arTMAtters: Winter/Spring 2022 by Toledo Museum of Art

Winter/Spring 2022

419-536-6520

www.theopticalshopoftoledo.com

3205 W. Central Ave.

WINTER/SPRING 2022 Volume 18 Issue 1

From the Director

WHAT’S INSIDE

HAPPENINGS From the Director............... 1 Briefs............................... 3 Cloister Reinstallation......... 4 Erin Corrales-Diaz.............. 5 Decentraland..................... 8

PEOPLE Percy Echols II.................. 6 Katie Shelley................... 10 James Burgess................ 18 Grace Toth and Sherris Anne Schwind....... 20

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

EXHIBITIONS Living Legacies................ 24 Current & Upcoming......... 26

CALENDAR...................... 30

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

arTMAtters Staff Director of Brand Strategy: Gary Gonya Feature Writer and Editor: Nancy Cooke Graphic Designer: Ashley Vetter and Mark Yappueying Photography: Robert Cummerow Send comments, questions, or advertising inquiries to: Nancy Cooke at ncooke@toledomuseum.org

Dear All, It is customary at the beginning of a new year to reflect on the year past and look to the future. In 2021 we made major advances in delivering on our strategy, and 2022 features exciting plans, including new ventures shepherded by new voices. In November, we welcomed Gary Gonya as our first Director of Brand Strategy. In this new role, Gary oversees marketing and public relations, visitor experience, special events, the Museum Café and the Museum Store. With more than 20 years of experience in brand strategy, advertising, design, and organizational leadership, Gary will work to shape and manage a memorable and inclusive brand experience for everyone that connects with TMA—onsite, offsite, and online. We also welcomed Erin Corrales-Diaz as our new curator of American art, the first person to hold a curatorial role at TMA dedicated to this area. Erin will steward our renowned collection of art from the Americas and will collaborate with the curatorial team on the reinstallation of the Museum’s galleries, with an aim to broaden artistic narratives and voices, and in so doing, tell a truer and more representative history. Our commitment to updating the Museum for the 21st century also extends to the digital sphere. We are excited to be working with Ian Charles Stewart, who (among other things) is a co-founder of WiReD Magazine and is advising us on the development of digital strategies around emerging Web3 trends. Stewart will consult on TMA’s efforts to engage blockchain technologies and the communities that surround them, including through non-fungible tokens (NFTs) and the “metaverse”; we provided our audience with a first taste of this work in December with the digital experience of our Stan Douglas film Doppelgänger (see page 8). More digital experimentation is planned for this year. Our forays into the digital do not preclude more traditional forms of museum innovation. To that end, the Cloister Gallery was reopened to the public after a year-long conservation and renovation project. The gallery explores themes such as religious plurality and devotion; the legacies of Rome, the role of women in the arts, and cultural interaction and exchange. The reinstallation of this gallery underscores TMA’s strategic interest in expanding the scope and quality of the art on view, in this instance to better reflect a more interconnected and global Middle Ages (ca. 500–1500). We are fortunate to have had the assistance of many members of the community who volunteered their time to help clean the Cloister columns in preparation for restoration. The Cloister Gallery reinstallation was made possible by Dr. and Mrs. John J. Dooner, Jr., with additional support from Taylor Cadillac, Bob Griess and Min Zhing, the Rita Barbour Kern Foundation, and Mr. and Mrs. Michael J. Horvitz. 2022 begins on a high note, filled with excitement and anticipation for TMA staff and visitors. Your support makes this possible, and we are deeply grateful for your continued generosity. Thank you for all you do—I look forward to seeing you at your museum. 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

Brian Chambers

Vice Chair

Sara Jane DeHoff

Vice Chair

Sharon Speyer

Vice Chair

Stephen D. Taylor

Vice Chair

Thomas Winston

Secretary

Pat Bowe

Treasurer

Adam Levine

Edward Drummond and Florence Scott Libbey President, Director and CEO

Patricia O’Toole

Chief Financial Officer Assistant Treasurer

Colleen Barron

Joe Napoli

Allan Block

Susan Palmer

Betsy Brady

Dr. Gregory Postel

Romules Durant

Kiran Rai

Rodney Eason

James J. Secor III

Judith Herb

Dr. Dione Somerville

Mike Hylant

Mike Thaman

Harley Kripke

Cynthia Thompson

David Krock

Margy Trumbull

Rita Mansour

Joaquin Cintron-Vega

Lisa McDuffie

David K. Welles, Jr.

Susan and Tom Palmer

Rita B. Kern Foundation

Shankh Mitra

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

Betsy and Tom Brady Mr. and Mrs. David A. Bryan Cathy and Bill Carroll Carlos A. de Carvalho Judith and Joseph Conda Dr. and Mrs. John J. Dooner, Jr.

MUSEUM HOURS

Carl and Anne Hirsch

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 Majida Mourad 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 Director Selected for Toledo Museum of Art Gary Gonya has been selected as the Toledo Museum of Art’s first Director of Brand Strategy, in a role that will report to the Museum’s director. His appointment began on Monday, Nov. 29. TMA’s strategic plan aims to make the Toledo Museum of Art the model art museum in the United States for its commitment to quality and its culture of belonging. One crucial dimension of implementing the strategic plan is the Museum’s new focus on shaping and managing a memorable and inclusive brand experience. An integrated brand experience requires seeing the world from the view of a diverse community of visitors—anticipating their needs and delivering an encounter that makes people feel invited and fulfilled, inspiring repeat visitation. To accomplish this, the new TMA Brand Strategy Department will integrate internal and external communications, retail, visitor services, and design. “Gary brings a wealth of strategic leadership experience to this new role,” said Adam Levine, the Museum’s Edward Drummond and Florence Scott Libbey President, Director, and CEO. “He has successfully led a number of engagements that redefined and redesigned the organizational purpose, vision, and values for major companies. We are eager and excited to have him share his expertise with us as we expand our mission to become the model art museum.”

Gary Gonya Director of Brand Strategy

“

Gary brings a wealth of strategic leadership experience to this new role. He has successfully led a number of engagements that redefined and redesigned the organizational purpose, vision, and values for major companies. We are eager and excited to have him share his expertise with us as we expand our mission to become the model art museum. Adam Levine Edward Drummond and Florence Scott Libbey President, Director and CEO

In his new role, Gonya will oversee the Marketing and Public Relations, Special Events, the Café, Retail, and Visitor Experience Departments. The Director of Brand Strategy will help TMA engage both local and national audiences, elevate the Museum’s visibility, and raise public awareness of the organization’s mission, values, strategy, and programming. Gonya arrives at TMA with more than 20 years of experience in brand strategy, advertising, design, and organizational culture leadership. He most recently served as the chief strategy officer for Common Good (aka LRXD), a purpose-driven advertising and design agency in Colorado that focuses on health and wellbeing brands. Throughout his career he has provided strategic guidance on award-winning advertising campaigns and design projects for brands such as Volkswagen, Sony PlayStation, TRUTH (anti-tobacco), Fiat, Coca-Cola, The North Face, and Method home cleaning, while serving in leadership roles at agencies such as Sid Lee Toronto, Deutsch LA, CP+B Boulder and, Doner Detroit. Gary spent part of his youth as a Toledo resident, interacting frequently with the Museum, which he found to be a creative refuge and a place of scholarship. He also served as an intern at TMA while an undergraduate. Gonya holds a bachelor’s degree in art history from Amherst College and studied architecture and design theory at the Yale School of Architecture. “This is a once-in-a-lifetime opportunity to integrate my personal history with TMA, my academic interests in art and architecture, and my professional experience—all in service of making the power of art more accessible to our community,” said Gonya. “I believe the Toledo Museum of Art is the pride of Toledo; it’s our heart and soul. We will develop an inclusive brand voice and experience that inspires all people and awakens their connection to the deep human story we all share.”

HAPPENINGS

Toledo Museum of Art

CLOISTER GALLERY

broadens the narrative of the art of the Middle Ages

“

For a curator, a project like the reinstallation of the Cloister Gallery is analogous to a dream project. It has been a great privilege and honor to have the opportunity to tell diverse stories from the Middle Ages using objects from the Toledo Museum of Art’s collection... Sophie Ong TMA Hirsch Curatorial Fellow

PHOTO Spanish, Lusterware Plate with Coat of Arms, about 1370. Tin-glazed earthenware with cobalt and luster. Diam: 17 ¾ in. Toledo Museum of Art, Purchased with funds from the Florence Scott Libbey Bequest in Memory of her Father, Maurice A. Scott, 1954.19

After a year-long conservation and renovation project and a four-month closure, the Toledo Museum of Art’s (TMA) Cloister Gallery reopened to the public on December 18, 2021. In addition to a complete reinstallation of works on view, the project entailed the comprehensive cleaning of the gallery’s three medieval arcades and Venetian wellhead, removing centuries of accumulated dirt; the conservation of three stained-glass windows and works of art that have not been on view in the gallery for decades; and new casework, lighting, and security. The Toledo Museum of Art’s Cloister Gallery is home to one of the finest collections of medieval art in North America. The Cloister project was led by Sophie Ong, the Museum’s Hirsch Curatorial Fellow. “For a curator, a project like the reinstallation of the Cloister Gallery is analogous to a dream project. It has been a great privilege and honor to have the opportunity to tell diverse stories from the Middle Ages using objects from the Toledo Museum of Art’s collection, teasing out the intertwined threads of history, art, and culture to share with our public,” she said. “The Cloister Gallery reinstallation also provided the opportunity to think about areas to expand the narrative through new acquisitions to the collection. We have added four new works that are now installed in the Cloister: a remarkable claw beaker that represents the technical and artistic prowess of glassmakers in the late Roman/early Merovingian world; an Ethiopian icon and psalter (manuscript) that demonstrate Ethiopia’s vibrant artistic culture and the country’s importance in the history of Christianity; and 14th-century Italian reliquary panel with superb examples of late medieval gilded glass.” TMA’s Cloister Gallery represents a unique as semblage of three medieval arcades composed of capitals and columns from different monasteries in southern France. In 1926 TMA’s third director, Blake-More Godwin, envisioned a cloister-like gallery that combined Romanesque and Gothic architecture to display the institution’s nascent medieval collection. The Museum secured its first set of historiated capitals (carved with imagery) from Saint Ponsde-Thomières in 1929, followed by a colonnade possibly from the Cistercian abbey of NôtreDame-de-Pontaut a year later. The gallery was dedicated in 1933, and in 1934 the Museum acquired and installed a third arcade, attributed to the 12th-century Cuxa workshop active in the environs of Perpignan, France.

PHOTO Mamluk Sultanate (1250–1517), Egypt, Mosque Lamp, Glass, blown, tooled on the pontil, enameled and gilded; applied foot-ring and loops for suspension. H. 13 7⁄ 16 in. Toledo Museum of Art, Purchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey, 1933.320

Among the approximately 100 remarkable artworks featured in the space will be a diverse array of sacred and everyday objects from across the medieval world, including a gilded bronze standing Buddha from around 530; Late Antique blown glass vessels with Jewish symbols from Jerusalem; a mosque lamp from Mamluk Egypt; a 13th-century German reliquary embedded with a carved Carolingian rock crystal; frescoes of saints from 12th- and 13th-century Catalonia; ivory caskets with scenes from medieval romances; and a 14thcentury Sultanate Mihrab from India. A publication celebrating the reinstalled and restored Cloister Gallery will be available in spring 2022. The Cloister Gallery reinstallation is made possible by Dr. and Mrs. John J. Dooner, Jr., with additional support from Taylor Cadillac, Bob Griess and Min Zhing, and Mr. and Mrs. Michael J. Horvitz.

HAPPENINGS

Toledo Museum of Art names

ERIN CORRALES-DIAZ new Curator of American Art “

This is an exciting time to join the creative and ambitious team at the Toledo Museum of Art. I believe curatorial work is part of the civic sphere, and I look forward to engaging with local Toledo communities to ensure the Museum is a place for everyone. Erin Corrales-Diaz

Erin Corrales-Diaz began her role as TMA's new Curator of American Art in November 2021. Corrales-Diaz, the first person to hold a curatorial role dedicated to American art at the museum, will steward TMA’s renowned holdings of art from the Americas and will collaborate with the curatorial team on the reinstallation of the Museum’s collections, with an aim to broaden art historical narratives for a more accessible and inclusive experience. “Erin brings fresh and original insights to American art history,” said Adam Levine, the Edward Drummond and Florence Scott Libbey President, Director, and CEO of the Toledo Museum of Art. “Her important perspective will expand our vision of what defines American art. Her voice will add significantly to our growing curatorial team, and we look forward to her contributions to expanding the canon and engaging our community.” “This is an exciting time to join the creative and ambitious team at the Toledo Museum of Art,” Corrales-Diaz said. “I believe curatorial work is part of the civic sphere, and I look forward to engaging with local Toledo communities to ensure the Museum is a place for everyone. It will be an honor to oversee such an incredible collection of American art, with works by Henry Ossawa Tanner, Winslow Homer, and Ralph Albert Blakelock, while expanding and questioning what constitutes American art in this present moment.” Corrales-Diaz’s professional accomplishments include authoring the first major effort to historicize the visual culture of war-related disability, a significant deviation from previous scholarship around the American Civil War, which focused on the death toll. In “Remembering the Veteran: Disability, Trauma, and the American Civil War, 1861–1915,” her Ph.D. dissertation at the University of North Carolina, Chapel Hill, she explored the complex ways American artists interpreted war-induced disability after the Civil War, and how these representations came to embody the overwhelming sense of loss Americans experienced in the war’s aftermath. In her other published writings, she has examined the fashion history of the baseball jersey, N.C. Wyeth’s images of Native Americans, and the gendered color line that exists for women artists and the way their histories are told. She comes to TMA from the Worcester Art Museum in Worcester, Massachusetts, where she served as assistant curator of American art from 2018 to 2021. There she curated exhibitions that included Beyond Midnight: Paul Revere and The Iconic Jersey: Baseball x Fashion.

Erin Corrales-Diaz Curator of American Art

In addition to her Ph.D., Corrales-Diaz completed a Master of Arts in art history from Williams College and a Bachelor of Arts in art history from the University of Washington, Seattle, where she graduated with full college honors cum laude.

PEOPLE

GAPP | Guest Artist Pavilion Project 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 TMA’s continued association with many of the most influential and up-and-coming glass artists in the world through its artist residency program, GAPP (Guest Artist Pavilion Project).

Percy Echols II is a Pittsburgh-based glass artist. Since taking his first class in glassblowing in 2011 at Illinois State University, he has been intrigued by its use as a creative medium. In 2014, Percy attended a plasma light workshop at Pilchuck Glass School (Washington), which led him to his current work on developing a space for exploring neon and plasma sculpture as tools of artistic expression.

at Pittsburgh Glass Center (PBC), Krasl Art Center, MI; Fondazione Berengo, Murano, Italy; BoxHeart Gallery, Los Angeles, CA; Ramp-Arts; Illinois State University, Bloomington. Percy has received many grants and awards for his work, including the Pittsburgh Foundation and The Heinz Endowments for advancing Black Art in Pittsburgh and the Edwin Niemi Metals Scholarship, Illinois State University. He is the curator of the 2021 LIT: Light in Transmission, A Neon and Plasma Light Exhibition at the Hodge Gallery, Pittsburgh Glass Center.

Percy says, “I am a glass artist, but I would consider my practice that of Alchemy, where I combine ideas, materials, and processes to produce new items, expressions, and/or knowledge. For the most part, I try to find intuitive ways to explore ideas. I'm most passionate about Plasma Light Sculpture, a process requiring the technical and artistic expressions of glassblowing with the alchemical and scientific application of electrified gases and specialized equipment that you would also find used in neon.”

Echols created the podcast entitled, Taming Lightning, which he describes as “a series of conversations to help expand our understanding of Plasma and Neon Light, looking beyond its associations with novelty and sign-making and exploring the potential for Noble Gases as an artistic medium—with each guest sharing their unique knowledge and experience.”

Numerous galleries and art centers have featured his work including the Hodge Gallery

He holds a Bachelor of Fine Art degree in studio glass from Illinois State University, Normal, IL.

Red Nimbus, collaboration with Daria Sandburg, 2019flameworked borosilicate Glass, hand-crafted ladders from nichrome wire, neon, krypton, argon, T22-L7020 plasma driver, and power supply. PHOTO ABOVE:

Upcoming GAPP Artists in Residence 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 expressly situated to serve both the educational mission of TMA and to promote greater dialogue within the contemporary glass and contemporary art communities.

APRIL 6–15, 2022

SEPT. 7–16, 2022

Tiff Massey Lecture: April 14, 7 p.m.

Beth Lipman Lecture: July 16, 7 p.m.

GAPP Artist Residency Week of Feb. 2–11

Percy Echols Lecture: Friday, Feb. 11, 7 p.m., via Zoom Visit toledomuseum.org for details.

HAPPENINGS

Toledo Museum of Art Offers Viewers New Experience of Artist Stan Douglas’ Film Doppelgänger in the Metaverse

On Dec. 9, 2021, the Toledo Museum of Art (TMA) launched Doppelgänger in Decentraland, a virtual world that uses the Ethereum blockchain, allowing visitors to attend events such as concerts or art exhibitions as avatars, interact, and purchase digital real estate as NFTs (non-fungible tokens). TMA’s installation offers an immersive new facet of artist Stan Douglas’ acclaimed film Doppelgänger (2019) on the metaverse platform, enabling audiences to unlock a novel experience of the artist’s visionary work. The film itself is on view at the Toledo Museum of Art through May 15, 2022.

sphere. We are excited to be working with Ian Charles Stewart, who (among other things) is a co-founder of WiReD Magazine and is advising us on the development of digital strategies around emerging Web3 trends. Stewart will consult on TMA’s efforts to engage blockchain technologies and the communities that surround them, including through non-fungible tokens (NFTs) and the “metaverse”; we provided our audience with a first taste of this work in December with the digital experience of our Stan Douglas film Doppelgänger (see page 8). More digital experimentation is planned for this year.

Avatars in Decentraland are able to teleport into Doppelgänger and the spaces where critical parts of the film’s narrative unfold. Just as Doppelgänger is inspired by science fiction, the metaverse allows audiences to think beyond physical limitations and imagine new possibilities. Doppelgänger in Decentraland was produced in partnership with the artist, creative development studio Parameta (Hong Kong), and metaverse building firm Polygonal Mind (Barcelona).

Once in Doppelgänger in Decentraland, avatars are immersed in a star field as seen in the film, then teleport into, and move in and out of, its architectural and cosmological spaces, including the meticulously detailed observation room, Alice’s examination room, and mission control. The complex narrative arc is revealed in layers, transitioning be tween the two versions and rewarding multiple viewings. Unlike other projects on Decentraland, Doppelgänger features a highquality sound component that imparts an even greater sense of dimensionality to the scenes.

“We at the Toledo Museum of Art believe it is important to engage emerging experiential opportunities in the digital realm, responding to the shifting currents of contemporary art, culture, and technology,” said Adam M. Levine, TMA’s Edward Drummond and Florence Scott Libbey President, Director, and CEO. “With multiple points of entry and diverse approaches to storytelling, Stan Douglas work ideally lent itself to expand the definitions of materiality and experimentation with this bold new frontier for art making and participation.” Our commitment to updating the Museum for the 21st century also extends to the digital

Doppelgänger employs science fiction as a prompt to understand the temporal intersections and simultaneous realities that exist in our present. The continual mirroring and sense of displacement throughout the film echoes many people’s experiences as immigrants, refugees, or members of marginalized communities, as well as our collective uncertainty 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 subsequent phases of this pandemic, society finds itself confronting a new, unknown reality. “We hope that visitors to Doppelgänger on Decentraland will come away with an enhanced understanding of the film and its relevance, before or after viewing the film installation at TMA, but the virtual offering is also designed to be a stand-alone experience for broader audiences,” said Jessica Hong, TMA’s Curator of Modern and Contemporary Art. TMA’s installation is the first North American museum presentation of Doppelgänger, which premiered at the Venice Biennale in 2019. Originally from Vancouver, British Columbia, Douglas’ work has been exhibited at prominent venues worldwide. He will represent Canada at the 2022 Venice Biennale. Doppelgänger in Decentraland can be found at decentraland.org either by plugging in the coordinates (46, -50) or locating Doppelgänger on the Events Board at Genesis Plaza to enter. Anyone with a computer and internet can experience Decentraland as a guest. For the full Doppelgänger in Decentraland experience, users will need a digital wallet: www.metamask.io. The film at the Toledo Museum of Art and metaverse experience of Doppelgänger are supported by season sponsor ProMedica with local support from presenting sponsors Susan and Tom Palmer and the Ohio Arts Council.

To visit Doppelgänger in Decentraland or to learn more, visit:

decentraland.org

Plug in the coordinates 46, -50. The site will not work on mobile devices.

set the mood with a

MODERN MINDSET

E X PER I EN C E TH E B E AU T Y O F E TH A N A LLEN . S TA R T YO U R CU S TO M S T Y LE J O U R N E Y TO DAY WITH TH E H ELP O F O N E O F O U R WO R LD - C L A S S D E S I G N ER S —TH EI R S ERV I C E S A R E A LWAYS CO M PLI M ENTA RY !

PEOPLE

Art Advocacy The

KATIE SHELLEY SHARES HER ACCESSIBILITY JOURNEY by Nancy Cooke, TMA Public Relations Specialist

Photographs by Robert Cummerow

PEOPLE

SOMETIMES, A CLEAR PATH EMERGES ONLY AFTER A JOURNEY HAS BEGUN. SUCH IS THE CASE FOR KATIE SHELLEY, THE FIRST MANAGER OF ACCESS INITIATIVES FOR THE TOLEDO MUSEUM OF ART. After a nationwide search, Katie Shelley was selected to manage access initiatives at TMA, a role which is the first of its kind at a major art museum. Little did she know that everything she was already diligently working on— disability advocacy, research, and historical buildings—would prepare her perfectly for this role. “My current career path has been directly influenced by my disability,” she says, “I have Cerebral Palsy, which affects my muscles throughout my body, making them spastic and tight, also affecting my balance. I primarily use a wheelchair to navigate the world around me, so access to buildings, especially historical buildings like the Museum—which were not designed with people with disabilities in mind—is something that I am passionate about advocating for.” Katie’s passion for creating accessible spaces is easy to understand if you venture out into the world with her, as I have. With her service guide dog Petunia by her side, we arrived at a destination outside TMA and realized that her motorized wheelchair would not fit through the front door. Even if it had, there were two giant staircases that would have prevented her from going much farther. Several people sensed the predicament and tried to find an alternate means of entry. Someone located an unmarked external chair lift at the far end of the building, but it could only be operated with the assistance of two other individuals. It was extremely small, barely allowing Petunia to fit alongside. One last obstacle remained after the chair lift was engaged—how to exit it, which also needed a group effort that took nearly 15 minutes to execute. More patience was required in the search for an accessible restroom. The experiences of that day made it clear just how vital the basic need for accessibility is and why Katie is so committed to her advocacy.

Improving access for people with disabilities was not always Katie’s career goal. Initially, she felt destined to teach, but realized that it did not suit her after taking several education classes in college. Unsure of where to go from there, she decided to pursue her love of literature and reading at Western Michigan University, obtaining a Bachelor of Arts degree in English Literature. Katie extended her educational journey to Wayne State University, earning a Master’s degree in Library and Information Science. “During my time at Wayne State University, I was part of an IMLS grant-funded cohort called Project ALFA,” Katie says. “ALFA stands for ‘Accessible Libraries for All,’ and through this program, cohort members learned about accessibility and accessible technology and how libraries could be made more accessible to people with disabilities. This was the first time that my disability and interest in access had intersected with my chosen career path, but it would not be the last time.” As Katie searched for work in the library science field, a friend who worked at TMA suggested she volunteer at the Museum. With her encouragement, Katie volunteered in the Museum’s Reference Library. She was then hired for a position in the Membership and Visitor Services Department and eventually became a Team Leader there. Katie recalls, “While I was working at the Museum, some staff-only areas were especially difficult for me to navigate, as it was hard for me to open doors without assistance. Additionally, the head of security at that time expressed concern about not being able to evacuate visitors (and employees like me with mobility

disabilities) from the second floor of the Museum in the event of an emergency. Since elevators should not be used in emergency situations and all other means of egress involved using stairs, I started thinking about how a historical building, such as the Museum, could be made more accessible to everyone.” In 2016, Katie fulfilled her lifelong dream of traveling to Paris with her mother. She describes it as “the trip of a lifetime.” But it was during their visit to Notre-Dame Cathedral that she had an epiphany. “There were stairs to get behind the altar, and I initially thought I would not be able to access the area,” she recalled. “However, an employee at the Cathedral assured me there was access, and lo and behold, he turned a key in a hidden control box, and a section of the stairs flattened into a lift that I was able to get on and be lifted to the second level. I was amazed, and thought, ‘If Notre Dame Cathedral can be accessible—and it’s a historical building—there is no reason why other historical buildings can’t also be accessible to everyone!’” That moment in Paris created a clearer vision for Katie of what she should do next. She had heard about the Disability Studies Program at the University of Toledo and discovered that she could receive a Master’s in liberal studies with a focus on Disability Studies there. Returning to school once more, she says, “I wanted my Master’s thesis work to focus on the myth that historical buildings are 'grandfathered in' under the Americans with Disabilities Act (spoiler alert: they’re not – all places of public accommodation have to comply with the Americans with Disabilities Act to the maximum extent feasible, with limited exceptions) and explore how historical buildings can improve accessibility while still maintaining the

“I want the Museum to become an institution where accessibility is incorporated into everything we do and offer, and anyone can come through our doors and feel as though they are welcome, they belong, and we want them to be here.” Katie Shelley, TMA Manager of Access Initiatives

significance of the architecture.” Katie left TMA to become a graduate assistant for the Disability Studies Program at UT but had no idea that she would be coming back to the Museum. After graduating from UT with her Master’s in Liberal Studies, she obtained a position as a Disability Rights Advocate with The Ability Cen ter of Greater Toledo. The Ability Center assists people with disabilities to live independently in the Northwest Ohio region through employment training, home accessibility, assistance dogs, information and referral, assistive technology and equipment, and advocacy. Working in the Advocacy Program at the Ability Center, Katie specifically lobbied for increased public access in our region and for access to healthcare for people with disabilities. Katie’s work as a Disability Rights Advocate enabled her to assist with projects such as the design for the Doneghy Inclusive Garden at Toledo Botanical Gardens and to improve accessibility for visitors to the Imagination Station and the Toledo Zoo. Additionally, she advocated for the passage of bills that would have a positive impact on the lives of Ohioans with disabilities and testified against opposing bills that would have a negative impact.

Petunia

Her service on The Ohio Olmstead Task Force, first as a general member, then as Vice Chair, and currently as the Co-Chair, has helped move important legislation forward. The task force is a statewide grassroots coalition of Ohioans of all ages with and without disabilities who advocate for the rights of people with disabilities to live, work, and participate in their communities. The Task Force advocates for accessible housing, transportation, and healthcare.

Petunia is from the Assistance Dogs program, operating through The Ability Center. You will more than likely see her at Katie’s side as they go around the Museum. Katie says, “I call Petunia my social butterfly. She loves meeting new people, and I am happy to let her say ‘hi’ to visitors and friends. However, I always request that you please ask me first (and this is a good rule of thumb, always get the owner’s permission before you approach or interact with a service dog). Sometimes I will need her to perform a task and focus, and it is not an appropriate time to say ‘hello’ – but if the time is right, she will become your new best friend.”

After working for three years at The Ability Center, Katie learned that The Toledo Museum of Art was partnering with them to create a Manager of Access Initiatives position for the Museum. The purpose of the position is to work to increase not only physical access to the Museum, but also to ensure that every aspect of the Museum experience will be accessible to everyone who comes through the door. “Given that access at TMA was one of the inspirations for my Master’s thesis work, I knew I had to at the very least apply,” Katie says, “and months later, here I am, in the Manager of Access Initiatives position at the Toledo Museum of Art. I look forward to implementing positive change and increased access Museum-wide with my disability and my knowledge of accessibility playing an integral role in helping me navigate this newly-established position.”

FUN FACTS

SERVICE DOG PROTOCOLS:

BIR T HD AY: Born on Easter of 2015, and many of the puppies in her litter had “spring”themed names, including Easter, Spring, April, and of course, Petunia.

EDUCATIONAL BACKGROUND: Petunia was trained through the Assistance Dogs program for the first two years of her life, so I was matched with her in 2017, and we’ll have been together for 5 years in August of 2022!

F A V O R I T E F O O D : Any food is Petunia’s favorite food. FAVOR I T E T M A PA IN T ING: Young Lady with a Bird and Dog by John Singleton Copley.

FAVOR I T E TA SKS: Petunia is trained to perform tasks including helping pick items up off the floor, helping carry items, opening and closing doors and drawers, helping with dressing (such as grabbing shoes), and helping push down the foot plates on Katie’s wheelchair.

SOCIAL MEDIA: Petunia has her own Instagram account! You can follow her on her adventures in working dog life at @petuniatheservicedog!

PEOPLE Ultimately, Katie wants TMA to lead the way in demonstrating full compliance with ADA requirements, and more. She says, “The Americans with Disabilities Act standards are the minimum requirements under the law so that everyone is able to access goods and services regardless of their ability. However, I want the Museum to become an institution where accessibility is incorporated into everything we do and offer, and anyone can come through our doors and feel as though they are welcome, they belong, and we want them to be here and interact with our collection and our programs. This is not going to happen overnight, but I’m encouraged by the progress that we have made so far in just the short time that I have been here.” Regarding TMA’s galleries, she noted, “We are already incorporating accessibility into the planning of temporary exhibitions so that we can ensure from the get-go that everyone can easily access them; however, we are also looking at providing access to our permanent collection as well, by collaborating with community partners such

as the Sight Center of Northwest Ohio to look at ways to make label text accessible to those who are blind and/or low vision. Because I am a wheelchair user, access of the physical space is also important to me.” Katie’s ultimate goal is to come up with solutions enabling people using mobility devices to exit from the Libbey Court doors down the original front steps of the Museum, so that they can cross the street to

the Glass Pavilion without having to go around the building. “Once I have achieved that, I will know that I have done my job well,” she says. “I hope to remain at the Museum for a long time to come, as access needs are ever-changing and always present—but no matter where my future leads, I see access for people with disabilities remaining at the forefront of whatever I do.”

“If Notre-Dame Cathedral can be accessible – and it’s a historical building – there is no reason why other historical buildings can’t also be accessible to everyone!” Katie Shelley, TMA Manager of Access Initiatives

KATIE SHARES HER SOURCES OF INSPIRATION P A R E N T S & F A M I L Y M E M B E R S : “I would not be where I am today without the support of my family—everyone from my parents to my aunts and uncles to my grandparents. My mom and dad have been especially supportive. Both drove me to work when I still lived at home with them in Michigan (I have my own house in Toledo now) and needed to get to the Museum; but also, their endless encouragement has helped me keep moving forward and succeed in my endeavors.”

F R I D A K A H L O : “I am inspired by the artist Frida Kahlo; disability and illness were an integral part of her life and influenced much of her art. One of my favorite pieces by her is Tree of Hope, Remain Strong (1946); as someone who deals with chronic back pain because of multiple surgeries, I identify with both the pain invoked in this piece (as seen through Frida’s open incision on the operating table), as well as the sense of hope emanating from this piece that things will get better and to keep looking ahead.”

S E N A T O R T A M M Y D U C K W O R T H : “Senator Tammy Duckworth is an inspiration for my advocacy work. After losing both of her legs when the helicopter she was piloting was shot down in Iraq during her time in the U.S. Army Reserve, she became the first disabled woman to be elected to the U.S. House of Representatives. She is a fierce advocate for access and the rights of people with disabilities, first in her role as a federal representative for the State of Illinois, and now as a Senator. She was also the first Senator to give birth while in office.”

HOBBIES & INTERESTS: “I love reading and watching movies. I do have a soft spot for historical romance and love a good Jane Austen novel/film adaptation—although my favorite book is Jane Eyre by Charlotte Brontë. I ’m an author! I wrote a Young Adult Novel when I was 19 called Prom Queen that follows the life of a high schooler who is a wheelchair user and is nominated for prom queen in what she assumes is a joke. I am a musical theater nerd, and—fun fact—I was in a production of Footloose in high school! I love singing, even though I’m not the best at it, and would love to get back into acting someday, if just locally. I also love finding out new information and have used this to my advantage in playing trivia with friends—I would also love to be a Jeopardy! contestant someday! Something I don’t do often enough but would like to do more of is travel. I loved visiting London and Paris with my mom, and we are going on an Alaskan Cruise this summer, but I would love to visit locations such as Mexico, Morocco, Japan, Ireland, Scotland, Italy, Turkey, India, Australia, and Greece someday.”

PHOTO TOP: Katie's parents, Kevin and Donna Shelley, 1986 MIDDLE: Manuel Alvarez Bravo (Mexican, 1902–2002), Frida Kahlo (detail), about 1936. Gelatin-silver print. Toledo Museum of Art, Winthrop H. Perry Fund, 1990.21 BOTTOM: “Tammy Duckworth” by Senate Democrats is licensed under CC BY 2.0.

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AR T F O R T HE AGES H O W T M A C O N S E RVAT I O N C O O R D I N AT O R JAMES BURGESS IS KEEPING ART ALIVE by Nancy Cooke, TMA Public Relations Specialist

PEOPLE

I F E E L T H AT I T I S E V E RY A RT I S T ’ S I N T E N T I O N F O R T H E I R W O R K T O B E S E E N A N D E N J O Y E D WAY PA S T T H E I R O W N L I F E T I M E ; I T ’ S T R U LY T H E I R S T A M P O N T H E W O R L D T O S A Y, “ I W A S H E R E ! ” —JAMES BURGESS

When James Burgess decided to pursue degrees

Q: Tell us about some of your favorite works

in accounting and human resources, and later

of art in the Museum’s collection.

business administration, he had no idea it

A: I have so many personal favorites in our collection. Some of them are works by Thomas Cole, Aminah Robinson, and Joyce Scott. I also enjoy James Tissot, El Greco, Hung Liu, Isamu Noguchi, Dante Rossetti, Jaume Plensa, Katsuyo Aoki, Fred Wilson, Wayne Thiebaud, Edouard Manet, and so many more. I especially like Apollo, by Henri Matisse, Kehinde Wiley’s St. Francis of Paola Hung Liu’s painting I Hear Their Gentle Voice Calling, and I really could go on and on—our collection is truly astounding!

would bring him into the realm of the fine arts. His broad skillset has found a welcome home in the Conservation Department of the Toledo Museum of Art, where he helps keep art alive for future generations to enjoy. He recently shared what his role means to him and what he hopes it will mean to the Museum visitors of the future.

Q: What does “a day in the life” of a conservation coordinator look like? A: We usually have a team meeting at the

Q: Name a few of your interests and hobbies. A: I come from the higher education space,

beginning of the week to review everyone’s projects and plans. A lot of what we do in conservation is a collaborative effort with the other departments in the Museum. A big part of my job is acting as a liaison between our team and teams performing other functions. I help to make sure that necessary conversations and meetings take place.

having been an admissions representative and then a student services coordinator for many years. I’ve worked with at-risk youth and individuals who were 60+-years old and coming back to school. Helping people to develop and cultivate themselves for the better has always been a big interest for me.

We have a lot of different projects going on at the same time, so I help with developing team workflows and I monitor the progress of the team throughout each project so we can meet our deadlines. Conservation involves a lot of research and documentation of both the treatments performed and the preventive care being done on the works of art. Every treatment applied to any object in our collection must be documented, so I also help with keeping those records up to date. I make sure that the treatments and condition reporting are properly scheduled for the team to complete.

I am very into the arts, and I’ve been in many plays over the years, having taken drama class all four years of high school. Music is a huge love for me as well. I have a huge collection that ranges from cassettes and CDs to vinyl records. I also create my own music! Photography is another great love of mine—you can ask any of my family or friends, I’m always taking pictures. I recently bought a professional camera, and I can’t wait to explore with it. As of late I have really been getting into digital art and illustration. I found a few programs that I love to use to splice, manipulate, and collage things together to create interesting pieces.

Not one day has been the same as another since I began working at TMA. I am grateful that I get to work with a truly great team of colleagues in Conservation and the Collections department. As our Head of Conservation, Suzanne Hargrove, says, “Every day is a conservation adventure!”

Q: How do you want your work at TMA to impact visitors to the Museum and the community at large?

A: I feel like the projects that our team has undertaken, such as our interactive exhibition

PHOTO: James Burgess, Conservation Coordinator. Photograph by Robert Cummerow.

The Art of Conservation and our “Adopt an Artwork” program have lifted the veil for the public and brought what our team does to the forefront of the minds of our visitors. I want to continue to create and contribute to many more innovative projects for the Conservation department and the whole Museum. I hope that those projects will help us engage and really speak to our public and surrounding communities more. I want to contribute to showing that our Museum is here for everyone to enjoy and experience, no matter where you come from or what your background is. I was born and raised in the inner-city of Toledo, and places like TMA have been so important and instrumental in my life. I see the possibilities of what one can do by living outside of your everyday experiences.

Q: How does it make you feel to know that you are helping to extend the life of so many works of art?

A: I really do feel great about the work that the Conservation team does. My colleagues, Suzanne, Emily [Cummins], and Marissa [Stevenson], have such passion for what we do, and it shows in every single project that we take on. I often find myself thinking about the historical contexts of the different objects we have in our collection and what was going on in the lives of people at that time. I wonder about what influenced the artist to create each work. It is important to preserve and protect art, because through art we can peer into our past while also getting a glimpse of the future, especially with the many innovations that are coming into the art space every day. Everyone living now and future generations to come deserve to enjoy the art in the fullness of the artist’s intent. I feel that it is every artist’s intention for their works to be seen and enjoyed way past their own lifetime; it’s truly their stamp on the world to say, “I was here!”

THE ART OF FUELING DREAMS by Nancy Cooke, TMA Public Relations Specialist

PEOPLE

GRACE TOTH AND SHERRIS ANNE SCHWIND COLLABORATE TO WIN NEH GRANTS FOR TMA Grace Toth and Sherris Anne Schwind have a lot in common, aside from working at the Toledo Museum of Art. They share a deep love of the arts and a desire to support programming at TMA. When they recently joined forces, collaborating to create a proposal to the National Endowment for the Humanities (NEH), the pair met with great success. Grace began her TMA career in the Family Center six years ago, where she enjoyed working with young children and their families as the HandsOn Education Coordinator. She then moved into the Education Department (now named the Learning and Interpretation Department) as the School and Teacher Programs Coordinator. Currently, Grace is the School and Docent Programs Manager in the Learning and Interpretation Department. Her role includes managing teacher professional development programs, school tours and resources, and the Docent program. She received her BA in Fine Art from the University of Saint Francis in Fort Wayne, Indiana. Grace says, “Working at the Toledo Museum of Art has always been a dream of mine since the first time I visited. I have had many more wonderful experiences at TMA throughout the years with students, teachers, schools, and my own family. Some of these include empowering teachers to utilize our collection and resources, creating workshops and lesson plans, engaging with artists, collaborating with other TMA teams, and connecting with amazing educators.” Grace still remembers the first time she brought her daughter to the Family Center and her first Saturday Art class. These meaningful experiences and memories contributed to her passion for and appreciation of TMA. She says, “I have always enjoyed seeing students explore something new and engage in meaningful conversation around a work of art. I have seen first-hand how art can build a child's

self-esteem and encourage creativity and selfexpression. I love being a part of interactive gallery experiences where students feel safe and comfortable sharing their feelings and ideas.” Sherris holds degrees in English literature, language, and creative writing as well as certifications in intercultural facilitation and leadership. Prior to entering graduate school, she worked in media sales in 2006, selling and writing radio advertising for a local affiliate of a national broadcast group. She liked the daily energy around funding and sales goals and was able to exercise her creativity by writing the radio spots and assigning talent. Later, she gained experience by helping her university department, colleagues, and students apply for funding. She then became responsible for managing annual grants in a role at PBS. Sherris says, “When I was seeking a growth opportunity, the open position for a Grants Manager in the Development Department at TMA made perfect sense—the educational mission fit my expertise and was something with which I innately connected. Here was a chance to grow my grantmaking skills and serve an institution I have loved since childhood. As someone who is a lifelong lover of the fine and performing arts, I was over the moon!” She says, “What sustains my work is that art is like a collective dream with which to combat our personal and societal nightmares—to think on them, to marvel, to engender solutions, to participate in that is like working magic. I love it when a big grant wins...” Then, an opportunity was discovered by TMA’s Senior Director of Learning and Interpretation, Mike Deetsch, to apply for a grant focused on teacher institutes. Grace noted, “Most of the institutions applying were universities. Since I was having so much success with our Teacher Professional Development Workshops and Institutes, Mike thought we should apply to continue the work I was doing. This is how the most recent grant, the NEH Summer Institute for K–12 Educators: “Diverse Historical and Cultural Perspectives in Native American and African American Art,” began. I started the detailed, lengthy narrative process, then looped in Sherris to help get the content organized and ready to submit.”

Sherris was fully prepared for this challenge, having successfully landed two recent grants herself: the NEH Chairman’s Grant, which provided funding to establish the Curator of American Art position in support of the new strategic plan objective of broadening the narrative of art history, and, an NEH Re imagining America’s Story grant, which supports the research, planning, and reinterpretation of TMA’s American Art collection. It also supports a re-launching of the annual Juneteenth celebration with key community partners and assembling an advisory committee to support cultural sensitivity in TMA’s curatorial strategy, in addition to other components that help broaden the narrative of art history and create a culture of belonging. Grace and Sherris were delighted to hear that their proposal had been awarded $125,000. Of the 50 national institutions that received this NEH grant, only one was an art museum—the Toledo Museum of Art. The grant will fund a week-long intensive for K–12 educators this year to broaden their experiences and perspectives through TMA’s African American and Native American art collections. Teachers will be exposed to diverse art and learn strategies by which to integrate the collection into their classroom curriculum and to facilitate their student investigations of visual culture. Sherris adds, “This project is powered by the dynamics between our Learning and Interpretation team and the collections; it is a meaningful way to activate the reinstallation and interpretation work done with the grants we have been awarded in tangible ways—getting a diverse and broadened narrative out from within the Museum’s walls and into the classroom.” “Teacher participants in this institute will study both historical and contemporary Native American and African American art from the TMA collection that showcases a diverse array of perspectives,” Grace added. “Additionally, participants will investigate the artworks as primary sources to learn how the artists speak about history and familiarize themselves with the multiple contexts of the people who lived it. This institute provides a wonderful opportunity to empower teachers and create a meaningful and lasting partnership with everyone involved.

“I have seen first-hand how art can build a child's self-esteem and encourage creativity and selfexpression. I love being a part of interactive gallery experiences where students feel safe and comfortable sharing their feelings and ideas.” Grace Toth, School and Docent Programs Manager, Learning and Interpretation

PHOTO: Grace Toth (left) and Sherris Anne Schwind (right) in TMA's Wolfe Gallery.

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the Winter 2022 Catalog

16. John Austin Kinnee, Red 67 Trophy, Mixed Media 17. Grant Garmezy, Clever Girl, Glass Sculpture 18. Leo Tecosky, Cut Star, Glass Sculpture 19. Thomas Clark, Female Bust, Bronze Sculpture 20. Hand-Dyed Yarn Roll, Bisa Butler's The Storm, the Whirlwind, and the Earthquake

EXHIBITIONS

EXHIBITIONS On view through May 1, 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 include 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 Gee's Bend quiltmakers 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.” Relationships between materials, practices, artists, and experiences will be explored throughout the exhibition. Highlights will include a range of dynamic quilts by Louisiana Bendolph, Mary Elizabeth Kennedy, Lucy T. Pettway and other artists from around Alabama, including Boykin, Alabama. Boykin is also known as Gee’s Bend, historically named after a settler who established a forced labor cotton plantation in the region. Several artists emphasize the potency of the domestic sphere, from learning or bestowing familial cultural traditions to reflecting on the influence of family structures, as with Richard Dial’s The Comfort of the First Born (1988). Many in the exhibition were active during the Civil Rights Movement of the 1950s and 60s and express their journey having to contend with injustice and discrimination through their artistic and cultural production. Lonnie Holley’s assemblage of found materials Cutting Up Old Film (Don't Edit the Wrong Thing Out) (1984) comments on the construction of history, calling into question whose voices and perspectives become part of or are “cut out” of the official record. Thornton Dial’s large-scale sculpture Trip to the Mountaintop (2004) borrows the words from a prophetic and rousing speech made by Martin Luther King Jr. the day before he was assassinated in 1968. The exhibition will also include a reading area with resources and materials related to the artists and themes present throughout the exhibition, providing further context and an opportunity for visitors to respond, share, and have space for contemplation. Living Legacies: Art of the African American South is funded in part by a major grant from the National Endowment for the Humanities: Democracy Demands Wisdom. The exhibition is also supported by presenting sponsors Susan and Tom Palmer and season sponsor ProMedica, with additional support from the Ohio Arts Council and TMA Ambassadors. PHOTO LEFT: Leroy Almon (American, 1938–1997), The New Heaven, 1984. Mixed media (carved wood, lightbulbs, artificial pearls, paint). 36 x 28 in. Toledo Museum of Art, Gift of Arthur J. Secor, by exchange, purchased with funds from the Florence Scott Libbey Bequest in Memory of her Father, Maurice A. Scott and gift of the Souls Grown Deep Foundation, 2020.25. © Estate of Leroy Almon / Artists Rights Society (ARS), New York. Image: Gamma One Conversions PHOTO RIGHT: Richard Dial (American, born 1955), The Comfort of the First Born, 1988. Mixed media (welded steel, plastic tubing, paint). 69 ½ x 46 x 39 in. Toledo Museum of Art, Gift of Arthur J. Secor, by exchange, purchased with funds from the Florence Scott Libbey Bequest in Memory of her Father, Maurice A. Scott and gift of the Souls Grown Deep Foundation, 2020.30. © Richard Dial / Artists Rights Society (ARS), New York. Image: Ron Lee/The Silver Factory.

EXHIBITIONS

ON VIEW On view through Feb. 27, 2022

The Age of Armor: Treasures from the Higgins Armory Collection at the Worcester Art Museum 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.

ABOVE: Nagasone Tojiro Mitsumasa (Japanese), Helmet in the Form of a Sea Conch Shell, (detail) 1618. Iron with traces of lacquer, textiles. 22.9 × 30.5 × 26.7 cm (9 × 12 × 10 ½ in.), 3 lb,13 oz (weight). Worcester Art Museum, The John Woodman Higgins Armory Collection, 2014.89.1

The first section of the exhibition begins with ancient Greece, when stylish 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 armor-making 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 and ceremonial uses. The exhibition’s final two sections recount how the rise of firearms impacted armor design from 1500 to 1700, and the renewed interest in medieval armor as collectibles in the 19th and 20th centuries.

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 2021 Exhibition Program sponsors Taylor Cadillac and ProMedica, with additional support from the McLoughlin Family Foundation and the Ohio Arts Council.

Ongoing

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 the 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 through May 15, 2022

Stan Douglas: Doppelgänger Canaday Gallery The science fiction-inspired film Doppelgänger (2019) by Stan Douglas, one of the leading artists of our day, is on view at TMA in its first North American museum presentation. The film centers around an astronaut named Alice who embarks on solitary outer space mission. 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 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. 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 marginalized 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. 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.

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) was declared a federal holiday in June 2021. TMA invited eight members of the Toledo Black Artist Coalition (TBAC) to curate an online exhibition featuring influential works by Black American artists from the Museum’s collection, including works by sculptor and printmaker Elizabeth Catlett (1915–2012), photographer Gordon Parks (1912–2006), artist Kehinde Wiley, 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. Community partners include the Toledo-Lucas County Public Library, City of Toledo Human Relations Commission, Synergy Engagement, Creadio, and Jayramon, LLC.

EXHIBITIONS

UPCOMING Opens Apr. 23, 2022

Bestowing Beauty: Masterpieces from Persian Lands Levis Gallery Celebrating the rich artistic and cultural heritage of Persian civilization, Bestowing Beauty: Masterpieces from Persian Lands features over 100 works from the sixth to the 19th century drawn from the preeminent Persian art collection of Hossein Afshar. Persia refers to the historic lands in southwestern Asia where the Persian culture and language flourished—a region now associated with the Islamic Republic of Iran, but previously extending beyond its modern-day borders. Through the collector’s eyes, we see a portrait of Iran that manifests a strong sense of identity reflected and affirmed by the visual arts, as well as an artistic sensibility that has permeated across time, space, and medium. The exhibition showcases textiles, manuscripts, ceramics, paintings, metalwork, scientific instruments, woodwork, and jeweled objects. Highlights include exquisite miniature paintings from the Shahnama (Book of Kings), the Persian national epic; an array of historically significant ceramics; rare Qur’an leaves; and a monumental silk carpet from the height of Safavid carpet production. Bestowing Beauty represents a dedication to preserving Iranian artistic heritage for future generations and the desire to make it accessible for study and enjoyment. Woven throughout the tales of these extraordinary artworks are experiences, ideas, and emotions shared by all peoples. By evoking universal themes of faith and piety, love and longing, kingship and authority, banquets and battles, and earth and nature, the exhibition brings alive the rich heritage and enduring beauty of Persian art. The artworks also explore the role and fascinating history of trade, migration, and cultural exchange in the development of Persian art, demonstrating its important legacy in artistic and technological advancement within Islamic lands and beyond.

PHOTOS: Persian, Pear, early 19th century. Steel. inlaid with gold. Overall: 7 ¼ × 4 1⁄ 8 × 3 11⁄ 16 in. (18.4 × 10.5 × 9.4 cm). The Hossein Afshar Collection at the Museum of Fine Arts, Houston TR:15302015; Persian, Female Tumbler, 19th century. Oil on canvas. Overall: 63 ¼ × 33 ¾ in. (160.7 × 85.7 cm). The Hossein Afshar Collection at the Museum of Fine Arts, Houston TR:395-2015 Bestowing Beauty: Masterpieces from Persian Lands is sponsored locally by season sponsors ProMedica and presenting sponsors Susan and Tom Palmer, with additional support from Key Bank and the Ohio Arts Council.

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

Art Classes Winter 2022 Class Registration and Information This semester, many classes will focus on assemblages and found object sculptures. Students will explore the special exhibition Living Legacies: Art of the African American South, featuring artwork by African American artists from the southern United States, including Thornton Dial and Lonnie Holley.

Jan. 29–Apr. 2, 2022

toledomuseum.org/education/classes

Art of Glassblowing Wednesdays–Sundays: 2–3 p.m. Come to the Glass Pavilion to sit in the hotshop and watch a piece of art in glass take shape before your eyes. Objects are available for purchase after the experience. Admission is free but pre-registration is required. Visit tickets.toledomuseum.org to reserve.

Glassblowing Demonstrations are sponsored in part by

Earth Day Demonstration: Apr. 22: 2 p.m. In honor of Earth Day, TMA's glass studio artists will be creating a themed vessel and will offer a special narration of the glass collection.

In honor of Scott Trumbull

CALENDAR

Teacher Development Workshops Glass Art Workshops Seasonal Object Learn to create objects made of glass under the guidance of a Toledo Museum of Art instructor during a one-hour workshop at the Glass Pavilion. Fridays: 6 & 7 p.m. Saturdays: noon, 1 p.m. & 3 p.m.

$42 members $52 nonmembers

This is a series of 2-contact hour professional development workshops that provide Toledo area K–12 educators with tools and teaching strategies for arts-integrated learning. Workshops are designed to help teachers find meaning in the visual arts that they can share with their students. These programs introduce art in the TMA collection and explore interdisciplinary curriculum connections. All workshops include teaching resource materials for educators to take home. Teachers of all subjects and grade levels including pre-service teachers are welcome. Art Tells a Story: March, 10, 2022, 4–6 p.m. Mindful Looking: May 5, 2022, 4–6 p.m.

tickets.toledomuseum.org

No refunds. Adults and children 14 and older accompanied by an adult are welcome.

tickets.toledomuseum.org

Pick Your Own Project A fun addition to the Glass Art Workshops line-up, the Pick Your Own Project option lets you decide which glass object you’ll make during the session. A variety of options include: Flower Apple Mushroom Fortune Cookie Pumpkin Confetti Paperweight Heart Donut Sundays, 12 p.m.

$42 members $52 nonmembers No refunds. Adults and children 14 and older accompanied by an adult are welcome.

tickets.toledomuseum.org

Early Childhood Teacher Professional Development Workshops This is a series of 1.5-contact hour professional development workshops that provide early childhood educators with tools and teaching strategies to help preschool students’ social and emotional development through art. Workshops are designed to help teachers find enjoyment in the visual arts that they can share with their students, as well as model methods for teaching with art. All workshops include teacher resource materials for educators to take home. Art & Storytelling: Feb. 3, 2022, 4–5:30 p.m. Art & Nature: Apr. 28, 2022, 4–5:30 p.m.

tickets.toledomuseum.org

Museum Café

CAFÉ HOURS

Specials

Salads

Soup

BURGER OF THE WEEK

SWEET PEAR CRUNCH

SOUP OF THE DAY

CHEF'S SPECIAL OF THE WEEK GNOCCHI OF THE WEEK

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

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 BLT

Hickory Smoked bacon, tomato, lettuce, and peppercorn aioli

ACHIOTE SHAVED PORK LOIN

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

SPICY CHICKEN

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

BALSAMIC CHICKEN

Seasoned grilled chicken, mozzarella, tomato, pesto, and balsamic

GRILLED STEAK AND MUSHROOM

Cheddar cheese, onion, banana pepper, and peppercorn aioli

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

ROASTED ROOT VEGETABLES

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

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.

SOUP AND SMALL HOUSE SALAD

Kid’s Menu GRILLED JUMBO HOT DOG

with choice of side

HONEY APPLE CHICKEN

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

SMOKED SALMON WITH SAFFRON ORZO

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

SMALL HOUSE SALAD

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

THREE CHEESE GRILLED

American, mozzarella, and cheddar with choice of side

CHEESEBURGER

Lettuce and pickle with choice of side

HAMBURGER

Lettuce and pickle with choice of side

Sweets COOKIE

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

CINNAMON APPLE CRUMBLE with whipped cream

CHOCOLATE DIPPED PECAN PIE

TOPPINGS Pepperoni, Prosciutto, Grilled Chicken, Bacon, Ground Beef, Artichoke Onion, Bell Pepper, Mushroom, Banana Peppers, Tomato, Spinach, Extra Cheese, Jalapenos, Green Olive

THE MUSEUM CAFÉ OFFERS FULL SELECTION OF SODA, COFFEE, BEER, WINE, AND MORE.

6100 W Central Ave. Toledo, OH 43615

LOCALLY OWNED, LOCALLY COMMITTED, 42 YEARS OF EXCELLENCE

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MONDAY 8:30 AM - 7:00 PM TUESDAY 8:30 AM - 6:00 PM WEDNESDAY 8:30 AM - 6:00 PM THURSDAY 8:30 AM - 7:00 PM FRIDAY 8:30 AM - 6:00 PM SATURDAY 8:30 AM - 4:00 PM SUNDAY CLOSED

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