Basonge Artist (Democratic Republic of the Congo), Kifwebe Mask, early 20th c. Carved wood with polychrome painted decoration and raffia. H: 231/2 in. (59.7 cm). Purchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey, 1973.8
On view in Strategic Interplay: African Art and Imagery in Black and White, Canaday Gallery (see p. 39)
Adam Levine talks about our growing community and connections.
08 Inside the Issue
There is always something new at TMA. 10 Building Connections
TMA programs bring art and community together.
14 Introducing TMA Labs
TMA Labs integrates art and tech, transforming the visitor experience.
Discover
20 From Past to Present
New acquisitions to the collection broaden the narrative of art history.
26 In the Founder’s Footsteps
Donor builds on the Libbey's’ vision for a free museum with free parking.
32 Strategic Interplay
African art meets the ancient game of chess in a new exhibition. 35 Return to Turtle Island
Indigenous objects highlight early First American artistry and history. 38 On View & Upcoming
Mark your calendar for these exciting exhibitions.
Museum Store Spotlight
Jordon Buschur explores our intense relationship with objects.
From the Director’s Desk
Building a Vibrant Community
At the Toledo Museum of Art, we are constantly evolving—building on our rich history using the tools now available to us in the twentyfirst century. Our dynamic blend of exhibitions, public programming, and technological innovation helps us do more than showcase and convey art history; we now also aim to create more and deeper connections among our visitors, our local community, and our global audiences.
Expanding community connections through programming and events
Central to the museum's mission is the commitment to connect with our community. This is reflected in our diverse range of programming, from exhibitions showcasing local talent to largescale public events. A prime example is the annual Block Party, which brings together thousands of visitors each year to celebrate art, culture, and creativity on our 37-acre campus. This year’s Block Party was particularly special, featuring a concurrent convening that attracted more than 40 digital artists and collectors from across the United States and Canada. They marveled at our campus and collection, but what made the greatest impression was the way we brought Toledo together.
Additionally, we recently hosted Midwestern museum directors and senior leaders for a collaborative summit, expanding our network and opening the door to new ideas and partnerships that will continue to shape our programming. These types of gatherings not only strengthen our regional ties but also highlight Toledo as a key player in the national and international museum community.
TMA’s expanding reach through art, technology, and innovation
Left:
There is nothing better than dancing at the museum’s annual Block Party on a warm September afternoon.
Toledo Museum of Art Winter 2024
Pioneering new territory with TMA Labs
About one year ago we launched TMA Labs, our in-house “think tank” that explores the intersection of art and technology. TMA Labs isn’t just about experimenting with new digital tools; it’s about using these tools to deepen the connection between art and community. This summer, we saw this in action with the Digital Artist in Residence Program. Ethiopian artist collective Yatreda : ያጥሬዳ enhanced our exhibition Ethiopia at the Crossroads with the House of Yatreda, a special installation that incorporated the world premiere of the digital series Abyssinian Queen. Despite their growing recognition in the art world, this was the first time Yatreda had been invited to partner with a museum and display their artwork within its walls. The results were spectacular.
The House of Yatreda extended traditional exhibition boundaries, incorporating interactive digital elements that invited visitors to engage with artwork in new ways. For example, three times during the run of the exhibition, Yatreda performed their version of an Ethiopian coffee ceremony that further enriched the House of Yatreda experience,
inviting visitors to slow down, reflect, and connect with others. Each visitor received a glass cup that was handmade by the TMA Glass Studio team. The cup had a special chip embedded in its bottom that granted access to a unique digital artwork created by Yatreda. By turning visitors into collectors at no cost, we deepen the impact of our mission by integrating art into people’s lives, even outside our walls.
A key part of our digital artist residency is the mentorship of a Toledo-based artist. This year Yatreda worked with Jordan Buschur to launch her first-ever digital artwork during the Block Party. (Turn to p. 17 to learn more about Jordan's digital artist residency.) This program not only gave Jordan a display opportunity within the museum; it also connected her with potential collectors. Indeed, as part of the residency, both she and Yatreda will have artworks auctioned at Christie’s this December, broadening the exposure for both artists and our work at TMA.
Visitors participated in an Ethiopian coffee ceremony during Ethiopia at the Crossroads.
Strengthening TMA’s foundations through global and local partnerships
Technology has become a key part of our program, but not at the expense of more traditional methods. Our magnificent exhibition Ethiopia at the Crossroads has been a springboard to deepen relationships with collectors and potential partners, both in the United States and abroad. In October, for example, the Royal Ethiopian Trust honored TMA as the sole US venue for the display of the Shield of Magdala, a restituted object of immense significance to Ethiopia and its history. The shield was taken by the British following the Battle of Magdala during their 1868 expedition to Abyssinia. The shield’s showing in Toledo was accompanied by a packed presentation by His Imperial Highness Prince Ermias Sahle Selassie, Haile Selassie’s grandson, after which the shield returned to Ethiopia for the first time in over 150 years to be displayed at the National Museum of Ethiopia.
These partnerships not only enhance our exhibitions but also help establish TMA as a leader in the museum industry, attracting international donors and supporters who share our vision of a globally connected, inclusive museum. Indeed, it is with
extreme pleasure and pride that we were informed that Ethiopia at the Crossroads was named best exhibition in the world in 2024 by Apollo Magazine.
What’s next for TMA
As we look to the future, our goal is clear: Keep pushing boundaries and continue layering our public programming, exhibitions, and digital efforts onto our strong foundation. We are reimagining what a museum can be—not just a repository of art but a vibrant, evolving space that connects people and ideas across borders. We invite you to join us on this journey as we continue to inspire, engage, and transform the lives of our visitors and community members.
Best regards,
Adam Levine
Edward Drummond and Florence Scott Libbey President, Director, and CEO
The Royal Ethiopian Trust honored TMA as the only US venue for a three-week display of the Shield of Magdala—an important restituted object looted following the 1868 Battle of Magdala.
Toledo Museum of Art Winter 2024
Think
Forged in Collaboration
The University of Toledo Department of Art fired up its foundry to assist Yatreda : ያጥሬዳ, an Ethiopian artist collective, make a bronze medallion in its Center for Sculptural Studies. The finished digital work was displayed in Ethiopia at the Crossroads earlier this year. Visitors could download the work to their smart phones as a non-fungible token (NFT).
Toledo Museum of Art Winter 2024
Always Something New
Whether it’s a fresh exhibition or installation, a newly acquired artwork, or a thought-provoking public program, there’s always something new to discover at TMA. So, next time you visit, take a closer look—you never know what might have changed since your last stroll through the galleries.
TMA is constantly reimagining how art is displayed and stories are told. In From Past to Present: The Museum’s Latest Acquisitions on p. 20, you’ll get a glimpse of nine artworks from the more than 180 we’ve acquired this year. These acquisitions don’t just fill gaps in the collection; they connect historical moments, highlight emerging artists, and offer fresh perspectives of our world.
That’s just the beginning. The Robert C. and Susan Savage Community Gallery showcases local artists with exhibitions that change regularly. Right now, Toledoan Bernadine Rais’ magical nighttime paintings are featured in Bernadine Rais: Souvenirs. The Community Gallery is a bridge between the museum and the Toledo community, celebrating the creativity found in our hometown.
Behind the scenes, the curatorial and collections teams are always exploring innovative ways to activate the collection. In Opulent Echoes, the new installation in Gallery 15, Brian P. Kennedy Fellow Ahmad Rafiei examines the emerging globalization of the sixteenth and seventeenth centuries through the prism of fabulous luxury objects. Even wellknown spaces offer surprises, with rotating artworks sparking fresh interpretations in From Asia to the World in Gallery 35 and In a New Light: Impressionism and Post-Impression in the Glass Pavilion.
Visitors also find new experiences in TMA’s public programs and art classes. In Building Connections: How TMA’s Programs Bring Art and Community Together on p. 10, you’ll meet team members behind beloved events like the Great Art Escape, MLK Day, and the Block Party.
We hope you enjoy this issue and, more importantly, your next visit to the museum.
Toledo Museum of Art Winter
Building Connections
Every year at the Toledo Museum of Art’s Block Party, visitors of all ages find fun-filled activities to make art and so much more.
How TMA’s programs bring art and community together
Jennifer McCary Chief Culture and Brand Experience Officer
Moderator and Guest Writer
At the Toledo Museum of Art, we are singularly focused on our mission and aim to actively engage our community with and through art. Today, I am joined by some remarkable colleagues who support this work. Together, we are reimagining how we connect people with art, fostering a sense of belonging and curiosity.
Toni Gordon
Senior Manager of Education and Programs
Panelist
Duffee Maddox
Programs and Events Specialist Panelist
Grace Toth
Emily Leah Bippus Director of Education Panelist
Jennifer So, why do we host community events and public programs?
Grace—Our mission drives us to create a welcoming environment where everyone can engage with art and each other. We want to provide experiences that are interesting and meaningful. Our museum is not just a repository of art but a vibrant space for community interaction. Our programs are designed to create meaningful experiences that resonate with diverse audiences, encouraging them to return and explore more.
Toni—Exactly! It’s about creating an entry point for visitors to connect with art and with us. Once they feel comfortable, they can delve deeper into their experiences, whether that is through guided tours or casual conversations with our staff.
We focus on ensuring our educational programs promote authentic engagement. It is essential that when visitors step into our museum, they feel they can be their true selves while enjoying the art. We create pathways for them to connect with others, cultivating a sense of belonging from the moment they enter our doors.
Toledo Museum of Art Winter
“I just want to create impactful, positive, and warm memories. So that, when everyone in this room right now is no longer here 100 years from now, people are still saying, ‘I remember that event at the Toledo Museum of Art, and I am a different person because of it—a more whole person.’”
Duffee Maddox Programs and Events Specialist
Duffee—And it’s about offering a variety of events to cater to everyone’s preferences—from loud, energetic gatherings to quiet, intimate experiences. We want to ensure all voices feel heard and represented.
I see my role as a bridge—connecting art with community through events. Many people find the museum intimidating, but our programs can demystify the experience. By incorporating music and food into our events, we invite people to engage with art in a way that feels comfortable and accessible.
Jennifer What types of events do we host, and how do we ensure they cater to different audiences?
Duffee—We strive to provide something for everyone. Recently, during a private tour, I had a visitor mention they preferred quieter events. This highlighted our goal to offer both lively celebrations and serene experiences.
Toni—Take our Block Party, for example. It was tied to the Ethiopia at the Crossroads exhibition and featured everything from vibrant performances to intimate coffee ceremonies. We included activities that allowed visitors to engage with art hands-on, fostering connections to both the art and each other.
Grace—Our programs also shine a light on our diverse offerings. Once people are inside, they discover the Family Center, our glass classes, and our scholarship programs—opportunities they might not have known about otherwise.
Jennifer What are some of our flagship programs that you think make a significant impact?
Grace—Our scholarship program is a standout, offering free classes to children and adults alike. It’s a wonderful way to engage the community and provide access to various art forms.
Duffee—I’m particularly excited about our glassblowing demonstrations. They’re not only captivating but also serve as a bridge to our educational offerings, allowing visitors to see the artistry behind each piece.
Toni—And the Family Center is a magical space where families can explore creativity together. It’s where the magic of art becomes accessible and engaging for all ages.
Jennifer How do our events integrate art into the lives of people in the community?
Grace—By showcasing local artists, we allow community members to connect with the creators. When people meet artists and learn about their processes, it creates a meaningful bond that enhances their appreciation for the art.
Toni—Engagement is key. Our events often include tactile experiences—like drawing in the galleries or food tastings—that make viewing art feel more approachable and relatable.
Duffee—Ultimately, I aim to create lifelong memories for our visitors. When someone tells me they visited the museum as a child and it left a lasting impression, I know we’re on the right track.
Jennifer What are the key factors in planning our events and programs?
Duffee—Logistics matter, of course, but we also prioritize understanding our audience. It’s about connecting our programs to the museum’s mission while ensuring everyone involved feels represented.
Grace—Collaboration is crucial. We work across departments to gather feedback and insights, ensuring a cohesive experience for our visitors.
Toni—And it’s about creating magic through that collaboration. Each event is a collective effort that reflects our shared vision for engaging the community.
Jennifer So, what lasting impact do you hope these events will have on attendees and the broader community?
Bowling Green State University Assistant Professor Gerard Nadeau and Block Party goers worked together to install this interactive art display.
Duffee—Well, I said this earlier, but this is my driving mantra: I just want to create impactful, positive, and warm memories. So that, when everyone in this room right now is no longer here 100 years from now, people are still saying, “I remember that event at the Toledo Museum of Art, and I am a different person because of it—a more whole person.”
Toni—I hope it creates pride. People should talk about this place. They should tell their friends who live abroad or in New York that TMA is on par with any other world-class museum. You can come here, have fun, and be yourself. This should be a space that you come back to often. It’s not just one and done; you should be able to say, “I want to come back and experience that with a docent or with another person to walk around with me and engage me even further.” We want them to know that this is a vital part of their community, one that is intentional and enriching. I just want them to feel proud of it—so much so that they keep coming back.
Grace—Absolutely. I want them to feel welcome at the museum, knowing there are meaningful experiences and programs that resonate with them. I want them to look forward to coming back. Once they participate in a program or event, I hope they’re excited to ask, “What are you offering next month? What’s the next big thing?” Building these relationships makes such a difference. When we nurture these connections, we can continue to engage the community and always keep them looking forward to what’s next.
Jennifer—That is a beautiful vision, reflecting our commitment to showcasing art and fostering a supportive, inclusive community. Since tracking public programming between Fiscal Year 2024 (FY24) and Fiscal Year 2025 (FY25), we have seen a 306 percent increase in attendance, excluding community events like Juneteenth, the Block Party, and the Great Art Escape. In FY24, the museum offered 41 public programs; in FY25, it has offered 75 programs to date—an 82 percent increase. Together, we are creating a space where art is experienced, memories are made, and everyone feels they belong. Thank you for sharing your thoughts today; it highlights art’s power to connect us all.
What’s the next big thing?
MLK Day Jan. 20, 2025
Art of the Cut Feb. 23, 2025
Juneteenth Jun. 19, 2025
Block Party Sept. 13, 2025
Glass Harvest Sept. 27-28, 2025
Watch for details at toledomuseum.org/events.
Introducing
The Museum’s Incubator of Digital Innovation
Guest Writer
Sophie Ong, Assistant Director of Strategic Initiatives
Above:
Yatreda : ያጥሬዳ (Ethiopian, established 2021), Abyssinian Queen (detail), 2024. Non-fungible token (NFT) of singlechannel video. Purchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey, 2024.177
TheToledo Museum of Art is reimagining the museum experience with TMA Labs, a forward-thinking initiative focused on the intersection of art and technology. Think of TMA Labs as a place where creativity and innovation blend, bringing new experiences to the museum and expanding how we think about art and digital engagement today. TMA Labs is designed to bring technology-driven projects to life in ways that support our staff, our community, and our mission to integrate art into the lives of people.
In the words of TMA Labs Director Ian Charles Stewart, “The multitude of new technologies washing over us today offers immense opportunities for arts and culture organizations who are willing to embrace
and experiment. And it isn’t just about what artists do. It also impacts how institutions operate and relate to their audiences at home and around the globe.”
He should know—as a co-founder of WiReD Magazine, Stewart is a true art, tech, and culture visionary. Our team also includes Calvin Burchfiel, who leads the lab’s tech research and efforts, and I assist with the implementation support to realize TMA Labs projects within the museum setting.
Against this dynamic backdrop, TMA Labs is working toward TMA’s strategic goals through three pillars: digital art, internal operations, and digital outreach. We’re excited to see how these efforts transform both the museum and our community.
Introducing digital art
The rate of innovation in digital art is as rapid as in other domains of technology. While digital art won’t replace long-established media, it’s increasingly likely that more children will incorporate digital tech into their play, and more artists will integrate digital tools into their work. As an incubator for creativity, TMA Labs explores how digital and traditional art can coexist, engage communities, and shape the future of museums.
Central to TMA Labs is the Digital Artist in Residence Program, launched in 2023 with support from Block Communications, Inc., and Richard and Denise Arnos. Modeled on TMA’s glass residency program, GAPP, the digital art residency invites artists to experiment and push the boundaries of their work, creating digital artwork that draws from their experiences with the museum, our collection, and the Toledo community. The program has quickly become a hallmark of TMA Labs, underscoring the museum’s historic commitment to embracing innovative art forms.
In 2024 the museum welcomed Ethiopian art collective Yatreda : ያጥሬዳ as our digital artist in residence. Yatreda’s work brought an exciting new level of interactivity to TMA, especially with House of Yatreda. This immersive installation, featuring the Abyssinian Queen series on massive LED screens, became a focal point of our exhibition Ethiopia at the Crossroads. To deepen the experience, during their residency Yatreda created The Queen’s Medallion in collaboration with Brian Carpenter from the University of Toledo Department of Art. This digital collectible offered visitors a chance to acquire a piece of digital art that connected them to Ethiopian heritage in a modern way.
To enhance the experience further, visitors could join Yatreda’s Ethiopian coffee ceremonies. Visitors drank their coffee from hand-blown glass cups made by the TMA Glass Studio team. Each cup was embedded with an NFC (near-field communication) chip that unlocked a unique digital artwork featuring a proverb written by Yatreda that blended Ethiopian wisdom with Toledo coffee culture, captured through interviews around Toledo.
In addition to Yatreda’s project, our Community Digital Artist in Residence Jordan Buschur debuted her first digital art drop at TMA’s annual Block Party—a huge community event that drew over 6,500 attendees. Buschur’s work added a new digital dimension to this local celebration, reinforcing TMA’s vision to integrate art into our community events and expand its platform for digital art. Together, these projects signal TMA’s role as a destination for digital art and new ways to engage visitors.
Expanding impact: Inside and beyond TMA’s walls
TMA Labs isn’t just about digital art; we’re also exploring how we can use technology behind the scenes to improve museum operations, make the museum more visitor-friendly, and extend outreach in meaningful ways to reach audiences worldwide. The goal of TMA Labs’ outreach efforts is to create accessible, interactive connections with communities everywhere. For instance, this year’s Block Party brought together the Toledo community, digital artists, and digital collectors from across North America. The event demonstrated TMA’s potential as an international destination not just for digital art but for broader digital engagement and innovative community experiences.
We’ve also begun conversations with tech developers and leaders in the Toledo community to explore how we might partner together on initiatives within and outside our galleries. By
Yatreda : ያጥሬዳ (Ethiopian, established 2021), The Queen’s Medallion , 2024. Bronze model for non-fungible token (NFT).
Courtesy of the artist
leveraging technology, we’re creating new ways for people to interact with art, participate in museum activities, and be part of TMA’s story, whether they’re in Toledo or halfway around the world.
A vision forward
As TMA continues to reimagine its galleries and visitor experiences, TMA Labs has big plans to lead the way in art and tech integration and infrastructure. From new residencies and expanded educational programming to piloting visitorfocused technology, our goal is to make TMA a place where art, innovative technology, and community come together. We want TMA Labs to inspire audiences and other museums alike.
TMA Labs is more than a department—it’s a statement about who we are and where we’re going. It’s a bold step into the future, embracing experimentation and ensuring art continues to touch lives in powerful ways.
Paint in Motion
TMA Digital Art Resident Jordan Buschur
What do the objects that surround us say about ourselves? That’s a question painter Jordan Buschur explores in her work, which focuses on the objects people keep and the connections they represent. As TMA’s 2024 Community Digital Artist in Residence, she’s created her first digital artwork, Handiwork, Shadow Play.
You paint people’s things more often than people themselves. Why?
I think a lot about the weight of physical objects, their physical and psychic weight. The things we keep can be keys to open memories or have physical reminders of relationships, of our histories.
As an artist who paints, what interested you about digital work?
Jessica Hong (previously Senior Curator of Modern and Contemporary art at TMA) asked if I ever work digitally. I hadn’t, but I’m always willing to experiment and to learn. At the beginning, I asked myself, should I paint digitally? But I decided I still want to work with paint on panel; I just want to expand how the artworks exist in the world.
Tell us more about the resulting work, Handiwork, Shadow Play.
This piece explores the book as both an object we can hold and a container for knowledge and ideas. The hand on the cover appears and disappears on a loop, conjuring the human desire to unlock meaning, memory, and connection through ordinary objects.
What did working digitally help you explore?
Initially I was very excited by the idea of animating my paintings to make parts of them move or disappear. Bringing this into reality throughout the residency made me realize that I could now harness the element of time into paintings in a new way. I still made the physical paintings as I typically do, but now I can show the movement between multiple states throughout the painting process, allowing for more than one finished image. To learn more about Jordan Buschur, turn to p. 40.
Jordan Buschar, Handiwork, Shadow Play
Toledo Museum of Art Winter
Discover
Ethiopian art in a global context
In the first major US exhibition of Ethiopian art, Ethiopia at the Crossroads transported visitors through almost 2,000 years of the region’s extraordinary history, artistic impact, and global connectivity.
From Past to Present The Museum’s Latest Acquisitions
As part of our strategic plan, the Toledo Museum of Art seeks to broaden the narrative of history. In 2024, we have acquired more than 260 exceptional works of art from cultures and makers around the world, deepening the global narratives we can tell. Here is a selection from across our collecting areas, presented by fellows and research associates—a key part of our significantly expanded curatorial team.
Indonesia (Geelvink Bay)
Korwar statue, late 19th–early 20th c. Wood; height, 117/8 in. (30.42 cm)
Purchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey, by exchange, 2024.17
This statue comes from the Indigenous communities of the Papua region of Indonesia. The Korwar (ancestor) figure is a man holding an intricately perforated panel, resembling a shield. The carver would have presented the statue to a deceased male’s family, and it served as a link between the realms of the living and the dead. Each Korwar statue holds tremendous spiritual significance.
— Kennedy Morganfield, Kress Interpretive Fellow
Iran, Kashan or Qazvin, Safavid Period (1501–1736)
Safavid red-ground palmette and bird carpet, 1565-1575
Wool pile on a silk and cotton foundation, 2031/2 × 885/8 in. (516.89 × 225.11 cm)
Purchased with funds from the Jamar Art Fund of Marvin and Lenore Kobacker, and the Libbey Endowment, Gift of Edward Drummond Libbey, by exchange, 2024.20
This exquisite carpet, formerly in the Rothschild collection, was crafted in a royal workshop during the reign of Shah Tahmasp I (1524-1576). A brilliant example of Safavid art, the carpet's design with flowing spirals, palmettes, blossoms, and birds, brings to live the essence of a Persian garden—a symbol of paradise. These carpets graced royal palaces and were gifted to foreign dignitaries as symbols of Persian cultural prestige. This work carried artistic beauty and diplomatic weight, representing the splendor of the Safavid court.
— Ahmad Rafiei, Brian P. Kennedy Leadership Fellow
Virginia Jaramillo (American, born 1939)
Untitled, 1969
Acrylic on canvas, 60 × 60 in. (152.4 × 152.4 cm)
Purchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey, 2024.24
In the 1960s, Mexican-American artist Virginia Jaramillo found inspiration in Ma, a Japanese philosophy that emphasizes the importance of empty space. As an aesthetic concept, Ma also refers to the harmony between space, color, line, and form. Jaramillo’s interest in these ideas coupled with her commitment to abstraction and minimalism influenced one of her most significant series of works, known as the Curvilinear paintings (1969-1974), which includes Untitled (1969).
— Jehan Mullin,
Research
Associate
of Modern and Contemporary Art
Marvin Lipofsky (American, 1938-2016)
Mitsunobu Sagawa (Japanese, founded 1953)
Otaru Series 1987-88 #18, 1987-1988
Glass, twine, and wire; 9 × 14 × 12 in.
(22.86 × 35.56 × 30.48 cm)
Gift of the Marvin Lipofsky Studio., 2024.38
Marvin Lipofsky championed the artistic and expressive possibilities of glass sculpture and continued the experimental efforts of the American Studio Glass movement by introducing non-glass materials into glass sculpture. In this exciting collaboration with Japanese glassmakers, Lipofsky brought glass and twine together, embracing the beauty of transient impermanence of the Japanese wabi-sabi worldview.
— Kelli Fisher, Research Associate of Glass and Contemporary Craft
Yatreda : ያጥሬዳ (Ethiopian, established 2021)
Abyssinian Queen, 2024
Non-fungible token (NFT) of single-channel video
Purchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey, 2024.178
Yatreda’s Abyssinian Queen portrays the regal journey of an Ethiopian queen through mystical forests between ancient kingdoms. Adorned in traditional attire and accompanied by attendants, she sits on a throne of fresh grass, symbolizing fertility, renewal, and Ethiopia’s rich lineage.
Blending ancient folklore with innovative digital innovation, Yatreda mints their artworks on a blockchain, preserving Ethiopia’s cultural heritage in a twenty-first-century format. The Abyssinian Queen seemingly connects past and present, seamlessly bridging antiquity with the emerging world of Web3.
— Sophie Ong,
Assistant Director
of Strategic Initiatives
F. Holland Day (American, 1864–1933)
The Seven Words, 1898 Platinum prints, 51/4 × 18 in. (13.34 × 45.72 cm); mounted on black card in the original lacquered wood frame, 81/2 × 341/2 in. (21.59 × 87.63 cm)
Purchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey, by exchange, 2024.37
F. Holland Day aimed to prove photography could create sacred imagery as well as any other medium. In The Seven Words, Day himself takes on the role of Christ in this series of sensitive self-portraits depicting the final moments of the crucifixion, directly inspired by Renaissance artworks. Controversial for arguing that photography could stand shoulder to shoulder with religious painting, The Seven Words reveals a moment when new technology and the history of art collide.
— Willow Gritzmaker, Research Associate of American Art
Giuseppe Rusconi (Italian,1687–1737)
Portrait of Beatrice Caracciolo, 1730 Bronze; height, 331/16 in. (83.98 cm)
Purchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey, by exchange, 2024.18
This bronze, portrait bust depicts Beatrice Caracciolo (1615–1703), the matriarch of a noble family from Naples, Italy. Following her death, her son, Cardinal Innico Caracciolo, commissioned the sculpture from Rome-based sculptor Giuseppe Rusconi on July 18, 1730. Extraordinarily well-documented and kept within the family for centuries, this bust portrays the strongwilled personality of the Duchess of Martina, honoring her familial legacy after death.
— Megan Reddicks Pignataro, Research Associate of European Art
Toledo
Nicholas Galanin (Tlingit/Aleu, born 1979)
Ancestral Map of Return, 2023
Pigment and acrylic on deer hide, 45 × 63 in. (114.3 × 160.02 cm)
Purchased with funds from the Mr. and Mrs. Robert J. Barber Art Fund, 2024.23
This incredible deer hide painting features a vast and intricate star map filled with countless white stars against a dark background. Each speck of light represents an Indigenous person whose cultural heritage is unwillingly held in a collection, the jagged edges of the hide encouraging us to reflect on
Indigenous histories and futures. Bridging the celestial and earthly realms, this artwork poetically engages with timely conversations around cultural patrimony and the responsibilities of museums.
— Adero Kauffmann-Okoko, Key Bank Museum Fellow
Guinea, Baga
Baga Nimba shoulder mask, 20th c.
Wood and metal; height, 503/4 in. (128.91 cm)
Purchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey, by exchange, 2024.16
This large mask, called a Nimba, offers one vision of the ideal woman in the Baga society of Guinea. It features an exaggerated head and hairstyle, and an elongated neck and breasts that hang down loosely, together suggesting a figure most capable of nurturing. Once worn as part of biannual masquerade performances corresponding with the growing and harvest seasons, the Nimba masks are now performed at weddings, funerals, and even sporting events.
— Kennedy Morganfield, Kress Interpretive Fellow
Toledo Museum of Art Winter
In the Founder’s Footsteps
A recent gift from the Taylor Automotive Family will continue the Libbeys’ vision of a free museum for all.
There is an important word Stephen Taylor Sr. uses often when discussing philanthropic contributions to the community: “we.”
The “we” he refers to is the Taylor family. But more specifically, it describes the force behind much of their giving: his late wife Julie. Their recent $10-million gift to TMA honors Julie and will make parking free for all visitors beginning in January 2025.
“It started really with Julie,” Steve Sr. said in a recent interview. “From the start, she was so dedicated and invested in giving back to this community.”
That the museum has maintained free admission since its founding in 1901 is, according to Steve Sr., one of its most impressive feats. Its accessibility to all people remains a focus of his family’s giving efforts and reflects a commitment his wife Julie shared, according to their son, Stephen Taylor Jr. It’s part of the reason they earmarked a portion of their gift to make parking more accessible to people regardless of their financial or physical limitations.
“My mom, alongside my dad, loved the museum,” said Steve Jr. “It’s something near and dear to my dad’s heart because it brings back great memories of both he and my mom and their shared work and efforts to support TMA and their enjoyment of the museum. We believe this is a way to continue to live out her legacy, making a donation that will live for years and years in her honor and support this great asset to the city of Toledo.”
The donation also supports landscaping improvements that will make the museum’s place in the city more distinctive to thousands of passing vehicles and helps to fund the reinstallation of art works and gallery refurbishment.
While the decision to do something significant for the museum was reached as a family when they gathered on Mackinac Island a few years ago,
the ethos of the Taylor family’s business—locally owned, locally committed—began decades before when Steve Sr. started his dealership in 1979.
“I was determined to be an entrepreneur and to be a car dealer,” Steve Sr. said. “General Motors, where I worked before starting my own business, sent me to a dealership in Phoenix, Arizona, where I worked for about nine months. That’s where I really got the feel for wanting to be an auto dealer.”
Since then, he and his family have grown the business to seven dealerships throughout Northwest Ohio. As their entrepreneurship grew, so did their efforts to support the area’s nonprofits in the arts, health care, and beyond.
It’s no wonder then that among the many museum exhibitions they’ve sponsored, one of Steve Sr.’s favorites remains Community by Rebecca Louise Law in 2018 and 2019, which invited members of the community to help the artist create an immersive floral experience. It emphasized working together to build something as a collective, an effort Steve appreciated as someone invested in the success of the area’s community institutions.
“For Julie and me, giving back in Toledo was important to us, not only because of our faith, but because we had been so blessed by so many people helping us out here,” Steve Sr. said.
Over the years, the family has collaborated with and befriended successive museum directors; the vision of its current leadership has reinforced their belief in the museum’s importance.
“Adam’s passion and aspirations for the museum are reflected in its exhibitions, acquisitions and plans for campus expansion,” Steve Sr. said.
“That solidified our commitment to TMA, and we are really pleased to be completely aligned with the museum’s vision for the future."
Taylor Family Support Through the Years
Whether through the Stephen D. Taylor Family Foundation or the Taylor Automotive Family, the Taylors have been steadfast supporters of many of the museum’s exhibitions, acquisitions, and gallery renovations since 2010. Here are some of the highlights.
2012
The show Made in Hollywood featured iconic prints by the most important photographers of filmmaking’s golden era, spanning from 1920 to 1960.
2016
Dated to around 1620, the Spanish pendant cross (2016.5) is adorned with 13 square-cut Colombian emeralds (one replaced), set in gold and surrounded by natural pearls.
2019
The exhibition Life is a Highway: Art and American Car Culture showcased advertisements for Fisher Body, an automobile coachbuilder founded in 1908 in Detroit, generously lent by the Taylors.
2021
The Taylors contributed to the Cloister Gallery refresh, a project that reimagined the art of the Middle Ages and conserved the centuriesold architectural sculpture that comprises one of the museum’s most cherished spaces.
2022
Honoring Julie Taylor’s Legacy
In memory of the late Julie Taylor, the museum acquired this Italian belt buckle and tongue (2022.29a-b) from the second half of the fifteenth century, featuring imagery symbolizing love, friendship, and marriage.
Pendant cross, 1620-1630. Emeralds, gold, and natural pearls. 3½ × 1¾ in. (9 × 4.5 cm). Purchased with funds given by the Stephen D. Taylor Family Foundation, 2016.5
The Cloister, a medieval stone courtyard surrounded by colonnades, is a TMA fan favorite.
Belt buckle and tongue, 1450-1500. Silver, gilt, and niello. 51/2 × 13/8 × 1/4 in. (13.97 × 3.49 × .64 cm), 53/4 × 1 × 1/4 in. (14.61 × 2.54 × .64 cm). Purchased in honor of Julie Taylor, 2022.29a-b
Experience
Death and the king’s Alaso Ofi (part 2) III (detail), 2018. Peju Alatise (Nigerian, born 1975, Oyo State, Nigeria). Metal, stone cast, wood, and acrylic on canvas. 50 × 50 × 4.5 in. (127 × 127 × 11.43 cm). Courtesy of the Artist and Aicon Gallery, New York.
On view in Strategic Interplay: African Art and Imagery in Black and White, Canaday Gallery (see p. 39).
Strategic Interplay: Where Art and
Ever thought of art as a strategic game?
Well, the Toledo Museum of Art is here to challenge your perception with its groundbreaking exhibition Strategic Interplay: African Art and Imagery in Black and White. This visually stunning exhibition connects the seemingly different worlds of African art and the ancient game of chess. Whether you’re an art lover, a chess enthusiast, or someone looking to see history from a fresh angle, you won’t want to
miss this deep dive into history, art, and strategic thinking. It’s on view until February 23, 2025.
Chess isn’t just a game of intellect; it’s also about power, hierarchy, and struggle—concepts that resonate strongly in the world of African art. The exhibition showcases 63 magnificent works that have been carefully selected from TMA’s collection as well as from private collections and prestigious institutions around the world.
Unknown (French), Dieppe Europeans vs. Africans (Europeans versus Africans), 18th c. Elephant and walrus ivory. Height of king chess piece, 31/4 in. (8.26 cm). Courtesy of the Jon Crumiller Collection.
So, how did chess and African art come to influence each other? The story stretches back 1,500 years, starting in the seventh century, when chess spread across Africa with the Islamic conquest of the continent. Over the centuries this iconic game became more than a test of wits, it became a symbolic battlefield. The pieces on the chessboard began representing struggles for dominance, resources, and control.
Lanisa Kitchiner, Senior Manager of Interpretation and Curator of African Art at TMA, and Wendy Grossman, an independent art historian and curator, curated the exhibition—which takes visitors on a journey through time, showcasing how both African and European artists have used chess motifs to explore themes of power and resilience.
“Chess serves as a metaphor for power dynamics,” said Lanisa. “Artists in Europe and Africa used it to reflect sociopolitical realities, creating works that depict struggles between colonizers and the colonized.” The exhibition is divided into three engaging sections: Openings and Interplays, Modernist Gambits, and Endgames, each offering a different perspective.
Openings and Interplays highlights the craftsmanship of African artists, who used carved wooden sculptures, ornate masks, and everyday objects to convey messages of leadership and cultural identity. The section showcases historic works like masks from the Kuba kingdom in the Democratic Republic of the Congo alongside chess
sets such as a nineteenth century example in which the two sides have been made to resemble Europeans and Africans, carved from ivory by artisans in Dieppe, on France’s northwestern coast.
Modernist Gambits takes us to the twentieth and twenty-first centuries, when Western avant-garde artists like Pablo Picasso, Constantin Brancusi, and Max Weber began incorporating African motifs and chess imagery into their work and African artists like El Anatsui and Magdalene Odundo begin using forms and checked patterning to represent indigenous aesthetic values. In examples like Man Ray’s Noire et Blanche and David Alekhougie’s counter-response Scramble for Africa 2-3, you’ll see how opposing black and white forces are positioned like chess pieces and become platforms for artistic and political statements.
Wendy notes that “the American artist Man Ray, an avid chess player and maker of chess sets, was one of the early twentieth century’s most active producers of artworks at the intersection of African art and chess.”
Olamilekan Abatan (Nigerian, born 1966, Lagos, Nigeria), The Next Move, 2023. Charcoal, acrylic, and wax fabric on paper. 417/10 × 612/5 × 2 in. (105.92 × 155.96 × 5.08 cm). Courtesy of Black Liquid Art Gallery
Toledo
“Chess serves as a metaphor for power dynamics. Artists in Europe and Africa used it to reflect sociopolitical realities, creating works that depict struggles between colonizers and the colonized.”
Lanisa Kitchiner Senior Manager of Interpretation and Curator of African Art
Finally, Endgames examines how African artists have reimagined chess in the postcolonial era. The game has become more than a mere pastime— it has transformed into an artistic strategy for depicting societal struggles and resilience. Artists like Willie Cole in his To get to the other side reflect on the complexities of African history and identity, using the chessboard tactically as a symbol of power dynamics and cultural preservation.
Lanisa adds, “Strategic Interplay reveals the parallel and overlapping metaphors between African art and the royal game of chess. We hope that visitors will gain a deeper appreciation for African art by viewing it through this alternative lens.”
Admission is free for both TMA members and nonmembers and is now on view through February 23, 2025.
The exhibition, Strategic Interplay: African Art and Imagery in Black and White, is made possible with the generous support of Presenting Sponsors Susan and Tom Palmer and additional funding from the Ohio Arts Council, which receives support from the State of Ohio and the National Endowment for the Arts.
Man Ray (American, 1890–1976), Mode au Congo (Fashion in the Congo), 1937 (printed about 1987).
Unknown (French-Canadian), birchbark model canoe and three dolls with assorted equipment, mid 18th c. Birchbark, pigment, hide, wool, cotton and silk, wax, human hair, metal, glass beads, and shell. Canoe, 265/8 × 7 × 55/8 in. (67.63 × 17.78 × 14.29 cm). Purchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey, by exchange, 2023.368a-n.
A Glimpse into History
Indigenous Eastern Woodlands objects return home to Turtle Island
TheToledo Museum of Art recently acquired a remarkable collection of eighteenthcentury Indigenous Eastern Woodlands objects. Featuring intricate quillwork, beadwork, moosehair embroidery, and birchbark artforms, these exciting recent acquisitions will be on view March 1–June 29, 2025, in the exhibition, Return to Turtle Island:
Indigenous Nation Building in the 18th Century It offers a rare opportunity for visitors to explore early First American artistry and history.
Return to Turtle Island celebrates the sophisticated social and political systems developed by Indigenous nations and their interactions with European settlers. Turtle Island is the name used by Anishinaabe, Haudenosaunee, and other First Americans to
refer to the North American continent, referencing the origin story of a landmass built on the back of a great turtle. When French explorers arrived to Turtle Island in the sixteenth century, they marveled at the advanced societies they encountered.
Over the next two centuries, French and English communities were keen to engage with these sovereign nations, forging meaningful relationships as peers and potential allies. Seeing the economic and political advantage of such alliances, Indigenous leaders pursued such alliances which were fortified through the exchange of both gifts and knowledge. The European populations eagerly accepted and collected the likes of which they had not seen before, sending them back to
Toledo Museum of Art Winter 2024
“By working with the descendants of the makers of these items, we’re ensuring that they are cared for with the utmost respect and understanding.”
Johanna Minich
Consulting
Curator
of Native American Art their families in France, England, and Scotland. For Indigenous peoples, these objects were seen as relatives and emissaries, representing their nations in distant lands. While the role of these objectsin nation-building was more subtle, it was just as significant as direct person-to-person interactions.
Johanna Minich, Consulting Curator of Native American Art, expressed her enthusiasm for the exhibition: “Return to Turtle Island offers a unique window into a time of dynamic interaction between Indigenous and European communities. These objects don’t just represent material goods—they reflect the exchange of artistic knowledge and traditions that were shared between cultures.”
The exhibition celebrates the remarkable journey these artworks have charted as ambassadors of their own communities. Among the standout objects is a knife sheath adorned with vibrant red and white quills and intricate beadwork. A quilled treaty pipe from the Eastern Great Lakes region is also notable for its craftsmanship and historical significance.
Their travels began in the eighteenth century with Alexander Farquharson, a Scottish officer who acquired these objects during his military travels through New York and Canada during the French and Indian Wars. They were sent back to his family estate in Scotland, where they remained until the early twenty-first century. Now, they’ve come full circle, returning to Turtle Island as symbols of Indigenous nation-building and artistic excellence.
The exhibition also highlights cross-cultural collaboration through the inclusion of three works that showcase the art of moosehair embroidery. They were created by French nuns who learned the technique from Indigenous women. This blend of European and Indigenous artistry techniques exemplifies the creative exchange that took place during this period of history.
“The scholarly value of this collection is immense,” Johanna added. “It represents a period of diplomacy and admiration between Indigenous and European peoples. The exchange wasn’t limited to material goods—it extended to artistic practices and creative knowledge as well.”
To ensure the proper conservation, display, and long-term care of these objects, TMA is collaborating with the Great Lakes Research Alliance for the Study of Aboriginal Arts & Cultures (GRASAC) at the University of Toronto. This network of Indigenous scholars and knowledge keepers will provide essential insights into the best practices for preserving these culturally significant artifacts.
“This collaboration with GRASAC is incredibly important to us,” Johanna emphasized. “By working with the descendants of the makers of these items, we’re ensuring that they are cared for with the utmost respect and understanding.”
Through this exhibition, visitors will not only appreciate the beauty of these objects but also gain insight into the complex relationships that helped shape early American history. Return to Turtle Island offers visitors the chance to engage with the stories and artistry of Indigenous peoples, reminding us of the importance of cultural exchange and collaboration.
The exhibition is free to both TMA members and non-members and is on view March 1–June 29, 2025.
The exhibition, Return to Turtle Island: Indigenous Nation-Building in the 18th Century, is made possible with the generous support of presenting sponsors Susan and Tom Palmer and additional funding from the Ohio Arts Council, which receives support from the State of Ohio and the National Endowment for the Arts.
Ancestral Innu Artist, pair of beaded hide moccasins, mid-to-late 18th c. Seal hide, silk, glass beads, and wool. 93/4 × 41/2 × 4 in. (24.8 × 11.4 × 10.2 cm). Purchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey, 2023.359a–b.
Purchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey, 2024.4
Kay WalkingStick (Cherokee, born 1935, Syracuse, New York), Seal Rock Storm , 2023. Oil on panel in two parts. 40 × 80 in. (101.6 × 203.2 cm).
Toledo Museum of Art Winter
On View & Upcoming
Opulent Echoes: Artistic Journeys in the 16th and 17th Centuries
On view through June 2025 Gallery 15
While long-distance interactions such as trade, exploration, and conflict have shaped human societies for millennia, the sixteenth and early seventeenth centuries marked a notable period of intensified global connectivity. By the 1500s Muslim traders traveled to Southeast Asia, representatives of the Chinese Ming Dynasty sailed to Africa, and Spanish galleons traversed the Pacific and Atlantic oceans.
The artworks displayed in this new installation— from an elaborate Safavid Persion carpet and delicate Venetian glass, to elegant Ming ceramics and the groundbreaking paintings of
the European Renaissance—attest to the power of luxury objects and their makers to transcend social differences, aesthetic boundaries, and linguistic barriers during these centuries.
Brought together in the same gallery, Asian and European works invite visitors to explore a vital period of influence and interaction— though sometimes violent and coercive—among diverse cultures. The vibrant colors, elaborate designs, and innovative artistic techniques offer insight into the persistence of human ingenuity and curiosity about the world and highlight farranging exchanges of ideas and material wealth.
Bernadine Rais: Souvenirs
On view through January 26, 2025
Robert C. and Susan Savage Community Gallery
This collection of oil paintings by Toledo artist Bernadine Rais transports viewers into the enchanting world of nocturnal suburban landscapes. Rais takes inspiration from the tranquil moments of dusk and the beauty of twilight, experienced as she wanders local streets. Enjoy the delicate interplay of light and shadow and immerse yourself in soft hues and serene compositions. Each artwork invites visitors to connect with their own experiences and find solace in shared moments of stillness.
The Ninth Congressional District Invitational High School Art Exhibition
On view February 14 through March 30, 2025
Robert C. and Susan Savage Community Gallery
For over 40 years, Congresswoman Marcy Kaptur has partnered with the Arts Commission to celebrate young artistic talent in Ohio’s Ninth Congressional District. Since 1983, student artwork has been showcased through a competitive exhibition, part of the nationwide Artistic Discovery program. Winning students have their art displayed in Washington, DC, with runners-up featured in Kaptur’s local offices.
Strategic Interplay: African Art and Imagery in Black and White
On view through February 23, 2025 Canaday Gallery
This visually stunning exhibition, featured recently in The New York Times, connects two seemingly different worlds: African art and the ancient game of chess. Visitors will learn that chess isn’t just a game of intellect; it’s also about power, hierarchy, and struggle—concepts that also resonate strongly in the world of African art.
Return to Turtle Island: Indigenous Nation Building in the 18th Century
On view March 1 through June 29, 2025 Gallery 18
TMA recently acquired an extraordinary assembly of eighteenth-century Indigenous Eastern Woodlands objects. This beautiful collection, featuring quillwork, beadwork, moose hair embroidery, and birchbark creations, presents a rare opportunity for visitors to explore the artistry and history of early America.
Toledo
From the Collector’s Corner
Jordan Buschur
Loving art can go beyond admiring it in museum galleries. Becoming a collector supports the work of living artists and allows you to bring creative expression home. Original art by more than 250 emerging and established regional artists is waiting in the TMA Store—sculptures, glass, prints, paintings, photographs, pottery, and more. Enjoy exploring the work of Toledo-based artist Jordan Buschur.
Jordan is the inheritor of a very old teapot trivet, formally the property of her great grandmother. It’s worth nothing and everything at once. “Because it belonged to her, I can never get rid of it,” Jordan said.
Our intense relationship with objects is one of the idiosyncrasies the artist reveals in her intimate paintings of things people hold dear. “There is a mystery to where the meaning lives in the objects,” Jordan said. She first discovered it as she cast around her New York City studio and set her eyes on a stack of books. Realizing they could be a stand-in for a person, she painted them—a kind of portrait of their owner, understood through something they owned.
She’s living in Toledo again, but exploring the subject even more deeply. Her paintings in the Museum Store show sentimental inheritances at close range, challenging us to think about what we value most and why. As a digital artist in residence at TMA this year, she worked with similar themes and learned how to animate her ideas in new ways.
“There are these tension moments I want to build into the composition,” Jordan said, “because it’s both the beauty of having family and ancestors and physical connections to them, and also just the weight of ‘What do we do with all this stuff?’” It’s a universal weight, one of her paintings does a stellar job of unpacking.
To see more local artwork available for purchase, visit store.toledomuseum.org.
Left to right:
Nails, 2024
Acrylic on panel 12 × 9 in.
Jordan Buschur Photo courtesy of artist
Full, 2024 Acrylic on panel 12 × 9 in.
Join TMA today
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On the Cover:
Unknown (Iran/Persian, 1565–1575), Safavid Red-Ground Palmette and Bird Carpet, 1565–1575. Wool pile on a silk and cotton foundation. 203½ × 885/8 in. (516.9 × 225 cm). Purchased with funds from the Jamar Art Fund of Marvin and Lenore Kobacker, and Purchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey, by exchange, 2024.20.
On view in Opulent Echoes: Artistic Journeys in the 16th and 17th Centuries, Gallery 15 (see p. 36).
