arTMAtters: Winter/Spring 2021 by Toledo Museum of Art

Winter/Spring 2021

419-536-6520

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WINTER/SPRING 2021 Volume 17 Issue 1

From the Director

WHAT’S INSIDE

HAPPENINGS From the Director �� 1 Briefs �� 3

DEVELOPMENT Digital Membership Cards 9 Ways to Give �� 10

PEOPLE Guard of the Year ��11 Suzanne Hargrove �� 12 Janet Rhodes �� 18 Glass Artists �� 22 TMA Curators �� 24

MUSEUM STORE The Season's Must-Haves �� 26

EXHIBITIONS Wayne Thiebaud 100 �� 29 Current & Upcoming �� 30 Supernatural America �� 32

CALENDAR �� 34

Dear All, As I write this, the last of our February snowfall is melting away, signaling the start of spring and, we hope, the end of the pandemic. It has been a long, hard winter, but if we think about the progress we have made in the last year towards containing COVID, one can only marvel at humanity’s ingenuity. Any conversation of ingenuity in the context of the Museum begins and ends with our amazing staff. The resilience, flexibility, and innovation they’ve displayed in keeping the Museum open and amending our programming cannot be commended enough. Through their work, we have created an environment that is as safe as any. Some of you will have seen an editorial I wrote in The Blade citing air quality studies demonstrating that our sophisticated air handlers filter out all detectable particulate matter in the air. Just a few weeks ago, the Berlin Institute of Technology published a report that validated this research, finding that there is no safer indoor space than art museums. Please come see us in our spacious, high-ceilinged galleries ready-made for social distancing. While you are here, there will be much to see, including Wayne Thiebaud 100: Paintings, Prints, and Drawings. Organized by the Crocker Museum of Art in Sacramento, there is perhaps no show more perfect for this moment. Wayne Thiebaud is one of the great painters of this century, and his California-cool landscapes and delectable depictions of cakes, ice cream, and pies that capture the sunlight of spring and the lightheartedness of subject matter are exactly what we need in our lives at this moment. Integrating art into the lives of people is the mission of the Toledo Museum of Art, and I close here by giving you a sense of how the Museum will fulfill this mission over the next several years. During the fall and winter, staff at all levels of the organization were involved alongside the Board, volunteers, and hundreds of external stakeholders in generating a new strategic plan for TMA. This strategy, which will have been released around the time your copy of arTMAtters arrives in your mailbox, seeks to more deeply and authentically engage our community while also strengthening, broadening, and reinterpreting our collection. We will invest in our staff and our core operations, growing the institution from the inside out. We are in a strong position to launch this work in large part because of you, our members, and your continued support. Thank you for all you do for the Toledo Museum of Art and, by extension, for our community and our region. I look forward to seeing you this spring at your Museum.

ON THE COVER Marking the artist’s 100th birthday, Wayne Thiebaud 100: Paintings, Prints and Drawings celebrates the breadth of Thiebaud’s accomplishments and career. Cover image: Wayne Thiebaud, Boston Cremes, 1962. Oil on canvas, 14 x 18 in. Crocker Art Museum Purchase, 1964.22. © 2020 Wayne Thiebaud / Licensed by VAGA at Artists Rights Society (ARS), NY.

Sincerely, Adam Levine Edward Drummond and Florence Scott Libbey President, Director and CEO

arTMAtters Staff Editor and Contributing Writer: Nancy Cooke Coordinator: Alisa Pattin Graphic Designer: Mark Yappueying Photography: Nikki DaLonzo, Bradley Piri, Daniel Miller, Madhouse Send comments, questions, or advertising inquiries to: Nancy Cooke at ncooke@toledomuseum.org © Toledo Museum of Art

Thank you

to the sponsors of the exhibitions and programs featured in this issue.

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

Harley J. Kripke

David K. Welles, Jr.

David Krock

Thomas Winston

EDUCATION

PRIVATE CLIENT GROUP

Rita Mansour

The Toledo Museum of Art 2445 Monroe Street Toledo, OH 43620 Admission to the Museum is free. 419-255-8000 toledomuseum.org 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.

EXHIBITIONS AND OTHER SUPPORT Dorothy MacKenzie Price Fund

Carlos A. de Carvalho

LaValley Foundation

Geraldine Mowery

Carl and Anne Hirsch

Victoria Marjorie Souder Program Fund

Judith Herb

Claire and Fred Schaefer

Rita Barbour Kern Foundation

Nancy Phlegar

Patricia Timmerman

Susan and Tom Palmer

James F. White, Jr. Family

Mr. and Mrs. David A. Bryan

Hartmann Bogan Financial Planning Joseph and Judith Conda Shaun Coughlan

And TMA members like you.

HAPPENINGS

Art Out of School program awarded major grant from ProMedica The Toledo Museum of Art was recently awarded $126,000 from ProMedica through the Greater Toledo Community Foundation in support of its Art Out of School program. The ProMedica Junction Neighborhood Fund was announced in January of this year to support critical reinvestment in central Toledo’s Junction neighborhood. During the next two years, TMA will partner with key organizations located in the Junction neighborhood to serve youth that live and learn in that community. “Through this grant the Toledo Museum of Art is able to expand access to arts programming for youth in our community,” said Adam Levine, Edward Drummond and Florence Scott Libbey President, Director and CEO “TMA is committed to activating our outreach efforts beyond the Museum campus, and this partnership exemplifies what we are able to do together for our neighborhoods.”

Site partners for the Art Out of School program include the Frederick Douglass Community Association, Toledo-Lucas County Public Library’s Mott Branch, and the Tabernacle Church/Art Tatum Zone. Research shows a positive relationship between participation in after school arts programs and outcomes such as participants’ test scores, school attendance, and graduation rates. “We are grateful to ProMedica for this generous funding, which will help the Toledo Museum of Art collaborate with community partners to create youth-centered hubs for creative exploration and healthy development in the Junction neighborhood,” said Maria Iafelice, TMA’s senior manager of learning, who will be spearheading the initiatives.

Every week, youth from kindergarten to high school in the Junction neighborhood will be invited to participate in art making, art appreciation, and art mentorship at three Junction sites, as well as visits to the Museum. These art experiences support Ohio’s New Learning Standards in the Visual Arts. The Junction neighborhood Art Out of School initiative is a direct expansion of TMA’s longstanding Art After School offerings, which currently welcome nearly 1,000 youth to the Museum annually for after school art experiences. TMA was founded in 1901 with a mission of educational excellence and is known nationwide for its art education programs and outreach.

HAPPENINGS

Three new members appointed to the Toledo Museum of Art Board of Directors “Our newly appointed board members are diverse and dynamic community leaders. Their achievements in their respective fields and their passion for Toledo and the Toledo Museum of Art are indicative of their commitment to community stewardship. I know I speak for all the Museum’s board when I express my excitement for our newest directors to join the institution.” Randy Oostra, Chairman of the Board

“We are truly excited to welcome Dr. Durant, Lisa McDuffie and Brian Chambers to our board of directors. They will help advance our institutional strategy to synthesize national and international ambition with deeprooted community engagement.” Adam Levine, Toledo Museum of Art Edward Drummond and Florence Scott Libbey President, Director and CEO

Dr. Romules Durant Dr. Romules Durant has dedicated his life’s work to the education of children. He is a visionary leader who has forged strong alliances throughout Toledo’s many communities. As CEO and superintendent of Toledo Public Schools (TPS) he oversees operations for the fourth largest school district in Ohio and the sixth largest workforce in Toledo. A native of East Toledo, Dr. Durant has served TPS since 1999 as a teacher, administrator, and assistant superintendent. In December 2013, he was named the 30th superintendent of TPS.

Lisa McDuffie Lisa McDuffie, MSSA, LISW-S is an advocate for at-risk woman and children throughout Northwest Ohio. As president and CEO of YWCA of Northwest Ohio since 2001, McDuffie supervises signature pro grams at three sites serving 20 counties. The YWCA’s signature programs include a 24-hour battered women’s shelter; a 24-hour rape crisis center; a childcare resource and referral; permanent supportive housing apartments; a teen pregnancy prevention program; a breast cancer education program; a job readiness service; and health and wellness projects. She also oversees the YWCA Apartments LLC, development of the I Rise Community Coalition and the community initiative on Dialogue for Change, a program on anti-racism. McDuffie received her bachelor's degree from Findlay College and a master's degree from Case Western Reserve University.

Brian Chambers Brian Chambers serves as chairman and chief executive officer of Owens Corning, a world leader in insulation, roofing, and fiberglass composites. Chambers was appointed in April 2019, at which time he also joined the Board of Directors at Owens Corning. Chambers held commercial and operational roles with Honeywell, BOC Gases, and an international engineering firm. His experience in the glass industry includes leading international sales, marketing, and engineering teams. Chambers earned a bachelor’s degree from Bowling Green State University and a master’s degree from Northwestern University. He also serves as a member of the Business Roundtable and the Policy Advisory Board of the Harvard Joint Center for Housing.

HAPPENINGS

TMA and The Ability Center of Greater Toledo forge strategic partnership The Toledo Museum of Art and The Ability Center of Greater Toledo (ACT) have signed a memorandum of understanding establishing a new, multi-year strategic partnership with co-investment by both organizations. The col laboration will support ACT and TMA in their efforts to create a community and a Museum that aspire to be the most disability-friendly in the country.

“Seeking the expertise of The Ability Center as a guide, the Toledo Museum of Art is prioritizing its vision to become the model among art museums for its culture of belonging” Adam Levine, Toledo Museum of Art Edward Drummond and Florence Scott Libbey President, Director and CEO

The establishment of the Manager of Access “One in four people in the U.S. have a disability Initiatives position—a new role and the first of that impacts the way they connect with the its kind at a major art museum—demonstrates world around them, including their experience the potential of this unique partnership, as the of fine art and museums,” said Tim Harrington, position will mutually benefit TMA, ACT, and all The Ability Center executive director. “Everyone of Northwest Ohio. This shared role will bring has a role in creating a community that is ACT’s knowledge and resources to the Museum disability friendly; at The Ability Center, we for a period of several years, equipping TMA work to challenge both attitudes and real-world with the expertise to identify and systematically conditions for people with disabilities. The eliminate barriers to encounters with art, Ability Center through its supporting organization improving the Museum experience for people is investing in this project as part of its strategic with disabilities at any stage of life. initiatives. We look forward to working with the Toledo Museum of Art to ensure the Museum “Seeking the expertise of The Ability Center as a fully welcomes the potential and participation guide, the Toledo Museum of Art is prioritizing its of each of its visitors, including those who live vision to become the model among art museums differently.” for its culture of belonging,” said Adam Levine, Toledo Museum of Art Edward Drummond and Serving at the core of the partnership, the Florence Scott Libbey President, Director and Man ager of Access Initiatives will audit CEO. “The Museum is holding itself accountable Museum policies, procedures, practices, and to a formal Diversity, Equity, Accessibility and physical plant, making recommendations to Inclusion (DEAI) plan, which is being developed incorporate aspects of inclusive design and with input from staff, volunteers, Board, and the enhance accessibility. Following rigorous meas community. The strategic partnership with The urement, assessment, and evaluation—and Ability Center, unique in our field, strengthens a determination of demonstrated progress in TMA’s efforts to become a more inclusive making TMA more accessible to people with Museum and community partner. We aim to disabilities—the Manager of Access Initiatives become the most disability-friendly art museum will eventually transition to begin work with in the United States.” another local organization in a similar strategic partnership.

Dedicated funding has been identified to implement the recommendations made through the audit process. “The Museum, with generous support from Judith, Joseph, and Susan Conda, has funded both the position’s competitive salary and the costs associated with implementing the Manager of Access Initiatives’ recommendations,” Levine said. The partnership will simultaneously serve as an ongoing proving ground for The Ability Center’s initiatives while fueling regional conversations about accessible spaces, inclusive programs and employment opportunities. Both TMA and ACT have been supported by— and active members of—the Toledo community and the greater region for more than a century. The Ability Center has been making indep endence possible since 1920, when The Rotary Club of Toledo founded a society to raise funds to build a hospital for children with polio. The first hospital and convalescent home for children with disabilities opened in 1931 and was made possible through a gift from the Edward Drummond Libbey estate. After under going several evolutions as an agency, in its centennial year of 2020, The Ability Center unveiled innovative initiatives that highlight its rich history of service and its role in creating the most disability-friendly community in the country.

HAPPENINGS

TMA Virtual Art Class

with artist Robyn O’Neil by Nancy Cooke, TMA Public Relations Specialist

wasn’t sure about what to expect from my first virtual art class at TMA. My concerns about whether I would enjoy the process—all taking place through a computer screen— disappeared as soon as Robyn greeted us warmly. People from eight different states, who share an interest in drawing and in Robyn O'Neil’s work, participated in the workshop. The benefits of virtual learning began to emerge immediately as everyone discussed their interests and worked on drawings, aided by Robyn’s prompts. The virtual arrangement allowed us to show our work to each other and gave us a unique view into Robyn’s home workspace, as well as the drawings in progress there. We met fellow creatives with whom we would never have crossed paths, without the class. As we sketched, Robyn encouraged us to make a list of the things we wanted in our work and the things we didn’t, and to imagine what a world of our own creation would look like as a drawing. Her advice was to avoid being a perfectionist and to work on refining our thoughts into that drawing. The highlight of Robyn’s workshop was the opportunity to ask questions about her journey as an artist, her inspirations, techniques, and future plans.

“My earliest art education was through the World Book Encyclopedias, the ones with the little black and white drawings. They were the only books we had and I learned to draw by looking at them.”

Why do you make small sketches of all your artwork first? “The practice of drawing thumbnail sketches of my ideas helps me determine what to pursue as a bigger piece of art. When you draw, don’t be a perfectionist or try to impress anyone…your goal should be to get what’s in your brain down on paper.”

What made you switch to drawing instead of continuing to paint? “In graduate school, I wasn’t happy with the way my paintings were turning out. Then one day my teacher, Susan Sensemann, confirmed my feelings about my paintings but was really interested in the drawings I had made nearby. She challenged me to do nothing but draw for the next six months and that’s how I found my passion for it.”

Do you ever plan to make a book about your drawings? “I love books! My first job was working in a library. I don’t know whether any of you are familiar with my podcast, called “Me Reading Stuff,” but it is about many different things I find interesting in books, that I read to my listeners. I do have a couple of books about my art—one is called Robyn O’Neil: 20 Years of Drawing. I have also made small paperback books containing some of my favorite images. I have many books planned that would be about the history of weather, poetry, and culture. I am obsessed with anything about weather, as I grew up in Tornado Alley and was a weather watcher.”

THE MUSEUM STORE

Robyn O'Neil: 20 Years of Drawings, $50

Robyn O’Neil

Why don’t you use color in your artwork? “I came into graduate school as a painter. I love color. But I started to be interested in setting strict limitations on what I used in my art, as doing that can broaden an artist’s abilities. I began celebrating the basics in life, which drew me to black and white drawing. I felt like using color was a cheap and easy way to “solve” a painting—just by applying color, and I didn’t want my drawings to be that way. I wanted to see what I could do using the least amount of anything, including tools. My earliest art education was through the World Book Encyclopedias, the ones with the little black and white drawings. They were the only books we had and I learned to draw by looking at them.”

What do you most want people to understand about you and your artwork? “More than anything, I want people to sense how much I care about what I do and about the history of drawing. It’s one of the oldest forms of human expression. Drawing came before writing. So I love the connection I have to the past in this way. I simply want to depict what it feels like to be a human being on planet Earth. That’s exactly what the prehistoric cave artists were doing.”

It was hard to believe that two hours had passed when the workshop ended. The lasting effects of interacting with Robyn and taking her class have been a renewed commitment to draw something every week and the return of my excitement about the creative process. And now, I am looking into the next art class to take at TMA!

“When you draw, don’t be a perfectionist or try to impress anyone… your goal should be to get what’s in your brain down on paper.” Robyn O’Neil

Photo courtesty Nikki DaLonzo

DEVELOPMENT

TMA launches new digital membership card Toledo Museum of Art members will now have the option to use a digital membership card to redeem their member benefits when visiting the Museum. The digital membership card is unique to each member and displays your name, membership level, expiration date, and a barcode. Simply show your digital membership card to our staff at the Visitor Engagement Desk, Museum Store, or Museum Cafe to take advantage of your member benefits!

ACCESSING YOUR MEMBERSHIP BENEFITS You can view your membership benefits through your digital membership card by navigating to the back of the card: • Click the small “ ” on the front then tap on the link for membership benefits. • If a family member shares your membership account with you, you can use the “share pass” ( or ) feature to send the card to your secondary member.

NEED HELP It’s easy to update the email address associated with your membership. Please contact us at 419-255-8000 ext. 7432 or membership@toledomuseum.org. More information about the new digital membership can be found on our website: https://www.toledomuseum.org/tma-membership-faq.

Digital membership cards will be sent to the primary email address of every active member. You will need to open this email on your mobile device and follow the instructions to download the card. The digital card will automatically update when your membership information changes. For example, your expiration date and mem bership level will automatically update the next time you renew or upgrade your membership. This means that you only have to download the card once!

DEVELOPMENT

Alternative Ways to Give There are many ways to support the Toledo Museum of Art, all of which help us maintain free general admission, offer engaging public programs, present thought-provoking exhibitions, and provide community outreach programs.

Looking for additional ways to give to your favorite museum? Check out these options to further help strengthen and enhance Toledo Museum of Art for this and future generations:

Scan

Gifts can also be made via cash or check, electronic funds transfer, credit card, or through appreciated securities.

You can also text to donate at any time. A receipt will be instantly provided.

at the Toledo Museum of Art through gift options that can provide for your family and support the future of your Museum. Below are a few of the gift options available to you:

Bequests Gifts made through a will or living trust enable a donor to make a larger gift without impacting his or her financial position during his or her lifetime. Bequests usually specify a percentage or specific dollar amount of the donor’s estate.

Life Insurance Policy

Gifts or pledges can be made in any amount to TMA. Simply scan the code or visit us online at toledomuseum.org/support/ways-to-give.

Text

Create your legacy...

If a donor gives a life insurance policy to TMA, TMA becomes the owner and beneficiary of the policy and the cash value of the policy, as well as any future premiums the donor pays on the policy, are tax-deductible.

Beneficiary Designations Text:

“DONATE2TMA” to 44-321

Corporate Gift Matching Many organizations will financially match donations that their employees make to nonprofit organizations. Several local companies will match, dollar-for-dollar, employee gifts to the Toledo Museum of Art. Ask your human resources office for a matching gift form and increase the impact of your support!

The donor can name TMA as the direct or contingent beneficiary of retirement funds, IRAs, life insurance policies, and other assets. This vehicle, like bequests, allows donors to make a larger gift without impacting his or her current financial circumstances.

Charitable Gift Annuity An irrevocable transfer of cash, marketable securities, or property in exchange for a contract with TMA to provide an income stream during the donor’s lifetime. This vehicle can offer a number of tax benefits to the donor while providing a guaranteed income to the annuitant(s), and provides for a generous gift to TMA.

Give through your IRA You can give any amount (up to a maximum of $100,000) per year from your IRA directly to a qualified charity such as TMA without having to pay income taxes on the money. This popular gift option is commonly called the IRA charitable rollover, and beginning in the year you turn 72, satisfies all or part of your required minimum distribution.

For more information or questions about ways to give to TMA, please contact the Office of Development at 419-255-8000 ext. 7421.

M Y L A G O S M Y W AY

C AV I A R C O L L E C T I O N S

419. 8 82.6994 | w w w.jef f reymannf i nejewele r s.com

PEOPLE

2020 LEONARD T. WAGNER

Guard of the Year Carol LeDuc

has been voted the 26th winner of the Leonard T. Wagner Guard of the Year award. This award was created in memory of one of TMA’s most beloved guards, Leonard T. Wagner, by his family. Since the mid-1990s, it has been awarded to the Museum guard who best demonstrates and embodies the qualities of leadership, professionalism, courtesy, enthu siasm, and cooperation with coworkers.

With more than fifty eligible nominees for the award, receiving the most staff votes to win it is truly an honor. Carol’s name will be added to the TMA Leonard T. Wagner plaque. She will also receive a monetary award for her achievement. Carol expressed her feelings about receiving this honor and shared some of her favorite activities:

What does it mean to you to have been selected as the Toledo Museum of Art's 2020 Guard of the Year? “Being selected Guard of the Year for 2020 is truly an honor and a blessing! It was completely unexpected for me as I feel so many other of my fellow Protective Services family are equally deserving. I promise to do everything in my power to live up to this honor, and what this award stands for. I confess that when I received word that I had been chosen Guard of the Year my emotions got the best of me, and I could not stop the tears—thankful and happy tears.”

What do you like most about your work at the Museum? “It is a great privilege to work with such a wonderful group of coworkers. I love the way everyone works so well together while looking out for each other's needs. I learned early on in my employment at TMA exactly how deep the compassion goes for one another when my heart was broken over the loss of my oldest granddaughter. I have made so many wonderful and close friendships throughout the Museum that I will cherish always. In my mind, we are not only employees who work side-by-side under the fair, understanding, and strong leadership of our fantastic director, Adam Levine, as well as the most amazing supervisors I could ever ask to work for—Risa, Shawn, Phil, and Richard. We are co-workers, we are family, and we are friends. Together we welcome, we interact with, and we protect the safety of each and every one of the visitors to our beautiful Museum who come to appreciate and enjoy our priceless treasure of artwork.”

Tell us about your hobbies and special interests. “My greatest pleasure is spending time with my wonderful family and dear friends. I am very much a people person. I have belonged to a bunco club, which I helped start, for 48 years. I more recently joined the Bavarian Sports Club. Spending time outdoors, especially walking and playing in the park with my great-grand babies, is a great joy for me. My oldest great-grandson has strolled around the Sculpture Garden with me several times. I enjoy trying out new recipes. Family dinners, which always include my kids' favorite—mom's cheesecake—is my great joy.”

Do you have a favorite work of art in the collection? “I love so much about the priceless treasures of the Museum and the Glass Pavilion. However, I am partial to the beautiful Agony in the Garden painting by El Greco. Its meaning touches my heart deeply. One of my favorite places to work is where I can stroll around the beautiful, serene Cloister Gallery and think of how many religious and devout people spent time meditating between these arcades.”

PHOTOS: TMA 2020 Leonard T. Wagner Guard of the Year recipient, Carol LeDuc, in the Glass Pavilion. Domenikos Theotokopoulos, called El Greco (Greek, active in Spain, 1541–1614), The Agony in the Garden (detail). Oil on canvas, about 1590–95. 54 1/2 × 58 3/4 × 3 in. Purchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey, 1946.5 The Cloister Gallery that houses the medieval collection is made up of arcades (rows of arches supported by columns) that originally formed part of the central courtyards, or cloisters, of medieval French and Spanish monasteries or churches. The Cloister Gallery includes covered walkways, a flagstone floor, and special lighting to create the impression of the evening sky overhead.

by Nancy Cooke, TMA Public Relations Specialist

PHOTOS: Bradley Piri

PEOPLE

n 1978, Suzanne Hargrove knew exactly what she wanted to do. A plane ticket to New Mexico was in her purse, and the decision to become an archaeologist was in her mind. In a matter of days, she planned to leave her hometown of Baltimore, Maryland, in pursuit of that dream—until an Egyptian god stopped her…

If you ask Suzanne Hargrove how she first became interested in art conservation, her answer is equally practical and mystical. Her mother supplied the practical part—advising that she should first find out whether one could make a living with art conservation as a career plan. Heeding her advice, she went to The Walters Art Museum to investigate—to see an art conservation lab and ask questions. While she was waiting for her appointment to begin, she noticed a small silver figurine of an Egyptian god (Amun-Re) on a table with several Grecian ceramics nearby. That small silver figurine (whose name means ‘hidden one, mysterious of form’) supplied the mystical part of her story. Suzanne says, “In that very moment, I knew that I wanted to do this work—there was such a powerful connection made between the creator of that figurine and myself that day. Although I had already purchased my plane ticket to New Mexico, I knew that I had found my true calling. I canceled my previous plans and stayed in Maryland, where I found my first art museum internship.”

Whenever I walk around an art museum or art show, I am continually astounded by what the human hand has accomplished

throughout time.

ABOVE: TMA Head of Conservation, Suzanne Hargrove (left), Kress Conservation Fellow, Marissa Stevenson (middle), and Mellon Fellow, Objects, Emily Cummins (right). OPPOSITE: Egyptian, Amun-Re, about 945–715 BCE. Image courtesy The Walters Art Museum, Baltimore. TMA Head of Conservation, Suzanne Hargrove.

Suzanne’s decision to enter the field of art conservation took her to the St. Louis Art Museum as her first career venue, where she became the Head of Objects Conservation. In 2003, she joined the Toledo. Museum of Art as Head of Conservation. She defines her main goal as providing preventive maintenance for the Museum’s collection, although she and her team also repair, clean, and restore objects. The purpose of art conservation is to prevent the need for repairs, by limiting an object’s exposure to the agents of deterioration. Those agents include excessive exposure to light, extreme temperature, high humidity,

and display case materials. Suzanne says, “In general, the most difficult task is ongoing, in trying to achieve a balance between the conflicting goals of giving the museum visitor a good experience, without compromising the artwork. We take regularly scheduled actions to preserve the longevity of each object. An object must be displayed in ways that protect it from damage and it must be removed from display, occasionally, to protect it from over-exposure to these elements.” Protecting and preserving TMA’s enviable collection is something Suzanne is proud to do, but her eyes sparkle in a different way when she speaks about the other source of her professional pride—mentorship. She will tell you that she is most proud of being a mentor to students who are interested in becoming art conservators, giving them the same support that she received from industry professionals when she

first began her career. The field of art conservation is very difficult to enter—on average, only ten people from a group of 600 annual applicants will be chosen to enter a master's degree program in conservation. Suzanne says, “I am proud to have facilitated paid internships for future conservators and to have helped students get into art conservation programs. Providing opportunities for others benefits the Museum and contributes to launching the careers of students seeking work in art conservation.” It was Suzanne’s dual talent in art and science that led her to being adequately prepared for an art conservation career—and luckily so. A major part of her advice to individuals interested in following in her footsteps is to be fully accredited in both subjects. “You must have a formal education in both art and science. Most art conservation 15

PEOPLE

programs have stringent prerequisites consisting of a combination of art history, studio art courses, and chemistry. In addition, at least two years of hands-on experience working in museums or with private art conservators is required,” she says. “Do all the research that you can, through organizations such as the American Institute for Conservation (AIC) and the Foundation for Advancement in Conservation (FAIC). Go out and talk to art museum conservators, visit labs where art conservation is taking place in museums or with private conservators. Attend career days where art museums are represented. Be dedicated to the profession and ready to commit yourself to it fully.” This spring, Suzanne and her team will open the doors of their conservation world to the public through an innovative and exciting interactive exhibition The Art of Conservation. This unique approach will offer visitors a behind-the-scenes experience, allowing them to watch from the museum’s Canaday Gallery as they perform various types of restorative processes on objects from the collection. Visitors will have the opportunity to ask questions about the field of art conservation and various treatment processes and techniques the conservators use. In this visible conservation lab Suzanne Hargrove, Marissa Stevenson (Kress Fellow, Multi-media textiles), and Emily Cummins (Mellon Fellow, Objects) will repair and conserve a selection of objects including Grecian ceramics, Gee’s Bend quilts, and a multi-figure sculpture. Additional details on The Art of Conservation can be found on the Museum’s website at toledomuseum.org.

What is Conservation?

Conservation is the profession devoted to the preservation of cultural property for the future. Conservation activities include examination, documentation, treatment, and preventive care, supported by research and education. It is practiced by professional conservators, who, through specialized education, knowledge, training, and experience, formulate and implement all the activities of conservation in accordance with an ethical code, such as the American Institute of Conservation code of ethics and guidelines for practice.

Glossary of Conservation Terms Abrasive A material with a rough texture, sometimes added to cleaning solutions, or used alone, to remove corrosion products or to level out uneven surfaces.

Poultice A cleaning system in which a liquid solution is exposed to a surface for a long duration, usually saturated on a cotton pad or in a gel.

Barrier An applied layer that separates original and nonoriginal materials.

Preventive care Procedures and activities, such as climate monitoring and regulation, designed to reduce the deterioration of art objects which do not involve direct treatment.

Clear To apply water to a surface to remove any residual wet cleaning solution. Consolidate To apply an adhesive used to re-adhere surface layers (for example, paint) to the substrate. Documentation The process by which a conservator tracks and records activities through writing and photography. Dry clean To clean surfaces without liquids, usually with a dry brush and vacuum. Examination The process of assessing an artwork to determine current condition concerns and treatment needs. Fill To apply non-original material to areas of loss to compensate for discrepancies in surface level or texture. Inpaint To visually compensate for areas of loss by applying reversible paint/media. Join/bond To adhere separated pieces of an art object back together.

Raking light Light shone across the surface of a painting or object from an angle to assess surface texture/deformations. Restoration Treatment procedures intended to return cultural property to a known or assumed state, often through the addition of nonoriginal material. Reversibility An ethical treatment procedure in which conservation treatments can be undone without causing damage to the original artwork. Solvent A liquid that breaks down solid materials, often used in cleaning solutions. Stabilize To add material to an artwork with the intention of securing loose fragments or compensating for degrading materials. Ultraviolet & infrared Wavelengths of light invisible to the naked eye; used by conservators to detect the presence or absence of certain materials. Wet clean To clean surfaces with a liquid solution, usually via a cotton swab and/or bath.

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PEOPLE

PHOTOS: Bradley Piri

PEOPLE

“My biggest reward is going into a gallery for the first time and seeing the results of what everyone has done.” Janet Rhodes, Exhibitions Supervisor

Janet Rhodes is a woman of many talents, and working as the Exhibitions Supervisor for the Toledo Museum of Art has given her a place to use them all. At the heart of her skillset is a finely tuned knowledge of project and database management. As the former photo editor for Food Network and Cooking Channel, she mastered digital asset management administration. Much of her experience in digital asset management systems was obtained at the New York Public Library, where she served as digital curatorial assistant. Janet says, “I’ve worked in project management at a variety of institutions and each position has been in support of the arts, so entering into the museum world was a natural next step. I love being able to apply my background in project management to areas that are new to me and that come with the opportunity to expand my knowledge of the arts.” The pandemic put immense pressure on her role as planned exhibitions and those already in galleries were paused. The closure of museums slowed down previous plans, necessitated contract renegotiation and generally put the entire sector in “wait-and-see” mode. Janet managed all of those issues with what she labels as her most valuable skills: “I am very organized and I can multitask, problem-solve, stay calm, and be flexible,” she says.

JANET RHODES

Behind the Scenes of TMA Exhibitions by Nancy Cooke, TMA Public Relations Specialist

PEOPLE

“Putting together an exhibition involves every department of the Museum and can take a year or two of planning...” The Toledo Museum of Art has hosted an average of nine exhibitions over the past four years, generating a broad array of tasks that take place behind the scenes. “Putting an exhibition together involves every department of the Museum and can take a year or two of planning (or longer!) before an exhibition idea becomes the show you see in the galleries,” adds Janet. “My ultimate goal as Exhibitions Supervisor is to ensure that the planning process allows every department the time and resources to dream as big as they want when putting an exhibition together. With an optimal environment for creation, we can produce exhibitions with big impact.” Some exhibitions are particularly challenging and require even more strategic planning. The two most difficult shows Janet has ever encountered were Radical Tradition: American Quilts and Social Change and Telling Stories: Resilience and Struggle in Contemporary Drawing. These exhibitions were on display simultaneously this winter at TMA. Janet noted that preparing two exhibitions at the same time was very difficult, and that the scale of the pieces and volume of loan requests for both shows added to that challenge. 20

In the end, all the hard work pays off for Janet. She says,“My biggest reward is going into a gallery for the first time and seeing the results of what everyone has done. I am looking at things on paper the whole time, but the visual aspect of exhibitions impacts me most. I take pride in the work coming together and watching its final completion in the gallery.” Outside of the Museum, Janet also leads an exciting life. Music is a big part of her world. She says, “I play multiple instruments and while living in New York, I was an original cast member of an Off-Broadway musical.” Her advice to those who may be interested in pursuing museum exhibitions as a career is to “network, network, network. Just like in any other field, who you know can greatly help with getting your foot in the door.”

TOP: Exhibitions Supervisor Janet Rhodes in Wayne Thiebaud 100: Paintings, Prints and Drawings, Feb. 6–May. 2, 2021. MIDDLE: Installation view, Telling Stories: Resilience and Struggle in Contemporary Narrative Drawing, Nov. 21, 2020– Feb. 14, 2021. Photo: Madhouse BOTTOM: Visitors in Radical Tradition: American Quilts and Social Change, Nov. 21, 2020–Feb. 14, 2021.

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PEOPLE

Toledo Museum of Art

GEORGE VIDAS

47th Guest Artist Pavilion Project (GAPP) artist in residence Detroit-based neon artist George Vidas has been selected as the 47th Guest Artist Pavilion Project (GAPP) artist in residence at the Toledo Museum of Art (TMA). Vidas' residency took place from Feb. 22 through March 17, where he gave a free Zoom artist’s talk. GAPP invites contemporary artists from around the world to create new work in glass and share their processes with the public. A graduate of Alfred University, Vidas shared his artistic practice in relation to glass and neon as a means for creative expression during his lecture. “George Vidas has an impressive creative background in neon art and we are excited to debut our new neon studio by inviting him as our 47th resident artist,” said Alan Iwamura, glass studio manager at the Toledo Museum of Art. “TMA helped him explore new and innovative approaches that crossed multiple glass studios here in the Glass Pavilion, during his GAPP residency.” Vidas has worked professionally in the arts and is the proprietor of Signifier Signs in Detroit, Michigan. He earned a Bachelor of Fine Arts degree from Alfred University in 2010 and has contributed to creative education programs at Pilchuck Glass School in Stanwood, Washington, and Stone Quarry Hill Art Park in Cazenovia, New York. Since its opening in 2006, the Glass Pavilion has uniquely combined its role as the home of one of the world’s great glass collections with its place as a working glass studio, born from Toledo roots. As the birthplace of the Studio Glass Movement, Toledo continues to play a pivotal part in today’s contemporary glass community. A large part of that influence comes from its ongoing effort to develop and provide new avenues for artists to create works from glass, which now includes neon sculpture. GAPP highlights the unique nature of the Glass Pavilion by encouraging experimentation with glass in innovative ways. Specifically designed to encourage resident artists to utilize or respond to the TMA 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.

TOP: 47th Guest Artist Pavilion Project artist in residence George Vidas. Photo courtesty Bree Gant. ABOVE: George Vidas, The Rat Race. Neon, motion sensor, controller, transformers, plywood, 2018. Photo courtesy PD Rearick.

GAPP artists have the opportunity to create works of art utilizing the outstanding studio facility at the Glass Pavilion, to receive technical assistance from Museum staff, to have uninterrupted time to create artwork, and to benefit from the wide-ranging expertise in various glass-making techniques present within the community.

PEOPLE

Master classes in glass return to the Toledo Museum of Art this summer

Ufuoma Ogbemudje chosen as TMA curatorial intern

Master classes in glass will be taught again this summer at the Toledo Museum of Art. The series of seven classes represent internationally recognized artists teaching a variety of techniques, ranging from basic flameworking to complex form creation. Participants will learn glassblowing, glass casting, fusing, hot sculpting skills, and neon art. Many of the classes are open to artists of all skill levels, but some require intermediate or advanced experience.

Ufuoma Ogbemudje has been selected as the Souls Grown Deep Foundation curatorial intern at the Toledo Museum of Art, a program sponsored by the Souls Grown Deep Foundation (SGDF). Ufuoma will have the opportunity to experience working with a collection of art created by African American artists from the southern United States, recently acquired by TMA through SGDF. The foundation is a nonprofit organization working to document and promote the art of African American artists from the Southern United States. He says, “I believe it is extremely important that these artists are appreciated through both the Souls Grown Deep Foundation and the Toledo Museum of Art, as it gives this art the attention it deserves and showcases that art can be practiced—and beautiful—outside the conventional means of what we are used to, especially since the work is inspired by the Black American experience.”

Each class will run for one week, Monday through Friday, from 9 a.m. to 5 p.m. Lunch will be provided. Classes are limited to four students and scholarships are available. Museum members will receive a discount on class fees. To register for a master class in glass, visit toledomuseum.org/master-class or call 419-254-5080.

Artists participating in the master class workshops include: Kit Paulson A Simple Framework: Structural Flameworking May 10–May 14, 2021 Adam Holtzinger Hot Shop: Less is More June 7–11, 2021 Alli Hoag Kiln Casting: Glass Taxidermy June 7–11, 2021 Nicole Chesney Material Support/Light and Shadow: Painting and Drawing on Plate Glass July 12–16, 2021 Gianni Toso Flameworking: The Language of Glass July 12–16, 2021 Leo Tecosky Hot Shop: Redesign, the Decorative Surface Aug. 9–13, 2021 Mark Naylor, PhD. Neon: Explorations in Light Aug. 9–13, 2021

Ufuoma, a native of Lagos, Nigeria, is a an undergraduate at the University of Toledo, majoring in film with a minor in Art History. He is one of three students in the nation who were selected to participate in the SGDF internship program this year.

“

Being chosen for this opportunity means that the Museum has placed a lot of trust in me. It is a wonderful opportunity to learn the process of exhibitions and to interact with art.

”

Ufuoma Ogbemudje, Souls Grown Deep Foundation Curatorial Intern

Photo courtesty Daniel Miller

PEOPLE

JESSICA S. HONG chosen as TMA curator of

modern and contemporary art

“

Building on the Museum’s distinguished legacy and renowned collection, I am excited to shape a dynamic modern and contemporary program as part of its integrative campus that expands artistic, historical and cultural dialogues to reflect the multifaceted world we live in...

”

Jessica S. Hong

The Toledo Museum of Art welcomes Jessica S. Hong as curator of modern and contemporary art. Hong's appointment began on March 15, 2021. In this role, Hong manages the modern and contemporary art collection and helps broaden the discourse around global and contemporary art. “We are thrilled to have Jessica join our growing curatorial team,” said Adam Levine, the Edward Drummond and Florence Scott Libbey director of the Toledo Museum of Art. “Her breadth and depth of knowledge is distinguished, and her commitment to engaging modern and contemporary works with the Museum’s historical collection make her the perfect fit. Jessica understands that the past and present are not separate terrains—they intersect and constantly redefine each other— and her addition to our team will help us tell new stories through our collection and expand the canon of art history.” “Especially given these unprecedented and challenging times, it is an honor and privilege to join the esteemed team at the Toledo Museum of Art and embark on this new role as curator of modern and contemporary Art with TMA,” Hong stated. “Building on the Museum’s distinguished legacy and renowned collection, I am excited to shape a dynamic modern and contemporary program as part of its integrative campus that expands artistic, historical, and cultural dialogues to reflect the multifaceted world we live in. Moreover, I am delighted to call Toledo my new home. With TMA’s emphasis on teaching visual literacy and deep commitment to its communities, I look forward to collaboratively exploring the transformative possibilities that the arts can inspire to help build toward more equitable and generative futures for our communities and beyond.” Hong’s many professional accomplishments include being the first to fill the role of associate curator of global contemporary art at Dartmouth’s Hood Museum of Art on the occasion of the museum’s major expansion by leading architects Tod Williams and Billie Tsien. In this inaugural position at the HMA, she spearheaded the contemporary art program with a global purview and perspective that moves beyond the colonial geopo litical frame of the “global” to one that is expansive and intersectional. Prior to the Hood Museum, Hong was assistant curator at the Institute of Contemporary Art/Boston (ICA). At the end of her tenure, she simultaneously organized Arthur Jafa’s first Boston presentation featuring his acclaimed film installation Love Is the Message, the Message Is Death and the ICA’s presentation of We Wanted a Revolution: Black Radical Women, 1965–85, the groundbreaking exhibition originally organized by Rujeko Hockley and Catherine Morris for the Brooklyn Museum, focusing on the cultural production of women of color during the second-wave feminist movement. Before her time at the ICA, Hong was part of the newly launched Division of Modern and Contemporary Art at the Harvard Art Museums. She managed numerous exhibitions and corresponding publications including Everywhen: The Eternal Present in Indigenous Art from Australia. Working alongside Dr. Stephen Gilchrist, this was the first exhibition in over 25 years to prominently feature contemporary Indigenous Australian art in the United States. Hong received her Master of Arts with Distinction in art history from the Institute of Fine Arts, New York University, and a Bachelor of Arts in art history from Barnard College, Columbia University, graduating cum laude and achieving departmental honors.

PEOPLE

“

I am excited and honored to continue this tradition of curatorial excellence ... and to assist the Museum in recontextualizing the narratives it presents using this splendid artistic legacy from the ancient world.

”

Carlos A. Picón

Photo: Bradley Piri

The Toledo Museum of Art has appointed Carlos A. Picón as consulting curator of ancient art. Picón joins the Museum from the distinguished Colnaghi art gallery (founded in 1760) where he launched their ancient art practice in 2017. “Carlos is best known for serving as the curator-in-charge of the Greek & Roman Art Department of the Metropolitan Museum of Art in New York for nearly three decades, prior to which he built the San Antonio Museum of Art’s ancient art collection into one of the finest in this country,” said Adam Levine, Edward Drummond and Florence Scott Libbey President, Director and CEO of the Toledo Museum of Art. “His contributions to the Museum will help broaden the narrative of art history.”

CARLOS A. PICÓN chosen as TMA consulting curator of ancient art

Picón has earned the reputation of being a consummate authority on classical and ancient art. He is credited with acquiring iconic artworks for the Metropolitan Museum of Art and for being a prolific fundraiser for numerous galleries. “The collection of classical antiquities at the Toledo Museum of Art— assembled over the years with great care and expertise—is distinguished by the extraordinary quality of its holdings,” stated Picón. “I am excited and honored to continue this tradition of curatorial excellence under the able directorship of Adam Levine, and to assist the Museum in recontextualizing the narratives it presents using this splendid artistic legacy from the ancient world.” A native of San Juan, Puerto Rico, Picón holds a Bachelor of Arts in classical and Near Eastern archaeology from Bryn Mawr College and Haverford College, and a Master of Arts and doctorate from the University of Oxford, in classical archaeology.

MUSEUM STORE = LOCAL ARTIST

10 8

1. Little Dreamers: Visionary Women Around the World, by Vashti Harrison, $17.99 2. Antiracist Baby Picture Book, by Ibram X. Kendi, $8.99 3. The Proudest Blue: A Story of Hijab and Family, by Ibtihaj Muhammad, $17.99

13. John Austin Kinnee, Pride (In the Nature of Love), Mixed Media, $750 14. Mark Wagar, Swimmer, Glass, $395 15. Debra Buchanan, A Piece of the Way Home, Charcoal, $2900

4. Something Happened in Our Town: A Child's Story About Racial Injustice, by Marianne Celano, $16.99

16. Kay Weprin, Rhythm Blues, Mixed Media $750

5. The Magic Doll: A Children's Book Inspired by African Art, by Adrienne Yabouza, $14.95

17. Toledo Museum of Art Scarf, $50

6. Hans Ruebel, Fire Poker, Steel $30 7. Grey Bobwhite Bowtie, $195 8. Keith Haring Coin Bank, $25 9. Limited Edition Judy Chicago Butterfly Facemask, $40 10. Jenny Gorkowski Jewelry, Necklaces starting at $80 11. Science Fiction Ellipse, Horizontal Mobile, $255

12. Wonder Woman Bingo, $19.99

18. Chad Lacy, Bird Composition, Glass and Steel Sculpture, $1,900 19. Mark Wagar, 3rd Generation Cylinders, Glass, $250 each 20. TMA Exclusive Specialty Tea, “Let it be Calming,” $17.95 21. Keith Haring Candle, $60

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EXHIBITIONS Through May 2, 2021

Levis Gallery and Gallery 29A

A sweeping retrospective of a legendary American artist’s career, Wayne Thiebaud 100: Paintings, Prints and Drawings opened at Toledo Museum of Art on Feb. 6, and will be on view through May 2, 2021. In celebration of Thiebaud’s 100th birthday in 2020, the exhibition brings together works from the Crocker Art Museum in Sacramento, California, as well as works from the Thiebaud family, many of which have never been publicly on view. Known primarily for his colorful and captivating depictions of cakes and desserts, Thiebaud has also explored still lifes, figural studies, landscapes, and urban environments. Wayne Thiebaud 100 is curated by Scott A. Shields, associate director and chief curator at the Crocker Art Museum, which has collected the artist’s work since early in his career. “Wayne Thiebaud’s works are a visual feast and highly accessible, which means they will appeal to audiences of all ages,” said Diane C. Wright, senior curator of glass and contemporary craft. “Yet when you look closely at Thiebaud’s paintings, prints, and drawings, you see that they are so much more than realistic depictions of food and everyday scenes. They are layered with his personal interpretations and feelings about the human influences on objects and places that might otherwise be ordinary, but in his hands become something more.” The Crocker Museum has hosted a Thiebaud exhibition every decade, beginning with the artist’s first solo show in 1951. Drawing on the Crocker’s extensive Thiebaud holdings, Wayne Thiebaud 100 show cases the full range of his work in painting, prints, and drawings. The Toledo Museum of Art holds two popular food works by Thiebaud in its collection: the painting Roast Beef Dinner (Trucker’s Supper) and the print Candied Apples.

The Museum Store EXHIBITION CATALOG Wayne Thiebaud 100: Paintings, Prints, and Drawings $50

ABOVE: Wayne Thiebaud, Park Place (detail), 1995. Color etching hand-worked with watercolor, gouache, colored pencil, graphite, and pastel, 29 9 ⁄ 16 x 20 3/4 in. (sheet/ image). Crocker Art Museum, gift of the Artist's family, 1995.9.50. © 2020 Wayne Thiebaud / Licensed by VAGA at Artists Rights Society (ARS), NY.

Pies, Pies, Pies, one of Thiebaud’s most iconic works, is emblematic of the style he is most known for; a familiar dessert laid out tantalizingly on a diner counter. It showcases his fascination with the human-made; each slice of pie has been meticulously processed and manipulated to tempt us to enjoy it. But Thiebaud also explored still lifes of single objects, like his Watermelon with Knife, which differ greatly from more traditional, multi-object still lifes. In his depictions of human figures, like Betty Jean Thiebaud and Book, Thiebaud stays closer to the realism of his subject yet still layers his interpretation of time and personal history onto the figure. His city scenes, which he conceives through an assembly of sketches that he combines into fully realized paintings and prints, showcase intimate details that imply human presence and impact, rendering what could be a scene of isolation into something deeper. Wayne Thiebaud 100: Paintings, Prints and Drawings is organized by the Crocker Art Museum, Sacramento, California. The exhibition is sponsored locally in part by 2021 Exhibition Program Sponsors Taylor Cadillac and ProMedica, with additional support from the Ohio Arts Council, the TMA Ambassadors, and the Rita B. Kern Foundation.

“

... when you look closely at Thiebaud’s paintings, prints, and drawings, you see that they are so much more than realistic depictions of food and everyday scenes.” Diane Wright, Senior Curator of Glass and Contemporary Craft

EXHIBITIONS

ON VIEW Through Aug. 29, 2021

The Art of Conservation Canaday Gallery Often conservators’ work is done behind closed doors, hidden from public view as they treat artworks to ready them for display or loan. Now you will have the chance to see the TMA conservation team working in a visible, conservation lab in Canaday Gallery, where they will be treating works that have been affected by time, human use, and previous repair. Visitors will have the opportunity to ask questions about current treatment projects, the field of conservation, and collections care. Join the conservators as they treat and repair Marisol’s multi-figure sculpture The Party, an ancient Greek ceramic piece, quilts by the African American quilting community of Gee’s Bend, and many other artworks from the TMA collection. The Art of Conservation is sponsored in part by 2021 Exhibition Program Sponsors Taylor Cadillac and ProMedica, with additional support from the Ohio Arts Council and the Samuel H. Kress Foundation.

Opened March 27, 2021

Chameleon Effects: Glass (Un)Defined Wolfe Gallery Mezzanine Chameleon Effects: Glass (Un)Defined brings together historical and contemporary works from the Toledo Museum of Art’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. Chameleon Effects: Glass (Un)Defined is sponsored by 2020 Exhibition Program Sponsors Taylor Cadillac and ProMedica, with additional support from the Ohio Arts Council.

TOP: Conservation Fellow Emily Cummins in the Art of Conservation. Photo: Bradley Piri LEFT: Kim Harty, Old Venetian Glass (detail), 2013. Framed digital print, 47 3/4 × 54 1/4 in. Toledo Museum of Art, Winthrop H. Perry Fund, 2020.3

EXHIBITIONS

UPCOMING

Apr. 24–Jul. 25, 2021

Rare and Wondrous: Birds in Art and Culture, 1620–1820 Gallery 18 Corresponding with an age of exploration, co lonialism, and the rise of the great European trading companies—including the West African slave trade—intense interest in natural history and attempts to classify and categorize it grew as specimens of plants, insects, shells, mammals, and birds were collected from around the world and brought back to Europe. In particular, ornithology, the study of birds and their classification, made great strides in the 1700s with many lavishly illustrated studies being published during the century. But naturalists were not the only ones fascinated by these exotic birds. Monarchs and aristocrats collected them in cabinets of cu r iosities and menageries, artists painted them, moralizers found symbolic meaning in them, and women wore their feathers as accessories. This exhibition highlights images of exotic birds in art primarily from the 17th and 18th centuries that show how they became the objects of scientific inquiry, of popular interest, of status, and even of household decoration and personal adornment. Rare and Wondrous: Birds in Art and Culture, 1620–1820 is sponsored by 2021 Exhibition Program sponsors Taylor Cadillac and ProMedica with support from the McLoughlin Family Foundation and the Ohio Arts Council.

Launches June 19, 2021

The Museum Store

EXHIBITION CATALOG Rare and Wondrous: Birds in Art and Culture, 1620–1820 $19.95

Online Exhibition

Out of the Dark: A Historic Journey Juneteenth commemorates the end of slavery in the United States. While the Emancipation Proclamation was issued on January 1, 1863; the 13th Amendment of the Constitution, legally ending slavery, was passed by Congress on January 31, 1865, and the surrender of the Confederate Army at Appomattox, VA happened on April 9, 1865; it took until June 19, 1865 for enslaved African Americans in Texas to learn of their freedom. Celebrations date to 1866 honoring this significant milestone in U.S. history. Despite the long and storied history of Juneteenth, the holiday remains largely unheralded outside of the African American community. The Toledo Museum of Art has some experience hosting Juneteenth celebrations, but has not done so in over a decade. For summer 2021, 156 years after the original Juneteenth, TMA is presenting an online exhibition of works of, by, and about Black Americans and the Black experience as a means of commemorating this date. For summer 2021, TMA has engaged the Toledo Black Artist Coalition to curate an online exhibition of works from the Museum’s collection commemorating this important date. TOP: Mathurin-Jacques Brisson (French, 1723–1806), author; François-Nicolas Martinet (French, 1731–about 1804), artist, Blue-and-Yellow Macaw, Plate 20 (detail) from Ornithologie (Ornithology), Vol. 4. Hand-colored engraving, 1760. Toledo Museum of Art Mrs. George W. Stevens Fund, 2019.18d RIGHT: Romare Howard Bearden (American, 1911–1988), Family Dinner (detail), 1968. Collage on masonite, 30 1 ⁄16 x 39 15⁄16 in. Toledo Museum of Art, Purchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey, 1992.17

The “supernatural” and “paranormal” refer to experiences and phenomena beyond scientific explanation that suggest an order of existence beyond the visible and observable universe and that appear to transcend the laws of nature. The source might be an invisible or uncanny agent (e.g. a ghost or extraterrestrial intelligence) and affects those experiencing the phenomena emotionally and physically. The experience may confuse the witness about whether their body or something outside of it is the source of mysterious phenomena; they might also feel their body is a portal through which to channel another entity, as in possession or mediumship. This complex and multifaceted subject has beguiled American artists for centuries, and it remains compelling today.

Supernatural America: The Paranormal in American Art is organized by the Minneapolis Institute of Art and has been made possible in part by the Terra Foundation for American Art, the National Endowment for the Humanities, and the National Endowment for the Arts. Any views, findings, conclusions, or recommendations expressed in this exhibition do not necessarily represent those of the National Endowment for the Humanities. The exhibition is sponsored locally by presenting sponsors Susan and Tom Palmer, and 2021 Exhibition Program Sponsors Taylor Cadillac and ProMedica, with additional support from the Ohio Arts Council.

A A S A M E R I C A

Supernatural America: The Paranormal in American Art is the first museum exhibition to broadly examine the relationship between American artists and the supernatural. Featuring well-known artists together with many who have been overlooked, the exhibition is interdisciplinary, multicultural, and multimedia. It includes many generations of artists active in the United States from diverse faith traditions working with a wide range of topics and approaches. From the Salem Witch Trials to the Legend of Ichabod Crane; the 1848 spirit rappings famously reported by Kate and Maggie Fox to William Mumler’s spirit photographs; the scientific pursuit of parapsychology to innumerable personal and official government reports of U.F.O.s (unidentified flying objects), American culture is filled with tales of the supernatural and accounts of paranormal experiences.

IMAGES: (top to bottom) Agatha Wojciechowsky, (American, born Germany, 1896– 1986), and Spirits. Untitled, 1963. Watercolor and crayon on paper, 11 3/4 × 8 7⁄ 8 in. Collection of Steven Day, Courtesy the Artist’s estate and Day Art Consulting LLC. Photo: Steven Day

John Quidor, (American, 1801–1881), The Headless Horseman Pursuing Ichabod Crane, 1858. Oil on canvas, 26 7⁄ 8 × 33 7⁄ 8 in. Museum purchase made possible in part by the Catherine Walden Myer Endowment, the Julia D. Strong Endowment, and the Director’s Discretionary Fund, 1994.120 Smithsonian American Art Museum, Washington, DC. Photo: Smithsonian American Art Museum / Art Resource, NY

Marvin Cone, (American, 1891–1965), Anniversary, 1938. Oil on canvas, 18 × 16 in. Museum purchase, Art

Advancement Fund with gift of Winnifred Cone, 82.10.3. Cedar Rapids Museum of Art, Cedar Rapids, IA. © Estate of Marvin Cone

Macena Barton, (American, 1901–1986), Untitled (Flying Saucers with Snakes), 1961. Oil on canvas, 28 × 36 in. M. Christine Schwartz Collection. Photo: Michael Tropea, Chicago, IL © Estate of Macena Barton

U N I V E R S E S

Levis Gallery and New Media Gallery

A broad range of artists has engaged this subject matter, which often grew out of their personal experience, religious practices, and scientific pursuits. Spanning a chronology of the early 19th century through the present, Supernatural America includes approximately 160 objects. It emphasizes painting at its core, but also includes drawings, sketchbooks and journals, prints, photographs, furniture, clothing and textiles, video, and other objects (scientific instruments and mediumistic/ occult paraphernalia, including Ouija boards and planchettes).

P L U R A L

June 12–Sep. 5, 2021

A P P A R I T I O N S

UPCOMING

H A U N T E D

P L A C E

C H A N N E L I N G

S P I R I T S / R I T U A L

EXHIBITIONS

[TK - AD: JOHN FRANKEL DENTIST]

CALENDAR 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 museum experience is yours to create and we look forward to you joining us.

Educator Workshops Enrich your teaching practice through workshops that explore intersections between Visual Literacy and core curriculum. Throughout the year, the Museum offers a variety of professional development opportunities for preK-16 educators. K–12 Teacher Professional Development:

Art & Biology

TO EXPLORE CURRENT PROGRAM OFFERINGS, VISIT TOLEDOMUSEUM.ORG.

Thursday, May 6, 2021 4–6 p.m. Early Childhood Teacher Professional Development:

ABC's of Art: B is for Birds Thursday, May 20, 2021 4–5:30 p.m.

Family Art Club

tickets.toledomuseum.org

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:

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

Glass Art Workshops Glass Casting This DIY workshop is a great way to create your own unique piece of glass art. Once your kit is shipped, simply follow the instructions to model the clay, let it air dry and send it back to the Museum using the provided shipping materials. We’ll cast your piece in clear glass and send it right back to you. Apr. 3, 9, 17, & 24

$50 members $60 nonmembers Register at:

tickets.toledomuseum.org

CALENDAR

Art Classes

Glassblowing Demonstrations

Painting, flameworking, jewelry and more!

Wednesdays–Sundays: 2–3 p.m.

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

Glassblowing demonstrations take place outside in the Glass Pavilion Courtyard (weather permitting).

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.

Glassblowing Demonstrations are sponsored in part by

toledomuseum.org/education/classes

Children's Summer Camps June 7–July 30 (Ages 6-13) School-age students may enroll in three session options: morning, afternoon or a day-long combination of both. A supervised lunch space is provided for students enrolled in the entire day but students must bring their own food and drinks. Extended care for the hour following the end of class is also available for an additional charge and can be added during registration. All campers will receive a TMA summer camp t-shirt.

Registration Closes: May 21, 2021 Questions? Contact classes@toledomuseum.org

toledomuseum.org/education/classes

We are back with a new Spring/Summer menu. We look forward to seeing all of our patrons at the Museum once again.

The Museum Café

IS BACK! Sandwiches $10

With goat cheese and asparagus

ROASTED VEGGIE MEDLEY

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

PAN-FRIED WALLEYE BLT

MOJITO CRAB CAKE

White rum, lime, mint, and coconut with bell pepper, onion, lettuce, and mojito vinaigrette

GRILLED STEAK & MUSHROOM

$12

$11

Cheddar, onion, banana pepper, and peppercorn aioli

AVOCADO CHICKEN

Onion, bell pepper, mushroom, lettuce, tomato, goat cheese, and peppercorn aioli

Artichoke, spinach, onion, mozzarella, parmesan, and lemon-basil pesto

$10

SWEET PEAR CRUNCH

$10

GRILLED JUMBO HOT DOG

ITALIAN BREAD CHEESE PIZZA

ITALIAN BREAD PEPPERONI PIZZA

Chopped leaf lettuce topped with seasoned grilled chicken, avocado, cucumber, tomato, onion, bell pepper, mushroom, parmesan cheese, and honey balsamic vinaigrette

CHEESEBURGER

GRILLED THREE CHEESE SANDWICH

MOJITO CRAB SALAD

With lettuce, TMA pickles, and choice of side

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

$11

$12

SMOKED SALMON WITH SAFFRON ORZO $12 Warm smoked filet of salmon with saffron orzo, golden raisins, pistachios, fresh baby kale, and sage vinaigrette

$4.50 | $6.50 $8

Grab n’ Go $12 price varies

GRILLED CHICKEN GARDEN SALAD MOJITO CRAB ROLL

Sweets COOKIE

S’MORES SUNDAE

LEMON TART

KEY LIME AND COCONUT CAKE

Marshmallow ice cream topped with chocolate and graham cracker crumble

Soup SOUP OF THE DAY

With choice of side

With lettuce, TMA pickles, and choice of side

Our mojito crab salad with white rum, lime, and mint on a bed of fresh spinach with bell pepper, onion, coconut, and mojito vinaigrette

CUP OF SOUP AND HOUSE SALAD

Specials CHEF'S SPECIAL OF THE WEEK

Kid’s Menu

GRILLED CHICKEN GARDEN SALAD

$13

With lemon-basil pesto

BURGER OF THE WEEK

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

Salads

SWEET PEAR & PROSCIUTTO

ITALIAN GRILLED CHICKEN

CAFÉ HOURS

Candied blueberries and cream Coconut cake with key lime curd and chocolate

Drinks $11 $8

BOTTLED WATER $2 CANNED SODA $2 COFFEE $2 BOTTLED DRINKS $2.50

DOMESTIC BEER $3.50 IMPORTED BEER $5 WINE (RED OR WHITE) $7

Proud to Support the Toledo Museum of Art 2021 Genesis GV80 “Come to Taylor Hyundai and see how the Genesis is creating a whole new genre!” — Steve Taylor

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