WAM: Access MagSummer13 by Allison Berkeley

access summer 2013 / may / june / july / august

worcester art museum magazine

worcester knights

+ T Y L US U J UG E E RA R F E M M SU

From the Director

A Renaissance for the John Woodman Higgins Armory Museum is happening at WAM: you will see the fruits of this regeneration evolving over the next 5 years and beyond.

Leadership from WAM and the Higgins Armory have been and continue to work collaboratively to plan and implement a meaningful integration of the spirit and collection of the Higgins Armory into that of the Museum. The incorporation of the Higgins is transformative for the Museum. WAM will now have an opportunity to tell the story of our collections differently, creating accessible connections to art, resulting in our ability to engage a broadening audience. The Higgins collection, one of the major collections of its kind, will remain in Worcester, sustainably. More about this specific subject will be in the next issue of access, details about our integration thoughts are on pages 4 and 5 of this issue and on the web at worcesterart.org.

The integration of the Higgins happens at a time when the Museum is on the upswing. Our attendance in the galleries has grown substantially since 2011. This is thanks to the success of our exhibition Kennedy to Kent State: Images of a Generation, which we were able to extend until June 9. New initiatives are being hatched every day in our new Audience Engagement Division under the leadership of Adam Rozan, who started with us on February 1.

This issue of access is particularly rich in information, ranging from the completion of a spectacular gift of art – the Smith Collection (p.6) to an internal thought process about seating in the galleries (p.17). I would like to whet your appetite about another important initiative, without which the Higgins integration and our future evolution are unthinkable: the beginning of a museum wide “activation plan,” with wHY Architecture, under the leadership of Kulapat Yantrasast. More about that towards the end of this year. What else can I say but “stay tuned.”

Matthias Waschek

Cover: Northern Italy (Milan), Three-quarter field armor, possibly for Henry Herbert, second Earl of Pembroke, 1560-70, Steel (once blued) with gilding; brass; iron; modern leather, John Woodman Higgins Armory Museum, 427.a-m 2

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Worcester Art Museum Board of Trustees

Clifford J. Schorer, President Marie A. Angelini, Vice President Catherine M. Colinvaux, Vice President Dr. Phyllis Pollack, Vice President Joseph J. Bafaro Jr., Treasurer Herbert S. Alexander Dr. Julia D. Andrieni Karin I. Branscombe Sara Buckingham John B. Dirlam Susan M. Foley Dr. Gabriele M. Goszcz Rachel Kaminsky Lisa Kirby Gibbs Patricia S. Lotuff Katharine M. Michie Charles H. Moser Moira Moynihan-Manoog John Savickas

WAM welcomes Adam Rozan

The Worcester Art Museum announced in late January, the appointment of Adam Reed Rozan to the position of Director of Audience Engagement. The Audience Engagement Division is a newly formed team focusing on attracting and retaining diverse audiences through developing and promoting fresh programming, expanding promotion and deepening the Museum’s connection to the community and beyond. This group will also establish a more welcoming, visitor-centric environment for all museum patrons.

“The creation of an Audience Engagement Division positions WAM at the forefront of innovative, audience-based museum thinking. What has been considered the traditional core audience is no longer comprehensive enough. In order to remain viable, we must look at how we engage broader audiences through an entirely new lens,” said Matthias Waschek, director.

WAM launched a national search to fill this unique position. “We were looking for someone who could inspire creative thinking and promote positive change and dialogue in the community,” said Waschek. “Out of an exceptional pool of candidates, Adam rose to the top due to his variety of professional experience and the contagious creative energy he emanates that reflects what museums should be all about.”

Rozan has held marketing, public relations, teaching and programming positions at a number of Boston-area cultural institutions, including Harvard University Art Museums, the Museum of Fine Arts, Boston Children’s Museum, Boston Public Library, and the Children’s Museum. He has consulted widely on the topics of social media and audience engagement, and has written numerous articles for HuffingtonPost.com, Museum id, and the Warholian.com, among others. Rozan earned a bachelor of fine arts degree from Elon University, Elon, N.C., and a master’s degree in liberal arts in museum studies from the Harvard University Extension School. Rozan was most recently the audience development manager with the Oakland Museum of California. Please join us in welcoming Adam to Worcester.

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A Renaissance for the Higgins at WAM

The framework of our current thinking is the following â&#x20AC;&#x201C; fasten your seatbelts!

Spring 2014 (as soon as possible after the Higgins site closes): A major arms and armor exhibition, Knights!, opens at WAM; it will highlight the relationship with our existing collections. Innovative and experimental programming will set the stage for a Museum-wide rethinking about audience engagement â&#x20AC;&#x201C; the Higgins spirit will inform us in that endeavor.

2015 - 2016: The acquisition of about 2,000 works of arms and armor is a major project and will take a long time. At the end, we will have increased our existing collection by about 5%.

2018+: To make space for a permanent home, we will relocate the library within the Museum campus. Defining at the same time the role of an art library in the 21st-century, will be our main challenge and we are gladly taking it on.

2019+: The future home of the Higgins collection will comprise 4,000 sq. ft. on two floors, with a Grand Hall on the upper level and open storage on the lower one. The entirety of the collection will be on view. Equally exciting: The Grand Hall is going to be enhanced by our monumental tapestry of The Last Judgment (around 1500), which has been in storage for more than two decades, and our Spanish Ceiling (before 1500).

The collection now finds a new home in the good company of our existing encyclopedic collection that you all know and cherish.

< Close helmet for combat at the barriers. Augsburg, about 1590 (HAM 2205.a)

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WAM announces the Frank Channing Smith, Jr. Collection Ten panel paintings of the early Renaissance, purchased during the 1920s and 1930s by Frank Channing Smith, Jr., a prominent Worcester attorney, Museum Trustee, and for a short period, president of the Museum, have been donated to the Museum’s permanent collection. When Smith died in 1952, these extraordinary works were divided between his nieces, Amy Bess Willliams Miller and Margery Anne Williams Adams, who were sisters. In 2003, the Museum received the following ﬁve paintings from the estate of Ms. Miller (former president of Hancock Shaker Village) of Pittsﬁeld, Massachusetts: Taddeo di Bartolo, Christ Carrying the Cross

Alvaro Pirez, Scene from the Lives of Cosmos and Damian (Stoning)

Alvaro Pirez, Scene from the Lives of Cosmos and Damian (Beheading) Master of San Miniato, Death of St. Catherine of Siena

Master of the Madonna with a Parrot, Madonna and Child with St. Joseph

In 2007, Ms. Adams of Charlotte, North Carolina, appreciating the value of keeping the family’s collection together, put on long-term loan as promised gifts to the Museum the ﬁve paintings she had inherited from her uncle. In June of 2012, Ms. Adams formally donated these works to the Museum: Bernardo Daddi, Madonna and Child Bernardo Daddi, Cruciﬁxion

Giovanni del Biondo, Communion of the Sick Giovanni del Biondo, Extreme Unction

Master of the Accademia Annunciation, Pietà

Two of the ten masterworks will be on view in the Museum galleries in July 2013.

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Master of the Accademia Annunciation, Italian (active in Florence), PietĂ , about 1380, tempera on panel, Gift of Margery Williams Adams, 2012.83

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JEPPSON

IDEA

LAB

ORANTES

June 22 - December 1, 2013

Orantes are terracotta statues from the 3rd century BCE that were discovered in ancient underground tombs in Canosa, located in southeastern Italy. These half-life-sized female figures, with arms and hands raised in gestures of praying or mourning (their name derives from the Latin verb orare, meaning “to pray”), surrounded the deceased. Today, fewer than 50 orantes survive in museums around the world. The two orantes in the Museum’s collection, which have recently undergone extensive technical study and conservation treatment, have a fascinating history.

When they first came as a pair to Worcester in 1927, one was severely damaged in transit. Shortly thereafter, the intact figure was sold while the broken one remained in storage. Nearly seven decades later, the rediscovery of the broken statue in storage coincided with a serendipitous opportunity to purchase its longlost mate, which by then had traveled half-way around the world. After more than 80 years, these reunited orantes, joined by a third one on loan, will be displayed together for the first time in Orantes: Ancient Statues from South Italy, in the new Jeppson Idea Lab.

What is the Idea Lab?

An exciting collection initiative that is being launched this season is the Jeppson Idea Lab, taking place in the Jeppson gallery located on the 3rd level and dedicated to highlighting single objects (or small groups of objects) from the permanent collection. Rather than presenting a formal thesis, which is more often the case for exhibitions, the Idea Lab will be a public forum for sharing questions and ongoing research about objects that may lead to future exhibitions, reattributions, or publications.

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Canosan, Statue of a Woman, 3rd century BCE, terracotta with white slip, Stoddard Acquisition Fund, 2008.50

Nancy Spero: Cri du Coeur

May 18 - October 13, 2013

Nancy Spero’s innovative graphic compositions and commitment to social issues rooted in gender established her as one of the leading feminist and postmodern voices. During her six-decade career, Spero (1926-2009) employed a vast and consistent vocabulary of images collected from various histories and mythologies, focusing since the mid-1970s exclusively on those depicting women’s experiences, often their resilience in the face of oppression and violence. Completed in 2005, Cri du Coeur (Cry of the Heart) is Spero’s last monumental work on paper. This work has been described as “a passionate cry against war, death, and destruction that is both political and personal, social and metaphysical.”

The hand-printed frieze wraps around the walls at floor level of an otherwise empty gallery. The recurring figures – a group of ancient Egyptian female mourners whose origin is a painted scene in the tomb of Ramose of Thebes (14th century BCE) – are universal symbols of grief unbound by time and place.

Through dramatic shifts in color, tone, and density, the relentless nature of the frieze and its legibility become increasingly complex and somber. As one slowly walks along the gallery walls, looking down to decipher details, one has the realization of becoming a participant in this procession and collective narrative of loss and memory.

This exhibition is supported by the Don and Mary Melville Contemporary Art Fund.

Nancy Spero, Cri du Coeur, detail, 2005, hand-printing on paper mounted on polyester poplin, 25 x 1,925 inches. ©Estate of Nancy Spero. Licensed by VAGA, New York. Courtesy Galerie Lelong, New York

related events

Gallery Talk: Nancy Spero Thursday, June 6, 2013 / 5:30 Susan Stoops, Curator of Contemporary Art Contemporary Gallery Chamber Music Concert Saturday, June 8, 2013 / 5:30pm Worcester Chamber Music Society Contemporary Gallery Visit worcesterart.org/chambermusic

related classes

Writing of the Heart with Laurel King Registration and additional fee required. Thursdays, July 11 - August 1, 2013 / 6 - 9pm

Sculpture of Emotion with Thomas Kellner Thursdays, July 11 - August 1, 2013 / 6 - 9pm

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Wall at WAM

Robert & Shana ParkeHarrison Now on view

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With its iconography of the remains of a grand feast and its themes of contemporary wealth, decadence, and disregard for the environment, the new Wall at WAM commission was created by the collaborative husband and wife team, Robert and Shana ParkeHarrison, as a visual and conceptual counterpoint to the Museum’s 6th-century Hunt mosaic from Antioch. The artists recently responded to several questions about their concept and process posed by Susan Stoops, Curator of Contemporary Art.

Susan Stoops: Has the Wall at WAM commission presented any new challenges for you?

Robert and Shana ParkeHarrison: The immense scale of this commission and the duration it is displayed are the two major challenges of this project. In the beginning our desire was to create a continuous detailed tableau photograph for the mural site. Creating a photograph at this immense scale presented far more of a challenge than we had imagined. In our studio, we photographed the elaborate image using multiple negatives that were scanned and merged together to retain the overall detail and resolution for this image.

The other challenge was creating a photograph that offers a provocative and intriguing experience for viewers over the duration of its installation. We set out to create a lush mural with visceral details and opulence that responded to its surroundings. The opportunity to respond to the Worcester Hunt was exciting and stimulating. It was simply the execution that presented logistical and technical challenges. As former Worcester residents, we have long coveted the opportunity to ‘take on’ the Wall at WAM. Our affinity for the Wall made the challenge all the more thrilling for us. SS: Unlike many previous Wall at WAM murals, your project engages specifically the Museum’s 6thcentury Hunt mosaic from Antioch, which occupies the floor beneath the mural. Can you discuss that relationship?

R & SP: Researching the symbolism, history and culture of Antioch offered intriguing content to our creative process. The brutality displayed in the Worcester Hunt became fertile ground for us to explore the cruelty and gluttony of the time in which the mosaic was created. The concept for our mural offers a window into contemporary issues of use and misuse by referencing the past. The central figure of the Worcester Hunt stands awkwardly yet

casually as a scene of animal brutality is enacted around him. This character is referenced in our image by a man holding a slain deer. In our image it is unclear if his action is aggressive or sympathetic. Clearly the feast in our image references decadence, both past and present. We titled our piece, These Days of Maiuma.

Maiuma was a religious festival in the ancient world. In Antioch, it became a reason for parties which lasted between five and thirty days. This observance evolved into such a corrupt and decadent display of all forms of excess that it was periodically outlawed or tempered. This festival of excess seems aligned with the excesses visible in the mosaic and in the lifestyles of ancient Antioch. SS: Can you describe the collaborative nature of your practice?

R & SP: Collaboration is an organic process for us. We work from our shared vision and love for art. We have a great amount of trust and respect for one another’s diverse artistic visions. Our collaborative process is similar to a game of throwing a ball back and forth. In our collaborative game, we start throwing the ball far from each other and progressively get closer and closer until we meet in middle.

SS: What are some of the influences that inform your photography?

R & SP: The influences on our work are vast and diverse from everyday experiences to research in history, literature, religion, ritual, dance and art, theater and film. We are constantly searching for new influences for our work. Influence is an active process of ‘filling the well.’ For this mural commission we delved into the influence of the Antioch mosaics and the history and culture of this time period, while looking for similarities to contemporary issues.

Artist Talk: Robert and Shana ParkeHarrison Sunday, May 19, 2013, 2pm Conference Room Free with Museum Admission.

This project is supported by the Don and Mary Melville Contemporary Art Fund. Additional generous support provided by David and Marlene Persky and an anonymous donor. Image: Robert and Shana ParkeHarrison, These Days of Maiuma, 2013, inkjet, 17 x 67 feet. Courtesy of the artists and Jack Shainman Gallery, New York

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Philippe Halsman, Salvador Dali, 1949, Gelatin silver print, Gift of G.W. Einstein Company, Inc.,1989.28 Photo ÂŠ Philippe Halsman Archive.

Portrait Photographs of Artists May 4 - July 14, 2013

It is a long-held truism of art history that representational artists often invent figures that look like themselves. For many, there is a perception that knowing how an artist looks helps the viewer better understand the artistâ&#x20AC;&#x2122;s experience, and perhaps relate more directly to their work. Drawn from the permanent collection of the Worcester Art Museum, Portrait Photographs of Artists will present sixty photographic portraits chronicling over a century of American and European artists. There are formal portraits, images intended for publication, and snapshots of artists at work and play. Further, many of the wide-ranging painters, sculptors, photographers, and printmakers featured in this exhibition can be found throughout the Museum.

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Hugo Erfurth, German, Otto Dix, about 1925, Gelatin silver print, Anonymous Fund, 1987.2

Untitled (Woman in a Telephone Booth, New York), about 1972, gelatin silver print, Gift of the Schorr Family Collection, 1991.280 © The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco

Winogrand's Women Are Beautiful August 10 - November 10, 2013

Hailed as a pioneer of the “snapshot aesthetic,” Garry Winogrand used a wideangle Leica M4 camera to produce spontaneous images emphasizing how everyday subjects, like people, dogs, or crowds, interact with the landscape around them. His work features oblique perspectives, often resulting in awkwardly composed photographs made by the stealthy eye of a private investigator.

However, Winogrand is routinely criticized for exploiting the subjects of his work, especially women. His 1975 publication Women Are Beautiful features eighty-five photographs of young adult women walking the streets of New York City, Texas, and London, England in the 1960s through the mid-1970s. Often “caught” with legs uncrossed or obviously braless, “Winogrand’s women” are typically photographed from particular angles to emphasize their breasts and buttocks making singular body parts the focus of the photographs, rather than the individuals inhabiting those bodies. Still, his off-kilter and aggressive style often resulted in a seemingly haphazard type of documentary photography not seen before. Friend and fellow photographer Joel Meyerowitz, said of Winogrand, “[his] pictures are both a slam and an embrace. He’s a contradiction, and so the pictures are contradictions.” Featuring sixty-seven photographs from Women Are Beautiful, this exhibition attempts to negotiate these contradictions to provoke a new and insightful engagement with Winogrand both formally and contextually.

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New acquisition: The Scarlet Letter VI

In 1982, the artist, activist, and educator Tim Rollins founded the art collective, Tim Rollins and K.O.S. (Kids of Survival). This unique collaborative practice of Rollins and a group of South Bronx high school students combined lessons in reading literature classics with the collective production of works of art. For this painting, while one student read aloud from the text, other K.O.S. members created images that related aspects of Hawthorne’s narrative to their own experiences of exclusion and difference. Working in what has become their signature style, they pasted or recreated their images and marks on cut-out pages of the book laid down in a grid and glued to a canvas.

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The seven variant “A” motifs in the painting are, at their most literal, allusions to the enforced wearing of the letter “A” by heroine Hester Prynne as punishment for adultery. They also suggest the range of interpretations by K.O.S. individuals. Rollins explained, “Just as Hester is wrongly condemned to a life of poverty and silence, so is the South Bronx and too many of its individuals. The kids are really into signifying and identity. This is the major impetus behind graffiti—this verifying of an identity in a hostile, leveling environment. And so our Scarlet Letter is about taking an unjust stigma and turning it into a transcendent emblem of pride.”

Looking West and Looking East: Landscape Prints by Yoshida Tōshi (1911-95) June 5, 2013 – November 2013

An installation in the Japanese Gallery honors and acknowledges a generous gift from Judith and Paul A. Falcigno of prints by the 20th-century Japanese artist Yoshida Tōshi (1911-95). The selected works exemplify Tōshi’s successful development of the Yoshida family tradition of depicting landscapes. To appeal to Western collectors Tōshi depicted seasonal views of famous places in Japan as well as of celebrated sites in foreign countries, including the U.S., which the artist visited on his many trips. The print illustrated here, for example, depicts Monument Valley, Utah, in moonlight. Many of Tōshi’s later landscapes focus on the animals and places that inspired him the most (i.e., wild animals in Africa).

Yoshida Tōshi, Monument Valley (detail), 1971, self-carved woodblock print, ink and color on paper; Gift from the Judith and Paul A. Falcigno Collection, 2010.105

Gallery Talk: Yoshida Tōshi (1911-95)— Surmounting the Odds for the Good of Many Thursday, June 13, 2013, 5:30 Louise Virgin, Curator of Asian Art Japanese Gallery Free with Museum admission

The Japanese artist Yoshida Tōshi survived polio and training under his demanding father, Yoshida Hiroshi (1876-1950), to become the innovative head of the famous Yoshida Family Studio. Loyal to his family legacy, Tōshi designed landscape prints of scenic places in Japan, as well as in other Asian and Western countries (including the U.S.). Later he also enjoyed creating abstract works as well as scenes of African wildlife. This gallery talk will explore how Tōshi's life experiences and quiet dictum, “Do not look upward, do not look down. But develop more inside,” contributed to his outgoing personality. It also imbued his woodblock prints, paintings and illustrations in an animal picture book series for children, with an understated, harmonious grandeur. W O R C E S T E R A R T. O R G

Bostonians in Miniature: Portraits and Lives, 1810-1835 On view through June 30, 2013

Marianne E. Gibson Gallery

Eleanor Boland Elwood Fleming and William Fleming, about 1824, watercolor on ivory, Courtesy the Local History Room Collection, Gale Free Library, Holden, Massachusetts

Lecture: Bostonians in Miniature Sunday, June 2, 2013, 2pm Conference Room

David Hummon, Professor Emeritus, College of the Holy Cross has completed extensive research on these fascinating objects. His presentation offers a look at some Boston families who have intimate connections with the Worcester area. Free with Museum Admission. Please note: In our previous issue (winter 2013, p. 20) we illustrated a detail of a map of Boston, but did not indicate the source. We would like to thank our colleagues at the American Antiquarian Society in Worcester for the use of this image from their collection: Plan of the City of Boston (detail), published with The Boston Directory, Hunt and Stimpson, 1828

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iz Jennie Pe hling and Yvonne Fe

MW: Jennie and Yvonne, at the beginning of 2012, you came to Worcester to explore with us new seating for the Museum’s Chapter House. Can you comment on the process – ours and yours – that led to the wonderful result we can now see in situ?

J+Y: Following the initial e-mail contact and photos we received of the Chapter House, we immediately (a mere two weeks later) visited Worcester, where we were given a very warm welcome and were able to get an initial impression for ourselves. We had the opportunity to talk to people involved and to start working on first designs.

Back in Germany we designed the chair and the bench constellation, and tried out the designs in a 3D model of the Chapter House. The fine details of the construction took a lot of time. For this we worked closely with the chair factory and the craftsmen, checking on progress and the quality of the work in the factory itself.

Throughout we were in constant e-mail and telephone contact with WAM team members.

Using CAD data, we came up with an initial model made of beech, then a second with corrections, and finally the first model in walnut.

MW: You pay a lot of attention to the material – in our case wood. What makes you use one material rather than another one? Is this dictated by the function of the work, by your personal preferences or other factors? J+Y: The choice of material is an important aspect of our design work. We tend to use traditional rather than high-tech materials and try to expand the areas of use of classic materials and the way they are handled.

Wood is a living, highly expressive material, for which we certainly have a preference. Our choice of material depends, however, on various factors, in particular an object’s function and purpose.

W WO OR RC CE ES STTE ER RA AR RTT..O OR RG G

In the case of the Chapter House benches the wood and the choice of the type of wood underline the animate quality of the chair constellations. On the one hand, there is a marvelous contrast between form, color, and finish, and the stone used for the Chapter House, while on the other the benches blend in harmoniously with the location, forging a link between the present day and the era of the Chapter House.

MW: The model for the Chapter House was Stuhlhockerbank (chair stool bench). This work has had quite some success in the museum world – I actually contacted you after I saw this work in Rolandseck, at the Arp Museum. Could you comment about the history of this work?

J+Y: The Stuhlhockerbank was conceived as seating for the public domain. The concept is about “sitting down” and the relationship created between people while they are sitting. The boundaries between individual types of furniture (chair, stool and bench) are dissolved by their melding. Unalterable constellations emerge.

The first Stuhlhockerbank model was an independent project that represents our design approach very well. It goes beyond an object’s actual function and takes on a narrative component. It seems familiar and surprising at one and the same time, enriched with a sensual and poetic dimension.

When Klaus Gallwitz, then director of the Arp Museum, came across the Stuhlhockerbank at an exhibition, he asked us to design new constellations for the Museum’s new building, which at the time was still just a shell. We were able to be involved from the outset and specifically take into account the architecture, the way the art was hung, the works of art themselves, and the way visitors behave, and as such have an influencing role as well.

Since the opening in 2007, various Stuhlhockerbank constellations have been on permanent display throughout the entire exhibition space in the new Richard Meyer Building.

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ne 30— cience p, Pres orceste and Na ident, A r Histori Katheri ture” merica ne F. A cal Mus July 14 n b eum on A b ntiquari ott, Exe —Matt “The M an Soc cutive hias W ickey M Directo iety on aschek July 21 ouse C r, Towe “The P , Direc —Dan lub in W ower o r Hill B tor, Wo Yaeger, o f orceste rc ta Curios e nical G Executi ster Art r” it y” arden o ve Dire Museu n ctor, N m “W o n “Spir h y ew Eng P la nts Ma itual Pe land M tter” rspecti useum ves on Associa Art Mu tion on s e ums” “Road Archeo MW: Seating is a very important part of logy”

your work. Any thoughts you would like to share about seating in museums? What is the ideal seating for you in a gallery space?

J+Y: Seating in museums is an important element in an exhibition, though it must not “steal the show” from the exhibits, but rather be restrained, and at best support the exhibition. Not infrequently it seems like a necessary evil, to give tired exhibition visitors a chance for a short rest or an opportunity to take a longer look at a work of art. Sometimes design and positioning even seem awkward.

The same goes for ideal seating –it should be inconspicuous and purely functional. Seating can also create further levels of meaning between the visitor, artworks and architecture. Museum furniture is in direct contact with the visitor and, from the background, can tell its own “story” and forge a link between the visitor and the art, or the museum world and the outside world.

MW: What do museums mean to you? Are you omnivores or is it only one thing – such as design – that attracts your attention?

J+Y: We are omnivores. We don’t think in categories, either with regard to museums or our way of working. We’re open to any “discipline” that is capable of delivering enrichment and inspiration.

MW: Could you talk about how you work as a team, why you chose to work in tandem, and what the problems are in a world that is more focused on individuals? Does it matter that you are two female designers – is there such a thing as “female” design?

J+Y: Every designer has a different approach, regardless of whether he or she works on their own or in a team, and in which country or environment. We wouldn’t generalize or talk of “female design”, especially not as far as our designs are concerned. We don’t think in categories. The works should speak for themselves.

MW: You are part of a generation of Germans that have lived formative years before and after the iron curtain came down. Is that pertinent for your design practice at all?

J+Y: It influences our everyday design life inasmuch as the world has become more open and it is possible for us to exchange views with countries and people where previously contact would not have been possible.

Learn more about the designers: http://www.kraud.de/en/

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Visitor Activities

May Tour of the Month Rule Britannia Wednesday, May 15, 2pm Saturday, May 18, 2pm

Join Docent Ginny Powell-Brasier for a trip back through time to when Great Britain ruled much of the Western World. Free with Museum admission. Drop-In Public Tours Sundays, 1-2pm Zip Tours Saturdays, 12 noon

Zip tours are fast paced views of one artist or work of art, and last only 20 minutes. Free with Museum admission. Check our website for weekly topics. Drawing Club Wednesdays, 1-3pm

Want an opportunity to draw in the WAM galleries? Need help getting started? Drop-in every Wednesday from 1-3pm and draw in a different gallery each week. Discover our art and make it your own. Supplies will be provided, or bring your own. All ages welcome. (Gallery location rotates: check with the visitor services desk upon arrival). Free with Museum admission.

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Families @ WAM

Family Tours Saturdays 10:30am Explore the museum galleries with your family on a docent-guided discovery tour. Hear fun facts, stories and enjoy sharing observations and time together. Tours last approximately 30 minutes. Free for children 17 and under; free for adults with Museum admission; Museum admission free for all the first Saturday of each month between 10am - noon. Make Art! Saturdays 11-11:30am

Stay after your family tour, or drop-in for this fun intergenerational time in the galleries. Get inspired by our art and try making something uniquely yours. Materials will be provided. Come recover your childlike sense of free spirited play! Free with Museum admission.

Paul Toussaint

Paige Dansinger

Paul Toussaint

Paige Dansinger

Paul Toussaint

Lizzie Abelson

Rebecca Venn

Paige Dansinger

WAM One-Day Artist Residencies Inspired by the Worcester Art

Museum collection, each artist

creates a work-of-art-in-a-day in

the museumâ&#x20AC;&#x2122;s galleries. All work is

shared by the museum on our Flickr

and Facebook sites. Paige Dansinger

Rebecca Venn

Members’ Council

The Members’ Council at WAM was created to help promote and support the goals and activities of the Museum. Such support includes the recruitment of new members, building of overall membership base, developing and coordinating fundraising activities as well as volunteering for and participating in numerous programs across the Museum. Membership Council members become active in the everyday life and become advocates for the Museum both in and outside. Many Council members follow in a long line of WAM supporters and love to share their wealth of knowledge with new members. A big part of what they do is to turn WAM’s friends and neighbors into lifelong members.

Kristina Jones – Members’ Council, President

Kristina Jones is the President of the Members’ Council and a local investor in the Worcester community. A property manager, and Realtor with Coldwell Banker Residential Brokerage in Worcester, Kristina has been a Members’ Council member since 2009 and a Corporator with WAM since 2011. As President of the Council, she loves working with the group of dedicated individuals with varying backgrounds, careers and personalities who all have one thing in common: the love of WAM and its mission. She enjoys sharing the Museum with friends, acquaintances and various connections, and letting them know what an amazing place the Museum is and what WAM offers to its community. Beyond her role as President of the Members’ Council, Kristina enjoys her husband, three daughters and two dogs. She has a passion for shopping (especially local!), reading, running and fitness as well as enjoying an occasional ice cream! For more info about the WAM Members’ Council, contact Kristen Baker, Membership Manager, at 508.793.4300 or membership@worcesterart.org.

Members Council 2012-2013 Ursula Arello Joan Barry Marianne Belanger Suzanne Campbell-Lambert Kenya Prince Cohane Tracy A. Craig Philip F. Coppinger John Dion Donna Dufault Kate Egnaczak Peggy Glavin Jennifer Glowik Monica Hamel Sandy Hubbard Kurt Hultgren Mariam Hyder-Farooq Tim Jalbert Kristina L. Jones, President Jessica Jolin Lydia Keene-Kendrick Eliza Michie Laurent Brad Lisak Vernon McClish Susan O’Neil Marguerite Snow (Peggy), Secretary Maryann Spiro Luke Vaillancourt Luke Yanka

W O R C E S T E R A R T. O R G

The Worcester Art Museum would like to extend a grateful Thank You to our generous supporters.

Patrick and Aimee Butler Family Foundation: in memory of Kate Butler Peterson designated for FY 2013 general operating support. Digital Commonwealth: Digitization of Museum Exhibition Catalogues; 1896 – 1945 The Fletcher Foundation: Open the Salisbury Doors

J. Irving England and Jane L. England Charitable Trust: Unrestricted general operating support

Highland Street Foundation: is again funding WAM’s participation in their Free Fun Friday programming for the summer of 2013. WAM’s participation is scheduled to be the Free Fun Friday Summer ’13 Launch Friday, June 28.

The Jonckheere Fund, King Baudouin Foundation, Brussels, Belgium: awarded a grant for conservation and restoration treatments of the Museum’s monumental Last Judgment tapestry (1935.2) to be performed by De Wit Koninklijke Manufactuur van Wandtapijten n.v. (De Wit) in Mechelen, Belgium.

Transforming the Future of the Museum

The transformations underway at the Worcester Art Museum are generating an exciting buzz in the grant-making world, and the Museum is benefitting directly from this renewed energy and interest. In recent months the Museum has actually received a number of un-solicited invitations to submit proposals for grant funding. Some of these are coming from foundation trustees who have funded WAM in the past or have strong existing ties to the Museum, such as the Patrick and Aimee Butler Family Fund. Others come from foundations that are familiar with WAM’s innovative work in specific museum fields. And still others come from major grant-makers to fund specific strategic goals the Museum has identified to ‘jumpstart” its transformation, such as The Andrew W. Mellon Foundation. Worcester Art Museum has even attracted the attention of international organizations as evidenced by the invitations from entities such as The European Fine Art Foundation (TEFAF) based in the Netherlands and Belgium’s René & Karin Jonckheere Fund. Local foundations and institutions are stepping up to the plate as well, including a wide range of entities from the state funded Mass Humanities and Massachusetts Cultural Council to the Greater Worcester Community Foundation. Also included in this group are a number of collaborative initiatives proposed and co-sponsored by the Museum’s partners in the Colleges of Worcester Consortium (CoWC).

The Andrew W. Mellon Foundation: awarded grant to fund the recruitment, hiring, and ancillary support for a Curator of American Art for five years (2013 – 2017 inclusive). The Stoddard Charitable Trust: Unrestricted pledge

The European Fine Arts Foundation (TEFAF) Museum Restoration Fund, Maastricht, Netherlands: awarded for conservation treatments of the Museum’s signed and dated portrait pair of William and Elizabeth James (1910.3 and 1910.4) by William Hogarth (1697 -1764). Worcester Public Schools: 21st-Century Community Learning: “My Museum Initiative”

For more information about grant programs and funding opportunities, contact Trip Anderson at 617.793.4322 or grants@worcesterart.org.

Collectively, the generosity of this support is empowering the Museum’s strategic push to strengthen its financial sustainability, and make tangible progress towards its 2020 vision of increased visitation and relevancy.

W O R C E S T E R A R T. O R G

John Savickas and Joseph J. Bafaro, Jr.

Business Partner Program

“The Worcester Art Museum holds a very special place in the heart of the local business community. As members of the community, we cherish the value that the Museum adds as a cultural resource that enriches the life of the entire community. As businesspeople, we understand that the Museum serves as a beacon drawing visitors and economic activity and helping to attract qualified employees to the area. By becoming a Business Partner, you can play a positive role in enriching the cultural life of Central Massachusetts while at the same time having a positive impact on your own business.” –John Savickas, Chair of the Business Partner Committee

John Savickas, Chair of the Buisness Partner committee, is President of Interstate Specialty Products, a leading producer of precision die-cut components for medical, industrial and scientific applications. John and his wife Ellen reside in Paxton with their five daughters. John is a frequent visitor to the Museum and finds it a “great place to rekindle my spirit.”

“I really enjoyed my time as a committee member of the Business Partner Program at the Worcester Art Museum. During my 10+ years on the committee and my 7 years as Chair, I have had the pleasure of working with a lot of great committee members and staff. We have all worked hard not only to make the program a success for the Worcester Art Museum in terms of providing a valuable source of funding, but also to make it rewarding and meaningful for its business partners. I am proud to say that we have grown the program to include over 50 Business Partners representing an array of industries and businesses throughout Central Massachusetts. I am excited for John Savickas to be the program’s next chair. He has a great passion for the Worcester Art Museum and a great vision for the future of the Business Partner Program.” –Joseph J. Bafaro, Jr., Former Chair of Business Partner Committee

W O R C E S T E R A R T. O R G

Legacy Society Members

Legacy Society membership is extended to individuals who have included the Worcester Art Museum as a beneficiary in a will or other estate arrangement. These generous members create a legacy for the future of the Worcester Art Museum.

Anonymous (1) Anonymous* (3) Mrs. Margery W. Adams Ann and Bill Arthur Philip* and Elaine Beals Allen and Sarah Berry Mrs. Howard M. Booth* Karl and Dorothy* Briel Dr. Elaine and Mr. Robert Bukowiecki Elizabeth B. Burguet Douglas P. Butler William R. Carrick Alexandra Cleworth and Gary Staab Paula H. Connolly Susan C. Courtemanche Martha A. Cowan* Jeanne Y. Curtis* Mr.* and Mrs. Robert Cushman Mr.* and Mrs. Bruce G. Daniels Dix and Sarah Davis Henry B. and Jane K. Dewey Maria and John Dirlam Andrea N. Driscoll Mr. and Mrs I. R. Freelander* Esther and Howard Freeman Daniel Grim and Irene Browne-Grim Mrs. Milton P. Higgins* James and Kathleen Hogan Frances and Howard Jacobson Peter Jefts John* and Marianne Jeppson Henry W. Keyes

Sarah Bramson Kupchik Irving and Marie Lepore* Patricia F. Mallard Carl A. Mangano Mr.* and Mrs. Robert K. Massey Myles* and Jean McDonough Don and Mary Melville Mrs. David J. Milliken Ileana Muniz Dr. and Mrs. Haim G. Nagirner* Linda and John* Nelson Edward Osowski Mrs. Mae I. Palmgren Sarah and Joe Ribeiro Mr.* and Mrs. Chapin Riley Blake Robinson* Mr. and Mrs.* Elijah B. Romanoff Mr. and Mrs. Henry B. Rose Mr.* and Mrs. Sidney Rose Mr. Norman L. Sharfman* Dr. Shirley S. Siff and Robert M. Siff Mary Skousgaard Helen M. Stinson* Helen E. Stoddard* Richard S. Teitz Mr. Jack Tobin* Irving N. Wolfson, M.D.* Mrs. John M. Woolsey, Jr.* Mr. O. Bradley Wood* Elton Yasuna*

*deceased

For more information about the Legacy Society at WAM, contact Jere Shea at 508.793.4313 or plannedgiving@worcesterart.org.

Conservation in Action

I have been working on this nearly 3000 year-old Assyrian relief for just over a year now. This carving of a winged protective being was executed in alabaster, and once adorned the palace of King Ashurnasirpal II in Kalhu (near modernday Mosul, Iraq). To date, I have logged over 300 hours on the piece, which includes historical research, scientific analysis, and conservation treatment. This particular photo shows the process towards the beginning – I had already removed fill material from between the nine segments and was beginning to remove dirt, grime, degraded coatings and restoration paint from the surface using specially formulated cleaning gels applied with cotton swabs. The cleaning is nearly complete now – the next step involves filling the cracks and cuts that divide the piece. The ultimate goal is to allow visitors to view the piece in something that approaches its original state, free of the distracting presence of old restorations and discolored coatings. —Kari Kipper Kari Kipper is the Mellon Fellow in Objects Conservation, a three year position endowed by the Andrew W. Mellon Foundation. Kari is a 2011 graduate of the Buffalo State College Art Conservation Masters Program.

W O R C E S T E R A R T. O R G

Corporator Roles and Responsibilities

Corporators, as stewards of the public trust, ensure that the Worcester Art Museum’s mission—to collect, to preserve, to exhibit, and to educate—continues in perpetuity. Corporators are committed to the Museum and are expected to consider it as one of their top philanthropic priorities. Corporators serve as ambassadors, contributors, and participants. The Board of Trustees, which is elected by and from the Corporation, governs on behalf of the Corporation.

As Ambassadors, Corporators: • are committed to being knowledgeable about the Museum • reach out to new constituencies in the communities where they live and work • identify and involve new prospects including corporations and foundations

As Participants, Corporators: • attend Corporator events including the Annual Meeting, MidYear Meeting, and Corporator Orientation • may be asked to serve on committees relevant to their expertise • participate in the broad variety of exhibitions, programs, and events • participate in the nominating process by identifying new Corporator prospects As Contributors, Corporators: • maintain an active membership • are asked that the Museum be a priority for their charitable giving and consider membership in the Salisbury Society • contribute to fundraising efforts and capital campaigns • leverage financial support for the Museum

Corporators are elected to a five-year term and are eligible for reelection to one additional, five-year term. A one-year hiatus is required before a second-term Corporator can be nominated for a subsequent term. Corporators

Herbert S. Alexander John B. Anderson Julia D. Andrieni Marie A. Angelini Barbara Trayers Athy Joseph J. Bafaro, Jr. Thomas J. Bartholomew Susan M. Bassick Isabel A. Bayon Barbara Apelian Beall-Fofana Whitney Beals Lisa Beittel George Flynn Bernardin Charles A. Birbara Richard L. Bishop David M. Bodah Maurice J. Boisvert Melinda J. Boone* Karin I. Branscombe Nicole Brathwaite-Hunt Mary Ann S. Brockelman Christopher A. Brown Ann E. Brown Sara Buckingham 26

Douglas P. Butler Alta-Mae Butler Caroline A. Camougis Suzanne R. Campbell-Lambert William R. Carrick Filomena Cesareo Harriette L. Chandler Robert R. Charles Kim M. Ciborowski Alexandra E. Cleworth Sandra Cohen Catherine M. Colinvaux James E. Collins Paula H. Connolly Leonard Cowan Elizabeth Adams Crowley Leslie K. Cutler Jyoti Datta Laurel Davis Elizabeth Kennedy DeHoratius Jeffery L. Dill John Frederick Dion John B. Dirlam Thomas M. Dolan Kent D. dur Russell Cathleen C. Esleeck

Barbara Elliott Fargo Andrew Feldman Justin L. Fletcher Susan M. Foley Joan Levine Freedman Susan Gately* Lisa Kirby Gibbs Paul J. Giorgio Laura Glazier Richard H. Glew Maureen L. Glowik John Goldsberry Gabriele M. Goszcz John E. Graham Maureen R. Gray Ivan R. Green Michael Gusar Patricia A. Halpin Lura Harrison Marjorie Hastings-O'Connell Frank F. Herron James E. Hogan James E. Hogan Margaret Patella Hunter Louis J. Iandoli Janet Ann Jaworski Tay Ann Jay Kristina L. Jones Rachel Kaminsky Amar V. Kapur Judith S. King Jean A. King Brendan J. King Warren C. Lane Gordon B. Lankton Tristan Laurion Rafael Lazo Nel A. Lazour Diane Lebel Steven J. Ledbetter David A. Lemoine Paul J. Levenson Ottilie Levine Brad S. Lisak Vincent Lombardi Patricia S. Lotuff Edgar Luna Ingrid J. Mach Mark F. Mancevice Thomas D. Manning Dominick N. Marcigliano Christian McCarthy Kathleen M. McDonough Lisa Hill McDonough Martha Barry McKenna Richard J. McNally J. William Mees Ruthann Melancon Toni K. Meltzer Katharine M. Michie Thomas S. Michie Erwin H. Miller Satya B. Mitra Jane Lucia Molina Charles F. Monahan Anna Mitra Morgan

Michelle S. Morneau Leonard J. Morse Charles H. Moser Moira Moynihan-Manoog Victoria Mulligan Dominic J. Nompleggi Beata I. O'Brien Candace Okuno Jean C. Osborne Edward John Osowski Susan Melden Palatucci Martha R. Pappas Deborah Penta Mary Ann Pervier William O. Pettit Joseph M. Petty* Genevieve K. Pioppi Stephen M. Pitcher Roger P. Plourde Phyllis Pollack George C. Rand Anne Reisinger Sarai Rivera Linda B. Robbins Susan D. Roberts Helen A. Ronan Henry B. Rose Jennifer Nancy Roy Betsy P. Sargisson John Savickas Peter B. Schneider Clifford J. Schorer Sue Ellen Scrogin Carol L. Seager Janice E. Seymour Jeanice Caryle Sherman Jang B. Singh Toby Sisson Joshua Lee Smith David W. Snell Kristina M. Spillane Mark J. Spuria Robin S. R. Starr Donald F. Stoddard Katy K. Sullivan John J. Szlyk Joyce Tamer Anne C. Tardanico Vickie Thebeau Julie Thomas Lynne M. Tonna Josephine R. L. Truesdell Judith C. Vaillancourt Carmen D. Vazquez Barent W. Walsh Kristin B. Waters Barbara Ketcham Wheaton Hillary White Emily V. Wolf Stacy E. Woods Thomas Worcester John T. Worcester Edward C. Yasuna Alan S. Yoffie

*ex officio

In Memoriam

Nathan Greenberg

Our community lost a passionate champion, Nathan Greenberg, on February 12, 2013. At 93, Nate left behind his beloved wife, Barbara, 5 children and 11 grandchildren. Nate was the founder of Greenberg, Rosenblatt, Kull and Bitsoli, a leading Nathan Greenberg accounting firm in Worcester. He lent his expertise and zest for life to many non-profits, of which the Museum was one.

Nate became a Corporator in 1984, a Trustee in 1987 and a Trustee Emeritus in 1993. He served on the Audit and Development Committees and chaired the Investment Committee.

He and Barbara established the Nathan and Barbara Greenberg Education Fund at WAM that supports educational and docent programs.

Nate was a tireless volunteer and champion of the Museum and so many other charities, including UMass Memorial Foundation, the United Way of Central Massachusetts, the Jewish Federation of Central Massachusetts and so many others. His ever present wit and his legacy of philanthropy will be missed.

John and Marianne Jeppson in Stoddard Garden Court

John's devotion to his native city was demonstrated by the many civic organizations he actively engaged in and supported. The Worcester Art Museum mourns the loss of John and his distinguished service to community and the Museum. John M. Nelson

John Jeppson

The Worcester Art Museum and the Board of Trustees of the Worcester Art Museum expresses its heartfelt sympathy to the Jeppson family, particularly John’s wife, Marianne, and recognizes John Jeppson as an individual who prized his family, enjoyed a remarkable career, and demonstrated his dedication to his community through his many generous gifts and service. We are grateful for his commitment to the Worcester Art Museum and all that he accomplished on its behalf. John Jeppson, of Worcester and Brookfield, passed away on February 10th, 2013 at the age of 96. John was first elected a Corporator in 1954 serving until 1960, and then again in 1980 through 1995. He served as a trustee from 1960 until 1988 when he was elected a Trustee Emeritus. John and his wife Marianne received the Members’ Council Award of Merit in 1995 and in 2011 were also bestowed the Museum's highest honor, the Salisbury Award. In 1989 the Jeppson Gallery, located on the Museum’s third floor, was named in honor of John and Marianne's generous support. The Jeppson’s largess also extended to gifts of works of art, most notable Opal by Anders Zorn and Promenade #3 by Charles Prendergast and fourteen prints by Georges Rouault. John and Marianne were founding members of both the Museum's Salisbury and Legacy Societies.

John M. Nelson

On January 21, 2013, The Worcester Art Museum lost a beloved friend and supporter, John M. Nelson. A long-time Worcester resident, John and his wife Linda had been living in Boston and on the Cape (summer home) the last few years, and had just moved in October 2012 to their home in Winter Park, Florida.

As a prominent leader in the community John served on many boards, both corporate and non-profit. He held leadership positions with the Norton Company, SaintGobain, Wyman-Gordon, the Commonwealth National Bank in Worcester and TJX.

John was a model supporter of the Worcester Art Museum. He offered continuous and active involvement in many committees during his years of engagement with WAM. John and Linda were the first Charter Members of the Legacy Society and he served as Corporator (1988-99), Trustee (1989-99), and was the Chairman of WAM’s Centennial Campaign. His commitment to the Museum’s collection was evident from the John and Linda Nelson Fund for Contemporary Art. The community and WAM will miss him dearly.

W O R C E S T E R A R T. O R G

Don’t Miss

Chamber Music Series Concert Michelle Graveline, harpsichord / Monica Hatch, soprano Sunday, May 12, 2013 2:30pm / American gallery

Program will include: J.S. Bach: Partita No. 5 in G Major for harpsichord / Kuhnau: The Biblical Sonatas (David and Goliath) / J.S. Bach: Arias from “Notebook for Anna Magdalena Bach” (including Bist du bei mir) / Purcell and Handel: Selected arias Intermission talk with Nancy Burns, Curatorial Assistant, will feature maternal-themed works including Mrs. Elizabeth Freake and Baby Mary. Post concert reception with the musicians in the WAM Café Use Lancaster Street entrance. Limited seating. Reserve on line at www.worcesterart.org. $25 Members/$35 nonmembers / $10 Student Rush (at door day of concert only) For more information, contact Karmen Bogdesic at 508.793.4326 or karmenbogdesic@worcesterart.org The Chamber Music Series is generously sponsored by a gift from Nydia and Charles Moser. An Artistic Contemporary Brunch Join us for a sumptuous Mother's Day Brunch in the Museum Café provided by Russell Morin Fine Catering Sunday, May 12, 2013 Seatings at 10:30am and 1pm $31.95 Adults / $16.95 Children 12 and under, plus gratuity and tax Reservations required. Please call 508-793-4328 Please use Lancaster Street entrance to access the Café Curator Talk: From Drip Paintings to Brillo Boxes Wednesday, May 15, 2013 / 6pm / Conference Room

Nancy Burns (Assistant Curator, Prints, Drawings, and Photography) will lead this exploration of the transition from pure color fields and aggressive gestural strokes of abstract painting in the 40s toward the absorption of popular culture and mainstream media as the source of fine art production in the 50s and 60s. In a single generation, artists who favored the elevation of a personal and spiritual connection made a radical shift to incorporating comic books, newspaper clippings and Hollywood actresses as the subjects of their work. She will discuss Jackson Pollock, Willem de Kooning, Mark Rothko, Robert Rauschenberg, Jasper Johns, Richard Hamilton and Andy Warhol. Free with Museum admission.

W O R C E S T E R A R T. O R G

Art All-State 2013 May 24 - 25

Further support received from:

For 26 years Art All-State has been touching the lives of young artists and art educators across Massachusetts with its award-winning model. Take 145 art students at the end of their junior year in high school, mentor them over the course of an intensive two days in the studios and galleries of a renowned art museum, expose them to the work, personality and teaching of contemporary artists, challenge them to work collaboratively with limited materials in small studio groups.

This model of encouraging, educating and guiding young artists through a mountain-top experience with contemporary artists in a museum setting is structured in a way to have a lasting impact on the lives of emerging artists and to strength the professional stature of artists, art educators and museums in our communities and beyond.

Art All-State 2013 is made possible by generous funding from: Unum, the David Jay Freelander Education Fund, the Massachusetts Art Education Association (MAEA), National Endowment for the Arts (NEA), and Drs. Phyllis Pollack and Peter Metz. At the time of this printing we appreciate the additional assistance in the form of in-kind donations from: Cocoon Graphix, Corner Grill, Curry Printing & Copy Center, Educational Sketchbook Program, Fallon Community Health Plan, Institute of Contemporary Art, Papa Gino's, Polar Beverages, Price Chopper, Sysco Corp., and Utrecht Art Supply.

W O R C E S T E R A R T. O R G

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R E M M SU nd s of July a liver th n o m e th e ion during to all. We hope to d e s is m d a e m “Fre es access unity that we welco id v o r p t s u Aug all that e comm e th c n to ie r e e g p a ex the mess eryone to v e e g a r u r and enco AM Directo to offer.” s a aschek, W h W s ia m h u tt a e —M the Mus

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July & Augu

! M A W t a t s u Paul Signac, Golfe Juan (detail), 1896, oil on canvas, Gift from the Chapin and Mary Alexander Riley Collection, 1964.27

Calendar MAY

1 Wednesday 3 Friday

4 Saturday

Drawing Club, 1-3pm

$ denotes additional fee RR Registration Required: online or by calling 508.793.4334 RSVP online or by calling 508.793.4323 All dates and times are correct at time of publication. Visit www.worcesterart.org for up-to-date event information.

REdesign: Libraries, 2pm

First Free Saturdays, 10am-noon, sponsored by TJX Companies

Familes @ WAM Tour, 10:30am

Familes @ WAM: Make Art!, 11-11:30am 5 Sunday

8 Wednesday 11 Saturday

Zip Tour: Renoir’s Old Arab Woman, noon Public Tour, 1pm

Drawing Club, 1-3pm

Nancy Spero: Cri du Coeur (Cry of the Heart) opens, Contemporary Gallery

Familes @ WAM Tour, 10:30am

Familes @ WAM: Make Art!, 11-11:30am 12 Sunday

Zip Tour: The Peale Family, noon Mother’s Day

Public Tour, 1pm

Brunch, 2 seatings, 10:30am and 1pm, $ Reservations required, 508.793.4328 13 Monday

15 Wednesday

16 Thursday 18 Saturday

Chamber Music Concert, 2:30pm, Michelle Graveline, harpsichord and Monica Hatch, voice, $ RR, call 508.793.4326 Adult classes summer session begins $ RR

May Tour of the Month: Rule Britannia, 2pm

Drawing Club, 1-3pm

Curator Talk: From Drip Paintings to Brillo Boxes, 6pm, free with Museum admission Museum open until 8pm – 50% off admission from 5-8pm Familes @ WAM Tour, 10:30am

Familes @ WAM: Make Art!, 11-11:30am Zip Tour: Portrait of Loisa Cowles, noon

May Tour of the Month: Rule Britannia, 2pm 19 Sunday 22 Wednesday 24 Friday 25 Saturday

26 Sunday

29 Wednesday

Adult Class: From Easel to Web: The Business of Art, 10am-4pm, $ RR Public Tour, 1pm

Artist Talk: Robert and Shana ParkeHarrison, 2pm, free with Museum admission,

Free admission, Sponsored by American Association of Museum Directors (AAMD)

Drawing Club, 1-3pm

Bob Dylan Day, Free admission to visitors dressed as Bob Dylan

Art All-State

Familes @ WAM Tour, 10:30am

Familes @ WAM: Make Art!, 11-11:30am Public Tour, 1pm

Drawing Club, 1-3pm

W O R C E S T E R A R T. O R G

JUNE 1 Saturday

First Free Saturdays, 10am-noon, sponsored by TJX Companies

Familes @ WAM Tour, 10:30am

Familes @ WAM: Make Art!, 11-11:30am 2 Sunday

Zip Tour, noon

Public Tour, 1pm

Lecture: Bostonians in Miniature, 2pm, free with Museum admission

5 Wednesday Drawing Club, 1-3pm 6 Thursday 7 Friday

8 Saturday

Curator Talk: Nancy Spero: Cri du Coeur, 5:30pm, free with Museum admission Salisbury Gala Evening, 6-9pm

Familes @ WAM Tour, 10:30am

Familes @ WAM: Make Art!, 11-11:30am Zip Tour, noon

9 Sunday

Chamber Music Concert, 5:30pm, Contemporary gallery, Worcester Chamber Music Society, $ RR, call 508.793.4326 Public Tour, 1pm

Sunday Sermon, 2pm

Adult Class: Beyond the Auto Mode, 1-4pm, $ RR

Kennedy to Kent State: Images of a Generation exhibition closes

12 Wednesday Drawing Club, 1-3pm 13 Thursday 15 Saturday

16 Sunday 16 Tuesday

Curator Talk: Yoshida Tōshi—Surmounting the Odds for the Good of Many, 5:30pm, free with Museum admission Familes @ WAM Tour, 10:30am

Familes @ WAM: Make Art!, 11-11:30am Zip Tour, noon

Public Tour, 1pm

Sunday Sermon, 2pm

Artz Museum Tour, 11am-12pm, RSVP www.ArtzAlz.org

19 Wednesday Drawing Club, 1-3pm 20 Thursday 22 Saturday

June Tour of the Month, 2pm

Museum open until 8pm – 50% off admission from 5-8pm Idea Lab: Orantes opens

Familes @ WAM Tour, 10:30am

Familes @ WAM: Make Art!, 11-11:30am 23 Sunday

June Tour of the Month, 2pm Public Tour, 1pm

Sunday Sermon, 2pm

Adult Class: Focus + Exposure, 1-4pm, $ RR

26 Wednesday Drawing Club, 1-3pm 28 Friday

29 Saturday

30 Sunday

Free Fun Friday, Sponsored by Highland Street Foundation Familes @ WAM Tour, 10:30am

Familes @ WAM: Make Art!, 11-11:30am Zip Tour, noon

Public Tour, 1pm

Sunday Sermon, 2pm

W O R C E S T E R A R T. O R G

free general admission JULY 3 Wednesday 4 Thursday 6 Saturday

Drawing Club, 1-3pm

Independence Day: Museum Closed

First Free Saturdays, 10am-noon, sponsored by TJX Companies

Familes @ WAM Tour, 10:30am

Familes @ WAM: Make Art!, 11-11:30am 7 Sunday

8 Monday 9 Tuesday

Zip Tour, noon

Public Tour, 1pm

Youth classes begins $ RR

Teachers Institute: Artful Teaching STEM to STEAM $RR Adult Institute begins $ RR

10 Wednesday Drawing Club, 1-3pm 13 Saturday

14 Sunday

Familes @ WAM Tour, 10:30am

Familes @ WAM: Make Art!, 11-11:30am Zip Tour, noon

Public Tour, 1pm

Sunday Sermon, 2pm

17 Wednesday Drawing Club, 1-3pm 18 Thursday 20 Saturday

July Tour of the Month, 2pm Museum open until 8pm

Familes @ WAM Tour, 10:30am

Familes @ WAM: Make Art!, 11-11:30am Zip Tour, noon

21 Sunday 22 Monday

July Tour of the Month, 2pm Public Tour, 1pm

Sunday Sermon, 2pm

Youth classes begin $ RR

24 Wednesday Drawing Club, 1-3pm 27 Saturday

28 Sunday

Familes @ WAM Tour, 10:30am

Familes @ WAM: Make Art!, 11-11:30am Zip Tour, noon

Public Tour, 1pm

31 Wednesday Drawing Club, 1-3pm

W O R C E S T E R A R T. O R G

free general admission AUGUST 3 Saturday

First Free Saturdays, 10am-noon, sponsored by TJX Companies

Familes @ WAM Tour, 10:30am

Familes @ WAM: Make Art!, 11-11:30am 4 Sunday

5 Monday 7 Wednesday 10 Saturday

11 Sunday

Zip Tour, noon

Public Tour, 1pm

Adult classes begin $ RR

Youth classes begin $ RR Drawing Club, 1-3pm

Familes @ WAM Tour, 10:30am

Familes @ WAM: Make Art!, 11-11:30am Zip Tour, noon

Public Tour, 1pm

14 Wednesday Drawing Club, 1-3pm 15 Thursday 17 Saturday

18 Sunday

Museum open until 8pm

Familes @ WAM Tour, 10:30am

Familes @ WAM: Make Art!, 11-11:30am Zip Tour, noon

Public Tour, 1pm

21 Wednesday Drawing Club, 1-3pm 24 Saturday

August Tour of the Month, 2pm

Familes @ WAM Tour, 10:30am

Familes @ WAM: Make Art!, 11-11:30am Zip Tour, noon

25 Sunday

August Tour of the Month, 2pm Public Tour, 1pm

Story Hour with Suzy Becker, Chapter House, 1pm

28 Wednesday Drawing Club, 1-3pm 31 Saturday

Familes @ WAM Tour, 10:30am

Familes @ WAM: Make Art!, 11-11:30am Zip Tour, noon

W O R C E S T E R A R T. O R G

a r o l F 3 1 ’ r e t n i w in

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WORCESTER ART MUSEUM thanks our

Business Partners Together we make a difference for Worcester At WAM you can find inspiration of the heart, soul and mind. The Museum reflects the strength of Worcester’s past and the possibility for its future. If you are interested in investing in community, WAM will never disappoint. —J. Christopher Collins, Senior Vice President & General Counsel, Unum US