May-August 2017 Newsletter by The Westmoreland Museum of American Art

NEWS & EVENTS / MAYâ&#x20AC;&#x201C;Aug 2017

Musings... In February, I was one of nearly 200 nonprofit leaders from 37 states who attended the 100 Years of Giving Fly-In in Washington, D.C. Together in small groups, we visited 130 House and Senate offices, including 26 offices of members of the House Ways and Means Committee, during the course of one day. Our goal was to let our legislators know how much the charitable tax deduction means to the non-profit sector and to the communities we serve. For many non-profits, about one third of our operating budgets comes from individual and corporate donors, who give generously to the causes they believe in while also being able to use those donations to offset their taxes. As the new administration reviews the tax laws, these benefits have come under scrutiny. Loss of this charitable deduction would cause a ripple effect in communities as non-profits would lose significant income and have to scale down their activities, causing staff layoffs and a curtailment of services. These would in turn put greater strain on government resources in picking up the slack that non-profit organizations currently fill. Another idea we put forward during our visit was the creation of a “universal deduction” to allow those who do not itemize their taxes to still benefit through their support of charitable causes and the tax codes. After all, a $50 donation from a lower wage earning family is as dear to that donor (and to the non-profit recipient) as a multi-thousand dollar donation is from a wealthier family. As I spent the day with my group, which included representatives from the performing arts, religious organizations, human services and institutions of higher

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learning, I found a renewed commitment to the non-profit sector. The good that we are all doing in the world could never be reproduced by government or for-profit models, and I found the power of our cumulative presence awe-inspiring. Let us hope our legislators felt the same way. It also made me grateful, once again, for the support of our community of donors at every level as we celebrate this Year of Gratitude. We need you more than ever, and more than ever we pledge to serve each and every one of you to our best ability.

Judith Hansen O’Toole The Richard M. Scaife Director/CEO

Alexander Calder, Spring Blossoms, 1965, Painted metal and heavy wire, 52 x 102 x 72 inches, Palmer Museum of Art of The Pennsylvania State University, Gift of the Class of 1965, © 2017 Calder Foundation, New York / Artists Rights Society (ARS), New York

The Art of Movement The Art of Movement: Alexander Calder, George Rickey & Tim Prentice was inspired by the Museum’s acquisition of the kinetic sculpture Windframe by Tim Prentice in 2015. Commissioned specifically from the artist for the west wing niche, Prentice assembled 440 individual stainless steel plates that all move randomly and independently when propelled by the air, activating the building façade with reflections of the surrounding natural landscape, sky and weather conditions. Prentice, now 86 years old, calls his work “toys for the wind to play with,” and refers to both Alexander Calder and George Rickey as his “heroes.” thewestmoreland.org / 02

“Calder showed that it was okay for grown-ups to play.” —Tim Prentice

Calder, Rickey and Prentice use repetitive abstract patterns, lines, planes and volumes to develop systems of motion, and all three work with balance and counterweight activated simply by the movement of air, using no mechanical or electrical operating parts. The unpredictability of motion is what is so fascinating about these artists’ work, and for the first time, their work will be seen together. Comprised of over 40 sculptures and works on paper, the exhibition builds progressively from Calder to Rickey to Prentice. By organizing this exhibition, The Westmoreland hopes to bring a greater understanding of and appreciation for kinetic art and these extraordinary artists. Alexander Calder (1898–1976), a pioneer of kinetic art in America, was trained as a mechanical engineer before studying at the Art Students League in New York. Traveling to Paris in 1926, he came in contact with many of the leading abstract artists of the day. His stylistic turning point to pure geometric abstraction came after a visit to Piet Mondrian’s studio in 1930, but

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Joan Arp, the Russian Constructivists and Picasso also resonate with his mature style. Calder produced his first “stabile” in 1930, and his first “mobile,” which moved unpredictably by air currents in 1932, the same year they were first shown in the United States. The Calder mobile in this exhibition, on loan from the Palmer Museum of Art, Penn State University, is being lent for the first time since its acquisition. George Rickey (1907–2002) continued in Calder’s footsteps, influenced by his sculpture and also Russian Constructivism. He too began his career as a mechanical engineer in the Army Air Corps during World War II, and that experience laid the groundwork for his aesthetic and choice of geometry as a framework. His first mobiles date from 1945, and he made his first kinetic works in glass in 1949, moving on to explore a variety of materials including stainless steel, wire and aluminum. Rickey also emphasized balance and equilibrium in his work but simplified his forms to straight lines, which he called “blades” that cut

left: Tim Prentice (b. 1930), Red Zinger, 2014, Plastic, aluminum, stainless steel, 240 inches below: George Rickey (1907– 2002), Unstable Cube VI, 1971, Stainless steel, 80 x 54 inches; George Rickey Foundation, Art © Estate of George Rickey/ Licensed by VAGA, New York, NY; photo by Marc Zaref

level are sculptures, kinetic mobiles, moving around in the space and on another level they’re telling you something inherent in the space itself. Something that’s true about the space that the eye cannot see. They sketch the changing energy at different levels, allowing you to see the air.” Prentice waits for the air to “activate” his art. Air is endlessly imaginative and the artist enjoys turning over the design decisions to it. Works by Prentice include three magical “zingers,” a selection of floating Lexan curtains; air-activated and handoperated pieces; 3-dimensional color studies; and playful pedestal pieces. The Art of Movement will be on view from June 10 through September 17, 2017. An opening reception will be held on Saturday, June 10 from 6:30–8pm. To purchase your tickets, visit thewestmoreland. org/events or call 1.888.71TICKETS ($10 members, $15 non-members). The Art of Movement is supported by the Hillman Exhibition Fund of The Westmoreland Museum of American Art.

each other and slice through space when activated by the wind. Working with the artist’s son, Philip Rickey, the sculptures in the exhibition are on loan from the Rickey Workshop in East Chatham, New York, the artist’s home and studio until his death in 2002. Born in 1930, Tim Prentice began his career as an architect in New York, leaving the field at age 43 to pursue his passion for sculpture. While his pieces in the exhibition reveal Calder’s and Rickey’s inspiration, they show how his work diverged from theirs and became his own. His stylistic influences include Cubism as well as Russian Constructivism and traditional abstraction. He recalls when, as an adolescent on a school field trip, he saw a Calder mobile floating above his head and moving around its axis. That first impression was a lasting one. According to Prentice, “Calder showed that it was okay for grown-ups to play.” As he articulates “my work is kinetic, mobile, in the tradition of Alexander Calder and George Rickey; it’s moved by the air. On the one

Artist in Action Over the course of two weeks in March, Pittsburgh artist Scott Hunter created a large-scale mural in the Robertshaw Gallery, interacting with visitors as he painted. Entilted Authorized Personnel Only, the work, as Scott describes it, “is a reflection on our private lives and the outside forces that seek to infiltrate.”

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What is Fraktur?

John George Busyaeger (active c. 1809– 1841), Heinrich Wilhelm Schats Birth and Baptism, 1828, Ink and watercolor on paper, The Joy and R. David Brocklebank Collection through the William Jamison Art Acquisition Fund, 2008.235.B (detail)

Fraktur was brought to Pennsylvania by German immigrants in the late 18th and early 19th centuries. Meaning “fracture” or “broken,” Fraktur refers to the lettering style used to create these skillfully-crafted works, which are not only respected as a beautiful folk art tradition but also considered valuable genealogical documents. Fraktur often include names of grandparents, parents, children, birth dates and locations written in German. The Westmoreland has over 250 Fraktur in the collection; the bulk of which was purchased in 2008 from the Joy and R. David Brocklebank Collection. The Museum’s collection consists of birth, baptismal and marriage certificates, house blessings and other family records—all referencing families from Westmoreland County. Many of these records were handmade with distinct calligraphy and colorfully adorned motifs, like birds, tulips, hearts and angels. Later records were printed and hand-colored. The majority of the Museum’s Fraktur collection is on display for visitors in a custom-designed open-storage case funded by a grant from the Community Foundation of Westmoreland County Greensburg Fund. If you’re interested in researching your family history, visit thewestmoreland.org to search the collection online or contact the Museum at info@thewestmoreland.org or 724.837.1500 x138. thewestmoreland.org / 06

BIG

ART PARTY

. OCT 21

May is Member Appreciation Month Being a member of The Westmoreland gives you access to more than just a collection of art. It connects you to a collection of friends. As part of our Year of Gratitude and in special thanks to our members, we are declaring May as Member Appreciation Month. Join us this month for special opportunities for members-only.

:: Sign up for our free Behind the Scenes tour on Wednesday, May 31 at 5pm. Space is limited. RSVP today at thewestmoreland.org/events.

:: Visit our Museum Shop during the month

of May to receive a free Westmoreland Museum of American Art logo tote bag, and enter to win two free VIP tickets to the Big Art Party. All members are eligible.

Not a member? Visit thewestmoreland.org/ membership or call 724.837.1500 x127 to join.

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Black, White and YOU All Over Mark your calendars for the Big Art Party on Saturday, October 21! You won’t want to miss this party rated by the Tribune-Review as “Best of the Year” for two years in a row. Keep the arts alive and thriving in our community and join us again for this annual fundraiser. Get your tickets early at thewestmoreland.org/events or call 1.888.71TICKETS. For sponsorship opportunities, contact Catena Bergevin, Director of Advancement, at cbergevin@thewestmoreland.org or 724.837.1500 x130.

The Gardens of The Westmoreland Beginning in May, new “Garden Guides” will be available at the welcome desk for selfguided touring of our gardens. These guides will cover the plants coming into bloom in spring and summer and will include images of each plant, the plant’s name (both English and Latin) and information on the plant’s optimal environment. In the fall, a separate guide will be available highlighting fall and winter blooming plants. Additionally, new plant markers will be added to the gardens. Want to help out with keeping our gardens looking their best? Visit thewestmoreland. org/volunteer or call 724.837.1500 x130.

Internships & Job Shadow Opportunities Interested in an internship or job shadowing opportunity with The Westmoreland? We have options available in all departments of the Museum that will allow you to gain knowledge of how a non-profit arts organization operates. For current available internship opportunities, visit thewestmoreland.org/careers. If you would like to job shadow with our staff, please email info@thewestmoreland.org.

New Gift Registry Gift registry is now available at The Westmoreland Museum Shop. Perfect for all occasions, including weddings, anniversaries, birthdays and holidays. Many items are one-of-a-kind works of art, and we offer free gift-wrapping. For more details, contact the Museum Shop at museumshop@thewestmoreland.org or call 724.837.1500 x141. thewestmoreland.org / 08

Your “Work of Art” Event Need a space for your next corporate event or holiday party? Located in the heart of downtown Greensburg, The Westmoreland offers a LEED-certified and architecturallydynamic building, with a state-of-the-art multipurpose space and an on-site Event Manager to make planning your next function easy and enjoyable. You can even choose to have your guests visit the galleries and discover our impressive collection of American art! For more information, visit thewestmoreland.org/event-rentals or call 724.837.1500 x136.

Thanks to The Committee for The Westmoreland! Our sincerest gratitude to the dedicated members of The Committee for The Westmoreland for their yearlong sponsorship of our All About You! Free Admission Sundays, which occur on the first Sunday of every month. If you are interested in joining The Committee for The Westmoreland volunteer group, please contact Catena Bergevin, Director of Advancement, at cbergevin@thewestmoreland.org or 724.837.1500 x130.

New! Free Admission Wednesday Evenings Beginning in May, visit The Westmoreland on Wednesdays from 5–7pm for free. It’s a great way to relax after the work day! Sponsored by First Commonwealth Bank. Members, after you visit the Museum, stroll down to The White Rabbit for a coffee and pastries to take advantage of your 10% discount.

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Museum Shop Presents at Art on Tap Meet artists whose works are featured in the Museum Shop during select Art on Tap events! On Friday, May 12 from 5–7pm, meet fabric artist Nan Loncharich. She creates unique, colorful, natural-looking flower pins that would make a perfect Mother’s Day gift. In September, Christina Roselle of Butter Beans Handbags will be featured. Stay tuned for announcements of future artists.

The Gift of Art in the Works on Paper Gallery The Works on Paper Gallery on the third floor now features a selection of recent gifts including watercolors by Merv Corning and Martin B. Leisser; and drawings by John Sloan, Henry Lee McFee and Frank Lloyd Wright, among others. Works in this gallery are rotated approximately every three months. There are over 2,000 works on paper in the Museum’s collection.

Museum Closed on Independence Day Please note that the Museum will be closed on Tuesday, July 4, so our staff may enjoy the holiday with their families.

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clockwise from top: Charles Sheeler (1983â&#x20AC;&#x201C;1965), The Web (Croton Dam), 1955, Oil on canvas, 22.25 x 24 inches; Collection Neuberger Museum of Art, Purchase College, State University of New York, Gift of Roy R. Neuberger, 1972.04.12; photo by Jim Frank; Courtesy American Federation of Arts Scott Hunter in action painting Authorized Personnel Only Tim Prentice (b. 1930), The Twist, 2016, Lexan and stainless steel wire, 72 x 24 x 36 inches

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Exhibitions When Modern Was Contemporary: Selections from the Roy R. Neuberger Collection Through May 21, 2017 A remarkable exhibition drawn from the collection of financier Roy R. Neuberger (1903–2010). One of America’s most important collectors, he assembled a groundbreaking collection of American modern art. This exhibition surveys the development of modern art in the United States from representational modes in the early years of the twentieth century through the Abstract Expressionist revolution at mid-century.

Artist in Action Through June 4, 2017 Artist Scott Hunter created a floor-to-ceiling mural—entitled Authorized Personnel Only—on the wall in the Robertshaw Gallery in March, interacting with visitors as he worked. Scott’s completed work is now on view.

Handle With Care June 6–July 30, 2017 This exhibition of sculpture by members of the Society of Sculptors in the Robertshaw Gallery is organized to coincide with The Art of Movement. The artists invite visitor engagement, allowing them to handle the objects with care, thus interacting with artwork in a way that is generally not allowed in an art museum.

The Art of Movement: Alexander Calder, George Rickey & Tim Prentice June 10–September 17, 2017 Opening Reception: Saturday, June 10, 6:30– 8pm ($10 members, $15 non-members) Organized by The Westmoreland’s Chief Curator Barbara L. Jones, The Art of Movement brings together the work of three fascinating kinetic artists, Alexander Calder (1898–1976), George Rickey (1907–2002) and Tim Prentice (b. 1930). All three use repetitive abstract patterns, work with balance and counterweights, utilize no mechanical or electrical operating parts and wait for the air to activate their work.

Fashion in Art Opening August 1, 2017 Inspired by the Art as Fashion fundraiser hosted by The Committee for The Westmoreland volunteer group, this fashion-focused look at works in our collection has been assembled for display in the Robertshaw Gallery. So, gear up for New York’s Fashion Week in September with a visit to The Westmoreland.

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Calendar of Events All About You! Free Admission Sundays On the first Sunday of each month, admission to The Westmoreland is free. It’s a great day to bring all of your friends and family! To RSVP, visit thewestmoreland.org/events.

Sunday, May 7

sponsored by Citizens Fiber

Friday, August 11 > 5–7pm sponsored by Ironmaster LLC

Children’s Summer Art Camps Week-long art camps where children can explore their creativity through fun, innovative programs taught by a professional art instructor. Each camp features a different theme, and throughout the week, campers will spend time both in the galleries and the Museum’s studio space. Full day camps come complete with a field trip to an exciting venue related to the camp’s theme, a cool t-shirt and an exhibition at the end of the week. To register or for more information, contact 724.837.1500 x110 or education@thewestmoreland.org. Half Day Camps for children ages 6–7: $75 members, $90 non-members Full Day Camps for children ages 8–10 and 11–13: $125 members, $145 non-members Ages 6–7 (half day)

Ages 11–13 (full day)

Fun & Games June 5–9 > 9am–12pm

Bright Ideas June 19–23 > 9am–3pm

Stuck July 10–14 > 9am–12pm Ages 8–10 (full day)

Peace, Love & Art June 12–16 > 9am–3pm Moving Parts July 17–21 > 9am–3pm thewestmoreland.org / 14

The Westmoreland Society Annual Gathering Saturday, May 6 > 6:30–10pm All Museum members are invited to enjoy a glittering, fun and art-filled evening presented by All in Good Taste Productions. The highlight will be when The Westmoreland Society members vote for their favorite work of art to enter the collection. To purchase your tickets, visit thewestmoreland.org/events or call 1.888.71TICKETS. $125 members of The Westmoreland Society, $150 all other members

Take Two Wednesday, May 17 > 6–7pm This Take Two program, tied to When Modern Was Contemporary, features a conversation with Sean Stipp and Anne-Marie Welty giving their unique perspectives on exploring art. To RSVP, visit thewestmoreland.org/events.

Art Museum Day Thursday, May 18 The Westmoreland will celebrate the Association of Art Museum Director’s Art Museum Day with free admission.

The Westmoreland Jazz Society Concert: Thomas Wendt & The Main Stem Quintet Thursday, May 18 > 7:30pm (doors open at 7pm) Don’t miss the final concert of the 2016-2017 season! To purchase your tickets, visit the westmoreland.org/events or call 1.888.71TICKETS. $15 members, $20 non-members, $5 students (21 and under)

Blue Star Museums Tuesday, May 30–Sunday, September 3 The Westmoreland is one of more than 2,000 museums across America to offer free admission to military personnel and their families this summer in collaboration with the National Endowment for the Arts, Blue Star Families and the Department of Defense. Learn more at bluestarfam.org.

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Members Behind-the-Scenes Tour Wednesday, May 31 > 5pm In appreciation of our members who make it all possible, we are offering free members-only Behind-the-Scenes tours. Join our Art Team for a rare glimpse of what goes on behind the walls in our new state-of-the-art facility. Includes light refreshments. Space is limited. To RSVP, visit thewestmoreland.org/events.

Bridging the Gap Celebration Sunday, June 4 > 1–3pm To celebrate the Bridging the Gap public art project, join us for a reception with artist Janet Zweig and poet Jan Beatty. Janet will share the inspiration behind Analog Scroll, and Jan will discuss her poem Main Street Bridge, Greensburg plus give a poetry reading. Includes light refreshments. To RSVP, visit thewestmoreland.org/events.

Step Into Art Saturday, June 10 > 9am–1pm The Westmoreland partners with Ligonier Valley Writers to explore selected pieces of art through writing. Working with the Museum’s education staff and writing coaches, participants will create a story, essay or poem and have a chance to share their writing with the group. Includes coffee and pastries. Register to participate at thewestmoreland.org/events by June 1. $20 members, $25 non-members

Gallery Talk with Tim Prentice Saturday, June 10 > 1–2pm Join Tim Prentice as he shares his inspiration and the stories behind many of his pieces featured in The Art of Movement. To RSVP, visit thewestmoreland.org/events.

Opening Reception The Art of Movement: Alexander Calder, George Rickey & Tim Prentice Saturday, June 10 > 6:30–8pm Enjoy light bites and live music, and be one of the first to view the exhibition. To purchase your tickets, visit thewestmoreland.org/ events or call 1.888.71TICKETS. $10 members, $15 non-members (includes two drink tickets).

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Q &A

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with

Sally Loughran Volunteer

Describe the volunteer work you have been involved with at The Westmoreland. Thanks to my neighbor, Sara Fogg, a revered member of the Greensburg community, I joined “The Women’s Committee” around 1970. We worked all year to prepare for the annual museum ball. The ball was replaced with Art In Bloom and Art In The Kitchen. Now the newly-named “The Committee for The Westmoreland” tackled Art As Fashion. I also enjoy my involvement in galas, exhibition openings, speakers, dinners, luncheons, silent auctions, appraisal days, Art on Tap and Family Days. But my first love is being a docent. Giving tours, outreaches and mentoring are indescribably rewarding. When did you start giving tours at the Museum? In 1985, Paul Chew, then director, asked for volunteer docents from The Women’s Committee. Four of us agreed and here I am, thirty-two years later, absolutely addicted to art, museums and art history! How do you prepare for the tours that you give? Each tour is different. I try to think of how I can make it the most meaningful experience for that particular group and its interests. It keeps it fresh for me as well. Also, years ago, pre-museum, I was sloppy about preparing for a presentation and it was a humiliating disaster! Hard lesson. What is the most rewarding part about being a docent for the Museum? The on-going learning is magnetic, and it is thrilling to see someone look at a painting and suddenly gain insight into the underlying meaning using the artist’s clues. Plus, I love the staff and VSR’s (Visitor Services Representatives) here; it has become a second home.

Do you have a favorite memory from your experiences volunteering at the Museum? Several. My husband and I often have dinner parties, which start with a Museum tour. To witness the surprise and hear the raves when friends are introduced to the building and the collection is exciting. Additionally, getting hugs from departing kids following a tour is really touching. Finally, years ago, I gave a Brown Bag Lecture comparing Mary Cassatt and Cecilia Beaux. I learned so much and enjoyed the experience. I wish I could do more research projects like that. Do you have a favorite work of art in the Museum’s collection? I hadn’t thought about that until now! I’ll single out four. Peale’s Portrait of George Washington, in my mind, is much more reverent and elegant than Stuart’s. It also makes a definitive statement as the keystone artwork in our American collection. In Shrady’s Washington at Valley Forge, you can sense the weather and the gravity of the moment. I marvel at the delicacy he achieved in the horse’s stirrups and reins. Bartlett’s Study for Peaceful Democracy and Genius illustrates another unique use of bronze with her billowing robe and so much symbolism around genius. Lastly, Roseland’s A Stitch in Time (Sewing on a Button) depicts a close familial bond as well as a young girl’s expertise with stitchery. However, McCracken’s Cosmic Voyage and Noland’s Blue Wind are growing on me... Ask me next year. How does art play a role in your life? I feel engulfed by it. It began for me when I declared an art major at Seton Hill University. Now, if I had the money and time, I would try to visit every major art museum that I could! My dad was a good artist. My husband paints in retirement. Our two daughters have undeveloped artistic talent, as do their daughters. Personally, I would love to return to oils or sculpture, but that probably won’t happen until someone invents a thirty hour day.

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cover: Tim Prentice, 10 x 10 Carpet, 2005, Lexan, aluminum, stainless steel, 120 x 120 inches (detail)

The Westmoreland Museum of American Art receives state arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania and the National Endowment for the Arts, a federal agency.

Want to stay informed with the latest news, exhibitions and events? Visit thewestmoreland.org and subscribe to our email list.

Hours: Tuesday–Sunday: 11am–5pm Wednesday: 11am–7pm Closed Mondays Closed Easter, Thanksgiving, Christmas, New Year’s Day

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