Board Book TEST

THE JOHN AND MABLE RINGLING

MUSEUM OF ART FOUNDATION, INC.

BOARD

MEETING OF THE OF DIRECTORS

JANUARY 26, 2024

Shinique Smith: Parade -- December 16, 2023 – January 5, 2025

Shinique Smith (American, born 1971), Stargazer, 2022 Gift of Noël Kurdi and Carrie Mackin 2023 Image courtesy of Shinique Smith Studio LA, David Castillo Gallery, and Monique Meloche Gallery

Strategic Framework 2019-2023

Identity

The Ringling is the State Art Museum of Florida and is administered by Florida State University. It features an art museum, historic mansion, circus museum, historic theater, conservation laboratory, arboretum, and research library, situated on sixty-six acres of spectacular bay front property in Sarasota.

Mission

The Ringling serves as the legacy of John and Mable Ringling – a place of art, architecture, and circus in an environment that inspires, educates, and entertains.

Vision

The Ringling is an extraordinary center of art and culture that engages the local, state, and global communities and is accessible to and inclusive of all.

Values

We believe in:

That define us:

 Collaboration  Accountability

 Innovation

Inclusivity

 Relevance  Integrity

Core commitments

 Preservation, enhancement, and interpretation of our collections

 Operational and fiscal integrity

 Outstanding experiences for our visitors

Strategic Goals

 Broaden our impact

 Be accessible to and inclusive of all

 Be a forum for creative ideas

 Enhance our collections and their presentation

 Invest in our staff and volunteers

 Celebrate and honor our legacy

The John and Mable Ringling Museum of Art Foundation, Inc.

SCHEDULE OF JANUARY 2024 BOARD MEETINGS

All Meetings in Chao Lecture Hall unless otherwise noted with Zoom Available

THURSDAY, JANUARY 25, 2024

9:00 a.m. – 10:30 a.m. Facilities Committee

10:30 a.m. – 11:45 a .m. Strategic Planning Committee and Community Engagement Sub-Committee

11:45 a.m. -- 1:00 p.m. View Year-end Acquisitions & Purchases (Conservation Lab)

12:00 p.m. -- 1:00 p.m. Lunch on the Loggia

1:00 p.m. – 2:00 p.m. Governance Committee

2:00 p.m. 3:00 p.m. Audit Committee

3:15 p.m. – 4:15 p.m. Budget/Finance Committee

5:00 p.m. 6:00 p.m. Cocktails at the Grill Room

6:00 p.m Dinner at the Grill Room

FRIDAY, JANUARY 26, 2024

9:00 a.m. 10:30 a.m. Collections Committee

10:45 a.m. 11:45 a.m. Development Committee

12:00 p.m. -- 1:00 p.m. Lunch on the Loggia

1:00 p.m. – 3:30 p.m. Board Meeting

RINGLING MUSEUM

January 2024

EVENTS CALENDAR: January - April 2024

Slavery & Human Trafficking Awareness Month

January 1 – New Year’s Day

January 1 – Emancipation Proclamation Anniversary

January 4 – World Braille Day

January 6 – Epiphany or Dia de los Reyes

January 15 – Dr. Martin Luther King Jr. Day

January 16 – National Day of Racial Healing

January 27 – Holocaust Remembrance Day

Community Sponsored Events

• Artist Day at Myakka Headwaters Preserve – Jan 11, 1:00 PM

• The Annual Dr. Martin L. King Jr. Memorial Breakfast and Community Awards – Jan 15, 7:30 AM, Robert L. Taylor Community Center

• Embracing Our Differences Exhibition – Jan 21 – Apr 14, 2024, Bayfront Park

• MLK Unity Walk – Jan 15, 10:00 AM, Robert L. Taylor Community Center

• International Holocaust Remembrance Day Event – Jan 28, 3:00 PM, State College of Florida Neel Performing Arts Center

Ringling Events

• Acoustic Sunsets for Members January 9, 5:30 PM

• Yoga at The Ringling — Jan 10 & 24, 5:30 PM

• Joseph’s Coat: Skyspace by James Turrell – Jan 11, 12, 18, 18, 25, 26, starts at sunset: times vary by date

• Ringling Underground – January 11, 8:00 PM

• Windjammers Circus Music Concert – January 12, 3:00 PM

• Ringling by the Bay – January 15, 5:30 PM

• Gallery Talk: The Art of Nature / The Nature of Art – January 16, 11:00 AM

• Gallery Talk: The Art of Nature / The Nature of Art – January 18, 6:00 PM

• Movement through Process and Exploration with Jess Pope Workshop – Jan 21 – Mar 10, 2:00 PM (Eight Sessions)

• MicroWIP @ TheHAT – January 26, 7:30 PM

Ongoing Exhibitions

• As long as there is sun, as long as there is light. Selections from the Bring Gift and The Ringling Collection of Modern and Contemporary Art

• Mountains of the Mind: Scholars’ Rocks from China and Beyond

• Working Conditions

• 500 Years of Italian Drawings from the Princeton University Art Museum

• Michele Oka Doner

• Shinique Smith: Parade

• Community Gallery: Who We Are – Easter Seals Southwest Florida

February 2024

Black History Month

Ethnic Equity Month

International Month of Black Women in the Arts

North American Inclusion Month

February 1 - National Freedom Day

February 10 – Lunar New Year and National Freedom Day

February 20 – World Day of Social Justice

February 22 – Asian-American Women’s Equal Pay Day

February 20 – March 19 - Nineteen-Day Fast

Community Sponsored Events

• Embracing Our Differences Exhibition, Jan 21 – Apr 14, 2024, Bayfront Park

• Jewish Food Festival, Feb 4 – Temple Sinai Sarasota

• Annual Downtown Sarasota Festival of the Arts, Feb 10 & 11 – Main St. in Downtown Sarasota

• Circus Ring of Fame 2024 – Feb 10, 4:30PM

• ReadOut 2024: A Festival of LGBTQ Literature – February 16 – 18, Artists of Elements: The Gathering Place (St. Petersburg)

• St. Barbara Greek Festival, Greek Glendi – Feb 16 – 18, St. Barbara Greek Orthodox Church

Mort Skirboll Jewish Film Festival Event: Catskills – Feb 18, 4:30 PM

• Venice Italian Fest & Carnival – Feb 22 – 25, Venice Airport

Ringling Events

• Film: Othello – Feb 1, 11:00 AM

• Joseph’s Coat: Skyspace by James Turrell – Feb 1, 2, 7, 15, 16, 22, 23, & 29, starts at sunset: times vary by date

• Ringling underground – Feb 1, 8:00 PM

• Ringling by the Bay – Feb 5 & 19, 5:30 PM

• Gallery Talk: Wonder Walk — Feb 6, 11:00 AM & 6:00 PM

• Yoga at The Ringling — Feb 7 & 21, 5:30 PM

• Virtual Program: Collected Stones: The Essence of the Chinese Landscape – Feb 13, 11:00 AM

• Acoustic Sunsets for Members – Feb 13, 5:30 PM

• Dinner & Show with the FSU World Music Ensemble – Feb 16, 5:00 PM

• Etienne Charles: Creole Soul – Feb 16 & 17, 7:30 PM

• Gallery Talk: Curator’s Choice in the Chao Center for Asian Art – Feb 20, 11:00 AM

• Gallery Talk: A Jewish Look at The Ringling with Matt Austerklein – Feb 22, 11:00 AM

• Rave Lucid by Mazelfreten – February 22. 11:00 AM, February 23 & 24, 7:30 PM

• Gallery Talk: Curator’s Choice in the Chao Center for Asian Art – Feb 22, 6:00 PM

• Special Tour: Leaping Constellations: A Celebration of Astronomy and Leap Years – Feb 29, 11:00 AM

Ongoing Exhibitions

• Mountains of the Mind: Scholars’ Rocks from China and Beyond

• Working Conditions

• Michele Oka Doner

• Shinique Smith: Parade

• Community Gallery: Who We Are – Easter Seals Southwest Florida

March 2024

Women’s History Month

Ethnic Equality Month

Gender Equality Month

March 8 – International Women’s Day

March 10 – Harriet Tubman Day

March 10 – April 9 – Ramadan

March 21 – International Day for the Elimination of Racial Discrimination

March 23 – 24 – Purim

March 25 – International Day of Remembrance of the Victims of Slavery and the Transatlantic

Slave Trade

March 25 – Holi

March 31 – Cesar Chavez Day

March 31 – International Transgender Day of Visibility

Community Sponsored Events

• Embracing Our Differences Exhibition, January 21 – April 14, 2024, Bayfront Park

• Mort Skirboll Jewish Film Festival – Mar 3 - 7, The Ora

• Art in the Park – Mar 16 & 17 – University Park Country Club

Ringling Events

• Joseph’s Coat: Skyspace by James Turrell – Mar 1, 8, 14, 15, 21, 22, 28, & 29, starts at sunset: times vary by date

• Film: Lasaya Lahiri & Talkback – Mar 1, 6:30 PM

• Ringling by the Bay – Mar 4 & 18, 5:30 PM

• Gallery Talk: Body of Art – Mar 5, 11:00 AM

• Yoga at The Ringling — Mar 6, 5:30 PM and Mar 20, 6:30PM

• Ringling Underground – Mar 7, 8:00 PM

• BélO in Concert – March 8 & 9, 7:30 PM

• Acoustic Sunsets for Members – Mar 12, 5:30 PM

• Gallery Talk: Patron Saints and Earthly Fates – Mar 19, 11:00 AM

• Florida Woman – March 22 & 23, 7:30 PM and March 24, 5:00 PM

Opening Exhibition

• EMBODIED

Ongoing Exhibitions

• Mountains of the Mind: Scholars’ Rocks from China and Beyond

• Working Conditions

• Michele Oka Doner

• Shinique Smith: Parade

• Community Gallery: Who We Are – Easter Seals Southwest Florida

April 2024

Celebrate Diversity Month

April 5 – April 13 - Passover

April 5 -- Greatest Show on Earth Opening

April 9 - Easter

April 13 – 15 - Thai New Year

April 22 – Earth Day

April 23 - National Day of Silence (LGBTQIAA+)

April 28 – International Guide Dog Day

April 25 – 27 – Gathering of Nations

Community Sponsored Events

• Embracing Our Differences Exhibition, January 21 – April 14, 2024, Bayfront Park;

• Sarasota Film FesApr 5 – 14, various locations in Sarasota

Ringling Events

• Ringling by the Bay – Apr 1 & 15, 6:00 PM

• Gallery Talk: Defining the Masculine – Apr 2, 11:00 AM

• Yoga at The Ringling — Apr 3 & 17, 6:30 PM

• Gallery Talk: Defining the Masculine – Apr 4, 6:00 PM

• Ringling Underground – Apr 9, 8:00 PM

• Acoustic Sunsets for Members – Apr 9, 5:30 PM

• Film: Best of Enemies – Apr 11, 1:00 PM

• Gallery Talk: The Art of Slapstick Comedy – Apr 16, 11:00 AM

• Un Poyo Rojo (A Red Stone Bench) – April 6, 11:30 Am, April 7, 5:00 PM, and April 8, 11:00 AM

• La Famille GoldenCrust by Les Deux de Pique – April 18 – 20, 7:30 PM and April 21, 11:00 AM

Ongoing Exhibitions

• Mountains of the Mind: Scholars’ Rocks from China and Beyond

• Michele Oka Doner

• Shinique Smith: Parade

• Community Gallery: Who We Are – Easter Seals Southwest Florida

• EMBODIED

Th e John and Mable Ringling Museum of Art Foundation, Inc.

SCHEDULE OF JANUARY 2024 BOARD MEETINGS

All Meetings in Chao Lecture Hall unless otherwise noted with Zoom Available

THURSDAY, JANUARY 25, 2024

9:00 a.m. – 10:30 a.m. Facilities Committee

10:30 a .m. – 11:45 a .m. Strategic Planning Committee and Community Engagement Sub-Committee

11:45 a.m. -- 1:00 p.m. View Year-end Acquisitions & Purchases (Conservation Lab)

12:00 p.m. -- 1:00 p.m. Lunch on the Loggia

1:00 p.m. – 2:00 p.m. Governance Committee

2:00 p.m. 3:00 p.m. Audit Committee

3:15 p.m. – 4:15 p.m. Budget/Finance Committee

5:00 p.m. 6:00 p.m. Cocktails at the Grill Room

6:00 p.m Dinner at the Grill Room

FRIDAY, JANUARY 26, 2024

9:00 a.m. 10:30 a.m. Collections Committee

10:45 a.m. 11:45 a.m. Development Committee

12:00 p.m. -- 1:00 p.m. Lunch on the Loggia

1:00 p.m. – 3:30 p.m. Board Meeting

AGENDA/MINUTES

AGENDA/MINUTES

The John and Mable Ringling Museum of Art Foundation, Inc. Board

of Directors

MEETING OF JANUARY 26, 2024

Chao Lecture Hall and Via Zoom

AGENDA

I. Call to Order 1:00 p.m.

II. Public Comments

III. Approval of: Minutes of October 13, 2023 Board Meeting Minutes of January 19, 2024 Executive Committee Meeting

IV. Chair’s Remarks (Warren Colbert)

V. FSU Report

VI. Treasurer’s Report (Michael Bush)

VII. Director’s Remarks (Steven High)

VIII. Program: Rupp Pavilion (Steven High) Wonder (Katie Nickel and Jennifer Lemmer Posey)

IX. Committee Reports

Audit (Ronald A. Johnson)

Budget, Finance and Investment (Michael Bush)

Collections (E. Marie McKee)

Development (Kelly Romanoff)

Facilities (Mayra N. Schmidt)

Governance (Dennis Archer)

Strategic Planning (Leon Ellin)

Sub-Committee: Community Engagement Task Force (Jim Stewart)

X. Old Business

XI. New Business

XII. Adjournment 3:30 p.m.

NOTE: Committee reports are to be budgeted for no more than 10 minutes each

BOARD INFO

The John and Mable Ringling Museum of Art Foundation, Inc. Board of

Directors

OFFICERS

Warren R. Colbert, Sr. – Chair

H.Michael Bush – Treasurer

Audit

Ronald A. Johnson, Chair

Larry J. Cuervo, Jr.

Cynthia L. Peterson

James B. Stewart

Jean Evans, Staff Liaison

Budget, Finance & Investment

H. Michael Bush, Chair

Daid W. Benfer

Larry J. Cuervo, Jr.

Leon R. Ellin

Ronald A. Johnson

Frederic D. Pfening, III

Mercedes Soler-Martinez

James B. Stewart

Jean Evans, Staff Liaison

Collections

E.Marie McKee, Chair

Jasleen “Ritu” Anand

Dennis W. Archer

Adele Fleet Bacow

Francine B. Birbragher

Rebecca Donelson

Elma Felix

Margaret “Meg” D. Hausberg,

Janice Tibbals Mobley

Frederic D. Pfening, III

Debra J. Short

Mercedes Soler-Martinez

Keebler J. Straz

Kirk Ke Wang

Amanda Robinson, Staff Liaison

Margaret D. Hausberg – Vice Chair

Mercedes Soler-Martinez – Secretary

COMMITTEES 2023-2024

Development

Kelly A. Romanoff, Chair

Dennis W. Archer

Francine B. Birbragher

Larry J. Cuervo, Jr

Leon R. Ellin

Margaret “Meg” D. Hausberg

Janice Tibbals Mobley

Howard C. Noble, Jr.

Mayra N. Schmidt

Mercedes Soler-Martinez

Joan Uranga

Marla Vickers

Kirk Ke Wang

Mark Terman, Staff Liaison

Facilities

Mayra N. Schmidt, Chair

Jasleen “Ritu” Anand

Adele Fleet Bacow

David W. Benfer

Amy D. Berk

Rebecca Donelson

Andrew M. Economos

Elma Felix

Janice Tibbals Mobley

Howard D. Noble, Jr.

Cynthia L. Peterson

Frederic D. Pfening, III

Debra J. Short

Keebler J. Straz

Joan Uranga

Kirk Ke Wang

John Fleming, Staff Liaison

Governance

Dennis W. Archer, Chair

Francine B. Birbragher

H. Michael Bush

James J. Clark

Rebecca Donelson

Margaret “Meg” A. Hausberg

Ronald A. Johnson

E. Marie McKee

Mercedes Soler-Martinez

Steven High, Staff Liaison

Strategic Planning

Leon R. Ellin, Chair

Jasleen “Ritu” Anand

Adele Fleet Bacow

David W. Benfer

Amy D. Berk

Elma Felix

Howard D. Noble, Jr.

Cynthia L. Peterson

Mayra N. Schmidt

Debra J. Short

James B. Stewart

Keebler J. Straz

Joan Uranga

Jay Boda, Staff Liaison

Community Engagement Sub-Committee:

James B. Stewart, Chair

Jasleen “Ritu” Anand

Adele Fleet Bacow

David W. Benfer

Amy D. Berk

Leon R. Ellin

Elma Felix

Howard D. Noble, Jr.

Cynthia L. Peterson

Mayra N. Schmidt

Debra J. Short

Keebler J. Straz

Joan Uranga

Ericka Kelley, Staff Liaison

Executive

Warren R. Colbert, Sr., Chair

Dennis W. Archer

H.Michael Bush, Treasurer

Leon R. Ellin

Margaret “Meg” D. Hausberg, Vice Chair

Ronald A. Johnson

E.Marie McKee

Kelly A. Romanoff

Mayra N. Schmidt

Mercedes Soler Martinez, Secretary

James B. Stewart

Steven High, Staff Liaison

The John and Mable Ringling Museum of Art Foundation, Inc. Board of

Directors

TERMS as of July 2023

2021-2024

Warren R. Colbert, Sr.*

Margaret D. Hausberg*

E.Marie McKee

James B. Stewart

2022-2025

Ritu Anand

Dennis W. Archer*

Francine Birbragher

Larry J. Cuervo, Jr.

Andrew M Economos

Leon R. Ellin*

Ronald A. Johnson

Frederic D. Pfening III

Debra Short*

2023-2026

Adele Fleet Bacow

David W. Benfer

Amy D. Berk

H.Michael Bush*

Rebecca Donelson*

Elma Felix

Howard D. Noble

Cynthia L. Peterson*

Kelly A. Romanoff*

Mayra N. Schmidt*

Mercedes Soler-Martinez*

Keebler J. Straz

Kirk Ke Wang*

Ex-Officio Members:

LIFETIME

Janice Tibbals Mobley

*Denotes second full term, non- renewable

Joan Uranga (Volunteer Services Advisory Council) 2023-2024

The John and Mable Ringling Museum of Art Foundation, Inc Board

of Directors

July 1, 2023 – June 30, 2024

OFFICERS:

Warren R. Colbert, Sr., Chair, is a Senior Vice President - Wealth Management at UBS Financial Services, Inc., located in New York, NY and headquartered in Zurich, Switzerland. His four-decade plus financial services experience includes tenures at PaineWebber, Inc. and Kidder, Peabody & Co. Warren currently serves on the Sarasota Art Museum’s Museum Advisory Committee [MAC] to Board for the Ringling College of Art and Design. In his past, he served on the Board of Trustees of Lincoln University, PA 2000 – 2013, his alma mater, as Development and Investment Committee Chairperson, and on the Executive Committee. Also on the Advisory Board for Lincoln University’s Center for Banking, Finance and Entrepreneurship. Chaired several committees on the Board of Green Chimneys Children’s Services and Schools, 1988 – 2002, last as Chairperson. The Twenty-First Century Foundation, 1995 – 2002, Finance Committee Chairperson. Served as Treasurer and Observer to the Board of Directors for The UNIS Society of the United Nations International School 1987 -1990 and more. Warren managed an intern program and has an ongoing mentorship with UBS interns that have worked with him over the last 25 years. Civic acknowledgments include: 2006 Proclamation from the City Council of New York City for Community Service and the Green Chimneys Children's Services’ “Exceptionally Significant Service” award. B.A. from Lincoln University, PA in mathematics and completed several years of graduate studies as a doctoral candidate of physics at the University of Maryland. Warren is a Certified Investment Management Analyst (CIMA) achieved at the Wharton School. Warren’s work in photography is a strong part of his artistic interests. Warren and his wife, Marie, are art enthusiasts and collectors. Splitting their time between their New York and Sarasota homes as well as visiting their son and his family who live in southern California with two beautiful daughters, Éva and Senna.

Margaret “Meg” Dunwoody Hausberg, Vice Chair, has ties to The Ringling dating to the 1980s, when her circus-enthusiast parents, James and Millicent Dunwoody, retired to Sarasota and became active volunteers in the museum’s circus archives. A graduate of Wellesley College with an M.A. from the Courtauld Institute of Art in London, Meg has had a varied career in the field of art – at galleries and an auction house in New York and London, as an author and publisher of fine art reference books, an instructor in the Appraisal Studies Program at NYU, and a research associate and co-author of the University of Glasgow’s online catalogue raisonné of James McNeill Whistler’s etchings. She sat on the Committee for Prints and Drawings at the Art Institute of Chicago and was co-curator of the Art Institute exhibition “Whistler and Roussel: Linked Visions” in 2015. Currently a member of the Print Council of America, Meg previously served on the boards of the Ragdale Foundation in Lake Forest, Illinois, and the Hudson River Museum inYonkers, New York. She was a Trustee of the Village of Bronxville, New York, in the 1990s, and she facilitated the gift of her parents’ circus collection to The Ringling in the early 2000s.

H.Michael Bush, Treasurer, is the President/Owner of Home Resource, Inc. located in Sarasota, FL. He and his wife, Kathy, are design and home furnishings industry professionals headquartered on Central Avenue. Situated within the boundaries of the city’s historic Rosemary District, the area represents Sarasota's Design District with its collection of architects, interior designers, home builders, cabinet makers and showrooms devoted to flooring, home entertainment, furniture and decorative accessories. Since 1995, Home Resource has been the place in Southwest Florida to shop for contemporary and licensed modern furniture. Over the last several years, the Home Resource showroom has also been converted into a "fringe theatre" where live performances have been conducted. Home Resource has been Mr. Bush's most recent business turnaround; where he has taken an essentially bankrupt company and successfully led it back to profitability and success. Mr. Bush has held senior executive positions in Europe and the United States for Exxon Mobil, Domino's Pizza, Red Hot Concepts (Chili's), and other smaller publicly traded companies. His specialty is start-up and turnaround environments. In addition, he was a key executive in the creation of Mobil Chemical's Global Petrochemical Operations. Mr. Bush is a licensed CPA. He has served on the boards of the Sarasota Ballet, Sarasota Contemporary Dance, West Coast Black Theatre Troupe, Theatre Odyssey, SaraSolo, Sarasota Season of Sculpture, and the Sarasota Architectural Foundation in addition to a14 year term as the President of the Rosemary District.

Mercedes Soler-Martinez currently works with her husband, Tom Martínez, at Solmart Media, LLC. Solmart Media, LLC is their radio and digital media company. As President of the company, she oversees editorial content, community outreach, advocacy and marketing. Tom serves as CEO. Prior to this, she coached media/press strategies to high placed leaders, executives and diplomats as a subcontractor for the US State Department. She is a renowned bilingual keynote speaker at women-girls empowerment and media conferences. Mercedes is a fivetime Peabody and GLAAD awards winning media personality and broadcast journalist. From 2010 to 2016, she anchored a daily, live, news issues, and women’s show for CNN Español. Prior to that, she spent two decades at Univision News as an international investigative correspondent. Mercedes co-authored the book Dish & Tell: Life, Love and Secrets (Entre Nosotras de Mujer a Mujer) [Harper-Collins, 2005] with a group of five girlfriends. The book was adapted for the stage as a musical. She has been a columnist for El Nuevo Herald and is well versed in current U.S. and hemispheric affairs. She taught journalism in Spanish through the University of Miami. Mercedes sits on the boards of the following non-profit organizations – The Community Foundation of Sarasota and the Ringling Museum of Art. Mercedes and her husband Tom raised two wonderful children who are pursuing their parent’s passions in their own careers of art and broadcasting.

Jasleen “Ritu” Anand is an author, artist, and writer of children's books. In January of 2022, she joined Coffee House Writers while maintaining her status of being a "selfemployed" writer at PathBinder Publisher. Mrs. Anand also owns Ritu Writes 4 Kids. Mrs. Anand most recent children's book, Kara's Dreams, debuted as a picture book and was acquired by PathBinder Publishing. She also has a second manuscript titled, I Am My Language in submission. Mrs. Anand is currently working on a middle grade novel titled, Jokhee and Samara. Mrs. Anand's sketches and artwork are on quality clothing and jewelry manufactured in Montreal, Canada. Ritu is a member of the American Library Association and Book Trailers Creating Services. She is an organizer and member of Indian Festival Sarasota. She graduated from St. John’s University with a BS in Business and Criminal Justice and is married to Harvinder “Harry” Anand.

The Honorable Dennis Archer is the Chairman and Chief Executive Officer at Dennis W. Archer, PLLC. He is also Chairman Emeritus of Dickinson Wright, PLLC. Mr. Archer is a trial lawyer and has taught as an associate professor at the Detroit College of Law and an adjunct professor at Wayne State University Law School. He was appointed to the Michigan Supreme Court in 1985, by Governor James Blanchard. In 1986 he was elected to an eight-year term. Mr. Archer resigned from the Court in 1990. In 1993 he was elected to become the city of Detroit, Michigan’s 59th Mayor. While in office, he had a balanced budget and a surplus every year he was in office. His Administration attracted $20.2 Billion dollars of investment in the City of Detroit. He declined to run for re-election in 2001 and rejoined Dickinson Wright. He has been President of the National Bar Association and in 2003, he became the first member of color to become President of the American Bar Association. Mr. Archer currently serves on the corporate board of Alix Partners Inc., and he has been a member of the boards of Johnson Controls, Compuware Corporation, MASCO, Top Build and the Global Senior Policy Advisory Board of Jefferies Group. He has been a Circle Member since 2014.

Adele Fleet Bacow recently retired as President of Community Partners Consultants, has extensive experience in urban planning, cultural economic development, and the arts, consulting for a wide variety of clients nationally, including public agencies, community development corporations, cultural organiztions, and foundations. She created the state-wide program and served as Director of Design and Development at the Massachusetts Council on the Arts, receiving a Federal Design Achievement Award for this work. Previously she served as Deputy Director of the Massachusetts Government Land Bank, a state authority responsible for redevelopment of blighted properties and former military bases. Ms. Bacow is the author of Designing the City: A Guide for Advocates and Public Officials. She received her Bachelors Degree in Urban Design from Wellesley Collge and Masters Degree in City Planning from the Massachusetts Institute of Technology. Her TED talk on the role of arts on urban development may be viewed at https://www.youtube.com/watch?v=sV1LDV5GuBk Ms. Bacow is on the Board of Artists for Humanity Boston, a Cummings Foundation reviewer, and an honorary Trustee of Temple Emanuel.

David W. Benfer currently serves as the Chairman of The Benfer Group LLC, which provides advisory services to healthcare providers and suppliers. From 1999 to 2009, Mr. Benfer served as President and CEO of the Saint Raphael Healthcare System and Hospital of St. Raphael in New Haven, Connecticut. Prior to that he served as President and CEO of Provena-Saint Joseph/Morris Health Networik in Joliet, Illinois from 1992-1999. Mr Benfer served as the Senior Vice President of Hospital and Urban Affairs and CEO of Henry Ford Hospital from 1985 to 1992. Prior to that he served as CEO of Bon Secours Hospital, Grosse Pointe , MI. and Executive Director of the Medical College of Ohio Hospital, Toledo, OH. He served as Chairman of the American College of Healthcare Executives (ACHE) from 1998 to 1999 and on the Board of Governors from 1992 to 2000. He was awarded Fellowship status in 1981 of the ACHE. From 2003 to 2009 Mr. Benfer served on the Board of the Catholic Health Association of the United States. He currently serves as a director of a privately held financial institution in Illinois and Vice President of Sun and Surf Colony, Inc in Sarasota , Fl. He is also on the Board of Stereotaxis, Inc (STXS) and serves as the lead independent director. Mr. Benfer earned a BSBA from Whittenberg University and MBA from Xavier University. David and Mary have three adult children and six grandchildren and reside in Lakewood Ranch, Fl.

Amy D. Berk joined Microsoft in 2021 as the Director of Population Health for US Health and Life Sciences and leads the design and implementation of clinical transformation related to programs for large and complex healthcare providers. Her primary expertise lies in Population Health; bridging data for optimal clinical outcomes, and the broader framework of optimizing care delivery and clinical transformation. She also serves as a board member of the Nell Hodgson Woodruff School of Nursing at Emory University and teaches as an adjunct instructor at the Jefferson College of Population Health. She earned her Master of Science from Emory University and a Bachelor of Science from the University of South Florida, both in Nursing. Prior to joining Microsoft, Ms. Berk started her career at IBM tasked with defining new care model delivery system. She also worked with Dr. PaulGrundy to design a patient centered medical home solution for IBM that would make healthcare to be more coordinated and collaborative. Ms. Berk served as a Registered Nurse in Cardiology over 26 years ago, where she worked in cardiothoracic ICU for almost 10 and a half years, until she was offered her position at IBM and started a career in consulting. Her 26 years of healthcare experience includes strategic, operational and policy consulting on a global level. She has worked for IBM, Accenture and Optum including notable, innovative projects with: US (Office of National Coordinator and Military Health Affairs), Germany (with the US Department of Defense), France (APHP), Czech Republic. (Ministry of Health), India (Max Healthcare), Switzerland (Ministry of Health), Abu Dhabi (Cleveland Clinic Abu Dhabi), and Qatar (Supreme Council of Health), and the Republic of South Korea (Ministry of Health).

Francine Birbragher-Rozencwaig is an art historian, independent curator, and art critic. She received a Master’s in art history and a Ph.D. in Latin American history from the University of Miami. She is a founding and contributing editor of ArtNexus, the leading Latin American art magazine. Since 1989, she has written about contemporary art for specialized magazines and newspapers and essays for artists’ monographs and exhibition catalogs. She is the author of From Popular Expression to Public Spectacle: History and Visual Testimonies of the Carnaval de Barranquilla in the XX and XXI Centuries (Scholars' Press, 2016), Humberto Castro (hCg Collection, 2021), and Essays on 20th Century Latin American Art (Routledge Taylor & Francis Group, 2022). As an independent curator, she has organized more than one hundred exhibitions in the United States and Latin America. From 2008 to 2015, she worked as an adjunct curator at The Patricia and Phillip Frost Art Museum, Florida International University. In 2018, she was appointed Senior Curator at the Art Ovation Hotel in Sarasota, Florida. In that role, she has organized exhibitions and programs featuring local, national, and international visual artists and promoted the arts among the hotel’s guests and the local community. She is a former founding board member of the Museum of Contemporary Art, North Miami (MOCA), and Founding Arts Broward. She currently serves on the Advisory Board of the Friends of the Uffizi Gallery, Florence, Italy. She belongs to several professional organizations, including the International Association of Art Critics (AICA), the College Art Association (CAA), the Association for Latin American Art (ALAA), and Art Table.

Larry J. Cuervo, Jr. is Senior Planner, Security Services, at Fourthought Signature. Before that he served as Senior Vice President and Wealth Advisor for Truist Financial Corporation since 2014. He offers more than 25 years of financial services experience working with financially complex, high net-worth families, C-level executives, and entrepreneurs/business owners. Mr. Cuervo provides solutions for multigenerational wealth transfers, asset protections, retirement planning, estate planning, credit solutions, and fiduciary investment management. Larry was raised in Tampa, Florida, and moved to Sarasota in 2021. He is a graduate of Florida State University. Larry is involved with the Sarasota Chamber of Commerce and Leadership Florida and was on the Board of the Straz Center for Performing Arts for 8 years. He enjoys fishing, golf, painting, and playing guitar. Larry is the father of two daughters, Lauren and Hailey

Rebecca Donelson is a former Art Dealer. After working at the Corcoran Museum, Washington DC, The National Gallery of Art, Washington DC and at The Art Institute of Chicago, she opened her own gallery, The Dart Gallery, in Chicago specializing in Contemporary Art representing some of the great artists of the last forty years: Robert Motherwell, Helen Frankenthaler, David Smith, Jim Dine, Jules Olitski, Larry Poons, Sam Gilliam and Frank Stella. Rebecca worked on retrospective exhibitions at The Art Institute of Chicago with Robert Rauschenberg, William Dekooning, Georgia O'Keeffe, Alexander Calder and The Estate of Salvador Dali. She serves on the International Council of Anderson Ranch, Snowmass, CO, the Board of the Edis-Neeson Fooundation in Chicago, is a Fellow at The Aspen Institute and works with the Aspen Film Festival and Youth Entity in Carbondale, CO. Rebecca shares her time between Sarasota andAspen.

Andrew M. Economos was born in Sarasota, graduated from the University of Florida with a BS and MS in Mathematics, worked in the Aerospace industry in California, and earned a Ph.D from UCLA. Afterward, he joined NBC where he headed up the computing activity for 14 years. He then started and led his software company which was a business leader supplying broadcasting software with a client base all over the world. In 2005, after 30 years, Economos sold his company. In 2015, he moved back to Florida and now resides in St. Armond Key. The Ringing Museum played a big role in his Sarasota childhood. He states he owes its presence to his current and ongoing relationship with art. His home is full of paintings, sculptures, and drawings (some of them are his own). He learned to love architecture and practiced it as well as furniture building. He remembers being surrounded by great examples The Ringling offered and is grateful for the gentle education in art it gave him.

Leon R. Ellin held a number of senior financial and operating positions, in both large and mid-sized companies. From 2003 through 2016 he was an operating partner/consultant with Littlejohn & Co., a private equity partnership. At Littlejohn he worked primarily with the Information Technology and Financial Management functions of the portfolio companies. He spent the 20 years immediately prior to his service at Littlejohn managing turnaround, restructuring and strategic business refocusing tasks ata number of mid-sized companies, including Wilton Industries, ITCO Holding Company, Edward Don & Company, Champion Products, Inc. and Voit Corporation. His prior experience includes ten years with Colgate-Palmolive, including Director of Corporate Strategic Planning and as CFO of Helena Rubinstein, Inc., a Colgate subsidiary company. His educational background includes a MBA from the Wharton Graduate Division (member of Beta Gamma Sigma) of the University of Pennsylvania and an AB from the University of Chicago (National Merit Scholar). He served for over ten years on the Board of AgriLabs, Inc. until it’s sale in early 2018 and was active on a charitable foundation board in his home of Sarasota, FL. He volunteers at Marie Selby Botanical Gardens and the John & Mable Ringling Museum in Sarasota.

Elma Felix is an Urban and Regional Planner with a professional background in architecture, urban design and land use policy. As such, Elma is a Maker of Places. She is a designer at heart, who works to advance urban design and architecture for the betterment of society by bringing visibility and voice to the issues concerning underserved communities. With over 17 years of experience, Elma has worked on a variety of global projects at every scale. Her research includes topics on resiliency, public engagement, and the relationship between urban design and the social equity of places. Elma is also the author of Ti Kay Nou, a publication meant to recapture the essence of traditional vernacular architecture in Saint Lucia; and, the Creative Director of Ebijou, a wearable art brand creating bespoke pieces for the discerning.

Dr. Ronald A. Johnson is a highly experienced business leader, board director, and recognized academic professional. He has served on almost two dozen boards and held the chairman position on six of them. Most recently, Dr. Johnson served as president of Clark Atlanta University and Chairman of the Consumer Advisory Board of the US Consumer Financial Protection Bureau. Prior to joining Clark Atlanta University, he was the dean of the Jesse H. Jones School of Business at Texas Southern University. Dr. Johnson also served as dean of the College of Business at Western Carolina University in Cullowhee, NC. He previously taught and developed innovative curriculum at Florida A&M. University, Northeastern University, and Howard University. Dr. Johnson is an accomplished researcher and has developed expertise in the design of learning-focused business curriculums. His earlier work includes appointments to the Board of Governors of the Federal Reserve System as an economist under Paul Volker, division chief at the Federal Reserve Bank of New York, and the International Monetary Fund. Dr. Johnson’s private sector leadership roles include President and Chief Investment Officer at Smith Graham & Company, Director of Fixed Income Research, at Templeton Worldwide Inc., as well as Chief Strategist and Chairman of the Investment Committee for America’s Trust Bank. His distinctions include the Center for Houston’s Future Leadership Forum, The One Hundred Black Men of Atlanta, and recipient of the National Diversity Council’s 2018 Leadership Excellence Award. Dr. Johnson has considerable experience at the top level of academia, combined with repeated successes in the global investment management industry gain him tremendous credibility in all board rooms. His insights on governance, fiduciary accountability, and sustainability have gained him recognition as an outstanding and sought-after board leader.

E.Marie McKee is a retired SVP of Corning Incorporated (NYSE:GLW)

For over 170 years Corning Incorporated has combined expertise in glass science, ceramics and optical physics with deep manufacturing and engineering capabilities to develop lifechanging innovations and products including the glass envelope for Thomas Edison for the light bulb, the first glass television tubes and more recently flat screen glass/Gorilla Glass for flat screen TV’s, environmental substrates for clean air emissions and optical fiber for the Intranet. During her career at Corning, Marie served in a variety of positions including SVP for Human Resources, the President and CEO of Steuben Glass and the operating President and CEO of the Corning Museum of Glass which is a museum about the material of glass. The museum hosts approximately a half million visitors each year to experience the art, history and science of glass. The visitor has the opportunity to “See Glass, See Glass being Made and Make Glass themselves.” Marie is a member of the Duke Energy Board of Directors and served on the Progress Energy Board prior to the merger with Duke Energy. Marie has served on a variety of not for profits boards focusing on community needs and the arts. Marie holds a BS and MS degree from Purdue University. Marie and her husband Robert Cole have 2 wonderful adult daughters. Marie races dinghy sailboats with her husband on Sarasota Bay and Upstate NY in the FingerLakes. When not participating in sailboat regattas they loves to ski and travel extensively. Since moving to Florida, Marie has learned to grow orchids and loves the challenge of growing orchids outside and on trees at their home near Selby Gardens. They spend their summers in Upstate NY and traveling.

Howard D. Noble, Jr. is a retired Board-Certified Diagnostic Radiologists who served our military veterans for 24 years in the Radiology Departments at, initially the VA Medical Center (VAMC) in Hampton, VA (his home), then at the VAMC in Gainesville, FL. He graduated from Lincoln University, PA with a B.A. degree in Mathematics, followed by a M.S. degree in Space Technology from the Johns Hopkins University. He received his M.D. degree from the Albert Einstein College of Medicine in Bronx, NY. He worked as an Engineer for the Westinghouse Aerospace Corporation in Baltimore, MD, then as an Engineer for the General Electric Reentry and Environmental Systems Division in Philadelphia, PA. As a doctorial candidate at the University of Pennsylvania, he worked as a research scientist at the General Electric Research and Development Center in Schenectady, NY. While on the Board of Trustees for the Gainesville Dance Alive National Ballet, he served as Secretary. He also served on the Advisory Board of Directors for the University of Florida Performing Arts and on the Board of Directors for the Gainesville Friends of Jazz. As an avid sailor, Howard served as the Commander of the Gainesville Sail and Power Squadron before serving as the Administrative Officer for the Sarasota Power and Sail Squadron. These Squadrons are local components of the United States Power Squadrons, an educational organization dedicated to making boating safer and more enjoyable by teaching classes in seamanship, navigation, and related subjects.

Cynthia Louise Peterson, is the Founder and Board Chair Emeritus of the Center for Architecture Sarasota. Ms. Peterson, MLIS, CA holds a Master in Library and Information Science with concentration in Archival Science and Preservation from Simmons College, Boston, MA. She is a Certified Archivist (CA) and a specialist in the preservation and description of architectural archives. Working in partnership with the University of Florida School of Architecture, she helped establish the UF CityLab- Sarasota graduate architecture program, which now shares space with the Center. Beyond its programming, the Center carries out the vital task of showcasing Sarasota as an important center of Modernist architecture. She was the former curator of the University of Florida ArchitectureArchives and helped to establish the acquisition and collection of the historical archives in Florida. Ms. Peterson was previously the Director of Operations of the Elling O. Eide Charitable Foundation, Sarasota, FL. She received the Bob Graham Architecture Awareness Award from the Florida American Institute of Architects and, in 2017, Cynthia was given honorary membership in the National AIA for her contributions to the Institute. She serves on the Board of Directors of the Florida Foundation for Architecture. Since retirement in 2017, she and her husband Guy spend time at their homes in Cashiers, North Carolina, Windermere Island, Bahamas, and Sarasota.

Frederic D. Pfening, III is the retired president of a 103-year-old family business. He began working at the Fred D. Pfening Company in 1976 and was the president since 1989. Under his leadership the company has continued to grow and has developed new product lines such as liquid ingredient handling. During this time the Pfening Company partnered withAdvanced Food Systems to develop a highspeed mixer. Fred has a BAand an MAfrom Ohio State University. Beyond the business, Mr. Pfening III is a life-long circus enthusiast since 1955 when his father owned a circus. He has written over 50 articles on circus history and is recognized as an expert in the field. Fred is a board member of Helping Hands Health and Welfare Center in Columbus, Ohio, as well as a Trustee of the Circus Historical Society, Board member of Circus FansAssociation and official historian of that organization. He is married to Janet Lynn Evans-Pfening.

Kelly Ann Romanoff is the Senior Vice President for Strategy and Evaluation for Charles & Margery Barancik Foundation, in Sarasota, Florida. In her role, Kelly develops strategies to achieve the foundation’s mission, creates learning agendas in collaboration with nonprofit partners, and evaluates grants and initiatives. She also leads the foundation’s early childhood development and early learning initiatives. She began her career in 2005 at the statewide association for foundations, Florida Philanthropic Network, where she led research and policy efforts. She moved to Sarasota in 2008 to join the Gulf Coast Community Foundation team, where she contributed to marketing, grantmaking, community engagement, and donor development. In 2015 she joined the Barancik Foundation. Kelly earned a Master’s in PublicAdministration from University of Central Florida and she is also a trained nonprofit governance consultant and facilitator. Kelly serves on The John and Mable Ringling Museum Board of Directors where she chairs the Development Committee. She is vice chair of the Florida Education Funders Group of the Florida Philanthropic Network. She and her husband Burt, who practices tax and estate law, are raising two young sons.

Mayra Niubo Schmidt was born and raised in Cuba and moved to the United States in 1966, living in New Jersey until 2014 when she and her husband John moved to Sarasota. She attended St. Peter’s College and Rutgers Law School, graduating in 1980. After practicing as a sole practitioner, Mayra retired to raise three children. She has served as a Board member in Hudson County Legal Services, the Garden Club of the Oranges, and the Orange Orphan Society which awards grants to organizations serving underprivileged children. For 10 years, she served as a Commissioner in the West Orange Historic Preservation Commission as well as volunteering at the New Jersey Historical Society and the Thomas Alba Edison National Historic Site. She is currently a member of the Garden Club of the Oranges, the Sarasota Garden Club, and a Circle member of The Ringling Museum of Art.

Debra (Deb) Short grew up in the Midwest and attended the University of Missouri, Columbia, majoring in Art History. After more than 25 years in the retail management and buying arena for JC Penney, Saks, and Bealls Inc., she was fortunate to find her way back to her first love, the appreciation of art. Since 2013, volunteering in various roles at The Ringling has provided Debra with an avenue for personal growth, and the development of many friendships. Her primary assignment is as a Museum of Art Ambassador, every Monday. She thrives on the action of the busiest day at the Museum. For two years, she was a member and the designated secretary of the Orientation and Communications Committee (OCC) and served a 2-year term as Secretary of the Volunteer Services Advisory Committee (VSAC). Debra currently serves in the elected role of VSAC Vice-Chair, representing all volunteers in the Corps and continues her role as the co-editor of The Volunteer Voice Newsletter. Additionally, Debra works closely with the Education Team; assisting with research, training materials, and hands-on help with programming. After retiring in 2013, Debra and her husband, Steve, became members of The Ringling. They have also been aggressively attacking their travel bucket list, visiting 27 countries in the past 6 years. They support both The Ringling and St Jude’s Hospital in their Philanthropy. They live in Bradenton and generally keep a low profile in the Community. Debra’s passion is truly the Museum of Art.

James B. Stewart is a Professor Emeritus of Labor Studies and Employment Relations and African and African American Studies and Management and Organization at Penn State University. He previously served as vice provost for Educational Equity and Director of the Black Studies Program. As vice provost he was responsible for planning, developing, coordinating, articulating, and advocating the university’s goals, policies, and procedures pertaining to diversity, equity, and inclusion. Dr. Stewart's research interests include Diversity Management, Globalization, and Africana Studies. His ten books include Black Families: Interdisciplinary Perspectives, The Housing Status of Black Americans, W.E.B. Du Bois on Race and Culture: Philosophy, Politics and Poetics, African-Americans and Post-Industrial Labor Markets, Managing Diversity in the Military, Flight in Search of Vision, and African Americans in U.S. Labor Markets. Dr. Stewart is the past-president of the National Council for Black Studies, he has also served as a consultant for many universities and the Department of Defense. He is the recipient of many awards and honors not the least of which is the Award for Outstanding Contributions Improving Equal Opportunity and Cross Cultural Relations, Penn State University.

Keebler J. Straz is President of the David A. Straz, Jr. Foundation of Tampa, Florida and is currently pursuing her LL.M in Taxation at the University of Florida’s Levin College of Law. In 2021, she earned her J.D. from Wake Forest University School of Law. A graduate of Northwestern University, she double majored in Theatre and Biological Anthropology with a minor in Classical Antiquity. Keebler clerked as Legal Extern for the Hon. John L. Badalamenti, U.S. District Judge, Middle District of Florida and served as a Law Clerk Intern for Judge Nelly Khouzam at the Florida Second District Court of Appeal. In 2020, Keebler was elected as a Managing Director of the Metropolitan Opera, New York. Keebler also serves on the Wake Forest University School of Law Rose Council and is a Trustee of Florida House on Capitol Hill, the State of Florida’s embassy in Washington, D.C. Additionally, Keebler is a Trustee of the Lowry Park Zoo Endowment Board, the Tampa Bay Performing Arts Center Foundation Board, the Tampa Museum of Art, and Metropolitan Ministries. Keebler was the Chair of The Metropolitan Opera’s New Year’s Eve Gala 2022, and was a Co-Chair of the gala in 2021 and 2020. A member of the Junior League of Tampa, Keebler enjoys spending time with her friends and family, cooking, boating, and playing with her two goldendoodles.

Janice Tibbals Mobley of Sarasota, Florida and Knoxville, Tennessee, has been an active supporter and advocate for The Ringling Museum for almost 30 years. A resident of Sarasota, she was born and raised in LaFollette, Tennessee. Janice and her husband Howard have three children, five stepchildren, sixteen grandchildren, and five great grandchildren. Since their marriage in 1991, Janice has dedicated herself to supporting Howard’s passion; working with him to install The Howard Bros. Circus model in venues around the country and engaging with the community to build support for the Circus collections at The Ringling. In 2000, and again in 2008, Janice and Howard donated funding, which was matched by the state, for the construction of both phases of the Circus Museum’s Tibbals Learning Center. The building project initiated a period of growth at the museum in its early years under the management of Florida State

University. Their gift also established the Tibbals Endowment, providing funds for the ongoing care of circus collections, staffing, and programing. Today, the Howard Bros. Circus model is the centerpiece of the Circus galleries and Tibbals Circus Collection is an unparalleled collection of Archival holdings documenting the historyof the circus. Janice believes strongly in an ongoing commitment to personal and financial involvement in the care, growth, and improvement of the Museum and its collections.

Marla Vickers is Florida State University’s vice president for University Advancement and president of the FSU Foundation. An FSU alumna, she began in this position on October 1, 2022 after serving as associate vice president of Advancement at Emory University in Atlanta. She has more than 20 years of experience in higher education including stints at Yale University, The University of Chicago, George Washington University, Duke University, and Georgetown University. Vickers earned a bachelor’s degree from the University of Georgia and a master’s degree in public history and historic administration from Florida State University. Additionally, she has an MBA from George Washington University and is pursuing a Doctor of Education degree at Vanderbilt University where her studies are focused on leadership and learning in organizations. As vice president, she leads FSU’s fundraising, alumni relations, advancement services and real estate giving and will work closely with the Seminole Boosters.

Kirk Ke Wang has been a Professor of Visual Arts at Eckerd College since 1993 and is a professional artist and an educational software developer. He was born in Shanghai, China, and received MFA degrees from the Nanjing Normal University in China and University of South Florida in the U.S. In 1986, Mr. Wang came to the U.S. as an exchange scholar continuing his graduate studies. After receiving his second MFA, Mr. Wang was appointed as the art director of a design firm and designed many projects for the entertainment industry, such as Disney World, MGM Studio, Sea World, and Busch Gardens, etc. In the early 1990s, Mr. Wang taught at the Ringling College of Art and Design in Sarasota. He joined Eckerd College as a tenured full-time faculty in the fall of 1993. Mr. Wang has exhibited his art in art galleries, non profit institutions, and museums locally, nationally, internationally, such as the Museum of Modern Art, PS1 in NYC and the National Museum of Art of China in Beijing. His works have been collected by museums, galleries and private collectors in the US and Asia, including the National Gallery in Beijing. Mr. Wang was awarded the bronze medal by the Cultural Ministry of China, and he is also the recipient of numerous grants and awards from many distinguished institutions, such as,the National Endowments for the Arts, the Freeman Foundation, Ford Foundation, National Asian Network, Florida Arts Council, etc. In early 2000s, Mr. Wang led a team of educators, artists and computer software engineers to develop a computer learning system for early education, which was implemented by many private and public schools nationwide. In 2020, Mr. Wang was appointed by the mayor of Tampa to serve on the Public Art Committee of the City of Tampa, Florida. Mr. Wang maintains a studio in Tampa and NYC, and he often travels back to his hometown, Shanghai.

The John and Mable Ringling Museum of Art Foundation, Inc Board of Directors

Ex-Officio Members

Joan Uranga is the 2023-2024 Chair of the Volunteer Services Advisory Council (VSAC) at The John and Mable Ringling Museum of Art. Joan is originally from New Jersey, but retired to Florida in 2002 after working for a national insurance company in Northern California. In October 2002, she began training as a Ringling Docent and currently provides tours in the Ca' d'Zan, Circus Museum, and Bayfront Gardens, which she still enjoys. Joan has served on the Docent Advisory Council and was Chair during the 2012–2014 term. She has been an active member of the Volunteer Services Advisory Council (VSAC) Recognition Committee for many years and was recently elected to the role of VSAC Chair for the 2020–2022 term. In 2016, Joan was honored as the Florida Association of Museums (FAM) Outstanding Volunteer. She has also volunteered for Ringling special events and with the Membership Department, and she continues to volunteer as an usher for the Asolo Repertory Theatre. Besides her volunteer work, Joan loves to travel (especially to see her two young grandsons in Germany and one in Hong Kong), play tennis, read, and visit the wonderful cultural offerings of Sarasota.

AUDIT

The John and Mable Ringling Museum of Art Foundation, Inc.

Meeting of the Audit Committee

Chao Lecture Hall AG ENDA

January 25, 2024 2:00 PM

I. Call to Order

II. Approval of Minutes of the October 12, 2023 Meeting

III. New Business

IV. Adjournment

AUDIT COMMITTEE MEETING

The John and Mable Ringling Museum of Art Foundation, Inc.

MINUTES October 12, 2023

Committee members present:

Ronald A. Johnson, Chair

Larry J. Cuervo, Jr.

Cynthia L. Peterson

James B. Stewart

Jean Evans, Staff Liaison

Museum Staff:

Jevon A. Brown, Eleanor Merritt Fellow

Jean Evans

Steven High

Lynn Hobeck Bates

Monique Saunders

Mark Terman

Roseann Vreman

Carla Warman

Members Absent: None.

Others present:

Dennis W. Archer

Warren R. Colbert, Sr.

H.Michael Bush

Leon Ellin

Elma Felix

Meg Hausberg

E.Marie McKee

Frederic D. Pfening, III

James B. Stewart

Art Wiedinger, FSU

Clint Smith, HBK

Teal Strammer, HBK

CALL TO ORDER

Ron Johnson called the meeting to order and determined that a quorum was present.

APPROVAL OF MINUTES

Ron Johnson entertained a motion to approve the minutes of the April 27, 2023 meeting.

It wa s moved by Jim Stewart and seconded by Larry Cuervo for approval:

THAT the Committee approve the Minutes of the April 27, 2023 meeting as presented.

The motion passed unanimously.

Audit Committee Meeting of October 12, 2023

NEW BUSINESS

Jean Evans introduced our HBK auditors, Clint Smith and Teal Strammer, who presented the FY23 draft audit results and industry benchmarking analysis

Clint Smith reported that HBK was again able to issue an unqualified opinion on the financial statements. However, they did run into a couple audit adjustments that needed to be posted as well as a few areas in internal control that they felt could use a little bit of strengthening. As far as any changes to the accounting standards, and GASB updates, there are a few things coming out over the next few years, but nothing that's really going to impact the Ringling. There were no changes in the accounting estimates from the prior year. And they are in the process of preparing the 990 tax return.

Teal Strammer discussed the audit. HBK did issue an unqualified opinion, which just means that the financial statements are fairly presented in all material respects. But in the audit process, they did have a few material adjustments that needed to be made. So the first adjustment that was made by management was to record a prior year entry to reclassify disposals on fixed assets. And essentially, this is just a reclass within the fixed assets as a whole, to match the detail that Ringling has, and just to make sure that going forward, depreciation is matching the appropriate fixed asset class. Adjustments number two and three are in regard to the investments that are held at Northern Trust. For these accounts, there are some restrictions that relate to the investment accounts. And so we were assisting with adjusting the investment activity as of year-end for the Northern Trust accounts. Again, for adjustment number three, you will see this is just to adjust the investment balance for this other Northern Trust account, so that the year-end balance ties to the year-end statement. T he last adjustment that was made during the audit was to tie that position to the prior year audited financial statements. Essentially, there was a prior year gift that should have been restricted. So again, this was just another classification issue.

It's normal for adjustments to be made during an audit. And so management can elect to make them or not to make them and when they decide not to, that could be a multitude of reasoning. HBK just analyzes those to make sure that not posting them wouldn't materially misstate the financial statement. So there were three adjustments that were elected not to be made: to adjust for imputed interest on note receivable; to record FY22 and FY23 prepaid insurance; and to adjust FY22 membership salaries accrual.

Before moving on to the benchmarking analysis, questions and comments were made. Ron Johnson commented that internally, what we really need so that we can actually have this organized is a heat map. Because it's not sufficient to say that it's staff turnover, because it's also supervision and in some cases interpretation of policy. And so I think it would be very useful for us to see where these risks are,

when you know, a transaction is not properly classified, especially given the audit standards, or what is restricted and unrestricted, that's important. And then also, when you are not properly expensing, it's not that there's anything untoward happening, but in situations where things are untoward, those are the places where you find yourself in the soup. And then you have this liability that's floating around. And sometimes it doesn't even make it into any numbers anywhere. And so it's just we really will need to look at how we can actually structure this in terms of heat map. If turnovers are the issue, then turnovers are red, and then we need to see a strategy that's going to resolve that and so forth

Clint Smith responded that they have discussed with Jean Evans and Monique Saunders about coming in, after the audit, on a consultative basis to go over some of the investment reconciliations and things like that and help improve processes.

Jean Evans was asked by Leon Ellin whether she provides a written response to the audit. She replied that she does discuss the material audit adjustments as part of a cover letter in sending the audit up to FSU. It also includes action items.

Finally, the auditors shared some of the industry analysis that they do, and it was agreed that the presentation would be circulated to the Board members for further review. Measures included Program Efficiency, which shows the basic relationship between program expenses and total expenses. Expenses Breakdown shows the breakdown of all expenses of the nonprofit. Fundraising Efficiency shows how much contribution revenue a nonprofit can generate from fundraising activities/expenses. Cash Reserve is a rough measure of the amount of cash on hand to cover future expenses. Gross Program Margin indicates the percentage of revenue that is left over after paying for program expenses.

Motion by Michael Bush and seconded by Larry Cuervo:

THAT the A udit Committee acknowledge receipt of the Independent Auditors' Report and Financial Statements as of June 30, 2023, as prepared by the firm of Hill, Barth & King LLC (HBK) and recommends them to the Board for approval.

The motion passed unanimously

Ron Johnson then turned to discussing items that we would like to see on the agenda as we go forward. He observed that having a heat map and seeing how we’re progressing against those items would be very important. Also Leon Ellin’s observation that management should respond to the audit and make that available in the reporting. Michael Bush discussed the questionnaire he received from the auditors having to do with how the Board oversees management to mitigate risk. Jean Evans gave presentations in the previous year on some of these issues. There is also the issue of art acquisition and the risks those expose us to. What is the oversight that mitigates risk with Collections? Ron Johnson observed that an audit committee does not simply consider the audit but also provides information about risk

Committee Meeting of October 12, 2023

mitigation. There are areas of exposure that could be covered. Cash handling should be on the agenda with staff coming to present on their own responsibilities. Perhaps a joint committee with Collections would be useful. Warren Colbert asked about business interruption insurance. Ron Johnson responded that business interruption insurance as well as an understanding of disaster recovery planning would be useful A basic conversation and additional committee meeting about areas of exposure would be useful. Leon Ellin responded that a risk assessment analysis could be done outside of the audit, but the audit itself would need to expand its scope considerably if it wanted to address all aspects of the Ringling beyond RMAF. What might be useful is to focus on what we want to have audited. Ron Johnson responded that it might be useful to meet with the FSU auditors. Michael Bush commented that he added an agenda item to the Finance Committee to discuss insurance. Ringling cash reserves would provide some support. Going back to the question of Collections, Steven High described the provenance of our Cypriot antiquities.

ADJOURNMENT

There being no further business to come before the Committee, the meeting was adjourned at 3:00 p.m.

Ronald A. Johnson, Chair

Date

BUDGET/FINANCE

The John and Mable Ringling Museum of Art Foundation, Inc.

Meeting of the Budget, Finance and Investment Advisory Committee

Chao Lecture Hall AG ENDA

January 25, 2024 3:15 PM

I. Call to Order

II Approval of Minutes of October 12, 2023 Meetings

III. Reports • PNC Investment Update

FSU Foundation Update

Financial Statements IV. Old Business V. New Business VI. Adjournment

BUDGET, FINANCE, AND INVESTMENT COMMITTEE MEETING

The John and Mable Ringling Museum of Art Foundation, Inc. MINUTES October 12, 2023

Committee members present:

Budget, Finance & Investment

H.Michael Bush, Chair

Daid W. Benfer

Larry J. Cuervo, Jr.

Leon R. Ellin

Ronald A. Johnson

Frederic D. Pfening, III

Mercedes Soler-Martinez

James B. Stewart

Jean Evans, Staff Liaison

Members Absent: None.

CALL TO ORDER

Museum Staff:

Jevon A. Brown, Eleanor Merritt Fellow

Jean Evans

Steven High

Lynn Hobeck Bates

Marianne Rathslag

Mark Terman

Others present:

Warren R. Colbert, Sr.

Elma Felix

Meg Hausberg

Art Wiedinger, FSU

Michael Bush called the meeting to order and determined that a quorum was present.

APPROVAL OF MINUTES

Michael Bush entertained a motion to approve the minutes of the April 27, 2023 committee meeting and the May 9, 2023 subcommittee meeting.

M oved by Jim Stewart and seconded by Larry Cuervo for approval:

THAT the Committee approve the Minutes of the April 27, 2023 committee meeting and the May 9, 2023 subcommittee meeting as presented.

The motion passed unanimously.

NEW BUSINESS

Michael Bush welcomed David Benfer as a new C ommittee member and Elma Felix as a new Board member

Patrick Nolan from Northern Trust presented the third quarter 2023 investment review along with a deeper dive into asset allocation. This presentation was made available to all committee members after the presentation. Patrick presented on the economic market overview year-to-date global equity performance. Looking at asset class returns across the board, US equities have led us higher with everything else falling in line except for the bond market, where we continue to see stress as a whole. When we look at manufacturing domestically and abroad, we are slowing. If anything, we're actually in contraction territory. But the one thing that's keeping us afloat continues to be unemployment, or rather those that are employed. T he job market here domestically continues to be super strong. Participation rate is picking up. When it comes to equities, we are at a high level. T here are not too many periods throughout the last 100 years that we actually see multiples this high. And as a result, we are unfavorable to equities. We're not sure how things are going to go over the next year or two, but our base case is significant slowdown but not a recession just yet. But as we look out, we know that if we project where your account will be over the next 5-10 years, we probably won't get a 10 -12% return in equity market like we did historically, but it would be closer to maybe 6-7% or 8% because of where valuations are today. When it comes to overall risk of your portfolio, we continue to be underweight risk comparatively to your investment policy statement. We just don't see a good opportunity right now to add risk

Next is what we call our capital market assumptions. Every summer to fall, NT comes out with capital market assumptions. It's taking a snapshot of the market looking out for the next 10 years. And this feeds into everything we do as a firm . T he six items we think will drive the market over the next 5-10 years: growth restraints, inflation adaptation, central bank concessions, geopolitical fault lines, a sustainable green transition, and private matters. And then also what individual market returns over that same time period. And as you can see here, I like using the 7% threshold. If you recall last year, we had no asset classes, besides private equity, that we saw over 7% return. We're seeing that increase. And that is because of where interest rates are today. Everything's based off interest rates. So as interest rates move higher, that moves, potentially, the return stream of every other asset that has risk above that higher.

So what does this mean for you? If we look at your investment account, this is a 10 -year outlook. And when we look at your current investment account, today, we see a compounded return of roughly 5.5% Now, when we look at your investment account, and we look at all the other firms that we currently manage around the country, you are in a very conservative spectrum between risk and non-risk. Most organizations take a lot more risk than you currently do today because they have to keep up with a spending policy And as a result, you're seeing roughly about 5.5% return. We put stress tests on here for you to just take a snapshot of what different markets may look like. If we faced something like the financial crisis, again, over the next 10 years, your portfolio here would be down anywhere between we'll

say 13-15%, which is again, for that type of situation, conservative. Our average client would have a portfolio down roughly about 35%, if not more. So again, you're more on the conservative side of things.

When we look at the asset allocation, what I am presenting to you now is the idea that hopefully we could change your investment policy statement or update it to our new optimization models. You can see here to get the same return you have in the past, we're actually taking a little bit less risk. What we want to do is increase exposure to US equities and decrease to international and decrease to high yield. Using our new optimization models, we're saying we can get you to similar return with less risk by m aneuvering slightly in different asset classes. My proposal is to change the current allocation to the new allocation that I am presenting.

Moving on to your cultural account, this is the smaller account sponsored by the state. You have a certain threshold you can't fall below. As a result, this is even more conservative than your investment account. We are comfortable with this allocation still.

Moving on to your investment account. As I mentioned, what you see with total equity, you see your policy allocation here is at 29%, but we are underweight equities currently at 25%. Policy allocation for fixed incomes is at 64%, and we are at 63%. But there's a difference there. We're overweight, high yield bonds, and we're underweight conventional bonds. And then finally, we are overweight alternative assets and overweight cash. When it comes to your returns, you can see in here for three months, we were down to .0 7% net of all fees, and that outperform ed your benchmark for the three-month period because we are underweight risk. When you look at year to date return up 2.79% versus your benchmark, which was up 2.27%. That's just telling you net of all fees that we are actually still beating your benchmark overall.

Ron Johnson asked to have a copy of the presentation in advance, and Michael Bush said this should have happened and would happen going forward. Ron Johnson also mentioned that, if you actually look at the data, when the Fed began increasing interest rates, federal government spending turned around from actually declining to going from negative to positive, and it's continued. And that appears to be the main driver—business fixed investment has been down. And therefore you will then see that show up in the PMIs. It’s government spending that has been keeping things going. So where do you go beyond 2024 in terms of where you see all this finally leveling out, given that the Fed is not going to lower rates until they hit that magical 2% inflation?

Patrick Nolan responded that rates will be higher for longer due to inflation adaptation, meaning it's going to be hard to continue to push inflation lower so inflation will be around that 3-4% and getting it from 4% to 2% is going to be very difficult. As a result, rates will stay higher for longer and will impact economy.

Jim Stewart wanted to know more about the assumptions that are related to the fiscal side of the house and also consumer behavior embedded in the model.

Patrick Nolan responded that we continue to see consumer spending being cut because of inflation. So we don't see wages keeping pace with current inflation. Again, as a result, what the consumer can spend their money on when savings rates have diminished will be less, and we're seeing credit card spending, increased credit card debt, because people are trying to keep pace That doesn't mean that we will enter a recession it just means things will slow like we're seeing in the data now. What will change that is if people start to get fired. So the way we spend money today doesn't change by inflation. But if we lost our jobs tomorrow, especially those who are employed, that changes our spending habits overnight, so that's what we have to keep an eye on.

David Benfer asked about the average length of our bond portfolio. Patrick Nolan responded we have an average duration of about six. So when we look at your portfolio, today, we've been underweight duration, and I would say we're probably closer to two and a half. And we have recently as of last month, increased that slightly, so you might be closer to three. And as we progress moving forward, I expect that duration to gradually increase

Mercedes Soler-Martinez asked about the pros and cons of taking more risk. Patrick Nolan responded that most organizations like Ringling have a spending policy, meaning they have to meet a certain return threshold or hurdle Let’s use 4% as a spending policy and add in inflation and fees. As we went through your portfolio today, as you mentioned, we see your current portfolio at 5.5%. So it all depends on spending policy and what your use of this cash and what your needs of the cash are. T o increase risk in the portfolio, you would have a higher return overall. But also in downturns, you would have a potential downdraft that will be bigger than what you currently have. So I think the question should be, what is this capital used for? What do we need it for? And what type of spending policies should we have? When we went through the COVID downturn in 2020 , we put a lot of your capital into cash because we had no idea how things would play out, and we needed that cash holding. Has that changed as the spending policy has changed? That's something I'd probably need to get to know to be able to take a viewpoint on whether we should increase risk.

Warren Colbert asked that Patrick Nolan share the results of the stress test on the cultural endowment that he mentioned. Patrick agreed to do so.

John Carrigan, CFO of the FSU Foundation, next presented on the FSU Foundation endowment This presentation was made available to all committee members after the presentation. John reviewed some

updates to the Foundation's endowment for the previous fiscal year as well as some investment return updates provided by our investment advisors, Cambridge Associates.

Ron Johnson asked about the fund that was underwater. John Carrigan responded it could be a combination of being a new fund in addition to the returns not doing well. Leon Ellin asked for a followup to his question at the last meeting having to do with how they calculate the value of the private equity holdings The response he received was that it was due to a recording lag. John Carrigan did not receive additional information, but he will follow up.

Jean Evans next presented on the T-bill investments that were decided upon at the previous Committee meeting in April. It was observed then that the operating account had a balance of about $3 million, which was high due to several reasons. In speaking with Bob Hunter, who was the Chair of the Finance Committee at that time, and with Michael Bush, as T reasurer, and Warren Colbert, as Chair, we looked into what we could do with that money that would be an investment better than what we were doing in the operating account. So in the end, we decided to take $1.5 million out of that account, and we transferred it over to a Northern Trust brokerage account, and we invested in treasury bills so that they're rolling every month after the first maturity and staying laddered, giving us about a 5% return on the investment. And so this was the solution to the cash management issue of having too much money in the operating accounts. We did take a very conservative approach in this $1.5 million, and we could take around $500,000 more out of that account and keep investing it. What's good about this strategy is that this money becomes readily available if needed.

Michael Bush asked about the $8 million that the Ringling has in cash in FSU auxiliary. Steven High responded that our cash is not just cash, it's auxiliary funds to the university. So there are restrictions on that it's state money. So we can look into that and see if there is a way we can reinvest that, but his feeling was that they don't allow that. But we'll check. Jean Evans added that we are earning interest on the $8 million. Larry Cuervo asked whether this is something we could make a recommendation regarding. We will need to understand the process in order to do that.

Michael Bush discussed the AAMD statistical survey as a way of creating scale and relationships as we go through our statistics. As it relates to total museum space, we ranked 16th among our peers. In terms of attendance, we ranked 19th. In terms of our fiscal budget, we rank 37th. And in terms of new art purchases, we're ranking 115th. It should be possible to figure out whether we are trending up or trending down and remaining consistent with our peers. It's just something to create a talking point, not to draw conclusions, except the one that is glaring is our ranking when it comes to art purchase. Jean Evans mentioned that the data is biannual with the last in FY22. Meg Hausberg suggested that we need to consider other factors, such as the 115th ranking doesn’t take into account donations. Steven High

mentioned that we choose to spend our money elsewhere—for example, addressing our staffing issues. He would rather see us invest in staffing rather than buy a limited amount of art.

Michael Bush continued to review our finances. For FY23, revenue exceeded expenses to create a savings of $1.1 million. Underspending was an issue of timing v. savings with about 50% budgeted again into FY24. In FY24, our budget went up by about $2 million. Jean Evans explained that the budget increased by 9% overall. In budgeting, we kept attendance flat but increased dollars per visitor due to a fuller listing of offered tours and other add-ons In addition, a general increase in membership and development allowed us to increase our budget. The chiller plant expenses also increased, but this is a cost share endeavor with money in/money out. On the expense side, salaries grew by over $1 million. We’re looking at relatively few additional staff positions, but there were growths in compensation overall. We are not only understaffed, but we struggle to offer competitive pay, and the increase in salary is an attempt to address that. Programming also grew whereas operations remained largely stable.

Michael Bush asked about state funding. Jean Evans responded that state funding is remaining largely stable so that we’re increasing the budget through auxiliary revenue.

Our first quarter performance is very good, with revenue and admissions up in comparison to FY23.

Michael Bush asked that we review our general insurance. Jean Evans explained that our insurance comes primarily from the State of Florida Trust Fund. Our fine arts insurance policy comes from Huntington T. Block. Finally, Cincinnati Insurance Company covers our directors and officers liability. Michael Bush saw value in considering business interruption insurance. Steven High observed that we probably need to increase our fine arts insurance coverage.

Jean Evans also explained that we have Ringling capital projects that are run through FSU and for which the funding is not included in the operating budget. Michael Bush remarked that we could be using donor money to finance these projects. We discussed that these projects are often initiated by our own money but then they attract donors. So we do fundraise for these projects.

ADJOURNMENT

There being no further business to come before the Committee, the meeting was adjourned at 4:15 p.m.

H.Michael Bush, Chair

Date

John and Mable Ringling Museum of

1,940,205 8,194,696 7,437,766

2,852,150

4,206,136 1,803,930 1,961,635 7,971,701

The John and Mable Ringling Museum of Art CONSOLIDATED STATEMENT OF OPERATIONS July 1, 2023 to November 30, 2023 For Management/Internal Purposes Only

Disclosure: The above actual and budget numbers do not represent the financial results for a single reporting entity, but rather a collaboration of funding sources with authority spread among various legal entities; in total comprising total operating revenues and expenses for The Ringling Museum. These funding sources include, but are not limited to: endowments and unrestricted funds under the stewardship of The John and Mable Ringling Museum of Art Foundation, education and general funds allocated by Florida State University and ultimately controlled by the State of Florida, auxiliary funds controlled by Florida State University and its Board of Trustees, and endowments stewarded by the Florida State University Foundation.

A - Funds received at the beginning of the year and spent throughout the remainder of the year.

The John and Mable Ringling Museum of Art SUMMARY OF MUSEUM OPERATIONS

July 1, 2023 to November 30, 2023

COLLECTIONS

The John and Mable Ringling Museum of Art Foundation, Inc. Meeting of the Collections Support Committee

January 26, 2024

Committee Goals

Continue to diversify the collection by supporting the curatorial staff in their efforts to acquire work by underrepresented artists.

Identify and cultivate collectors and supporters who are possible donors of objects or who could provide funding for acquisitions or conservation

Encourage Board Members to support acquisitions through gifts of art or funds for purchases

AGENDA

January 26, 2024 9:00 am –10:30 am

A. Call to Order

B. Minutes of October 13, 2023 Meeting

C Acquisitions by Purchase – Action Required

1. Elisa Harkins Video and Mixed Media – Elisa Harkins…………………………………………………………… Ola Wlusek

2.TR2023.24 – Hollis Chitto Beadwork – Hecho A Mano Gallery, Santa Fe, New Mexico Ola Wlusek

3.TR2023.23 – Kunimasa Kabubki Print of Chiarini Circus – Scholten Japanese Art, New York City Rhiannon Paget

D. Acquisitions by Donation – Action Required

4.TR2023.21 – 10 Saito Kiyoshi Drawings – Ted Miller Rhiannon Paget

E Loan Requests – Action Required

5. OL2024.3 – 2020.19.3, SN1635.940.30 – Bothwell Sculpture and Crystal Ball – Peabody Essex Museum, Salem, Massachusetts .............................................Marissa Herson, Jennifer Lemmer-Posey

F Acquisitions Purchased – END OF YEAR 2023 – Information Only

6.2023.28 – Sugoruko Print – Mozu Books, Osaka, Japan..………….………………………………….Rhiannon Paget

7.2023.4 – Sebastiaan Maarten Bremer Print – Graphicstudio, Institute for Research in Art, University of South Florida Ola Wlusek

8.2023.24 – Arturo Herrera Print – Graphicstudio, Institute for Research in Art, University of South Florida Ola Wlusek

9.2023.23 – Stephen Powell Glass sculpture – Larsen Art Auction, Scottsdale, Arizona…………………………………………………………………………………………………………………………………….Marissa Hershon

10.2023.25 – Sonja Blomdahl Glass sculpture – Ken Saunders Gallery, Chicago, Illinois………………………………………………………………………………………………………………………………………Marissa Hershon

G. Acquisitions by Donation – END OF YEAR 2023 – Information Only

11. 2023.30 .1-8 – 8 Abelardo Morell Photographs – Sachin Lulla Chris Jones

12. 2023.29 – 57 Photographs – Kalman Schoor…….……………………………………………………………....….Chris Jones

13. 2023.32 – 4 Works by Otto Neumann – Rothschild Family Ola Wlusek

14. 2023.33 – 82 Japanese Prints and Paintings – Charles and Robyn Citrin …….Rhiannon Paget

15. 2023.34 – 4 Japanese Prints – Allen and Stephanie Hochfelder Rhiannon Paget

16. 2023.35 – Shinique Sm ith Sculpture – Carrie Mackin and Noel Kurdi…………………..….Sarah Cartwright

17. 2023.36 – Danny Lyon Civil Rights Portfolio – Richard and Ellen Sandor .Chris Jones

H. Reports by Curators, Conservation, and Collections – Information Only

I Adjournment

COLLECTIONS SUPPORT COMMITTEE MEETING

The John and Mable Ringling Museum of Art Foundation, Inc.

MINUTES

October 13, 2023

Committee Members Present:

E. Marie McKee, Chair

Jasleen “Ritu” Anand

Dennis W. Archer

Adele Fleet Bacow

Francine B. Birbragher

Rebecca Donelson

Elma Felix

Margaret “Meg” D. Hausberg

Janice Tibbals Mobley

Frederic D. Pfening, III

Debra J. Short

Mercedes Soler-Martinez

Keebler J. Straz

Kirk Ke Wang

Committee Members Absent:

None

Others Present:

Warren R. Colbert, Sr.

Larry Cuervo

Ronald A. Johnson

Leon Ellin

Kelly A. Romanoff

Joan Uranga

Art Weidinger

CALL TO ORDER

Museum Staff Present:

Steven High, Executive Director

Jean Evans, Deputy Director

Jay Boda

Amanda Robinson, Staff Liaison

Barbara Ramsay

Sarah Cartwright

Jennifer Lemmer- Posey

Chris Jones

Rhiannon Paget

Elizabeth Doud

Leslie Purple

Heidi Taylor

Mark Terman

Michelle Young

Marci Boland

Alie DeNofa

Kelsey Hallback

Michele Connizzo

Helen Zarling

Katie Nickel

Carol Pelletier

Blair Kirkwood

Janairy del Valle

Jevon Brown

Ross Corona

Charlie McCloud

Chair E. Marie McKee called the meeting to order at 9:05 a.m.

Collections Committee Meeting, October 13, 2023

• Minutes of the April 28, 2023, Collections Support Committee meeting was approved as presented.

• 4 Acquisitions by Purchase found on pages 109 - 123 of the Board Book were approved as presented.

• 1 Acquisition by Donation found on pages 125 - 126 of the Board Book were approved as presented.

• 3 Loan Requests as presented on pages 127-136 of the Board Book were approved as presented.

ACTION ITEMS:

There were no additional action items added at this time

APPROVAL OF MINUTES

The minutes of the April 28, 2023, Collections Support Committee Meeting were presented for approval. Chair McKee entertained a motion to approve the minutes on pages 83-87 of the April meeting

Kirk Ke Wang moved and Francine Birbragher seconded

THAT the Committee approve the Minutes of the April 28, 2023, Collections Support Committee meeting.

The motion carried.

REPORT ON CHANGE TO THE RINGLING’S COLLECTIONS POLICY

Executive Director Steven High presented a change in The Ringling’s Collection policy as related to deaccessioning. Following AAMD guidelines, when a work is deaccessioned, the monies acquired from the sale of the work can only be put towards acquisitions or direct care of the artwork. Direct care is defined as the direct costs of storage or preservation of artwork.

ACQUISITIONS BY PURCHASE

Chair McKee introduced the following 7 Acquisitions by Purchase found on pages 89- 115 of the Board Book to the Committee. Staff presented the objects proposed for purchase and answered inquiries posed by Board Members, both in terms of the artwork shown and broader collecting strategies.

Chair McKee entertained a motion to approve the 7 purchase requests as presented.

Francine Birbragher moved and Kirk Ke Wang seconded

13, 2023

THAT the Collections Committee approve the 7 Acquisitions by Purchase found on pages 89-115 of the Board Book.

The motion carried.

ACQUISITIONS BY DONATION

Chair McKee introduced the 8 Acquisitions by Donation found on pages 117- 161 of the Board Book to the Committee. Staff presented the objects to be acquired

Chair McKee entertained a motion to approve the 8 Acquisitions by Donation as presented.

Francine Birbragher moved and Kirk Ke Wang seconded

THAT the Collections Committee approve the 8 Acquisitions by Donation found on pages 117-161 of the Board Book.

The motion carried.

LOANS

Chair McKee introduced the 1 Proposed Loan Renewal Requests as presented on pages 163168 of the Board Book to the Committee.

Chair McKee entertained a motion to approve the 1 Loan Requests as presented.

Jasleen Anand moved and Mercedes Soler-Martinez seconded

THAT the Collections Committee approve 1 Loan Requests as presented on pages 163-168 of the Board Book.

The motion carried

ACQUISITION - INFORMATION ONLY

Chair McKee introduced 1 Acquisition by Purchase and 1 Loan Request which were presented as Information-Only found on pages 169-175 of the Board Book. The Acquisition by Purchase was for the Mountains of the Mind: Scholars Rocks from China exhibition. The Loan Request is a revision of a previous request which proposes new loan dates.

REPORTS

Individual reports from the Curators, Collections, and Conservation departments are provided in the October Board Book on pages 177-191.

Curators and Collections staff were asked to give a brief report on the most exciting things they have been or will be doing.

The Ringling Collections Department: Amanda acknowledged the staff and their preparation for Hurricane Idalia. The damage wasn’t bad, but they did a wonderful job. Because of staff efficiency, we were able to open Ca’ d’Zan to the public a day earlier than anticipated.

Sarah Cartwright reported that she was pleased with how the Guercino exhibition turned out, as well as the interest from the press that it has been receiving. She attended the Board and Circle members trip in May to the Juan Pareja exhibition at the Metropolitan Museum of Art. Currently she is working with living artist Shinique Smith, whose works will be displayed both in the museum's permanent galleries and in Gallery 21, beginning December 15 and going through January 2025.

Ola Wlusek was unable to attend due to a travel conflict. Steven High noted that she had a remarkably successful reception for Reclaiming Home and that overall, it was a very successful exhibition. The museum is acquiring work from artists featured in the exhibition and will continue to do so.

Marissa Hershon was unable to attend due to illness. Steven High noted that she had attended the Attingham Study Programme in Venice, which is famous and has a competitive application process. He concluded by saying that it’s great The Ringling’s Curators can be accepted into programs such as this one.

Rhiannon Paget began by thanking the committee for supporting acquisitions as two Japanese circus prints purchased in 2021 are now on loan to an exhibition called “Meiji Modern” and is currently touring the U.S. She explained that this is a wonderful example of how acquisitions not only enrich the Ringling’s collection, but exhibitions outside of The Ringling too. She encouraged committee members to go to view the 19th c. Edo lantern, an acquisition supported by Bob and Mary Levenson in memory of George and Mary Ellis now on view at the Tea House. She concluded by sharing that her fun project that she worked on last year about cats in Japanese art is now a book available for sale and represents the Ringling’s collection, local private collections and collections of 50 institutions both domestic and international.

Jennifer Lemmer-Posey is collaborating with Chris on the “Conjuring the Spirit World” exhibition and contributing to the catalog. Circus is reestablishing itself as a department and as a result, has a few staffing changes. A circus registrar will be hired, and the Archives will move from under Jay Boda’s jurisdiction into their realm. Heidi Connor, Chief Archivist continues her work

on Circus Collections and institutional records, including reorganizing blueprints and making governing board records accessible. She is also currently planning for a symposium on “Wonder in the Arts” in June, exploring ways to connect visitors with campus collections and experiences. Separately, “The Greatest Show on Earth” is nearing completion pending a few final details and the Poster case will have a new rotation of Barnum and Bailey posters from 1888 to display.

Elizabeth Doud brought the board’s attention to the AoP 23-24 season booklet. Designed inhouse, it features all the performers for the season and provides information on each. She provided insight into the first performer of the season, La Dame Blanche, pertaining to her background and musical genre. She noted that following this performance would be Flamenco week and then emphasized the ancillary programming that the department puts together such as artist talks, specifically noting the upcoming talk with Hassane Kouyate. In addition to the first few performances, she noted the extensive work done in the theater since it moved to its new location and what still needs to be done down the line. There was a follow up question about the condition of the piano, which unfortunately cannot remain in tune. For now, when a piano is needed, one will be rented from Richard’s pianos until it’s determined whether to retire the piano completely or continue to have it serviced.

Christopher Jones noted that while Guercino is now open, the Lorna Bieber exhibition which was several years in the making will be closing. He encouraged the board to go visit the exhibit if they had not already, and to visit the newly opened “Working Conditions”, an exhibition he assembled from the permanent collection about issues of labor and how photographers imagined labor and the social issues surrounding it. Separately, work has begun on Skyway –the initial jurying has been done and now he, Ola and Bob will be doing 60 – 70 studio visits over the next 3-4 weeks. Additionally, he wrapped up an essay on the history of spirit photography for a catalog for Peabody Essex Museum. They are putting together an exhibition called “Conjuring the Spirit” that he and Jennifer will be collaborating with them on, that will be displayed at The Ringling in 2025.

Barbara Ramsay expressed her appreciation for Emily Brown, particularly for the work she’s done on the Cypriot project. Since the last board meeting, she has been able to bring on a 12-month, full-time objects conservation fellow who will be assisting Emily. Currently, she is still looking for a candidate for the painting conservation position and after returning from a conference in Valencia, she realized that many people are also looking to fill this position, so it may be more competitive and take more time to find a candidate.

ADJOURNMENT

There being no further business to come before the Collections Support Committee, Chair McKee entertained a motion to adjourn the meeting.

Jasleen Anand moved and Francine Birbragher seconded

That the Collections Committee adjourn the meeting.

The motion carried.

The meeting was adjourned at 10:36 AM

E. Marie McKee, Chair

Date

Proposed Acquisition by Purchase Collections Committee Meeting January 26, 2024

Agenda Item #1

Action Required

Objects:

Elisa Harkins (Cherokee/Muscogee [Creek], born 1978)

Mekusape Fullana, 2021

Edition of 5

Digital video with sound, 2:40 minutes

Performed by Emma Fish, Rita Gopher, Jewel Lavatta, Vtvssv Lavatta, Reina Micco, Alice Sweat

Filmed by Ian Byers- Gamber, Lief Hall

Recorded by Mark Kuykendall, Elisa Harkins, and Pablo de Ocampo

Produced and edited by Elisa Harkins

Shawl (mixed media)

One of a kind, made by the artist

29.5 x 56 in

Photograph

Edition of 5

Photo: Ian Byers- Gamber; Printed by Aurora Photo in Indianapolis, IN

Score

Edition of 5

Printed by Aurora Photo in Indianapolis, IN

Purchase From : The artist, Elisa Harkins

Purchase Price: $16,000.00 USD for entire work

Funding: Pending

Condition: The video was viewed during Reclaiming Home. The other works will be examined upon arrival.

Exhibitions: Reclaiming Home: Seminole Contemporary Art, The John and Mable Ringling Museum of Art, Sarasota FL, March 18 – September 4, 2023 (video); Elisa Harkins: Teach Me a Song, Crisp- Ellert Art Museum, Flagler College, St Augustine, FL, Sep 7 – Oct 18, 2023; Elisa Harkins: Teach Me a Song, The New Gallery, Austin Peay State University,

Clarksville, TN, Oct 30 – Dec 8, 2023; Elisa Harkins: Teach Me a Song, Halsey Institute of Contemporary Art, College of Charleston, Charleston, SC, Apr 5 – July 20, 2024.

Provenance: Collection of the artist Elisa Harkins

Reasons for Recommending Work:

Elisa Harkins is a Native American artist and composer based in Tulsa, Oklahoma. Her work is concerned with translation, language preservation, and Indigenous musicology. Harkins uses the Cherokee and Mvskoke (also known as Muscogee Creek) languages, electronic music, sculpture, and the body as her tools. In this video installation, six Seminole members of The First Indian Baptist Church of Brighton, located on the Brighton Indian Reservation of The Seminole Tribe of Florida, perform a Seminole and Muscogee (Creek) hymn. Mekusape Fullana (They prayed that dwelled here) is an opening prayer sung in Native Baptist churches in Florida and Oklahoma today, to honor ancestors and to celebrate Christian faith. The installation commemorates the struggle and resistance of over 60,000 Seminole, Cherokee, Muscogee (Creek), Chickasaw, and Choctaw peoples, who were forcibly relocated from their ancestral homelands in the southeastern US to newly designated Indian Territory (today Oklahoma) west of the Mississippi River after the passage of the Indian Removal Act in 1830. It is widely believed that Native peoples sang hymns as they were being forced down the treacherous route by land and water, known as the Trail of Tears, where thousands suffered and died from exposure, disease, and starvation during the US government’s ethnic cleansing between 1830 and 1850. An example of a Native hymn actively performed in many Native Christian churches, Mekusape Fullana is part of an ongoing project by Elisa Harkins to ask Native American friends to teach her a song. As Harkins explains, “Many elders who knew the songs have passed on. There are now only a few who hold the songs. There is a large effort to revitalize the Creek language and songs on the reservation and to pass the knowledge to the youth.” As many of the churches also conduct sermons in the Muscogee (Creek) language, they play an important role in the preservation of the language. Harkins uses Mvskoke languages as a tool in her art practice to access belonging and participation in Native communities. Her work is found in the collections of Crystal Bridges Museum of American Art in Bentonville, AR and the Whitney Museum of American Art in NYC.

1 Mekusape fullana, They prayed that dwelled here, Cesvs likan vpokepes, Now, they abide where Jesus is, Mekusape fullana, They prayed that dwelled here, Cesvs likan vpokepes,

Now, they abide where Jesus is, Mekusapvlk' vpeyvnna, The Christians have gone on, Roricvtet vpokepes.

They having arrived now dwell

2 Erkenake fullana,

They preached that dwelled here, Cesvs likan vpokepes, Now, they abide where Jesus is, Erkenake vpeyvnna, The Ministers have gone on, Roricvtet vpokepes.

They having arrived now dwell.

“In 2019, Harkins began her project Teach Me a Song which draws on her long- time interest in translation and language preservation. This touring exhibition is an extension of Harkins’ larger body of work in which she uses Cherokee and Mvskoke languages, electronic music, sculpture, and the body as her tools. She is the first person to use Cherokee in a contemporary song. At the heart of the exhibition is a video that threads together a series of nine inter- tribal song exchanges, traversing musical genres. Harkins introduces viewers to ceremonial, religious, country, rock & roll, and electronic songs that are imparted with both personal and cultural significance.” – Crisp- Ellert Art Museum press release.

The Ringling does not have any examples of video- based work by Native American artists in its collection. Adding this important video installation by Harkins will not only strengthen and broaden the modern and contemporary holdings, but also help to situate the videos and time- based media works currently in the collection by other non- Native contemporary artists, such as Cauleen Smith, Mickalene Thomas, and R. Luke DuBois, in a wider and more meaningful context.

Elisa Harkins received a BA from Columbia College, Chicago and an MFA from CALARTS. She has since continued her education at the Skowhegan School of Painting and Sculpture. She has exhibited her work at Crystal Bridges, documenta 14, The Hammer Museum, The Heard Museum, and Vancouver Art Gallery. She created an online Indigenous concert series called 6 Moons and published a CD of Creek/Seminole Hymns. She is also the DJ of Mvhayv Radio, an Indigenous radio show on 91.1FM in Tulsa, OK and 99.1FM in Indianapolis, IN. Radio III / ᎦᏬᏂᏍᎩ ᏦᎢ is a dance performance that features music and choreography by Harkins. With support from PICA and Western Front, songs from the performance have been collected into a limited edition double- LP which can be

found on Harkins’ Bandcamp. Harkins resides on the Muscogee (Creek) Reservation and is an enrolled member of the Muscogee (Creek) Nation. Harkins’s work is included in the book An Indigenous Present - by Jeffrey Gibson (2023), a monumental gathering of more than 60 contemporary artists, photographers, musicians, writers and more, showcasing diverse approaches to Indigenous concepts, forms, and mediums

Exhibition Plans: Future rotations from the modern and contemporary art collection

Still from video

Proposed Acquisition by Purchase Collections Committee Meeting January 26, 2024

Objects:

Hollis Chitto (Mississippi Choctaw/Isleta and Laguna Pueblos, born in 1989)

Bloodwork Number 2, 2017

Antique and contemporary seed beads, Swarovski crystal, Chinese crystal, lapis, Czech glass, silk dupioni, silk habotai 16 x 7 in

Purchase From : The artist through Hecho A Mano Gallery, Santa Fe, New Mexico

Purchase Price: $3,800.00 USD

Funding: Pending

Condition: Very good condition. A few beads are missing for one of the fringe elements at the attachment point to the back of the bag; the fiber strand is slightly longer, and the remaining beads are slightly looser than other fringe components on the bag.

Exhibitions: Group exhibition at Hecho A Mano Gallery, Santa Fe, NM, August 2023.

Provenance: Collection of the artist Hollis Chitto

Reasons for Recommending Work:

From Sarweb.org:

From a young age, Hollis Chitto (he/him/they/them) became enamored with beadwork and embarked on learning the artform. By studying illustrations and through the process of trial and error in his youth, Chitto today has become an accomplished beadwork artist who has been featured in publications, including Vogue and InStyle magazines; his work can be seen in cover shoots of prominent leaders such as Secretary of the Interior Deb Haaland. Chitto’s unique style is the product of early exposure to art ecosystems like SWAIA and having been constantly surrounded by many talented artists, including his father who is a potter and SAR’s 2006 Ronald and Susan Dubin Native Artist Fellow. When one looks at Hollis’ work, the influence of traditional Pueblo pottery becomes apparent and yet he challenges viewers with conceptual and abstract elements. For example, the health and well-being of Native communities is one theme that Chitto interrogates as HIV/Aids and queerness are directly inserted into his work. In Chitto’s words: “Being a two- spirit bead worker, I see myself as the convergence of the two sides of my family. My role as a

two spirit is traditionally to bring in spiritual teachings to the physical world; I see the act of bringing beauty into the world as a spiritual act. For me that is my life’s purpose, which is to bring beauty into the world. Whenever I finish a piece, I take time to appreciate the feeling of creating something that has not yet been seen. In my view, the act of creating my artwork is a gift that I do not take for granted.”

The artist explains Bloodwork Number 2: “The blood in our veins is what gives us life. Its importance is celebrated in various tribes as a fact. Unfortunately, it is this same substance that is at risk for a sickness that is taking a portion of our people. HIV infection rates in native people have consistently ranked third in the nation behind Hispanic and Black communities, although precise figures are nearly impossible to determ ine because of problems of misidentification as native and miscommunications between tribal health clinics and national research. Under representation and misleading figures veil the fact that new HIV infections in the native population are steadily rising and have been for the past fifteen years. The lack of frank and open communication based around safe sex plays its role in this increase. The taboos of speaking openly about unsafe sex and highrisk behaviors such as intravenous drug use have only served to add to new infection rates due to ignorance. My goal for this piece is to act as a starting point of discussion about this topic. The blood down the center is the elephant in the room; we all have it, so few of us give it a second thought unless we need to. The reds in this piece are stark against the white background and remind the viewer that in the midst of mundane there is a prospect of a disruption. The beautiful colors are cut with a realization that yes, this disturbance will change everything, but instead of being the end of the design, it will integrate and become part of the whole narrative, a part of the whole. The back of the bag is decorated with morning stars on a dark blue background. They are in this context a double meaning of positive signs, a symbol of HIV positive status. It is important to know one’s own status in order to protect others and ourselves. We should remain diligent while knowing that our design does not come to an end but shines through.”

Hollis Chitto was born in an art town to artist parents. He grew up surrounded by art, artistic discussion, and creative influences. Chitto started making clay masks and shields when he was five years old. He learned to roll out the clay, sand them, and decorate and paint the pieces himself. When he was ten years old, he started working with glass seed beads and porcupine quills and since then, these have been his principle medium. Chitto’s work was featured recently in Native American Art magazine, New Mexico Magazine and on Vogue.com as an “Indigenous Beaders Modernizing Their Craft.” His work was also the subject of articles in Huffington Post, Metalsmith Magazine, and Art Jewelry Forum .

A graduate from the Institute of American Indian Arts, Santa Fe, NM, Chitto was the 2022 Susan and Ron Dubin Native Artist Fellow at the School for Advanced Research. He is a

recipient of numerous awards reaching back to 20 06, most recently he was awarded 2023 Cherokee Art Market, Best of Division, Judges Choice, Culture Keeper Award, the 2023 Heard Museum Art Market, 2nd place, and the 2023 Cherokee Art Market, Best of Division

The Ringling has recently acquired 3 beaded works by Seminole artist Brian Zepeda on the theme of nature. By adding Chitto’s bag on the theme of a health epidemic affecting Native communities across the United States, the museum would diversify its holdings of cross- generational Native beadwork and illustrate the potential of beadwork as medium used by a younger generation of artists to explore social issues within their Indigenous communities Chitto’s awareness of, and the use of, design within this work correlates with the symbols of fertility within Zepeda’s bag. Symbolic and recognizable motifs are also found in the work of other artists’ in the museum ’s collection, such as the textile work by Sanford Biggers and the mixed media work by William Villalongo, both who use patterns and shapes to point to issues and histories of marginalized communities and peoples

Exhibition Plans: This work is currently scheduled to be on view as part of the exhibition EMBODIED: Highlights from The Ringling’s Collection of Modern and Contemporary Art scheduled to open on view in March 2024.

Recto

Verso

Proposed Acquisition by Purchase Collections Committee Meeting January 26, 2024

Objects:

Utagawa Kunimasa IV (Japanese, 1848 – 1920 )

Published by Hayashi Kichizō (Japanese)

Kabuki Performance of Chiarini’s Celebrated Circus (Narihibiku Charine no kyokuba no kyokuba), November 9, 1886

Triptych of woodblock prints (nishiki- e); ink and color on paper

Overall (Triptych): 14 9/16 × 29 5/16 in. (37 × 74.4 cm)

Purchase From : Scholten Japanese Art, New York City

Purchase Price: $1,500.00 USD ($1.700.00 USD with $200.00 USD discount)

Funding: Pending

Condition: This triptych print is in good condition. It is recommended that the three parts of the print should be joined together and archivally matted for storage and future display.

Provenance: Scholten Japanese Art

Reasons for Recommending Work:

This kabuki actor print by Utagawa Kunimasa IV makes an excellent companion piece for another print by the same artist purchased by the museum in 2020 (2020.14). The two designs, released by rival publishers in November 1886, commemorate a performance of Kawatake Mokuami's play, Kabuki performance of "Chiarini's Celebrated Circus” (Narihibiku Charine no kyokuba), which was inspired by the Japanese tour of Giuseppe Chiarini's Royal Italian Circus from July to November 1886. The play is an example of an “overnight pickle play” (ichiyazuke kyogen), which were produced rapidly in response to contemporary events

The proposed print expands the representation of this performance. The leading actor, Onoe Kikugorō V, appears again, this time in three roles. Nakam ura Dengorō is depicted again as a clown, and two more actors and roles are introduced (listed below) This design also features an elephant (played by unnamed actors under an elaborate costume) as well as a horse. The bold, attractive design and striking red background will pair well with the print already in The Ringling’s collection Together, the two prints speak of the impact of Western circuses on Japanese performing and visual arts in the late 19th century

With the addition of this object, The Ringling will have four excellent prints related to the visit of Chiarini’s circus to Japan. These are important records of a significant event in the history of cultural exchange between Japan and the West, and the role of circus in international diplomacy

From right to left, the actors depicted are:

Nakamura Dengorō III as the clown Gottofure (Dōkeshi Gottofure)

Onoe Kikugorō V as Chiarini (Chiyarine)

Onoe Kikugorō V as the elephant trainer Abadē (zōtsukai abade)

Iwai Matsunosuke IV as Miss French women (Misu furanonna)

Onoe Kikugorō V as One- legged Tom Harper (?) (Ichi- hon ashi Tomuhaba)

Bandō Kakitsu as Kutsunoya the Lady- Killer (Kutsunoya no Iro- otoko)

Exhibition Plans: This artwork will be included in the 2027 exhibition on Japan and the circus

Proposed Acquisition by Donation Collections Committee Meeting January 26, 2024

Objects:

Saitō Kiyoshi (Japanese, 1907 – 1997)

10 drawings; Please see attached list

Donor: Ted Miller, Miami, Florida

Valuation: Appraisal expected from donor

Condition: Overall in fair to good condition. These works would benefit from conservation treatment prior to display.

Provenance: Acquired from a private collection in Japan

Reasons for Recommending Work:

This group of 10 sketches attributed to Saitō Kiyoshi add depth and richness to The Ringling’s already significant collection of this important artist by shedding light on his creative process. The selected drawings and ink painting encompass landscapes, rural scenery, still life, portraits of workers and a regional mayor, and interior scenes. One of the landscapes is annotated. The sketches are not signed, but are stylistically consistent with other known sketches by Saitō, and most are dated in what appears to be his handwriting. These will enhance future exhibitions of Saitō’s work.

The Ringling

1. Saitō Kiyoshi

Landscape of fields (with notations)

Pencil on paper

Sheet: 9 13/16 × 14 in. (25 × 35.5 cm)

Promised gift of Ted Miller TR2023.21.1

2. Saitō Kiyoshi

Building

Pencil on paper Sheet: 10 1/16 × 14 3/16 in. (25.5 × 36 cm)

Promised gift of Ted Miller TR2023.21.2

3. Saitō Kiyoshi

Portrait of man

Pencil on paper

Sheet: 10 1/16 × 7 1/16 in. (25.5 × 18 cm)

Promised gift of Ted Miller TR2023.21.3

4. Saitō Kiyoshi

Street scene (Possibly Aizu)

Pencil on paper

Sheet: 7 1/16 × 9 13/16 in. (18 × 25 cm)

Promised gift of Ted Miller TR2023.21.4

Object Summary

5. Saitō Kiyoshi

Three women seated on stools

Pencil on paper

Sheet: 8 1/4 × 11 5/8 in. (21 × 29.5 cm)

Promised gift of Ted Miller

TR2023.21.5

6. Saitō Kiyoshi

Interior scene of boxes (Attic?)

Ink on paper

Sheet: 27 1/4 × 21 7/16 in. (69.2 × 54.5 cm)

Promised gift of Ted Miller

TR2023.21.6

7.

Saitō Kiyoshi

Man in kitchen with bottles (Head study verso)

Pencil on paper

Sheet: 10 11/16 × 15 9/16 in. (27.2 × 39.5 cm)

Promised gift of Ted Miller

TR2023.21.7

8. Saitō Kiyoshi

Planting rice paddies

Pencil on paper

Sheet: 9 1/4 × 14 in. (23.5 × 35.5 cm)

Promised gift of Ted Miller

TR2023.21.8

Object Summary

9. Saitō Kiyoshi

Possble Self Portrait Pencil on paper Sheet: 9 15/16 × 7 1/16 in. (25.2 × 18 cm)

Promised gift of Ted Miller

TR2023.21.9

10. Saitō Kiyoshi Young woman ink on paper Sheet: 15 9/16 × 10 3/8 in. (39.5 × 26.4 cm)

Promised gift of Ted Miller

TR2023.21.10

Loan Request

Collections Committee Meeting January 26, 2024

Objects Requested:

Christina Bothwell (American, born 1960 )

Sleep, 2008

Glass and ceramics

Overall: 14 × 25 × 8 in. (35.6 × 63.5 × 20.3 cm)

Gift of Philip and Nancy Kotler, 2020

2020.19.3

Crystal Ball and stand, ca. 1930

Crystal, wood

Ball 4 5/16 × 4 5/16 × 4 5/16 in. (11 × 11 × 11 cm)

Stand: 3 9/16 × 3 9/16 in. (9 × 9 cm)

Bequest of John McManus, 1957

SN1635.940.30

Borrower: Peabody Essex Museum (PEM), Salem , Massachusetts

Loan Num ber: OL2024.3

Loan Dates: August 2024 – December 2025

Exhibition and Dates: Conjuring the Spirit World: Art, Magic, and Mediums

- Peabody Essex Museum, September 14, 2024 - February 2, 2025

-The John and Mable Ringling Museum of Art, March 15, 2025 - July 13, 2025

- Possible third venue (TBD), August 2025 - November 2025

Condition: Both objects are in very good condition and can travel after light surface cleaning

Current Location: Kotler Coville Glass Pavilion and Historic Circus Museum

Valuation: 2020.19.3, $12,000.00 USD, 11/3/2020; SN1635.940.30, $300.00 USD, 12/15/2023

Exhibition Description:

Organized by the Peabody Essex Museum, the oldest continuously operating and collecting museum in the United States (founded in 1799), Conjuring the Spirit World will be the featured exhibition in the Searing Wing in the Spring of 2025. The Ringling’s Christopher Jones and Jennifer Lemmer Posey have each contributed to a catalog intended to accompany the exhibition and the pair will collaborate to curate the museum ’s presentation of the exhibition.

Typical of the props used by early 20 th century spiritualists, the crystal ball in the Circus collection has little information in the way of provenance. It was among a small set of materials left to The Ringling by John McManus, a New York Attorney and president of the American arm of Rolls Royce In 1955, McManus and another collector, Chelsea Young made a donation of 20,000 pieces of magic- related printed and photographic materials items to the Library of Congress McManus donated additional materials to The Harry Ransom Center at The University of Texas. The bequest to The Ringling was almost certainly orchestrated by the museum ’s first director and founder of the Circus Museum , A.Everett Austin, who had a personal interest in magic. It has been a largely under- utilized aspect of the Circus collections, so the interest from PEM is most welcome.

In Conjuring the Spirit World, the crystal ball will be contextualized among an array of objects related to the material culture of Spiritualism as well as a selection of fine arts objects made by artists influenced by popular beliefs regarding the afterlife.

Glass artist Christina Bothwell (American, born 1960) works with kiln- cast glass and rakufired ceramics to create ethereal and often narrative sculptures. Bothwell’s work examines mysteries of the body and soul through themes of birth, death and spiritual renewal. Throughout her sculptural body of work, Bothwell alludes to her spiritual beliefs that there is far more in the world beyond what we see in the physical realm. For Sleep, 2008 (Gift of Philip and Nancy Kotler, 2020, 2020.19.3) the artist portrays the soul of a woman in translucent colorless glass rising from the body of a sleeping woman whose head and feet are made of clay. This work is part of a series where Bothwell portrayed her intense experience of sleep deprivation while pregnant, in which she recalls having an out- of- body experience with the sensation of lifting out of and hovering above her physical body as she would fall asleep. Bothwell’s Sleep will be the first work from Ringling’s studio glass collection to be loaned for a traveling special exhibition. While Bothwell is well known in glass circles, the loan will be a wonderful opportunity to share this artist’s work with a larger audience so that museum goers may gain a greater awareness of art in studio glass and the Ringling’s glass collection.

“I believe our bodies represent a small fraction of who we are. In my work, I suggest that there is more to the world than what we perceive with our five senses. I use cast glass in

conjunction with ceramic (and sometimes found objects) as a way to portray the ways in which the nonphysical, or spiritual elements interact and overlap with the corporeal.” –

Christina Bothwell

Acquisition by Purchase Collections Committee Meeting January 26, 2024

Objects:

Utagawa Yoshifuji (Japanese, 1828 – 1889)

Yokoyama Ryōhachi (Matsuneya) (active 1883 – 1895)

Sugoroku of Various Arts (with envelope), 1870s- 80s

諸芸一覧寿子禄

Woodblock print (e-sugoroku); ink and color on paper

Sheet: 28 3/4 × 18 7/8 in. (73 × 48 cm)

Purchased From : Mozu books, Osaka,Japan

Purchased Price: ¥160,000 .00 or $1,083.86 USD purchase price; includes shipping

Funding: The Chao Ringling Museum Endowment

Condition: The overall condition is good, considering the use and wear of this type of object. This sugoroku print is made up of four conjoined sheets of paper, with detachment occurring along some of the joins. There is localized staining of the paper support, as well as bleeding of the color. The envelope has some folds, tears, and a hole in the paper Minor conservation to rejoin the sheets and repair damages to the envelope are recommended.

Reasons for Recommending Work:

This object is an example of a woodblock printed e- sugoroku or illustrated sugoroku

Sugoroku is a “race game” similar to Snakes and Ladders that flourished in Japan from the late 17th century. Players compete to navigate their game pieces from the start toward a winning final space by rolling a die.

Early sugoroku were intended for spiritual edification: in Pure Land sugoroku, played since at least the 15th century, players progressed from the earthly sphere through the ten realms of the Buddhist cosmos. Depending on the whim of the die, one might reach the Pure Land (Buddhahood) or descend into hell.

Secular, densely illustrated woodblock printed versions of sugoroku came to the fore with the rise of Japan’s commercial woodblock printing industry in the late 17th century, supported by an increasingly literate and wealthy merchant class. The gam e boards are typically made of standard- sized sheets of paper (ōban) pasted together; this example

comprises 4 sheets. At the end of each year, publishing houses released new games to be played during the New Year’s holiday. Relatively cheap, they wore out quickly, ensuring steady demand

Publishers competed in a crowded market by commissioning fashionable artists such as Utagawa Hiroshige (1797–1858) to create attractive designs that reflected popular contemporary subjects: kabuki actors, travel, and themes such as worldly selfadvancement

This sugoroku print, designed by the popular artist Utagawa Yoshifuji, features different kinds of traditional street arts and side shows: balancing, conjuring, acrobatics, tum bling, equestrian, musical and acts. Players begin in the box in the lower right, featuring the façade of a small street theater They move among 18 other squares, each featuring a different kind of act being performed, to reach the finishing space at top center, where they “receive” a hagoita — a decorated wooden paddle for badminton, which was traditionally played by children on New Year’s Day.

The artist, Utagawa Yoshifuji, was a student of Utagawa Kuniyoshi (1798–1861), known for his swashbuckling warrior prints, comic designs, and affectionate images of cats. Yoshifuji found a niche creating omocha-e, or “toy pictures”, encompassing various subgenres of prints intended to be played with and used for engaging and/or teaching children. Because these kinds of prints were designed to be handled, they suffered wearand- tear and were treated as ephemera. Consequently, attractive designs in good condition are rare; and examples with their original envelopes are rarer still.

Exhibition Plans: This artwork will be included in the 2027 exhibition on Japan and the circus.

Envelope

Acquisition by Purchase Collections Committee Meeting January 26, 2024

Object:

Sebastiaan Maarten Bremer (Dutch, born in 1970 )

Sous Bois, 2022

Relief/Screenprint

Overall: 32 3/4 × 17 3/4 × 7/8 in. (83.2 × 45.1 × 2.2 cm)

Edition: 35/55

Purchased From : Graphicstudio, Institute for Research in Art, University of South Florida

Purchase Price: $500 .00 USD as part of subscription #30 . Valued at $2,500.00 USD.

Funding: The John and Mable Ringling Museum of Art Foundation

Condition: This print is in excellent condition.

Provenance: Graphicstudio, Institute for Research in Art, University of South Florida, subscription 30 (2022), project #GS1767

Reasons for Recommending Work

Sebastiaan Bremer is a Dutch artist who lives and works in NYC. “Throughout his career, Bremer has used pre- existing images to explore deep ideas about time, memory, and processing. In his early years, he meticulously reproduced personal snapshots in paint. Over the years, this process of “re- thinking” past visual documents has led Bremer to experiment with different techniques and materials that alter the image’s material existence.”

This print is one of three works from Three Guilty Landscapes (2023) the new print series Bremer made in collaboration with Graphicstudio. “The work overflows with memories, thoughts, ideas, and layers of meaning. Working with colored backgrounds, the artist silkscreened drawings of trees recalled from rural walks in upstate New York; between these images he layered photographs of forests, which he then altered by hand with paint and ink.” Bremer explains, “I wanted to reach back as far as possible back in time for this series” Among his inspirations, he explains, were “nineteenth century photographs by Eugene Cuvelier, Henry Le Secq, and Constant Famin, early pioneers of the medium in landscape.” “Bremer says he conceived of these three prints Sunken Forest, Sous Bois and Rendez- Vous while also thinking of the artist Armando (Herman Dirk van Dodeweerd). Armando, an important Dutch postwar artist, coined the term “guilty landscapes” in

response to years spent growing up next to a German concentration camp near Amersfoort, Holland. Bremer’s own American- inspired guilty landscapes hover between night and day, past and present, reality and unreality. Equal part prints, photographs and drawings, his trees appear and disappear into fields of dots that suggest hidden lives and meanings far beyond the images’ surface.”

Bremer’s work has been included in exhibitions at the Tate Modern, London; the Brooklyn Museum of Art; The Aldrich Museum, Connecticut; MoMA PS1, New York; and at Het Gemeentemuseum, The Hague. He has had solo exhibitions at Air de Paris; Galerie Barbara Thumm, Berlin; Roebling Hall, New York; James Fuentes, New York; BravinLee Programs, New York; Hales Gallery, London; Mia Sundberg Galleri, Stockholm; Edwynn Houk Gallery, New York and Zurich. He attended the open studio program at the Vrije Academie in The Hague and the Skowhegan School where he began experim enting with murals, collage paintings, and drawing directly on photographs. Bremer’s work is part of several important collections in the US and abroad, including the Victoria & Albert Museum, London; Museum of Modern Art, New York; Los Angeles County Museum of Art.

The Ringling has previously acquired Bremer’s Life During Wartime Print Portfolio (2021), which includes a work titled I held my breath for 13 hours afraid she would not come home. In this series, he drew a sequence of small dots on top of a photo of his niece Veerle swimming underwater in a pool; these dots subsequently became waves, seemingly keeping her suspended and safe. Bremer’s work fits well within the collection of prints and works on paper that explore the theme of nature by artists, such as Elisabeth Condon, Helen Frankenthaler, Janaina Tschäpe, Nancy Graves, and Sandra Cito.

Exhibition Plans: Candidate for future exhibitions and rotations of works on paper from the modern and contemporary collection.

Acquisition by Purchase Collections Committee Meeting January 26, 2024

Agenda Item #8

Information only

Objects:

Arturo Herrera (Venezuelan, born 1959)

Mirror, 2023

Screenprint

Overall: 20 1/4 × 53 7/8 in. (51.4 × 136.8 cm)

Edition: 30/55

Purchased From : Graphicstudio, Institute for Research in Art, University of South Florida

Purchase Price: Is included as part of Research Partnership subscription #31. Valued at $3,500.00 USD. Shipping costs $100.00 USD.

Funding: The John and Mable Ringling Museum of Art Endowment

Condition: This print is in excellent condition.

Provenance: Graphicstudio, Institute for Research in Art, University of South Florida, subscription 30 (2022), project #GS1767

Reasons for Recommending Work

Arturo Herrera is a Venezuelan- born artist who is based in New York and Berlin. In his work he combines Modernist abstraction and images taken from popular culture in a practice that includes collage, wall paintings, mixed media sculptures, cut- outs, and photography. He has exhibited nationally and internationally including at P.S. 1 Contemporary Art Center, the Hammer Museum, the Art Institute of Chicago, Sikkema Jenkins & Co., the Centre d’Art Contemporarain, Geneva, the Istanbul Biennial, and the Centro Galego de Arte Contemporánea, Santiago, Spain. His work is found in major museums around the world, including Whitney Museum of American Art, National Gallery of Canada, The Metropolitan Museum of Art, Tate Modern, Museum of Contemporary Art, Los Angeles, Museum of Contemporary Art, Chicago, Museum of Fine Arts, Boston, Albright- Knox Art Gallery, ARCO Foundation Collection, Spain Art Institute of Chicago, Beckman Foundation, and Panama Berezdivin Collection, Puerto Rico

“Herrera creates colorful abstract paintings using the strategies of fragmentation and layering adapted from his earlier collage- based work. His diverse body of work—most prominently utilizing collage, felt sculpture, and wall painting—references the complex

legacy of abstraction using modernist visual languages. Often utilizing found material and sourced elements, Herrera’s work incorporates discrete iconography and familiar imagery to provoke a multiplicity of references and readings interpreted by the viewer.”

“The inspiration for his Graphicstudio limited edition print, Mirror, was a large- scale wall painting exhibited at FELD+HAUS, Berlin in 2022. Herrera’s wall painting references the island location of FELD+HAUS in the Moabit neighborhood of Berlin. Herrera collaborated with the Graphicstudio printers to produce a screenprint using saturated colors, sharp graphics, and flat ink. The critical aesthetic considerations were to obtain the delicate balance between the printed grey and blue inks, their relationship to the stark brightness of the paper, and the technical challenge of razor- sharp registration.”

The Ringling has in its collection Fetch (2008) series by the artist. “In Fetch, Herrera painted acid directly on copper plates in a technique called spitbite, to create a suite of six etchings. The sensual and spare images are uniquely gestural and playful, evocative and suggestive. Fully in the spirit of the artist’s work, they call upon memory and the unconscious for meaning.” Mirror fits well within the collection of works on paper which explore abstraction and composition, including by artists, such as Diana Al- Hadid, Louise Bourgeois, Ingrid Calame, and Sandra Cinto.

Exhibition Plans: Candidate for future exhibitions and rotations of works on paper from the modern and contemporary collection.

Acquisition by Purchase Collections Committee Meeting January 26, 2024

Agenda Item #9 Information Only

Objects:

Stephen Rolfe Powell (American, 1951 – 2019)

Suspicious Cleavage Jones, 1995 from the Teasers series Blown glass

Overall: 33 1/2 × 19 1/2 × 11 in., 21.7 lb. (85.1 × 49.5 × 27.9 cm, 9.8 kg)

Purchased From : Larsen Art Auction, Scottsdale, Arizona, 2023

Purchase Price: $18,000.00 USD (total $21,600.00 USD with buyers premium of $3,600.00 USD)

Funding: Edris Weis Glass Acquisition Fund and Martin Cohen Fund

Condition: This glass piece is in excellent condition. No treatment is required prior to display.

Provenance: Riley Hawk Galleries, Columbus, OH; Private Collection; Larsen Art Auction, Scottsdale, Arizona, 2023; Purchased by The John and Mable Ringling Museum of Art, 2023.

Reasons for Recommending Work:

Stephen Rolfe Powell was a highly respected artist and teacher whose tremendous energy and skill as a glassmaker and mentor made a huge impact on the American Studio Glass Movement. After growing up in Birmingham, AL, Powell initially pursued painting as his artistic medium as an undergraduate at Centre College in Kentucky. While working on a graduate degree in ceramics at Louisiana State University, he had the opportunity to work with glass during summer program s at Penland and Haystack, among others Powell was drawn to the sheer physicality and spontaneous nature of working with molten glass He reveled in the intense creative process of working with fire, stating that he was a pyromaniac He also was attracted to the potential that glass offers for exploring color through transparent, translucent, and opaque iterations Powell shared, “When I saw glass, it was love at first sight. It was a more direct connection to fire.” Throughout his prolific career, he was a dedicated professor at the small liberal arts school, Centre College in Danville, Kentucky, where he began teaching in 1983 and established the glass program in 1985

Suspicious Cleavage Jones dates to a mature phase in Powell’s career when he focused on making symmetrically shaped upright vessels with elongated necks as part of the Teasers series With works dating from 1987 to 20 03, the Teasers series was one of four major series wherein Powell developed forms and colorful patterns as he delved into new color palettes and a range of color effects in glass Powell acknowledged that the inspiration for the Teasers series came from the horizontal sequence of decorative patterns on ancient Greek pottery featuring geometric ornament, dating from 900 – 700 BCE. While not intended as a functional vessel, Powell’s sculptural form acknowledges the traditional shape of a vase with a neck, body and base yet stretches the conventional form ’s limits.

Powell’s innovative use of murrini to form the exquisite patterns on his glass sculptures stems from adapting a technique long associated with glassmaking in Murano, Italy. Around 1983, Powell saw work by a pioneer in the American Studio Glass Movement, Richard Marquis. Studying Marquis’ work and that of Italian murrini masters opened Powell to the expressive possibilities of working with m urrini. Small pieces of murrini are made by heating and stretching a glass cane, or a solid rod of glass, like taffy to thirty feet or more. Once cooled, these canes are sliced into thousands of pieces that reveal the multi- colored patterns or imagery within the cross- section. Powell designed and set up the pattern. Then the painstaking task of laying out 2,500 to 4,000 murrini to form rows of colorful patterns on a steel plate was given to a studio assistant. Next, the murrini would be reheated so that these could be picked up when rolling a cylindrical m olten glass gather over them . The m urrini melted into the vessel’s surface, forming a membrane or skin on the form and giving it texture. The patterns are distorted through glassblowing and shaping techniques. By standing on a raised platform five feet above the studio floor and holding the pipe vertically while blowing into the molten glass bubble, Powell allowed heat and gravity to create the thin neck and swelling body simultaneously (see Fig. 1). At the same tim e, he draped the hot vessel between heated vertical metal bars, which shaped the lobes of the form . Studio assistants continued to heat the piece with torches to keep it from cooling too much before placing the large- scale work in an annealing oven to allow the temperature to gradually cool over days. Even though his process evolved over time with experimentation and happy accidents, each step of the glassmaking process still held inherent risks with a high failure rate ranging from 50 % to 80%. More vivid coloration of murrini is visible where the heated metal shaped and compressed the glass in the center of crevices, resulting in murrini that have a smaller diameter in contrast to the bulbous lobes where murrini stretched and expanded from the size of a pea up to the size of a pear. Powell explored a variety of color combinations and murrini patterns to create his signature kaleidoscopic works, and Suspicious Cleavage Jones represents the bright color palette and intricate patterns that he gravitated towards when making his iconic series of Teasers in the 1990s.

Powell was well- known for his generosity as a teacher and strong character as a friend, as well as his eccentric personality. Naming his works with zany titles showed his playful and bawdy sense of humor Yet, he was also subverting the commodification of glass in the art market while mocking the seriousness that people in general ascribe to good taste and expensive works of art He often incorporated sexually loaded adjectives and nouns like insatiable, nubile, cheeks and lips combined with common names like Smith and Johnson The titles call attention to the anthropomorphic curves of his work that are suggestive of parts of the human body Additionally, the colorful murrini patterns emit a psychedelic intensity and groovy tie- dye vibe, speaking to the 1960s and 1970s counterculture that shaped Powell’s adolescence and hippie identity

Fig. 1: Powell and studio assistants, Ché Rhodes, Paul Nelson, and Brook White, creating a work in the Teasers series, 1994.

Suspicious Cleavage Jones is the first work by Powell to enter the Ringling’s collection. Powell’s work is in museum collections across the USA, including The Smithsonian American Art Museum, the Cincinnati Art Museum, and the Corning Museum of Glass. Additionally, his work is held in museums from Australia to Russia. His work complements Murrine Dish made by Vincenzo Moretti (Italian, 1835- 1901) for Compagnia di Venezia e Murano, c. 1880, Gift of Martin Cohen and José Arias, 2020.28.4, which shows a 19thcentury revival style of working with murrini to create floral patterns. Offering a distinctive

aesthetic, Powell’s translucency contrasts with Vase by Dick Marquis, c. 1998, Gift of Warren and Margot Coville, 2020 .3.8, is a work that presents opaque patterns of murrini Lino Tagliapietra (Italian, born 1934) initially thought Powell must have been an Italian maestro when he first learned of his work. He became one of Powell’s mentors and close friends, visiting Kentucky regularly and bringing him as part of his team when making pieces across the country Suspicious Cleavage Jones presents a thoughtful juxtaposition with the elongated form of Tagliapietra’s Angel Tear, c. 1999, Gift of Richard and Margaret Pepe. Powell shared that he was drawn to Abstract Expressionism and Color Field painting throughout his early years as a student exploring color abstraction and cited that works by Rothko, Noland and others continued to inspire him throughout his career. As such, his work has the potential to be installed with Abstract Expressionist and Color Field paintings at The Ringling Art historians have pointed out the parallels between Powell’s work and the paintings of African- American artist Alma Thomas (1891- 1978), who was part of the Washington Color School of painters. Should The Ringling acquire work by Thomas in the future, pairing such works would offer museum visitors a wonderful opportunity for an exploration of color across media.

Exhibition Plans: This work will be installed in an upcoming rotation in 2024 of The KotlerCoville Glass Pavilion.

Acquisition by Purchase Collections Committee Meeting January 26, 2024

Agenda Item #10 Information Only

Objects:

Sonja Blomdahl (American, born 1952)

Red/ Red/ Ruby, 2001

Blown glass, incalmo technique with battuto

Overall: 16 × 10 1/2 × 10 1/2 in. (40.6 × 26.7 × 26.7 cm)

Purchased From : Ken Saunders Gallery, Chicago, Illinois

Purchase Price: $7,500 .00 USD with 10% discount of $750 .00 USD = $6,750 .00 USD

Funding: Funds for purchase provided by Marsha Eisenberg

Condition: This glass piece is in excellent condition. No treatment is required prior to display.

Provenance: Traver Gallery, Seattle, Washington; Purchased for Private Collection, 2002; Ken Saunders Gallery, Chicago, IL; Museum Purchase by The John & Mable Ringling Museum of Art, 2023

Reasons for Recommending Work:

Sonja Blomdahl is recognized as an important figure in the American Studio Glass Movement who paved the way for subsequent generations of women artists in the field She began her studies as a ceramics major with a specialization in glass at Massachusetts College of Art at a time when there were only a few universities with glass programs After graduating with her BFA in 1974, Blomdahl went to Sweden in 1976 to pursue a vocational program at Orrefors Glaskolen (Glassm aking School), which has been internationally recognized for its craftsmanship and industrial design since 1898 There, she expanded her glassmaking skills while in an environment of fast- paced glass production. For the 1978 summer season, she worked as a teaching assistant for Dan Dailey at the Pilchuck Glass School in Stanwood, Washington, where she first encountered the incalmo technique demonstrated by a visiting Italian maestro from the famous Venini Glass Factory in Murano Francesco “Checco” Ongaro (1929- 2020 ) was one of the first Italian glassmakers invited to Pilchuck to share his technical expertise. Seeing the centuries- old method changed the course of Blomdahl’s career and inspired her distinctive style The term incalmo means in calm, or calmly in Italian, possibly referring to the calm concentration required to carry out the sophisticated technique Like many glass techniques, the specific ancient origins of incalmo are unknown The technique can be

traced back to the 9th and 10 th centuries and became primarily associated with Venetian glassblowing from the 16th century onward In the mid- twentieth century, it gained renewed attention through its revived use at Venini The Finnish designer, Tapio Wirkkala (1915-1985), came to work with Venini by invitation from founder Paolo Venini (18951959). Wirkkala designed glass using the incalmo technique, and Checco Ongaro was one of the primary glassblowers who worked with Wirkkala to execute his designs in glass Ongaro helped numerous American artists who came to work and study glassmaking at Venini, and he subsequently played a pivotal role in both the evolution of international Studio Glass and the art of Sonja Blomdahl. Ultimately, Blomdahl’s work represents a synthesis of Italian and Swedish that remains timeless amidst changing trends in contemporary glassmaking

Blomdahl has worked out of her Seattle studio since 1983 and also joined the teaching faculty at Pilchuck Today, Sonja Blomdahl is synonymous with the incalmo process that involves fusing two glass bubbles together with edges of the same diameter. Also known as the “double bubble” technique, this requires precision and a very high level of technical control to successfully join two molten bubbles after each has been blown individually and tooled into open- ended bell shapes Blomdahl developed her signature style of luminous vessels rich in color and carefully calculated symmetrical forms Red / Red / Ruby is an example of one of Blomdahl’s most iconic form s that she began producing in the 1980s and refined incrementally over the years. In the 1990s, Blomdahl began increasing the size of her work while maintaining an emphasis on the graceful curvature. In 2001, Blomdahl began adding battuto carving. Thia cold- working technique is another influence from Italian glassmaking that produces a patterned texture. Seen on the upper neck of Red / Red / Ruby, battuto adds a matte textured contrast to the form ’s glossy lower portion.

Red / Red / Ruby is an excellent example representative of Blomdahl’s artistry and technical achievement in her mature work. This is the second work by Sonja Blomdahl to enter the Ringling’s glass collection following a donation of a spherical bowl form, Rose / Chartreuse, Gift of Sharon Karmazin, 2023.1. Red / Red / Ruby shows the stylistic evolution of the artist. As one of the most recognized American women in glassblowing, Blomdahl is represented in museum collections across the USA, including the Smithsonian American Art Museum, the Museum of Fine Arts, Boston, the Corning Museum of Glass, as well as internationally, including the Museum of Decorative Art in Prague, Czech Republic. Red / Red / Ruby is an important addition that illustrates the adaptation of Italian glassmaking traditions during the growth of the American Studio Glass Movement. As such, it is a wonderful complement to Benjamin Moore’s work, Untitled from the Interior Fold Series, 1998, Gift of Dan Idzik and Kathy Osborne, 2021.8, that represents his aesthetic interpretation of the incalmo technique. With all of the interconnected associations in the world of studio glass, Blomdahl’s work is a wonderful counterpoint to Ann W ollf’s work in

the collection, as Blomdahl had worked with Wolff in Sweden in 1982. Additionally, the acquisition of Red / Red / Ruby furthers the Ringling’s ongoing initiative to present a more balanced presentation of studio glass with a greater representation of women artists Blomdahl’s decades- long exploration of color studies in glass have been influenced by Josef Albers’ (1888- 1976) color theories and Red / Red / Ruby could be displayed alongside his work in the permanent collection, like 4 Versions of Homage to the Square – Folio II, Folder 27, 1927, screen print, Gift of Robert S. Sender, 1983, MF83.27.60 (see Fig. 1)

Fig. 1: Josef Albers, (1888- 1976) 4 Versions of Hom age to the Square – Folio II, Folder 27, 1927, screen print, Gift of Robert S. Sender, 1983, MF83.27.60

Exhibition Plans: The work may be installed in a future rotation of the permanent collection in the Kotler- Coville Glass Pavilion.

Acquisition by Donation – EOY 2023

Collections Committee Meeting January 26, 2024

Objects:

8 Archival pigment prints by Abelardo Morell (American, born 1948); Please see attached list

Donor: Sachin Lulla through Michael Mattis

Valuation: Estimated value $128,000.00 USD Appraisal expected from donors

Condition: These photographs are in good condition, some with minor areas of crimping from handling. No conservation treatment should be required prior to display.

Provenance: From Private collections through Michael Mattis

Reasons for Recommending Work:

Cuban-born American photo-based artist Abelardo Morell (b. 1948) is best known for his ongoing work creating images from site-specific temporary cameras obscurae. Morell’s working method is well exampled by Camera Obscura: Mill Alley in Space with Desk, Lawrence, Massachusetts, 2002 [TR2023.20.4] in this donation, in which the artist creates a temporary camera obscura within a room, blocking out all external light except for a small aperture through which an exterior scene can be projected onto an interior wall and then photographed. Morell usually choses sites with historical or cultural significance to create his images, in this case he captures the edifices of 19th century textile mills in Lawerence, Massachusetts, a site where a strike led by immigrant workers in 1912 proved to be pivotal in the movement for workers’ rights and labor reform in the 20th century. As the camera obscura process casts its image upside down, Morell’s scenes often have a surreal or dreamlike quality. The flipped image and blurring of interiority/exteriority expose the mechanics of the optical principles on which photography is based and highlights for the viewer the constructed nature of photographic images. Morell’s destabilizing images have also been likened to the experience of immigrants, such as Morell, shifting between the realities of two cultural frameworks.

Morell began his camera obscure works in the mid-1980s as black and white photographs, but by 2005 he began shooting in color, and often used a prism to project through, creating camera obscura images that were brighter and no longer upside down, such as in Camera Obscura: View in a Second Floor Room with Vases, Pingyao, China, 2009 [TR2023.20.5]. Building on these techniques, in 2010 Morell began creating camera

obscura images in portable tents, enabling him to photograph landscapes or other locations where there was no adjacent structure from which to work. In these [such as TR2023.20.2 and TR2023.20.8] Morell uses a periscope apparatus to project images onto the ground for his photographs. The result presents images enriched by surprising textures and activated surfaces usually ignored (or stepped on) for the purpose of imagemaking.

This group of photographs by Morell will be the first such examples by this important Cuban-American artist to enter The Ringling’s collection. The offer excellent examples of the artist’s camera obscura works as well as other images that represent other thematic Morell frequently explores, such as optics and the mechanics of vision, and the transformation of common objects such as books or paper, into images that provoke us to reflect on the nature of sight and image-making. Morell is an influential and highlyrespected artist who has had solo exhibitions around the world, including at The J. Paul Getty Museum (2013), the Art Institute of Chicago (2013), Museo Nacional de Bellas Artes, Buenos Aires, Argentina (2009), Centro de la Imagen, Mexico City, Mexico (2007), and the Museum of Fine Arts, Boston (1999) to name but a few examples, and has been featured in numerous group exhibitions annually since the early 1990s. Morell’s work has been recognized with many accolades such as the International Center of Photography Infinity Award (2011) and a John Simon Guggenheim Fellowship (1992). His work is collected in many institutions that collect photography or contemporary art such as The Art Institute of Chicago, Chicago, IL; The Detroit Institute of Arts, Detroit, MI; The J. Paul Getty Museum, Los Angeles, CA; International Museum of Photography at George Eastman House, Rochester, NY; The Los Angeles County Museum of Art, Los Angeles, CA; The Metropolitan Museum of Art, New York, NY; El Museo del Barrio, New York, NY; The Museum of Fine Arts, Boston, MA; The Museum of Modern Art, New York, NY; National Gallery of Art, Washington, DC; and many other significant institutions. Morell is professor emeritus at Massachusetts College of Art and Design, Boston, where he taught from 1982 to 2011 and was a Visiting Professor in the Council of Humanities and Class of 1932 Fellow in the Visual Arts at Princeton in 2006.

The Ringling

1.

2.

Abelardo Morell, American, born 1948

Apple and Magnifying Glass, 2020

Archival pigment print

Sheet: 22 1/16 × 28 3/4 in. (56 × 73 cm)

Image: 20 1/2 × 27 3/16 in. (52 × 69 cm)

Gift of Sachin Lulla, 2023

2023.30.1

3.

Abelardo Morell, American, born 1948

Tent-Camera Image on Ground: View of the Grand Tetons and Lake Jackson, Grand Teton National Park, Wyoming., 2011

Archival pigment print

Sheet: 22 1/16 × 28 3/4 in. (56 × 73 cm)

Image: 20 1/2 × 27 3/16 in. (52 × 69 cm)

Gift of Sachin Lulla, 2023

2023.30.2

4.

Abelardo Morell, American, born 1948

Two Pages: Adam and Eve., 2011

Archival pigment print

Sheet: 28 3/4 × 22 1/16 in. (73 × 56 cm)

Image: 27 3/16 × 20 1/2 in. (69 × 52 cm)

Gift of Sachin Lulla, 2023

2023.30.3

Abelardo Morell, American, born 1948

Camera Obscura: Mill Alley in Space with Desk, Lawrence, Massachusetts., 2002

Archival pigment print

Sheet: 22 1/16 × 27 3/16 in. (56 × 69 cm)

Image: 20 1/2 × 25 9/16 in. (52 × 65 cm)

Gift of Sachin Lulla, 2023

2023.30.4

Object Summary

5.

6.

Abelardo Morell, American, born 1948

Camera Obscura: View in a Second Floor Room with Vases, Pingyao, China., 2009

Archival pigment print

Sheet: 22 1/16 × 27 3/16 in. (56 × 69 cm)

Image: 20 1/2 × 25 9/16 in. (52 × 65 cm)

Gift of Sachin Lulla, 2023

2023.30.5

7.

Abelardo Morell, American, born 1948

Paper Empire, 2014

Archival pigment print

Sheet: 24 7/16 × 22 1/16 in. (62 × 56 cm)

Image: 22 13/16 × 20 1/2 in. (58 × 52 cm)

Gift of Sachin Lulla, 2023

2023.30.6

8.

Abelardo Morell, American, born 1948

Flowers for Lisa #41 - Brady, 2017

Archival pigment print

Sheet: 28 3/4 × 22 1/16 in. (73 × 56 cm)

Image: 27 3/16 × 20 1/2 in. (69 × 52 cm)

Gift of Sachin Lulla, 2023

2023.30.7

Abelardo Morell, American, born 1948

Tent-Camera Image on Ground: Archbishop Palace Door, Toledo, Spain., 2013

Archival pigment print

Sheet: 22 1/16 × 28 3/4 in. (56 × 73 cm)

Image: 20 1/2 × 27 3/16 in. (52 × 69 cm)

Gift of Sachin Lulla, 2023

2023.30.8

Acquisition by Donation – EOY 2023

Collections Committee Meeting January 26, 2024

Agenda Item #12

Information Only

Objects:

57 photographs by more than 20 different artists including: Dmitri Baltermants; Micha BarAm ; Leonard Free; Ken Heyman; Nathan Lerner; Milton Rogovin; Joh Schwartz; Todd Webb; Henri Huet; Kim Ki Sam ; Paul Almasy; Henry Horenstein; Abelardo Morell; Ray Mortenson; Félix Nadar; Bill Owens; Horst Tappe; Jack Welpott; Kusakabe Kimbei; and several unknown.

Please see list

Donor: Kalman Schoor through Michael Mattis

Valuation: Estimated value $257,000.00 USD. Appraisal expected by donor.

Condition: Most of these photographs are in good condition. Some works may require conservation treatment prior to display.

Provenance: From Private collections through Michael Mattis

Reasons for Recommending Work:

Dmitry Baltermants (1912–1990) was key in constructing the image of the Soviet Union at war. Baltermants photographed for the Soviet state- run newspaper Izvestia and for the Red Army during the war. He served as a soldier and photojournalist and became a witness of the conflict. In an official capacity he used his camera to promote the Soviet war effort, but his images of the human costs of conflict are more universal in their impact. The visual style of his images often mirrors the drama of American war photojournalists of the era, but other scenes are more obviously staged and carefully composed, reflecting the official Socialist Realism of the state. After the war, Baltermants would become one of the Soviet Union’s most significant photographers. He served as the photo editor of the national news magazine Ogonyok from the 1950s on. His editorship and later role as official photographer of the Kremlin gave him a significant amount of influence in shaping the visual record of the Soviet Union. The Ringling has many prints by Baltermants including gifts from Warren and Margot Coville and from Sally Strauss and Andrew Tomback. Work by Baltermants from The Ringling’s permanent collection has been featured in exhibitions here such as Soviet Scenes//Baltermants’ Photographs of WWII (October 2016- January 2017) and Working Conditions (August 2023- March, 2024).

Photographs from the Middle East

The photographer Micha Bar-Am (Israeli, born Germany, 1930) fled fascism in Europe with his family to resettle in Israel, then Palestine, where he would become one of that nation’s most heralded photographers. Bar- Am chronicled life on a kibbutz in his early years but was drafted into military service during the 1948 Arab- Israeli war. After that conflict, BarAm took up photography seriously, and covered the 1956 Sinai War, and reported on other important aspects of the early years of Israel’s statehood. Bar- Am was invited into the illustrious photojournalist collective Magnum in 1968, and worked closely with Cornell Capa on the establishment of the International Center for Photography. Bar- Am also served as photography curator for the Tel Aviv Museum from 1977 to 1993, and his work has been published in numerous books and journals. The vintage photographs offered on donation provide an intriguing glimpse into the history and culture of Israel from the late 1960s through the 1980s, including an image from the 1974 Ma’alot massacre, and help to provide historical context for the ongoing conflict between Israelis and Palestinians. These important photographs will be the first by Bar- Am in The Ringling’s collection, however the museum did feature some of his images in the traveling exhibition In Our Time: The World as Seen by Magnum Photographers which the museum hosted May to August 2007.

Supplementing the addition of Micha Bar- Am’s work to the permanent collection are 6 photographs by fellow Magnum correspondent Leonard Freed (American, 1929- 2006) Freed, who studied under famed designer and photographer Alexey Brodovitch, began his career as a social documentarian and photojournalist in the late 1950s, contributing to numerous illustrated magazines during his career, including LIFE, Look, Paris Match, Der Spiegel and others. He was invited to join Magnum in 1972 after his historic Civil Rights photography and reportage on Dr. Martin Luther King Jr. gained him widespread attention. Early in his career his work was acquired by MoMA’s photography director Edward Steichen and championed by Cornell Capa. After the Civil Rights images, Freed is most highly regarded for his photographs of the Arab- Israeli wars of 1967 and 1973, of which this donation represents. The Ringling has other works by Freed in its collection already, but these are the first photographs of Freed’s pivotal work from the Arab- Israeli conflict that will be acquired.

Also for donation is a vintage gelatin silver print by Paul Almásy (French, born Hungary, 1906=2003) of a Syrian in uniform from 1945, that further contributes to representing the Middle East in the 20 th century. Almásy was a pioneering photojournalist, beginning work as a correspondent for the German photo agency Wehr in 1929 and made frequent contributions to Berliner Illustrierte, one of the first newsmagazines to feature photo essays. He reported from around the globe for 6 decades and worked extensively with United Nations organizations such as UNESCO, UNICEF, and WHO in the 1950s, creating

an pictorial archive of 20 th century history. This will be the first photograph by this significant photojournalist to enter the collection.

Documenting Cultures

Ken Heyman (American, 1930 - 2019) is a photographer and photojournalist who worked with renowned anthropologist Margaret Meade on books such as Family (1965) and World Enough (1976). His images have appeared in numerous magazines, including LIFE. He has had numerous exhibitions of his work, including significant shows at the Museum of Modern Art (1963) and the International Center of Photography (1976). Heyman's work is notable for his "anthropological" approach to photography, in that he is most interested in capturing human relationships and social practices. He has famously employed the "hipshot," photographing without looking through his camera's viewfinder, to create spontaneous, candid images of his subject to great effect, particularly in his street photography. The three vintage prints on donation represent Heyman’s early anthropological work from the 1960s as well as his later street photography from the 1980s and join a number of Heyman’s works, already in the museum’s holdings, that capture the vibrancy of the human condition across cultures.

This gift includes additional works by Bill Owens (American, born 1938) to join others already in the collection. Owens produced a number of groundbreaking photo projects in the late 1960s and 1970s that explored the expanding culture of suburban America. His first photobook publication, the iconic Suburbia (1972), is recognized as one of the seminal photobooks of the 20 th century and has influenced photographers for generations. Owen’s approach to photography is influenced by earlier social documentary traditions of the 1930s as well as the more sardonic lens of the later New Documents photographers of the 1960s, such as Diane Arbus or Gary Winogrand. His conceptual bent and deadpan, sociological treatment of subject places his work adjacent to Ed Ruscha’s use of serial photography in the late 1960s and the New Topographics photographers of the mid1970s. Owens produced two other major photobooks in this time, Our Kind of People (1975) and Working: I Do it for the Money (1977) before abandoning photography in 1982. The Ringling has acquired dozens of works by Owens through private donations over the past decade, creating an impressive archive of photographs from all of his series of the 1970s. Owen’s work is currently featured in The Ringling’s current exhibition Working Conditions (August 2023 – March 2024) drawn from the museum’s permanent collection.

Five works by Henry Horenstein (American, born 1947) explore unique aspects of American culture, from burlesque performance to auto racing, in the 1970s and 1980s and provide excellent companions to Bill Owen’s documentary works. A graduate of the Rhode Island School of Design where he studied with Harry Callahan (1912- 1999) and Aaron Siskind (1903- 1991) and eventually became a professor of photography. He has realized a

number of self- directed projects and publications, such as Show (2010), Close Relations (2007), Honky Tonk (2002), and numerous others, including instructional books. His work is held in numerous collections including the J. Paul Getty Museum, Los Angeles; Museum of Fine Arts, Boston; San Francisco Museum of Modern Art; Smithsonian Institution, American Art Museum, Washington, DC and many others.

Milton Rogovin (American, 1909- 2011) was originally an optometrist who practiced in the Lower West Side of Buffalo, NY who had a deep concern for the poor and working class people in his community. He served in WWII, but in 1957 was called before the U.S. House Un- American Activities Committee because of his involvement with the New York Workers School in the 1930s, which was backed by the Communist Party USA. Publicly repudiated and black- listed for his politics, Rogovin turned to documentary photography to express his social concerns and highlight the lives of the marginalized and the working people whose toil often goes unrecognized. An early project documenting music in Black churches was published in Aperture in 1962 along with an essay by sociologist and civil rights activist W.E.B. Dubois. The work to be donated, which will be the first by Rogovin in the collection, Millie & Roy, Buffalo, NY, 1974/1985/1992/2002, is a pentaptych of vintage, early, and recent gelatin silver prints by Rogovin of a Lower West Side couple taken over four decades. The work is part of a larger project by the artist titled the Lower West Side that documents the lives of residents in this impoverished Buffalo, NY community. Rather than presenting his sitters as subjects frozen in time, Rogovin rephotographed them over the years, presenting a fuller sense of their humanity as their lives change and unfold. Rogovin’s unique take on socially committed documentary and dedication to his subjects has garnered recognition among leading institutions such as the Museum of Modern Art, NY and The J. Paul Getty Museum, Los Angeles, both of which represent him in their collections. The Library of Congress and Center for Creative Photography, Tucson, Arizona both hold substantial archives of Rogovin’s work. Adding Rogovin to The Ringling’s collection allows an opportunity to present a broader history of the tradition of socially concerned documentary photography in the US, alongside other notable artists in the collection such as Lewis Hine, Dorothea Lange, Walter Rosenblum, and others.

A photograph by Joe Schwartz (American, 1913- 2013) entitled Two for Dolly: Kingsboro Housing Project from his Folk Photography series provides a perfect complement to Rogovin’s socially concerned, humanist documentary work. Schwartz was a New Yorker born to Eastern- European immigrants who sought to document the lives of the underprivileged and struggling in society with respect and tenderness. Although he never supported himself as a professional photographer, he served as a combat photographer in WWII and worked with the illustrious group of documentary photographers in the New York Photo League in the 1930. Schwartz pursued his own projects with passion and published works such as Folk Photography: Poems I’ve Never Written (2000). His images are

part of the permanent collections of the Smithsonian National Museum of African American History and Culture; J. Paul Getty Museum; Museum of Modern Art New York; Houston Museum of Fine Arts; National Gallery of Canada; and many others.

The 20th Century American Lens

Four vintage gelatin silver prints by Detroit- born American photographer Todd Webb (1905–2000) are a part of this donation and add to ten already in the museum’s holdings. Webb, who lost his fortune in the Great Depression, began his studies in photography alongside his friend and fellow Detroiter Harry Callahan (1912- 1999) whom he met at the Chrysler Camera Club while the two were working in the auto industry. Webb and Callahan attended a workshop conducted by Ansel Adams that spurred them to take their photographic interests seriously. Relocating to New York City after WWII, Webb met with Alfred Stieglitz (1864- 1946) and Roy Stryker (1893- 1975), famed head of the Farm Securities Administration photography unit, and began series work in street photography in the city. Seminal photography historian and curator Beaumont Newhall organized the first major exhibition of Webb’s work at the Museum of the City of New York in 1946, and while Webb never achieved the level of fame of some of his colleagues during his lifetime, his landmark images of New York’s streets and inhabitants were admired and wellreceived and have been reappraised by historians and curators in recent decades.

This gift includes 4 early photographs artist and designer Nathan Lerner (American, 1913 – 1997). Lerner, born in Chicago to Ukrainian emigrant parents, took up art and photography in his youth, photographing life during the Great Depression, and eventually came to study at the New Bauhaus (later renamed the Institute of Design) in 1936 under renowned avant- garde artist László Moholy- Nagy (Hungarian, 1895- 1946). Lerner engaged in experimentation with light and photographic abstraction and co- authored The Creative Use of Light (1941) with New Bauhaus professor György Kepes (American, born Hungary, 1906- 2001). Lerner became a key figure at the New Bauhaus serving as the head of photography in 1941 and later the dean of faculty and students until his departure from the Institute in 1949. All of the photographs on donation here represent Lerner’s shift from earlier documentary work to more formalist experimentation, serving as important examples of the introduction of European modernism into American art and design. These works add to the four that were donated to The Ringling in 2022.

One vintage photograph by artist Ray Mortenson (American, born 1944), from his Meadowlands project contributes to a better representation of this body of work at The Ringling. Mortenson is recognized for his black and white photography of landscapes in the Northeastern US, beginning in the 1970s. Created from a selection of 37 photographs taken between 1978 and 1981, the book Meadowland (1984) features scenes from New Jersey’s sprawling Northeastern landscape, where industry and marshland coexist in

uneasy juxtaposition just a few miles outside New York City. Mortenson’s work is situated within the post- 1960s approach to landscape photography, perhaps best examples by the New Topographics photographers of the mid- 1970s, that focused on the human- altered environment rather than an untrammeled and pristine framing of the natural world. He has exhibited widely, including at the Whitney Museum and George Eastman Museum as part The New Pastoral in 1990. His work is held in numerous photography collections, such as the Art Institute of Chicago, Los Angeles County Museum of Art, and The Metropolitan Museum of Art, NY, as well as others. Mortenson’s work will contribute to the variety of representations of landscape photography the museum holds, including works by Ansel Adams, Clyde Butcher, Paul Caponigro, and Stephen Shore,

Vintage Associated Press Wirephotos of Civil Rights era.

A group of vintage wirephotos from the 1960s and early 1970s provide important visual artifacts of the work of photojournalists covering arguably the two most important events in the United States during this time: the civil rights movement and the Vietnam War. Particularly notable is an image by photojournalist Henri Huet (French, born Vietnam, 1927- 1971) that would’ve been featured in newspapers in the U.S. and internationally. Huet served with the French Navy as a combat photographer during the First Indochine War but remained in Vietnam to continue photojournalism as a civilian. He was killed in a helicopter crash while covering the war, along with noted American photojournalist Larry Burrow (1926- 1971) of Life magazine.

The other two photos are by unknown photographers and feature important figures from the civil rights movement: James H. Meredith, the first African- American to attend the University of Mississippi and famed Black revolutionary Angela Davis. All of these images have undeniable exhibition value because of their historical subject matter. Additionally, because of their format, wirephoto, they are valuable in teaching the public the ways in which photographic images were disseminated in the media, and how photojournalists could relay their images across distances. Wirephotos, also known as telephotos, were produced by translating an original photograph into electrical impulses by means of scanning by a photocell. These impulses could be transmitted across telegraph or telephone wire to a receiving wirephoto machine. These machines printed facsimiles of the original photograph, along with captions and printing notes, for publication. The Associated Press, United Press International, and other press agencies offered wirephoto services to subscribing or associated newspapers. The wirephotos in this group all contain captions and inscriptions that indicate cropping and editing, or other marks indicating use. These objects offer a valuable resource for research and exhibition making.

New Artists Added to the Collection

Jack Welpott (American, 1923- 2007) was an important photographic educator and artist who was key in developing pedagogy and promoting photography as a fine art practice in the second half of the 20th century. After serving in WWII, Welpott completed his MFA at Indiana University studying under Henry Holmes Smith alongside Van Deren Coke and Jerry Uelsmann. Welpott went on to teach at San Francisco State University where he worked much of his life and became part of the West Coast photographic community. Typical subjects for Welpott included female figure studies and portraits cast with a luminously rich sensuality. Some of his most compelling works were created during his collaboration with his wife and fellow photographer Judy Dater (American, born 1941), a series of photographs of women, collected and published as Women and Other Visions (1975). Welpott’s photographs are in the permanent collections of the J. Paul Getty Museum, Los Angeles; Museum of Modern Art, New York; Whitney Museum, New York; George Eastman Museum, Rochester, New York; Center for Creative Photography, University of Arizona, Tucson; San Francisco Museum of Modern Art; Bibliotheque Nationale, Paris and many others.

Another artist who will be represented for the first time in the permanent collection through this gift is Horst Tappe (German, 1938- 2005) a celebrated portrait photographer based in Switzerland known for his photographs of luminaries in visual arts, literature, and music. Over his career, he captured the likenesses of nearly 5,000 individuals and though his name was not widely known, his images of notables were widely reproduced and published, and his images of Pablo Picaso and Salvador Dalí were iconic. One of his frequent sitters and a personal friend was Russian author Vladimir Nabokov (1899- 1977) most famous for his controversial novel Lolita (1955).

19th century tourist photographs from Italy and Japan

These contribute to a significant collection of photographs that evidence the rise in global travel, tourism, and colonialism in the second half of the 19th century. Two of the four photographs are from Italy, and the other two from Japan, all of them are albumen silver prints intended for sale to tourists or armchair travelers and were most likely originally purchased as part of bound albums. The first two, La Piazzetta (The Piazzetta), Venice, ca. 1870s and Galleria Uffizi: Veduta del Primo Corridore (Uffizi Gallery: View of the First Corridor), Florence, ca. 1870s, both by unidentified photographers are typical works depicting popular Italian sites frequented by those on the grand tour. They compliment similar objects already in the collection such as the photographs of Fratelli Alinari (Italian, founded 1852) [2020.31.22- .27 and 2020.31.30] the fourteen works by Carlo Ponti Italian, born Switzerland, 1823-1893) [2020.31.6; 2020.33.21; and 2022.43.2 for example] and a photograph of the Fountain of the Tortoises, c. 1880 [SN11434.1] by an unknown artist. In

addition to their value in the history of photography, these works also all provide valuable context for The Ringling’s unique connections to Italian art and architecture. The final two objects, Yudaki waterfall near Yumoto, Japan, ca. 1880s and Kusakabe Kimbei’s (Japanese, 1841- 1934) Cherry Avenue (Mukojima), Tokyo, ca. 1880s add to a significant collection of photographs from Japan from the Meiji era created for Western tourists and travelers. These hand- colored prints, called Yokohama-shashin, or “Yokohama photograph” were a new type of image that emerged in Meiji period Japan (1868- 1912), named after Yokohama, the city that was the main port of entry for foreigners. Initially these photographs were created by studios established by Westerners, Japanese photographers soon emerged, creating successful business and establishing a Japanese studio tradition in the last decades of the 19th century. Kusakabe was one of the most successful and perhaps best known by Westerners and is responsible for some of the iconic images of the genre. These images contribute to an already substantial collection of Japanese albums from the same era, donated by Stanton B. and Nancy W. Kaplan in 2019. The benefit of having these unbound photographs, each in fine condition and good examples of the genre, allows the possibility of displaying this type of subject matter without the difficulty and wear of unbinding and separating prints from albums, thus granting more flexibility in planning exhibitions.

Two more exciting additions to collection by Nadar, pseudonym of Gaspard-Félix Tournachon (French, 1820 –1910) bring needed depth to our 19th century photographic holdings. Nadar was a colorful character in French society, a well- known caricaturist, journalist and novelist, Nadar was also a balloonist and aviation enthusiast who also established his own photographic studio and took what are regarded as the first aerial photographs (via balloon) in 1858. A bohemian well- connected to the fine art community in Paris, Nadar’s studio held the first exhibition of the Impressionists in 1874. In 1854, Nadar and his brother opened a photographic portrait studio that soon became the preeminent spot for Parisian celebrities, such as Charles Baudelaire, Sara Bernhardt, and Georges Sand, Countless others, from the notable to the ordinary bourgeois, had their portraits taken as well, typically in the small, business- card sized carte- de- visite print from a collodion negative. The two photographs on donation, one of an anonymous sitter and the other identified as actress Alice Regnault, are excellent examples of the work of Nadar’s studio and well- represent the history of photographic portraiture and the nascent mass media celebrity culture. Previously, The Ringling only had one photograph of or by Nadar, [SN11310.284]

Abelardo Morell

Finally, four works by Abelardo Morell are also included in this donation. Cuban- born American photo- based artist Abelardo Morell (b. 1948) is best known for his ongoing work creating images from site- specific temporary cameras obscurae. In these works the artist

creates a temporary camera obscura within a room, blocking out all external light except for a small aperture through which an exterior scene can be projected onto an interior wall and then photographed. Morell is an influential and highly- respected artist who has had solo exhibitions around the world, including at The J. Paul Getty Museum (2013), the Art Institute of Chicago (2013), Museo Nacional de Bellas Artes, Buenos Aires, Argentina (2009), Centro de la Imagen, Mexico City, Mexico (2007), and the Museum of Fine Arts, Boston (1999) to name but a few examples, Please see the current Sachin Lulla donation for more detailed information about Morell.

The Ringling Kalman Schoor gift of photographs for 2023

1.

Dmitri Baltermants, Russian, 1912 - 1990

Three soldiers firing from behind a broken building, Printed 2003

Gelatin silver Estate print

Sheet: 11 × 14 in. (27.9 × 35.6 cm)

Image: 8 7/8 × 12 15/16 in. (22.5 × 32.8 cm)

Gift of Kalman Schoor, 2023

2023.29.1

2.

Dmitri Baltermants, Russian, 1912 - 1990

Red Army on the Road to Berlin with Blown-Out Clock, 1945, Printed 2003

Gelatin silver Estate print

Sheet: 11 × 14 in. (27.9 × 35.6 cm)

Image: 8 11/16 × 13 in. (22 × 33 cm)

Gift of Kalman Schoor, 2023

2023.29.2

3.

Dmitri Baltermants, Russian, 1912 - 1990

Soldier in the Road, Smolensk Front, 10 Minutes from Moscow, 1941, 1941, Printed 2003

Gelatin silver Estate print

Sheet: 20 × 16 in. (50.8 × 40.6 cm)

Image: 19 5/16 × 12 13/16 in. (49 × 32.5 cm)

Gift of Kalman Schoor, 2023

2023.29.3

4.

Dmitri Baltermants, Russian, 1912 - 1990 In the Foxholes, 1941-1945, Printed 2003

Gelatin silver Estate print

Sheet: 20 × 16 in. (50.8 × 40.6 cm)

Image: 19 3/8 × 12 13/16 in. (49.2 × 32.5 cm)

Gift of Kalman Schoor, 2023

2023.29.4

Object Summary

5.

Micha Bar-Am, Israeli, born 1930

Electrician working on power lines in the Masada kibbutz, Jordan Valley, Israel, 1968

Vintage gelatin silver print Sheet: 11 3/8 × 7 3/4 in. (28.9 × 19.7 cm)

Gift of Kalman Schoor, 2023

2023.29.5

7.

Micha Bar-Am, Israeli, born 1930

Building boom, Tel Aviv, 1973

Vintage ferrotyped gelatin silver print Sheet: 11 3/4 × 7 5/8 in. (29.8 × 19.4 cm)

Image: 11 13/16 × 7 11/16 in. (30 × 19.5 cm)

Gift of Kalman Schoor, 2023

2023.29.6

Micha Bar-Am, Israeli, born 1930

Portrait of three female Israeli soldiers during training, Nebi Rubin, 1970

Vintage ferrotyped gelatin silver print Sheet: 6 7/8 × 9 3/4 in. (17.5 × 24.8 cm)

Image: 6 7/8 × 9 5/8 in. (17.5 × 24.5 cm)

Gift of Kalman Schoor, 2023

2023.29.7

8.

Micha Bar-Am, Israeli, born 1930

Terrorist attack on school in Ma'a lot: one of about 70 wounded students, Israel, 1974

Vintage ferrotyped gelatin silver print Sheet: 8 1/8 × 12 in. (20.6 × 30.5 cm)

Image: 8 1/4 × 11 13/16 in. (21 × 30 cm)

Gift of Kalman Schoor, 2023

2023.29.8

6.

Object Summary

9.

Micha Bar-Am, Israeli, born 1930

A demonstration against Mormons wishing to settle in Israel, 1985

Vintage ferrotyped gelatin silver print

Sheet: 7 3/4 × 11 3/4 in. (19.7 × 29.8 cm)

Image: 7 11/16 × 11 13/16 in. (19.6 × 30 cm)

Gift of Kalman Schoor, 2023

2023.29.9

10.

Leonard Freed, American, 1929 – 2006

Arab worker in family factory workshop is making Christian religious objects, Bethlehem, 1967

Vintage gelatin silver print

Sheet: 9 5/8 × 12 13/16 in. (24.5 × 32.5 cm)

Image: 7 1/2 × 11 1/4 in. (19 × 28.5 cm)

Gift of Kalman Schoor, 2023

2023.29.10

11.

12.

Leonard Freed, American, 1929 – 2006

Arab woman sitting on her door steps in the Old City of Jerusalem, 1967

Vintage gelatin silver print Sheet: 13 5/8 × 9 7/8 in. (34.6 × 25.1 cm)

Gift of Kalman Schoor, 2023

2023.29.11

Leonard Freed, American, 1929 – 2006

Two old men and one child during morning prayers, Jerusalem, Israel, 1973

Vintage gelatin silver print Sheet: 11 × 14 in. (28 × 35.5 cm)

Image: 6 11/16 × 10 1/4 in. (17 × 26 cm)

Gift of Kalman Schoor, 2023

2023.29.12

14.

Leonard Freed, American, 1929 – 2006

Portrait of woman in front of rubble inside her home after the ceiling has fallen in, Jerusalem, 1967

Vintage gelatin silver print Sheet: 12 × 9 1/2 in. (30.5 × 24.1 cm)

Gift of Kalman Schoor, 2023

2023.29.13

Leonard Freed, American, 1929 – 2006

Israeli army wedding at Tomb of the Patriarchs in the occupied West Bank shortly after the Six-Day War, Hebron, Israel, 1967

Vintage gelatin silver print Sheet: 10 1/4 × 13 9/16 in. (26 × 34.5 cm)

Image: 7 5/8 × 11 1/2 in. (19.4 × 29.2 cm)

Gift of Kalman Schoor, 2023

2023.29.14

15.

Leonard Freed, American, 1929 – 2006

Children in Gaza refugee camp receiving canned food from Israeli soldier, 1967-1968

Vintage gelatin silver print Sheet: 11 × 14 in. (28 × 35.5 cm)

Image: 7 7/8 × 11 13/16 in. (20 × 30 cm)

Gift of Kalman Schoor, 2023

2023.29.15

16.

Ken Heyman, American, 1930 – 2019 Street Scene, Peru, 1960

vintage gelatin silver print Sheet: 10 × 13 in. (25.4 × 33 cm)

Gift of Kalman Schoor, 2023 2023.29.16

Object Summary

17.

18.

Ken Heyman, American, 1930 – 2019

Family Dr. Mead Studied, Achatoluya, Mexico, 1961

Vintage gelatin silver print Sheet: 13 1/2 × 9 3/4 in. (34.3 × 24.8 cm)

Gift of Kalman Schoor, 2023

2023.29.17

19.

Ken Heyman, American, 1930 – 2019

Man hugging girl from behind, New York, 1984

Vintage gelatin silver print

Sheet: 20 × 16 in. (50.8 × 40.6 cm)

Image: 18 1/2 × 12 5/8 in. (47 × 32 cm)

Gift of Kalman Schoor, 2023

2023.29.18

Nathan Lerner, American, 1913 – 1997 Light Volume, ca. 1940

Vintage gelatin silver print Sheet: 3 1/16 × 4 7/16 in. (7.7 × 11.2 cm)

Matt: 8 × 10 in. (20.3 × 25.4 cm)

Gift of Kalman Schoor, 2023

2023.29.19

20.

Nathan Lerner, American, 1913 – 1997 Miner's Children, Southern Illinois, 1935, printed later Later gelatin silver print Sheet: 5 3/4 × 8 1/2 in. (14.6 × 21.6 cm)

Image: 5 11/16 × 8 3/8 in. (14.5 × 21.2 cm)

Gift of Kalman Schoor, 2023

2023.29.20

Object Summary

21.

Nathan Lerner, American, 1913 – 1997

Galena Railings, 1938, printed later

Later gelatin silver print

Sheet: 6 × 9 1/2 in. (15.2 × 24.1 cm)

Matt: 8 × 10 in. (20.3 × 25.4 cm)

Gift of Kalman Schoor, 2023

2023.29.21

22.

Nathan Lerner, American, 1913 – 1997

Man in boat wearing hat, ca. 1930s

Vintage gelatin silver print

Sheet: 1 1/2 × 2 3/8 in. (3.8 × 6 cm)

Matt: 8 × 10 in. (20.3 × 25.4 cm)

Gift of Kalman Schoor, 2023

2023.29.22

23.

Milton Rogovin, American, 1909 – 2011

Millie & Roy, Buffalo, NY, from the "Lower West Side Revisited" series, 1974, 1985, 1992, 2002

Penaptych of vintage and early gelatin silver prints

Sheet (Each): 10 × 8 in. (25.4 × 20.3 cm)

Image (A): 6 7/8 × 5 7/8 in. (17.5 × 15 cm)

Image (B): 7 × 7 in. (17.8 × 17.8 cm)

Image (C): 6 7/8 × 6 11/16 in. (17.5 × 17 cm)

Image (D): 6 11/16 × 6 in. (17 × 15.3 cm)

Image (E): 6 7/8 × 6 1/8 in. (17.5 × 15.6 cm)

Gift of Kalman Schoor, 2023

2023.29.23

24.

Milton Rogovin, American, 1909 – 2011

Millie & Roy, Buffalo, NY, from the "Lower West Side Revisited" series, 1974, 1985, 1992, 2002

Penaptych of vintage and early gelatin silver prints

Sheet (Each): 10 × 8 in. (25.4 × 20.3 cm)

Image (A): 6 7/8 × 5 7/8 in. (17.5 × 15 cm)

Image (B): 7 × 7 in. (17.8 × 17.8 cm)

Image (C): 6 7/8 × 6 11/16 in. (17.5 × 17 cm)

Image (D): 6 11/16 × 6 in. (17 × 15.3 cm)

Image (E): 6 7/8 × 6 1/8 in. (17.5 × 15.6 cm)

Gift of Kalman Schoor, 2023

2023.29.23

Milton Rogovin, American, 1909 – 2011

Millie & Roy, Buffalo, NY, from the "Lower West Side Revisited" series, 1974, 1985, 1992, 2002

Penaptych of vintage and early gelatin silver prints

Sheet (Each): 10 × 8 in. (25.4 × 20.3 cm)

Image (A): 6 7/8 × 5 7/8 in. (17.5 × 15 cm)

Image (B): 7 × 7 in. (17.8 × 17.8 cm)

Image (C): 6 7/8 × 6 11/16 in. (17.5 × 17 cm)

Image (D): 6 11/16 × 6 in. (17 × 15.3 cm)

Image (E): 6 7/8 × 6 1/8 in. (17.5 × 15.6 cm)

Gift of Kalman Schoor, 2023

2023.29.23

26.

Milton Rogovin, American, 1909 – 2011

Millie & Roy, Buffalo, NY, from the "Lower West Side Revisited" series, 1974, 1985, 1992, 2002

Penaptych of vintage and early gelatin silver prints

Sheet (Each): 10 × 8 in. (25.4 × 20.3 cm)

Image (A): 6 7/8 × 5 7/8 in. (17.5 × 15 cm)

Image (B): 7 × 7 in. (17.8 × 17.8 cm)

Image (C): 6 7/8 × 6 11/16 in. (17.5 × 17 cm)

Image (D): 6 11/16 × 6 in. (17 × 15.3 cm)

Image (E): 6 7/8 × 6 1/8 in. (17.5 × 15.6 cm)

Gift of Kalman Schoor, 2023

2023.29.23

Milton Rogovin, American, 1909 – 2011

Millie & Roy, Buffalo, NY, from the "Lower West Side Revisited" series, 1974, 1985, 1992, 2002

Penaptych of vintage and early gelatin silver prints

Sheet (Each): 10 × 8 in. (25.4 × 20.3 cm)

Image (A): 6 7/8 × 5 7/8 in. (17.5 × 15 cm)

Image (B): 7 × 7 in. (17.8 × 17.8 cm)

Image (C): 6 7/8 × 6 11/16 in. (17.5 × 17 cm)

Image (D): 6 11/16 × 6 in. (17 × 15.3 cm)

Image (E): 6 7/8 × 6 1/8 in. (17.5 × 15.6 cm)

Gift of Kalman Schoor, 2023

2023.29.23

27.

Object Summary

28.

29.

Joe Schwartz, American, 1913 – 2013

Two for Dolly, Kingsboro Housing Project, Ocean Hill, Brooklyn, NY, 1947

Early gelatin silver print

Sheet: 13 3/4 × 10 5/8 in. (34.9 × 27 cm)

Image: 11 15/16 × 9 1/8 in. (30.3 × 23.2 cm)

Gift of Kalman Schoor, 2023

2023.29.24

30.

Todd Webb, American, 1905 – 2000 Standpipe, 5th Ave, New York, 1946

Vintage or early gelatin silver print Sheet: 10 × 8 in. (25.4 × 20.3 cm)

Image: 6 1/2 × 4 1/2 in. (16.5 × 11.4 cm)

Gift of Kalman Schoor, 2023

2023.29.25

31.

Todd Webb, American, 1905 – 2000 St. Luke's Place, New York, 1959

vintage or early gelatin silver print Sheet: 10 × 8 in. (25.4 × 20.3 cm)

Image: 8 × 6 1/2 in. (20.3 × 16.5 cm)

Gift of Kalman Schoor, 2023

2023.29.26

Todd Webb, American, 1905 – 2000 Wall St. at Nassau St., New York, 1958

Vintage or early gelatin silver print Sheet: 8 × 10 in. (20.3 × 25.4 cm)

Image: 6 1/2 × 8 1/4 in. (16.5 × 21 cm)

Gift of Kalman Schoor, 2023

2023.29.27

Object Summary

32.

33.

Todd Webb, American, 1905 – 2000

Lower Manhattan, New York, January 1, 1957, 1957

Vintage or early gelatin silver print Sheet: 10 × 8 in. (25.4 × 20.3 cm)

Image: 8 1/2 × 6 1/2 in. (21.6 × 16.5 cm)

Gift of Kalman Schoor, 2023

2023.29.28

34.

Rallying Point: The name of black revolutionary Angela Davis has become a rallying cry in the Soviet Union, with some very effective propaganda exploitation of the issue. This cartoon is from a recent issue of the communist party newspaper Izvestia and carries the caption "Save Angela Davis", January 6, 1971, 1971

Vintage Associated Press wirephoto Sheet: 7 1/2 × 5 3/4 in. (19.1 × 14.6 cm)

Gift of Kalman Schoor, 2023

2023.29.29

35.

Meredith in Class: James H. Meredith, first known Negro attending the University of Mississippi, glances at photographer during Mathematics class Thursday afternoon. A student took the picture which drew Meredith's attention away from lecturing professor, October 11, 1962, 1962

Vintage Associated Press wirephoto Sheet: 6 1/2 × 7 3/4 in. (16.5 × 19.7 cm)

Gift of Kalman Schoor, 2023

2023.29.30

Henri Huet, French, 1927 – 1971

U.S. Defense Secretary Robert McNamara, second from left, holds press conference at Airport in Saigon on July 20th, 1965 as he prepares to return to the United States after a five-day visit to South Vietnam. At left is Gen. Earle C. Wheeler, Chairman of the Joint Chiefs of Staff. Second from right is U.S. Ambassador in Vietnam, Maxwell D. Taylor. Ambassador-designate Henry Cabot Lodge is at right., 1965

Vintage Associate Press wirephoto Sheet: 5 1/8 × 9 1/2 in. (13 × 24.1 cm)

Gift of Kalman Schoor, 2023

2023.29.31

Object Summary

36.

Kim Ki Sam

U.S. Jungle Fighters Welcomed in Vietnam: General Creighton Abrams Jr., deputy commander of U.S. troops in Vietnam, welcomes soldiers of the U.S. 11th Infantry Brigade at Qui Nhon today. The brigade, made up of 4,300 jungle fighters, arrived by ship for duty in South Vietnam, December 20, 1967, 1967 Vintage Associated Press wirephoto Sheet: 6 3/8 × 9 1/4 in. (16.2 × 23.5 cm)

Gift of Kalman Schoor, 2023

2023.29.32

37.

38.

Paul Almasy, Hungarian-Swiss, 1906 – 2003 Syrian Police/Soldier, Syria, 1946

Vintage ferrotyped gelatin silver print Sheet: 9 1/2 × 7 1/2 in. (24.1 × 19.1 cm)

Gift of Kalman Schoor, 2023

2023.29.33

39.

Henry Horenstein, American, born 1947 Fan, Thompson Speedway, Thompson, Connecticut, from the "Speedway 72" series, 1972, printed later

Gelatin silver print, printed later Sheet: 24 × 20 in. (61 × 50.8 cm)

Image: 14 15/16 × 14 15/16 in. (38 × 38 cm)

Gift of Kalman Schoor, 2023

2023.29.34

Henry Horenstein, American, born 1947 Interior (2), Tootsie's Orchid Lounge, Nashville, Tennessee, from the "Honky Tonk" series, 1974, printed later

Gelatin silver print, printed later Sheet: 20 × 16 in. (50.8 × 40.6 cm)

Image: 14 15/16 × 14 15/16 in. (38 × 38 cm)

Gift of Kalman Schoor, 2023

2023.29.35

Object Summary

40.

41.

Henry Horenstein, American, born 1947

Playgirl, Lincoln Park, Route 6, Westport, Massachusetts, from the series "You Can Still Get Your Kicks on Route 6, Boston Globe", 1985, printed ca. 1985

Gelatin silver print

Sheet: 23 × 16 3/8 in. (58.4 × 41.6 cm)

Image: 20 1/2 × 13 9/16 in. (52 × 34.5 cm)

Gift of Kalman Schoor, 2023

2023.29.36

42.

Henry Horenstein, American, born 1947

Car #41, Big Al, Thompson Speedway, Thompson, Connecticut, from the "Speedway 72" series, 1972, printed later

Gelatin silver print, printed later

Sheet: 14 × 11 in. (35.6 × 27.9 cm)

Image: 10 1/4 × 10 1/16 in. (26 × 25.5 cm)

Gift of Kalman Schoor, 2023

2023.29.37

Henry Horenstein, American, born 1947

$6 Per Car, Dartmouth Drive In, Route 6, Dartmouth, Massachusetts, from the series "You Can Still Get Your Kicks on route 6, Boston Globe", 1985, printed ca. 1985

Gelatin silver print

Sheet: 16 1/2 × 23 in. (41.9 × 58.4 cm)

Image: 13 3/4 × 20 1/2 in. (35 × 52 cm)

Gift of Kalman Schoor, 2023

2023.29.38

43.

Abelardo Morell, American, born 1948 Book and Mirror on Round Table, 2000

Archival pigment print

Sheet: 22 × 27 in. (55.9 × 68.6 cm)

Image: 20 1/2 × 25 9/16 in. (52 × 65 cm)

Gift of Kalman Schoor, 2023

2023.29.39

Object Summary

44.

45.

Abelardo Morell, American, born 1948

Camera Obscura: St. Louis View, Looking East, in Building under Construction, 2000

Archival pigment print

Sheet: 22 × 27 in. (55.9 × 68.6 cm)

Image: 20 1/2 × 25 9/16 in. (52 × 65 cm)

Gift of Kalman Schoor, 2023

2023.29.40

46.

Abelardo Morell, American, born 1948

Tent-Camera Image on Ground: View of the Yosemite Valley from Tunnel View, Yosemite National Park, California, 2012

Archival pigment print

Sheet: 22 × 29 in. (55.9 × 73.7 cm)

Image: 20 1/2 × 27 3/8 in. (52 × 69.5 cm)

Gift of Kalman Schoor, 2023

2023.29.41

47.

Abelardo Morell, American, born 1948

Tent-Camera Image on Ground: View of Florence from San Miniato al Monte, Italy, 2017

Archival pigment print

Sheet: 22 × 29 in. (55.9 × 73.7 cm)

Image: 20 1/2 × 27 3/8 in. (52 × 69.5 cm)

Gift of Kalman Schoor, 2023

2023.29.42

Ray Mortenson, American, born 1944

Untitled, from the Meadowland series, 1980

Vintage gelatin silver print

Sheet: 10 5/8 × 12 13/16 in. (27 × 32.6 cm)

Image: 6 7/16 × 8 11/16 in. (16.4 × 22.1 cm)

Gift of Kalman Schoor, 2023

2023.29.43

Object Summary

48.

49.

Nadar, French, Paris, 1820 - 1910

Alice Regnault, actess, Paris, ca. 1870

Vintage albumen carte de visite

Sheet: 4 1/8 × 2 1/2 in. (10.4 × 6.3 cm)

Image: 3 5/8 × 2 5/16 in. (9.2 × 5.8 cm)

Gift of Kalman Schoor, 2023

2023.29.44

50.

Nadar, French, Paris, 1820 - 1910

Portrait of unidentified old lady with headdress, Paris, ca. 1870s

Vintage albumen carte de visite

Sheet: 4 1/16 × 2 1/2 in. (10.3 × 6.4 cm)

Image: 3 3/8 × 2 3/16 in. (8.5 × 5.5 cm)

Gift of Kalman Schoor, 2023

2023.29.45

51.

Nadar, French, Paris, 1820 - 1910

Paul-Jules Barbier, French playwright, Paris, 1884

Vintage albumen print on a cabinet card mount

Sheet: 6 1/2 × 4 3/16 in. (16.5 × 10.7 cm)

Image (Oval): 5 1/16 × 3 3/4 in. (12.8 × 9.5 cm)

Gift of Kalman Schoor, 2023

2023.29.46

Bill Owens, American, born 1938

Men don't have the patience to become coil winders. This job has lots of tension. Each day is a challenge and you have to learn to relax, otherwise you can break a wire. It took me three weeks to wind my first thirteen loops. These coils are part of a computer recording head, from the "Working" series, 1975

Vintage gelatin silver print

Sheet: 7 7/8 × 9 15/16 in. (20 × 25.3 cm)

Image: 6 7/16 × 8 1/4 in. (16.3 × 21 cm)

Gift of Kalman Schoor, 2023

2023.29.47

Object Summary

52.

Bill Owens, American, born 1938

For my husband's 84th birthday, I bought him a girl in the cake. He was thrilled to death and we were afraid he might have another heart attack. San Ramon Country Club, San Ramon, California, from the "Leisure" series, 1974, printed in 2005

Gelatin silver print

Sheet: 11 × 13 7/8 in. (27.9 × 35.3 cm)

Image: 9 13/16 × 12 11/16 in. (25 × 32.3 cm)

Gift of Kalman Schoor, 2023

2023.29.48

53.

Bill Owens, American, born 1938 North Beach, San Francisco, California / Nude Interracial Love Dance, San Francisco, California, from the "Leisure " series, 1968, printed later

Gelatin silver print

Sheet: 9 13/16 × 7 7/8 in. (25 × 20 cm)

Image: 7 7/8 × 5 11/16 in. (20 × 14.5 cm)

Gift of Kalman Schoor, 2023

2023.29.49

54.

Bill Owens, American, born 1938

Ducks in the park, Tri-Valley Area, Northern California, ca. 1970

Vintage gelatin silver print Sheet: 8 × 10 in. (20.3 × 25.4 cm)

Image: 5 1/2 × 8 3/16 in. (14 × 20.8 cm)

Gift of Kalman Schoor, 2023

2023.29.50

55.

Horst Tappe, German, 1938 – 2005

Historic Photographs: Vladimir Nabokov: OPS the Russian-born American author Vladimir Nabokov (1899-1977), best known for his controversial novel "Lolita", published in 1955, concerning the attachment of a middle-aged intellectual for a 12-year-old girl. He was born in St. Petersburg, studied at Trinity College, Cambridge, and settled in America in 1940, becoming a professor of Russian Literature at Cornell. He was a considerable Russian author as well as a novelist and short story writer in English, 1968

Vintage ferrotyped gelatin silver print Sheet: 7 × 5 in. (17.8 × 12.7 cm)

Gift of Kalman Schoor, 2023

2023.29.51

Object Summary

56.

57.

Jack Warren Welpott, American, 1923 – 2007 In Kathleen's Room, 1972

Vintage gelatin silver print Sheet: 12 1/8 × 9 3/4 in. (30.8 × 24.8 cm)

Support: 20 × 16 in. (50.8 × 40.6 cm)

Gift of Kalman Schoor, 2023

2023.29.52

58.

Jack Warren Welpott, American, 1923 – 2007 Katrina, Arles, France, 1976

Gelatin silver print

Sheet: 14 × 11 in. (35.6 × 27.9 cm)

Image: 9 13/16 × 6 7/8 in. (25 × 17.5 cm)

Gift of Kalman Schoor, 2023

2023.29.53

Galleria Uffizi: Veduta del Primo Corridore (Uffizi Gallery: View of the First Corridor), Florence, ca. 1870s

Vintage albumen print from a collodion negative Sheet: 11 × 14 1/4 in. (27.9 × 36.2 cm)

Image: 10 5/8 × 14 1/4 in. (27 × 36.2 cm)

Gift of Kalman Schoor, 2023

2023.29.54

59. La Piazzetta (The Piazzetta), Venice, ca. 1870s

Vintage albumen print from a collodion negative Sheet: 10 7/16 × 14 3/16 in. (26.5 × 36 cm)

Image: 10 1/16 × 13 11/16 in. (25.5 × 34.8 cm)

Gift of Kalman Schoor, 2023

2023.29.55

Object Summary

60. Yudaki waterfall near Yumoto, Japan, ca. 1880s

Vintage albumen print, mounted Sheet: 13 3/8 × 10 1/4 in. (34 × 26 cm)

Image: 10 7/16 × 8 1/4 in. (26.5 × 21 cm)

Gift of Kalman Schoor, 2023 2023.29.56

61. Kimbei Kusakabe, Japanese, 1841 - 1934 Cherry Avenue (Mukojima), Tokyo, ca. 1880s

Vintage albumen print, mounted Sheet: 10 1/4 × 13 3/8 in. (26 × 34 cm)

Image: 7 7/8 × 10 7/16 in. (20 × 26.5 cm)

Gift of Kalman Schoor, 2023 2023.29.57

Item #13

Acquisition by Donation – EOY 2023

Collections Committee Meeting January 26, 2024

Objects:

4 prints by Otto Neumann (German, 1895 –1975); Please see attached list

Donors: The Rothschild Family and The Otto Neuman Archives LLC

Valuation: Estimated value $32,000.00 USD. An appraisal is expected from the donor.

Condition: These four prints are in very good condition. These works can be displayed as is. #037094 would benefit from minor treatment prior to display.

Provenance: Otto Neumann bequeathed collection to The Rothschild Family

Reasons for Recommending Work:

“Otto Neumann was a twentieth century German painter and printmaker influenced by luminaries such as Max Weber and Ernst Troeltch. After graduating from the local Humanistic Gymnasium, the young Neumann began to study art at the art academy in Karlsruhe. World War I interrupted his training, and he spent six months in the Rastatt Artillery before receiving a medical discharge. He briefly returned to Karlsruhe, then took private lessons from the landscape painter, Wilhelm Oertel in Mannheim before completing his training at the Academie der Bildenden Kunste in Munch in 1919. After returning to Heidelberg, he began to paint oil portraits, primarily of such major university figures as Max Weber and medical faculty members like Hans Prinzhorn. Neumann’s work evolved from strongly colored and thickly brushed paintings and sharp and angular black and white prints, to late abstract prints in a variety of colors. Although his style and preferred mediums both changed through a long career, the human figure remained his most enduring and constant subject.”

“Neumann created works of stark brutality, sumptuous beauty, and sleek simplicity in an array of media oils, watercolors, chalk, graphite, lithographs, woodcuts, and monotypes, among others. He lived through revolutionary changes in the art world of prewar and postwar Germany, and drew inspiration from his contemporaries and predecessors, as well as from sources literary and deeply personal. Today, Neumann is best known for his subtly hued woodcuts and monotypes of human, animal, and abstract forms, created in the last twenty- five years of his life.”

The selection of a woodcut and three monotypes represent different time periods from the artist’s oeuvre to demonstrate his transition in technique and approach to the human figure. Over the years, Neumann’s style became weighted towards abstraction and a monochromatic palette. Many noted artists influenced Neumann including Austrian artist Oskar Kokoschka, British sculptor Henry Moore, and the group of German expressionist artists of Die Brücke (The Bridge). The Ringling has examples of works on paper by Moore and Kokoschka and adding Neumann to the collection will expand the holdings in the area of European Expressionist works.

Neumann’s work was previously included in exhibitions at the Lee Scarfone Gallery, University of Tampa, Tampa, Florida (1981), Tampa Museum of Art, Tampa, Florida (Traveling exhibition, shown in the United States and later in Germany) (1987 – 1988); Gibbes Museum of Art, Charleston, South Carolina (2007); Oglethorpe University, Atlanta, Georgia (2016); among many others. His work is found in collections at major museums in the US, including Neumann's works are in the collections of the Art Institute of Chicago, Detroit Institute of Art, Goethe Institute, Museum of Modern Art New York, Portland Art Museum, Rose Art Museum, Tampa Museum of Art, Gibbes Museum of Fine Art, and the Virginia Museum of Fine Art, as well as at a number of institutions abroad, such as City of Düsseldorf Permanent Art Collection, Düsseldorf, Germany; Hessisches Landesmuseum Darmstadt, Darmstadt, Germany; Staatliche Graphische Sammlung, Munich, Germany; and Städtische Galerie, Karlsruhe, Germany.

Exhibition Plans: Candidates for an exhibition of work on paper from the collection of modern and contemporary art on the subject of German and British Expressionism.

The Ringling

1.

2.

Otto Neumann, German, 1895 – 1975

Estate No. 037094, 1951

Woodcut on rice paper

Sheet: 24 7/16 × 17 15/16 in. (62 × 45.5 cm)

Image: 16 15/16 × 12 3/16 in. (43 × 31 cm)

Gift of The Rothschild Family in memory of Herbert F. Rothschild and Kimberly Ferneau Wallace, 2023

2023.32.1

3.

Otto Neumann, German, 1895 – 1975

Estate No. 072069, 1963

Monotype on paper

Sheet: 24 5/8 × 17 3/4 in. (62.5 × 45.1 cm)

Image: 20 3/8 × 12 3/4 in. (51.8 × 32.4 cm)

Gift of The Rothschild Family in memory of Herbert F. Rothschild and Kimberly Ferneau Wallace, 2023

2023.32.2

4.

Otto Neumann, German, 1895 – 1975

Estate No. 082116, 1967

Monotype on paper

Sheet: 24 5/8 × 17 3/4 in. (62.5 × 45.1 cm)

Image: 20 1/2 × 13 3/4 in. (52.1 × 34.9 cm)

Gift of The Rothschild Family in memory of Herbert F. Rothschild and Kimberly Ferneau Wallace, 2023

2023.32.3

Otto Neumann, German, 1895 – 1975

Estate No. 050012, 1952

Monotype on paper

Sheet: 17 11/16 × 24 5/8 in. (45 × 62.5 cm)

Image: 13 3/4 × 20 1/2 in. (35 × 52.1 cm)

Gift of The Rothschild Family in memory of Herbert F. Rothschild and Kimberly Ferneau Wallace, 2023

2023.32.4

Acquisition by Donation – EOY 2023

Collections Committee Meeting January 26, 2024

Agenda Item #14

Information Only

Objects:

82 Japanese woodblock prints and paintings; Please see attached list

Donors: Charles and Robyn Citrin

Valuation: Appraisal by Daphne Rosenzweig forthcoming from donors

Condition: Most of these prints are in good to fair condition. Many of these prints would benefit from conservation treatment prior to display or storage.

Provenance: Various dealers

Reasons for Recommending Work:

This is the latest installment of Citrins’ multi- year planned gift. Highlights from the current group include two prints by the American printmaker Bertha Lum, who was one of the first artists to exhibit a woodblock print in modern Japan, and an extremely rare, perhaps unpublished, print by Saitō Kiyoshi.

The Ringling

1.

Kotozuka Eiichi

The Cherry Blossoms in Nara (Scenes of Shiga, Nara and Kyoto. #3), ca. 1955

Woodblock print; ink and color on paper, mounted with silk mat

Sheet: 9 × 10 1/16 in. (22.9 × 25.5 cm)

Image: 8 1/4 × 10 15/16 in. (21 × 27.8 cm)

Matt: 9 3/4 × 13 5/8 in. (24.8 × 34.6 cm)

Gift of Charles and Robyn Citrin, 2023 2023.33.1

2. Kotozuka Eiichi

The Maples of Takao in Kyoto (The Scenes of Shiga, Nara and Kyoto, #5), ca. 1955

Woodblock print; ink and color on paper, mounted with silk mat

Sheet: 9 × 10 1/16 in. (22.9 × 25.5 cm)

Image: 8 1/4 × 10 15/16 in. (21 × 27.8 cm)

Matt: 9 3/4 × 13 5/8 in. (24.8 × 34.6 cm)

Gift of Charles and Robyn Citrin, 2023 2023.33.2

3.

Bertha Lum

Wavy Night, 1921

Woodblock print; ink and color on paper with applied pencil

Sheet: 10 5/8 × 7 3/16 in. (27 × 18.3 cm)

Image: 10 1/16 × 6 7/8 in. (25.5 × 17.5 cm)

Gift of Charles and Robyn Citrin, 2023 2023.33.3

4.

Bertha Lum

Aoyagy [Aoyagi], 1921 (printed later) ink and color on paper

Sheet: 10 1/2 × 9 9/16 in. (26.7 × 24.3 cm)

Image: 7 3/16 × 6 1/2 in. (18.3 × 16.5 cm)

Gift of Charles and Robyn Citrin, 2023

2023.33.4

Object Summary

5. Utagawa Kunisada, Japanese, 1786 - 1865

Maruo Jinpachi

Kawarazaki Gonjūrō as Yama Jūtarō, Sawamura Tanosuke as Yozaemon’s daughter Ori, and Ichimura Uzaemon as Satō Yomoshichi, 1861

Triptych of woodblock prints (nishiki-e); ink and color on paper

Overall: 14 3/16 × 29 1/8 in. (36 × 74 cm)

Sheet (each sheet): 9 13/16 × 29 1/8 in. (25 × 74 cm)

Gift of Charles and Robyn Citrin, 2023 2023.33.5

6. Kono Bairei

Bird in flight with flowering branch, 1884

Woodblock print (nishiki-e); ink and color on paper

Sheet: 9 5/8 × 6 1/2 in. (24.5 × 16.5 cm)

Image: 8 1/4 × 5 7/8 in. (21 × 15 cm)

Gift of Charles and Robyn Citrin, 2023 2023.33.6

7. Kono Bairei

Bird perched on a flowering branch, 1884

Woodblock print (nishiki-e); ink and color on paper

Sheet: 9 1/16 × 6 1/2 in. (23 × 16.5 cm)

Image: 8 1/4 × 5 7/8 in. (21 × 14.9 cm)

Gift of Charles and Robyn Citrin, 2023 2023.33.7

8. Kono Bairei

A pair of pigeons, 1884

Woodblock print (nishiki-e); ink and color on paper

Sheet: 9 5/8 × 6 1/2 in. (24.5 × 16.5 cm)

Image: 8 1/4 × 5 7/8 in. (21 × 15 cm)

Gift of Charles and Robyn Citrin, 2023 2023.33.8

Object Summary

9.

10.

Utagawa Toyokuni

The actor Onoe Kikugorō, 1794–1804

Woodblock print (nishiki-e); ink and color on paper

Sheet: 14 3/16 × 9 7/16 in. (36 × 24 cm)

Gift of Charles and Robyn Citrin, 2023

2023.33.9

11.

Utagawa Toyokuni

Ichikawa Danjuro

Woodblock print (nishiki-e); ink and color on paper

Sheet: 14 3/16 × 9 7/16 in. (36 × 24 cm)

Gift of Charles and Robyn Citrin, 2023

2023.33.10

12.

Utagawa Kuniyoshi

Shima-zoroi onna Benkei 縞揃女辨慶 (Women Likened to Benkei, Wearing Checks), 1844

Woodblock print (nishiki-e); ink and color on paper

Gift of Charles and Robyn Citrin, 2023

2023.33.11

Utagawa Yoshitora, Japanese, 1850 – 1870

Sujikae New Meganebashi: A View, c.1874

Woodblock print (nishiki-e); ink and color on paper

Overall: 14 3/8 × 28 3/8 in. (36.5 × 72 cm)

Sheet (each): 14 3/8 × 9 7/16 in. (36.5 × 24 cm)

Gift of Charles and Robyn Citrin, 2023

2023.33.12

Object Summary

13.

14.

Utagawa Hiroshige, Japanese, 1797 - 1858

Original Fuji, Meguro (Meguro Moto-Fuji), #25 from the series "One Hundred Famous VIews of Edo", 1857

Woodblock print (nishiki-e); ink and color on paper

Sheet (mounted): 14 9/16 × 10 1/4 in. (37 × 26 cm)

Image: 13 1/16 × 8 7/8 in. (33.2 × 22.5 cm)

Gift of Charles and Robyn Citrin, 2023

2023.33.13

15.

Gigadō Ashiyuki, Japanese, active 1813 – 1833

Onoe Kikugoro III as Kanshojo

Woodblock print (nishiki-e); ink and color on paper Sheet: 14 3/16 × 9 7/16 in. (36 × 24 cm)

Gift of Charles and Robyn Citrin, 2023 2023.33.14

Fan print, 1920

Woodblock print; ink and color on paper Sheet: 9 1/4 × 9 13/16 in. (23.5 × 25 cm)

Gift of Charles and Robyn Citrin, 2023 2023.33.15

17.

Shunshosai Hokucho, Japanese

Actor with Umbrella and Fan, 1822–1830

Woodblock print (nishiki-e); ink and color on paper

Gift of Charles and Robyn Citrin, 2023 2023.33.16

18.

Shunshosai Hokucho, Japanese

Disguised Samurai with children playing with tops.

Woodblock print (nishiki-e); ink and color on paper Sheet: 14 3/16 × 9 7/16 in. (36 × 24 cm)

Gift of Charles and Robyn Citrin, 2023 2023.33.17

Kawanabe Kyōsai, Utagawa Yoshitora, Takekawa Seikichi

Mariko in Suruga Province: Comic Antics at the Inn, from the series Calligraphy and Pictures for the Fifty-Three Stations of the Tōkaidō, 1872

Woodblock print (nishiki-e); ink and color on paper Sheet: 14 3/16 × 9 7/16 in. (36 × 24 cm)

Image: 13 3/16 × 9 1/16 in. (33.5 × 23 cm)

Gift of Charles and Robyn Citrin, 2023 2023.33.18

Object Summary

19.

20.

Kawanabe Kyōsai, Takekawa Seikichi

Fujikawa in Mikawa Province: The Laughter of a Madwoman, from the series Calligraphy and Pictures for the Fifty-Three Stations of the Tōkaidō, 1872

Woodblock print (nishiki-e); ink and color on paper

Sheet: 14 3/16 × 9 5/8 in. (36 × 24.5 cm)

Image: 13 3/16 × 8 7/8 in. (33.5 × 22.5 cm)

Gift of Charles and Robyn Citrin, 2023

2023.33.19

21.

Kamei Tobei (Genbei), Unsōdō

Great Pillar of Heian Shrine, ca. 1930 – 1940

Woodblock print (nishiki-e); ink and color on paper

Sheet: 8 5/16 × 11 1/8 in. (21.1 × 28.2 cm)

Image: 7 11/16 × 10 1/4 in. (19.5 × 26 cm)

Gift of Charles and Robyn Citrin, 2023

2023.33.20

22.

Toyohara Chikanobu, Japanese, 1838 - 1912 Boys waving flag- War memorial

Woodblock print; ink and color on paper

Overall (Diptych ): 14 9/16 × 19 5/16 in. (37 × 49 cm)

Sheet (each): 14 9/16 × 9 13/16 in. (37 × 25 cm)

Gift of Charles and Robyn Citrin, 2023 2023.33.21

Katsukawa Shun'ei

Nakayama Tomisaburō in an unidentified role, 1780s

Woodblock print (nishiki-e); ink and color on paper

Sheet (Hosoban): 12 13/16 × 5 11/16 in. (32.5 × 14.5 cm)

Gift of Charles and Robyn Citrin, 2023

2023.33.22

Object Summary

23.

24.

Kikugawa Eizan, Japanese, 1787 – 1867

Three Beauties of the Green Houses: Tagasode of the Tamaya [one sheet of a triptych]

Woodblock print (nishiki-e); ink and color on paper

Sheet: 14 15/16 × 9 13/16 in. (38 × 25 cm)

Gift of Charles and Robyn Citrin, 2023

2023.33.23

Takeuchi Seihō, Japanese, 1864 - 1942 Fish decending

Water color on paper

Sheet: 14 15/16 × 9 13/16 in. (38 × 25 cm)

Gift of Charles and Robyn Citrin, 2023 2023.33.24

25. Takeuchi Seihō, Japanese, 1864 - 1942 Puffer fish

Water color on paper

Sheet: 10 5/8 × 16 9/16 in. (27 × 42 cm)

Gift of Charles and Robyn Citrin, 2023 2023.33.25

26.

Takeuchi Seihō, Japanese, 1864 - 1942 Flounder and seaweed

Water color on paper

Sheet: 10 5/8 × 16 9/16 in. (27 × 42 cm)

Gift of Charles and Robyn Citrin, 2023 2023.33.26

27. Takeuchi Seihō, Japanese, 1864 - 1942 Two fish

Water color on paper Sheet: 10 5/8 × 16 9/16 in. (27 × 42 cm)

Gift of Charles and Robyn Citrin, 2023 2023.33.27

Object Summary

28.

29.

Tsukioka Yoshitoshi, Japanese, 1839 - 1892

The Kana Newspaper, No. 891, 15 February, 1879, 1879

Woodblock print (nishiki-e); ink and color on paper

Sheet: 14 × 9 7/16 in. (35.5 × 24 cm)

Gift of Charles and Robyn Citrin, 2023

2023.33.28

30.

After Mori Tetsuzan

Tanuki with crescent moon

Woodblock print (nishiki-e); ink and color on paper

Sheet: 6 1/4 × 3 3/4 in. (15.8 × 9.5 cm)

Gift of Charles and Robyn Citrin, 2023 2023.33.29

Shōzan, Japanese, active late 19th–early 20th centuries

Pair of black birds

Woodblock print (nishiki-e); ink and color on paper

Sheet: 4 1/8 × 6 3/8 in. (10.5 × 16.2 cm)

Image: 3 9/16 × 5 9/16 in. (9 × 14.2 cm)

Gift of Charles and Robyn Citrin, 2023 2023.33.30

31.

Toyohara Chikanobu

Canna Lilies

Woodblock print; ink and color on paper

Sheet (Each): 15 3/4 × 10 13/16 in. (40 × 27.5 cm)

Image: 14 9/16 × 9 13/16 in. (37 × 25 cm)

Gift of Charles and Robyn Citrin, 2023 2023.33.31

Object Summary

32.

33.

Kono Bairei, Japanese, 1844 – 1895

Fan and Chrysanthemum, 1892

Woodblock print (nishiki-e); ink and color on paper

Sheet: 9 13/16 × 12 13/16 in. (25 × 32.5 cm)

Image: 8 1/16 × 11 7/16 in. (20.5 × 29 cm)

Gift of Charles and Robyn Citrin, 2023

2023.33.32

34.

Kono Bairei, Japanese, 1844 – 1895

Ducks from One Hundred Birds

Woodblock print (nishiki-e); ink and color on paper

Overall: 9 5/8 × 12 in. (24.5 × 30.5 cm)

Sheet (each): 8 1/16 × 11 1/4 in. (20.5 × 28.5 cm)

Gift of Charles and Robyn Citrin, 2023

2023.33.33

35.

Tsukioka Yoshitoshi, Japanese, 1839 - 1892

Mirror of Wise and Benevolent Heroes of Japan: Minamoto no Tametomo, (Honcho chijin eiyu kagami: Minamoto no Tametomo), ca. 1878

Woodblock print (nishiki-e); ink and color on paper

Sheet (oban tate-e ): 13 7/8 × 9 7/16 in. (35.2 × 24 cm)

Gift of Charles and Robyn Citrin, 2023

2023.33.34

Utagawa Yoshitora, Japanese, 1850 – 1870

Two women on crowded street (Eight views of Edo), ca. 1850

Woodblock print (nishiki-e); ink and color on paper

Sheet: 14 9/16 × 9 13/16 in. (37 × 25 cm)

Image: 13 × 8 11/16 in. (33 × 22 cm)

Gift of Charles and Robyn Citrin, 2023

2023.33.35

Object Summary

36.

Kitagawa Tsukimaro, Japanese, 1776 – 1825

The Courtesan Takao Entertaining the Actors Sawamura Gennosuke and Iwai Kiyotar? at the Miuraya, ca. 1805

Woodblock print (nishiki-e); ink and color on paper

Overall (Triptych): 15 3/16 × 30 1/4 in. (38.5 × 76.8 cm)

Sheet (each): 15 3/8 × 8 11/16 in. (39 × 22 cm)

Gift of Charles and Robyn Citrin, 2023

2023.33.36

37.

38.

Uchida Woodblock Printing Co. Ltd, Japanese Three Cranes

Woodblock print (nishiki-e); ink and color on paper

Sheet: 15 1/2 × 10 7/16 in. (39.3 × 26.5 cm)

Image: 15 1/4 × 10 1/16 in. (38.7 × 25.6 cm)

Gift of Charles and Robyn Citrin, 2023

2023.33.37

39.

Kono Bairei, Japanese, 1844 – 1895

Birds on branch (From 100 Birds), 1884

Woodblock print (nishiki-e); ink and color on paper

Overall (Diptych): 9 5/8 × 12 1/16 in. (24.5 × 30.6 cm)

Image: 8 1/4 × 11 9/16 in. (21 × 29.3 cm)

Gift of Charles and Robyn Citrin, 2023

2023.33.38

Kono Bairei, Japanese, 1844 – 1895

Pair of Jungle Fowl (chickens) from 100 Birds, 1884

Woodblock print (nishiki-e); ink and color on paper

Overall (Diptych): 9 5/8 × 12 1/16 in. (24.5 × 30.6 cm)

Image: 8 1/4 × 11 7/16 in. (21 × 29 cm)

Sheet (each): 9 5/8 × 6 1/2 in. (24.5 × 16.5 cm)

Gift of Charles and Robyn Citrin, 2023

2023.33.39

Object Summary

40.

41.

Tsukioka Yoshitoshi, Japanese, 1839 - 1892

Prince Yamagata Aritomo, Japanese, 1838 – 1922

The Marquis Yamagata Aritomo, from the series The Rise and Fall of Kagoshima Prefecture, 1878

Woodblock print (nishiki-e); ink and color on paper

Sheet: 13 3/4 × 9 11/16 in. (35 × 24.6 cm)

Gift of Charles and Robyn Citrin, 2023

2023.33.40

42.

Tsukioka Yoshitoshi, Japanese, 1839 - 1892

Kabuki News no. 1: Short Stories with Nakamura Shūkaku, 1879

Woodblock print (nishiki-e); ink and color on paper

Sheet: 14 × 9 13/16 in. (35.5 × 25 cm)

Image: 13 3/4 × 9 7/16 in. (35 × 24 cm)

Gift of Charles and Robyn Citrin, 2023

2023.33.41

Tsukioka Yoshitoshi, Japanese, 1839 - 1892

General Kato Kiyomasa, Japanese, 1562 – 1611

A Mirror of Wise and Benevolent Heroes of Japan: Kato Kiyomasa 本朝智仁英雄鑑 加藤主計 1878

Woodblock print (nishiki-e); ink and color on paper

Sheet: 13 3/4 × 9 13/16 in. (35 × 25 cm)

Image: 13 3/4 × 9 7/16 in. (35 × 24 cm)

Gift of Charles and Robyn Citrin, 2023 2023.33.42

44.

Kiymine I, Japanese Courtesan

Woodblock print (nishiki-e); ink and color on paper

Sheet: 14 3/4 × 10 1/4 in. (37.4 × 26 cm)

Gift of Charles and Robyn Citrin, 2023

2023.33.43

45.

Utagawa Kuniyoshi, Japanese, 1797 - 1861

Asagao 朝顔 (No. 20 Morning Glory) / Genji kumo ukiyoe awase 源氏雲浮世絵合 (Ukiyo-e Pa for the Cloudy Chapters of the Tale of Genji), ca. 1850

Woodblock print (nishiki-e); ink and color on paper

Sheet: 14 3/16 × 9 3/4 in. (36 × 24.8 cm)

Image: 14 1/8 × 9 1/16 in. (35.8 × 23 cm)

Gift of Charles and Robyn Citrin, 2023

2023.33.44

Utagawa Kuniyoshi, Japanese, 1797 - 1861

Women in a Garden on a windy day (Triptych), ca. 1850

Woodblock print (nishiki-e); ink and color on paper

Overall (Triptych): 14 3/4 × 29 15/16 in. (37.5 × 76 cm)

Sheet (each): 14 3/4 × 10 3/16 in. (37.5 × 25.8 cm)

Gift of Charles and Robyn Citrin, 2023 2023.33.45

46.

Utagawa Kuniyoshi, Japanese, 1797 - 1861

Woman sitting under cherry blossoms (Bijin), early 19th–mid 19th Century

Woodblock print (nishiki-e); ink and color on paper

Sheet: 15 3/16 × 9 13/16 in. (38.5 × 25 cm)

Gift of Charles and Robyn Citrin, 2023

2023.33.46

Object Summary

47.

48.

Kono Bairei, Japanese, 1844 – 1895

Moorhens from One Hundred Birds, 1884

Woodblock print (nishiki-e); ink and color on paper

Overall (diptych): 9 5/8 × 12 3/16 in. (24.5 × 31 cm)

Sheet (left): 9 5/8 × 6 7/16 in. (24.5 × 16.3 cm)

Sheet (right): 9 5/8 × 6 1/8 in. (24.5 × 15.5 cm)

Gift of Charles and Robyn Citrin, 2023

2023.33.47

Kono Bairei, Japanese, 1844 – 1895 Geese from One Hundred Birds, 1884

Woodblock print (nishiki-e); ink and color on paper

Sheet (each ): 9 5/8 × 6 1/2 in. (24.5 × 16.5 cm)

Overall (diptych): 9 5/8 × 13 in. (24.5 × 33 cm)

Gift of Charles and Robyn Citrin, 2023

2023.33.48

49. Gado, Japanese Flowering plant (Streptocarpus)

Woodblock print; ink and color on paper with applied mica

Sheet: 16 1/8 × 10 13/16 in. (41 × 27.5 cm)

Image: 11 1/4 × 9 5/8 in. (28.5 × 24.5 cm)

Gift of Charles and Robyn Citrin, 2023

2023.33.49

50.

Hokuei, Japanese, fl.1824 – 1837

Man standing in snow (left panel of diptych) (See other title-possibly?)

Woodblock print (nishiki-e); ink and color on paper

Sheet: 14 9/16 × 10 1/4 in. (37 × 26 cm)

Image: 14 3/16 × 9 7/16 in. (36 × 24 cm)

Gift of Charles and Robyn Citrin, 2023

2023.33.50

Object Summary

51. Morning Glory

Woodblock print (nishiki-e); ink and color on paper

Sheet: 12 13/16 × 10 3/4 in. (32.5 × 27.3 cm)

Image: 12 11/16 × 10 5/8 in. (32.3 × 27 cm)

Gift of Charles and Robyn Citrin, 2023

2023.33.51

52.

Katsushika Hokusai, Japanese, 1760 – 1849

Katsushika Taito, Japanese, active 1810 – 1853

Kingfishers, Reeds & Morning Glories, late 18th–mid 19th Century

Woodblock print (nishiki-e); ink and color on paper

Sheet: 10 1/16 × 14 3/8 in. (25.5 × 36.5 cm)

Gift of Charles and Robyn Citrin, 2023

2023.33.52

53. Toyohara Kunichika, Gusokuya Kahei, Ôta Masukichi

Actor Sawamura Tosshô II as Karukaya Dôshin, from an untitled series of actor portraits, 1869

Woodblock print (nishiki-e); ink and color on paper

Sheet: 14 9/16 × 9 7/16 in. (37 × 24 cm)

Image: 13 3/4 × 8 7/8 in. (35 × 22.5 cm)

Gift of Charles and Robyn Citrin, 2023

2023.33.53

54. Toyohara Kunichika, Gusokuya Kahei, Ôta Masukichi

Actor Sawamura Tosshô II as Akogi Shurei, from an untitled series of actor portraits, 1869

Woodblock print (nishiki-e); ink and color on paper

Sheet: 14 3/16 × 9 3/16 in. (36 × 23.3 cm)

Image: 13 3/4 × 9 in. (35 × 22.8 cm)

Gift of Charles and Robyn Citrin, 2023

2023.33.54

Object Summary

55.

56.

Toyohara Kunichika, Gusokuya Kahei, Ôta Masukichi

Actor Nakamura Shikan IV as Ishikawa Hachizaemon, from an untitled series of actor portraits, 1869

Woodblock print (nishiki-e); ink and color on paper

Sheet: 14 3/16 × 9 1/2 in. (36 × 24.2 cm)

Image: 13 3/4 × 9 1/8 in. (35 × 23.2 cm)

Gift of Charles and Robyn Citrin, 2023

2023.33.55

57.

Torii Kiyonaga, Japanese, 1752 - 1815

The Southeast, from the series Contest of Contemporary Beauties of the Pleasure Quarters, ca. 1783

Woodblock print (nishiki-e); ink and color on paper Sheet: 14 15/16 × 9 3/4 in. (38 × 24.8 cm)

Gift of Charles and Robyn Citrin, 2023

2023.33.56

Utagawa Toyokuni, Japanese, 1769-1825

The actor Bandō Mitsugorō in an unidentified role, ca. 1811 – 1814

Woodblock print (nishiki-e); ink and color on paper Sheet: 14 9/16 × 9 15/16 in. (37 × 25.3 cm)

Gift of Charles and Robyn Citrin, 2023

2023.33.57

Object Summary

58.

59.

Ikeda Eisen, Japanese, 1790 – 1848

Wine and tea, from the series Customs of the Floating World: A Contest of Beautiful Women

Woodblock print (nishiki-e); ink and color on paper

Sheet: 14 3/8 × 9 13/16 in. (36.5 × 25 cm)

Gift of Charles and Robyn Citrin, 2023

2023.33.58

60.

Ikeda Eisen, Japanese, 1790 – 1848

Woman walking along seashore (Aizuri-e )

Woodblock print (nishiki-e); ink and color on paper

Sheet: 15 1/8 × 9 15/16 in. (38.4 × 25.3 cm)

Gift of Charles and Robyn Citrin, 2023

2023.33.59

Tsukioka Yoshitoshi, Japanese, 1839 - 1892

The Empress Jingû on her way to Korea (from the series Dai Nihon shi ryaku zue), 1879

Woodblock print (nishiki-e); ink and color on paper

Overall: 14 × 27 3/4 in. (35.5 × 70.5 cm)

Sheet (left panel): 13 15/16 × 8 7/8 in. (35.4 × 22.5 cm)

Sheet (center panel): 13 15/16 × 9 3/8 in. (35.4 × 23.8 cm)

Sheet (right panel): 14 × 9 5/8 in. (35.5 × 24.5 cm)

Gift of Charles and Robyn Citrin, 2023 2023.33.60

61.

Utagawa Kunimasa IV, Japanese, 1848 – 1920

Ichikawa Danjuro as a Samurai kneeling before a waterfall

Woodblock print (nishiki-e); ink and color on paper

Sheet: 12 1/2 × 8 7/16 in. (31.8 × 21.5 cm)

Gift of Charles and Robyn Citrin, 2023 2023.33.61

Object Summary

62.

63.

Utagawa Kuniyoshi, Japanese, 1797 - 1861

Ichimura Uzaemon XII as Asamaru (left panel of triptych), 1849

Woodblock print (nishiki-e); ink and color on paper

Sheet: 14 5/16 × 9 5/8 in. (36.3 × 24.5 cm)

Gift of Charles and Robyn Citrin, 2023 2023.33.62

Utagawa Kunisada, Japanese, 1786 - 1865

Nishimuraya Yohachi

Futami Beach, 1830

Woodblock print (nishiki-e); ink and color on paper Sheet: 9 7/16 × 14 9/16 in. (24 × 37 cm)

Gift of Charles and Robyn Citrin, 2023 2023.33.63

64.

65.

Utagawa Toyokuni II, Japanese, 1777 - 1835

Yamamotoya Heikichi (Eikyūdō)

Three women (diptych)

Woodblock print (nishiki-e); ink and color on paper Sheet: 14 3/8 × 17 11/16 in. (36.5 × 45 cm)

Gift of Charles and Robyn Citrin, 2023 2023.33.64

Suzuki Harunobu, Japanese, 1725 - 1770

Book page of woman, mid 18th–late 18th Century

Woodblock print (nishiki-e); ink and color on paper Sheet: 10 5/8 × 7 1/16 in. (27 × 18 cm)

Image: 8 7/16 × 5 7/8 in. (21.5 × 15 cm)

Gift of Charles and Robyn Citrin, 2023 2023.33.65

Object Summary

66.

67.

Suzuki Harunobu, Japanese, 1725 - 1770

Book plate of a woman, mid 18th–late 18th Century Woodblock print (nishiki-e); ink and color on paper

Sheet: 10 5/8 × 7 1/16 in. (27 × 18 cm)

Image: 8 7/16 × 5 7/8 in. (21.5 × 15 cm)

Gift of Charles and Robyn Citrin, 2023

2023.33.66

68.

Buncho Ippitsusai, Japanese, fl. 1765 – 1792

Katsukawa Shunshō, Japanese, 1726-1792

Actor print page from A Picture Book of Stage Fans (Ehon Butai Ogi), mid 18th–late 18th Century Woodblock print (nishiki-e); ink and color on paper

Sheet: 10 5/8 × 7 1/16 in. (27 × 18 cm)

Image: 9 7/16 × 5 7/8 in. (24 × 15 cm)

Gift of Charles and Robyn Citrin, 2023

2023.33.67

Katsukawa Shunshō, Japanese, 1726-1792

Actor Print, mid 18th–late 18th Century Woodblock print (nishiki-e); ink and color on paper Sheet: 10 13/16 × 5 1/2 in. (27.5 × 14 cm)

Gift of Charles and Robyn Citrin, 2023

2023.33.68

Object Summary

69.

70.

Koikawa Harumasa (Banki), active 1800 – 1820

Group of prostitutes in front of Shirokiya

Woodblock print (nishiki-e); ink and color on paper

Gift of Charles and Robyn Citrin, 2023 2023.33.69

71.

Katsukawa Shunshō, Japanese, 1726-1792

Page from Eastern Brocade of One Hundred Poems by One Hundred Poets (Nishiki hyakunin isshu azuma-ori) 錦百人一首あつま織, 1775

Woodblock print book; ink and color on paper

Sheet: 10 1/16 × 7 1/2 in. (25.5 × 19 cm)

Image: 8 11/16 × 6 in. (22 × 15.2 cm)

Gift of Charles and Robyn Citrin, 2023 2023.33.70

Utagawa Toyoharu, Japanese, 1735 – 1814

Nishimuraya Yohachi

A Fashionable Picture of Wada's Banquet (Furyu Wada sakamori no zu), from the series Scenes of Japan in Perspective Pictures (Uki-e Wakoku no keiseki), ca. 1770

Woodblock print (nishiki-e); ink and color on paper

Sheet: 10 3/16 × 14 15/16 in. (25.8 × 38 cm)

Image: 9 5/8 × 14 9/16 in. (24.5 × 37 cm)

Gift of Charles and Robyn Citrin, 2023 2023.33.71

72.

Katsushika Hokusai, Japanese, 1760 – 1849

Ando Enshi, Japanese Market for New Year's Preparation - from Toto shokei Ichiran (Fine Views of the Eastern Capital at a Glance), ca. 1840

Woodblock print (nishiki-e); ink and color on paper

Sheet: 10 1/16 × 12 1/8 in. (25.5 × 30.8 cm)

Image: 8 1/4 × 11 5/8 in. (21 × 29.5 cm)

Gift of Charles and Robyn Citrin, 2023 2023.33.72

Object Summary

73. Nishimuraya Yohachi

Umbrellas in snow

Woodblock print (nishiki-e); ink and color on paper Sheet: 13 9/16 × 2 9/16 in. (34.5 × 6.5 cm)

Gift of Charles and Robyn Citrin, 2023 2023.33.73

74.

Suzuki Harunobu, Japanese, 1725 - 1770

Endo Matsugorô, Japanese

Yamazaki Kinbei, Japanese

From Ehon haru no nishiki (Picture Book: The Brocade of Spring), 1771

Woodblock printed book; ink and color on paper Sheet (double): 8 7/16 × 10 11/16 in. (21.5 × 27.2 cm)

Image: 10 7/16 in. (26.5 cm)

Gift of Charles and Robyn Citrin, 2023 2023.33.74

75.

Ikeda Eisen, Japanese, 1790 – 1848

Chūshingura, Act 11: The Night Attack, c. 1830s

Woodblock print (nishiki-e); ink and color on paper Sheet: 10 × 14 5/8 in. (25.4 × 37.2 cm)

Gift of Charles and Robyn Citrin, 2023 2023.33.75

76.

Utagawa Toyoharu, Japanese, 1735 – 1814

Group of Women from untitled series of Women in Processions

Woodblock print (nishiki-e); ink and color on paper Sheet: 6 5/16 × 5 9/16 in. (16 × 14.2 cm)

Gift of Charles and Robyn Citrin, 2023 2023.33.76

Object Summary

77.

78.

Komori Soseki, Japanese Kawaguchi Jirō

Geese at Night in Snow, c. 1929

Woodblock print (nishiki-e); ink and color on paper

Sheet: 14 9/16 × 8 1/16 in. (37 × 20.5 cm)

Image: 13 3/8 × 7 5/16 in. (34 × 18.5 cm)

Gift of Charles and Robyn Citrin, 2023

2023.33.77

Saitō Kiyoshi, Japanese, 1907 - 1997

Abstract Nude, c. 1952

Woodblock print; ink and color on paper

Sheet: 29 3/4 × 17 15/16 in. (75.5 × 45.5 cm)

Gift of Charles and Robyn Citrin, 2023

2023.33.78

79. Crane on nest

Ink and color on paper

Support (Scroll): 50 3/8 × 23 13/16 in. (128 × 60.5 cm)

Image: 13 × 17 15/16 in. (33 × 45.5 cm)

Outer box: 3 3/4 × 3 3/4 × 27 9/16 in. (9.5 × 9.5 × 70 cm)

Inner box: 3 1/8 × 3 1/8 × 26 9/16 in. (8 × 8 × 67.5 cm)

Gift of Charles and Robyn Citrin, 2023

2023.33.79

80. Qi Baishi, Chinese, 1863 - 1957 Crabs ink on paper

Support (Scroll): 77 3/16 × 16 1/8 in. (196 × 41 cm)

Image: 26 3/4 × 13 in. (68 × 33 cm)

Gift of Charles and Robyn Citrin, 2023

2023.33.80

Object Summary

81.

82.

Kanō Yasunobu 狩野安信, Japanese, 1614 – 1685

Falcon

ink and color on paper

Support (Scroll): 65 3/8 × 16 9/16 in. (166 × 42 cm)

Image: 33 7/16 × 12 5/8 in. (85 × 32 cm)

Box: 2 3/4 × 2 3/4 × 21 7/8 in. (7 × 7 × 55.5 cm)

Gift of Charles and Robyn Citrin, 2023

2023.33.81

Kanō Yasunobu 狩野安信, Japanese, 1614 – 1685

Falcon and prey

Ink and color on paper

Support (Scroll): 64 3/16 × 16 5/16 in. (163 × 41.5 cm)

Image: 33 7/16 × 12 13/16 in. (85 × 32.5 cm)

Box: 2 3/4 × 2 3/4 × 20 7/8 in. (7 × 7 × 53 cm)

Gift of Charles and Robyn Citrin, 2023

2023.33.82

Acquisition by Donation – EOY 2023

Collections Committee Meeting January 26, 2024

Objects:

4 Japanese Woodblock prints; Please see attached list

Donors: Allen and Stephanie Hochfelder

Valuation: None provided by donor.

Condition: Overall in good condition with minor staining and rippling of the paper supports. The prints will require some conservation treatment prior to display. One work has broken glass in the frame and all will require reframing.

Provenance: Various dealers

Reasons for Recommending Work:

This group of four woodblock prints representing temple buildings and gardens complements The Ringling’s collection of modern Japanese prints. Three are by Saitō Kiyoshi (1907–1997), who is well represented in our collection, and the fourth is by Hashimoto Okiie (1899–1993), who is less so. A highlight of this group is Saitō’s Garden Tenryu- ji Kyoto (1959). This print is particularly desirable because of its rarity, larger format, and unusual representation of reflections of trees silhouetted by bright sky in a pond. The design pairs well with Moss Garden Saiho- ji Kyoto (SN11412.62), which Saitō created in the same year.

The Ringling

1.

2.

Saitō Kiyoshi, Japanese, 1907 - 1997

Daitoku-ji Kyoto (E), 1960

Woodblock print; ink and color on paper

Image: 20 9/16 × 15 1/16 in. (52.3 × 38.3 cm)

Sheet (Visible): 21 1/2 × 16 1/8 in. (54.6 × 41 cm)

Frame: 28 1/8 × 22 5/8 × 1 in. (71.5 × 57.5 × 2.5 cm)

Gift of Allen and Stephanie Hochfelder, 2023 2023.34.1

3.

Saitō Kiyoshi, Japanese, 1907 - 1997

Jokoji Kaminoyama, 1960

Woodblock print; ink and color on paper

Image: 20 1/2 × 14 15/16 in. (52 × 38 cm)

Sheet (Visible): 21 7/16 × 16 1/8 in. (54.4 × 41 cm)

Frame: 28 1/8 × 22 5/8 × 1 in. (71.5 × 57.5 × 2.5 cm)

Gift of Allen and Stephanie Hochfelder, 2023 2023.34.2

Saitō Kiyoshi, Japanese, 1907 - 1997

Garden Tenryu-ji Kyoto (B), 1957

Woodblock print; ink and color on paper

Image: 17 11/16 × 23 5/8 in. (45 × 60 cm)

Sheet (Visible): 21 7/8 × 24 1/8 in. (55.5 × 61.3 cm)

Frame: 25 9/16 × 31 1/8 × 9/16 in. (65 × 79.1 × 1.5 cm)

Gift of Allen and Stephanie Hochfelder, 2023 2023.34.3

Hashimoto Okiie, Japanese, 1899 - 1993

Garden No. 15, 1960

Woodblock print; ink and color on paper

Image: 21 1/16 × 16 9/16 in. (53.5 × 42 cm)

Sheet (Visible): 21 7/8 × 17 3/8 in. (55.5 × 44.2 cm)

Frame: 28 13/16 × 24 3/16 × 9/16 in. (73.2 × 61.5 × 1.5 cm)

Gift of Allen and Stephanie Hochfelder, 2023

2023.34.4

Acquisition by Donation – EOY 2023

Collections Committee Meeting January 26, 2024

Agenda Item #16

Information Only

Objects:

Shinique Smith (American, b. 1971)

Stargazer, 2022

Denim, cotton, sequined mesh, ribbon, wood, dye, marker, acrylic, poly, and down

Overall: 86 × 38 × 24 in. (218.4 × 96.5 × 61 cm)

Donors: Carrie Mackin and Noel Kurdi

Valuation: $80,000.00 USD

Exhibition History:

Shinique Smith: STARGAZERS, Nerman Museum of Contemporary Art, April 21 – July 31, 2022

Shinique Smith: PARADE, The John and Mable Ringling Museum of Art, December 16, 2023 – January 5, 2025

Condition: Very good condition. Minor fraying along edges of fabric and ribbon. Once off display the work will require specialized housing to protect while in storage.

Provenance: Carrie Mackin purchased from the artist as gift to Ringling, 2023

Reasons for Recommending Work:

Stargazer is a recent (2022) monumental semi- figural sculpture by Shinique Smith (American, b. 1971), acquired from the exhibition Shinique Smith: PARADE (on view in the Museum of Art Galleries from December 15, 2023 through January 5, 2025). The work, a large- scale bound fabric sculpture, is of the type that has been at the heart of Smith’s practice for nearly twenty years and for which she is best known. Stargazer references a number of critical themes for the artist. The work continues Smith’s longstanding interest in the slave trade in the United States and the journeys of enslaved people via the underground railroad, as well as her fascination with ideas of the celestial, the natural geometries of star patterns, astronomical and astrological charts, and feminine deity figures from around the world. Smith has noted that in conceiving Stargazer, she was thinking of moments when slaves journeying through the underground railroad looked at the stars to guide them and wished for freedom, the same stars that many indigenous peoples hold sacred. Furthermore, Stargazer is an important work to emerge from Smith’s more recent investigation of the history of indigo and its relationship with the slave trade

in the United States. Smith has spoken about her surprise in discovering, through her research, that indigo- dyed fabrics were traded for slaves; this notion, that quantities of blue fabric were equated with a certain number of lives, has been especially influential in her recent sculpted work and in related performances and films. One of these is the performance piece called Breathing Room , which she premiered in January 2020 at the Baltimore Museum of Art and has since developed and evolved through various iterations in different media and locations.

The Ringling has a long history of acquiring works from, or in relationship to, exhibitions of contemporary art which have been held at the museum. A few of these have been sculptures by women artists, including works by Marisol, Joyce de Guatemala Bush Vourvoulias, Jackie Ferrara, Vanessa German, Emily Noelle Lambert, and Jessica Osceola. Outside of an exhibition context, the museum has recently acquired sculptures by Beverly Pepper, Anne Truitt, Yuriko Yamaguchi, and Michele Oka Doner (and, in the more distant past, sculptures by Sacha Kolin, Louise Nevelson, and Oka Doner). With the exception of three recently- acquired textile wall hangings by Linda Stein, none of the sculptures by women in the collection are made of fabric. Thus, in addition to being a monumental work by one of the most important Black woman artists practicing in this country, Shinique Smith’s Stargazer is the first large- scale 3D fabric sculpture to enter the collection.

The donor of Stargazer, Carrie Mackin, is a collector and supporter of Shinique Smith’s work and a consultant who works with artists to support the business side of their practice. As a child growing up in Tarpon Springs, Florida, Ms. Mackin visited The Ringling frequently with her grandmother. In 1999 she opened an art space in Tampa, Covivant, where she curated numerous exhibitions of contemporary art before closing the space and relocating to New York City. There she became studio manager and then business manager for Kehinde Wiley. As a consultant she has worked with many well- known artists including Wiley, Nan Goldin, Hank Willis Thomas, and Amy Sherald. She is very pleased to be able to donate this work by Shinique Smith to The Ringling, a place which holds important meaning for her.

Shinique Smith bio:

Shinique Smith (b. 1971) is known for her monumental fabric sculptures and abstract paintings of calligraphy and collage. In her work, Smith’s personal histories and belongings intertwine with thoughts of the vast nature of ‘things’ that we consume and discard and how these objects resonate on intimate and social scales. Over the last twenty years, Smith has gleaned visual poetry from clothing and explored concepts of ritual using breath, bundling and calligraphy as tools toward abstraction. Her layered works range from palm - sized bundled microcosms to monolithic bales to massive chaotic paintings

that contain vibrant and carefully collected mementos from her life. Smith’s practice operates at the convergence of consumption and spiritual sanctuary, balancing forces and revealing connections across space and time, race, gender and place to suggest the possibility of new worlds.

Born in Baltimore, MD, and currently residing in Los Angeles, Smith holds BFA and MFA degrees from the Maryland Institute College of Art and an MA in Education from Tufts University. She has received awards and prizes from the Joan Mitchell Foundation, the Tiffany Foundation, Anonymous Was a Woman and the American Academy of Arts and Letters among others. Her work has gained attention through her participation in celebrated biennials and group exhibitions and has been exhibited and collected by institutions such as the Baltimore Museum of Art, Brooklyn Museum of Art, California African American Museum, Denver Art Museum, Deutsche Guggenheim, Los Angeles County Museum of Art; Minneapolis Institute of Art, MOMA PS1, Museum of Fine Arts Boston, Musée d’art contemporain de Montréal, National Museum of Women in the Arts, and the Whitney Museum of American Art.

Smith has created several landmark public works for NY Metro Arts, Chicago Transit Authority, Wabash Arts Corridor and USCF Medical Center among others, and has recently launched her monumental new mosaic mural to the public at MLK Jr Crenshaw station as part of the Los Angeles Metro’s New K Line. Her most recent large- scale public art project is scheduled to be unveiled soon in Miami, and she is currently at work on a large multipartite mural to be installed in 2024.

Exhibition Plans:

This work will be on view in the exhibition Shinique Smith: PARADE (Museum of Art Galleries 6, 8, 18- 21) through January 5, 2025. Plans for future display have not yet been determined.

Acquisition by Donation – EOY 2023

Collections Committee Meeting January 26, 2024

Objects:

Danny Lyon (American, born 1942)

Memories of the Southern Civil Rights Movement

Limited edition portfolio of 28 silver prints of images taken between 1962 and 1964; printed in 1996.

Portfolio is an edition of 10 plus 1 artist’s proof.

Please see attached list

Donors: Richard and Ellen Sandor

Value: Appraisal expected from donor

Condition: Framed and in good condition, assuming framed using archival materials.

Provenance: From the Richard and Ellen Sandor Family Collection.

Reasons for Recommending Work:

Danny Lyon (American, born 1942) is one of the most influential American documentary photographers who helped revolutionized the culture of reportage Lyon represents the “new journalism” of the 1960s that was passionate, subjective, and immersed within its chosen subject matter. This tendency eschewed the conformist values of Middle America that tended to be normalized in mainstream journalism of the era. Lyon developed as a photographer while documenting the civil rights movement beginning in 1962, as part of the Student Nonviolent Coordinating Committee (SNCC) During the summer as a thirdyear student at the University of Chicago, Lyon travelled to Cairo, IL for a demonstration against segregated pools and to see civil rights leader John Lewis speak. Surprised to find that after the event his photographs were the only documentation of the demonstration, Lyon and SNCC came to realize the efficacy of having their own dedicated photographer. For the next two years, Lyon would document SNCC activities, primarily in the South, helping to give this youth-based civil rights group visibility. His images circulated in the wider press, bolstering SNCC’s reputation and mission among support groups and other allied students. Many of his images also chronicled the crucial work of the Southern Christian Leadership Conference (SCLC), led by Dr. Martin Luther King, Jr., including King’s Brimingham campaign and historic March on Washington, making Lyon’s photographs instrumental both for their contribution to the project of civil rights in the 1960s and for their documentation of this crucial moment in U.S. history. Agenda Item #17 Information Only

These formative years laid the foundation for his future work as an independent photographer Galvanized by his commitment to social change, he would continue to focus on the marginalized and disenfranchised in his documentary projects and portrayed his subjects with candidness, empathy, and respect for their human agency. He has produced a number of photobooks and films from the 1960s on, among them are the groundbreaking Bikeriders (1968) which presented photographs and interviews with the Chicago Outlaws motorcycle club and Conversations with the Dead (1971) that provided an intimate look into the lives of inmates in the Texas penitentiary system. Lyon has advanced the possibilities of documentary work throughout his life and has been awarded three Guggenheim fellowships, 10 National Endowment for the Arts grants, and was the focus of numerous exhibitions at the Whitney, MoMA, the Art Institute of Chicago, and other institutions. His work is represented in significant collections internationally.

The Ringling holds a considerable number of photographs by Lyon in its collection, making it a significant repository for this artist’s oeuvre, but this important portfolio provides an opportunity to focus on Lyon’s formative civil rights work, hitherto less represented. As noted above, these images also document and contribute to a better understanding of the struggle for civil rights in America, enriching the museum’s photography collection and offering considerable opportunities for exhibition and educational programs that address topics that remain key to serving our diverse communities.

The Ringling

1.

Danny Lyon, American, born 1942

Cairo, IL, 1962: the public swimming pool has been changed into a "private pool" in order to remain segregated. (from The Southern Civil Rights Movement Portfolio), 1962, printed 1996

Modern silver print

Sheet: 9 × 13 in. (22.9 × 33 cm)

Frame: 18 5/16 × 22 7/16 × 1 3/16 in. (46.5 × 57 × 3 cm)

Gift of the Richard & Ellen Sandor Family Collection, 2023 2023.36.1

2.

Danny Lyon, American, born 1942

Cairo, IL, 1962: Demonstrators at the "all white" swimming pool (from The Southern Civil Rights Movement Portfolio), 1962, printed 1996

Modern silver print

Sheet: 9 × 13 in. (22.9 × 33 cm)

Frame: 18 5/16 × 22 7/16 × 1 3/16 in. (46.5 × 57 × 3 cm)

Gift of the Richard & Ellen Sandor Family Collection, 2023 2023.36.2

3.

Danny Lyon, American, born 1942

Cairo, IL, 1962: SNCC field secretary, later SNCC Chairman, now Congressman John Lewis, and others pray during a demonstration. (from The Southern Civil Rights Movement Portfolio), 1962-1964, printed 1996

Modern silver print

Sheet: 9 × 13 in. (22.9 × 33 cm)

Frame: 18 5/16 × 22 7/16 × 1 3/16 in. (46.5 × 57 × 3 cm)

Gift of the Richard & Ellen Sandor Family Collection, 2023 2023.36.3

4.

Danny Lyon, American, born 1942

Albany, Ga. 1962: Drinking fountains in the Dogherty County courthouse (from The Southern Civil Rights Movement Portfolio), 1962, printed 1996

Modern silver print

Sheet: 13 × 9 in. (33 × 22.9 cm)

Frame: 22 7/16 × 18 5/16 × 1 3/16 in. (57 × 46.5 × 3 cm)

Gift of the Richard & Ellen Sandor Family Collection, 2023 2023.36.4

Object Summary

5.

Danny Lyon, American, born 1942

Albany, Ga, 1962: Eddie Brown, former gang leader and movement activist is arrested. (from The Southern Civil Rights Movement Portfolio), 1962, printed 1996

Modern silver print

Sheet: 9 × 13 in. (22.9 × 33 cm)

Frame: 18 5/16 × 22 7/16 × 1 3/16 in. (46.5 × 57 × 3 cm)

Gift of the Richard & Ellen Sandor Family Collection, 2023

2023.36.5

6.

Danny Lyon, American, born 1942

Albany, Ga, 1962: Dr. Martin Luther King and Reverend Ralph Abernathy are escorted from the courthouse to the jail house.(from The Southern Civil Rights Movement Portfolio), 1962, printed 1996

Modern silver print

Sheet: 9 × 13 in. (22.9 × 33 cm)

Frame: 18 5/16 × 22 7/16 × 1 3/16 in. (46.5 × 57 × 3 cm)

Gift of the Richard & Ellen Sandor Family Collection, 2023

2023.36.6

7.

Danny Lyon, American, born 1942

Albany, Ga, 1962 (from The Southern Civil Rights Movement Portfolio), 1962, printed 1996

Modern silver print

Sheet: 9 × 13 in. (22.9 × 33 cm)

Frame: 18 5/16 × 22 7/16 × 1 3/16 in. (46.5 × 57 × 3 cm)

Gift of the Richard & Ellen Sandor Family Collection, 2023

2023.36.7

8.

Danny Lyon, American, born 1942

Jackson, MS, 1962: A year after the freedom rides, segregation signs still stand outside the bus terminal. (from The Southern Civil Rights Movement Portfolio), 1962, printed 1996

Modern silver print

Sheet: 9 × 13 in. (22.9 × 33 cm)

Frame: 18 5/16 × 22 7/16 × 1 3/16 in. (46.5 × 57 × 3 cm)

Gift of the Richard & Ellen Sandor Family Collection, 2023

2023.36.8

9.

Danny Lyon, American, born 1942

Nashville, TN, 1962: Sit-in. Lester MacKinney, Bernice Reagon and John O'Neal. (from The Southern Civil Rights Movement Portfolio), 1962, printed 1996

Modern silver print

Sheet: 9 × 13 in. (22.9 × 33 cm)

Frame: 18 5/16 × 22 7/16 × 1 3/16 in. (46.5 × 57 × 3 cm)

Gift of the Richard & Ellen Sandor Family Collection, 2023 2023.36.9

Object Summary

10.

Danny Lyon, American, born 1942

Oxford, MS, 1962: Waiting for James Meredith, the first African American to register at the University of Mississippi. (from The Southern Civil Rights Movement Portfolio), 1962, printed 1996

Modern silver print

Sheet: 9 × 13 in. (22.9 × 33 cm)

Frame: 18 5/16 × 22 7/16 × 1 3/16 in. (46.5 × 57 × 3 cm)

Gift of the Richard & Ellen Sandor Family Collection, 2023 2023.36.10

11.

Danny Lyon, American, born 1942

Leesburg, GA, 1963: Arrested for demonstrating in Americus, teenage girls are kept in a stockade in the countryside. (from The Southern Civil Rights Movement Portfolio), 1962, printed 1996

Modern silver print

Sheet: 9 × 13 in. (22.9 × 33 cm)

Frame: 18 5/16 × 22 7/16 × 1 3/16 in. (46.5 × 57 × 3 cm)

Gift of the Richard & Ellen Sandor Family Collection, 2023 2023.36.11

12.

Danny Lyon, American, born 1942

The March of Washington, August 28, 1963 (from The Southern Civil Rights Movement Portfolio), 1963, printed 1996

Modern silver print

Sheet: 13 × 9 in. (33 × 22.9 cm)

Frame: 22 7/16 × 18 5/16 × 1 3/16 in. (57 × 46.5 × 3 cm)

Gift of the Richard & Ellen Sandor Family Collection, 2023 2023.36.12

13.

Danny Lyon, American, born 1942 Birmingham, AL, 1963: Highway patrolmen, outside the site of the bombed 16th Street Baptist Church, where four young girls were murdered. (from The Southern Civil Rights Movement Portfolio), 1963, printed 1996

Modern silver print

Sheet: 9 × 13 in. (22.9 × 33 cm)

Frame: 18 5/16 × 22 7/16 × 1 3/16 in. (46.5 × 57 × 3 cm)

Gift of the Richard & Ellen Sandor Family Collection, 2023 2023.36.13

Danny Lyon, American, born 1942 Birmingham, AL, 1963: Crowds wait along the funeral route of the girls murdered in the16th Street Baptist Church bombing. (from The Southern Civil Rights Movement Portfolio), 1963, printed 1996

Modern silver print

Sheet: 9 × 13 in. (22.9 × 33 cm)

Frame: 18 5/16 × 22 7/16 × 1 3/16 in. (46.5 × 57 × 3 cm)

Gift of the Richard & Ellen Sandor Family Collection, 2023

2023.36.14

15.

Danny Lyon, American, born 1942 Birmingham, AL, 1963: SNCC workers outside the funeral: Emma Bell, Dorie Ladner, Dona Richards, Sam Shirah and Doris Derby. (from The Southern Civil Rights Movement Portfolio), 1963, printed 1996

Modern silver print

Sheet: 9 × 13 in. (22.9 × 33 cm)

Frame: 18 5/16 × 22 7/16 × 1 3/16 in. (46.5 × 57 × 3 cm)

Gift of the Richard & Ellen Sandor Family Collection, 2023

2023.36.15

16.

Danny Lyon, American, born 1942 Birmingham, AL, 1963: Dr. Martin Luther King, just before he spoke at the funeral of the four murdered girls, (from The Southern Civil Rights Movement Portfolio), 1963, printed 1996

Modern silver print

Sheet: 13 × 9 in. (33 × 22.9 cm)

Frame: 22 7/16 × 18 5/16 × 1 3/16 in. (57 × 46.5 × 3 cm)

Gift of the Richard & Ellen Sandor Family Collection, 2023

2023.36.16

17.

Danny Lyon, American, born 1942 Selma, AL, 1963: The entrance to the City Cafe (from The Southern Civil Rights Movement Portfolio), 1963, printed 1996

Modern silver print

Sheet: 9 × 13 in. (22.9 × 33 cm)

Frame: 18 5/16 × 22 7/16 × 1 3/16 in. (46.5 × 57 × 3 cm)

Gift of the Richard & Ellen Sandor Family Collection, 2023

2023.36.17

Object Summary

18.

Danny Lyon, American, born 1942

Selma, AL, 1963: Sheriff Jim Clark arrest two young men demonstrating for voter registration on the steps of the federal building. (from The Southern Civil Rights Movement Portfolio), 1963, printed 1996

Modern silver print

Sheet: 9 × 13 in. (22.9 × 33 cm)

Frame: 18 5/16 × 22 7/16 × 1 3/16 in. (46.5 × 57 × 3 cm)

Gift of the Richard & Ellen Sandor Family Collection, 2023

2023.36.18

19.

Danny Lyon, American, born 1942

A home in the Mississippi Delta, 1963 (from The Southern Civil Rights Movement Portfolio), 1963, printed 1996

Modern silver print

Sheet: 9 × 13 in. (22.9 × 33 cm)

Frame: 18 5/16 × 22 7/16 × 1 3/16 in. (46.5 × 57 × 3 cm)

Gift of the Richard & Ellen Sandor Family Collection, 2023

2023.36.19

20.

Danny Lyon, American, born 1942

Clarksdale, MS, 1963: The local police force pose for a photograph as ministers from the National Council of Churches march to the local church (from The Southern Civil Rights Movement Portfolio), 1963, printed 1996

Modern silver print

Sheet: 9 × 13 in. (22.9 × 33 cm)

Frame: 18 5/16 × 22 7/16 × 1 3/16 in. (46.5 × 57 × 3 cm)

Gift of the Richard & Ellen Sandor Family Collection, 2023

2023.36.20

21.

Danny Lyon, American, born 1942

Southwest Georgia, 1963: SNCC field secretary Charles Sherrod and Randy Battle visit a supporter in the countryside. Sherrod is currently a member of the Albany City Council. (from The Southern Civil Rights Movement Portfolio), 1963, printed 1996

Modern silver print

Sheet: 9 × 13 in. (22.9 × 33 cm)

Frame: 18 5/16 × 22 7/16 × 1 3/16 in. (46.5 × 57 × 3 cm)

Gift of the Richard & Ellen Sandor Family Collection, 2023

2023.36.21

22.

Danny Lyon, American, born 1942

Atlanta, GA, winter 1963: Arrests during mass demonstrations downtown (from The Southern Civil Rights Movement Portfolio), 1963-1964, printed 1996

Modern silver print

Sheet: 9 × 13 in. (22.9 × 33 cm)

Frame: 18 5/16 × 22 7/16 × 1 3/16 in. (46.5 × 57 × 3 cm)

Gift of the Richard & Ellen Sandor Family Collection, 2023

2023.36.22

Object Summary

23.

Danny Lyon, American, born 1942

Atlanta, GA, winter 1963/64: An anonymous woman, who has come upon a mob abusing demonstrators, with kicks, blows and burning cigarettes. She holds the mob at bay and protects the demonstrators. (from The Southern Civil Rights Movement Portfolio), 1963-1964, printed 1996

Modern silver print

Sheet: 9 × 13 in. (22.9 × 33 cm)

Frame: 18 5/16 × 22 7/16 × 1 3/16 in. (46.5 × 57 × 3 cm)

Gift of the Richard & Ellen Sandor Family Collection, 2023

2023.36.23

24.

25.

Danny Lyon, American, born 1942

Atlanta, GA, Winter, 1963/64: High school student Taylor Washington is arrested at Leb's Delicatessen. His eighth arrest. (from The Southern Civil Rights Movement Portfolio), 1963-1964, printed 1996

Modern silver print

Sheet: 13 × 9 in. (33 × 22.9 cm)

Frame: 22 7/16 × 18 5/16 × 1 3/16 in. (57 × 46.5 × 3 cm)

Gift of the Richard & Ellen Sandor Family Collection, 2023

2023.36.24

Danny Lyon, American, born 1942

Atlanta, GA, winter 1963/64: A Toddle House has the distinction of being occupied during a sit-in by some of America's most effective organizers. In the room are Taylor Washington, Ivanhoe Donaldson, Joyce Ladner, John Lewis behind Judy Richardson, George Green and Chico Neblett. (from The Southern Civil Rights Movement Portfolio), 1963-1964, printed 1996

Modern silver print

Sheet: 9 × 13 in. (22.9 × 33 cm)

Frame: 18 5/16 × 22 7/16 × 1 3/16 in. (46.5 × 57 × 3 cm)

Gift of the Richard & Ellen Sandor Family Collection, 2023 2023.36.25

26.

Danny Lyon, American, born 1942 Hattiesburg, MS, 1964: Fannie Lou Hamer, a sharecropper from a family of 20, evicted for trying to register, beaten in the Winona jail, SNCC field secretary from Ruleville, and future Mississippi Freedom Democratic Party candidate for Congress. Miss Hamer is now reconciled as one of the truly extraordinary women of American history. (from The Southern Civil Rights Movement Portfolio), 1964, printed 1996

Modern silver print

Sheet: 13 × 9 in. (33 × 22.9 cm)

Frame: 22 7/16 × 18 5/16 × 1 3/16 in. (57 × 46.5 × 3 cm)

Gift of the Richard & Ellen Sandor Family Collection, 2023

2023.36.26

Object

Danny Lyon, American, born 1942

Cambridge, MD, 1964: Clifford Vaughs, a SNCC photographer, is arrested (from The Southern Civil Rights Movement Portfolio), 1964, printed 1996

Modern silver print

Sheet: 9 × 13 in. (22.9 × 33 cm)

Frame: 18 5/16 × 22 7/16 × 1 3/16 in. (46.5 × 57 × 3 cm)

Gift of the Richard & Ellen Sandor Family Collection, 2023

2023.36.27

28.

Danny Lyon, American, born 1942

Ruleville, MS, 1964: Gwen Gillon, a SNCC staff member from Alabama, conducts a literacy class during Freedom Summer, 1964. (from The Southern Civil Rights Movement Portfolio), 1964, printed 1996

Modern silver print

Sheet: 9 × 13 in. (22.9 × 33 cm)

Frame: 18 5/16 × 22 7/16 × 1 3/16 in. (46.5 × 57 × 3 cm)

Gift of the Richard & Ellen Sandor Family Collection, 2023

2023.36.28

Sarah Cartwright

Ulla R. Searing Curator of Collections

Exhibitions/Collections/Conservation/Publications

• Opened Guercino and Princeton Italian Drawings exhibitions. Spoke at Circle and general member previews; did press preview; gave training to museum guides; gave briefings for Security staff and two walk-throughs for staff Guercino was included in the New York Times digest of exhibitions to see in fall 2023 and received significant press coverage in Italy as well as in the local region

• Opened Shinique Smith: Parade. Spoke at member preview; continuing to work closely with Marketing on continuing press coverage and with Education on programming

• Published article in The Burlington Magazine arguing for a new attribution for a previously unattributed 16th-c. Antwerp Mannerist panel painting in The Ringling’s collection

• Finalized for publication the essay “Gems in The Ringling’s Gavet collection,” co-written with Joanna S. Smith, to appear in conference proceedings in early 2024

• Traveled as courier to Milan with SN106, Mario Benvenuti by Giovan Battista Moroni, for important exhibition devoted to Moroni organized by Gallerie d’Italia

• Traveled to Baltimore and Washington DC to see the historic exhibition Making Her Mark at Baltimore Museum of Art (to which The Ringling lent two paintings, SN684 by Fede Galizia and SN329 by Angelika Kauffmann) and to see works by Shinique Smith on view in both cities

• Completed project to provide labels for sculptures in MOA Courtyard and Loggia

• Continuing consultation on Gallery 12 reinstallation project

• Continuing consultation with Conservation on various works being treated

Education/Public Programs/Outreach

• Attended Cross-College Alliance gathering

• Gave ticketed gallery talks in both Guercino and Princeton Drawings exhibitions as well as a ticketed lecture in the Chao Lecture Hall about Guercino exhibition

• Hosted USF Art History Prof. Helena Szepe’s class in Guercino exhibition

• Spoke to Leadership Sarasota Arts & Culture Day group during their Ringling visit

• Presented to staff about status of Shinique Smith: Parade

• Hosted Frederick Ilchman, Chair, Art of Europe, and Mrs. Russell W. Baker Curator of Paintings at MFA Boston, and facilitated his visit to see paintings in storage

• Met with performance artist in residence Moira Finucane and toured her through MOA

• Met with NCF Art History Prof. Katie Brion about projects for her students related to exhibitions

• Gave tour of Guercino to Robert La France, Director, David Owsley Museum of Art at Ball State U.

• Appeared on Suncoast View program (live television) with Steven High

Development

• Multiple visits/lunches with donors

• Luncheon for Circle members following tour of Guercino

• Accepted donation (pending board approval) of Stargazer by Shinique Smith from new donors

Service

• Continued to serve on Collections Emergency Preparedness Working Group

ELIZABETH DOUD, CURRIE-KOHLMANN CURATOR OF PERFORMANCE

CURATORIAL ACTIVITY –-OCTOBER 2023 – JANUARY 2024

(Art of Performance and Historic Asolo Theater activities are collectively achieved with participation of the full Performance Team staff: Gary Bower, HAT Production Manager; Sydney Lemelin, Associate Producer of Performance; Tom Darby, HAT Technical Assistant; Jackie Richards, HAT Stage Manager)

Curatorial Research, Service and Project Stewardship

• Research, planning, resource development and partner collaboration for 2023-2024 Art of Performance Season. Activities include curatorial travel, program design and budgeting for all proposed performances. Contract execution with all Art of Performance artists.

• Advancement of Summer Circus Spectacular 2024 programming.

• Advancement of budget, artist selection and community collaborations for Art of Performance 20242025 season.

• Successful submission of P3 and P3S non-immigrant visa petition to USCIS for Mazelfreten and Un Poyo Rojo for artist work visas for Spring 2024.

• Coordinated artist residency with Moira Finucane and collaborator Elise Williams.

• Hiring activities for HAT part time staffing: Studio Assistant Jessie Boudrie, establishment of Jackie Richards in new, ongoing Stage Manager role and interviews for Part Time Technical Assistant.

• Curatorial research travel to see La Celestina, Directed by Carlos Diaz. January 28, Miami, FL.

Fundraising and Development

• Authored successful proposal for the National Endowment of the Arts to produce an EcoPerformance mini-festival in November 2024. Total award amount = $30,000.

Attendance at field wide conferences, festivals and trainings

• WOMEX -

• Curatorial research at WOMEX World Music Festival. October 25-29, A Coruña, Spain.

• Participated in Eco Summit 2023 through Science and Environment Council membership on behalf of The Ringling December 5-6, 2023.

• Association of Performing Arts Presenters Annual Conference, Under the Radar and GlobalFest activities, among other artist research. January 9-16, New York City, NY.

HAT Administrative Oversight & Staffing

• Oversight of ongoing rentals with Artist Series for 23-24 Season and all internal and external inquiries regarding use of theater for On Screen films and non-Art of Performance activities.

• Purchase of new portable staging for Historic Asolo Theater, improving inventory of staging for all events

• Production Manager Gary Bower conducted research for upcoming purchase of new, seamless cyclorama and dance linoleum flooring to replacement older materials that have aged out.

Marissa Hershon

Curator of Ca’ d’Zan and Decora�ve Arts

Board Report for January 2024

• Collaborated with Carolyn Griffin in Development to submit grant applica�on to the Linnie E. Dalbeck Founda�on and received $20,000 grant funding to support the conceptual design development and research phase of the Butler’s Pantry Project at Ca’ d’Zan

• Met with consul�ng exhibi�on designer, Joni Bradley, for ini�al discussion of curatorial vision for redesign and reinstalla�on of the former Butler’s pantry at Ca’ d’Zan with dining and entertaining thema�c displays

• Collaborated with Michelle Young in Development to host visi�ng patron from Palm Beach, gave a VIP tour of Ca’ d’Zan, and secured $500,000 bequest to support Ca’ d’Zan

• Atended art fairs in Miami for Art Basel Week in December 2023 and gave a curator-led tour of Design Miami art fair to introduce museum patrons to a wide array of contemporary work in glass and ceramics brought by interna�onal dealers as part of the patron group trip planned by Development and Curators with Ar�ul Jaunts

• Met with Lynn Hobeck Bates in Marke�ng to discuss a book proposal from author and architect James Philip Dodd and gave permission for him to feature Ca’ d’Zan in his forthcoming publica�on (2025) on American mansions built from the late-19th century to the 1920s with new photography and curatorial fact-checking of the essay before being sent to the publisher

• Worked with Bethany Ritz in Marke�ng to field editor’s requests for fact-checking, wri�ng cap�ons for images, and review of photographs featured in “Venice on the Gulf Coast” by James Gardner in The Magazine An�ques, Jan/Feb 2024 issue

• Wrote lecture for webinar based on original research on a major Tiffany Studios glass commission for Pembroke, a Gilded Age mansion on Long Island; invita�on to give an online lecture for Art Glass Forum New York, January 22, 2024

• Led special tour of Ca’ d’Zan for Palm Springs Modernism Week Patrons visi�ng Sarasota for SarasotaMOD Weekend

• Gave VIP tour to Edris Weis and family to share the works on loan and donated by Edris in the Kotler-Coville Glass Pavilion as well as museums purchases made possible by her generous dona�on of $55,000 in recent years

• Met with Ca’ d’Zan Holiday Decora�ons Commitee members and museum staff to review and approve proposed decora�ons for Holiday Splendor that followed collec�ons care protocol

• Atended AACG virtual programs to learn about contemporary glass studio ar�sts

• Met with contractors and museum colleagues to discuss plans for Ca’ d’Zan roof and HVAC projects as well as the Aeolian organ restora�on project

• Atended virtual programs hosted by Art Glass Forum New York to learn about new scholarship in the field of glass studies

• Atended virtual programs hosted by the Associa�on of Historians of Nineteenth-Century Art, Museums and Change, and other organiza�ons to learn about permanent collec�on reinstalla�ons at art museums, interpre�ve approaches, and new direc�ons in museum prac�ce

• Con�nued research on topics related to Ca’ d’Zan and contemporary studio glass

• Purchased ephemera documen�ng Ca’ d’Zan on eBay for The Ringling Archives

Christopher Jones

Stanton B. and Nancy W. Kaplan

Curator of Photography and Media Arts

On October 17 I gave a presenta�on on the work of Harry Callahan, Emmet Gowin, and Tom Carabasi en�tled Teaching and Learning: Making Connections through the Lens in conjunc�on with the VIP closing recep�on for the exhibi�on Teaching and Learning in the Patricia Thompson Alumni Galleries at the Ringling College of Art and Design.

From November 15 through 18 I visited Santa Fe, NM as a guest of CONTAINER/Turner Carroll Gallery for a short residency during the opening for Jess T. Dugan’s exhibi�on I Want You to Know My Story there. I spent �me with Dugan reviewing the installa�on and their work, in prepara�on for an upcoming September exhibi�on in the Keith D. Monda Gallery. During my stay. I was able to atend a public conversa�on with Dugan and Chris�an Waguespack, Head of Curatorial Affairs at the New Mexico Museum of Art. CENTER, Santa Fe held its closing recep�on for the 2023 Review Santa Fe at Dugan’s exhibi�on, so I had the opportunity to meet with other photo curators and photo-based ar�sts in atendance.

While in Santa Fe, I was able to atend Interference Patterns, the solo exhibi�on by indigenous ar�st Nicolas Galanin at Site Santa Fe.

During my �me in Santa Fe, I also met with Arif Kahn, Execu�ve Director, and Mary Statzer, Curator of Prints and Photographs, both of the University of New Mexico Art Museum in Albuquerque.

From December 4 through 7, I was honored to serve as host curator along with Marissa Hershon for The Ringling’s successful trip to Miami for Art Week. Highlights of our ambi�ous i�nerary included private tours of collec�ons such as those of Darlene and Jorge Pérez, Rosa and Carlos de la Cruz, and Oscar Seikaly, visits to the Bass, Rubell, and De la Cruz Museums, and guided tours of the NADA, Un�tled, and Art Basel art fairs as well as Design Miami.

Finally, we are proud to announce that we have selected our new 2023 Coville Internship in Photography as New College of Florida student Natalia Benevides. Benevides will begin her spring semester tenure in January and assist on upcoming exhibi�ons and researching ar�sts in the collec�on.

Jennifer Lemmer Posey

Tibbals Curator of Circus

October to December 2023

EXHIBITIONS

• The Greatest Show on Earth exhibit gallery

o Worked with Marketing, Development and Events to begin plans for Grand Opening in early April

o Worked with Education to consider visitor experience of interactives and multi-media space

• Worked with Circus Exhibits Manager, Glenn Hendrick, to plan and install poster exhibit – Barnum & Bailey 1888.

• Worked with Tibbals Exhibit Manager and to plan and upcoming print rotations in the Historic Circus Museum’s Rotunda and west gallery

• Planning with Christopher Jones on Conjuring an exhibition coming from PEM

COMMITTEES

• Led hiring committee for Tibbals Circus Registrar – welcomed Ana Juarez to the position in December 2023.

SERVICE

Administrative

• Management and budget planning for Circus Department

Community

• Collaborating with Katie Nickel on planning for 2024 symposium Wonder and the Arts

o Received more than 35 submissions from scholars and artists nationally and internationally – all submissions reviewed by the Wonder team comprised of staff from across the museum ’s departments.

• Collaborating with Education and Events on presentation of the Windjammers (Circus music)

• Presented on circus history and circus collections to students in the Sarasota High School Circus Arts magnet program

• Spoke at the annual Holiday Lunch for The Ringling’s Guide program

• Provided tours and mediated explorations of the collections to various VIPs

• Interviewd by Bay News 9 on Tibbals Learning Center’s interactive galleries

• Serving as a Volume Editor for Routledge Academic Press on series Resources in 19th Century Circus

Exhibitions

Rhiannon Paget | Curator of Asian Art

• Exhibitions opened:

o Fall 2023 gallery rotation: The Feline Muse: Cats in Japanese Art, Folding Fans (Chao gallery, CFAA).

• Exhibitions in planning stage:

o Spring 2024 gallery rotation: Yoshida Tōshi: The Thirtieth Century (Chao gallery, CFAA)

o Fall 2024 gallery rotation: Flying Fish (Chao gallery, CFAA).

o Radical Clay: Contemporary Women Artists from Japan (traveling exhibition organized by AIC, Pavilion gallery, June 2023): awaiting contract and final checklist.

o Modernity Exposed: The Nude in Japanese Art (provisional title) (Pavilion gallery, 2025): developing concept, scope, and checklist.

o Spectacular Japan: From Misemono to Big Top (Searing galleries, 2027): meeting virtually with potential contributors to catalog, developing concept and scope.

Grants, gifts, fundraising, donor cultivation

• Wrote and submitted grant application (The Metropolitan Center for Far Eastern Art Studies) for to support research for Spectacular Japan: From Misemono to Big Top.

Publications

• Publications released:

o Paget et al., Hiroshige: Nature and the City (Ludion) should be out later in December 2023.

o Book review for Andon (peer-reviewed journal of Society of Japanese Art).

• Publications in progress:

o Invited chapter on pigments and dyes in Japanese prints for an edited volume on color in the Blackwell Companions series.

• Members magazine:

o Wrote two articles for Fall 2023 members magazine.

Conferences, symposia, talks

• Invited to present paper at symposium for the exhibition Meiji Modern: Fifty Years of New Japan at the University of Chicago in May 2024.

Service

• Serving on editorial board for Andon magazine.

Other

• Elected to membership of the Print Council of America, thank you Meg Hausberg for nominating me.

Ola Wlusek, The Ringling’s Keith D. Monda Curator

of Modern and Contemporary Art

Exhibitions

As long as there is sun, as long as there is light. Selections from the Bring Gift and The Ringling Collection of Modern and Contemporary Art

On view until Jan 7, 2024

In 2020, The Ringling received a significant gift of art from Murray Bring and Kay Delaney Bring, in support of the modern and contemporary art collection. This exhibition presents selections from this gift in dialogue with rarely seen works by African American and Latin American artists from The Ringling's collection.

Joseph’s Coat: A Skyspace by James Turrell

Ongoing maintenance with Collections staff

Michele Oka Doner: The True Story of Eve

Opened November 18, 2023

Michele Oka Doner (American, b. 1945) is an author and multimedia artist whose work is informed by her lifelong passion for the natural world. This solo exhibition of Oka Doner's work in the Keith D. Monda Gallery for Contemporary Art will include a selection of sculptures and work on paper offering reflections on Florida’s flora, climate, and ecology.

Embodied: Highlights from The Ringling’s Collection of Modern and Contemporary Art

Opens March 9, 2024

Recent acquisitions along with collection highlights with a focus on the figure and abstraction as explored in video, sculpture, and painting by artists such as Mickalene Thomas, vanessa german, William Villalongo, Natasha Mazurka, Linda Stein, Cauleen Smith, Jake Troyli, Benny Andrews, and Marisol, among others.

Skyway 2024: A Contemporary Collaboration

Opens May 25, 2024

A partnership between five arts institutions in the Tampa Bay area is a celebration of the region's artistic practices. Working together, curators from each institution (The Ringling; the Museum of Fine Arts, St. Petersburg; the Sarasota Art Museum; the Tampa Museum of Art; and the University of South Florida Contemporary Art Museum) offer context for the diversity of art being made in Hillsborough, Manatee, Pasco, Pinellas, and Sarasota counties.

Research

1. Inuit art from The Ringling’s collection

2. Miccosukee and Seminole basketry and other forms of arts

3. Sovereignty – large scale exhibition and publication with national and international artists and scholars

4. Acquisitions (see attached list)

5. Potential grants and funding opportunities

Conferences

Abstracts accepted to the following 2024 national and international conferences:

1. Global Conference on Women and Gender at College of Arts & Humanities, Christopher Newport University, Newport News, VA (March 21 – 23)

2. Urban Futures - Cultural Pasts: Sustainable Cities, Cultures & Crafts organized by the Architecture Media Politics Society, held at the Universitat Politècnica de Catalunya, Barcelona, Spain (July 15 – 17)

3. Seventeenth International Conference on the Inclusive Museum (Sep 13 - 15, 2024) at MuseumsQuartier, Vienna, Austria (Sep 13 – 15)

Abstract submitted to the following 2024 conference:

1. Native American and Indigenous Studies Association Thirteenth Annual Meeting, Bodo, Norway (June 6 – 8)

Service and Programs

Attended the Native American Art Studies Association Conference, Halifax NS, Canada (October 11 – 13)

Hosted artist Michele Oka Doner (MOD) in November

Delivered in conversation public program with artist Michele Oka Doner + VIP reception

Collaborated cross-departmentally on marketing, development, and educational deliverables for MOD and EMBODIED exhibitions

Completed 38 artist studio visits for Skyway 2024 exhibition

Design, research, and writing for EMBODIED exhibition

Grant writing research for upcoming exhibitions

Submitted publications proposals to academic affairs department

Collecting priorities: Modern & Contemporary Art

Ola Wlusek, Keith D. Monda Curator of Modern and Contemporary Art

A collecting priority is the representation of BIPOC artists, who have been historically excluded from the canon and museum collections, as well as artists from marginalized and underrepresented backgrounds, who have made significant contributions to the visual arts field. Focusing on acquiring work by contemporary artists who reflect the breadth of our local and global communities, in particular artists who identify as women, Black, African American, Native American and Indigenous, Asian, and Latin American, is a way to build an inclusive and relevant collection.

Representing diverse art practices and multidisciplinary approaches to art making that bring awareness to the social, political, environmental, and economic issues within the American society, is a priority when building a dynamic collection of contemporary art at The Ringling.

Cultivating new relationships with collaborative presses, such as the Brandywine Workshop & Archives in Philadelphia, Crow’s Shadow Institute of the Arts in Oregon, the Tamarind Institute in New Mexico, and Tandem Press in Wisconsin, will help in broadening the holdings of works on paper.

The information below is prepared from artist and galleries’ websites and email correspondence. *

Proposed Artist for Acquisition Examples of work

Elisa Harkins (Cherokee/Muscogee [Creek], b. 1978)

Elisa Harkins is a Native American artist and composer based in Tulsa, Oklahoma. Her work was recently included in Reclaiming Home: Contemporary Seminole Art at The Ringling. Her art is concerned with translation, language preservation, and Indigenous musicology. Harkins uses the Cherokee and Mvskoke languages, electronic music, sculpture, and the body as her tools. Harkins received a BA from Columbia College, Chicago and an MFA from CALARTS. She has since continued her education at the Skowhegan School of Painting and Sculpture. She has exhibited her work at Crystal Bridges, documenta 14, The Hammer Museum, The Heard Museum, and Vancouver Art Gallery. She created an online Indigenous concert series called 6 Moons and published a CD of Creek/Seminole Hymns. She is also the DJ of Mvhayv Radio, an Indigenous radio show on 91.1FM in Tulsa, OK and 99.1FM in Indianapolis, IN. Radio III / ᎦᏬᏂᏍᎩ ᏦᎢ is a dance performance that features music and choreography by Harkins. With support from PICA and Western Front, songs from the performance have been collected into a limited edition double-LP which can be found on Harkins’ Bandcamp. Harkins resides on the Muscogee (Creek) Reservation and is an enrolled member of the Muscogee (Creek) Nation.

Elisa Harkins

Mekusape Fullana, 2021

Digital video with sound, 2:40 minutes, mixed media installation

$16,000 USD

Performed by Emma Fish, Rita Gopher, Jewel Lavatta, Vtvssv Lavatta, Reina Micco, Alice Sweat

Filmed by Ian Byers-Gamber, Lief Hall

Recorded by Mark Kuykendall, Elisa Harkins, Pablo de Ocampo; Produced and edited by Elisa Harkins

Six Seminole members of The First Indian Baptist Church of Brighton, located on the Brighton Indian Reservation of The Seminole Tribe of Florida, perform a Seminole and Muscogee (Creek) hymn. Mekusape

Hollis Chitto (Choctaw/Isleta and Laguna Pueblos, b. 1989)

Hollis Chitto grew up surrounded by art, artistic discussion, and talented people. Hollis started making clay masks and shields when he was five years old. He learned to roll out the clay, sand them, and decorate and paint the pieces himself. When he was ten years old, he started working with glass seed beads and porcupine quills and since then, these have been his principle medium. Hollis was featured recently in Native American Art magazine, New Mexico Magazine and on Vogue.com as an "Indigenous Beader Modernizing Their Craft”.

Fullana (They prayed that dwelled here) is an opening prayer sung in Native Baptist churches in Florida and Oklahoma today, to honor ancestors and to celebrate Christian faith. An example of a Native hymn actively performed in many Native Christian churches, Mekusape Fullana is part of an ongoing project by Elisa Harkins to ask Native American friends to teach her a song. As Harkins explains, “Many elders who knew the songs have passed on. There are now only a few who hold the songs. There is a large effort to revitalize the Creek language and songs on the reservation and to pass the knowledge to the youth.” As many of the churches also conduct sermons in the Muscogee (Creek) language, they play an important role in the preservation of the language. Harkins uses Mvskoke languages as a tool in her art practice to access belonging and participation in Native communities.

Hollis Chitto

Bloodwork Number 2, 2017

Antique and contemporary seed beads, Swarovski crystal, Chinese crystal, lapis, Czech glass, silk dupioni, silk habotai

16 x 7 in $3,800 USD

“The blood in our veins is what gives us life. Its importance is celebrated in various tribes as a fact. Unfortunately it is this same substance that is at risk for a sickness that is taking a portion of our people. HIV infection rates in native people have consistently ranked third in the nation behind Hispanic and black communities, although precise figures are nearly impossible to determine because of problems of misidentification as native and miscommunications

C.Maxx Stevens (Seminole/Muscogee [Creek], b. 1951)

C.Maxx Stevens is an installation artist and a member of the Seminole/Muscogee (Creek) Nations. She is professor emerita at the University of Colorado Boulder. She received an MFA in 1987 from Indiana University, a BFA in 1979 from Wichita State University, and an AA in 1972 from Haskell Indian Junior College in Lawrence, Kansas. Stevens has been honored with many awards, including an Eiteljorg Contemporary Art Fellowship (2005), an artist grant from the Andrea Frank Foundation (2000), and a Painters & Sculptors Grant from the Joan Mitchell Foundation. Her work has been exhibited widely, including at the Boise Art Museum; Center for Contemporary Arts in Sante Fe; Eiteljorg Museum of American Indians and Western Art; IAIA Museum of Contemporary Native Arts; Montana Museum of Art and Culture; Museum of Arts and Design in New York; National Museum of the American Indian in New York; University of California, Davis; and University of Saskatchewan. Her mixed media installation Last Supper (2011) was presented in Reclaiming Home: Contemporary Seminole Art at The Ringling

Hulleah J. Tsinhnahjinnie (Taskigi/Diné [Navajo]/Seminole, b. 1954)

Hulleah J. Tsinhnahjinnie was born into the Bear Clan of the Taskigi Nation, born for Tsi’naajinii of the Diné (Navajo) Nation, adopted into the Eagle House of Metlakatla, and adopted into the Killer Whale Fin House of Klukwan. Tsinhnahjinnie is the director of the C.N. Gorman Museum and professor in the Department of Native American Studies at the University of California, Davis. As an artist, Tsinhnahjinnie is internationally recognized as a multimedia artist creating portraiture and social commentary. Her works are held in several collections, including the Eiteljorg Museum of American Indians and Western Art in Indianapolis; Fred Jones Jr. Museum of Art at the University of Oklahoma in Norman; Museum of Modern Art, New

between tribal health clinics and national research. Under representation and misleading figures veil the fact that new HIV infections in the native population are steadily rising and have been for the past fifteen years. The lack of frank and open communication based around safe sex plays its role in this increase. The taboos of speaking openly about unsafe sex and highrisk behaviors such as intravenous drug use have only served to add to new infection rates due to ignorance.”

Examples of work on paper by C. Maxx Stevens Approximately $5,000 - $10,000 USD

York; and Smithsonian’s National Museum of the American Indian. Her work photo-based series Portraits Against Amnesia, 2002 was presented in Reclaiming Home: Contemporary Seminole Art at The Ringling.

Crow's Shadow Institute of the Arts (CSIA) provides a creative conduit for educational, social, and economic opportunities for Native Americans through artistic development. Through grants from several charitable foundations, Crow’s Shadow is typically able to fund three to six Artists-in-Residence each year. Artists participating in these residencies usually spend two weeks in the studio developing limited-edition prints, which are then hand-pulled by Crow’s Shadow’s Tamarind-trained Master Printer, Judith Baumann. The final prints enter the Crow’s Shadow permanent collection, housed both in our studio and at the Hallie Ford Museum of Art in Salem, Oregon. Prints published by Crow’s Shadow Press have traveled extensively to galleries and cultural institutions around the region and nationally. Residencies are invitational only and artists are selected by a committee of art professionals. Artistsin-Residence (AiRs) are nominated for a residency based on the quality of their work and their potential to reflect the mission of Crow’s Shadow. Examples of artists: Jeffrey Gibson (Choctaw/Cherokee, b. 1972); James Luna (Payómkawichum, Ipi, and Mexican/American, 1950 – 2018); Yatika Starr Fields (Osage, Cherokee, and Creek, b. 1980); Marie Watt (American/Seneca Nation of Indians, b. 1967)

Derrick Adams (American, b. 1970)

Derrick Adams is a multidisciplinary artist who closely considers the influence of popular culture on the formation of self-image. His work also questions how African American experiences intersect with art history, American iconography, and consumerism. He received a BFA from Pratt Institute and an MFA from Columbia University. He is also an alumnus of the Skowhegan School of Painting and Sculpture and the Sharpe-Walentas Studio program. He has received multiple notable awards, including a Robert Rauschenberg Foundation Residency (2019), Gordon Parks Foundation Fellowship (2018), Joyce Alexander Wein Artist Prize from the Studio Museum in Harlem (2016), and the Louis Comfort Tiffany Award (2009). Derrick Adams has been exhibiting extensively since 2001, including solo exhibitions at the California African American Museum, Cleveland Museum of Art, Milwaukee Art Museum, Hudson River Museum, The

Examples of work by Hulleah J. Tsinhnahjinnie

Approximately $5,000 - $10,000 USD

Jefrrey Gibson Marie Watt

James Luna Yatika Starr Fields

$500 - $10,000

Derrick Adams Eye Candy, 2023

Gallery in Baltimore City Hall, Museum of Arts and Design, and the Museum of Contemporary Art in Denver. His work has also been included in numerous important exhibitions at institutions such as the Henry Art Gallery in Seattle, the National Underground Railroad Freedom Center in Cincinnati, The Studio Museum in Harlem, MoMA PS1, and the Brooklyn Museum. His work is held in many permanent public and private collections, including the Metropolitan Museum of Art, Baltimore Museum of Art, Birmingham Museum of Art, Whitney Museum of American Art, and the Virginia Museum of Fine Arts. Derrick Adams lives and works in Brooklyn, New York.

Six-panel screen print with relief and collage on Coventry Rag and Arches 88 with licensing for custom wallpaper Edition of 24

Each panel is 45 x 30 inches unframed Overall installation dimensions 12 x 24 feet

$60,000 USD

Derrick Adam states "Eye Candy were created with Tandem Press and commissioned by the IFPDA, continues my interest in American popular culture from a Black perspective, it's relationship to.consumerism, it's prominence and the value system currently forming around it. The source image from the work reflects a man from the civil rights era in his under armor, where the choices of his garmet read not only as a variety of colors, but of flavors. The power of seduction associated with the outward presentation of the Black male body in media confonts the awareness in politics that it inherently embodies-politics placed on by society's standards surrounding masculinity. Eye Candy emerges from a small underwear advertisement placed in an early issue of Ebony Magazine that beckoned to be blown up, embellished, decontexctualized and reintroduced to the world as a figure of desire and consumption."

Susan Hiller (American, 1940 – 2019)

Born in Tallahassee, Florida, Susan Hiller was based mainly in London, UK since the early 1960s. After studying film and photography at The Cooper Union and archaeology and linguistics at Hunter College in New York, Hiller went on to a National Science Foundation fellowship in anthropology at Tulane University in New Orleans. With a multimedia practice extending over 40 years, Hiller is one of the most influential artists of her generation. Since first making innovative use of audio and visual technology in the early 1980s, her groundbreaking installations, multi-screen videos and audio works have achieved international recognition. Each of Hiller’s works is based on specific cultural artefacts from our society, which are used as basic materials. The Last Silent Movie (2007) documents disappearance and absence through speech recordings of dying or extinct languages.

Susan Hiller

The Last Silent Movie, 2007–08

Two-channel video installation, black-and-white, sound, 20 min. Dimensions variable

$50,000 - $100,000

Kalup Linzy (American, b. 1977)

Tulsa Artist Fellow, Kalup Linzy, is a nationally recognized video and performance artist known for acting and character performance, singing and creating music, visual artistry, and more. For Skyway 20/21: A Contemporary Collaboration, his video OK (2021) explores soap operas, which Linzy grew up watching. It offers a glimpse into Linzy’s wider investigation of fashion, theater, choreography, and aural and visual storytelling. Employing a comedic approach to screenwriting, Linzy pokes fun at the tropes and clichés of the music industry while also exploring gender stereotypes. Linzy earned a BA and MFA from the University of South Florida, Tampa, FL, and he attended the Skowhegan School of Painting and Sculpture in Maine.

Jennifer Packer (American, b. 1984)

New York -based Jennifer Packer creates portraits, interior scenes, and still lifes with flowers that suggest a casual intimacy with the subjects; often friends or family members. Rendered in loose line and brush stroke using a limited color palette her subject merges with or retreats into the backgrounds suggesting an emotional and psychological depth. She received her BFA from Tyler School of Art, Temple University, Philadelphia in 2007 and MFA from Yale University School of Art in 2012. In 201213, she was an Artist-in-Residence at The Studio Museum in Harlem, and from 2014 to 2016 she was a Visual Arts fellow at The Fine Arts Work Center in Provincetown, Massachusetts. Packer is an Assistant Professor in the painting department at Rhode Island School of Design. She is the recipient of the 2020 Hermitage Greenfield Prize and the Nancy B. Negley Prize at the American Academy in Rome 2020-21. Her solo exhibition will be on view in Monda Gallery in 2023.

Wendy Red Star (Apsáalooke/Crow, b. 1981)

Wendy Red Star works across disciplines to explore the intersections of Native American ideologies and colonialist structures, both historically and in contemporary society. Raised on the Apsáalooke (Crow) reservation in Montana, Red Star’s work is informed both by her cultural heritage and her engagement with many forms of creative expression, including photography, sculpture, video, fiber arts, and performance. Accession Series (2019) is based on Red Star’s research into the hand-painted card catalogues by anonymous artists from the Works Progress Administration juxtaposed with her own

Kalup Linzy OK, 2021

Digital video with sound 10:55 min.

$12,000 (price includes 20% institutional discount)

Jess, 2018

Oil on canvas

30 x 24 in.

$15,000 - $35,000

Jennifer Packer

Wendy Red Star

snapshots from the Crow Nation’s annual Crow Fair to remind us that cultural production is continuing to evolve. Red Star reanimates the original objects in living history and the powerful legacy of her own tribe within the larger context of contemporary American art.

Devan Shimoyama (American, b. 1989)

Devan Shimoyama is a visual artist working primarily in self-portraiture and narratives inspired from classical mythology and allegory. He describes the developing process of Diamond as an “exercise in world-building.” The paintings are compositionally inspired by the square frames of album art. As an elevated riff on “fan-art,” Shimoyama created a series of enlarged “album cover” paintings that carry the viewer into his musical world Diamond also looks at the impact of Shimoyama’s youthful celebrity worship. The paintings allowed the artist to reflect fondly on the music of his childhood and delve into the pop culture that helped shape his identity. Shimoyama is currently based in Pittsburgh, PA. He graduated from Penn State University in 2011 with a BFA in Drawing/Painting before obtaining his MFA at Yale University School of Art in 2014.

Catalogue Number 1949.73, Parade Rider: Beatrice Red Star Fletcher & Wallace Red Star, Jr., from the Accession Series , 2019 Pigment print on archival paper 18 x 20 in.

Edition of 10 plus 2 AP

$45,000 (for complete set of 15 prints)

83

$67,000

Devan Shimoyama Girls in Flower, 2021 Colored pencil, oil pastel, collage, Flashe, clothing on paper in 2 frames

x 82 in.

Collections Support Staff Report: October 2023 – January 2024 Registration, Design & Preparation

Exhibitions and Projects: In October staff completed the deinstallation of the exhibition Lorna Bieber: Natural World in the Keith D. Monda Gallery of Contemporary Art. In the following month, the Collections team, along with Ola Wlusek, Keith D. Monda Curator of Modern and Contemporary Art, installed the Monda Gallery’s next project, Michele Oka Doner: The True Story Of Eve. This solo show of Oka Doner’s work includes 76 sculptures and works on paper. The exhibition opened November 18 and runs through June 2, 2024.

Also in October, staff of the Circus Department oversaw the installation of the next Tibbals Poster Gallery exhibition, Barnum & Bailey: 1888, in the Tibbals Learning Center. The Chao Gallery in the Ting Tsung and Wei Fong Chao Center for Asian Art received its bi-annual rotation of light-sensitive objects with curator Dr. Rhiannon Paget, showcasing a selection of loans with the theme, The Feline Muse: Cats in Japanese Art

Guercino’s Friar with a Gold Earring: Fra Bonaventura Bisi, Painter and Art Dealer, which was de-installed in early January, included 10 works from the Ringling’s permanent collection and 30 works from national and international lenders. This show ran through January 7, 2024 in the Ulla R. & Arthur F. Searing Exhibition Wing in galleries D and E.

500 Years of Italian Drawings from the Princeton University Art Museum, consisting of 95 works of art from Princeton’s Collection, is in the process of being de-installed and prepared for travel to its next venue. This show was on display in Searing Galleries F, G and H through January 21, 2024.

To wrap up the end of the 2023 calendar year, the Collections team and hired contractors collaborated with Dr. Sarah Cartwright, Ulla R. Searing Curator of Collections, to install the exhibition, Shinique Smith: Parade. This unique show utilizes 6 galleries of the original 21 galleries in the Museum of Art. The Ringling will be hosting these loans through early January 2025.

In early January, Collections staff hosted an onsite visit with representatives from Proto Productions, our casework vendors for the forthcoming reinstallation of our Cypriot Collection in Gallery 12 of the Museum of Art. This visit is in preparation of their scaling, fabrication, and installation of the permanent casework that will provide long-term housing and display of these precious antiquities.

Acquisitions and Loans: Registration staff have accessioned (photographed, numbered, and rehoused) and catalogued many of the 190 objects that were approved at the October 2023 Board meeting. After the New Year, Registration staff will work with the new Tibbals Circus Registrar to process the Big Apple Circus poster donation also approved at the October 2023 Board meeting Shipping arrangements were made and monitored this quarter of the year for over 179 objects, which are being presented at the January 2024 Board meeting

For the Thanksgiving Holiday, Chief Curator Sarah Cartwright, traveled to Italy with the painting Mario Benvenuti by Giovanni Battista Moroni (SN106) for the exhibition Moroni (1521-1580): A Portrait of His Time. The show opened at the Gallerie d’ Italia in Milan on December 6 and runs through April 7, 2024.

Rights & Reproductions: During this past quarter, Registration staff processed 12 requests for images for commercial and scholarly publications, including theses, exhibitions, and loans

Collections Staff Highlights: November proved to be an active month for the Collections team with staff overseeing a variety of ancillary projects related to our strategic goals and permanent collection care. Assistant Director of Collections and Senior Registrar, Amanda Robinson, and Conservator of Decorative Arts and Objects, Emily Brown, hosted our two Florida State University Museum Studies and Cultural Heritage interns for just under 3 weeks in the department. They worked with the students on a re-housing project, providing our interns with the opportunity to learn proper object handling for small-scale ceramics and glass, consolidation methods to improve object housing, and experience with the TMS database on updating object record information.

Our Volunteer Services staff and dedicated core of volunteers collaborated with Collections on the installation of our 2023 winter holiday decorations at Ca’ d’Zan. Collections team members relocated a few groupings of furniture to accommodate the interior decorations our volunteers installed and helped to return the historic home to its usual display in early January 2024.

In December Collections staff, working with contract art handlers, consolidated more than 200 artworks on paintings racks in the vault, plus moved 15 objects to off-site storage in preparation of the closing of the long running exhibition, As long as there is sun, as long as there is light, which will be de-installed from Searing Galleries C and J in February 2024. Also in this month, contractors will install object labels for the over 40 bronze sculptures inside the Museum of Art’s Courtyard and the surrounding grounds of the building.

Our department’s dedicated volunteers Bob Ehlers and Judy Snow continue to support Registration staff in the cataloging of 2023-24 acquisitions, the continuing cataloging of the 2019 Kaplan gift of photography, as well as the 2018 Shays gift of stereo views. They also have supported the department with the rehousing and processing of collection objects.

Recruitment for the 3 open staffing positions in the Collections department continues. The Collections team welcomed Susan Rimensnyder as our new Program Associate. She

will be assisting our department in the processing of all services, invoices, and vendor accounts. Susan served as our department’s 2022 Summer Intern and her return is a welcomed celebration for staff.

Given the ongoing challenges with hiring for our department, we have been relying more heavily on contract support for all projects. We are grateful for the resources to bring on these services to supplement our team’s needs while we continue our efforts toward staff retention and recruitment

Conservation Staff Report: November 2023 to January 2024

Staffing: On November 6, Conservation was pleased to welcome Tara Johnston as our new, twelve-month, full-time Objects Conservation Fellow. She graduated with an M.Sc. in Conservation Practice from Cardiff University, UK.

Acquisitions: Johnston prepared condition reports and assessed conservation needs for 104 prints and photographs for possible acquisition. Chief Conservator Barbara Ramsay examined 13 prints and Conservator of Sculpture and Decorative Arts Emily Brown examined 5 objects.

Exhibitions and Installations: Ramsay, Brown and Johnston provided additional support to Collections during planning and/or installation of Michele Oka Doner, Guercino’s Friar with a Gold Earring, and Embodied, Shinique Smith: Parade, as well as before and/or during deinstallation of Lorna Bieber, Guercino’s Friar with a Gold Earring, and As long as there is sun, as long as there is light… Brown continued management and treatment for the Cypriot object conservation project and supervised work on 7 objects carried out by Johnston. Ramsay examined and identified conservation needs for 26 paintings for the Embodied exhibition and has started on treatment of several of these paintings.

Loans: Ramsay completed stabilization treatment of the Giovanni Battista Moroni painting Mario Benvenuti and Johnston treated its gilded frame prior to loan to the Gallerie d’Italia Milan

Objects Conservation Fellow Tara Johnston treating a Cypriot vessel

Ramsay treating Moroni painting Mario Benvenuti (SN106) Johnston treating Moroni frame

Conservation Staff Report: November 2023 to January 2024 (continued)

Contracted Conservation Projects: Ramsay and Brown reviewed updated condition reports and quotes provided by EverGreene Architectural Arts from a recent survey of 64 outdoor sculptures in the Museum of Art courtyard, on the parapet, and near the Museum of Art. The priorities identified in this survey will help to guide an imminent sculpture treatment program Ramsay also consulted with Standard Restoration regarding these works in addition to the MOA courtyard façade and fountains, the Ca’ d’Zan patio wall damaged during Hurricane Ian, and the lower dock that lost many marble tiles during Hurricane Idalia.

Facilities Projects: Ramsay participated in project team meetings with other staff, Willis Smith Construction, and other contractors for replacement of the Ca’ d’Zan roof and HVAC system.

Preventive Conservation and Training: Brown collaborated with Amanda Robinson to develop and implement a rehousing project to educate current FSU MCHS graduate interns Jimena Hernandez Escoto and Hera Bogdanos in this aspect of Collections Care practice. Together with Johnston, Brown led the group to rehouse 76 objects from the museum collections.

Outrea ch: Ramsay served as an invited Advisory Panel member for the Architect of the Capitol for a conservation project involving the historic Constantino Brumidi frescoed ceiling of the President’s Room at The U.S. Capitol, with meetings in Washington DC in January

Jorge Marin La Gloria at north entrance to MOA MOA Courtyard façade and parapet sculpture

DEVELOPMENT

DEVELOPMENT

The John and Mable Ringling Museum of Art Foundation, Inc.

Meeting of the Development Committee

January 26, 2024

10:45 – 11:45 am

AGENDA

I. Call to Order Kelly Romanoff, Chair

II. Approval of Minutes of October 13, 2023 meeting

III. FSU update Marla Vickers, Vice President for University Advancement

a. Introduction of Susan Glenn, Assistant Vice President for Advancement for Colleges, Schools, and Units

b. FSU Advancement Fiscal YTD fundraising report

c. Campaign Planning Update

d. Survey discussion

IV. Fundraising production: report on gifts, grants & membership Mark Terman, Sr. DoD

a. Fiscal year 2024 to date report

b. Grants report

V. Development Program Overview

a. Membership Program

i. Introduction of Adriana Steele, Membership Coordinator

ii. Membership – Looking forward

b. Legacy Society + Wescott Society – Michelle Young, Director of Development

VI. Development Committee Goals

a. Circle Member recruitment

b. Wine and Roses – Monday, March 25

VII. Adjournment

FY 2023 Development Production Report + Comparison

Received to date and comparisons to budget and previous fiscal year same period For the period beginning July 1, 2023

Philanthropic Support Comparisons

GRANTS ACTIVITIES | FY 2024 to

Grants

As of 1/3/2024

FACILITIES

The John and Mable Ringling Museum of Art Foundation, Inc. Meeting of the Facilities Committee

Chao Lecture Hall

AGENDA

January 25, 2024 9:00 AM

I. Call to Order

II. Approval of Minutes of October 12, 2023 Meeting

III. New Business

IV. Adjournment

FACILITIES COMMITTEE MEETING

The John and Mable Ringling Museum of Art Foundation, Inc.

MINUTES October 12, 2023

Com mittee members present:

Frederic D. Pfening, III, Vice Chair

Ritu Anand

Adele Fleet Bacow

David W. Benfer

Elma Felix

Howard D. Noble, Jr.

Debra J. Short

Keebler J. Straz

Joan Uranga

Kirk Ke Wang

John Fleming, Staff Liaison

Members Absent:

Mayra N. Schmidt, Chair

Amy D. Berk

Rebecca Donelson

Andrew M. Economos

Janice Tibbals Mobley

Cynthia L. Peterson

CALL TO ORDER

Museum Staff:

Lynn Hobeck Bates

Jay Boda

Jevon A. Brown, Eleanor Merritt Fellow

Sarah Cartwright

Jean Evans

Steven High

Ericka Kelley

Charlie McLeod

Leslie Purple

Barbara Ramsay

Marianne Rathslag

Mark Terman

Others Present:

Warren R. Colbert, Sr.

Meg Hausberg

Art Wiedinger, FSU

Warren Colbert called the meeting to order in the absence of committee chair Mayra Schmidt and determined that a quorum was present Jean Evans led the meeting.

APPROVAL OF MINUTES

Dr. Evans entertained a motion to approve the minutes of the April 27, 2023 meeting.

It was moved and seconded:

THAT the Committee approve the Minutes of the April 27, 2023 meeting as presented.

T he motion passed unanimously.

Facilities Committee October 12, 2023

NEW BUSINESS

John Fleming, Associate Director of Facilities, and Jean Evans reported on Ringling projects. They first reported on fixed capital outlay (FCO) projects that received deferred maintenance funding. We have two such projects the roof of the Ca’ d’Zan and the roof of the Museum of Art for which we received nearly $5M in deferred maintenance funding

FCO is a category that is used to fund work on property, so lands, buildings, structures, including additions, replacements, major repairs, renovations, and so forth. Anything in these categories at $100,000 and above is designated FCO by FSU. They become projects at FSU and are assigned an FSU project director. We then place money in a budget and complete the projects under FSU management.

Mike Materna, Director for Planning, Design & Construction at FSU, attended virtually and provided context for the FCO projects. In addition to his larger role at FSU, he is our project manager. Mike has been at FSU for about ten months and, before that, was connected to the University of Louisville for about eight years. His background is in architecture and construction.

The Museum of Art roof project is a big undertaking due to multiple issues not just for the roof but for the HVAC. It is currently in the design phase. For the Ca’ d’Zan, the roof plans are at 100%, but we are waiting for the HVAC design so that we can understand these projects together. We do not have the target completion date yet

John Fleming reported on the following projects:

Banyan Café this project is currently at 100% design and in the demolition phase. To date, we have removed the patio, the electrical and other equipment in the building, and we will continue to take the rest of the back of the building off.

Turrell Skyspace this project has just completed the design phase with approval from the Turrell studio. The project scope of work would include replacing the lighting and lighting controls according to Turrell’s specifications

Museum of Art courtyard, doors under David—this project replacing the doors, which are a vital function to our events, was completed in the beginning of FY24.

Museum of Art courtyard, palm trees behind David we have been slowly losing these palm trees over the years and will replace them to restore this iconic view.

Museum of Art courtyard, general maintenance—the interior of the fountains was painted, and other general maintenance was carried out.

Ellis Tea House, annual maintenance the deck and doors were sanded and oiled to prevent moisture from penetrating the cypress wood.

Chiller plant, required maintenance—you will recall that our budget for the chiller plant increased by several hundred thousand dollars this year. We have five chillers and six cooling towers with 3500 tons of cooling capacity that serves both New College and The Ringling.

Visitor pavilion, flooring we replaced the carpeting in the VP.

30 1 renovations the building is totally cleaned out. It is 8000 square feet of open space. We are working with an architect on designing the space.

Finally, John Fleming presented on Hurricane Idalia. Storm preparation is something that is routine to our campus starting in June and ending in November. Each year in June, storm prep begins with topping off our fuel tanks. We are able to store about 14,000 gallons of fuel for our backup generators here on the property, giving us a nine-day runtime. Before hurricane prep begins, we are making sure all our hurricane supplies are intact. Days before a storm such as Idalia, we begin picking up chairs, trash cans, and such from the property. We flush out stormwater drains making sure the property will dispense water runoff quickly. We put up Kevlar at our buildings that require more protection. At the chiller plant, we lower energy consumption. We test all our equipment. The list goes on and on. By the time the storm makes landfall, we have prepared for the worst and hope for the best.

Storm surge is something we have all talked about many times. You can see in this photo that the storm is up at the level of the sea wall and starting to crest over and push out the barrier rocks.

Barbara Ramsay provided additional comments on the impact of Hurricane Idalia. Damage concentrated on the lower tiles of the Ca’ d’Zan terrace. They are thick slabs of marble of different types. They are incredibly heavy and have been mortared onto the concrete substructure of the lower dock. This has been replaced over time because it is right on the edge, and you can see that the wave action and the storm surge combined just pulls those away. So, we must salvage the pieces, wash them off, see how many are still intact, and are reusable, and then start looking for replacement marble. This will be a costly project. And we are making sure that we are documenting everything thoroughly because we'll be working with FEMA to be reimbursed for the expense and that's something that we do through FSU.

Committee October 12, 2023

ADJOURNMENT

There being no further business to come before the Committee, the meeting was adjourned at 11:10 a.m.

Frederic D. Pfening, III, Vice Chair

Committee October 12, 2023

Date

Facilities and Grounds Update

January 2024

Items Affecting Total Estate Property

• Ringling and New College staff met to discuss the ongoing joint chiller maintenance; this month we will start r-newals on chiller number 5, and after its completion we will move to chiller number 1

• The Grounds department focused on performing general grounds maintenance and holiday decorations.

• Monthly drain maintenance was completed

• Facilities continued grinding sidewalk trip hazards, noting a few areas that will be replaced.

• Elevator inspections were completed.

• Generator minors were completed campus wide; each year we do weekly inspections to all generators, and twice a year we do what we call a Minor service and a Major service that should identify any issues.

• Worked with FSU to complete radon testing campus wide.

• Continued working with FSU on campus-wide emergency backup power Projects completed

• The Banyan Demo was completed. The building is sealed up watertight and awaiting the next phase; this project is at 100 percent design, and the next will be when we have funding to go out for guarantied maximum price ( GMP )

• Bolger play space repairs to the York tower, bouncing flower and the water feature were completed, and all the equipment is in operating condition

• Our Courtesy transportation carts arrived and were put into service Continuing project updates

MOA roof replacement design: core testing is completed, and no asbestos was found; this will now be ready to move to full design phase

MOA fire panel replacement is in the pricing phase; once this is completed we will chose a vendor.

MOA courtyard tree replacement behind David, pricing for this first phase is in

Ca’ d’zan terrace marble repair, 40 pieces of marble have been recovered; we are waiting for estimates on repairs from conservation.

Ca’ d’zan roof and HVAC replacement, this project is now out for GMP

Ca’ d’zan fire panel replacement, our equipment is in, this project is ready for installation Turrell Skyspace lighting replacement, this is now out for GMP

North and South drive gate installation, waiting for civil engineering design quote

CFPA lighting project, replace house lighting and upgrade transfer switch, Sweet Sparkman now has a PO for Design

Bolger Play Space

• All Repairs were completed, the play space is open with the next scheduled maintenance in 4 months

Ca’ d’Zan

• Boiler one had the main exhaust fan replaced

• The green tent for events was re-installed to the south of the building

• The concession trailer was moved to accommodate holiday splendor

Central Energy Plant

• Trane replaced a divider plate in chiller number 4 and replaced a variable frequency drive (VFD) for tower 5

Center for Asian Art

• Serviced our emergency generator and transfer switch

• Serviced all dehumidifiers

Center for Performing Arts

• Serviced our emergency generator and transfer switch

• Repaired Brass handrails

• Added air bleeders to roof top units 7 and 8

• General maintenance

• Repaired theater lighting over the Mertz stage area

Cottage

• General maintenance Facilities

• General maintenance

Johnson -Blalock Education Center

• Upgraded the software to the phoenix fresh air system that serves the conservation lab Museum of Art

• Replaced float switches that serves the condensate pumps for the boilers

• Washed down the north and south steps leading into Searing

• Repaired the ceiling in gallery 7

• Repaired roof leaks over gallery 7 and 2

Restaurants

• Cleaned hallways and elevator areas

Storage Units

• Offsite 301 serviced AC units and mowed the property

• Tallavast installed 3 new 5-ton AC units

Tibbals

• General maintenance, trimmed trees on the east side

• Installed power for automated window blinds

Turrell Skyspace

• General maintenance

Visitors Pavilion

• General maintenance focusing on trip hazards and HVAC maintenance

GOVERNANCE

Th e John and Mable Ringling Museum of Art Foundation, Inc.

Meeting of the Governance Committee

January 25, 2024

Chao Lecture Hall and Via ZOOM

2023-2024 Committee Goals

• Find suitable, potential Board candidates based upon criteria developed.

• Train new Board members through Orientation.

• Review Board Self-Assessment Yearly

AG ENDA

January 25, 2024 1:00 p.m. – 2:00 p.m.

I. Call to Order

II. Approval of Minutes of October 12, 2023 meeting

III. Discussion of Potential Board Candidates

IV. Adjournment

STRATEGIC PLANNING

COMMUNITY ENGAGEMENT

The John and Mable Ringling Museum of Art Foundation

Joint Meeting of the Strategic Planning/Community Engagement Committee

January 25, 2024

Chao Lecture Hall and Via Zoom

2023--2024 Committee Goals

• Review, evaluate, and present to the Board an annual update on the progress on the Strategic Plan including new or modified initiatives.

• Work on action required by the Equity Statement.

• Complete new 5-year Strategic Plan.

AGENDA

January 25, 2024 10:30 a.m. – 11:45 a.m.

I. Call to Order

II. A pproval of Minutes of October 12, 2023 Meeting

III. Status Report of Current and Draft Strategic Plans

IV. New Business

V. A djournment

Staff Update: Strategic Planning

Jay Boda, Associate Director of Academic Affairs + Collections

October 2023 – January 2024

Strategic Plan

The Ringling’s IDEA Core Team reviewed and updated The Ringling’s 2018- 2023 Strategic Plan. The new and updated Strategic Plan (2024-2028) is consistent with FSU’s new Strategic Plan (2023-2027) and current state legislation. FSU’s HR Office of Compliance reviewed the new Ringling Strategic Plan and approved our updated plan in November 2023. The approved plan is ready to be presented to The Ringling’s board for final advice and consent.

The new Strategic Plan has seven Commitments (formerly Goals) listed below. The full plan is attached below.

• Commitment 1: As the state art museum governed by Florida State University, foster personally meaningful experiences for all people by broadening and deepening our impact locally, regionally, nationally, and internationally.

• Commitment 2: Ensure that Accessibility and Inclusive Excellence are incorporated into all of our museum practices.

• Commitment 3: Seek, invite, host, and center individuals and organizations representing the range of local, regional, and global communities.

• Commitment 4: Develop our collections, exhibits, performances, interpretation, and programs by collaborating with artists, collectors, curators, educators, and other cultural leaders to better reflect our local, regional, national, and international communities.

• Commitment 5: Invest in staff members and volunteers by providing sufficient resources, training, tools, and opportunities that enhance professional development, retention, and well-being.

• Commitment 6: Develop The Ringling's board, staff, volunteer corps, members, and donors to better reflect the community that we serve and to expand our audience.

• Commitment 7: Understand and contextualize The Ringling's legacy and impact.

Within each Commitment are several Initiatives, Strategies, Tactics, and Metrics. Ringling staff in coordination with the board’s Strategic Planning Committee have identified FY 2024-25 priorities and will briefed during the January 2024 meeting.

Eleanor Merritt Fellowship

As an Eleanor Merritt Fellow, Jevon Brown is a Ringling IDEA Core Team member supporting various Ringling Strategic plan initiatives. In this capacity, Jevon reviewed and updated The Ringling’s Community Partner database and is planning a Community Partner Open House for late spring. This will be an opportunity to share current Ringling community initiatives, update them about our new Strategic Plan, listen to community organizations concerns and needs, and respond by updating relevant Strategic Plan projects to meet our community’s needs. Separately, Jevon has conducted research into the Merritt estate records stored in The Ringling Archives. He plans to share his research with relevant community partners during a separate event. These activities help build trust and invite interested community members to collaborate with The Ringling for our mutual benefit. Finally, Jevon coordinated a juried art show with Sarasota Waterkeepers and Multicultural Health Initiative where awards were presented at Booker High School and student artwork was shown during the Sarasota EcoSummit.

The complete Ringling Strategic Plan is attached below:

Ringling Strategic Plan (Scheduled 2024-2028)

Approved by FSU HR Office of Compliance, November 2023

STRATEGIC FRAMEWORK (current, unchanged)

IDENTITY: The Ringling is the State Art Museum of Florida and is administered by Florida State University. It features an historic mansion, art museum, circus museum, historic theater, and reference library, situated on 66 acres of bay front property in Sarasota.

MISSION: The Ringling serves as the legacy of John and Mable Ringling - a place of art, architecture, and circus in an environment that inspires, educates, entertains.

VISION: The Ringling is an extraordinary center of art and culture that engages the local, state, and global communities and is accessible to and inclusive of all.

VALUES WE BELIEVE IN: Collaboration; Innovation; Relevance

VALUES THAT DEFINE US: Accountability; Inclusivity; Integrity

CORE COMMITMENTS: Preservation, enhancement, and interpretation of our collections; Operational and fiscal integrity; Outstanding experiences for our visitors

INCLUSION (External - Looking Outward)

Commitment 1: As the state art museum governed by Florida State University, foster personally meaningful experiences for all people by broadening and deepening our impact locally, regionally, nationally, and internationally.

Initiatives

I: Listen and learn from our local community to improve The Ringling's relevance and impact for our mutual benefit.

II: Build trust to establish reciprocal partnerships with community organizations.

III: Lead as a cultural organization in museum research, innovation, and practice.

IV: Distinguish The Ringling among our national and international peers as a world-renown organization.

Commitment 2: Ensure that Accessibility and Inclusive Excellence are incorporated into all of our museum practices.

Initiatives

I: Holistically review and integrate accredited museum practices throughout all Ringling policies and procedures to increase accessibility and inclusive excellence.

II: Implement accredited museum practices throughout all Ringling departments, operations, exhibitions, performances, programs, and spaces to enhance accessibility and inclusivity for all people.

INSPIRATION (Content - Sharing The Ringling)

Commitment 3: Seek, invite, host, and center individuals and organizations representing the range of local, regional, and global communities.

Initiatives

I: Implement programming practices and procedures that foster learning and collaboration with t partners inside and outside the Ringling for all exhibitions, performances, programs, and spaces.

II: Invite relevant partners to co-create new work, exhibitions, performances, and programming within all Ringling spaces.

Commitment 4: Develop our collections, exhibits, performances, interpretation, and programs by collaborating with artists, collectors, curators, educators, and other cultural leaders to better reflect our local, regional, national, and international communities.

Initiatives

I: Preserve the Ringling's collections and assets to increase accessibility and inclusivity for all people.

II: Proactively acquire assets for The Ringling's collections relevant to our mission and vision of being inclusive and accessible for all people.

III: Develop and publish research and share ideas focused on our mission, vision, and strategic plan commitments.

EXCELLENCE (Internal - Looking Inward)

Commitment 5: Invest in staff members and volunteers by providing sufficient resources, training, tools, and opportunities that enhance professional development, retention, and well-being.

Initiatives

I: Review, develop, create, and support staff and volunteer professional development programs to increase job fulfillment and satisfaction.

II: Review, develop, create, and support staff and volunteer retention programs.

III: Review, develop, create, and support staff and volunteer wellbeing programs.

Commitment 6: Develop The Ringling's board, staff, volunteer corps, members, and donors to better reflect the community that we serve and to expand our audience.

Initiatives

I: Enhance staff and volunteer recruiting policies and procedures to better align representation of our community and visitorship.

II: Enhance board, membership, and donor recruiting policies and procedures to better align representation of our community and visitorship.

INCLUSION, INSPIRATION, EXCELLENCE (Understanding Ourselves)

Commitment 7: Understand and contextualize The Ringling's legacy and impact.

Initiatives

I: Research and share the legacy and impact of John and Mable Ringling.

II: Research and share the legacy of The Ringling as an institution.

REPORTS

Staff Update: Academic Affairs + Publications

Jay Boda, Associate Director of Academic Affairs + Collections

October 2023 – January 2024

Academic Affairs

• Internships

o Fall 2023 Internships: The Ringling hosted four (4) student-interns for the fall semester completing academic, for-credit internships.

▪ Two interns are FSU graduate students enrolled in the Museum and Cultural Heritage Program (MCHS) Ringling Course. These students are completing their second year of their master’s degree as in-residence Ringling interns. They rotated through most departments of The Ringling completing a variety of miniprojects. Students also participated in a graduate museum studies course, The Museum Object, taught by Jay Boda. Students participated in professional development activities including staff talks at area museums including a field trip St Petersburg’s Museum of Fine Art. More info about The Ringling Course here: https://arthistory.fsu.edu/graduate/mchs/ringling-track/

▪ Two interns are New College of Florida students, one assigned to Archives and the other to Education. The Archives internship is funded by the Mellon Foundation’s Community-Driven Internship Program.

o Jay Boda thanks Ringling staff and volunteers across all departments for sharing their skills and experience to support our interns’ academic pursuits and professional career development.

• Fellowships

o Please see Strategic Planning section for an update related to the Eleanor Merrit Fellowship.

o No other Fellowship updates.

• Other Activities

o Hosted 12 Florida university Academic Affairs directors during their annual conference held at New College of Florida. Presented an overview of The Ringling’s Academic Affairs program and gave them a campus tour while introducing them to staff in Conservation, Education, Archives, and Curatorial.

o Invited and hosted Dr. Chris Omni, an FSU Provost Post-Doctoral Fellow who explored using The Ringling grounds and the Sarasota as a creative research site. An artist residency invitation was extended by Elizabeth Doud during the visit. Dr Omni also invited Jevon Brown, the Eleanor Merritt Fellow, to collaborate with her on a future artistic project.

o In coordination with Ringling Development department, initiated regular invitations to all FSU College of Fine Arts faculty and selected staff to all Ringling exhibition opening receptions to strengthen collegial relationships and expand potential partnerships across departments and between campuses.

o In coordination with FSU’s Biology Department faculty, planned The Florida Meeting for Advancing Participatory Sciences – a Ringling hosted citizen science conference bringing academic, research, and citizenry together to discuss critical problems and solutions in Florida.

o Attended Cross College Alliance partner USF Art History Department graduate student receptions. Shared internship and fellowship opportunities at The Ringling and answered museum profession advice.

o Attended Vitality Arts conference in Minneapolis, MN as part of the E.A. Michaelson grant. Shared Ringling Lifelong Learning program with other attendees and learning from other institutions supporting older adult creative aging programs.

o Researching the use of AI (artificial intelligence) tools to make Ringling business operations more efficient for staff, i.e., Otter AI was used to help create Ringling board meeting summaries to shorten the time to create official minutes; Jay Boda coded qualitative visitor survey data using AI tools to assess sentiment, themes, and potential problem areas.

o Hosted three Cross College Alliance campus tours for faculty and students. Provided introductions to venues and resources including the Art Reference Library and Archives.

o Met with Score Manasota (Service Corps of Retired Executives, a division of the Small Business Administration) to learn about the organization’s professional development services. Planned initiative to host a SCORE event/luncheon for Cross College Alliance students, including Ringling interns.

o In coordination with Grants department, met with Art Bridges Foundation (associated with Crystal Bridges Art Museum in Bentonville, Arkansas) to learn about their funded-fellowship opportunities and how Ringling might participate.

Publications

• No scholarly publications during this period.

Archives Board Report

Collections

October 14, 2023 – December 16, 2023

Archives’ efforts focus on processing collections, stabilizing collections, and the completion of digitization projects to provide access to collections.

• The Tibbals Circus Collection of Programs has been rehoused.

• The Tibbals Circus Collection of route books are being rehoused

• Drawer lists are being created for the Museum’s architectural drawings collection.

• An additional 198 meeting minutes of the Governing Boards have been uploaded to DigiNole, totaling 398 records available for access.

• 140 additional trade cards from the Tibbals Circus Collection of Trade Cards have been described in a MODS metadata form. They will be uploaded in January 2024.

• 452 audio recordings from the Eric and Patricia Beheim Collection have been described in a MODS metadata form. These files will be uploaded to DigiNole in January 2024.

• Processing the papers of David C. Weeks

• Completing the description of the photographs in the Julius Bohler John Ringling Records and proofing the finding aid for this collection.

• The Museum’s collection of photographs is being moved to hanging file folders and images not sleeved will be sleeved

• 6 collections were accessioned.

• Purchased the latest technology in still photography, Phase One camera and two lenses.

• Digitized 11 - 16mm films

• The collection of John and Mable Ringling’s Christmas cars are being digitized. 751 images have been captured.

Museum

• Participation in the interview process for the Circus Registrar position.

• Participation in the Ringling Digital Asset management software ITN

• Participation in the Museum’s Centennial planning

• Participation in the Wonder Symposium

Outreach: Broadening the reach of our collections is a goal of the Archives.

• Responded to 18 research requests.

• Hosted a tour for:

1. FSU Dean, Katie McCormick and digital archivist, Krystal Thomas visited the archives to discuss our use of DigiNole

2. 13 history students from the State College of Florida

3. Mr. and Mrs, Carl Charleson, IT management consultant working with ABC News and Fox News

4. Ringling Education Department group

5. 2 Liberati groups from Ringling Library

6. New College of Florida Internship Division

7.

Interns and students

Providing students with opportunities to: learn about the collections held in The Ringling archives; expand their research skill; and promote the field of archival studies continues in the Archives.

• Brittany Braasch, masters of library and information sciences student at University of South Florida MLIS program continues to work on the Tibbals Circus Collection of Trade Cards.

• Noah Stepp, New College of Florida intern completed his internship. Noah’s work included: processessing the Fowler family papers and wrote a finding aid to this collection; uploading digital files on to DigiNole; and responding to research requests.

Volunteers

There are nine volunteers contributing to the efforts of The Ringling Archives assisting staff on a variety of projects.

• Gail Orzchowski – working on the Papers of David C. Weeks

• Rose Grosso – describing the photographs in the Julius Boehler John Ringling records and proofing the finding aid for this collection

• Lanny and Barbara Weintraub – photographing John and Mable Ringling’s collection of Christmas cards

• Mary Russell – rehousing Tibbals Circus Collection of route books and creating box lists

• Phyllis Schaen – continues to process Museum’s circus ephemera

• Alex Demartino – continues to process Museum Public Relations Department records

• Jill Dickinson- working with news articles

• Natalia Benavides - assisting with the architectural drawing project

Archives staff

H.Connor

1. Received Digital Archivist certification from the Society of American Archivists

2. Joined Henry Stewart DAM GLAM (Galleries, Libraries, Archives, Museums) conference

3. Participated in the Archives Leadership Institute conference

4. Participate in FLVC’s Digital Initiatives Steering Committee

Susan O’Shea

1. Received Digital Archivist certification from the Society of American Archivists

THE ART OF PERFORMANCE/HAT |

Performance/HAT Activities for FALL 2023

• Season Kick-Off Party – White Hot Fête with La Dame Blanche Oct. 20

• Flamenco Week – Nov. 2-5. Featuring Israel Fernandez and Diego del Morao in concert, and Rafael Ramírez in Lo Preciso. Week included four dance and guitar masterclasses with performers and guest teacher Irene Rodriguez of Tampa, FL.

• Artist Talk with Hassane Kassi Kouyaté, Nov. 16

• Congo Jazz Band by Les Francophones, Nov. 16-18, including matinee for students.

• La Santa Cecilia in concert, Dec. 12.

• Artist Residency with Moira Finucane and Elise Williams Dec. 10-17

• Artist Residency with Leah Verier-Dunn and Rosie Herrera Dec. 16-22

Upcoming Activities January – May 2024*

• MicroWIP 2024 – January 26

• Artist Residency with Brinae Ali/The Baby Lawrence Project, including tap intensive and open lecture-demonstration – February 8-12

• Etienne Charles/Creole Soul – February 15 & 16

• Rave Lucid by Mazelfreten – February 22-24, including matinee performance for students

• Mohiniyattam Dance Intensive, Film and Talk Back with Master Dancer Vijaya Lakshmi

• BélO in Concert – March 8 & 9

• Florida Woman by Leah Verier Dunn and Rosie Herrera – March 22-24

• Un Poyo Rojo – April 6-8

• La Famille GoldenCrust by Les Deux de Pique – April 17-21

• You Look Like a Fun Guy with Dance Heginbotham Technical Residency – April 29-May 2

• Parisian Refraction by ensembleNEWSRQ

*Consult ringling.org for a full schedule of all Art of Performance shows and activities for Spring 2024.

On Screen film offerings for Spring 2024 include National Theatre Live screenings of Othello and Best of Enemies.

Congo Jazz Band, Historic Asolo Theater, November 16, 2023.

Moira Finucane in the Banyans, The Ringling, December 2023.

Education Highlights : A few highlights are featured below, followed by a list of all programs and engagements since our last board report:

• The Ringling received a $109,900 grant from E. A. Michelson Philanthropy to support a new program, Lifelong Arts. This program offers hands- on workshops for older adults. The first workshop began in September with a watercolor workshop class offered by Keith Crowley, Senior Preparator and watercolor artist. October’s workshop was led by poet Dr. Emily Carr, and November’s workshop was led by local artist and designer, Craig Carl. The grant also supports an accessibility audit and anti- ageism work. This spring, we will continue workshops at the museum and expand this program to include free workshops with community partners.

• This fall, The Ringling recruited and trained a new guide class for the Bayfront Gardens tour. 33 new guides began in this venue with 9 new- to- The- Ringling guides joining the program.

ACCESS PROGRAMS

 Access Team Meetings: (Sep 6, Oct 4, Nov 14, Dec 7)

o 13 staff participants

ADULT PROGRAMS

• Gallery Talks (In Person): Curator’s Choice: Working Conditions, A Jewish Look at the European Collection, Curator’s Choice: Lorna Bieber: Natural World, Unusual Pursuits: Miniature Painting, Drawings Dealings, and a Gold Hoop Earring, Spooky Sails and Thrilling Tales, An Intimate Look at 500 Years of Italian Drawings from the Princeton University Art Museum, Saint Cecilia and Music in Ca’ d’Zan, Slow Art with Yuriko Yamaguchi’s Gravity (1988) (Sep 5, Sep 19, Oct 3, Oct 17, Oct 31, Nov 7, Nov 9, Nov 21, Dec 5)

o 136 participants

• Lectures (In Person): Viewpoint Lecture with Dr. David Stone, Viewpoint Lecture with Artist Michele Oka Doner, Viewpoint Lecture with Dr. Sarah Cartwright (Oct 13, Nov 17, Dec 19)

o 380 participants

• Workshops (for older adults): grant funded by E.A. Michelson Philanthropy, Lifelong Arts workshops engage older adults in community building and artistic skill development

o Aquarelle After Hours: Watercolor Workshop with Artist Keith Crowley (Sep 7, 12, 14, 19, 21, 26, 28, Oct 3)

 10 participants

o Waiting for Icarus: Ekphrastic Poetry Bootcamp with Dr. Emily Carr (Oct 16, 17, 18, 23, 24, 30, 31, Nov 1)

 4 participants

o Drawing from Basics to Best with Artist Craig Carl (Nov 6, 8, 13, 15, 27, 29, Dec 4, 6)

 7 participants

• Demonstrations: Sumi- e Demonstration with Artist Keiko Romerstein (Dec 13)

o 27 participants

ARTS & HEALTH PROGRAMS

• Arts in Health training for SMH nurses (Sep 22, Oct 27)

o 55 participants

• Using Art to Open Minds training for SMH clinical leaders (Oct 18, Oct 25, Nov 15)

o 21 participants

GUIDE PROGRAM

• Ca’ d’Zan Experience Tours (Offered Monday - Sunday in September – October, 4 tours per day. Offered Monday – Sunday in November – December, 3 tours per day)

o September – 452 participants

o October – 585 participants

o November – 652 participants

o December – 555 participants

• Welcome to Ca’ d’Zan Tours (Member preview October 2023, 6 tours per day. Open to public Monday – Sunday in November – December, 4 tours per day)

o October – 304 participants

o November – 852 participants

o December – 1,015 participants

• Bayfront Gardens Tours (Offered Friday, Saturday, Sunday, Monday November - December)

o November – 83 participants

o December – 52 participants

• MOA Guided Tours (Offered Tuesdays - Sundays)

o September – 101 participants

o October – 140 participants

o November – 143 participants

o December – 168 participants

GUIDE TRAINING

• Special Exhibition Training: Guercino’s Friar with a Gold Earring: Fra Bonaventura Bisi, Painter and Art Dealer & 500 Years of Italian Drawings from Princeton University Art Museum (Oct 12, 20)

o 57 participants

• Welcome to Ca’ d’Zan Training (Sep 5, 6, 7, 9, Nov 7)

o 109 participants

• Welcome to Ca’ d’Zan House Practice (Sep 12, 14, 16, 19, 21, 23, 26, 28, 30 )

o 63 participants

• Bayfront Gardens Training (Oct 1, 3, 4, 7, 11, 14, 18, 21, 25, 28)

o 33 new guides to the venue, 3 guides auditing

• Guide Enrichment: Library tours (Nov 9, 16), MakerSpace + Mindfulness (Dec 4)

o 14 participants

• Slow Looking Training (Sep 12, Oct 26, Dec 13)

o 12 participants

• Art Cart Training (Dec 13)

o 6 participants

OUTREACH PROGRAMS

• Abel Elementary / Title 1: Through our partnership with the School District of Manatee County’s Extended Day Enrichment Program. We provide an arts enrichment program to Abel Elementary’s 4th graders once a month. (Sep 20, Oct 18, Nov 15)

o 47 participants

• Blue Butterfly: In partnership with Haven Hospice, children who have experienced a significant loss and their families visit The Ringling monthly for dinner, art making, and gallery experiences. (Sep 21, Oct 26, Dec 14)

o 78 participants

• Boys and Girls Club of Manatee County: Our outreach program reached the Palmetto and Desoto branches of the Boys and Girls Club by bringing art enrichment programs to their afterschool program twice a month. (Sep 7, 14, 21, 28, Oct 5, 12, 19, 26, Nov 2, 9, 16, 23, Dec 7, 14)

o 247 participants

• Forty Carrots: Ringing attends Partners in Play (PIP) sessions weekly at the Braden River Library and brings an open- ended art exploration project. (Sep 7, 14, 28, Oct 5, 12, 26, Nov 2, 9, 16, Dec 7, 14)

o 467 participants

• Girls Inc.: Weekly arts enrichment program to Girls Inc. after school program . (Sep 8, 15, 22, Oct 6, 13, 27, Nov 3, 10, 17, Dec 8, 15)

o 150 participants

• Hispanic Fall Festival:

• Holidays at The Bay: In partnership with Mr. Stevey and Friends hosted by the Sarasota Performing Arts Center Foundation, teaching artists participated in Holidays at The Bay. (Dec 9)

o 100 participants

• Kinnan Elementary / Title 1: Through our partnership with the School District of Manatee County’s Extended Day Enrichment Program. We provide an arts enrichment program to Kinnan Elementary’s 4th graders once a month. (Sep 27, Oct 25, Nov 29)

o 43 participants

• Newtown Farmers Market: In partnership with Mr. Stevey and Friends hosted by the Sarasota Performing Arts Center Foundation located at the Sarasota Newtown Farmers Market once a month. (Sep 30)

o 60 Participants

• Sarasota Libraries: Monthly partnership with Selby Public Library and new partnership with North Sarasota Betty J. Johnson Library to provide our ROAR! On the Road program to local families. This program includes an art making project and free book. (Sep 12, 15, Oct 3, 11, Nov 8, Dec 5)

o 29 participants, Selby

o 27 participants, Johnson

DECEMBER 2023

• Sarasota Housing Authority: Weekly arts enrichment program with SHA’s afterschool and summer program (Sep 5, 12, 19, 26, Oct 3, 10, 17, 24, 31, Nov 7, 14, 28, Dec 5, 12)

o 168 participants

• Soar in 4: The Ringling attends with art materials and information on free programs to Soar in 4 (Sep 13, Oct 4, Nov 1, Dec 6)

o 641 participants

• United Way Suncoast: Monthly arts enrichment after school program at La Mirada apartment complex, and a weekly program during the summer. (Sep 13, Oct 11, Nov 8, Dec 13)

o 34 Participants

COMMUNITY GALLERY

The Ringling Community Gallery is a free public exhibition space dedicated to displaying works of art produced by community- based, non-profit, or student groups in the local Sarasota/Manatee area. It is intended to make the museum more inclusive and accessible to our community. The Community Gallery is generously funded by the Community Foundation of Sarasota County.

• Recent shows in the community gallery include:

o Art of Recovery – In collaboration with The Academy at Glengary (August –December 2023)

o Who We Are – In collaboration with Easterseals of Southwest FL (December 2023 – April 2024)

SCHOOL AND TEACHER PROGRAMS

– on site and virtual

• Live Virtual School T ours:

o 2 tours serving 84 participants

• Teacher-Led Tours:

o 44 tours serving 2,882 participants

• Guided School Tours:

o 25 tours serving 791 participants

• Homeschool Third Thursday:

o 180 participants, September: Circus

o 114 participants, October: Bayfront Gardens

o 145 participants, November: Ringling Passports

YOUTH AND FAMILY PROGRAMS

• ROAR!: Story time & art making for toddlers and preschoolers (Oct 6, 13, 20, 27, Nov 3, 10, 17, Dec 1, 9, 15)

o Total Programs: 10

o Total Participants: 418

• FAM (Family Art Making): Art making for all ages (Oct 7, Nov 4, Dec 2)

o Total Programs: 3

o Total Participants: 342

• Stroller Tours: Guided tours for caregivers with babies (Oct 10, Nov 7, Dec 12)

o Total Programs: 3

o Total Participants: 15

As part of the Educa�on Department’s Guide Enrichment Program, guides from various loca�ons within the Museum were given introduc�ons to the use of the library ’s collec�on, tours of the library, and the opportunity to view John and Mable Ringling’s private book collec�on.

The Fox 13 channel in Tampa filmed a segment about the Art Library.

During the last three months, the Library was visited by the staff 240 �mes. Eighty-two visits were made by the general public and students used the Library’s resources fi�y-two �mes.

Fi�y-five reference ques�ons were answered for the public. Seven programs were presented, atended by eighty-nine par�cipants.

The Art Library loaned seventy-seven books to colleges and universi�es in Florida, and sixteen were borrowed from Florida ins�tu�ons for staff use.

Interlibrary Loan was used to borrow six books for Ringling staff, while forty-four books from our collec�on were sent to other academic and museum libraries in the US.

Spiegel van den Ouden by Jacob Cats, 1632, Ringling Art Library Rare Book Collec�on