Gift of Mr. and Mrs. Robert Warner, 1977.135. Image © Estate of Francisco Corzas
Francisco Corzas’ face draws me in every time I enter the Mid-20th Century Gallery. I connected with this selfportrait even before I realized who the artist was, and feel peace and happiness whenever I gaze into his eyes. Corzas is from my birth country, Mexico, and was part of a movement called the Rupture, or “Generación de la Ruptura,” that sought to separate themselves from the muralists who they considered too connected to the Mexican government. While I come back to Corzas’ SelfPortrait quite often, what most draws me to WAM today are the temporary exhibitions, new acquisitions, and creative reinstallations. I am inspired by the intentional and bold storytelling efforts
that demonstrate a curatorial commitment to building inclusion. Recent acquisitions demonstrate a commitment to women artists and artists of color. Additionally, WAM shares narratives that provide us with a more complete picture of the artists and their relevant historical context. An example is Sir Jacob Lawrence’s magnificent piece, The Checker Players, on view in the reinstalled Donnelly Gallery. The painting’s label shares a historical context of racial discrimination and integration, which are important to consider when appreciating this celebratory painting and what inspired the artist to create it. I look forward to continuing to be inspired and stretched as I stroll through the galleries at WAM. Valerie zolezzi-Wyndham is a member of the WAM Board of Trustees and owner and president of Promoting Good, LLC.
The Steerage speaks to Worcester as a city of immigrants This iconic photograph by Alfred Stieglitz continues to be one of my favorite pieces at the Worcester Art Museum. This photo brilliantly captures a defining scene of the American immigrant experience. There is clearly a contrasting visual division here—wealthier passengers on the first class deck positioned above those in the “steerage” area of the ship wrapped in shawls amidst a clothesline of laundry. Stieglitz artistically records this visual and physical division created by a social division. This photograph, widely considered one of the first “modernist” artistic works, serves as a cultural document of life in the early 20th century.
When I look at this photo I think about all the immigrants who made similar trips on their way to eventually settling here in Worcester. They might be my relatives or your relatives. We are a nation of immigrants and here in Worcester we have always been and continue to be a city of immigrants.
Fast forward to today and immigration is still a major facet of our evolving city although the faces have changed. The majority of today’s immigrants are coming to Worcester from places other than Europe, such as Brazil, Vietnam, Ghana, the Dominican Republic, Albania, and China. The images, the people, and the technology may change, but the “American Dream” is still very much alive.
Edward M. Augustus, Jr. is Worcester’s City Manager and a WAM Corporator.
Alfred Stieglitz, The Steerage, 1907, photogravure, Gift of Mr. and Mrs. Hall James Peterson, 1978.76
Connect with us
tours and programs Drop-in tours
Public tours begin in the Lancaster Lobby
Tours of the Month First and third Saturday of the month, 2pm Get an in-depth look at the Museum’s collection in these docent-led tours
Zip Tours Saturdays, 1pm Delve into one artist or work of art in these fast-paced, 20-minute tours.
Sunday Tours Sundays, 1-2pm Join one of our docents for an overview of the Museum collection.
February 1 and 15 WAM’s Fantastic Beasts and Where to Find Them Look at how creatures both real and thought-to-be-real were used as metaphors of the human condition in both Eastern and Western cultures. March 7 and 21 From Ancient Goddesses to Christian Saints Explore sacred representations of women through time and place in works in several Museum galleries.
April 4 and 18 Beyond Midnight: Paul Revere Discover Paul Revere—the maker, inventor, and entrepreneur—in this exhibition organized by the American Antiquarian Society. May 2 and 16 The Kimono in Print and Kimono Couture Learn how societal structures and daily life in Japan in the 17th-19th centuries affected production and consumption of art while touring these special kimono exhibitions. June 6 and 20 The History of Color: Blue and Red Explore the fascinating history of color on this unique tour of the Museum’s paintings, armor, pottery, and sculpture.
July 18 (No tour on July 4) Myths and Legends in the WAM Collections Take a journey through time and place while hearing the interesting myths and legends told through works in the Museum’s collection. August 1 and 15 Aphrodite and Friends Through Art Follow the origins of the Greek goddess of love and her connections in the ancient world, as shown in works in the Museum collection.
Please check our website for Tour of the Month topics for the rest of the year.
Learn more at worcesterart.org
All tours meet in the Lancaster Lobby
Adult Group Tours Private docent-led group tours for 10 or more can be arranged by calling 508.793.4338. Adult tour groups pay Museum admission and a $2 service fee per person.
Youth/Student Group Tours WAM special exhibitions and permanent collections can be used to support your curriculum through tours, hands-on workshops, teacher resources, and other events. Led by trained docents, tours are tailored to meet your specific needs, goals, and interests. Tours are $5 per student for prearranged school groups on either docent-led or self-guided tours.* Chaperones are free. (Admission is free for Worcester public school students and their chaperones.) For more information and to book a tour, call 508.793.4338 or visit worcesterart.org/events/group_tours. * Includes Museum admission
Art Carts: Family Fun in the Galleries Get hands-on with a stop at one of our interactive Art Carts, located throughout the Museum. Touch materials, draw, create mosaics, and discover the answers to your questions and more. Check our website for schedule.
Artful Play First and Third Wednesdays, and Third Saturdays, 10:30–11:15am Our special gallery experience engages caretakers and their young children (ages 0-4) with art and stories focused on different themes. Stay for snacks and socializing after your tour.
Programs for teens
Teen Nights Third Thursdays, March 19, May 21 5:30–8pm Teens ages 14+ enjoy art demonstrations, gallery visits, and time to work on individual art projects—plus instructor feedback and portfolio reviews upon request. Refreshments included. Space is limited; register online at portal.worcesterart.org or call 508.793.4333.
Programs for all ages
Arms + Armor Demonstrations Select Free First Sundays and Third Saturdays, 11:30am and 2pm Join us for these fun interactive programs, and learn about different kinds of arms and armor used by knights and soldiers, including Roman soldiers, Medieval knights, and beyond! Visit our website for monthly schedule.
Homeschool Programs WAM welcomes homeschool groups with tours and gallery studio workshops designed to complement home-based learning for ages 5 and up. Call or email Jan Ewick at 508.793.4338 or JanEwick@worcesterart.org to schedule your Homeschool visit today! Please schedule at least three weeks in advance.
Earn your Girl Scout Badge at WAM One-and-a-half hour workshops are led by teaching artists and include all materials, a WAM gallery tour, and badges. Private workshops must be scheduled at least three weeks in advance. Call Elizabeth Buck at 508.793.4462 to discuss cost and schedule your troop’s private workshop!
Do you have a smaller troop or individual Girl Scout? Join one of our Open Workshops to earn your badges! Register at worcesterart.org/classes.
Spring Community Day: Festa Roma Saturday, March 14, 10am to 4pm Celebrate the coming of spring and the new year—Roman-style! Learn about gods and goddesses who represented long life, health, and renewal. Enjoy artmaking, music, performances, and food throughout the day.
Summer Community Day: World’s Fair @ WAM Sunday, August 16, 10am to 4pm Visit the famous World’s Fair! Learn about the history and creative spirit behind these international expositions that have brought the wonders of the world to millions of people. Plein Air Film Series Fridays, August 7 – 28, 8pm Bring your blankets and enjoy food and beverages, while watching a curated selection of films that explore the world of art and creativity. Held outdoors in the Stoddard Courtyard.
All programs listed are free with Museum admission, unless otherwise noted. Admission is free on the first Sunday of each month. Information subject to change; please visit worcesterart.org before visiting.
MASTEr SEriES THirD THurSDAyS 2020
Exhibitions and Programs The Worcester Art Museum's Master Series highlights selected works of art in galleries throughout the Museum. Each work or group of works is also the focus of a Third Thursday art talk presented by a scholar in the field, allowing for more indepth appreciation of the piece and artist.
Hosted by the WAM Members Council
Learn more about this year’s Master Series works by joining the WAM Members Council and other art enthusiasts for an illustrated art talk, followed by a reception with cash bar. Free with Museum admission.
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. MASTER SERIES SPONSOR
School Vacation Workshops School vacation workshops provide creative hands-on experiences that are rooted in the Museum’s collection and exhibitions. Half or full day sessions for ages 3-17 are designed to build skills, confidence, and a life-long connection to art. Learn more and register at worcesterart.org/classes.
Feb Fun: Myth and Magic February 18 – 21 Youth and teens from ages 3-17 learn new skills and make friends in our hands-on vacation week programs inspired by works with connections to myth and magic from throughout the Museum’s collection.
April Art: Into the Future April 21 – 24 Have fun experimenting with a variety of traditional and innovative media, and use your imagination to design art of the future in our classes for youth and teens from ages 3-17. Summer Art for Youth and Teens July 6 – August 14 Stay creative and explore new skills in our week-long art programs for youth 3-13 years old and our Teen Art Academy for 14-17 year olds.
Thursday, February 20, 6pm Speaker: Ethan Lasser, PhD, Chair, Art of the Americas, Museum of Fine Arts, Boston Art Talk: Paul Revere and John Singleton Copley: Making an American Icon
Thursday, March 19, 6pm Speaker: Janis A. Tomlinson, PhD, Director of Special Collections and Museums, University of Delaware Art Talk: “The Boy on a Ram” in Context Thursday, April 16, 6pm Speaker: Kimberly Bobier, PhD, Assistant Visiting Professor in the Department of History of Art and Design at Pratt Institute Art Talk: Reginald Gammon: Notes on Assembly
Thursday, May 21, 6pm Speaker: Monika Bincsik, PhD, Diane and Arthur Abbey Assistant Curator for Japanese Decorative Arts, The Metropolitan Museum of Art Art Talk: Kimono Fashion in Kyoto Images, top to bottom: Paul Revere, detail, photograph © 2019 Museum of Fine Arts, Boston, 30.781; Francisco de Goya, Boy on a Ram, 1786/87, oil on canvas, the Art Institute of Chicago, Gift of Mr. and Mrs. Brooks McCormick, 1979.479; Holy Family, detail, 2019.46, © 2019 Estate of Reginald Gammon / Licensed by VAGA at Artists Rights Society (ARS), New York; Uchikake, detail, © CHISO
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Nature Imagined by Susan Swinand June 27 – September 27, 2020
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 our studio art program, Swinand’s work has been shown widely throughout central New England for many years. In anticipation of her upcoming show at WAM, Erin Corrales-Diaz, assistant curator of American art, asked the artist to reflect on her work, her inspiration, and process. EC-D: Throughout your long and successful career, spanning a variety of media, your work consistently engages with dichotomies: metamorphosis and stasis, form and formlessness, and organic and manmade. How does your work complicate these perceived dichotomies, and why does it continue to fascinate?
EC-D: You’ve mentioned that when you approach a painting you are in a “state of not knowing.” There are no preliminary drawings; rather you allow the materials and brushstrokes to guide you. This desire to tap into your imagination seems to draw a parallel with the automatic drawing of Surrealism. SS: Shapes are a really important part of my work and can present themselves in the process of working with the wandering of the pen or in a puddle of water left by the shape of the brush. I am subconsciously choosing the shapes that evoke meaning.
SS: The more I observe the natural world and our own human nature, the more it seems there is an ideal harmony of opposites or a balance of forces in everything. Nature is both soothing and horrifying, magnificent and disgusting, creative and destructive. If you are looking for truth, you can’t just focus on the beautiful. And you won’t be satisfied just eating the roses on the cake. EC-D: The natural world seems to be a frequent source of inspiration for you.
SS: I am obsessed with the natural world. I want to know about every structure, pattern, form, and force—and the details of how they all work together. More and more I am pondering the questions of chaos and order, freedom and restraint, and trying to find the proper balance between them. How much is TOO much?
EC-D: One aspect of your work that immediately captivated me was your radical use of materials. For instance, you use watercolors as oils or acrylics and vice versa. What prompted you to defy material expectation and how have these techniques informed your practice?
SS: I taught painting for many years and watercolor painting was always in demand. Most of the watercolor painting that I saw around seemed formulaic and very predictable—more a craft than a process of discovery. I always wanted a painting to feel like it was alive, happening, filled with the unexpected.
Throughout my career I tried to give students obstacles or problems that would force them to find a new way. I wanted watercolor to be a real painting medium and not just pretty, tinted drawings. Watercolor is a bodyless paint and lacks texture so I worked hard to make the medium more physical—scratching, glazing, mixing in dry abrasive media, collage, patterning— anything I could think of to give it presence.
Susan Swinand in her studio.
Years ago, I realized that everything in the universe was created by energy acting on matter. In my work I try to imitate nature’s creative process and put all my energy into my materials to see what they will do. Art for me is about giving FORM to emotion, ideas, or experience.
EC-D: Your paintings often reflect a sense of humor. What is the significance of play and whimsy in your work?
SS: I guess it is just in my nature to love a little laughter. We need it to balance the sadness. Sometimes a shape appears in a painting, and I laugh out loud. It astounds me that an abstract shape can do that. Painting is amazing.
This exhibition is organized in partnership with ArtsWorcester.
Learn more at worcesterart.org
ongoing/upcoming Central Massachusetts Artist Initiative (CMAI) Sidney and Rosalie Rose Gallery
Leslie Graff: April 1 – October 2020 Sutton-based artist Leslie Graff examines the fundamental human experience in her acrylic and mixed-media paintings. Her portrait-based series explores 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.”
Brooch featuring a Skiff with Blossoms and an Ancient Plaquette, Ancient Egyptian (plaquette), New Kingdom, about 1539–1077 BCE; (gold mount) late 1800s–early 1900s, glazed steatite mounted on modern gold, Gift of Mrs. E.D. Buffington, 1914.2
Jewels of the Nile: Ancient Egyptian Treasures from the Worcester Art Museum Hiatt Wing October 17, 2020 – February 14, 2021
When Jewels of the Nile opens this fall, the public will be able to view the Worcester Art Museum’s extensive collection of ancient Egyptian jewelry for the first time in nearly a century. The collection—much of it given to the Museum by Laura Norcross Marrs (1845 – 1926)—is remarkable not only for its breadth and quality, but also for its fascinating backstory.
Marrs was the daughter of Boston mayor Otis Norcross (1811 – 1882) and wife of amateur photographer Kingsmill Marrs (d. 1912). During a trip to Egypt in 1908, the Marrs met archaeologist Howard Carter (1874 – 1939), who would later discover the Tomb of Tutankhamun. Carter was originally offered work in Egypt because of his artistic talent and would supplement his income by selling beautiful watercolors of scenes from Egyptian tombs and temples.
T H E A N N UA L
WAM GALA S AT U R DAY, J U N E 6 , 2 0 2 0 • 6 to 11PM Join us for a fun, fashionable evening with cocktails, auction, dinner and dancing, inspired by
Kimono Couture: e Beauty of Chiso. Tickets available at worcesterart.org/events/wam-gala/
Laura Marrs had a keen interest in prints and watercolors, acquired many of them, and eventually donated them to WAM— which now holds the largest collection of these paintings.
The Marrs struck up a friendship with Carter, and they wrote letters and visited one another in Florence, Italy, and in Luxor, Egypt. Carter also advised them on purchasing antiquities— particularly jewelry, which was legal at that time. With his knowing eye and the Marrs’ acumen, together they assembled an outstanding collection, and after Mr. Marr’s death, Laura gave it to WAM. Over 90 years later, their generosity will be celebrated in Jewels of the Nile, which will showcase these rare jewels along with the Museum’s other Egyptian holdings. One of the largest Egyptian exhibitions to be seen anywhere, Jewels of the Nile will include nearly 300 objects ranging from tiny beads to massive tomb walls—just in time for the centennial of Laura Marr’s gift, as well as the discovery of Tutankhamun’s tomb.
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Seen at WAM!
Learn more at worcesterart.org
From exhibition openings and community days to VIP tours and our annual Gala, WAM is the scene of art-full and memorable moments.
philanthropy in Memoriam
Anne (Nancy) Murray Morgan (1925 – 2020) The Museum lost a true friend, astute leader, and ardent supporter upon the death of Nancy Morgan on January 11. She arrived in Worcester with her husband, Paul, becoming an integral part of the fabric of Worcester as a committed and exemplary volunteer for many local organizations, all while raising four children. While Nancy has an illustrious history with this community, we would like to salute her dedication to the Worcester Art Museum, which began in the 1950s when she first worked on a project for the Museum Library. In 1970, she joined the Museum’s very first class of volunteer docents, which gave her the opportunity to learn more about, and share with others, the Museum’s comprehensive holdings of art. In 1972, Nancy was elected a Museum Corporator, and in 1973, she was named to the Members Council, becoming the Council President in 1975. Her management skills were recognized as she was chosen and elected to the all-male Board of Trustees in 1976. Interested in the Museum’s financial health, she co-chaired the third and final phase of the Renaissance Fund campaign. In 1981, Nancy was elected the 11th president of the Museum, the first woman to hold that office, after 85 years of male presidents. Under her leadership, Nancy finished the task of raising the money for the Frances L. Hiatt Wing, which opened in 1983. She also helped with the acquisition of major works by Andrea del Sarto,
Cézanne, Degas, Picasso, Rouault, and Philip Hale—who began the Museum school. In 1985, Nancy stepped down as president of the Board and chaired the Work of Art campaign beginning in 1988. With Nancy at the helm, the Museum met its goal of $17 million, one of the largest in the community’s history. At the end of this campaign and because of her deft leadership, Nancy was asked to serve one more year as president. To demonstrate appreciation for her extraordinary contributions, the Trustees surprised Nancy with the naming of the 18th-century French gallery in her honor. In 2008, she was awarded the Salisbury Award, the Museum’s highest individual honor. In response, Nancy penned the following with the humility and wit for which she was known and will be remembered: “You took my breath away when you introduced the subject of WAM’s prestigious award coupled with me. To be so honored by my favorite museum is far beyond what I ever considered possible or deserved. My goal has always been to live a useful life, but I have a feeling my usefulness is past. Do consider whether there are others more deserving who might fill the bill better than a once-upon–a-timer. Don’t be sentimental! I am deeply grateful for you even thinking of this incredible possibility for me.” Ignoring her advice not to be sentimental, we are indebted to Nancy for her dedication and commitment, and we will miss her.
What’s your legacy?
Brenda Verduin Dean’s involvement with Worcester Art Museum has come full circle. As a child, she enjoyed taking art classes here, but left Worcester after high school to attend college in New York City. Fifty years later, she has moved back to her hometown and is now serving as a WAM Corporator. “I quickly realized what an important role WAM provides to the Worcester community. It is accessible and welcoming, with diverse programs for all ages with varying degrees of interest in art, and opportunities to learn about treasures passed on to us from regions and cultures from all over the world.” Brenda and her husband, Herbert Dean, enjoy exhibitions, tours by informed docents, lectures and cultural events—and shopping at the gift shop. As members of the Salisbury Society (WAM’s highest level of membership, see pages 26–27), they especially enjoy the behind-the-scenes opportunities with curators, traveling to other museums and going on curator-led tours, and of course Flora in Winter. They attend exhibition openings and always have fun at the WAM fundraiser galas. “WAM is a true gem in our community and a worthwhile place to visit and discover something new. It is with great pleasure that I have included WAM in my estate plans and to provide the resources to continue enriching the lives of our greater Worcester community.”
Brenda Verduin Dean
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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
► donate online at worcesterart.org/join or call 508.793.4325.
To join or upgrade to the Benefactor level with a gift of $250 or more,
$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
Three great reasons to give to the WAM Fund
GROUNDBREAkING ExHIBITIONS AND ACCLAIM
“With Child: Otto Dix / Carmen Winant a pregnant nude by Otto Dix, on its first visit to the United States, pairs with a multimedia piece by the contemporary artist Carmen Winant for an unusually frank look at pregnancy.” —The New York Times September Fall Preview September 12, 2019
Give to the WAM Fund today!
PROGRESS AND RELEVANCE
“Photo Revolution is a show less about date than feel, that feel being the grain of an era: scruffy, bolshie, uneven.” —Mark Feeney The Boston Globe December 6, 2019
“Please know this has been what I thought about WAM, not just an old beautiful building that stores relics of past lives, but truly an agent of peace that brings forth beauty, understanding, and healing.” —Anh Vu Sawyer, Executive Director Southeast Asian Coalition of Massachusetts
You can take pride in the fact that the Museum is a place that connects people, communities, and cultures through the experience of art.
Help us continue to attract new audiences, showcase groundbreaking exhibitions, and be an agent of change and community building for our region and beyond. Make your gift at worcesterart.org/give or by calling 508.793.4325.
Learn more at worcesterart.org
Members are vital to WAM’s success in connecting art and community!
Membership Manager Tara Leahy recently interviewed WAM Member David Fort for access magazine. The son of two Christian ministers, Fort is a lifelong resident of Worcester and graduate of North High School. He is Founder and Managing Director of Fort Strategic Business Consultants and CEO of Navidemics (a college consulting firm). In addition to his involvement at WAM and other local organizations, Fort serves on the Board of Health for the City of Worcester. TL: How frequently do you visit the Worcester Art Museum? DF: I usually visit WAM at least once every month or two for some type of event.
TL: What made you decide to become a Member of WAM? DF: I have been visiting WAM since I was a child and even back then, I knew that the exhibitions I saw, the people I met, and the events I participated in literally opened up a new world for me with respect to art and culture. With that said, when the opportunity arose for me to join WAM and share it with others, I did not hesitate to take it. TL: How are you involved in WAM? DF: I take every opportunity that I can to volunteer at WAM events and to participate on committees. This allows me to engage in discussions to help grow WAM’s visibility.
TL: What benefits of Membership do you appreciate the most and why? DF: The breadth of events offered at WAM and the social interaction between members are what I most appreciate. Both provide me with opportunities to learn more about art and to engage in meaningful art/social discussions.
TL: Why do you feel art is important—for individuals, families, and communities? DF: Because I believe art—in all its forms—always has the ability to stimulate the senses of all who come across it.
TL: Do you have a favorite of your visits to WAM? DF: WAM hosts the Flora in Winter event annually. My mother is named Flora, and I was able to take her to see the floral displays. Seeing her so excited while looking at the art under her name—that’s a memory I won’t soon forget.
TL: Are there particular artworks or galleries that are special to you? Which ones and why? DF: Currently, my favorite gallery is the one that features armor used in medieval times. I have always been intrigued by this time period (and all of its components) because it shows how religion, politics, power, and war were all inextricably intertwined.
WAM member David Fort
What is the value of WAM Membership?
• Free visits all year! • Special discounts in the Café, Museum Shop, and on studio classes. Members enjoy discounts all year—and 20% off in the Museum Shop during December. • Member-only privileges: These include Members-only hours, discounted tickets, and “Skip the Line” admission at Flora in Winter. • Satisfaction in supporting one of the region’s most treasured cultural destinations. Purchase your Worcester Art Museum membership online at worcesterart.org/join, email firstname.lastname@example.org, 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 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 MarleenKilcoyne@worcesterart.org.
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Thank you to the following Salisbury Society members who have made WAM and art and culture in this community a priority. Their unrestricted gifts of $1,500 or more provide essential support to all areas of the Museum. Under the leadership of Lisa Bernat and Chris Collins, the Society has welcomed over 30 new members in the last year. (9/1/2018-1/15/2020)
Chairman's Circle $25,000 + Lisa Kirby Gibbs and Peter Gibbs Marianne and John Jeppson Family Dr. Sohail and Mona Masood Jean McDonough
President's Circle $10,000 – $24,999 Karin I. Branscombe Mary and Warner Fletcher Peter and Marty Hurley Arthur and Mary Kentros Judy and Tony King Foundation Philip and Gale Morgan Clifford J. Schorer Mr. and Mrs. Theodore E. Shasta Kathleen and Robert Stansky
Director's Circle $5,000 – $9,999 Susan and Jack Bassick Sarah and Allen Berry Douglas S. Brown and Jennifer RyanBrown William and Eileen Bush Dorothy Chen-Courtin Catherine M. Colinvaux and Phillip D. zamore Mr. and Mrs. J. Christopher Collins Charles H. N. de Végvár Maria and John Dirlam Jim and Carol Donnelly Antonella and Roger Doucette Allen W. Fletcher Mark and Jan Fuller Andrew and Irene Jay Christine and Dana Levenson Mrs. Joseph Lotuff Tom and Beth McGregor Mahroo and Barrett Morgan Marc S. Plonskier Drs. Phyllis Pollack and Peter Metz Emily Rauh Pulitzer Regan P. Remillard John and Ellen Savickas Anne-Marie Soullière and Lindsey C. Y. Kiang Patti Verderese Matthias Waschek and Steve Taviner Barbara Ketcham Wheaton
Patron $2,500 – $4,999 Marie and Mike Angelini Charles P. Ball and Margaret McEvoyBall William Breidenbach and Melanie Gage Mr. and Mrs. H. Paul Buckingham III Stephen D. Chubb Christos* and Mary T. Cocaine Dr. and Mrs. Herbert M. Dean Margery and Richard* Dearborn Richard and Joan Freedman Roberta J. Goldman Dr. Gabriele Goszcz and Douglas Crawford* Drs. Ivan and Noreen Green Amy Harmon and Rob Stefanic Dr. N. Alan Harris and Dr. Diane Lebel James N. Heald 2nd
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Margaret Keith Christine Keller and Walt Talbot David and Barbara Krashes Claude M. Lee III Tom Logan and Sandy Hubbard Dr. and Mrs. Glenn A. Meltzer Katharine and Henry Michie Robert Oriol Martha R. Pappas Marlene and David Persky Philip and Ellen Phillips The Plourde Family Charitable Trust Linda and Ted Robbins Kristin and Roger Servison Michael and Carol Sleeper Brian and Monique Spear George and Lynne Tonna Mark and Barb Wetzel
Member $1,250 – $2,499 & Contemporary Member $625 + Kim and David Adler Herb and Maura Alexander John and Mary Lou Anderson Julia D. Andrieni, M.D. and Robert A. Phillips, M.D. Anonymous Andrew Athy Anthony and Barbara Trayers Athy Sharon and Richard Avis Kristin and Joseph J. Bafaro, Jr. Brad Barker and Judy Pugh Janet and Brian Barlow Joan T. Barry Thomas and Lynora Bartholomew Dr. and Mrs. Frederick L. Bayon Whitney Beals and Pamela Esty Binky Bennett Barbara C. Bernardin Lisa M. Bernat and Abram Rosenfeld Michael and Cathleen Bollus Heath Drury Boote Dr. Marshall Katzen and Ms. Bari Boyer Dawn and John Budd George and Tammy Butler Marilyn Butler and Mark Mancevice Thomas W. Caldwell Jennifer B. Caswell Pablo and Paula Collins Michael F. Collins, M.D. Jim and Margaret Collins P. Kevin and Clare K. Condron Paula H. Connolly Martha A. Cowan Fund Tracy A. Craig and Dr. James J. Convery Chris and Betsy Crowley Michael Czech and Silvia Corvera Dix and Sarah Davis Phil and Laurie Davis Nina Chapin de Rochefort Janet Andreson Dealy Gail Dempsey Henry B. and Jane K. Dewey David DiPasquale and Candace Okuno Tom and Joan* Dolan Melissa Durfee Marillyn and John Earley
David and Sandy Ekberg John and Jeanne Esler Barbara E. Fargo Andy and Robin Feldman Marianne E. Felice, M.D. Allen and Yda Filiberti Bruce Fishbein and Sara Shields Justin and Laine Fletcher Susan M. Foley Kathleen H. Gadbois Lee and Dina Gaudette Paul J. Giorgio Dr. Wayne and Laura Glazier Maureen Lucier Glowik and Jennifer C. Glowik-Adams Stephen and Elaine Gordon Karen Gottschang Turner and Tom Gottschang Emily Gowdey-Backus and Joshua Tucker Janet and Geoff Graeber John and Geri Graham Maureen and Bob Gray Hon. Mel L. Greenberg, ret. Joel P. Greene and Ann T. Lisi David R. and Rosalie A. Grenon J. Michael and Brittany Grenon Dr. Abraham and Linda Haddad Dr. Thomas and Patricia Halpin Barry and Chris Hanshaw* John Hardin, M.D. Phyllis Harrington George Hecker Lyn and George Herbolsheimer Jock Herron and Julia Moore Frank Herron and Sandy Urie Jay S. Himmelstein, M.D. and Ellen M. Ruell Janice Hitzhusen and Jim Pease Dr. and Mrs. James E. Hogan James E. Hogan III James and Emily Holdstein Frances and Howard Jacobson Katherine Burton Jones Drs. David and Kathee Jordan Matthew Kamins and Laurian Banciulescu Amar V. Kapur Evelyn Karet, Ph.D. John F. and Rayna Keenan Maureen and William Kelleher Dr. Jean King and Dr. Carl Fulwiler Tracy and Morey Kraus Mr. and Mrs.* Warren C. Lane, Jr. James and Anne Lang John and Kathy Lauring Albert and Anna LaValley Mary Beth Leonard Ronald and Angela Lombard Stephen and Valerie Loring David Lucht and Susannah Baker Dr. Paul J. Mahon Robert and Minh Mailloux Dr. and Mrs. Baltej S. Maini Moira and Charlie Manoog Neil and Lisa McDonough Kevin and Martha McKenna
Thomas Michie Dr. Satya and Mrs. Supriya Mitra Anne (Nancy) Morgan* Michelle Morneau Jim and Patty Moynihan Emily P. Murray Dorothy Nanchu Charlene L. Nemeth Drs. Ann Brown and Dominic Nompleggi Ed Osowski Susan and Chris Palatucci Fred and Christine Parson Judith and Thoru Pederson Patricia L. Pelletier Deborah Penta Howard and Sharon Peterson Mr. and Mrs. N. William Pioppi Cynthia and Stephen Pitcher The Plourde Family Charitable Trust Dr. Richard L. and Marla M. Pyle Dr. George Krasowski and Theresa A. Quinn George C. Rand, Jr. Arthur and Debra Remillard Luanne Remillard Sarah and Joe Ribeiro Dr. Ruthann Rizzi and Edwin J. Barr Carlos Ramos Rivera Dr. Camille Roberts Carol Robey and Robert Oot Dr. Malcolm A. Rogers Mr. and Mrs. Henry B. Rose Kate Shamon Rushford Kent Russell and Aisling Gaughan Stuart Sadick and James Bryant Peter and Anne Schneider Carol L. Seager Eric Brose and Jan Seymour Jeanice Sherman and Dwight Johnson Dr. Shirley S. Siff and Robert M. Siff* Martha Simmons, Ed.M., M.S., Ed.M. Dr. Jang B. Singh Richard and Glena Sisson James and Jaclyn Skagerlind Mark Spuria Robin S. Starr Mr. and Mrs. John C. Stimpson Katy and Peter Sullivan John J. Szlyk and Betsy Busch Szlyk Sheila and George Tetler Tony and Martha Tilton Lee and Owen Todd Andrea and Michael Urban Judith and Gary Vaillancourt Judith Vander Salm Herb and Jean Varnum Kristin Waters Roger and Elise Wellington James A. Welu Jeffrey and Suzanne Wetton Wallace and Robin Whitney Peter and Shirley Williams Emily Wood Sue and David Woodbury Dr. Edward C. Yasuna
Salisbury Society members enjoy access to unique art experiences Because of their generosity and philanthropic spirit, Salisbury members are treated to the following benefits and programs:
• Free admission and reciprocal member benefits at over 1,400 museums
• Unique access to Curators and the Director
• Salisbury Art Series, including sneak previews • Salisbury Art Travel program • Annual Salisbury Evening
For questions or more information about joining the Salisbury Society, contact nancyjeppson@ worcesterart.org or 508.793.4325.
Salisbury Upcoming Programs January
• Curator tour of Photo Revolution with Nancy Burns, Stoddard Associate Curator of Prints, Drawings, and Photographs (January 16) • Salisbury Art Series: Flora in Winter Chairman’s Tour and reception (January 24) March • Private talk on Goya’s The Boy on a Ram (March 20) April/May • Behind-the-Scenes Tour of Fuller Conservation Lab with Chief Conservator (April 1) • Salisbury Evening: Paul Revere’s Last Ride: Innovation in the Early Republic (April 6) • Salisbury Art Travel tour to Concord Museum and Skinner Inc. • Exclusive tour of Kimono Couture: The Beauty of Chiso • Behind-the-Scenes Tour of works on paper with Curator (May 21) July • Salisbury Art Series: WAM Curators: Up Close and Personal (July 29)
JANUARY 23 – 26, 2020
Flora in Winter would not be possible without the hard work of many volunteers. Our most sincere appreciation goes to our dedicated Flora co-chairs, Kim Cutler, Kathy Michie, and Sarah Ribeiro; WAM docents and volunteers; and Worcester Garden Club members for their generous contributions of time and talent to this successful and much-loved event! Flora in Winter is supported in part by the Bernard G. and Louise B. Palitz Fund and the Spear Fund for Public Programs. Flora in Winter 2020 was sponsored by UniBank.
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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 of Wells Fargo Advisors 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 December 19, 2019
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:
“ At InThink Marketing Agency, we focus on growing Worcester businesses and making the area better for the community in every way. For me, a big part of this is supporting amazing local cultural institutions like the Worcester Art Museum. I want my kids to grow up understanding and appreciating what an exciting and dynamic cultural center Worcester is. They love WAM, and I want to continue cultivating their love for the arts.”
– kham Inthirath, Founder & CEO, InThink Agency
WAM Director Matthias Waschek awards AbbVie Director of Immunology, Lisa Olson, with Business Partner Appreciation award.
WA M Busin E pA R t n s s ER
“ Table Talk Pies is proud to be a business partner of the Worcester Art Museum. We have been a part of the Worcester community since 1924 and a core value of our business and our family is supporting access to education, including cultural development, for those of all ages and backgrounds. We appreciate WAM’s commitment to bringing breathtaking pieces of art from all over the world to Salisbury Street and for providing the opportunity for all in the community to experience it.”
– Harry kokkinis, President, Table Talk Pies
Docent Dr. Paul Mahon tours Business Partner members Betsy and Chris Crowley of Polar Beverages; Janet and David Mayotte of Greenburg, Rosenblatt, Kull and Bitsoli, P.C.; and Joffrey Smith of Joffrey Smith Financial Group around the Photo Revolution: Andy Warhol to Cindy Sherman exhibition.
BECOME A BUSINESS PARTNER portal.worcesterart.org/join
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 MarleenKilcoyne@worcesterart.org.
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SALUTE TO FOUNDATIONS
The Worcester Art Museum gratefully acknowledges the following foundations and government agencies for their support during fiscal years 2019 and 2020 (as of 12/31/19).
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 508-793-4322 or ChristineProffitt@worcesterart.org. George I. Alden Trust Andrew W. Mellon Foundation Anonymous Barr Foundation Bassick Family Foundation Bradley C. Higgins Foundation C. Jean and Myles McDonough Charitable Foundation Carl Lesnor Family Foundation E. Rhodes and Leona B. Carpenter Foundation Fred Harris Daniels Foundation Dirlam Charitable Trust East Bay Community Foundation
Ruth H. and Warren A. Ellsworth Foundation Fidelity Charitable Gift Fund Fletcher Foundation George F. and Sybil H. Fuller Foundation Greater Worcester Community Foundation Hanover Insurance Group Foundation, Inc. Henry Luce Foundation Highland Street Foundation Hoche-Scofield Foundation Institute of Museum and Library Services J. Irving England & Jane L. England Charitable Trust
Jeanne Y. Curtis Foundation The Kirby Foundation The Klarman Family Foundation Lunder Foundation The Manton Foundation Mass Cultural Council – Cultural Districts Initiative Mass Cultural Council – Cultural Investment Portfolio Massachusetts Cultural Facilities Fund Mildred H. McEvoy Foundation Nathaniel Wheeler Trust National Endowment for the Arts National Endowment for the Humanities Paine Charitable Trust
Arthur M. and Martha R. Pappas Foundation Patrick and Aimee Butler Family Foundation Regan Remillard Foundation The Richard and Ann J. Prouty Foundation The Schwartz Charitable Foundation Stoddard Charitable Trust TIAA Charitable Gift Fund Worcester Arts Council Worcester Educational Development Foundation, Inc. Wyman-Gordon Foundation
TRIBUTE TO ENDOWED FUNDS
Endowed funds provide the Worcester Art Museum with vital long-term resources to advance the institution’s mission to “connect people, communities, and cultures through the experience of art.” Interest income generated from these important named funds with the Museum’s general unrestricted endowment underwrites approximately half of the Worcester Art Museum’s annual operating budget. The Museum is grateful for this enduring legacy of support. The endowed funds include: Ruth and John Adam, Jr. Exhibition Fund Alden Trust Assistant Director of Education Fund 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 Martha A. Cowan 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
David J. Freelander Scholarship Fund Higgins Armory General Endowment Fund Susan Ella Reed-Lawton Fund Arthur J. Remillard, Jr. Youth Education George F. and Sybil H. Fuller Higgins Armory Curatorial Endowment Fund Conservation Fund Fund Louise R. and John F. Reynders Fund Thomas Hovey Gage Fund The Higgins Curator of Arms and Armor Romanoff Education and Library Fund Thomas Hovey Gage Memorial Fund and Medieval Art Endowment Fund Marion Olch Ruhman Education Fund Austin S. Garver Fund Hoche-Scofield Foundation William S. Sargent Fund Sarah C. Garver Fund Christian A. Johnson Discovery Fund Norman and Dorothy Sharfman Education Edward F. Goggin Fund Christian A. Johnson Foundation Fund Nehemias Gorin Foundation Fund Exhibition Fund Helen Sagoff Slosberg Fund Greater Worcester Community Foundation Christian A. Johnson Resource Center Ethel M. Smith Education Fund Booth Family Fund for Education and Fund Spear Fund for Public Programs Outreach Frances A. Kinnicutt Fund Stoddard Acquisition Fund Jeppson Memorial Fund Philip Klausmeyer Conservation Fund Stoddard Charitable Trust Directors Fund Marvin Richmond Fund Joseph and Shirley Krosoczka Memorial Stoddard Associate Curator of Prints, Chapin Riley Fund Youth Scholarship Fund Drawings, and Photographs Endowment Helen M. and Thomas B. Stinson Fund Macomber Conservation Fund Fund Nathan and Barbara Greenberg Discovery Jean and Myles McDonough Director Stoddard Discovery Fund Fund Endowment Fund St. Wulstan Society Fund Nathan and Barbara Greenberg Education Andrew W. Mellon Foundation Sudbury Foundation Scholarship Fund Fund Conservation Fund Alice Eliza Waite Memorial Fund Amelia and Robert H. Haley Memorial Don and Mary Melville Contemporary Art Miriam Washburn Trust Fund Lecture Fund Fund Karl B. A. Wass/Lundquist Family Charles A. Hamilton Fund Michie Family Curatorial Fund Scholarship Fund Heald Curatorial Fund John M. Nelson Fund James A. Welu Curator of European Art Paine Charitable Trust Edith Florence Hendricks Scholarship The Worcester Museum is grateful to our corporate sponsors for understanding Fund Fund ElizaArt S. Paine Fund A. Wheelock Fund Herron-Dresser Publications Fund the value ofBernard and Louise B.exhibitions, Palitz Fund projects,Jerome makingG.the Museum’s and programs possible. Mary Louise Wilding-White Fund Hall and Kate Peterson Fund Chester D. Heywood Scholarship Fund Worcester Art Society Mary E. and Irene L. Piper Scholarship Hiatt FAME Fund Fund Jacob Hiatt Scholarship Fund
SALUTE TO SPONSORS
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 MarleenKilcoyne@worcesterart.org.
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WORCESTER ART M U SEU M fifty-five salisbury street worcester, massachusetts 01 6 0 9 WORCESTERART. ORG
GALLERY HOURS Wednesday – Sunday, 10am-4pm 3rd Thursday 10am-8pm Closed Mondays, Tuesdays, and Holidays THE MUSEUM CAFÉ 508.793.4357 Wednesday-Saturday 11am-3pm
THE MUSEUM SHOP 508.793.4355 Open during gallery hours
ADMISSION Members: Free / Adults: $18 Seniors and Students: $14 Youth 4-17: $8 / Children under 4: Free First Sundays 10am-4pm: Free (The first Sunday of each month.) Sponsored in part by Saint-Gobain EBT, WIC, ConnectorCare cardholders: Free
SOCIAL & CORPORATE EVENTS RENTAL 508.793.4327 email@example.com
LIBRARY 508.793.4382 firstname.lastname@example.org Wednesday–Friday 12pm-4pm, Saturday 10am-4pm, and by appointment
CLASSES Higgins Education Wing email@example.com Registration: 508.793.4333
GROUP TOURS 508.793.4338 JanEwick@worcesterart.org
MEMBERSHIP 508.793.4300 firstname.lastname@example.org
SALISBURY SOCIETY & BENEFACTOR MEMBERSHIP / ANNUAL FUND 508.793.4325 NancyJeppson@worcesterart.org
BUSINESS PARTNERS / SPONSORSHIPS INSTITUTIONAL MEMBERS / ACCESS ADS 508.793.4323 MarleenKilcoyne@worcesterart.org GUEST SERVICES 508.793.4362 email@example.com
ACCESSIBILITY For barrier-free access to the Museum, please park in the Tuckerman Street lot and enter via the Stoddard Garden Court or park in the Salisbury Street lot and enter via the access bridge. The Garden entrance is open during Museum hours and while classes are in session. The Salisbury Street access bridge is open during Museum hours only. Wheelchairs and walkers are available on a first-come, first-serve basis for loan. Please request upon arrival. p 508.799.4406 / f 508.798.5646
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