The Ringling Magazine | January – April 2017

Hank Willis Thomas, Behind every great man…, 1973/2015, 2015. Digital chromogenic print, 38 5/8 x 50 inches (paper size), 39 3/8 x 50 7/8 x 1 3/4 inches (framed size). Courtesy of the artist and Jack Shainman Gallery, New York.

As a preeminent center for art, history, and learning, The Ringling is dedicated to the preservation, conservation, and interpretation of our collections. Careful stewardship of the objects placed in our care—whether 2,500 or 25 years old—is one of our key responsibilities, and conservation is fundamental to maintaining their integrity in perpetuity. This core commitment extends well beyond the works of art in our collections. It also encompasses our landmark buildings and grounds, since the entire Ringling campus is listed on the National Register of Historic Places.

Our 4,300-square foot Cuneo Conservation Laboratory is a stateof-the-art facility, staffed by three full-time conservators. Chief Conservator Barbara Ramsay was Senior Conservator of Fine Art at the National Gallery of Canada and later Director of Conservation at the ARTEX Conservation Laboratory in Washington, DC, managing major projects at the US Capitol, among other highprofile initiatives, before joining The Ringling in 2014.

Over the past two years, Conservation has examined and analyzed nearly 350 paintings in our Renaissance and Baroque collections to inform the groundbreaking research featured in the first major scholarly catalogue of these priceless European treasures. Scheduled to be published late next year, the 400-page book will include new photography of every object, including new infrared images, accompanied by provenance, history, attribution, and technical details. Next, our Conservation team will prioritize and begin the conservation treatment of works scheduled for reinstallation in the original 21 galleries in the Museum of Art.

Parallel conservation efforts around our campus continue, from ongoing work on the exterior ornamentation of Ca’ d’Zan and lanterns, columns, and sculpture on the Museum of Art loggia, to care of our collection of 8,000 circus posters in the Tibbals Learning Center, and conservation of the Historic Asolo Theater. The pipeline of preservation and conservation initiatives at The Ringling is always full, as we take active steps to ensure our objects and facilities remain in stable condition. A leader in the field,The Ringling considers conservation to be both a vital obligation as well as an institutional cornerstone for excellence.

5401 Bay Shore Road Sarasota, FL 34243 941.359.5700 ringling.org

Accredited by the American Alliance of Museums

GOVERNOR

The Honorable Rick Scott

FLORIDA STATE UNIVERSITY

John E. Thrasher President

Dr. Sally E. McRorie Provost

Peter Weishar

Dean, College of Fine Arts

EXECUTIVE DIRECTOR

Steven High

BOARD OF DIRECTORS

Paul G. Hudson, Chair

Frances D. Fergusson, Vice Chair

Daniel J. Denton, Treasurer

Nancy J. Parrish, Secretary

Ellen S. Berman

Madeleine H. Berman

Thomas J. Charters

Rebecca Donelson

George R. Ellis

Kenneth J. Feld

Darrel E. Flanel

Jeffrey R. Hotchkiss

Dorothy C. Jenkins

Thomas W. Jennings, Jr.

James A. Joseph

Nancy Kotler

Patricia R. Lombard

Thomas B. Luzier

Tina Shao Napoli

Michael R. Pender

THANK YOU

2016 – 2017 ART OF PERFORMANCE SPONSORS

DIRECTOR

Huisking Family Fund of Community Foundation of Sarasota County

Publix Super Markets

Charities

PATRON

Lucia and Steven Almquist

Kathy and Michael Bush

Tom and Ann Charters

Cumberland Advisors

Icard Merrill

Dorothy and Charles Jenkins, Jr.

Macy’s

Tina Shao Napoli and Dan Napoli

Dick and Betty Nimtz

Ina Schnell

Stephen and Judith Shank

SunTrust Private Wealth

Management

Willis A. Smith Construction

Steven High Executive Director

IN-KIND SUPPORT

Herald-Tribune Media Group

Sarasota Magazine

Scene Magazine

SpringHill Suites by Marriott

SRQ Media Group

WEDU

WUSF Public Media

Support for the Art of Performance was provided in part by Sarasota County Tourist Development Tax revenues.

Additional support was provided by the Amicus Endowment and The John and Mable Ringling Museum of Art Foundation.

Special thanks to Dr. Susan Brainerd and Alan Quinby for their support.

Michéle Redwine

Margaret A. Rolando

Ina L. Schnell

Judith F. Shank

Jane Skogstad

Javi Suarez

Howard C. Tibbals

James B. Tollerton

Michael E. Urette

Larry A. Wickless

EX-OFFICIO BOARD MEMBERS

David L. Emison, Chair, Volunteer Services Advisory Council

Wilmer Pearson, Chair, Docent Advisory Council

ISSN 2165-4085

TABLE OF CONTENTS

JANUARY – APRIL 2017

4–5 Photography + Works on Paper

6–7 Eternal Offerings: Chinese Ritual Bronzes from the Minneapolis Institute Of Art

8–9 10th Anniversary of The Howard Bros. Circus Model at The Ringling

R1 – R16 CALENDAR-AT-A-GLANCE

10–11 Membership

12–13 In Residence at The Ringling

14–15 Conservation at the Heart of The Ringling

The Ringling's 2016-2017 programming season is supported in part by Sarasota County Tourist Development Tax revenues.

Above: The Howard Bros. Circus Model

Below: Celestial horse, Han dynasty, 1st-2nd century CE, Bronze, 44 7/8 x 34 1/2 x 14 1/2 in. (113.98 x 87.63 x 36.83 cm). Gift of Ruth and Bruce Dayton, 2002.45.

Photo: Minneapolis Institute of Art

PHOTOGRAPHY WORKS ON PAPER

The Ringling has continued its ambitious program of collecting and exhibiting photography over the last few years. A substantial number of objects have been added to our collection, including significant photographs from the modern era as well as noteworthy contemporary work. Among the most exciting of these recent acquisitions is a set of eleven digital chromogenic prints by Hank Willis Thomas from his series Unbranded: A Century of White Women in America (1915-2015), made possible by a gift from William and Jane Knapp. Thomas is known for exposing constructions of race and gender embedded in Western visual culture, and in this provocative series he mines a century of advertising images to explore the ways in which women’s identity has been constructed through mass marketing.

The Ulla R. and Arthur F. Searing Wing galleries feature an ongoing series of exhibitions that highlight The Ringling’s diverse permanent collection of photography and works on paper that has been building for over 50 years. These exhibitions present the collection in unique ways, exploring specific themes.

Opening in February 2017, Territories: Photography, Space, and Power is the next exhibition curated from

Photos, from left: Hank Willis Thomas, She’s somewhat of a drag, 1959/2015, 2015. Digital chromogenic print, 51 1/8 x 40 inches.; Marilyn Bridges, Round Barrows with Towers, Wiltshire, England. Gelatin silver print, 11 x 14. Gift of Jon and Nicky Ungar, 2013; Simon Norfolk, BulletScarred Apartment Building and Shops, Karte Char District, Kabul, Afghanistan, Archival pigment print, From the series Afghanistan: Chronotopia, Loan and image courtesy of the photographer and Gallery Luisotti, Santa Monica, CA

Aftermath: The Fallout of War—America and the Middle East is organized by the Samuel P. Harn Museum of Art at the University of Florida and made possible by the Andy Warhol Foundation for the Visual Arts, the National Endowment for the Arts, the Harn 25th Anniversary Fund, the Florida Division of Cultural Affairs, the University of Florida Office of Research, the John Early Publication Endowment, and the Joanne L. and Edward R. Block Charitable Trust, with additional support from the Harn Curator of Photography Endowment.

The Ringling’s permanent collection. Territories explores the myriad ways in which spaces are organized by cultural forces and political power. Visitors will be able to study how the camera can reveal by what means humans organize and encode the space they inhabit as well as how the camera itself organizes the space into its own logic. Several large format works from The Ringling’s collection, rarely on display, will be on view in the exhibition, including photographs by Thomas Struth (born 1954) and Lewis Baltz (1945–2014). Territories will feature a wide assortment of approaches to and uses of photography in apprehending the spaces we occupy, from military and aerial photography to contemporary art practices.

The Middle East continues to play a critical geopolitical and cultural role in the world. Many of us intimately understand the effect of the recent and current wars in that region, either from our own deployment or from friends and family who have served in the military. Others can only try to absorb their impact through mediated words and images in the press. From September 2017 to January 2018 The Ringling presents Aftermath: The Fallout of War—America and the Middle East Organized by the Harn Museum of Art at the University of Florida, this thought-provoking and important special exhibition examines the work of twelve contemporary international artists through the lens of armed conflict. The 90 photographs, two videos, and interactive component of the exhibition confront profound and sometimes difficult issues that arise in the wake of wars such as loss, refugees, environmental threats, and veterans from the US and the Middle East. Experienced together, these images

raise important questions, inspire reflection, and encourage meaningful engagement about the future.

Active in the US and Middle East, the artists in the exhibition depict the conditions and people caught in the crossfire of wars in Iraq, Afghanistan, Syria, Lebanon, Libya, Palestine, and Israel from a variety of perspectives. The artists included in Aftermath are Lynsey Addario, Jananne Al-Ani, Jennifer Karady, Gloriann Liu, Rania Matar, Eman Mohammed, Farah Nosh, Suzanne Opton, Michal Rovner, Stephen Dupont, Ben Lowy, and Simon Norfolk.

“In commenting on life, loss, and survival, the artists in Aftermath reinforce our shared connections as global citizens and encourage awareness and compassion,” said Christopher Jones, The Ringling’s Associate Curator of Photography and Exhibitions.

The catalogue, published in conjunction with the exhibition, includes thoughtful contributions from a diverse group of scholars, journalists, and poets. As a significant center of cultural learning, The Ringling will offer educational programs surrounding the exhibition, in order to extend and contextualize the powerful and often haunting images.

ETERNAL OFFERINGS

CHINESE RITUAL BRONZES FROM THE MINNEAPOLIS INSTITUTE OF ART

Demonstrating The Ringling’s continuing commitment to the study of Asian art, Eternal Offerings showcases nearly 100 Chinese bronze objects from the Minneapolis Institute of Art. Its collection of this material is generally considered to be one of the most important in the United States, and The Ringling is the exclusive venue for this fascinating exhibition.

The works span millennia, revealing the evolution of the use of bronzes in Chinese society. The exhibition highlights how these objects were employed to conduct religious rituals, record significant events, and represent elite status from the Shang through Han dynasties (1600 BCE to 220 CE).

Like many ancient societies, China’s social cohesion was formed around ritualization. Most of the objects for these early rituals were made of bronze, and due to their important social function we can extrapolate that the forms and ornamentation depicted on them relate to some of the primary concerns of their societies. Several of the works in the exhibition point to the various types of rituals— including ancestral, funereal, and musical—found in early Chinese dynasties. Music was an integral element in communicating with spirits, and visitors to the exhibition will be able to see several sets of bells that were important adjuncts in these ceremonies.

Eternal Offerings also demonstrates the significant role of inscriptions on bronzes, especially in the later Western Zhou dynasty (1046 – 771 BCE). The notations often identify the person who made the piece, the event the vessel was designed for, and the ritual it was used in. As the system of rites concerning ceremonies, military campaigns, feasts, and meetings evolved, so too did the inscriptions found on these objects.

The markings have been critical to scholars as first-hand evidence of these ancient periods, as many other fragile texts have not survived. A gui food vessel from the 10th century BCE is a prime example of the in-depth knowledge that can be gleaned from these bronzes. The 45-character inscription reads:

“Zhou King went out to attack Laiyu, then Naohei. Upon return after victory, he held a liao-sacrifice (burnt-offering) at the capital Zongzshou. He presented to me, X, Duke of Yong, ten string of cowries. In response to extol the King’s grace, I have made this precious gui dedicated to ancestors. May for a myriad years sons and

grandsons forever treasure and use it.”

Photos, left to right:

Food vessel gui, Early Western Zhou dynasty, early 10th century BCE, Bronze, 6 1/4 x 12 in. (15.88 x 30.48 cm). Bequest of Alfred F. Pillsbury, 50.46.119. Photo: Minneapolis Institute of Art; Ritual bell bo, Warring States period, 6th-5th century BCE, Bronze, 24 5/8 x 18 1/8 x 14 in. (62.55 x 46.04 x 35.56 cm). Gift of Ruth and Bruce Dayton, 97.81. Photo: Minneapolis Institute of Art; Celestial horse, Han dynasty, 1st-2nd century CE, Bronze, 44 7/8 x 34 1/2 x 14 1/2 in. (113.98 x 87.63 x 36.83 cm). Gift of Ruth and Bruce Dayton, 2002.45. Photo: Minneapolis Institute of Art

This seemingly simple text serves as a window through which we can view early Western Zhou history and ritual practices. For instance, it uncovers an alternate explanation of the liao sacrifice. This ritual was thought to relate to the dieties of wind and rain, but the narration of this gui clearly refers to it being used for warfare.

Even more significantly, it has helped to solve one of the great puzzles of Chinese history: the location of the Yong region, whose very existence had been questioned for centuries. This vessel is the sole example bearing an inscription of the Duke of Yong. It not only provides tangible evidence of the Yong region, but through further study and, by comparing its style to recently excavated works, researchers feel confident in uncovering its precise location.

“The amount of nuance and knowledge in these relatively small objects is astounding,” said Christopher Jones, Associate Curator of Photography and Exhibitions. “When you are around them, the feeling of history is palpable. Through viewing these bronzes, visitors to Eternal Offerings will be transported back thousands of years to ancient China."

HOW WERE THEY CREATED?

China is unique in its use of the piece-mold casting system to create these objects; every other Bronze Age culture employed the lost-wax method. In piece-mold casting, a model is made of the object to be cast and then a clay mold is taken of the model. The mold is then cut in sections to release the model and the sections are reassembled after firing to form the mold for casting. While cumbersome, this method allowed decorative patterns to be carved directly on the inner surface of the mold prior to firing, thereby giving the bronzeworker the ability to create intricate designs with a high degree of sharpness and definition.

MODEL

MARVELOUS MINIATURE MAMMOTH

says Janice, the wife of Howard Tibbals. This is perhaps the most succinct way to explain Howard, who has been enthralled by the circus since he was five years old and still spends about 30-40 hours a week adding to his over 42,000-piece circus model, the largest in the world.

It is this model, which has been housed in The Ringling’s Tibbals Learning Center for 10 years now, that people associate most with Howard. In fact, when the Tibbals were at their granddaughter’s graduation ceremony at Virginia Tech last year, they happened to start talking to a man who had recently visited Sarasota. When they mentioned that they wintered in Sarasota, he immediately said, “Have you seen that model?!” and pulled out his cellphone full of pictures of it. As soon as he found out who he was sitting next to, all he wanted to do was talk with Howard.

Nearly anyone who sees the model cannot help but have a similar reaction. This enthusiasm and spreading of knowledge about the circus is what Howard hoped for when he brought it to The Ringling. The Howard Bros. Circus Model toured all over the country, including stops at The Henry Ford Museum in Dearborn, Michigan; the National Geographic Museum in Washington, DC; the Museum of Science and Industry in Rochester, New York; and even the 1982 World’s Fair in Knoxville, Tennessee. But ultimately, Sarasota and The Ringling were where Howard felt his model belonged, due to the region’s strong ties to the circus. When asked how he feels about being part of The Ringling, Howard simply says, “I’m proud of it.”

Howard’s contribution goes far beyond the model, which over 2.9 million people have seen while visiting The Ringling. In fact, it is his vast collection of posters, photographs, and other circus memorabilia stored in the center he helped build that

Howard considers most important. The circus has a significant place in the history of our country, growing as the country itself grew and mirroring the development of new technologies and social trends. Additionally, the circus has been an influential force in the evolution of popular entertainment and advertising. Without Howard and other collectors of this valuable archival material, which The Ringling brings to life through its exhibitions and programs, the rich traditions of the circus might have been lost.

Howard explains, “It’s important for me that everything be digitized so that current and future enthusiasts and scholars can explore, research, write about, and share the incredible experience of international circus culture. It’s such an important part of our history.” He then passionately expounds on the legacy of the circus and what it taught generations of people. “Back in the late 1800s and early 1900s, people outside of the big cities had few options for entertainment, but the circus brought the wonders of the world to their doorstep. Audiences had the opportunity to see things they had never seen before. They got to learn that just because someone was different from you, that didn’t mean they were evil or bad.”

As with the model, Howard is continually adding to his collection of circus memorabilia, which documents the development of the circus arts around the world. He is always searching for new artifacts, particularly photographs, which could enhance his knowledge as he continues to add preciselycrafted pieces to his model. His latest project is working on new railroad cars, analyzing and studying everything he can find from photographs to Pullman car blueprints. When considering the time and energy Howard puts into ensuring the accuracy of each new addition, Janice simply smiles and says, “He’s a perfectionist’s perfectionist.”

“FOR SOME REASON THAT IS UNKNOWN TO ANY OF US, THE CIRCUS CLICKED WITH HIM, AND IT NEVER UNCLICKED,”

A Season for our MEMBERS

Make plans to experience these Member-exclusive events that highlight The Ringling’s special exhibitions, dynamic performances, and stimulating programs.

MEMBER EVENTS

THU, JAN 12 • 4:00 – 6:00 PM

CIRCLE BEHIND THE SCENES

Did you know that The Ringling offers graduate programs in museum studies and museum education in partnership with academic departments at FSU in Tallahassee? David Berry, Assistant Director of Academic Affairs, and Maureen Zaremba, Curator of Education, will provide an overview of the programs. Meet and mingle with the students currently enrolled in the programs during the reception in the Chao Lecture Hall.

WED, FEB 1 • 5:30 – 9:00 PM

CIRCLE EXHIBITION PREVIEW AND DINNER

A Feast for the Senses: Art and Experience in Medieval Europe

Join Steven High and Dr. Virginia Brilliant, Ulla R. Searing Curator of Collections, for a preview of this extraordinary exhibition. Curated by The Walters Art Museum, Baltimore, in partnership with The Ringling, this major exhibition will feature more than 80 objects, many on loan from the Metropolitan Museum of Art and other prestigious museums in the US and Europe. As we move through the exhibition space, you will encounter interactive displays designed to encourage an appreciation of how art stimulated the senses of the medieval viewer. A reception will be held in Joseph’s Coat, a Skyspace by James Turrell. Dinner in the tented Asian courtyard will follow.

THU, FEB 2 • 4:00 – 7:00 PM

MEMBER PREVIEW

A Feast for the Senses: Art and Experience in Medieval Europe

4:00 – 5:00 PM VIP Members Preview

With the Executive Director and Curator

5:00 – 7:00 PM All Members

Exhibition preview, light bites, and beverages.

FRI, FEB 17 • 6:30 – 8:30 PM

CIRCLE RECOGNITION RECEPTION

Thank you for your philanthropic donations and enthusiastic support over the past year. Please join us for a cocktail reception on the Museum of Art loggia while we view the New Stages performance of SEESAW by Wise Fool New Mexico in the Museum of Art Courtyard. Acrobatic theater artists in the air and on stilts inhabit an everchanging environment of kinetic sculpture, drawing in, disarming, and instilling audiences with wonder and compassion as they open the door for new ideas in movement and performance.

TUE, MAR 7 • 9:00 – 10:30 AM

MABLE RINGLING’S LEGACY for Supporting, Partner, and Circle Members

Celebrate Mable Ringling’s 141st birthday in the beautiful Rose Garden that was the first one in Florida in 1913. Enjoy a wonderful variety of tea, light bites, and mimosas as we celebrate Mable Ringling and her lasting legacy.

THU, MAR 16 • 4:00 – 6:00 PM

CIRCLE BEHIND THE SCENES

Join this discussion with Barbara Ramsay, Chief Conservator, of the conservation currently underway for Ca’ d’Zan. Conservation is also a critical component of the reinstallation of the original 21 galleries in the Museum of Art. Ron McCarty, Keeper of Ca’ d’Zan, and Dr. Virginia Brilliant, Ulla R. Searing Curator of Collections, will discuss their particular area of focus in The Ringling collections. A reception will follow in the Chao Lecture Hall.

WED, APR 5 • 9:00 – 10:30 AM

STATE OF THE RINGLING

You and a guest are invited to join us for a buffet breakfast and presentation by Steven High on the strategic goals and campaign priorities at The Ringling. The presentation will begin at 10:00 AM.

FRIENDS EVENTS

FEB 14 • 10:30 – 11:30 AM

FRIENDS OF THE LIBRARY

Elisa Hansen, Head of Library Services, presents “Sacred and Profane Love: Emblem books from the Art Library’s Special Collection.” Friends are invited to the Library afterwards for refreshments and to view additional Emblem books.

FEB 18 • 9:30 – 11:30 AM

FRIENDS OF ASIAN ART

Enjoy a light breakfast in the Director’s Suite prior to the ViewPoint Lecture.

A Toshiba International Foundation sponsored event.

FEB 23 • 4:00 – 6:00 PM

FRIENDS OF THE RINGLING LEGACY

Celebrate the 10th anniversary of the Tibbals Learning Center opening with Howard and Janice Tibbals. Join us for a private tour of The Howard Bros. Circus Model and a discussion with Howard about his life-long passion for the circus and creation of the model. Reception and book signing to follow.

MARCH 1 • 3:00 – 4:00 PM

FRIENDS OF ART OF OUR TIME

Join Christopher Jones, Associate Curator of Photography and Exhibitions, for an exclusive preview of the exhibition Territories: Photography, Space, and Power Refreshments will follow.

APRIL 7 • 5:30 PM

FRIENDS OF ART OF OUR TIME

Experience a New Stages performance inspired by Rilke’s The Panther. In CAPTIVE, by Motionhouse, four dancers blend dance and aerial work in a provocative consideration of how a human, like an animal, can be plucked from normal life.

APRIL 18 • 9:00 – 10:15 AM

FRIENDS OF THE RINGLING LEGACY

Join Kevin Greene, Landscape Superintendent, for Gardens-GardensGardens-Galore, a tram tour of The Ringling Gardens, ending at the Museum of Art Courtyard for a mid-morning coffee reception.

MAY 16 • 3:30 – 5:00 PM

FRIENDS OF THE LIBRARY

Elisa Hansen, Head of Library Services, presents "The Librarian’s Choice: Selected Treasures from the Art Library’s Vaults." These treasured books are part of The Ringling’s permanent collection. Light refreshments to follow.

LEGACY SOCIETY

FEB 15 • 4:00 – 6:00 PM

ESTATE PLANNING: MY REASON TO GIVE—A DONOR’S JOURNEY

Panel discussion with Ringling donors who have made significant contributions to The Ringling collections. Topics covered will include: reasons for starting a collection, donating to a museum rather than leaving artwork to family members, and caring for a collection.

Sponsored in part by U.S. Trust and The Ringling.

MAR 30 • 11:30 – 1:30 PM

ANNUAL LEGACY LUNCHEON

Join us for the annual Legacy Luncheon on the Bolger Campiello as we celebrate new members of The John & Mable Ringling Legacy Society and long-time members and supporters of The Ringling. Sponsored in part by U.S. Trust and The Ringling.

MEMBER SPOTLIGHT

LEON AND MARGARET ELLIN

Leon Ellin is passionate about dispelling the idea that The Ringling only consists of Old Masters. “A lot of people who have been here for 10 or 15 years think of it as a collection that never changes—that’s not an apt description. It’s very dynamic. It keeps experimenting and trying new things.” And he is someone that is certainly familiar with the collection. When his parents moved here in 1969, his mother immediately became a docent at The Ringling, a position she held for 30 years! Leon didn’t stay in Sarasota but has made it his home for over a decade now and he and his wife have been heavily involved in the Art of Our Time programs. They have attended the Ringling International Arts Festival since its inaugural year, often seeing every production, and are thrilled that The Ringling now has a permanent space for the modern and contemporary collection.

JIM ROQUE

When Jim Roque, SunTrust Private Wealth Management, and his wife Carla Malachowski moved to Sarasota in 2014, they did not know anyone. However, they soon found a welcoming community among the members at The Ringling. Commenting that he likes the people here nearly as much as the art, Jim's enthusiasm is all-encompassing. He starts the day drinking coffee out of a Ca’ d’Zan mug, takes walks through the grounds and gardens to relieve stress, admires the permanent collection, and looks forward to new exhibitions. Jim feels that, “From the moment you arrive there’s a spirit about the place that’s undeniable. The time you spend at The Ringling goes by so quickly because it’s such a joy to be there.” He truly wants others to have what he calls the “priceless experiences” he has had at the museum, so much so that he brought 40 guests to this year’s Ringling International Arts Festival!

Wise Fool New Mexico, SEESAW, photo courtesy of the artist

IN RESIDENCE at The Ringling

For the second year, The Ringling has students in residence as part of an MA program in Museum and Cultural Heritage Studies, offered in partnership with the Art History Department at Florida State University (FSU). The students spend a full academic year at The Ringling, gaining hands-on experience in a real-world museum environment. They are responsible for completing an internship, seminars, and an independent study project, or capstone, based on a subject derived from their experience at The Ringling.

The internship exposes the students to all aspects of museum operations. The students work directly with staff from different departments, learning what each department

does and how it fits into The Ringling as a whole. While this enables the students to develop a broad range of skills, it also helps them to determine which specializations within the museum field best fit their strengths and interests.

To put the internship in context, the students participate in weekly seminars focused on exhibitions and public programs. These seminars enable the students to learn more about museum history, theory, and practice, as well as to discuss museum-related topics with staff and other museum professionals. These discussions are particularly helpful to the students as they prepare for their careers.

Also for the second year, MA and PhD students in FSU’s Museum Education and Visitor-Centered Exhibitions program were in residence at The Ringling for the fall semester. In this program, the students are introduced to the diversity of professional roles and the complexity of operations in a large museum. The centerpiece of their internship is a visitor studies course. Under the academic guidance of Dr. Ann Rowson Love at FSU, students devise and then implement surveys that both meet the institutional needs of The Ringling and provide a “real time” experience of working with museum visitors. This fall’s course focused on the Center for Asian Art in the Dr. Helga Wall-Apelt Gallery of Asian Art. Using a variety of methods, including

exit interviews, observation and visitor mapping, electronic surveys, and social media responses, the students gather information that provides The Ringling staff with a better understanding of visitors’ expectations and interests. This information will be used to guide future curatorial, educational, and marketing projects, including in-gallery activities, object labels, and visitor guides. In addition to conducting surveys, the students work with The Ringling’s Education staff on projects that address their areas of personal interest, including public programs, the docent corps, school and teacher programs, and youth and family activities.

Photos, left to right: David Berry, Assistant Director of Academic Affairs, discussing a project with FSU interns in the Museum of Art; Visitor responding to survey with FSU intern; FSU interns working with artist Anne Patterson on installing Pathless Woods

CONSERVATION at the Heart of The Ringling

With its museums, historic home, theater, and stunning bayfront gardens, The Ringling is a special place for exploration, discovery, and respite. In order to keep all of its collections and architecture in excellent condition, ongoing conservation efforts are required. This essential and important work is central to The Ringling’s institutional mission. For Chief Conservator Barbara Ramsay and her talented team, overseeing the long-term stability of The Ringling’s interior and exterior holdings is a rewarding and vast responsibility.

Conservation encompasses both preservation and restoration. The first rule of thumb in preservation (or preventing damage) is to follow best practices in climate and light control, as well as the careful handling of works of art. Following these precepts mitigates the need for conservation or restoration treatment (including repairing damage, removing inappropriate restorations, or compensating losses). When treatment is called for, current materials and methods are designed to be reversible and minimally invasive.

The Ringling’s Cuneo Conservation Laboratory is outfitted with state-of-the-art equipment to treat works from The Ringling collections. A recent acquisition is an Osiris infrared camera that allows conservators to see through the paint layers to reveal inscriptions, underdrawing, compositional changes by the artist, and evidence of previous damage or restoration.

One current conservation initiative—outlined in the previous issue of the Members Magazine—is treatment of the terra cotta ornamentation of Ca’ d’Zan. Fabricated in the 1920s, these objects and their supporting iron elements have deteriorated due to exposure to salt-laden air and rainwater. On the exterior of the Museum of Art, conservation assessment has helped to prioritize treatment of 45 historic iron lanterns in the loggia. Removal of old coatings and corrosion products, replacement of severely deteriorated elements, and protective coating of the most at-risk lanterns will begin in early 2017. In July 2017, conservation treatment will begin on 76 parapet sculptures, the over life-sized carved stone figures from Italy, many of which have become discolored or structurally unsound.

In addition, the Conservation team recently generated condition reports and treatment proposals for 350 Italian, Spanish, and French paintings in The Ringling’s permanent collection, with technical details to be included in the first comprehensive scholarly publication on the collection by Dr. Virginia Brilliant. The next round of conservation work on these objects—carrying out structural and aesthetic treatment—is a necessary part of the reinstallation of the Museum of Art’s original 21 galleries.

"As conservators, we respect and preserve as much of the original work of art as possible,” said Ramsay. “We do this through the development of a keen understanding of the nature and significance of the object, the careful selection of materials, and an approach that is rooted in both aesthetics and science.”

The meticulous documentation of all conservation testing and treatment is key, providing a detailed roadmap for future conservators to make informed decisions. This includes photography in a variety of lighting conditions, including ultraviolet and infrared, which can reveal details of the artist’s technique, condition, and any non-original additions.

“One of the most fascinating aspects of being a conservator is working with curators in scholarly research, bringing to light new information about works of art and artists,” noted Ramsay.

Other future projects include assessment and maintenance of the stone and bronze sculptures on the grounds as well as the cleaning, consolidation of paint, and conservation of the decorative panels of the Historic Asolo Theater. The conservation work at The Ringling is endless, and it is a vital priority, ensuring not only that the architecture and collections will endure for generations to come, but also that they will exist in a form that reflects the original intention of the architect or artist.

If you would like to support The Ringling’s critical conservation and restoration efforts, please contact:

Anna von Gehr, Senior Director for Development

941-359-5700 x 5804 or anna.vongehr@ringling.fsu.edu