arTMAtters: September–December 2021 by Toledo Museum of Art

September–December 2021

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SEPT–DEC 2021 Volume 17 Issue 2

From the Director

WHAT’S INSIDE

HAPPENINGS From the Director �� 1 Briefs �� 3 Art Minute �� 6

PEOPLE Susan & Thomas Palmer �� 8 Larry Nichols �� 10 Touch Tour with Jill Hofbauer �� 18 Rhonda Sewell �� 20

MUSEUM STORE The Season's Must-Haves �� 22

EXHIBITIONS Age of Armor �� 25 Current & Upcoming �� 26

CALENDAR �� 30

ON THE COVER Louyse Moillon (French, 1610–1696), Still Life of Citrons and Curaçao Oranges in a White Polylobed Dish. Oil on canvas, about 1630–34. 49 x 64 in. Toledo Museum of Art, Purchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey, 2021.5

arTMAtters Staff Editor and Contributing Writer: Nancy Cooke Graphic Designer: Mark Yappueying Photography: Robert Cummerow Museum Store Photography: Madhouse Send comments, questions, or advertising inquiries to: Nancy Cooke at ncooke@toledomuseum.org

Dear All, Since my last arTMAtters letter, the Toledo Museum of Art has closed the books on a very successful fiscal year and officially turned our focus towards executing our strategic plan. That strategy calls for the Museum to become a model institution for its commitment to quality and its culture of belonging, and I am excited to share with you some of the progress we have made already in support of this vision. Our focus on creating an authentic culture of belonging has caused us to establish two new positions at TMA. Notably, Rhonda Sewell has been selected as our first Director of Belonging and Community Engagement. Known for her decades of leadership in our region, Rhonda brings a wealth of experience, knowledge, and enthusiasm to the Museum. We also welcomed Katie Shelley as our Manager of Access Initiatives at TMA, filling the new role established through our strategic partnership with The Ability Center of Greater Toledo and generously funded by Judith, Joseph, and Susan Conda. With Rhonda and Katie joining our team, the Museum is demonstrating its commitment to building the infrastructure required to advance our culture and to transition to a more active form of outreach. We were fortunate to have another important contribution in this arena from Bob and Sue Savage, who, along with the Terhune Foundation, have generously agreed to underwrite the costs of constructing and launching a community gallery that will feature the work of local artists. The Museum’s ability to pivot in new directions is made possible by the generosity of our donors, and we are delighted to be able to acknowledge several additional gifts that will support our efforts to become the model art museum in this country. John Stanley, the Museum’s 10th Director, along with Ann Hartmann and her late husband Frank Snug, have committed significant gifts of $1.5 million and $1 million, respectively, to support employee professional development and engagement. Investing in our staff and our culture are essential to becoming an employer of choice in our field. We also were fortunate to receive a major gift from Susan and Tom Palmer, who have committed $1.5 million to be spent over the course of our strategic plan to expand the ambition and diversity of our exhibitions program. In these pages, you will see how this gift is already impacting us, with the opening of two exhibitions this season: Age of Armor: Treasures from the Higgins Armory Collection at the Worcester Art Museum and Doppelgänger, a film by Stan Douglas, Canada’s representative in next year’s Venice Biennale. We will have more to report on the exhibitions front in short order, including an exciting project being led by our first ever curator emeritus, Larry Nichols, who recently retired from his post of William Hutton senior curator, European and American painting and sculpture before 1900. Your continued and ongoing involvement is the strength that powers this type of giving, and your individual support as members will be needle-moving for us as we seek to realize the full potential of this extraordinary place. Thank you for all you do—I look forward to seeing you at your Museum this fall. Sincerely, Adam Levine Edward Drummond and Florence Scott Libbey President, Director and CEO

Thank you

to our exhibition and program sponsors.

BOARD OF DIRECTORS Randy Oostra

Chair of the Board

Sara Jane DeHoff

Vice Chair

Joe Napoli

Vice Chair

Stephen D. Taylor

Vice Chair

Sharon Speyer

Secretary

Thomas Winston

Treasurer

Adam Levine

Edward Drummond and Florence Scott Libbey President, Director and CEO

Patricia O’Toole

Chief Financial Officer Assistant Treasurer

Allan Block

Lisa McDuffie

Pat Bowe

Joe Napoli

Elizabeth Brady

Randy Oostra

Brian Chambers

Susan Palmer

Sara Jane DeHoff

Mary Ellen Pisanelli

Romules Durant

James J. Secor III

Rodney Eason

Cindy Skaff

Mary Galvin

Sharon Speyer

Judith Herb

Stephen D. Taylor

James Hoffman

Mike Thaman

Mike Hylant

Cynthia Thompson

Betsy and Tom Brady

Harley J. Kripke

David K. Welles, Jr.

Mr. and Mrs. David A. Bryan

David Krock

Thomas Winston

Cathy and Bill Carroll

Rita Mansour

Susan and Tom Palmer

Rita B. Kern Foundation

Carlos A. de Carvalho Judith and Joseph Conda Dr. and Mrs. John J. Dooner, Jr.

The Toledo Museum of Art 2445 Monroe Street Toledo, OH 43620

Carl and Anne Hirsch

Admission to the Museum is free. 419-255-8000 toledomuseum.org

Majida Mourad

MUSEUM HOURS Monday–Tuesday Closed Wednesday–Thursday 11 a.m.– 5 p.m. Friday–Saturday 11 a.m.– 8 p.m. Sunday 11 a.m.– 5 p.m.

Arleen and Jon Levine LaValley Foundation Robert C. and Susan Savage Claire and Fred Schaefer Victoria Marjorie Souder Program Fund Patricia Timmerman James F. White, Jr. Family

And TMA members like you.

HAPPENINGS

New Departmental Directors Selected for Toledo Museum of Art Joy Goodner Joy Goodner is the new director of human resources at TMA, a role reporting to the Museum’s director. Goodner, a native Toledoan, has garnered extensive experience in the human resources arena throughout her 20-year, multi-industry career. Most recently, Joy held the position of vice president of human resources for Clarity Media Group. Prior to that, she worked with Gannett as human resources business partner for its Montgomery, Alabama, location. She was then promoted to regional human resources director for the Western division of GateHouse Media, where she directly managed a staff of 13 human resource professionals. Goodner holds a Bachelor of Science degree in management of human resources from Faulkner University, and is a certified diversity professional trained in leading cultural diversity and inclusion initiatives.

Rhonda Sewell Rhonda Sewell has been chosen as the first director of belonging & community engagement at the Toledo Museum of Art, in a role reporting to the Museum’s director. Sewell most recently served as the director of governmental and external affairs for the Toledo Lucas County Public Library, where she worked with local, state, and federal legislators as well as community stakeholders in the areas of library funding, advocacy, and systems change. Prior to her 15 years at the Library, she worked 18 years as an award-winning journalist for The Blade newspaper, which included assignments in six countries. Sewell also served as an adjunct instructor in ethnic studies and mass communications at Bowling Green State University. Sewell is a proven community leader, founding in 2012 Real Men READ-y, an ongoing mentoring and early literacy program designed for underrepresented African American boys in Kindergarten and first grade. She was recognized as a top 10 Jefferson Awards finalist for this mentorship initiative. She is the current president-elect of The Arts Commission of Greater Toledo Board of Trustees; a member of the Board of Trustees representing Special Districts and Authorities for the Toledo Metropolitan Area Council of Governments (TMACOG); a member of the Community Outreach and Social Justice committee for the Toledo Opera; a cabinet member and donor of Girl Scouts of Western Ohio; and she previously served on numerous key corporate boards, including a maximum six-year tenure on ProMedica's formerly titled Toledo Children’s Hospital Foundation Board, where she served as chair. Sewell also served on the boards of the YWCA of Northwest Ohio, the American Heart Association, Toledo Ballet, and the Art Tatum African American Resource Center, among others. Sewell holds a Bachelor of Arts in Journalism from Michigan State University; she also completed Graduate Studies in International Journalism at the City University of London in England.

Jenny Wensink Jenny Wensink is the new director of development at the Toledo Museum of Art. Wensink comes to TMA from Bowling Green State University (BGSU) in Bowling Green, Ohio, where she has held several positions in the office of university advancement since 2011. In her most recent role as BGSU’s director of annual giving and alumni relations — a position she held since 2016 — Wensink oversaw annual giving, strategic planning, donor engagement, and digital fundraising initiatives, helping BGSU grow its annual fundraising to more than $21 million. Prior to her work at BGSU, Wensink served as assistant director of development at The Ohio State University in Columbus, Ohio. Wensink received her Bachelor of Science in agricultural communications in 2006 from The Ohio State University and her Master of Arts in public administration, with a focus on leadership and nonprofit management, from BGSU in 2017.

HAPPENINGS

Toledo Museum of Art acquires “Baby Dragon” portable glassblowing furnace The Toledo Museum of Art has acquired a “Baby Dragon” portable glassblowing/reheat chamber combination furnace. The furnace is an innovative hot glass tool, making it possible to host outdoor glassblowing demonstrations and design experiences at the Museum and offsite, throughout the community.

“The portability of the ‘Baby Dragon’ is very exciting,” said Alan Iwamura, Glass Studio manager at TMA. “We now have the ability to take the art of glassblowing outside of the Museum and into neighboring communities and beyond. The possibilities for teaching, interaction and engagement with the public are greatly increased by the arrival of this special tool. We look forward to the expanded community outreach that it will provide.”

casters and accommodates a broad range of project sizes. This new furnace will primarily be used offsite. The purchase of the “Baby Dragon” was made possible by the generous sponsorship of Majida M. Mourad, in honor of the memory of her mother, Elham Ellie Mourad, with additional support from O-I Glass, Inc.

The “Baby Dragon” can be used to teach both beginner and advanced hot glass students, and functions as a stationary or mobile studio. Powered by propane or natural gas, the furnace is mounted on a heavy-duty base with

“We now have the ability to take the art of glassblowing outside of the Museum and into neighboring communities and beyond. ... We look forward to the expanded community outreach that it will provide.” Alan Iwamura, Toledo Museum of Art Glass Studio Manager

2021–22 GAPP Artists in Residence Selected The Toledo Museum of Art’s GAPP (Glass Artist Pavilion Project) program highlights the unique nature of the Glass Pavilion to allow experimentation with glass in innovative ways. Specifically designed to encourage resident artists to utilize or respond to TMA’s collection, this program is uniquely situated to serve both the educational mission of TMA and to promote greater dialogue within both the contemporary glass and contemporary art communities.

Upcoming GAAP Artists include: SEPT. 8–17, 2021

FEB. 2–11, 2022

Adam Mostow Lecture: Sept. 16, 7 p.m.

Percy Echols Lecture: Feb. 10, 7 p.m.

NOV. 3–12, 2021

Jennifer Halvorson Lecture: Nov. 11, 7 p.m.

PHOTO: Percy Echols, Plasma Moose Trophy. Blown and Flameworked Glass, Neon, 3D printed Wall Plaque, Neon 21 Plasma Driver, Meanwell RS15 power supply, 2020. 7 x 7 x 8 in. Collaboration with Chris Ahalt at Pittsburgh Glass Center Photography by Nathan J Shaulis | Porter Loves Creative

Celebrating Community: Toledo Black Artist Coalition Five members of the Toledo Black Artist Coalition (TBAC) collaborated with TMA to present Out of the Dark: A Necessary Conversation to a full audience on Friday, August 27 in the Glass Pavilion. The panel discussion, featuring TBAC members (left to right), Dustin Hostetler, Simone Spruce, Yusuf Lateef, Audrey Johnson-Gibbs and James Dickerson was a continuation of a virtual Juneteenth exhibition featuring the works of notable Black artists in the TMA collection, including Gordon Parks and Elizabeth Catlett (see more on page 28).

WGTE and TMA Celebrate Coloring Contest Winners Maria Iafelice (left), TMA’s senior manager of learning interpretation, presenting a complimentary TMA Family Museum membership and art class gift certificate to Maura Tehan. Maura, (age 10), is one of four first-place winners of the 2021 WGTE Coloring Contest. This contest was made possible by the Joseph and Judith Conda Family. The Museum membership and art class certificate were awarded to each of the first-place winners: Brynnah Crampton, (age 4), Isabella Hernandez, (age 7), and Jay’shon Mims, (age 7).

HOST YOUR SPECIAL EVENT IN THE DISTINCTIVE ATMOSPHERE OF THE TOLEDO MUSEUM OF ART

The perfect space for any event from team-building meetings to elegant weddings, we can accommodate your event in style.

TMA galleries, open spaces, and meeting rooms in the historic main Museum and the contemporary Glass Pavilion add significance to occasions of any size. Our experienced staff is dedicated to assisting with every step of the planning process. Let us work with you to create a first-class, affordable event.

Rental spaces available:

Treat your guests to a culture-rich and memorable experience at the Toledo Museum of Art. Contact us to schedule an appointment and tour.

• TMA’s marble columned neoclassical main building • Curved and transparent Glass Pavilion • Exterior gardens and terraces

CONTACT

Amanda Scasny Special Events Coordinator 419.255.8000 ext. 7600 ascasny@toledomuseum.org

• Gorgeous galleries

HAPPENINGS

ART MINUTE BY LAWRENCE W. NICHOLS, CURATOR EMERITUS

Recently retired after 28 years as William Hutton senior curator, European and American paintings and sculpture before 1900 and the Museum’s first curator emeritus, Lawrence (Larry) W. Nichols discusses the circumstances of a recent acquisition, Pallas Athena and the Nine Muses. Read more about Larry's curatorial career on page 10. Curators recommend, directors decide, and the trustee Art Committee approves—so it wisely goes with acquisitions at the Toledo Museum of Art. It is a proven system with a decades-long track record of success for our institution. The first component of the aforementioned triad—the curatorial role—was of course part of my duties in my service to our Museum during my tenure. Helping to redefine the collection with each acquisition made, be it through purchase or the generous gift of patrons, was thrilling, rewarding, and not infrequently challenging as well. So too, tenacity at times played no small part, and even serendipity on occasion contributed to the dynamic, as in the following account of how one painting recently entered the collection. Pallas Athena and the Nine Muses, painted in 1662 by the Dutch artist Arie de Vois (about 1632–1680), has for its literary source a passage in The Metamorphoses by the classical Roman author, Ovid. Standing at left, arm akimbo, is Athena, goddess of wisdom and patroness of the arts. As such, she appears here in the act of visiting the nine Muses on Mount Helicon to see a sacred spring called the Hippocrene. Seated just right of center with a large orb in her lap, is Urania, Muse of astronomy. Oblivious to her wardrobe malfunction, she gestures to the spring, visible in the upper right. To the left of Urania is Clio (history); to the right of Urania stands Polyhymnia (choral poetry). In the background shadows are Thalia (comedy) and Melpomene (tragedy). Erato (lyric poetry) is in front of them. Calliope (epic poetry) and Euterpe (music; holding a flute) sit at the right, and Terpsichore (dance) sits with her back to us. I first laid eyes on De Vois’s canvas, his largest known painting and one of his most important, in December 1994, just two years after starting work at TMA, at the gallery of a New York art dealer (the Rijksmuseum in Amsterdam considered buying the painting, but as it already has five examples from his hand, it could not justify a sixth!). It was love at first sight. I was utterly enrapt by the figure of Athena, resplendent in her armor, ostrich- and egret-plumed helmet, and the dazzlingly bold (unprecedented?) coloristic juxtaposition of her crimson and orange garments. She made me swoon. And that veritable gaggle of Muses:

totally spectacular. My curatorial acquisitiveness kicked into high gear. Fully cognizant that TMA boasted a stellar collection of 17th-century Dutch painting, I was also acutely aware that we lacked an example of any representative of the artists active in the city of Leiden who were known as fijnschilders (“fine painters”). Arie de Vois was a member of this group renowned for their minute execution resulting in the deliberate avoidance of the appearance of brushstrokes. I next encountered Athena and her cohorts in March 1995 at The European Fine Arts Fair (TEFAF) held annually in Maastricht, the Netherlands. The painting was displayed on the stand of a dealer from Munich. I was no less overwhelmed than the first encounter, but circumstances were just not right at the time for my pushing for its purchase. Fast forward four more years to October 1999. I am in a different New York dealer’s gallery. And there is Arie de Vois’s Pallas Athena and the Nine Muses once again, still impressive as can be. It was time to act, and I did just that. Within months I had the painting brought to the Museum for wider assessment, and I installed it across from TMA’s Dutch organ (Gallery 24). To my eye it looked stupendous. Alas, I did not get the greenlight to proceed, and in February of the first year of the new millennium I informed the dealer that the painting would be returning to him. Arie de Vois’s painting had departed, but the picture never, ever, left my mind. In 2001 I learned that Athena & Co. had been sold to a private collector. Fourteen years elapse. I am still musing about the Muses. So, in 2015 I inquired of the New York dealer who had sold the canvas about its current status and was told it was still with the private collector. Never am I informed, however, if the work is in Altoona, Athens, or Antarctica. Here is where the serendipity part comes in. On 13 November 2017, I am announced at the Sutton Place, NYC home of a college friend of a friend who I had not seen in the intervening forty-one years. She had invited me and a handful of other curators to dinner. Punctual Larry was the first to arrive, and after gawking at the vista of the East River with the mesmerizing city lights extending 180 degrees before me, my hostess commenced a tour of her small but noteworthy group of old master paintings. In the living room was an outstanding, floor-to-ceiling 17th-century Italian painting as well as some significant 19th-century French bronzes. Another distinguished Italian Baroque picture hung in the dining room. She then brought me to her study, a smaller room: desk, television, coffee table, and a couch. Immediate shock. I hear myself exclaiming, not in a low decibel, “SO YOU ARE THE ONE WHO CLEVERLY ACQUIRED ARIE DE VOIS’S PALLAS ATHENA AND THE NINE MUSES!” Dear reader of this Art Minute, you must grasp that Arie de Vois, while of sufficient consequence to be in the collection of the Louvre in Paris (a stunning self-portrait in his studio seated before his easel), is, shall we say, not a household name à la Rembrandt. Even within the domain of my ilk, the painter is appreciated as a “minor master,” as the Dutch call his caliber of artist. In fact, were you to ask another specialist of 17th-century Dutch painting about the artist, the response one perhaps would get is, “Who?” Therefore, suffice it to say that my tour guide was absolutely agog. “How in the world do you know of this picture and that it is by Arie de Vois!?!” she managed to exclaim, quite bewildered that I had recognized what was on her wall. I proceeded to convey, in living color and full detail, my twenty-three-year love affair with the painting. All she could do at that point was blurt, “Well, as you can see, it doesn’t really fit over my couch in this small room—you seem so completely enamored by it, wouldn’t you like to borrow it for display in Toledo?”

Round #2: In the early spring of 2018, Urania, Clio, Polyhymnia, Thalia, Melpomene, Erato, Calliope, Euterpe, Terpsichore, and of course Pallas Athena, made their return voyage to the Toledo Museum of Art. This time for good. Though the agreement was ostensibly that it would be a longterm loan, I certainly had other plans. This time I installed the painting in the Great Gallery so it would have primacy of place with the illustrious company—Rubens, et. al.—in that space, in so doing demonstrating that the painting qualitatively held its own with our collection. I called attention to its presence to visiting scholars, all of whom made positive remarks about its purposeful appearance here. I sent installation shots of the picture in the gallery to the owner, who was most impressed with its showing under our roof. I maintained regular contact with her, and not long after, she was able to visit Toledo to see her grand Arie de Vois on our wall. With the announcement in spring 2019 of Brian Kennedy’s departure from the Museum as director, I sensed an opportunity. I seized the moment and urged him to attempt to have the painting given to TMA. A valiant effort was made, but for very valid reasons it was not to be. By this point, however, the momentum was measurable and mounting, and I did all I could to keep it building over the following months. Over lunch with the owner in New York in late January 2020, I communicated the chance was real that the Museum would purchase the painting…if the price were palatable. Bless her heart, she made it so. As a result, this curator recommended that we proceed. Outgoing director Kennedy, as one of his last achievements, decided affirmatively. Finally—you guessed it—on 3 March 2020 the trustee Art Committee granted its approval. Arie de Vois’s Pallas Athena and the Nine Muses was awarded a TMA accession number.

(above)

Arie de Vois Dutch, about 1632–1680

Pallas Athena and the Nine Muses Oil on canvas, 1662 Purchased with funds from Libbey Endowment, Gift of Edward Drummond Libbey, 2020.24

ON VIEW IN GALLERY 23

GALLERY 23

“Love conquers all” (Virgil, Eclogues, 10.69).

PEOPLE

Susan and Thomas Palmer commit $1.5 million

to elevate exhibitions and advance curatorial strategy at TMA

“

Our hope is that this gift allows TMA to create exhibitions that enliven wonder, curiosity and engagement for those in our community and beyond... Susan and Thomas Palmer

Susan and Thomas (Tom) Palmer will contribute $1.5 million over the next four years to the Toledo Museum of Art. Their gift will enhance and diversify exhibition offerings at the Museum. Longtime residents of Toledo, the Palmers chose to support exhibitions because they are inspired by the Museum’s efforts to generate a sense of belonging through dynamic curatorial content. “We are grateful for the opportunity to support the strategic mission of the Museum in this way,” they stated. “Exhibitions represent a vital means for the Museum to explore beyond its collection new dimensions of visual arts. Our hope is that this gift allows TMA to create exhibitions that enliven wonder, curiosity, and engagement for those in our community and beyond, contributing to the Museum’s outreach efforts and increasing the Museum’s visibility.” The couple’s latest gift supports TMA’s new stra tegic plan, which seeks to blend a commitment to quality and a culture of belonging. Among the ways the Museum seeks to operationalize this vision is through its program to expand the ambition and diversity of the exhibitions program.  “The Palmers’ inspiring philanthropic investment will energize our exhibitions program and advance our curatorial strategy,” said Adam Levine, the Museum’s Edward Drummond and Florence Scott Libbey president, director and CEO. “Through their generous gift, Susan and Tom will enable us to broaden the narrative of art history in exciting ways.”

Susan Palmer, a Museum Trustee, has dedicated countless hours in service to TMA. She became a docent in 1975 and member of the Museum’s auxiliary support group, the Aides (now called the Ambassadors), in 1987. Susan served both as Docent President (1986–1987) and as Ambassador President (1993–1994) before serving the Museum as an employee from 1996 to 2015, retiring as Director of Development. In 2017, Susan was elected to the TMA Board of Trustees, beginning a five-year term. She currently serves as Chair of the Development committee and is a member of the Education and Leadership and Governance committees. Susan is also a former trustee of the University of Toledo, her alma mater, and current trustee of the Greater Toledo Community Foundation.  Tom Palmer has practiced law for more than 45 years with Marshall & Melhorn, LLC, where he is a former managing partner and current senior member. Like Susan, Tom is a civic leader, having served in leadership positions on the boards of the Toledo Lucas County Port Authority, Regional Growth Partnership, Local Initiatives Services Corporation (LISC), Toledo Cultural Arts Center/Historic Valentine Theatre, University of Toledo Medical College Advisory Council, and his alma mater Ohio Wesleyan University. Tom also holds leadership positions on the boards of several privately held and public companies.

LEFT: Susan and Thomas Palmer visiting Classic Court at the Toledo Museum of Art.

PEOPLE

Photographs by Robert Cummerow

For the Love of Art REFLECTIONS ON THE CURATORIAL CAREER OF LAWRENCE W. NICHOLS by Nancy Cooke, TMA Public Relations Specialist

PHOTO: Larry Nichols, TMA’s first curator emeritus, holds his publication, The Paintings of Hendrick Goltzius, 1558–1617, A Monograph and Catalogue Raisonné.

PEOPLE

arry Nichols has always loved art and the pursuit of knowledge about it. Since his 1992 appointment as the Toledo Museum of Art’s William Hutton senior curator of European and American painting and sculpture before 1900, he has shared this passion through his acquisitions, exhibitions, docent trainings, and leadership of numerous professional art organizations. Retiring after 28 years of service, he has been named the first curator emeritus in the history of the Museum. To describe Larry as a Renaissance man would be an understatement, as his knowledge of the world of fine art painting is as vast as his collection of books on the subject. His colleagues know that he asks one perpetual question:

“Have you been taking time to walk through the galleries and appreciate the art?”

There is no such thing as a typical day at work In 1993, Larry made his first acquisition The Museum ventured into new areas of for Larry Nichols. You could find him engaged in for TMA, The Bay of Naples, an oil painting by acquisition under Larry's guidance, becoming writing a scholarly paper, helping select a gallery the Danish Golden Age artist, Christen Købke. home to its first Scandinavian, Venetian gold wall color, or literally crawling on his hands and The Købke landscape is one of ten paintings ground, Italian still life, and Spanish still life knees to inspect a painting being considered for he recently named as personal “favorites,” paintings. Within his specific area of expertise, acquisition. But nothing makes him happier than even while protesting that he couldn’t choose. Northern Baroque painting, Larry brought six interacting with people who share his delight “This is like asking me to choose which of my masterpieces into the collection by artists in looking at and understanding paintings. To children is my favorite,” he winced—looking Gerrit van Honthorst, Joos de Momper, Esaias walk the galleries with Larry is to discover a over his glasses at me—“I love them all, van de Velde, Melchior d’Hondecoeter, and the new lens through which to view works of art—a equally.” He paused, then quickly added nine aforementioned Hals and De Vois. He described lens that captures the finest detail, draws the more: Édouard Vuillard’s The Clarac Gallery, several acquisitions as “special, unexpected, intended conclusion, and piques the curiosity Vilhelm Hammershøi’s Interior Courtyard, and memorable,” including paintings by William of the viewer—creating the desire to see and Strandgade 30; two Jean-Siméon Chardins: The James Webbe, Odilon Redon, John Anster know even more. Hearing him speak about the Woman Drawing Water at the Cistern and The Fitzgerald, and Charles-François Daubigny. paintings he has acquired for the Museum is Washerwoman; Frans Hals’ Van Campen Family The culmination of acquiring remarkable an absolute joy—an adventure full of plot twists Portrait in a Landscape; followed by Antoine works of art is celebrated in the exhibition and turns, all worthy of gathering into a novel. Berjon’s Still Life with Grapes, Chestnuts, of them. Larry has organized, co-organized, It is no wonder that Larry enjoyed training Melons, and a Marble Cube; Théodore and curated nearly 25 exhibitions, including docents so much, teaching them how to share Géricault’s Boy Giving Oats to an Unhitched major shows such as The Age of Rubens (TMA, the stories living within each painting. When Horse; Hugo Simberg’s A Sea View; and finally, 1994), VAN GOGH: Fields (Kunsthalle Bremen asked to define the most valuable contribution Arie de Vois’s Pallas Athena and the Nine Muses, and TMA, 2002–2003), Hendrick Goltzius – a curator can make to a museum, he says, a painting that is especially significant to him “Only engaging in quality (better to do without (see pages 6–7). than settle for second rate); demonstrating the relevance of one’s curatorial areas to the public; and encouraging people to think on their own.” Thinking on his own and using the rule of “quality first” as his guide, Larry assisted TMA in making nearly sixty acquisitions spanning the 15th to 20th centuries. He relied on a specific approach to determine his recommendations: choosing quality first and foremost; adding strength to strength—to expand the depth of the collection—and exploring new areas of interest to enhance its breadth.

ABOVE: Larry in the galleries of TMA, appreciating the art. LEFT: Christen Schiellerup Købke (Danish, 1810–1848), The Bay of Naples. Oil on canvas, 1843. 23¾ x 32¼ in. Toledo Museum of Art, Purchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey, 1993.18 TOP RIGHT: Larry Nichols, performing his signature celebratory move – a full headstand. BOTTOM RIGHT: Carol and Larry Nichols shown with two of his most prized acquisitions - Chardin’s The Woman Drawing Water at the Cistern and The Washerwoman.

PEOPLE

How does one sum up the remarkable career of one Larry Nichols? Pretty tough. He is without question one of the foremost Dutch scholars in the world, but, more importantly, he is one of the colleagues most admired for his kind and generous ways. His friendships are deep and lasting, something that I have particularly witnessed over the years when we have been together in Maastricht as members of the vetting committee for Old Master paintings at a large art fair (TEFAF). The art fair has also given me a wonderful view of Larry as curator. He always has thoughtful observations about the Dutch and Flemish paintings that we examine as members of the vetting committee, but as is evident in the wonderful acquisitions he has guided over the years at the Toledo Museum of Art, he has broad, sometimes even quirky, love of all types of art. Some of my favorite (and most informative) moments at the art fair are walking around with Larry to see what new treasures he has found for his beloved museum. Arthur Wheelock, Senior Advisor, Leiden Collection and former curator, National Gallery of Art, Washington, D.C.

Prints, Drawings, and Paintings (Rijksmuseum, Amsterdam, Metropolitan Museum, New York, and TMA, 2003), Manet: Portraying Life (TMA, 2012, Royal Academy of Arts, London, 2013), Degas and the Dance (TMA, 2015), and Frans Hals Portraits, A Family Reunion (TMA, 2018, Royal Museums of Fine Arts of Belgium, Brussels, 2019, Fondation Custodia – Collection Frits Lugt, Paris, 2019).

My memory of [working with] Larry is that of the most professional and assiduous museum curator, who never left a stone unturned in his research when considering an acquisition to propose. As a lover of esoteric cuisines, I always awaited his visits to London with eager anticipation as we would go out on a foray to find some new eclectic cuisine. Patrick Matthiesen, Director, Matthiesen Gallery, London

Larry curated a host of focus shows embracing everything from baseball cards to watercolors, including; Seeking the Sublime: Paintings by Friedrich and Koch on Loan (1998), Play Ball! Baseball Cards from The Metropolitan Museum of Art (2002), Rembrandt: What Was He Thinking? (2006), Homer for the Holidays: Watercolors by Winslow Homer from the Art Institute of Chicago (2008–2009), Love and Play: A Pair of Paintings by Fragonard, Toledo Museum of Art and Thyssen-Bornemisza Museum, Madrid, Works Reunited (2014), Special Loan from the Art Institute of Chicago: Cézanne’s “The Basket of Apples” (2016), and ONE EACH: Still Lifes by Pissarro, Cézanne, Manet & Friends (2020). In reflecting upon his career at TMA, Larry notes many accomplishments, including successfully navigating the diverse personalities and artistic preferences of six Museum directors. He holds fond memories of them—and can easily recite the works of art obtained during the tenure of each. Many of his entertaining stories revolve around interactions with the directors.

PEOPLE More special memories and lifelong friendships developed through his work with professional arts organizations, including the European Fine Arts Fair, Maastricht (Old Master paintings vetting committee); the Arts and Artifacts International Indemnity Panel, NEA (chairman); Art Advisory Committee of the Commissioner of Internal Revenue, Association of Art Museum Curators (trustee 2002–2008); and the Museum Grants and Policy Panel, NEA (July 2004). Larry particularly enjoyed serving as cura torial liaison to TMA’s art acquisition group, The Georgia Welles Apollo Society, since 1995. He credits its members for deeply impacting the growth of the Museum’s collection through their generosity and support. Over the course of a 28-year career, change is inevitable. Two significant changes noted by Larry are the insurmountable rise in art prices and the prominence given to modern and contemporary works of art in the field. “The art market is going beyond the financial reach of many museums, and any art that is not modern has had to fight for its turf,” he says. Despite these challenges, his enthusiasm for the curatorial profession persists, and he offers the following advice to aspiring curators: “Seek visual training and do LOTS of looking—study all that one can. Do NOT work in a vacuum— be collaborative.” Reciting a quote by F.W. Robinson, a former professor at Dartmouth (his alma mater), he added, “Know everything about something and something about everything.” One thing Larry did not know was that he would spend most of his career at TMA. After arriving in Toledo, he expected that he, his wife Carol, and their young family would stay for three or four years at most. As time passed, his work at the Museum began to take shape. One day, Carol said, “Larry, you’re really making an impact on this collection,” a comment that he has never forgotten. Being part of the Museum for so long has made its impact on him as well. He says, “I am grateful for the support of the directors I have served with; the collegiality of my colleagues; the patrons of the Museum— The Georgia Welles Apollo Society and those who have funded the acquisition of paintings; and the opportunity to work in a museum with a world class collection.” Larry has seen and acquired some of the best art the world has to offer; he has spent his time teaching and sharing knowledge while searching for treasures from around the globe. In the process, he himself became a treasure. But at the end of the day, he measures his success by the response he receives when he asks: “Have you been taking time to walk through the galleries and appreciate the art?”

... I think of Larry as among the great curators' curators. We spent time together in the Netherlands, attending meetings of scholarly associations, visiting collections, and—most rewardingly—as fellow long-term members of the Old Master Paintings Vetting Committee of The European Fine Art Fair (TEFAF), held annually in Maastricht. Larry visits more art dealers on his travels than any other curator I know and has long been an omnivorous snapper-up of unconsidered trifles. Although some got away—I recall a nineteenth-century life-size bronze kangaroo—others—far from trifles—made their way to the Toledo Museum of Art, thanks to Larry's vision and tenacity. But the most impressive of his acquisitions is the one he kept for himself and his wonderful wife, Carol. I mean his 1963 Peacock Blue and Corinthian White Ford Galaxie. Ivan Gaskell, Professor of Cultural History and Museum Studies, Bard Graduate Center, New York, NY

TOP: Larry inspects a painting under consideration for acquisition. BOTTOM: Carol and Larry Nichols, enjoying the sunset with their vintage 1963 Peacock Blue and Corinthian White Ford Galaxie.

THE MOST FUN BETWEEN “I WILL” AND “I DO” STARTS HERE 133 N MICHIGAN ST, TOLEDO, OHIO 43604

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“I see with my hands, and I can interpret what I feel.” Jill Hofbauer

Photographs by Robert Cummerow

PEOPLE

A Touch of Beauty

Taking a “Touch Tour” of Classic Court with Jill Hofbauer and her guide dog, “Karat.”

by Nancy Cooke, TMA Public Relations Specialist

ill Hofbauer is fascinated by the world of historical artifacts. She loves the idea of discovering something that no one else has seen before. On a recent visit to the Toledo Museum of Art, she experienced a “touch tour” for the first time, enabling her to discover and enjoy works of art that she could not see. As an inquisitive young child, Jill loved taking dance lessons and going to school. But something unusual was happening to her sight—and in her third-grade classroom, the problem became evident. Jill had to walk right up to the chalkboard to see anything on it. An eye examination revealed that she was suffering from Stargardt’s disease, a genetic form of macular degeneration resulting in the gradual loss of one’s central vision. Although the diagnosis was devastating, Jill hung on to her dreams and goals. “My parents did not allow me to shirk my duties or ignore my talents,” she says, “and I have not allowed my visual challenges to stop me from doing what is important to me.” Jill’s many accomplishments bear testimony to her determination to live life fully, even with progressive vision loss. After receiving her high school diploma, she decided to go on to college. While living on campus was often challenging, including navigating bicyclists and traffic crossings, Jill excelled in her studies using assistive tools, such as a large monitor, CCTV, and a book reading device. As her vision continued to decline, life became more difficult. After a near miss with an approaching car, she sought assistance from the Cleveland Sight Center. She benefited from their mobility training, learning how to use a cane to navigate safely and alert others that she had limited vision. Jill used large-print textbooks and color-contrasted lined paper for note taking. Her grandfather even handmade heavily lined paper to make it easier for her to write. Jill successfully completed her educational journey, obtaining a Bachelor of Fine Arts degree in interior design from Miami University’s School of Architecture and Design, and a Master’s degree in marketing from the University of Toledo. Jill has taken her enthusiasm for learning new things into the workforce, holding positions ranging from special events merchandising to conducting market research. She also works with The Ability Center of Greater Toledo on special projects.

surfaces of several sculptures. “I was amazed by what I could pick up on the belt of the sculpture of the Kushite King Tanwetamani,” she said, “I discovered so many things and I could feel the outlines of the hieroglyphs.” Karat patiently and skillfully led Jill through the gallery as she experienced antiquities with her fingertips. Jill says, “I see with my hands, and I can interpret what I feel.” “Having the opportunity to lead a touch tour was enlightening,” Emily Cummins said, “Examining the sculptures through touch allowed Jill and myself to experience the work in a completely new way. Jill noted aspects of the sculptures that I had never noticed or considered, and I believe we both learned from each other during the tour. We discussed how the artist can evoke a range of expression through texture alone. We compared textures of carved hair and clothing between the sculptures and across periods of time, gaining a full understanding of each one through touch alone.” Jill says she is excited about her next touch tour at TMA and encourages others with vision loss to experience art in this way. Visitors to the Toledo Museum of Art are invited to experience the collection and special exhibitions in a variety of different ways. Several programs—both at the Museum and out in the community— work with audiences that are experiencing early onset memory loss, visual impairment, and developmental delays. Tours, art classes, and outreach opportunities are available. For more information, contact the Learning and Interpretation office at 419-255-8000, or visit www.toledomuseum.org/education/accessibility-programs. OPPOSITE: Jill Hofbauer scans the carved surface of a Roman marble sarcophagus with her gloved hand. The Museum’s touch tour helped her experience sculpture that she could not see. BELOW: Jill Hofbauer with her guide dog, Karat, touching the hieroglyphics on the base of the sculpture Tanwetamani.

To help raise awareness about vision loss, Jill willingly explains details about progressive blindness that others don’t understand. She says, “I wish more people realized that there are varying degrees of blindness. You can have limited vision, but still need a guide dog.” There have been instances where individuals have questioned her need for a guide dog. They did not understand that a lack of depth perception and longdistance sight creates dangerous circumstances that a guide dog can successfully navigate. “I love my guide dog,” she says, “I always tell people that she keeps me out of trouble.” On the day of her touch tour, Jill was accompanied by TMA conservator Emily Cummins (Mellon Fellow, Objects) and her guide dog, Karat. She donned a special pair of gloves that allowed her to touch the

A S E N SE OF BE L O N GI NG A C O N V E R S AT I O N W I T H R H O N D A S E W E L L , T M A’ S F I R S T D I R E C T O R O F B E L O N G I N G & COMMUNITY ENGAGEMENT by Nancy Cooke, TMA Public Relations Specialist

PEOPLE

I HAVE MANY GOALS, BUT ONE OF THEM IS TO CHANGE THE N A R R AT I V E O F T H E M U S E U M F R O M B E I N G A P L A C E P E R C E I V E D O F P R I V I L E G E B Y S O M E , T O B E C O M I N G A P L A C E T H AT I N C L U D E S AND EMBRACES ALL PEOPLE—MEETING THEM WHERE THEY ARE. —RHONDA SEWELL

you have lived, worked, or volunteered in Toledo, you will undoubtedly know who Rhonda Sewell is. Perhaps you met her at the Toledo-Lucas County Public Library, where she served as Director of Governmental and External Affairs, promoting the library’s mission through advocacy and stewardship. Prior to her library role, you may have read her feature stories in The Toledo Blade, where she served as an award-winning journalist for eighteen years. And, if you are a dedicated volunteer, your paths probably crossed at one of the twenty-plus organizations where Rhonda served as a board member, president, co-chair, donor, or advisor.

While there are numerous ways to describe Rhonda and the many roles she has undertaken in service to our community, one term fits best: “servant leader.” It is with her spirit of servant leadership that Rhonda became the first Director of Belonging & Community Engagement for the Toledo Museum of Art this April. In a recent conversation, Rhonda discussed why this role is especially significant to her. Q: What led you to pursue the role of Director of Belonging and Community Engagement at the Toledo Museum of Art? A: The job description was probably the first one I ever read that aligned so perfectly with how I walk the earth. It described who I am at my core. Throughout my career, I have dedicated myself to building community engagement into everything I do. I was also intrigued by the fact that TMA leadership had a vision for this role. Nurturing a culture of belonging is a noble and honorable goal for a museum and I am deeply committed to this mission.

Q: What do you hope to accomplish as TMA’s first Director of Belonging & Community Engagement? A: I have many goals, but one of them is to change the narrative of the Museum from being a place perceived of privilege by some, to becoming a place that includes and embraces all people—meeting them where they are. That is the challenge of belonging—to chip away at implicit bias and bridge the gap between assessment and judgment, developing a true sense of belonging. That sense of belonging involves more than art—it includes the types of programming we offer and the level of barrierfree access we provide. It is a layered goal that must be accomplished through our sincere efforts. We also need the willingness of all our stakeholders to help us advance. Q: What about diversity and why is it important to the Museum? A: Embracing diversity is essential to the process of telling an accurate history of art and creating a culture of belonging. Not only do we meet people where they are, but we invite them to see themselves and their culture reflected in the artwork and programming we offer. Visitors will begin to feel more connected to the Museum, the art, and their lived experiences.

me, and we had an original oil painting of Nina Simone in our foyer that always intrigued me as a young girl—I thought she was a queen. She was, in her own right, I would later discover. At one time, we lived across the street from the Museum and visited often. I believe that the visual, literary, and performing arts are needed to awaken us to who we are and what our purpose is in life. Q: What do you most want people to know about you? A: I want people to know that my true calling is being an advocate for change. I consider myself a living example of the power of exposure to art at an early age, and how the impact of visual, literary, and performing arts has shaped my life and career. The Toledo Museum of Art is connected to all these pillars of learning and creativity. Our entire community can take advantage of these treasures and I am proud to help usher their engagement with the Museum. Q: What excites you the most about the future?

Q: How has engagement with the arts impacted your life?

A: I am excited about engaging the whole community with the Museum and developing a sense of trust in various neighborhoods. I look forward to being able to invite the public here knowing that they will feel a sense of belonging. I never forget my mother’s words to me: “Rhonda, you have to invest in the community that helped raise you.”

A: Even as a child, I have always been surrounded by art—it has consistently been a part of my life. My mother and father were college-educated art lovers, too. I can remember my mother reading Nikki Giovanni’s poetry to

PHOTO: Rhonda Sewell, the Museum’s first Director of Belonging & Community Engagement. Photograph by Robert Cummerow

MUSEUM STORE 5 1

4–6

= LOCAL ARTIST 1. Ryan Thompson, Golden Rule, Glass Vessel, $4,500

2. Jennifer Marson, Earrings, $145 Merv Hall, Necklace, $110, Bracelet, $100 3. Organic Muslin Swaddle, $26 4. Rosetta Persian, 2021 Studio Edition by Dale Chihuly, $6,500 5. Viola Plum Macchia, 2021 Studio Edition by Dale Chihuly, $6,000 6. Seagrass Seaform, 2021 Studio Edition by Dale Chihuly, $7,500 7. Artist Origami, $9.95 each 8. Bob Cross, Kicking Ass and Taking Names, Mixed Media Painting, 48 x 48", $3,500 9. Magic Wood Marble Tree, $73 10. TMA Winter Scarf, $50 11. Matthew Richards, Glass Trees, $65 each 12. Kitpas for Little Artist, $49 13. Hans Ruebel, Steel Fire Poker, $30 14. Set of 12 Bauhaus-era Holiday Ornaments, $160

DOUBLE DISCOUNT DAY

November 12, 2021 Members receive an additional 10% discount* on in-store and online purchases. 3

* Discount is not applicable to purchases of original art or Chihuly Studio Editions.

Receive FREE parking when you spend $50 in the Museum Store or Museum Café during a single visit this Nov–Dec.

The 2021 TMA limited edition annual goblets and ornament debut November 1, 2021.

EVERY PIECE MADE TO ORDER

VISIT YOUR LOCAL DESIG N CE NTE R FOR INSPIR ATION

EXHIBITIONS

Age of Armor Treasures from the Higgins Armory Collection at the Worcester Art Museum UPCOMING Nov. 6, 2021–Feb. 27, 2022 Levis Gallery Suits of armor, and the warriors who wore them, have fueled the human imagination since they first appeared in the ancient world. The Age of Armor: Treasures from the Higgins Armory Collection at the Worcester Art Museum explores how these compelling exoskeletons have been used in various forms around the globe, from antiquity to modern times. The Worcester Art Museum’s Higgins Armory Collection is one of the largest collections of arms and armor in the United States. Full suits of articulated steel plates were made only briefly in Europe’s golden age of armor during the late Middle Ages and Renaissance. The exhibition examines how armor played an important role in the military, technological, and cultural life of societies throughout history. “Like the Toledo Museum of Art, the Higgins Armory Collection is committed to offering visitors thrilling experiences with exceptional works of art and culture,” said Adam Levine, the Museum’s Edward Drummond and Florence Scott Libbey director and CEO. “These formidable and fascinating objects convey stories of engineering and design as well as diplomacy and combat from ancient Greece to the modern era.” “TMA audiences are the fortunate beneficiaries as the Worcester Art Museum looked to share its outstanding Higgins Armory Collection while building out a dedicated gallery to showcase it at home,” added Diane Wright, TMA’s senior curator of glass and contemporary craft, who is coordinating the exhibition in Toledo with Sophie Ong, the Museum’s Hirsch Curatorial Fellow.

The first section of the exhibition begins with ancient Greece, when sty lish body armor expressed the warrior’s personal taste and social standing, while increasing his chances of survival on the battlefield. Section two details how, by the Middle Ages, knights with expensive iron coats of mail, as well as swords, lances, and horses came to dominate the battlefield. Sections three and four examine the craft of armormaking as it evolved in several European cities and the innovation of armorers, who developed full suits of steel for a range of purposes, including wartime applications and cere monial uses. The exhibition’s final two sections recount how the rise of firearms impacted armor design from 1500 to 1700, and that a renewed interest in medieval armor as collectibles developed in the 19th and 20th centuries. IMAGE: Pompeo della Cesa (Milan, about 1537–1610), Field Armor from a Garniture. Steel, iron, brass, gold, silver, leather, and fabric, about 1595. The John Woodman Higgins Collection, 2014.112. Image © 2020 Worcester Art Museum, all rights reserved.

The Age of Armor: Treasures from the Higgins Armory Collection at the Worcester Art Museum is organized by the Worcester Art Museum and is sponsored locally by presenting sponsors Taylor Cadillac and Susan and Tom Palmer, as well as 2021 Exhibition Program sponsor ProMedica, with additional support from the McLoughlin Family Foundation and the Ohio Arts Council.

EXHIBITIONS

UPCOMING

ABOVE: Stan Douglas (Canadian, born 1960), Doppelgänger (film still), 2019. Two-channel video installation. © Stan Douglas. Courtesy of the artist, Victoria Miro, and David Zwirner.

Opens Oct. 16, 2021

Stan Douglas: Doppelgänger Canaday Gallery The science fiction-inspired film Doppelgänger (2019) by Stan Douglas will be on view beginning October 16, 2021, at the Toledo Museum of Art, its first North American museum presentation. For decades, Douglas has explored how image-making and narrative influence collective memory as well as our understandings of the world around us. This ambitious work coalesces Douglas’s artistic concerns and has even greater potency for audiences today. The artist’s film Doppelgänger (2019) centers around an astronaut named Alice whose clone or doppelgänger embarks on a solitary mission to outer space. When Alice’s ship unexpectedly turns around, she presumes she has returned to Earth, but instead she arrives at another realm, the exact reverse of her true home. In one version, Alice is welcomed and provided support upon her return, while in another, Alice is received as a potential hostile threat. The work comprises two translucent screens, which can be viewed from either side and display parallel narratives that unfold simultaneously. Doppelgänger employs science fiction as a prompt to understand the temporal intersections and simultaneous realities that exist in our present. Alice’s return, one as benevolent earthly citizen and another as a potentially dangerous alien, alludes to the heightened debates around citizenship and homelands, such as the reception of immigrants and refugees, as well as the systemic exclusion and oppression of marginal communities. The continual mirroring and sense of displacement throughout the film echoes many people’s experiences during the current pandemic. For those able to stay at home, individuals are constantly observing their own visages and conducting their lives mediated through a virtual screen. As the world

enters a new phase of this pandemic, society finds itself confronting a new, unknown reality or realities. Though there are dual narratives, Doppelgänger does not intend to high light two distinct possibilities. In a world of competing truths, the film explores our physical and quantum entanglements, leaving open numerous possibilities about how we can shape our unfolding collective experiences. Because of its open-endedness, Doppelgänger invites audiences to return to it and ruminate on its allegorical themes well afterwards. Douglas was born in Vancouver, British Columbia, in 1960. His work has been exhibited at venues worldwide, including the Hasselblad Center, Gothenburg, Sweden; Pérez Art Museum Miami; Salzburger Kunstverein, Salzburg, Austria; Carré d’Art - Musée d’Art Contemporain, Nîmes, France; Haus der Kunst, Munich; Hayward Gallery, London; Museum of Contemporary Art, Chicago; Museum of Modern Art, New York; Museum of Contemporary Art, Los Angeles; Walker Art Center, Minneapolis; and Solomon R. Guggenheim Museum, New York. His work is held in the collections of museums such as the Art Gallery of Ontario; National Gallery of Canada, Ottawa; Vancouver Art Gallery; Centre Georges Pompidou, Paris; Israel Museum, Jerusalem; Los Angeles County Museum of Art; and Tate, London. He received the 2016 Hasselblad Award and 2019 Audain Prize for the Visual Arts. Douglas will represent Canada at the 2022 Venice Biennale. The installation of Doppelgänger at Toledo Museum of Art is supported by season sponsor ProMedica with local support from presenting sponsors Susan and Tom Palmer and the Ohio Arts Council.

EXHIBITIONS Opens Jan. 15, 2022

Living Legacies: Art of the African American South New Media Gallery A landmark exhibition organized by the Toledo Museum of Art will present the Museum’s recent acquisitions of major works by African American artists from the southern United States. Living Legacies: Art of the African American South features 24 works, from large-scale assemblages and mixed media sculptures to paintings, textiles and works on paper acquired from the Souls Grown Deep Foundation over the course of two years. Artists represented are Leroy Almon, Thornton Dial, Thornton Dial, Jr., Richard Dial, Lonnie Holley, Ronald Lockett, Joe Minter, John B. Murray, Royal Robertson, Georgia Speller, Henry Speller, Luster Willis and several generations of women quiltmakers, including Louisiana Bendolph, Mary Elizabeth Kennedy, Jessie T. Pettway, Lola Pettway, Lucy T. Pettway, Martha Pettway, Rita Mae Pettway and Florine Smith, as well as Estelle Witherspoon, one of the founders of the Freedom Quilting Bee. In recent years, these artists’ innovative practices have received overdue recognition throughout institutional spaces and in the larger cultural discourse. This exhibition will celebrate their crucial contributions to a broader understanding of American art as well as their enduring legacies. Living Legacies: Art of the African American South, which is curated by Jessica S. Hong, TMA’s curator of modern and contemporary art, will be on view in the museum’s New Media Gallery from Jan. 15 through May 1, 2022. “Many of the artists in Living Legacies have cultural roots in creative expressions of the African diaspora and enslaved peoples in the Americas, passed down through familial and communal traditions, and utilize everyday material with symbolic potential,” said Hong. “They illuminate the complex histories of the lands in which they are situated, and critically examine ever-present themes from familial legacies to issues of inequity, while also revealing the expansive possibilities of their creative practices.”

ABOVE: Leroy Almon (American, 1938–1997), The New Heaven, 1984. Mixed media (carved wood, lightbulbs, artificial pearls, paint). 36 x 28 in. © Estate of Leroy Almon / Artists Rights Society (ARS), New York. Image: Gamma One Conversions Living Legacies: Art of the African American South is supported by presenting sponsors Susan and Tom Palmer and season sponsor ProMedica, with additional support from the Ohio Arts Council and TMA Ambassadors.

ON VIEW Chameleon Effects: Glass (Un)Defined Wolfe Gallery Mezzanine Chameleon Effects: Glass (Un)Defined brings together historical and contemporary works from TMA’s collection to explore the spectrum of technical and formal possibilities of glass. One of the oldest human-made substances, glass is neither a true solid nor a liquid and belies conventional understandings of how materials work. For more than 4,000 years, artists have exploited the inherent mutability of glass, transforming the molten material into an impressive range of forms, colors, and textures, often blurring the lines between one medium and another. More recently, artists have turned to newer materials and techniques, such as plastic and photography, to engage with historical glass and draw connections with the past. Looking at the relationship between glass, precious stones, metalwork, ceramics, photography, and performance, Chameleon Effects demonstrates the longstanding history of glass’ interaction with other materials, while challenging traditional art historical categories of separate media and defined materials.

ABOVE: Henri Marie Joseph Bergé, designer, Victor Amalric Walter, manufacturer, Small Tray with a Chameleon (Vide-Poche “Caméléon”), about 1920. Polychrome transparent and opaque glass, mold-made pâte-de-verre, 3 1/2 × 6 7⁄ 8 in. Toledo Museum of Art, Purchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey, 2010.20 Chameleon Effects: Glass (Un)Defined is sponsored by 2020 Exhibition Program Sponsors Taylor Cadillac and ProMedica, with additional support from the Ohio Arts Council.

EXHIBITIONS

ON VIEW Sept. 3–Oct. 3, 2021

Momentum | Intersection

Glass Pavilion, Reflection Room and University of Toledo Center for the Visual Arts Gallery Momentum | Intersection celebrates the ingenuity that results when art and industry meet. This juried exhibition brings new artwork to Toledo made in response to a call for creativity by The Arts Commission of Greater Toledo and Pilkington Glass North America, part of Nippon Sheet Glass, Ltd. (NSG). Momentum | Intersection will be on view in the Toledo Museum of Art’s Glass Pavilion and the University of Toledo's Center for the Visual Arts from September 3 to October 3, 2021. Due to the pandemic, the 2021 iteration of the exhibition combines artists chosen in 2019 and 2020. Six works will be on view by Jason Bauer (Brooklyn, NY), Carrie Iverson (Arlington TX), Helen Lee (Madison, WI) & Alice Chau (San Francisco, CA), Dylan Palmer (Chicago, IL), Nate Ricciuto (Columbus, OH), and Kristine Rumman (Philadelphia, PA). This is the first year that work for Momentum | Intersection will be shown at the Toledo Museum of Art Glass Pavilion. An intersection between individual artistic practice and industrial production of float glass, the exhibition is mounted in conjunction with the Momentum Festival, a three-day celebration of the arts in the Glass City and the surrounding region that takes place annually. Inspired by the experimental

glass workshops held in Toledo, OH, in 1962, this collaboration hearkens to the time when a group of ceramicists gathered on the campus of the Toledo Museum of Art to experiment with glass. Their success was a result of willingness to push for access to glass as an artistic medium on an individual, rather than industrial scale—something inaccessible to artists in the mid-twentieth century. The Toledo Workshops were possible because of the city’s rich history of glass industry. Dominick Labino, director of research at Johns Manville, brought expertise for furnace building and the raw material, #475 glass marbles, for melting. Harvey Greenleaf, a retired Libbey glassmaker, brought knowledge of glassmaking. Industrialist Edward Drummond Libbey set the stage for the Museum itself and its support of glass artists by bringing his glass company to Toledo in the first place. Today, artists chosen to participate in Momentum | Intersection are given unfettered access to career professionals at Pilkington who produce the glass for the artists’ projects. The six glass works on view in Momentum | Intersection benefit from cutting-edge industrial knowledge and embody Pilkington’s and The Toledo Arts Commission’s dedication to artistic experimentation and innovation.

Online Exhibition

Out of the Dark: A Historic Journey To view the exhibition, scan the QR code or visit:

toledomuseum.org Out of the Dark: A Historic Journey is a digital exhibition in recognition of Juneteenth, an observance acknowledging the emancipation of those who had been enslaved in the United States. Juneteenth (a combination of the words June and nineteenth) is recognized in most states and the District of Columbia as a local holiday or ceremonial observance, and in June 2021 was declared a federal holiday. TMA invited eight members of the Toledo Black Artist Coalition (TBAC) to curate an online exhibition featuring influential works from the Museum’s collection, including sculptor and printmaker Elizabeth Catlett (1915– 2012) and photographer Gordon Parks (1912–2006) among others. TBAC guest curators are noted local artists James Dickerson, Dustin Hostetler, Audrey Johnson, Imani Lateef, Yusuf Lateef, Lydia Myrick, Simone Spruce, and Paul Verdell.

ABOVE: Jacob Lawrence (American, 1917–2000), Barber Shop. gouache on paper, 1946. 21 1⁄ 8 × 29 3⁄ 8 inches (53.6 x 74.6 cm). Toledo Museum of Art, Purchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey, 1975.15. © 2021 The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York Out of the Dark: A Historic Journey is sponsored in part by 2021 Exhibition Program Sponsors Taylor Cadillac and ProMedica, with additional support from the Ohio Arts Council. We would also like to acknowledge our community partners Toledo-Lucas County Public Library, City of Toledo Human Relations Commission, Synergy Engagement, Creadio, and Jayramon, LLC.

jonfrankeldentistry.com

CHANGING LIVES, A SMILE AT A TIME TOLEDO 5012 Talmadge Road 419-474-9611

MAUMEE 4359 Keystone Drive 419-893-0221 29

CALENDAR

Family Art Club The way we navigate through the world looks and feels different. Museums are safe spaces to reflect, engage, and analyze the past and future of our world. The Toledo Museum of Art continues to ensure safe and immersive experiences for our community.

The Family Center is now offering Family Art Club with with new hours and procedures! Family Art Club is designed for young children and their grown-ups to explore art together. Each workshop session includes all the supplies needed to create a unique work of art inspired by the art and artists in TMA’s collections and special exhibitions.

Family Art Club is

FREE

Advanced registration is required.

Scan or visit:

TO EXPLORE CURRENT PROGRAM OFFERINGS AND PLAN YOUR VISIT SEE TOLEDOMUSEUM.ORG.

tickets.toledomuseum.org Family Art Club Hours: Wednesdays, Fridays, Saturdays 11 a.m.– 5 p.m. The Family Center is supported in part by

Glass Art Workshops Glassblowing Demonstrations Wednesdays–Sundays: 2–3 p.m. Through October, glassblowing demonstrations take place outside in the Glass Pavilion Courtyard (weather permitting), and indoors in the HotShop from November through December. Glassblowing Demonstrations are sponsored in part by

Pick Your Project A fun addition to the Glass Art Workshops line-up, the Pick Your Project option lets you decide which glass object you'll make during this session. A variety of options include: Apple

Fortune Cookie

Confetti Paperweight

Mushroom

Donut Pumpkin Flower

Sundays: 12 p.m. $42 members $52 nonmembers Register at:

In honor of Scott Trumbull

tickets.toledomuseum.org

CALENDAR

Trivia Nights at TMA Friday September 24, 6–8 p.m. Trivia Night at TMA with Sporcle Live Trivia: Supernatural! Excited for Halloween and spooky season? Experience some paranormal vibes by teaming up with friends and family to test your knowledge of the supernatural in popular culture with Sporcle Live Trivia at TMA! Win prizes! $35/team. Snacks and drinks available for purchase.

Art Classes

Saturday November 13, 5–7 p.m.

TMA offers an assortment of virtual and in-person art classes for youth and adult audiences in a range of media.

Trivia Night at TMA with Sporcle Live Trivia: Knights and Armor! Game of Thrones, Lord of the Rings, Black Panther, Wonder Woman, Iron Man, Monty Python and the Holy Grail—knights/ warriors and armor are found in many forms throughout pop culture. Team up with friends and family to test your knowledge. Compete for prizes, honor, and bragging rights! Presented in conjunction with the exhibition The Age of Armor: Treasures from the Higgins Armory Collection at the Worcester Art Museum (Nov. 6, 2021–Feb. 27, 2022). $35/team. Snacks and drinks available for purchase.

Drawing, painting, glassblowing, jewelry, and more!

Explore your creativity for the first time—or the first time in years—at the Toledo Museum of Art. For more than a century, this community resource has offered classes for every age, every experience level, and every schedule. All classes and workshops are related to works of art in the TMA collection.

Oct. 17–Nov. 20, 2021 Registration deadline Oct 1

toledomuseum.org/education/classes

tickets.toledomuseum.org

Wine by the Glass Pavilion Explore the world through wine and cuisine without ever leaving Toledo! Guests are invited to participate in a premier wine tasting with curated food items paired with a delicious selection of wines at the Toledo Museum of Art’s Glass Pavilion. Each tasting includes samples of four wines and small bite hors d’ oeuvres that reflect the wine tasting’s theme. As always, we will raffle off a bottle of wine at every tasting. This is a perfect event to share with friends, family, or for date night.

Cape Winelands: South African Wines Friday, Oct. 8, 6:30–8:30 p.m.

Wine and Chocolate Friday, Nov. 19, 6:30–8:30 p.m.

Blind Tasting Friday, Dec. 17, 6:30–8:30 p.m.

Fall / Winter 2021–22

Museum Café

MENU Specials

BURGER OF THE WEEK

CHEF'S SPECIAL OF THE WEEK

price varies

GNOCCHI OF THE WEEK

price varies

Sandwiches Served with a choice of side: House Salad, Fruit Salad, or Chips Choice of Sourdough or Multigrain Bread Substitute Gluten Free Bread $2

AMERICAN CHEESEBURGER

American cheese, lettuce, tomato, and pickle

ROASTED VEGGIE MEDLEY

Onion, bell pepper, mushroom, banana pepper, artichoke, tomato, spinach, mozzarella, peppercorn aioli, and honey balsamic vinaigrette

PAN-FRIED WALLEYE BLT Lightly breaded walleye filet, hickory smoked bacon, lettuce, tomato, and lemon-basil pesto

Hickory Smoked bacon, tomato, lettuce, and peppercorn aioli

Seasoned grilled chicken, gorgonzola cheese, pickles, lettuce, and hot chili sauce

BALSAMIC CHICKEN

GRILLED STEAK AND MUSHROOM

Seasoned grilled chicken, mozzarella, tomato, pesto, and balsamic Cheddar cheese, onion, banana pepper, and peppercorn aioli

Wed.–Thurs. 11 a.m.– 4 p.m. Fri.–Sat. 11 a.m.– 7 p.m. Sun. 11 a.m.– 4 p.m.

Salads

Soup

Add Chicken $3.50 Add Smoked Salmon Filet $5

SOUP OF THE DAY

SWEET PEAR CRUNCH

ROASTED ROOT VEGETABLES

Fresh baby kale, honey roasted pears, parmesan, hazelnuts, and honey balsamic vinaigrette

cup $4.50 | bowl $6.50

SOUP AND SMALL HOUSE SALAD

cup $8 | bowl $10

Kid’s Menu GRILLED JUMBO HOT DOG

THREE CHEESE GRILLED

CHEESEBURGER

Seasoned carrot, sweet potato, beet, and turnip on a bed of spinach with goat cheese, toasted walnuts, and fall spice vinaigrette

with choice of side

HONEY APPLE CHICKEN

American, mozzarella, and cheddar with choice of side

Seasoned grilled chicken, bacon, fresh apple, dried cranberries, almonds, gorgonzola, spinach, and honey balsamic vinaigrette

SMOKED SALMON WITH SAFFRON ORZO

Leaf lettuce, tomato, cucumber, cheese, and honey balsamic vinaigrette

Italian Bread Pizza SAUCES Marinara Lemon-Basil Pesto Ranch Garlic Butter

Lettuce and pickle with choice of side

SMALL HOUSE SALAD

CHEESE $7 $

Roasted pork loin, pepper jack cheese, tomato, onion, pickle, and achiote sauce

SPICY CHICKEN

Mon.–Tues. Closed

Warm smoked filet of salmon with saffron orzo, golden raisins, pistachios, fresh baby kale, and sage vinaigrette

BLT

ACHIOTE SHAVED PORK LOIN

CAFÉ HOURS

HAMBURGER

7.50

Lettuce and pickle with choice of side

Sweets COOKIE

CINNAMON APPLE CRUMBLE

GUINNESS CHOCOLATE CAKE

with whipped cream

with Bailey’s Chocolate Ganache

TOPPINGS 2 EACH

Pepperoni, Prosciutto, Grilled Chicken, Bacon, Ground Beef, Artichoke

1 EACH

Onion, Bell Pepper, Mushroom, Banana Peppers, Tomato, Spinach, Extra Cheese, Jalapenos, Green Olive

Drinks FOUNTAIN SODA $2.50 $ CANNED SODA 2 $ COFFEE OR TEA 2.50 $ BOTTLED WATER 2 $ BOTTLED BEVERAGES 3

$ MILK 2 $ HOT CHOCOLATE 2.50 $ DOMESTIC BEER 3.50 $ IMPORTED BEER 5 $ WINE (Red or White) 7

THE CENTER LANE IS YOUR CENTER STAGE THE 2021 CADILLAC ESCALADE. NEVER STOP ARRIVING.

TAYLOR CADILLAC LOCALLY OWNED, LOCALLY COMMITTED, 42 YEARS OF EXCELLENCE

6100 W CENTRAL AVE. TOLEDO, OH 43615 419-842-8800 • WWW.TAYLORCADILLAC.COM

Toledo Museum of Art 2445 Monroe Street Toledo, Ohio 43620 419.255.8000