access / Worcester Art Museum / Winter-Spring 2016

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access wORCESTER ART MUSEUM magazine winter/spring




From the Director


Cyanotypes: Photography’s Blue Period


Flora in Winter


Hassan Hajjaj: My Rock Stars


Jeppson Idea Lab


New curatorial appointments


Meow: a cat-inspired exhibition


New life for The Last Judgment


Tours, programs, etc.


Education spotlight


The road to WAM’s new access bridge


Spring Master Series programs


Save the Date: La Grande Fête


Philanthropy spotlight: Jean McDonough



Cover: (detail) Flemish, The Last Judgment, tapestry, about 1500, wool and silk tapestry, Museum Purchase, 1935.2 Inside front cover: During the Global Art and Music Community Day on November 14, 2015, families helped to create an art installation in the shape of a giant sitar, with The Revolving Museum, a nomadic cultural organization.

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From the Director Museums connect a variety of audiences with their collections. For WAM that includes residents of Worcester and the broader region, as well as scholars and art lovers from afar. Visitors cross our threshold for many reasons: to spend time with friends or family members; view a specific work of art or exhibition; take an art class; visit with a school group; or attend a wedding or business function. Sometimes, people come to WAM because they just need a place to go. As a civic museum, we want to be a home to everyone, to give a sense of place and belonging to all.

To better understand our visitors’ needs and expectations, we conduct surveys. Over the course of last summer alone, we collected responses from 1,000 visitors. We also want to know (and this is more difficult) how we can be more welcoming to those who have not yet found their way to this museum. Attracting more diverse audiences is a priority, as we would like our visitors not only to come in greater numbers but also to reflect the demographics of our region. In last year’s exhibition, Samurai!, and the current, Hassan Hajjaj: My Rock Stars, we have seen that this is possible. For WAM to be part of the “social glue” that holds a community together, we have to continue on that path and do more.

Creating the compelling and engaging exhibitions that are the Museum’s backbone requires a full curatorial staff. In 2015, we were able to appoint two new curators, as well as two curatorial fellows, who joined the rest of the staff in building further momentum and reaching new audiences. Progress also can be seen on other fronts. We recently opened our Salisbury Access Bridge, a spectacular work of architecture that makes the Museum more accessible to all. In addition, WAM received an unprecedented $4 million commitment from the Myles and C. Jean McDonough Foundation to endow the director’s position. This gift will strengthen our financial position, as it frees up unrestricted funds for exhibitions and programs—and further growth in audience building.

Finally, at the annual meeting in November, we celebrated new leadership on our board of trustees. Joseph J. Bafaro, Jr., who has served on the board as Treasurer for seven years, was elected president, and Sarah G. Berry, James C. Donnelly, Jr., Mark W. Fuller, and Malcolm A. Rogers were elected as new trustees. Cliff Shorer, former president of the board, and Marie Angelini, former chair of the Governance Committee, rotated off the board after many years of faithful service.

With new leadership in place, a board-approved Long Range Plan—which charts our course to 2020—and a committed staff, we are poised for a giant leap towards a new future for WAM. Thank you all for your support in making it happen!

Matthias Waschek The C. Jean and Myles McDonough Director


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Board of Trustees 2016

Joseph J. Bafaro, Jr., President Lisa Kirby Gibbs, Vice President Phyllis Pollack, Vice President John Savickas, Vice President James E. Collins., Treasurer Herbert S. Alexander Sarah G. Berry Karin I. Branscombe Catherine M. Colinvaux James C. Donnelly, Jr. Susan M. Foley Mark W. Fuller Gabriele M. Goszcz Abraham W. Haddad Rachel Kaminsky William D. Kelleher Patricia S. Lotuff Lisa H. McDonough Philip R. Morgan Marc S. Plonskier Malcolm A. Rogers Matthias Waschek (ex-officio)

Right: Artist Hassan Hajjaj photographs Indian dancer Doria Salem during the Museum’s Global Art and Music Community Day on November 14, 2015.

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Cyanotypes: Photography’s Blue Period Kristina Wilson, Associate Professor of Art History, Clark University

January 16 – April 24, 2016

In 1904, the Worcester Art Museum staged one of the first exhibitions of photography in a U.S. museum, featuring the works of photographers from across the country, as well as local amateurs. This winter, WAM offers another example of its cutting-edge support of photography with its exhibition Cyanotypes: Photography’s Blue Period. Nancy Burns, Assistant Curator of Prints, Drawings, and Photographs, and I co-curated Cyanotypes, which is the first major museum exhibition in the U.S. to examine the 150-year history of this distinctive, blue-tinted photographic process. It not only resurrects the history of a largely overlooked technique, but also establishes a chronology of key figures and highlights some of the expressive qualities of these insistently blue works. The exhibition features one of the earliest examples of a cyanotype, a photogram of a honey locust leaf made by the British botanist Anna Atkins in 1854. It also includes a variety of cyanotypes taken in and around Worcester in the late nineteenth century (some of which might have been part of that original 1904 exhibition). And, it shows how artists working in the late twentieth century and in the contemporary moment have adopted this historical process to create incredibly diverse, expressive works that speak to issues in today’s world.

Cyanotypes: in and out of focus

Almost immediately after the cyanotype process was invented in 1842 by British scientist Sir John Herschel, Anna Atkins began exploring the medium over several decades in a series of prints to accompany her studies of British algae and British and American ferns. From the 1870s through World War I, cyanotypes became popular among amateur photographers because it was a quick and easy way to produce a photographic image. One simply had to procure readily available chemical solutions of iron and salt, mix them together, and brush them onto absorbent paper. Once the paper had dried, it was ready to be exposed in the sunlight. Since cyanotypes did not require a darkroom, they were frequently made by those new to photography. However, even established artists, such as F. Holland Day, Paul B. Haviland, and Arthur Wesley Dow—all represented in the exhibition—were captivated by the possibilities of printing entirely in blue and created cyanotypes with subtle variations in tonality that resonate poetically.

The cyanotype largely disappeared after World War I, persisting only as an inexpensive copying process in architecture and engineering (where it was commonly known as a “blueprint”). Relegated to a forgotten corner of photography history, cyanotypes are not even mentioned in most historical accounts of the medium. The process was resurrected, first in the 1950s, by Robert Rauschenberg and Susan Weil, and again in the 1970s by photographers attracted to its capacity for abstraction and to the idea of making photographs in the sun. More recently, a diverse group of contemporary artists, including Christian Marclay and Meghann

Riepenhoff, have explored the expressive potential of the cyanotype process. These include printing on different materials, experimenting with variations on the blue tint to comment on how racial color is depicted in our culture, and working with photograms and abstraction to create meditative pieces of subtle beauty. With its focus on the singular process and artistic range of the cyanotype, this exhibition offers a major contribution to the history of photography.

Empowering students through collaboration

Cyanotypes: Photography’s Blue Period is a cutting-edge exhibition not only in its scholarship, but also in the model it offers for collaboration and education among Worcester institutions. Co-curators Nancy Burns and Kristina Wilson wanted to teach college students how to put together a museum exhibition. Together they developed and, in the fall of 2015, taught a seminar for upper-level Clark University art history students, focusing on cyanotypes. Each student was assigned an individual work of art in the exhibition to study. Through extensive research, as well as conversations with experts across the country, they learned about the cyanotype process and the objects in the show. Each student also wrote a short essay that will be published in the Cyanotypes catalog (available February 15).

The Clark students also were instrumental in developing the exhibition. They met with many different departments at the Museum to learn how an exhibition is designed, installed, and shared with the community. They also wrote object labels and blogged about their experience on social media. “By participating in this ground-breaking project, these students have helped to do nothing less than write a history of the cyanotype, one of photography’s most over-looked processes,” says Professor Wilson. “That’s an experience they will never forget.”

Left: Annie Lopez, Medical Conditions, 2013, cyanotype printed on tamale wrapping paper, Courtesy of the Artist, © Annie Lopez

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Cyanotypes: Photography’s Blue Period Opening Reception Thursday, February 18, 2016 6pm

Kristina Wilson, Nancy Burns, and Hannah Jaffe

Cyanotypes: Photography’s Blue Period is sponsored in part by Skinner Auctioneers and Clark University.

Reflections on Cyanotypes Hannah Jaffe, Clark University, Class of 2016

Hannah Jaffe, Clark University Class of 2016, was a Clark LEEP (Liberal Education and Effective Practice) Fellow at WAM during the summer of 2015. She was also one of 11 students who, in the fall of 2015, participated in a special Cyanotypes seminar, taught by Kristina Wilson, Associate Professor of Art History at Clark, and Nancy Burns, Assistant Curator of Prints, Drawings and Photographs. We asked Hannah to reflect on her experience as part of the team that produced the exhibition, Cyanotypes: Photography’s Blue Period, and the accompanying catalog.

This past summer, I had my first glimpse into the world of exhibition planning and curatorial work. In the planning of an exhibition, everything is thought out, from the frames used to the color of the walls. My specific work was researching the artists who will be featured in Cyanotypes, in addition to creating a scaled-to-size maquette, or small model, of the show. To create this maquette, I scaled photographs of all of the pieces to be displayed, so that they would fit into a miniature foam-board-representation of the exhibition; this work was critical for the planning and laying out process. I also had the opportunity to visit the studios of two photographers in the Boston area, Jesseca Ferguson and Laura Blacklow. While in Ferguson’s studio, I was able to witness the process of creating a cyanotype for the first time. It was so incredible to be able to contextualize cyanotypes through seeing actual contemporary artists at work.

In the Cyanotypes seminar at Clark University, I, along with ten other students, have been devoted to conducting research for the exhibition catalog. As we each worked independently to uncover information about our specific artists, we also unearthed the ways in which all of the works interact with one another. Throughout this course,


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we have become passionate about our respective artists, this exhibition, and, in the general sense, cyanotypes. Because there is still a great deal left to be uncovered about cyanotypes, we feel that the work we are doing is exciting, challenging, and daunting. We now see value in the color blue in a way that we never have before, and recognize the lofty, ethereal quality of this color and what it does for a photograph. Exhibition catalogs

The following publications are available for purchase in the Museum Shop. For more information, please call 508.793.4355.

Frederick Coulson: Blueprints of a Golden Age By James A. Welu, director emeritus of the Worcester Art Museum. This beautiful book showcases the remarkable cyanotypes of Worcester-based photographer Frederick Coulson, who had close ties to WAM founder Stephen Salisbury III. $24.95

Cyanotypes: Photography’s Blue Period Edited by Nancy Burns, Assistant Curator of Prints, Drawings and Photographs, Worcester Art Museum, and Kristina Wilson, Associate Professor of Art History, Clark University. $19.95

The exhibition catalog features scholarly essays on the history and conservation of the cyanotype by Nancy Burns, Kristina Wilson, and WAM paper conservator Eliza Spaulding. It also includes focused essays on twelve works of art from the exhibition, written by students in the Clark University seminar. Sponsored in part by:

Right: Frederick K. Coulson, Untitled (Workman with Book), May 31, 1894, cyanotype on cream wove paper, Eliza S. Paine Fund, 2010.270.49

Flora Winter in

January 28 – 31, 2016

The Worcester Art Museum’s annual floral extravaganza includes captivating and imaginative interpretations of artworks created by skilled arrangers from across the region, displayed in galleries throughout the Museum. 2016 Flora in Winter Chairs: Kim Cutler, Kathy Michie, and Sarah Ribeiro


Members: Free during exhibition hours Members enjoy free admission for all four days except for Flora Opening Party. Nonmembers: Adults $20, youth $6 during exhibition hours


Museum & Shop Thursday, January 28: 11am-5pm; The Museum and Shop reopen from 5:30-8pm for Flora Opening Party Friday, January 29: 11am-8pm Saturday, January 30: 10am-8pm Sunday, January 31: 11am-5pm The Museum Café Thursday, January 28: 11am-3pm Friday, January 29: 11am-3pm Saturday, January 30: 11am-3pm Sunday, January 31: 11am-3pm For questions, please contact the Café Manager at 508.793.4358 Parking Valet parking will be available throughout Flora in Winter at the Salisbury Street entrance for a fee of $5 per car.

Public docent-led tours Free with Museum admission. Visit for schedule. Arrange for a private tour for groups of 10 or more by calling 508.793.4338. Sponsored by:


January 28

Flora Opening Party 5:30-8pm Reserve early by January 19 for discount: $25 WAM Members; $45 nonmembers; $25 students After January 19 or at the door: $30 WAM Members; $50 nonmembers; $30 students Member youth $4; nonmember youth $6 This year's Opening Night Party is not to be missed, with hors d'oeuvres, live music, and a cash bar. Make sure to dress in our theme: winter white and Ice Blue. To buy tickets: Call 1-800-838-3006, or buy online: FRIDAY

January 29

Flora Rewind, Flora Live Interpretation in the Gallery (Members Only) 9:30-10am Conference Room, 10-11am European galleries Members only event; $35. Limited to 30 people only! This NEW special event taps the expertise of two Flora chairs, Kim Cutler and Kathy Michie. Some insider secrets may be revealed! To buy tickets: Call 1-800-838-3006, or buy online:

Interpretive Challenge Class Demonstration: The Judges Challenge* 3:30-5pm Lancaster Lobby Free with Museum admission, no RSVP required. See how three different experienced floral designers create flower arrangements from scratch inspired by the Samurai Murals in the Lancaster Lobby. The arrangements will be raffled off Sunday, January 31. SATURDAY

January 30

Origami Flower Scavenger Hunt* 11am-1pm and 1:30-3:30pm Repeats Sunday, January 31 Throughout Museum Galleries Free with Museum admission, no RSVP required. Join Museum educators and docents in an interactive drop-in, origami-making scavenger hunt throughout the Museum. Leave with a bouquet of three handmade flowers!

Floral Cyanotype Artist Demonstration, Lecture, Lunch, and Tour 10:30am-1pm Higgins Education Wing, Studio 100 Members $30, Nonmembers $40, Students $10 (fee includes Museum admission and lunch.) Following in the footsteps of 19thcentury botanist Anna Atkins, artist Jesseca Ferguson demonstrates the cyanotype process using plant materials. A buffet-style lunch and a guided tour of Cyanotypes: Photography's Blue Period follow. To buy tickets: Call 1.800.838.3006, or buy online:

Fresh Ideas with Fresh Flowers, Floral Demonstration, Lunch, and Tour 10:30am-1:30pm Members $30, Nonmembers $40, Students $10 (fee includes Museum admission and lunch). Join National Garden Club Master Judges Thelma Shoneman and Maureen Christmas as they explore the world of floral design. The demonstration will present exciting combinations of plant materials and new design techniques. The stunning results will be raffled off to the audience. Immediately following will be a buffetstyle lunch and a special docent-led tour of Flora in Winter!


January 31

Family Activity: Floral Sun Prints* 10:30am-12:30pm Higgins Education Wing Free with Museum admission Use Sun Print paper to create your own work of art with real plant material, inspired by the exhibition Cyanotypes: Photography’s Blue Period. Space is limited and first-come, first-served. Lecture: Jim welu, Tulip Mania* 1pm Conference Room Free with Museum admission Join Jim Welu, director emeritus, as he chronicles tulip mania, the 17th-century Dutch phenomena over tulip bulbs.

* Open to the public, reservations not required.

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Hassan Hajjaj: My Rock Stars

Through March 6, 2016


here is truth to the common wisdom that an artist inspired is an artist on fire. Inspiration can indeed transform into the creative energy that enables an artist’s work.

For the accomplished and versatile artist Hassan Hajjaj, something special happens to this hopeful equation. In his exhibition, Hassan Hajjaj: My Rock Stars, the muses are the art. The subjects of his portrait-photographs and the video that features nine separate performances are musicians he has admired, derived inspiration from, and befriended over the years.

“Having all these friends around me when I was growing up who are so amazing and so talented, I wanted to find a way to show their talent,” says Hajjaj. “These are not people you would necessarily know because they are not mainstream.”

“Artist Hassan Hajjaj, born in Morocco and now based mainly in the U.K., has brought the best of both his worlds to Worcester Art Museum.” —Nancy Sheehan, Telegram & Gazette

He began work on this project in 1998, and he’s still contributing to it. The musicians we see in My Rock Stars are selected from a much larger body of work that includes stylists, photographers, designers, and more.

Hajjaj is known for a bold energy and powerful, colorful imagery. The New York Times wrote that he is a “master of several design genres,” that include portraiture, installation, fashion, and interior design, including furniture. Born in Morocco in 1961, he relocated to London in his teens. There, his experiences, his interests, and his connections broadened and enriched his work. His newer art — derived especially from his artistic life in London — synthesizes his design genres into what the Times calls “dazzling photoportraits that are dramatic transcultural documents.”

To make a photograph for this collection of work, for instance, he begins with the musician and an open mind.


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“I design most of the clothing that they wear, as much as 80 percent of it.” He uses lots of textiles—rugs and fabrics—in his photo-portraits. “Once I know what someone’s wearing, I can work on the background. And that’s how it begins to come together, by starting with the clothing.” Finding ways to express the musician-muse-inspiration is anything but preconceived. Hajjaj invites variables and welcomes surprise to the table. “I shoot outside, (using) all natural light and making use of whatever the weather brings. I really like shooting in the streets. All these elements coming together are exciting,” he explains. In so doing, Hajjaj moves the creative process from a strictly cerebral exercise to something more dependent on the moment. “My work is, in a way, a documentation of the people, place, and time that helps me capture that moment in time. For me, there are all these elements and all these depths.”

While the backdrop is always the stage for Hajjaj, it is especially true in My Rock Stars because the musicians are comfortable there. “I tell them, ‘Dress up like a rock star for me.’” One of the musicians featured in the exhibition, Marques Toliver, traveled to the Worcester Art Museum to perform at the Community Day on November 14. His music inspired the audience much like he inspired Hajjaj. “Expressive, innovative musician!” one guest remarked.

How does Hajjaj imagine others might appreciate his work? “I want to bring people into a different world,” he says. “To show them that all talented people don’t go commercial. I want them to experience something new. To be entertained. In the salon setting at WAM, people can sit down and watch the video. I hope they see what I see in the people I’ve photographed. That they see, as I do, people who really believe in what they do. True artists.”

Worcester is a long way from London, where many of these musicians live and work. “This is always an exciting moment when your art takes you on a journey,” says Hajjaj. “But I’m really lucky because I have my friends hanging around on the walls.” Sponsored by:

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Right: Hassan Hajjaj, Helen, the Venus Bushfire, 2011, Metallic lambda print on 3mm white dibond, Courtesy of the artist, the Newark Museum, and Taymour Grahne Gallery, New York; © Hassan Hajjaj; Above: Gallery view of Hassan Hajjaj: My Rock Stars at WAM Hassan Hajjaj: My Rock Stars was created by the Newark Museum

Jeppson Idea Lab

Olmec Incised Standing Figure Through April 3, 2016


his winter’s Jeppson Idea Lab presentation centers on a Pre-Columbian stone figurine that stands just over five inches tall. Although small in stature, the object reveals much about the Olmec, Mesoamerica's earliest flourishing culture, including its ideals of spiritual power. Using interactive iPads, the Jeppson Idea Lab shows how John Garton, associate professor of art history at Clark University and guest curator for this exhibition, and the Museum’s conservation department unraveled the mysteries of the figure’s shape, pose, and surface scarification. We asked Katrina Stacy, WAM’s associate curator of education, who worked with Professor Garton on the project and accompanying Master Series program, to interview him for access magazine. KS: what key moment began your interest in all things Pre-Columbian? what is special about worcester’s Pre-Columbian collection?

JG: My interest grew while finishing my Ph.D. in New York, but encountering the Worcester Art Museum’s collection on the fourth floor also was a pivotal moment. I could envision Clark University students researching the objects and learning about societies from ancient Mexico to Peru. WAM began collecting as early as 1913, well before most national art museums considered artifacts of the Americas worthy of inclusion. KS: People may be surprised when they see what a tiny object this is. why was the Olmec Incised Standing Figure chosen to be the item of such scrutiny in the Jeppson Idea Lab? JG: At only about 5 inches tall, this figure is very small, but it is also one of the oldest in the PreColumbian collection. As it happens, this well-crafted ambassador from 2,800 years ago has much to tell us about Olmec religion and beauty.

KS: How can Olmec religion and culture inform us about this object’s symbolic elements? what was important to the ancient Olmec?

JG: The Olmec were the first highly organized Mexican civilization, with cities whose populations numbered in the tens of thousands. Their city at La Venta in the modern-day state of Tabasco had a sacred precinct with colossal stone statuary and a large earthen pyramid, feats of design and engineering that still impress us today. Artisans made sacred, beautiful objects that were buried in tombs for personal commemoration and to appease the

Katrina Stacy, associate curator of education, and John Garton, associate professor of art history at Clark University

gods; Worcester Art Museum’s Incised Standing Figure was one of these from the La Venta area. Olmec religion involved several deities. For example, jaguar gods were thought to bring rain, various gods were connected with the raising of maize (corn), and there were gods of earthquakes and lightning. One of the great discoveries at the center of this exhibition is that Worcester’s figure is a rare portrayal of an Olmec Star God. KS: what was uncovered in your research of the object?

JG: Working with Professor Karl Taube at the University of California, Riverside, we have matched the pattern of incisions around the figure’s mouth to the Olmec star sign, probably representing the planet Venus, commonly known as the “morning star” for its prominence in the sky a few hours before sunrise (and also a few hours following sundown). Only a handful of depictions of this Olmec god’s sign survive, and Worcester has the only known statuette with the sign incised on the figure’s mouth, suggesting the figure is the god in human form. A painted pottery fragment shows the Olmec sign emblazoned on the god’s mouth and several later Mesoamerican codices show similar signs. In those later, painted manuscripts, the rays of the morning star could inflict great damage on particular peoples, crops, and water levels. So, although the Worcester statue is tiny, he held cosmic importance to the Olmec. The Jeppson Idea Lab allows us to explore the artifact’s meaning. Above: Olmec, Mexico, Incised Standing Figure, 800 BCE, dark green stone, Museum Purchase, 1958.32


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New Curatorial Appointments We are delighted to announce the following new curatorial team members, who recently joined the Worcester Art Museum.

Justin Brown, the Luce Curatorial Assistant in American Art

In August we welcomed Justin Brown as the new Luce Curatorial Assistant in American Art. Justin joined the WAM curatorial team after recently earning a Master’s degree in Art History, with a concentration on the visual culture of the Atlantic World in the Early Modern Period, from the University of Delaware. Prior to that, he completed his undergraduate degree in Spanish and Art History from the University of Rhode Island in 2012.

Justin’s curatorial experience includes work at the University of Delaware, in the Education Department at the Rhode Island School of Design (RISD) Museum, and on special research projects at the W.E.B. Du Bois Research Institute at Harvard University. Justin brings a strong interest in critical crosscultural histories, particularly of ethnic and religious interactions and exchanges in the Western World, which stems from his own rich AfroLatino cultural background.

At WAM he works with the Assistant Curator of American Art, focusing on the reinstallation and reinterpretation of the American Decorative Arts Gallery.

Karysa Norris, Justin Brown, and Vivian Li

Vivian Li, Assistant Curator of Asian Art

Hailing from Houston, Vivian Li, a specialist in late imperial, modern, and contemporary Chinese art, joined WAM as Assistant Curator of Asian Art on September 21. A recent Ph.D. recipient from the University of Michigan, Vivian’s doctoral research in Beijing and Sichuan was supported by a Fulbright award and by the Freer and Sackler Galleries and the Getty Research Institute.

Vivian’s curatorial experience includes internships at the Dallas Museum of Art and the Guggenheim Museum, and work as curatorial assistant and, later, adjunct assistant curator of Asian art at the Museum of Fine Arts, Houston (MFAH), where she contributed to the reinstallation of its Asian art galleries. In addition, she helped organize three Korean art exhibitions at the MFAH and two shows of Islamic calligraphy in partnership with the Harvard Art Museums.

At WAM, Vivian plans to highlight the strengths of the Asian art collection, develop a collections plan for acquisitions, renovate and reinstall the Asian galleries, and develop a diverse exhibition program of Asian art from antiquity to contemporary times.

Karysa Norris, Curatorial Assistant

Originally from Hawai’i, Karysa Norris came to WAM in June from the Hood Museum of Art at Dartmouth College, where for three years she served as a curatorial assistant, managing deaccessions and assisting registrars with collections management. Prior to that she served as a curatorial intern at the Hood.

Karysa received her B.A. in Art History, with a concentration in Medieval and Renaissance Studies, from Dartmouth in 2012. She also attended the 2011 Summer Institute in Art Museum Studies at the Smith College Museum of Art, where she was awarded the Brown SIAMS Fellowship to work in the Cunningham Center for the Study of Prints, Drawings, and Photographs.

In her role as curatorial assistant at WAM, Karysa works closely with the Director of Curatorial Affairs and collaborates with curators, registrars, conservators, and the exhibition team to coordinate a busy exhibition and curatorial schedule.

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Meow: A cat-inspired exhibition May 21 – September 4, 2016


AM takes the theme of cats by the tail with this one-of-a-kind, multi-faceted project. Meow includes an exhibition exploring the feline as an iconic element of art, a self-guided “cat walk” through the Museum, an interactive installation featuring live cats, a community art show, a naughty kitty take-over of Helmutt’s House, a dog show curated by Helmutt, and special art classes. From serious art to mischievous fun, Meow promises to tickle the whiskers of museum and cat-lovers alike! The Meow Opening Party Friday, May 20 7-8pm, Members only 8-11pm, general public Members $10, Nonmembers $20 Join other cat and art enthusiasts at this one-of-a-kind celebration! Enjoy music, costumed entertainers, and a cash bar.

The Captivating Cat: Felines and the Artist’s Gaze May 21 – September 4, 2016 Prints, Drawings, and Photographs Gallery Explore the feline as an iconic artistic muse in this exhibition of prints, drawings, paintings, and sculptures from WAM’s permanent collection. Guest curated by Ruthie Dibble, Ph.D. candidate at Yale University, the exhibition features over 70 works, organized around ten themes, which put the spotlight on cats as art from Ancient Egypt to the modern day. Included are works by Will Barnet, Albrecht Dürer, Orovida Camille Pissarro, and Theophile Alexander Steinlein.

Cat walk May 21 – September 4, 2016 Throughout the Museum Take a self-guided Cat Walk through WAM’s galleries to discover other amazing cats in art. Highlights include tigers in The Hunt Mosaic, the painting, Woman with a Cat by Gustave Courbet, and an Egyptian Cat sculpture. Community Cat Show May 21 – July 24, 2016 Higgins Education Wing

Be part of Meow by submitting your own cat art—selfmade, commissioned, or purchased—for our community cat art exhibition. A suggested submission fee of $10 will help support the Worcester Animal Rescue League (WARL) and the Museum. Art Show celebration event: Sunday, May 22. Visit for details.


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YOSHIDA Toshi, posthumous printing by KOMATSU Heihachi, Black Panther, 1987, woodblock print; ink and color on paper, Gift from the Judith and Paul A. Falcigno Collection, 2010.129. © Estate of Yoshida Toshi

Cats-in-Residence Program July 11 – September 4, 2016 Studio 206, Higgins Education Wing Interact with live cats in this unorthodox human/cat contemporary art installation, previously presented in Los Angeles, Hartford, and New York City. Guest-curated by artist and critic Rhonda Lieberman, this exhibition is presented in partnership with the Worcester Animal Rescue League (WARL). Cats in the show will be available for adoption.

Rob Reger’s Emily the Strange and her Four Bad Kitties February 10 – September 25, 2016 Helmutt’s House View original paintings of beloved character Emily the Strange by artist/illustrator Rob Reger. Get to know her four cats: Mystery, Miles, NeeChee, and Sabbath.

Helmutt’s Dog Show May 21 – September 4, 2016 Take a break from WAM’s cat-mania for a canine art fix, specially curated by WAM mascot Helmutt, and including one of his favorite works of art, Head of a Dog by Albert Handerson Thayer. Cat Craft Classes Spring and Summer 2016 Higgins Education Wing Get paws-on with a variety of cat-related studio art classes and weekend workshops. Join us for Pet Portraits, Create Your Own Cat Toy, Curator Talks, and much more! Media partners:

Right: Gustave Courbet, Woman with a Cat, 1864, oil on canvas, Museum Purchase, 1940.300

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fter 25 years in dark storage, the superlative Flemish tapestry, the Last Judgment, will soon be back on view at its home in the Worcester Art Museum — sumptuously restored and, according to WAM’s Chief Conservator Rita Albertson, stunningly beautiful. “I was exhilarated when I saw how it looked after the restoration,” Albertson says. She traveled to Belgium three times to observe and monitor the work conducted by leaders in Flemish tapestry renovation, De Wit Royal Manufacturers of Tapestry. Albertson brought the tapestry to De Wit in October 2013 and took it home to WAM in October 2015.

Woven on a single loom in 1500 in Brussels, this 25-foot, 6inch-wide by 12-foot-high tapestry is a masterwork. Visitors will be able to approach and view the tapestry in the Contemporary Gallery from April 23 to September 18. It is the sole work of art in a thrilling new exhibition, which includes a catalog and video that details the restoration.

by an American museum. They recognized this as a very important piece. They wanted it to be done in Belgium and done properly. De Wit is state-of-the-art and internationally known.”

De Wit used a unique technique to clean the tapestry. Suction held the heavy wool tapestry in place while it was cleaned. As water poured over and through the weave, it was collected and analyzed for pH, conductivity, and residue. “The whole process took a day, and the tapestry was clean, dry, and flat at the end,” says Albertson. “Then they began the aesthetic repairs, working with wool and silk that had been dyed to match. They can match the colors beautifully.” A new lining was also installed as well as a new hanging system. “The fibers are now rejuvenated. Because we have gotten rid of degradation products, the tapestry is now strong.”

The materials used to make this tapestry were extraordinary, says Albertson, which accounts for the lack of fading. She points to the eyes, which are in very good condition. Because of this, the faces are still intact and expressive. Sometimes the eyes rot, leaving a less evocative work of art. “The dyes used in our version were the best. Ours has a lot of red, which was more expensive than other colors. They used newly discovered cochineal (a red dye) from South America.” Blues, both pale and sapphire, emerald greens and golds in jewelry contrast brilliantly against the palette of reds that may include as many as thirty different tones. The 104 people shown in this tapestry are slightly smaller than life size because, says Albertson, seeing larger than life-size people makes us uncomfortable.

New Life for The Last Judgment Purchased by the Museum in 1935, The Last Judgment hung on the long north wall in the Renaissance Court for over 50 years. In 1991, it was removed and put into storage until it could be conserved. Albertson doubts whether the tapestry had ever been comprehensively restored. Despite its long period on display, however, the soiled tapestry survived the years intact, with minimal fading.

The Last Judgment was created at the pinnacle of Flemish weaving. It is the last panel in a pictorial set representing the allegorical history of Christianity, and it illustrates in lavish and engrossing detail a dramatic conflict between virtues and vices. Angels, a devil depicted as a monster, and the saved and sinners are engaged in a struggle for redemption with Christ at the center offering benediction.

Several of these allegorical sets were woven, but only three Last Judgment panels remain — in Paris, Rome, and Worcester. Considered the first and finest of the three, WAM’s tapestry belonged to Manuel I, a patron of the arts and king of Portugal from 1495 to 1521, and was probably displayed only for special occasions.

The remarkable story of the tapestry’s first thorough cleaning is another key indicator of its significance. “The funding for this restoration comes from The King Baudouin Foundation in Brussels,” says Albertson. “It’s the very first time they have funded the restoration of a tapestry owned

After the conservation process was completed, the conservators at De Wit hung the tapestry for Albertson to view. “Throughout the entire restoration, they sent me high-resolution images that were four inches square,” she says. “When I saw the entire thing, I was completely overwhelmed. It was presented to me as if I were King Manuel himself.”

Many esteemed curators and art historians have visited the tapestry, including a curator from the Louvre Museum, and Thomas Campbell, director of the Metropolitan Museum of Art. “Both thought very highly of it,” says Albertson. Soon to be installed, dramatically lit, and accessible to Museum guests, The Last Judgment will once again relay the harrowing story of redemption in minute and impressive detail — perhaps as brilliantly as it did in 1500. Sponsored by:

Left: (detail) The Last Judgment, Museum Purchase, 1935.2

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Tours, programs, etc.

Drop-in Tours

Public tours begin in Lancaster Lobby

Tours of the Month Select Wednesdays and Saturdays, 2pm Get an in-depth look at the Museum’s collection in these special docent-led tours. Free with Museum admission.

American Impressionism: Lighting the Way to the 20th Century January 20 and 23 Explore the beginnings of Impressionism, the influence of the movement on American artists, and the impact of “The Ten” on American schools of art. Social Messages February 17 and 20 Examine a selection of early twentieth-century European works that reveal artists’ commentary on the issues of their time. Botanical Imagery March 16 and 19 Survey botanical imagery, as symbol, decorative element, or realistic depiction of the natural world, with a focus on botanical photograms in the special exhibition, Cyanotypes: Photography’s Blue Period.

Asian Mythology April 20 and 23 Discover Hindu and Buddhist mythology, and the history of these religions as depicted in the Museum’s Asian collection.

Family Tours First Saturdays of the month, 10:30-11am

Explore the Museum galleries with your family on a docent-guided discovery tour. Hear fun facts, stories, and enjoy sharing observations and time together. Tours last approximately 30 minutes. Free.


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Zip Tours Saturdays, noon

Delve into one artist or work of art in these fast-paced 20minute tours. Free with Museum admission. Admission: free for all the first Saturday of each month between 10am-noon. Sunday Tours Sundays at 1-2pm Join one of our talented Museum docents for an overview of the Museum collection. Free with Museum admission. Audio Tours

Available at the Visitor Services Desks at the Lancaster and Salisbury Street entrances, a self-guided audio tour of some of the Museum’s greatest treasures is available for rent (free for Members). Offered in English and Spanish.

Group Tours

Adult Group Tours

Private, docent-led group tours for 10 or more can be arranged by calling 508.793.4338. Adult tour groups pay Museum admission and a $2 service fee per person. Youth/Student Group Tours

All tours meet at the Lancaster Street entrance

WAM special exhibitions and permanent collections can be used to support your curriculum through tours, hands-on workshops, teacher resources, and other events. Guided by trained volunteer docents, tours are tailored to meet your specific needs, goals, and interests. Tours are $5 per student for prearranged school tour groups on either docent-led or self-guided tours.* Chaperones are free. Admission is free for Worcester Public School students and their chaperones. For more information and to book a tour, call 508.793.4338 or visit events/group_tours. *Includes Museum admission

Programs for All Ages

COMMUNITY DAY: STAR wARS DAY Saturday, April 16, 10am-5pm

Start off your spring school vacation with… a blaster! Come dressed as your favorite Star Wars character and join Jedi Knights and Imperial Stormtroopers at WAM for a day of "Force-full" fun! Look for more exciting details about this event in late Winter 2016!

Family Programs

Arms + Armor Demonstrations Saturdays and Sundays, 11:30am

Join us for this fun, interactive program and learn all about different kinds of arms and armor used by knights and warriors, including Roman soldiers, medieval knights, the samurai, and women in battle. Visit our website for weekly schedule. Art Carts: Family Fun Get hands on with a stop at one of our interactive Art Carts, located throughout the WAM galleries. WAM’s Art Carts are filled with fun, informative activities suitable for all ages. Check for the schedule when you visit. Family Tours* First Saturday of the month, 10:30-11am

Explore the Museum galleries with your family on a docent-guided discovery tour. Hear fun facts, stories and enjoy sharing observations and time together. Make Art!* First Saturday of the month, 11-11:30am

Stay after your family tour, or drop-in for this fun intergenerational time in the galleries. Get inspired by our art and try making something uniquely yours. Materials will be provided. Come recover your childlike sense of free spirited play! Small materials fee.

All programs listed are free with Museum admission, unless otherwise noted.

* Admission is free from 10am to 12pm on the first Saturday of each month.

Adult Programs


Let the WAM collection provide inspiration as you create a work of art in the Museum’s galleries. While visiting, take a picture, draw, write, and respond to the works on display with your art. Send a photograph of your work to


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Nude Drawing in the Gallery Thursdays, 2-5pm

Try your hand at drawing a live nude model with the guidance of our expert faculty, among masterworks by Veronese, El Greco, and Rembrandt. Gallery locations change monthly; please check at a Visitor Services Desk. AIA LECTURE: HOw CASTLES wORK Wednesday, April 6, 6pm

Discover a new view about castles in this lecture sponsored by the Archaeological Institute of America (AIA). Traditionally, castles have been seen primarily as military structures, and their development interpreted in terms of attack and defense. More recently, scholars have developed an alternative view, stressing the castle’s social and symbolic role. In this talk, lecturer Matthew Johnson, professor of Anthropology at Northwestern University, will focus neither on defense nor on symbolism, but on how castles work. From this new perspective that focuses on practice and political economy, Dr. Johnson will give examples from his own research on castles in southeast England, particularly Bodiam, to illustrate his points. Free.

HOMESCHOOL wEDNESDAYS NEW! Wednesday, March 23, 2016 Wednesday, May 11, 2016

Complement your child’s home-based learning with our special Homeschool Wednesdays. Choose from the following themes: the Ancient World, Middle Ages and Renaissance, Knights!, Early American, or Museum Highlights. Programs for ages 5 and up include tours and a gallery studio workshop. Cost: 1-12 students $225, 1324 students $245; Knights!: 1-12 students $255, 13-24 students $265. Call or email Jan Ewick at 508.793.4338 or JanEwick@ or Jesse Rives at 508.793.4335 or to schedule your Homeschool Wednesday program today! Please schedule at least three weeks in advance.

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Education spotlight

Arms and armor programs offer new perspectives websites that include historical female characters often will include bios of the women,” explains Sarah. “You find a name, start Googling to see what else is out there, find some artwork, find corroborating historical sources, and start to piece together a narrative.”

Sarah, who worked as an interpreter in the education Dressed as a female samurai warrior Sarah Leveille poses with Neal department at the former Bourbeau, who is dressed as a Viking warrior. Both are Museum Educators associated with the Knights! exhibition. Higgins Armory Museum, is no stranger to its arms and armor collection and rom video games to costumed rethe scarcity of information about the role enactments to Japanese anime, people interact with and explore of women in battle. “Women’s history history in so many ways. For Knights! survives in mythology, oral history, and educators Sarah Leveille and Neal artwork,” she says. “You have to dig Bourbeau, these were all jumping-off points deeper and really look outside of tradifor developing two new arms and armor tional research tools to be able to expand women’s stories.” programs introduced in the fall of 2015.


When creating Onna-Bugeisha: Women of the Samurai, Sarah quickly realized that she’d need to turn to nontraditional sources for information on the female Japanese warrior. There is not a large body of scholarship about women in combat in general, and only one book in English about female warriors in Japanese history. But as a fan of Japanese anime, she knew that many of those animated stories are based in real historical detail. “Stories are shifted to make them entertaining, but if you know what to look for, you can start to sort out fact from fiction,” she says.

Japanese video game websites were among the most useful source materials while researching Onna-Bugeisha. “Game


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A lack of source material was not a problem for Neal Bourbeau as he developed The Viking Age, an arms and armor demonstration that puts the Vikings into a broader historical context. “There are a lot of misperceptions out there about Vikings,” he says, adding that popular entertainment, such as the History Channel drama “Vikings,” doesn’t always help set the record straight.

For starters, there’s “the horned helmet thing.” Vikings didn’t really wear those. It’s an image that likely began with operas of the eighteenth century. “I like to get that out of the way at the beginning,” Neal says, laughing.

Neal was inspired to learn more about the Vikings after working with volunteers from

Hurstwic, a Viking combat training center now in Millbury, while he was working as program and outreach manager at the former Higgins Armory Museum. “The Vikings have a reputation as bloodthirsty killers, but so much of what was written about them was penned by their victims,” he says, and that has to be taken into account. “The problem was that they operated outside of the Anglo-Saxon culture of warfare. They came out of nowhere, they hit and ran, and there was no way to get back at them.”

Neal, who also worked for many years as an interpreter at Old Sturbridge Village, uses a hands-on approach in his work at WAM, where he not only wears the armor and demonstrates the weaponry, but also enlists the audience in practicing tactics, like forming a field wall.

What’s next for Knights! education programs? Neal is interested in transitional periods in history. “That’s where change really happens,” he says. “There’s a bit of Ancient Greek, Roman, even Egyptian armor in the Higgins collection. There’s a lot of potential to connect the armor collection with the Museum’s artwork.” Sarah is excited to continue researching women’s history in other time periods. “I want to find lesser-known figures,” she says, “and continue to read between the lines of published scholarship to expand these women’s stories.”

Join Sarah and Neal on Saturdays and Sundays, 11:30am to 12:30pm for a wide variety of arms and armor demonstrations, including samurai and onna-bugeisha, Vikings, Roman warriors, Medieval soldiers, and much more. Check the event calendar for up-to-date details.

AP Art History: Engaging students in the global art world


ands-on learning at WAM takes on new meaning every Tuesday and Thursday evening during the school year. That’s when the entire Museum becomes a classroom for what may be the nation’s only public high school Advanced Placement Art History (APAH) program held in an art museum. This innovative partnership between WAM and Worcester Public Schools (WPS) allows students from the city’s seven high schools to study art history in the best possible way—in the midst of over 50 centuries of art.

“I have discovered how art history can change our perception of the world around us.” —Vihn Nguyen, South Community High School, 2011

The program, which began in 2010, is co-taught by WPS Visual Arts Educator Timmary Leary and Michael Eressy, world history teacher at Claremont Academy. “The merging of APAH and the Museum allows students to engage with the global art world as active participants,” says Ms. Leary. To augment their classroom instruction, she and Mr. Eressy take students into the galleries to see firsthand the art they are studying. They also provide hands-on opportunities to delve deeper into the creative process and cultural and historical contexts. For example, they “tour the conservation studio, conduct Socratic seminars in the art studios, physically recreate an acropolis in the Museum’s courtyard, write reflective poems in the Egyptian gallery, and chant and draw in the Chapter House,” says Ms. Leary.

This self-portrait inspired by Gustave Caillebott’s 1877 painting, Paris Street: Rainy Weather, was a final project of Andrew J. Coral and Athena K. Parella, who were students at Doherty High School and participants in the AP Art History program in 2011-12.

Removing barriers for students to participate is an important component of the program. Open to any WPS sophomore, junior or senior, the course requires no prerequisites. Bus passes are offered to students without transportation to the Museum, and supplies for art projects are provided. In addition, academic support is available for students who need help with the curriculum or adjusting to the course’s nontraditional schedule. At the end of the year-long survey course, students are expected to take the APAH exam. Some 70% of the WPS students who take the exam receive a score of 3 or above, which allows them to earn advanced placement in college and/or advanced college credit. According to Adam Rozan, WAM’s director of audience engagement, partnering with Worcester Public Schools on the APAH program dovetails with the Museum’s vision to connect art with individual experiences, joy, and discovery. “I can’t think of a better use for this amazing collection than to open the hearts and minds of students to new worlds and perspectives,” he says. “I am continually impressed by the creativity and insight shown in their work here. We believe programs like this instill an appreciation for art that will last a lifetime.” Each year, the AP Art History students display their final projects in a group art show in the Higgins Education Wing. The theme and title of this year’s exhibit will be “The Last Supper.” Parents, friends, and fellow students are invited to a special opening event on Thursday, June 2 at 5pm, for a final dinner and panel discussion for incoming APAH students. The exhibit will remain on view and open to the public through June 2016. The AP Art History Program at WAM is sponsored in part by grants from the National Endowment for the Arts ART WORKS program and from the Hanover Insurance Group.

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“The bridge invites and guides people into the grand museum, and at the same time bridges historical heritage with contemporary life.” —Kulapat Yantrasast, wHY Architecture

Kulapat Yantrasast and his dog, Billy

The road to WAM’s new access bridge Matthias Waschek, The C. Jean and Myles McDonough Director of the Worcester Art Museum


have known Kulapat Yantrasast from my time at the Pulitzer Arts Foundation in St. Louis. He worked with architect Tadao Ando, who had designed the spectacular Pulitzer building. Although Kulapat had already left Ando's workshop, he continued to be available for whatever questions we had about using the building. We had many questions indeed and got many creative answers. Our relationship continued after I was appointed the director of the Worcester Art Museum in 2011, when wHY architecture— Kulapat’s firm—became an ideal partner to help us think creatively about our future campus. The fact that an architect of his stature agreed to take on our project – with an openended timeline and an equally open financial horizon—is a testament to his dedication and how he embraces a creative, flexible process. For the past two years he has been helping us create a long-range plan that will make our building a more welcoming, accessible, and inviting place for visitors. Since we want the Museum experience to start before entering the building and want art to be everywhere, the stage was set for an emblematic first project: the Salisbury “access bridge,” which officially opened in November 2015. Recently, I asked Kulapat about his experience working on this project.

Left: Samantha Estes, along with her mother, Kim, and grandmother, Anna Louise, all of Hanover, New Hampshire, were among the first to use the new access bridge when it officially opened on November 14, 2015.

Mw: Kulapat, could you tell us how working with wAM looked for you and how the bridge fits into that context?

KY: As creative thinkers, we at wHY strongly believe and have experienced that art and culture truly have the power to anchor, change, and enrich lives. In that view, the WAM is a cultural gold mine, an iconic beacon. The citizens of Worcester are so fortunate that their forefathers and foremothers built and cherished this cultural hub. It is our generation's task to translate this museum’s vibrancy into the 21st century. I am so excited with the potential of WAM as a high performing regional anchor. The bridge is a very important first step to that direction. The initial goal is to provide universal access to everyone, not as a remedy, but as a celebration of diversity and friendship. The bridge invites and guides people into the grand museum, and at the same time bridges historical heritage with contemporary life.

Mw: wHY architecture follows a very creative concept. You are holistic in your thinking. You are a partner in an endeavor that is about creativity, problem solving, and activating. Could you tell us about how your firm works and how this played out at wAM and, more specifically, at the access bridge?

KY: We do not have preconceived design or recycled ideas. We really prefer to listen, engage, and cook up fresh ideas with the museum and the communities. The solution for complex agendas and goals can only be achieved through engagement and dialogue. Success can oftentimes be measured by the simplicity and elegance achieved.

For the access bridge, we were inspired by how the different stakeholders and users defined what this bridge could be. As I said, it is not to be a remedy, but a celebration that is inclusive, open, and respectful. It has been a pleasure working with WAM to make this noble concept a reality.

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T H I R D   T H U R S D AY S

MASTER SERIES hosted by worcester art museum

members council

The Spring MASTER SERIES Exhibitions and Programs Programs hosted by the WAM Members Council MASTER SER IES SPON SOR :


(detail) “Training with the rapier,” from The Art of Combat (Die Kunst des Fechtens), 1600, paper with woodcut illustrations in a recycled parchment binding, The John Woodman Higgins Armory Collection, 2014.583.


he Worcester Art Museum's Master Series offers a new season of highlight lectures, focused on ways to look closely at works by signature artists. Exhibited in different galleries throughout the Museum, these intimate displays allow for contemplation and study of some of the world's most celebrated artists.


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Each mini-exhibition is accompanied by a special Master Series Third Thursday event, hosted by the WAM Members Council, allowing you to learn even more about these signature artists and works. Enjoy an art talk related to one of the featured artists, plus music, cash bar, cheese and crackers — and the company of other art enthusiasts! Free with Museum admission.

Dining Room in the Country by Pierre Bonnard October 14 – June 19, 2016 Program: Thursday, February 18, 6pm

Explore Bonnard’s enigmatic and delightful country scene through this exciting loan from the Minneapolis Institute of Art. Speaker: Matthias Waschek, The C. Jean and Myles McDonough Director, Worcester Art Museum

(detail) © 2015 Artist Rights Society (ARS), New York / ADAGP, Paris

Roman, Helmet for a Gladiator Ongoing Program: Thursday, March 17, 6pm

Both magnificent and menacing, WAM’s gladiatorial helmet invites us to enter the world of the Roman arena with its spectacular combats of men against men and against beasts. Speaker: Donald Kyle, Professor of History, University of Texas at Arlington

Vision, Perception, and Art Program: Thursday, April 21, 6pm

Explore the topic of vision, perception, and art, focusing on objects in WAM's permanent collection, including Paul Signac's pointillist work Golfe Juan. Speaker: Margaret Livingstone, Takeda Professor of Neurobiology, Harvard Medical School

Meyer’s Art of Combat May – September, 2016 Program: May 19, 2016, 6pm

Learn about this rare and important German fencing manual, and explore the fascinating prints it contains to illustrate the Art of Combat.

Speaker: Jeffrey Forgeng, Curator of Arms, Armor, and Medieval Art

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© Ron Haviv

Blood and Honey June 8 – November 6, 2016

Photojournalism gallery in Knights!

Amid the numerous photographs of the conflict in the former Yugoslavia, Ron Haviv’s work stands out as a unique record of the conflict, from its beginnings in 1991 to the hostilities in Macedonia. From the front-line trenches to the refugees behind them, his images capture both the urgency and tragedy of war. Blood and Honey is an enduring testament to the horrors that the Serbs, Croats, Bosnians, and Kosovar Albanians perpetrated against each other as a result of ancient enmities and modern political manipulation.

A Brotherly Match

Tiger Screen by Kano Naonobu, Dragon Screen by Kano Tan’yu May 11 – August 21, 2016

Kano Naonobu (Japanese, 1607-1650), Tiger, 1630–1640, six-panel folding screen; ink on paper, overall 172.7 x 377.8 cm (68 x 148 3/4 in.), Museum purchase, Harriet B. Bancroft Fund and partial gift of Robert H. Simmons, 1987.9


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In the early 17th century the young and talented artist Kano Tan'yu and later his younger brother Kano Naonobu moved to Edo, the capital of the newly established Tokugawa feudal government. Tan’yu and Naonobu became renowned court painters to the shogun. Revealing great talent and connoisseurship of classic Chinese and Japanese ink paintings, Tan’yu depicted the dragon with fluid, confident brushwork, and a great control of ink washes and tones. In contrast, Naonobu’s style is more restrained and quiet. He endowed the tiger with vitality through the play of broad and thin, light and dark, and wet and dry ink strokes enhanced by light ink washes. Compare these exquisite screens side-by-side in the Asian Gallery.

Corporators Ball 2016 Annual Black-tie Gala Fundraiser



oin event Co-Chairs Susan Palatucci and Lisa McDonough for a festive evening inspired by WAM’s superb collection of French art, including Monet’s Water Lilies, and Bonnard’s Dining Room in the Country, on loan from the Minneapolis Institute of Art. Enjoy the cuisine, sights, and sounds of France, in the company of 300 of our region’s most prominent and influential business leaders, art enthusiasts, and philanthropists.

Festivities include red-carpet arrival and champagne welcome, French-themed menu prepared by Pepper’s Fine Catering, finely curated silent and live auctions, and a fabulous post-dinner party, Après-Fête, with dancing and entertainment.

Individual ticket prices start at $250 for the entire evening and $75 for the Après-Fête only. Seating for dinner is limited. Contact Alex Krasowski at 508.793.4438 or AlexKrasowski for early reservation information and corporate sponsorship opportunities.

The Corporators Ball celebrates and supports the Museum’s mission to connect art and community. Proceeds provide vital support for WAM’s operations, public programs, and exhibitions, which engage over 100,000 visitors each year.

No fundraiser is successful without the support of corporate sponsors. WAM is especially grateful for our current sponsors of this event who value our cultural significance in Worcester: AUCTIONEERS AND APPRAISERS OF OBJECTS OF VALUE

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Philanthropy spotlight

Entrepreneurial Spirit and Commitment to the Community: C. Jean McDonough


ew people have impacted the quality of life in Central Massachusetts more than Jean McDonough and her late husband, Myles. In the spirit of past industrialists who made Worcester great, the couple combined entrepreneurship and hard work with a passion to strengthen their community. Not only has FLEXcon, the international company they started in 1956, provided jobs for many area residents, but the McDonoughs’s involvement with and generosity to local cultural organizations also has spanned decades. Last fall their philanthropy set a city record with a sweeping $15.25 million commitment by the Myles and C. Jean McDonough Foundation in support of seven leading cultural institutions in the Worcester area. In addition to the Worcester Art Museum, this unprecedented commitment will be used to support initiatives at the American Antiquarian Society, EcoTarium, The Hanover Theatre for the Performing Arts, Music Worcester, Tower Hill Botanic Garden, and Worcester Historical Museum. The McDonough pledge includes $4 million to endow the director’s position at WAM, the largest to endow a staff position in the Museum’s history. “This marvelous commitment reflects Jean’s lifetime of service to WAM and the special place she has for the Museum in her heart. She has said again and again, it is like a second home for her,” says Matthias Waschek, now the C. Jean and Myles McDonough Director. “It is not an overstatement to say that without Jean’s passion, we would not be where we are today. We owe her and Myles a debt of gratitude for all they have done to strengthen not only WAM, but the entire community.”


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C. Jean and Myles McDonough

Jean’s engagement with the Museum began in 1971 when she became a docent, a role she loved and actively held for many years. Jean moved on to serve as a Trustee for 18 years and now holds the distinction of Trustee Emerita. She and Myles were charter members of the Museum’s Legacy Society since its inception in 1977, and provided generous support for the endowment of the James A. Welu Curator of European Art position; for the construction of the new Conference Room, which is the location for many of WAM’s educational programs; and as faithful Salisbury Society members for 21 years. Reflecting Jean’s love of Pre-Columbian Art, the McDonough Court on the Museum’s fourth floor was named in the couple’s honor. “The contributions of Jean and Myles McDonough have helped lay the groundwork for a bright future for WAM,” says Joseph Bafaro, Jr., president of the board of trustees. “And as role models for the next generation of stakeholders, they have shown how important it is to support the cultural treasures that make Worcester a vibrant and thriving community.”

Left to right: George Hecker, Sarah Ribiero, Kim Cutler, Charlene Nemeth, Anne Schneider, Toni Meltzer

On December 2, 50 Salisbury members were treated to a guided tour of the Dutch show at Boston’s Museum of Fine Arts by Jim Welu, director emeritus. A tour is being planned for the spring to a different venue—stay tuned for details!

Salisbury Society—Exciting New Happenings Through their generous unrestricted support, Salisbury Society members take a leadership role in strengthening the Museum’s core functions and in turn enhance our exhibitions, educational programs and classes, and conservation work. In appreciation of their level of giving, Salisbury members enjoy free admission and member benefits at over 900 museums around the country and are treated to a Salisbury Art series, sneak previews of exhibitions and new acquisitions, an annual gala celebration, and – new this year – a fall and spring trip to tour an exhibition or collection in New England. we thank and acknowledge the generosity of all Salisbury members and welcome the following, who joined the Society between September 1, 2014 and December 10, 2015.

Sharon K. and Richard M. Avis John and Jeri Baker Thomas J. and Lynora S. Bartholomew Raymond J. Boylan, Jr. Vivian Budnik, Ph.D. William R. Bush James E. and Margaret F. Collins Pablo and Paula Collins Mr. and Mrs. David Crowley Herbert Dean and Brenda Verduin-Dean David and Sandy Ekberg Justin and Laine Fletcher Stephen and Elaine Gordon Andrew T. Jay Shubjeet Kaur

Daniel Y. Kim M.D. Albert and Anna LaValley Mary Beth Leonard Ronald and Angela Lombard Mr. and Mrs. David R. McCann Tom and Elizabeth McGregor Susan and Chris Palatucci Donald and Susan Pegg Stuart H. Sadick and James Bryant Linda J. and Robert G. Seega Rick and Glena Sisson Mr. and Mrs. Leif N. Uptegrove Mr. and Mrs. Gary F. Vaillancourt Anthony T. Vaver and Martha P. Heller Ken and Dorothy Woodcock


Thursday, January 28, 2016 Preview and Chairman’s Tour of Flora in Winter 3:30 and 4pm Tours 5-6pm Reception To join the Salisbury Society, please contact Nancy Jeppson at 508.793.4325 or

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Membership My Way

1 2

Select your membership level: Single / $60 — 1 adult / 1 child

Double / $80 — 2 adults / 2 children Triple / $100 — 3 adults / 3 children

Choose your categories:

$20 per category (more than one can be chosen)


Enjoy meeting new people and socializing?

• “Early Access” to a special event

• One 10% off coupon for use at WAM’s Café

• Two guest passes to bring friends, family, or colleagues to the “Early Access” event


• Register for classes 24 hours in advance of the

Introducing a unique twist to our membership packages. While we remain committed to the same annual membership price, we’re offering a new, customized plan for our membership packages that will change the way you interact with the Worcester Art Museum. We’re calling it Membership My Way.

public (call 508.793.4333)

• Additional 10% off WAM class registration when you sign-up for more than one class

• Invitation to the Family Summer Picnic


With Membership My Way, you pick a category that fits your unique needs and customize that membership to focus upon your own personal tastes and preferences. Offering you discounts, alerts, and preferential treatment, Membership My Way provides you with access to the Museum in ways that are meaningful to you—our valued member.

Love an inside scoop?

• An invitation to an Insider’s Tea and Docent Tour

• Reserved seats for Artist Talks ahead of time (call 508.793.4301 to reserve)

• Access to 33 additional Museums

through the Museum Alliance Reciprocal

Membership program

It’s easy!


Is creating and exploring your idea of fun?

• Register for classes 24 hours in advance of the

All Members enjoy

• Unlimited free admission to the Museum • 10% savings at the Museum Shop and 20% off during the holidays • Up to 15% discount on WAM classes • $35 discount on children’s birthday parties (call 508.793.4334 to reserve) • Invitations and discounts to WAM exhibit openings and social events • Free audio tours • Subscription to access magazine • Members Express Line at major events • Select member days, when you can share your membership with friends and family

Looking for family discounts and entertainment?

public (call 508.793.4333)

• Additional 10% off WAM class registration when you sign-up for more than one class


• An invitation to an Artist Talk Q & A

Start enjoying your benefits while supporting the Worcester Art Museum Purchase your Worcester Art Museum membership online at, email, call 508.793.4300, or stop by the Visitor Services Desk at the Museum. For Salisbury or Benefactor level membership, call 508.793.4325.

Stay tuned for more exciting Membership Program updates starting this coming year. 32

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members access [community Lydia Keene-Kendrick with Membership Coordinator Madeline Grim

Member spotlight: Lydia Keene-Kendrick


embership Coordinator Madeline Grim manages WAM’s Membership Program and works closely with the Members Council on special events. Here, Madeline asks Members Council vice-president Lydia KeeneKendrick five questions about WAM. MG: People become Museum members for many different reasons. What were yours when you joined WAM?

LK-K: I have been coming to WAM with my parents, on school field trips, and to take classes since I was a child. From the life of early Americans to Asian theology, the combination of art and storytelling through the docents and educators, such as (WAM studio classes instructor) Haruo Shiga, made life-long connections between art and culture for me. Since studying art history at Clark University and through my job at Davis Publications, my appreciation for the Museum has continued to grow. I became a member because of the many ways the Museum has enriched my life, and a desire to keep coming back, especially now that I have a family of my own.

MG: What has it been like being involved on the Members Council?

MG: What has been your favorite event at the Museum?

LK-K: My favorite event was the recent Global Art and Music Community Day. In light of recent world events, it was incredibly uplifting to see visual art, music, and performance art from cultures around the world come together in one place. I saw many families spending hours together at the Museum, enjoying the art and music, as well as each other’s company. Having the artist Hassan Hajjaj on hand taking photographs, plus an impromptu performance by Marques Toliver in the My Rock Stars exhibit, made for an incredibly special day that could not be experienced anywhere else. MG: Most of us have a work of art or gallery at WAM that we return to again and again. What is that special piece or place in the Museum for you — and why?

LK-K: The Chapter House is one of my favorite spots. The space makes me feel like I’ve been transported somewhere completely different, and it really sets the Museum apart. Even when the Renaissance Court is full of people, stepping into the Chapter House provides some quiet and calm. It is now even more special for me, since getting engaged there last year.

LK-K: Giving back to the MG: If you could ask one question of “The space makes me feel like I’ve been Museum through volunteertransported somewhere completely different.” any artist—past or present—who would ing and learning about the you choose, and what would you ask? behind-the-scenes workings LK-K: I find the portraits by Alice Neel really fascinating, of the Museum have been hugely rewarding. As a part of the including the work Julie and Aristotle in the Museum’s collecMembers Council, it has been a pleasure to volunteer at a tion. Her work from the 1970s seem to convey a sense of the variety of events, meet many others in the Worcester commutime, even though she had a very unique style. I would love to nity who love the Museum, and become an ambassador for find out how she developed her style, especially working those less familiar with this amazing Worcester destination. against the prominent art trends of the time. Connect with us



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$500+ Burr Insurance Agency, Inc. Butler-Dearden Checkerboard Ltd. Coghlin Electrical Contractors, Inc. Cryogenic Institute of New England, Inc. Cutler Capital Management, LLC George's Coney Island Leadership Transitions F.W. Madigan Company, Inc. Marr Oil Heat Co., Inc. Marsh Law, LLC MSW Financial Partners Northwood Insurance Agency, Inc. The Protector Group, a Marsh & McLennan Agency Company Quaker Special Risk Joffrey Smith Financial Group Sotheby's Struck Catering Sullivan, Garrity & Donnelly Insurance Agency, Inc. Sunshine Sign Company, Inc. Wings Over Worcester As of December 16, 2015

(detail) Yuan Dynasty (13-14th century), Chinese, Head of a Guanyin, 1260-1368, wood, polychrome and gold leaf, Museum Purchase, 1932.15

Business Partner Spotlight

Richard F. Powell of Greenberg, Rosenblatt, Kull & Bitsoli; Karmen Bogdesic; Moira Moynihan-Manoog, Business Partner Committee; and Matthias Waschek

The Art of Business

Greenberg, Rosenblatt, Kull & Bitsoli, P.C.: WAM Business Partner since 1989! For over a quarter of a century, the accounting firm of Greenberg, Rosenblatt, Kull & Bitsoli, P.C. has supported the transformative exhibitions and programs at WAM through a business partnership. That makes theirs our longest-running corporate membership!

Offering a full range of accounting, income tax, estate and trust, business valuation and management advisory services to businesses and individuals, Greenberg, Rosenblatt, Kull & Bitsoli, P.C. is proud to align their business goals with the Worcester Art Museum. With their strong commitment to both their customers and employees, the firm understands that businesses and cultural organizations must work handin-hand to cultivate the creativity and innovation that makes a thriving community. We are grateful for their ongoing corporate support and their investment in the health and cultural wealth and vitality of Worcester and the region.


“We believe the cultural and educational institutions in the Worcester area enhance the quality of life for employees of our firm and clients; as well as the community in general. The excellence of the WAM, and its location in the heart of the city, makes it a significant contributor to all those things that make Worcester a great place to live and work!�

Join us!

Greenberg, Rosenblatt, Kull & Bitsoli, P.C. 306 Main Street, Suite 400 Worcester, MA 01608 508.791.0901,

B U SIN ESS PA R TN ER S / Contact Karmen Bogdesic: 508.793.4326 / Photo courtesy of Dany Pelletier

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