Access Magazine Winter 2012 by Worcester Art Museum

access

worcester art museum magazine & classes brochure

winter 2013 | volume 2 issue 1

From the Director

Dear friends of the Worcester Art Museum,

Thank you for all of your positive feedback regarding

our first edition of ACCESS: Worcester Art

Magazine. Our marketing team had a great time

putting it together and our entire staff is proud of the

results. ACCESS is destined to reflect what is going

on at the Museum, what our thinking is, as the

museum goes through a process of transformation

and capacity building. We are also thinking about

how we can involve you, our visitors and friends,

more in the content production of this magazine â&#x20AC;&#x201C;

stay tuned.

ACCESS is one of our links to the community and

should, as our distribution grows beyond the current

number of 37,000, become another calling card for

Worcester and the region. As we deliberately

consider this magazine as much of a work in

progress, we might be toying with the format, the

design and the content. We therefore would very

much welcome your input so that we can connect

better with you. A good way of reaching us is via the

web www.worcesterart.org, or via mail addressed to ACCESS

Worcester Art Museum

55 Salisbury Street

Worcester, MA, 01609

You may have wondered about the luscious, yet

slightly morbid cover of the current issue. It is, in

fact, a reference to the new Wall at WAM project by Robert and Shana ParkeHarrison, which will

officially open on March 23. Robert and Shanaâ&#x20AC;&#x2122;s interpretation/reaction to the space in the

Renaissance Court marks the 10th Wall at WAM created in this distinguished series. Susan L.

Stoops, the curator of the project, and other staff

members had a great brainstorm with the artists

about related programming and collaborations. Here again - stay tuned.

Matthias

Matthias Waschek, Director of the Art WW W .Museum W O R C E S T E R A R T. O R g 2Worcester

Waschek

Welcome Jere Shea Director of Development

“Jere has an impressive track record of fundraising for a number of prominent institutions. With his leadership skills, background in the

arts and expertise in stewarding relationships, we believe he brings

exactly the skills needed to fulfill our ambitious fundraising goals. In a time when fundraising is so crucial to the growth of our institution,

we feel confident that Jere is the right person to take this museum to the next level.” –Matthias Waschek, Director

Most recently, Shea served as the Director of Principal gifts at

Partners In Health, a Boston nonprofit that delivers healthcare to

impoverished people around the world. While there, he managed a team responsible for principle gifts in the six- to eight-figure range, planned giving and development research. Shea’s team

successfully garnered a number of transformational gifts, totaling 50 percent of all funds raised from individuals and 25 percent of total annual revenue.

Prior to PIH, Shea worked for two art museums, first serving as

Jere Shea, Director of Development

Leadership gifts Officer at the Museum of Fine Arts, Boston and

then Senior Development Officer at the Isabella Stewart gardner

Museum. In both roles, he was responsible for cultivating donations and played a central role in the MFA’s $504 million capital

campaign. He has also served in a number of administrative roles under former Massachusetts governors Paul Cellucci and Jane

Swift. Prior to his involvement in government and development, Shea had an impressive career in acting, and earned a Tony nomination for Best Actor in a Musical in 1994.

As Director of Development at WAM, Shea will oversee a

development team of seven members and will be responsible for

the diversification of funding streams, as well as the planning and

oversight of potential high-level capital campaigns. He will also be charged with developing fundraising strategies to sustain the increasing financial needs of the institution.

“There is a palpable feeling of entrepreneurship at the Museum,”

says Shea. “This, in combination with WAM’s 115 year history, is an

incredible time of opportunity for the Museum, and I am thrilled to be on board.”

A resident of Massachusetts, Shea earned his Bachelor of Arts from Boston College and his Master of Fine Arts from the New York

University Tisch School of the Arts. He is an active volunteer for a number of community, charitable, and non-profit organizations. Please join us in welcoming Jere to the WAM team.

Edwin “Buzz” Aldrin, American, born 1930, Neil Armstrong on the Moon, (detail) July 20, 1969, Chromogenic print, gift of David Davis, E.33.12.3

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Wall at WAM: Robert and Shana ParkeHarrison The collaborative husband and wife team of Robert and Shana

ParkeHarrison has been commissioned to create the 10th mural for the Museum’s Wall at WAM series. Their staged photography

involves performance, sculptural props, elaborate backdrops, and

digital technology. Sepia-toned images from their critically acclaimed series, The Architect’s Brother (1993-2005), raised questions about Earth’s vulnerability, human responsibility, and destiny. Subsequent

work has displayed an overt and expressive use of color, surrealistic imagery, and more open-ended narratives that explore the interconnectedness of nature, humans, and technology.

Robert and Shana ParkeHarrison, These Days of Maiuma (detail from Wall at WAM), 2013, inkjet, 17 x 67 feet. Courtesy of the artists and Jack Shainman gallery, New York

The Wall at WAM mural is installed on a second-story, 67-foot expanse situated in the most public of

the Museum’s galleries, a faux Renaissance-style court, and overlooking a 6th-century Roman mosaic

from Antioch. The ParkeHarrison’s inkjet mural, These Days of Maiuma, with its iconography of the

remains of a grand feast and its themes of contemporary wealth, decadence, and disregard for the

environment, is intended to be a visual and conceptual counterpoint to the Worcester Hunt mosaic. The floor mosaic was once the site of many a feast by Antiochenes in an ancient city known for its

lifestyle of sophistication, affluence, and excess. Both compositions, although separated in time by 15 centuries, are characterized by a complex embrace of the real and the imagined and afford us two

compelling visualizations of humans’ relations to their world, then and now.

The ParkeHarrisons have developed their collaboration over the past 16 years and in 2000 publicly

acknowledged co-authorship of their images. A traveling exhibition of The Architect’s Brother toured

from 2002-2008 to sites in the U.S., Canada, and Europe. Recent solo museum exhibitions included

the Nelson-Atkins Museum of Art, Kansas City and the gallery of Photography, Dublin. Their work is in

numerous private and public collections. They are represented in New York by Jack Shainman gallery. 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.

Exhibition Opening & Artist Reception Saturday, March 23, 5-7pm Renaissance Court / Cash bar FREE admission

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a r o l F in winter

13 ebruary 3, 20 January 31–F

ter lora in Win F g in r d u D y rns to Jim an ster Lobb a sign, Lisa tu c de n as r a o he L ag of s e rt ar th ry is pa y met ye ation of m r when mason they scaping. The fo nd at s nd A th n La a , e ed r a iv iz T is at L recogn The ns by am at N and quickly ing on n of Garde his design te

hibitors untingto cipal t. Capitaliz wer show ex gner Lisa H guiding prin ch to the ar flo si t e oa a w d h pr T llo n . e ap fe n d achieve rd d io a For g ws funct allations r vision an together an st llo k ila in fo or m n w si e rm o a rd fo a tw ) g ed A shar s, the past shows. ing the (Oakham, M entary talent images from work, includ ousands of em ’s ra th a pl lo d is F m e L e f co m th o r o ei lc by ch e th ced inspires mu that have w lts as eviden ter over the ster Lobby Flora in Win stunning resu ’s m m u Ji se u n M in the Lanca so r Art ema e Worceste nd and ston visitors to th hip with frie rs nsforms the e a n tr rt a a is p L ) In rs. rlton, MA a h (C , past 10 yea g spite from in p a garden re e Landsca to tiv y a a N w f o te r a g Bake the lobby into a setts. While itarian lobby u til ch u a , ss rn a e d M o m ntral nd “invite” inters of Ce interest in a te ra e n e the harsh w g y to , it has an as a wa lower Show F A M l a design beg tr n e ral part of ns to the C nd an integ a r e Flora patro h r fo bor of love become a la ibition. ’s floral exh m u the Muse ns by Lisa, s is on Garde cu fo al re ’s sa maintenance However, Li design and n e he rd a g years ago. S her busy e started 15 sh d n ch a hi s w e , o she d business about what r fo te a n n g io si e ss d a is p g the right tin a e cr t of a g believes th understandin requires an sential es s it' each client at th and habits— ns their lifestyle cific questio ts very spe n d ie an cl e sk m a ho to eir ey live in th el ov sh a about how th ng tti re ever se fo be e n te ap of sc is land dget f course, bu ’s a is L in to the soil. O t deration, bu ta ge to a key consi t an rt most impo t’s “I , the ds of or s w al t the true go way a e sense of wha ur fig and then fortable project are— m co a in with to get there ppens all etimes it ha Flora in Winter om S . the et dg bu r most often ve e w is gen o h ero , usly sponsored by at once ased.” ph is t ec oj pr

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The Eye of the Beholder

Many people do ask us, how are the artworks that will be interpreted in Flora in Win ter chosen? The answer is simple: we want our gue sts to visit as many galleries as possible during Flora. In order to accomplish this, our Flora committee sele cts a variety of artworks approved by our conservation and curatorial teams that reflect the breadth of the Mus eumâ&#x20AC;&#x2122;s collection and are dispersed throughout our gallery spaces. Arrangers are then presented with a variety of options for the year, and then get to choose a work that inspires them . To keep Flora new each year, works are seldom chosen twice, but it does happen on occasion. Here are three examples of flora l designs interpreting the same artwork. You can compare how the arrangers saw and responded to the piece and came up with entirely different creations.

Colossal Female Head Top: Julie Lapham, 2003 Bottom: Elizabeth McLaughlin , 2008

The circular crown and oval form in this Colossal Head from ancient greece guided both designers in compos ing their arrangements. Julie used a warm monochromatic palette emphas izing the feminine quality of the portrait and the elegance of the figure. She connected her upper mass arrangement with her lower work using a wrap of Ruscus reflecting the long lost hair of the sculpture. Elizabeth played off the circles in the necklace and the texture of the hair and crown to make a series of floral rings one on top of the other culminating in celebratory white Amaryllis. The serene quality in the sculpture shined through in both.

Seated Buddha with Attending Bodhisattva Left: Sally Jablonski, 2006 Right: Kathy Michie, 2012

This 6th century Chinese stele shows Buddha with two bodhisattvas set against a mandola with apsara figures and flames. Both artists chose tropical flowers with red as the main accent color to pay homage to this monumental piece of funeral art. Sally did a centered design usin g a sturdy, stone-like container responding to the position of the cross-legged Buddha and the weight of the whole piece. Her flow ers echoed the upright torso and downward position of the hands. Kathy did a modern mass design using red Leucadendron and pink Protea to refer to the Buddha figu re and chose a metal frame to reflect the shape of the sculpture itself. The varied foliages and wax flowers pick ed up on the textures of both side s of the stele. Anders Zorn, Opal Top: Susan Detjens, 2012 Bottom: Harriet Pattison, 2003

This Impressionist painting shows nude bathers by a river with sunlight playing across the figures and the surface of the water. The opalescent pastel palette was central to both designers. And they both chose vertical-style arrangements based on the three vertical elements in the painting: the figures, the grassy bank and the river itself. Harriet picked up the opalescence in her choice of the most perfectly colored glass container and emphasized the delic ate skin tones of the bathers using pale pea ch roses contrasted against rich dark foliage. Susan repeated the individual colors in the broken brushstrokes that comprise the surf ace of the canvas and the dappled light. She used the pale peach roses here again but this time combining with orange, rose and yellow tulips. W W W . W O R C E S T E R A R T. O R g

Flora

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KENNEDY TO KENT STATE

Chamber

Music Co ncert Ser ie

s nuary 13, 2013 Worceste r C h a mb e r Music S ociety: Th Beethove e White H n Cello Son o u se a n d ata No. 3 Beyond Ben John in A major, ston String Qu O p . 6 9 artet No. Copland 4 “Amazin g grace” Threnody I & II Mendelss ohn Piano Trio No. 1 in D 5:30pm / minor, Op Renaissa .49 nce Court Members $25/ Nonm embers $ The progra 35/Studen t R u sh $ 1 m include 0 (availab s works p le at the d erformed Enjoy a to oor only) at the Ken ur of the K nedy Whit ennedy to 5 p m. e House. Kent State exhibition with curato Reception r, David A with the m cton at usicians fo The Cham llowing co b n vis e c Da r e vid M rt Da . usic Serie Cash bar. A gift of from Nydia s is genero and Charl usly spon es Moser. sored by a gift Visit www Through February 3, 2013 .worceste rart.org fo r more info rmation. presents an The Worcester Art Museum an eric Am l erfu st pow exhibition of some of the mo country images through which the the 0, photographs of the 196 ed. All from the and by which it is remember shared that dynamic period re collected by David Davis, tion, these photographs we museum’s permanent collec formed his personality. memories of the era that had his n upo ect refl and all III to rec tion presidency and assassina 8 to 1975, and include the The images date from 195 the ent, the Vietnam War, ll as the Civil Rights Movem of John F. Kennedy, as we antiwar movement and its mission to the moon, the American space program and Sunday, J a

Kennedy to Kent State: Images of a Generation

counterculture.

ts used in news file photographs, vintage prin of ed pris com ely larg is The exhibition the publishers, and used in ign. These were printed by media production and des in newspaper and magazine , and even as ‘camera art’ editing meetings, for layout ations began to digitize en news publishing corpor production. In the 1990s, wh nic libraries, these objects functions and build electro imaging and reproduction the photographs are d onto the market. Some of were discarded or release ch-ups, editor’s notes in photo lab spotting and tou pristine, while others carry prints are second of newsroom haste. Other grease pencil, or the scars publication wire photos printed along with generation enlargements or on the back with a were stamped or inscribed captions. Many of the prints n history, and this way they reveal their ow record of each use, and in artifacts. carry powerful qualities as catalog available in Fully-illustrated exhibition The Museum Shop.

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m Worcester Art Museu Oral History Films

Generation project, the Kent State: Images of a to y ed nn Ke the of rt and As a pa ster Historical Museum partnered with the Worce h wit Worcester Art Museum ws series of intervie y Project to produce a tor His n’s me Wo r ste tive the Worce s and 1970s. A collabora re impacted by the 1960 people whose lives we the ntified individuals within ians and educators ide time team of curators, histor ries related to both the (and beyond) whose sto Worcester community gra State photo phs. in the Kennedy to Kent yed pla dis e tur cul the d the period an sted a new interview on exhibition, WAM has po Each week during the here for the run of the rviews will be archived inte the of All te. bsi we museum’s itions/kennedy-to-kentw.worcesterart.org/Exhib exhibition. Visit http://ww no Media. m. Produced by Paga state/videos/ to see the

Viewer ibition: Response Exh all Post on Our W

y 18, 2013 Through Januar n Wing iggins Educatio H e th ld On view in ow has the wor out the 60s? H ab k in th e u th yo by d do What e? Inspire this turbulent tim changed since Images of a e: at St edy to Kent m is proud to exhibition Kenn ster Art Museu ce or W u. We e th n, Generatio hibition about yo ur Wall— an ex and O ns on io st in Po op s, ce introdu ts, memorie gh ou th ur yo e ar tory, invite you to sh in this participa m the 60s/70s fro be submitted os n ot ca ph s st se be Your respon t. bi hi ex ceived l na io that you have re intergenerat to the museum s s in rd rd ca ca st st po po g by mailin response on ts, typing your en se ev on h sp ac re re a ut at O bmitting space, or by su the HEW gallery more at ad re d an idelines digitally. See gu ds art.org/postcar www.worcester

Interior Design in the 1960s

Sunday, January 6, 2013, 2pm, Conference Room Free

Dr. Kristina Wilson (Clark University) will examine the rise and popularity of modern design in American suburban homes from the 1950s through the 1960s. The landscape of

suburbia, popularly known in these decades as the ultimate landscape of conformity, was a surprising epicenter of the blossoming acceptance of modern design: iconic chairs, tables, and bookcases by Charles & Ray Eames, Eero

Saarinen, and george Nelson filled the shelter magazines of the period and (to a slightly lesser extent) the homes of

the American suburbs. This lecture will discuss some of the major iconic objects of the period, and analyze the stylistic

changes from the early 1950s to the mid-1960s. It will also evaluate the lifestyles and behaviors that such objects

promoted, and consider them as agents in understanding the fabric of American popular life in these decades.

Sponsored by MassHumanities and the Amelia Hutchinson Haley lecture fund.

Baron Wolman, 300,000 Strong: Woodstock Music and Art Fair, (detail) August 15, 1969, gelatin silver print, gift of David Davis, 2011.181 W W W . W O R C E S T E R A R T. O R g

KENNEDY TO KENT STATE IMAGES OF A GENERATION

SCENES FROM THE MAD PARTY

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SEE MORE WAM EVENT PHOTOS ONLINE All images courtesy Norm Eggert Photography

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keyword: worcesterartmuseum

Jill Slosburg-Ackerman – In Rome: The Pine Grove. And. Natura naturans; natura naturata.

“One th

Through March 31, 2013 Contemporary gallery

Jill Slosburg-Ackerman’s drawing project, In Rome, was initiated while she was a visiting artist at the American Academy in Rome in 2009. Roman pine cones, with all their natural patterning, detail, and curved perfection, inspired her initial observational drawings. They led her to draw other forms, in particular, the polychrome stone floors called Cosmatesque in medieval Roman churches. Also detailed but organized in geometric units, they are tangible evidence of human devotion and our desire for manual perfection. As she explored connections between these two representative forms of nature and civilization, Slosburg-Ackerman’s project evolved in ways that expose the fluidity of boundaries between two- and three-dimensional experience, organic and geometric structure, intimate and architectural scale, sculptural object and furniture. Occupying wall and floor and framed by the architecture of the gallery, the installation is composed of hundreds of elements – drawings, photographs, paintings, sculptures, video, furniture, hand-carved frames – grouped into visual “episodes” (each of which is alluded to in the exhibition’s extended title). Slosburg-Ackerman’s art does not imitate the phenomena of nature (natura naturata) but engages nature as a creative force (natura naturans); always undergoing change, it is nature deeply interconnected with history and cultural processes. Drawings of pine cones are overlaid with Cosmatesque patterns; a naturally shaped wooden burl is additionally carved by hand; a pair of laminate end-tables is deconstructed into sculpture and reappears as a mirror image; a pine cone with fungi is translated as drawing and as table ornament; wood scraps are collaged into a three-dimensional abstract drawing; a carved element simultaneously obscures and extends a drawing underneath. The prominent roles of the pine frames (whether unembellished, elaborately carved, hinged, or stacked) are dual: emphasizing the exquisitely drawn details within their borders and acting as intermediaries between adjacent elements. Complementing the relatively standard 8x10-inch rectangular units of drawing paper, In Rome reveals a world of diversity in which interval, density, scale, and volume serve as visual points of reference. With basic materials, Slosburg-Ackerman has created an unusually immersive and participatory perceptual experience, one which invites both detailed and leisurely exploration. In its translation from studio to museum, In Rome has become a public reflection on the creative process as one involving scrutiny, faithfulness, recognition, intuition, correction, imperfection, and certainty.

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

Jill Slosburg-Ackerman, In Rome: The Pine grove. And. Natura naturans; natura naturata.(detail), 2009-2012, mixed media installation, dimensions variable. Photo credit: Steve Briggs.

ing lets another thing make sense.â&#x20AC;? â&#x20AC;&#x201D;Jill Slosburg-Ackerman (journal entry, 2012)

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Silent Gardens: The “White-line” Print Series by Yoshida Tōshi (1911-1995) Late January – July 2013

Yoshida Tōshi survived polio and years of demanding training, to become the

innovative head of the famous Yoshida Family Studio after his father, the artist and woodblock print maker Yoshida Hiroshi (1876-1950), died in 1950. Loyal to the

family tradition, Tōshi continued to produce landscape prints of scenic places, in

Japan as well as in other Asian and Western countries (including the U.S.), but he also designed abstract works and scenes of African wildlife.

In 1963-64 Tōshi composed and carved the blocks for a special series of seven

views, most of Zen-temple gardens. Instead of using traditional black outlines, Tōshi relied on white lines (some embossed using un-inked keyblocks), and sensitively

balanced and textured colors to enhance the impression of pristine serenity. These intimate scenes reflect the Yoshida family’s deep love of nature as well as bonsai and bonseki, miniature landscapes on trays. This print shows the kare-sansui (lit.

“dry mountain and water”) garden of ginkaku-ji (“Temple of the Silver Pavilion”) in

Kyoto with white gravel, raked in patterns of waves (ginshanada; lit. “silver sand and open sea”). Its white gravel is raked in patterns of waves (ginshanada; lit. “silver sand and open sea”) and shaped into a replica of Mount Fuji, a feature called kogetsudai (“platform facing the moon”).

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Yoshida TĹ?shi (Japanese, 1911â&#x20AC;&#x201C;1995), Ginkaku-ji Garden, 1963, woodblock print, ink and color on paper; gift from the Judith and Paul A. Falcigno Collection, 2010.94 W W W . W O R C E S T E R A R T. O R g

The Allure of Blanc de Chine March 6 â&#x20AC;&#x201C; August 2013

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Blanc de Chine (lit. â&#x20AC;&#x153;white of Chinaâ&#x20AC;?) refers to a white ware that was produced for centuries in the town of Dehua in the coastal province of Fujian. The sugary white clay of the Dehua area is made from a porcelain stone that is unusually low in iron impurities and fuses with the applied transparent glaze during the firing, producing works of a glossy, smooth quality that resembles ivory or white jade. Extremely resistant to the distortion that can be caused by hightemperature firing, the clay is ideally suited for the production of thickly potted, press-molded and/or sculpted vessels and figurines for the scholarâ&#x20AC;&#x2122;s table or family altar. Many such functional and decorative works are finely detailed or embellished with applied relief decoration, such as blossoms or dragons.

Porcelain production began in Dehua as early as the Song dynasty (9601279) and flourished from the sixteenth to the eighteenth centuries. At first widely exported to Southeast Asia and Japan, blanc de Chine soon also found a market among European royalty and aristocrats when it was imported by various European trading companies. Western interest in blanc de Chine gradually waned as Europeans discovered the secrets of porcelain manufacture. Dehua kilns have continued to produce white ware figures into the modern age; these late versions are usually slip-cast.

Incense Holder in the Shape of a Deer, mid 17th century, South China, Fujian Province, Dehua ware, porcelain with translucent alkalilime glaze; gift of Birgit Faber-Morse, 2011.454

Vase with Applied Plum Spray Decoration, 18th century, South China, Fujian Province, Dehua ware, porcelain with applied biscuit relief decoration and translucent alkali-lime glaze; gift of Birgit Faber-Morse, 2011.434

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Bostonians in Miniature: Portraits and Lives, 1810-1835 December 2012 â&#x20AC;&#x201C; May 2013 Miniature gallery

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Bostonians in Miniature explores the lives of Boston residents whose portraits were painted â&#x20AC;&#x153;in littleâ&#x20AC;? during the opening decades of the nineteenth century. Situating this popular form of art within the broader context of domestic life, inequality, and material culture, the exhibition focuses on six Boston couples, documenting how family, social class, and religion shaped the lives of those who sat for portraits. By linking lives and portraits, this rotation helps illuminate both the broader significance and personal meanings of this intimate form of portraiture. Artist unknown, Otis Norcross, Jr., about 1848, watercolor on ivory, Bequest of grenville H. Norcross, 1937.44

Photo: Norm Eggert Photography; Performer: Living art by our friends at TEN31productions.com

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denotes additional fee Registration Required: online or by calling 508.793.4330

online or by calling 508 .793.4323 Art History Class or lectu re Birthdays listed are artis ts represented in the colle ARH Class

ction

1 Tuesday

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Companies m-noon, sponsored by TJX First Free Saturdays, 10a n noo es, Jad ese y lecture fund. Zip Tour: Chin the Amelia Hutchinson Hale by MassHumanities and red nso Spo , free , 2pm in the 1960s, Lecture: Interior Design Public Tour, 1pm

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ented by Jim Life of Scofield Thayer pres Tortured Excellence: The ch: Lun Bag wn /Bro ting + Program Friends of the Library Mee lish at WPI, noon Dempsey, Instructor of Eng Just the Party God, 2pm th: Dionysus: More than January Tour of the Mon sion begins by R.A. Scotti Youth classes winter ses ndal—Building St. Peter’s : The Splendor and the Sca ilica Bas ion: uss Disc k Club Friends of the Library Boo Museum open until 8pm

14 Monday

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Higg Post on Our Wall closes,

18 Friday

ins Education Wing

Just the Party god, th: Dionysus: More than January Tour of the Mon w, noon ome thol Bar t Sain dt’s Zip Tour: Rembran

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30 Wednesday 31 Thursday

n House 5:30-7pm, free,

24 Thursday 25 Friday

2pm

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o Bridge, noon

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ter: No Free Admission to day except fo r Museum M Last day of Fl embers due ora in Winte to our Annual r Last day of Ke special even nnedy to Ke t weekend. nt State Adult classes winter sessio n begins $ RR

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Zip Tour: Th e Influence of Greek Art on Roman Art, Artist Talk: Jil noon l Slosburg-A ckerman, 2p Public Tour, m, Free with 1pm Museum ad mission

10 Sunday

12 Tuesday

ter

February To ur of the Mon th: ARH Class: Onsite/Offsite The Color Red, 2pm : Land Art +t he Museum

14 Thursday 15 Friday

16 Saturday

February To ur of Zip Tour: John the Month: The Color Red, 2pm Singer Sarg entâ&#x20AC;&#x2122;s Lady W arwick and So Drawing Mar n, noon athon kick-of f with Jill Slos Public Tour, 1pm burg-Ackerm an, 2-4pm, fre

17 Sunday 18 Monday

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, 6pm $ RR

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22 Friday

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uth begin $ RR

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kshops for yo uth $ RR Feb Fun Wor kshops for yo uth $ RR Museum op en until 8pm Feb Fun Wor kshops for yo uth $ RR Zip Tour: Du tch Art + Re ligion, noon Public Tour, 1pm

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March 1 Friday

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m $ RR

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ies

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on, sion begins $ RR Museums with Kristina Wils Youth classes spring ses Salon Style Hangings in ting + Program, Discussion: Friends of the Library Mee ty History at Clark Universi Associate Professor of Art WAM, 2pm ts from the Early Years of ligh High Month: In the Beginning: the of r Tou ch Mar day ritance by Edmund deWaal 20 Wednes Amber Eyes: A Hidden Inhe Discussion: The Hare with Club k Boo ary Libr the of Friends 21 Thursday ses begin Teen Thursdays/Youth clas Museum open until 8pm

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arrison, 5-7pm, FREE / Robert and Shana ParkeH t Reception: Wall at WAM Exhibition Opening+ Artis hology, noon WAM, 2pm Zip Tour: The Charm of Myt ts from the Early Years of In the Beginning: Highligh March Tour of the Month: :30pm , Sponsored by UNUM, 11-2 Children 17 and under free n, issio adm eum Mus Family Day: Free with ault Last day of Georges Rou Public Tour, 1pm

26 Tuesday

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erman

April 1 Mo n d a

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8 Mo n d a

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First Free S Zip Tour: aturdays, 10am-n The Chess oon, spon sored by Players, TJX Com noon Public To panies ur, 1pm

esday A pril Tour o

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April Tou ro Zip Tour: f the Month: Silen ce + Spa Shiva in a ce, 2pm ll His Glo ry, noon Public To ur, 1pm

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Meet WAM’s Exhibition Designer + Chief Preparator Patrick Brown What do you do as WAM’s Exhibition Designer + Chief Preparator?

An Exhibition Designer collaborates primarily with a curator in creating an environment in which to display artworks for visitors. Space design and content are brought together in a space that a designer creates. At WAM, my job is to provide relevant and engaging designs for a wide ranging collection (ancient to contemporary). As Chief Preparator, I coordinate with other departments within the Curatorial Division to facilitate the movement, installation, and storage of the Museum's collection—and as the head of the Collections and Exhibitions Department, I also budget for exhibitions, schedule installation work, and supervise the Department's Preparators.

Did you always want to be an Exhibition Designer?

I originally wanted to be a painter and, like most art students, I intended to spend my career as a working artist. I received my MFA from Rutgers University and studied with Leon golub. Following school, I kept my own studio for 2 or 3 years, but eventually a regular income became a priority and I took a job as an Art Handler at the Cincinnati Art Museum.

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Patrick Brown

How did you start designing exhibitions? After working as an Art Handler, and then Preparator for a few of years at CAM, I began to design casework, and small small object rotations. In the mid 90s, the Cincinnati Art Museum underwent a comprehensive gallery renovation. As the reinstallation of the new galleries was underway, george Sexton + Associates, the lead architects for the project, also began to train me to carry their design language/ aesthetic into the special exhibitions that would follow CAM's reopening. Tell us about the Kennedy to Kent State exhibition design.

As we moved forward with the project, it became clear that we needed to explore how photography had been used in the news media—specifically how this group of images informed us and shaped our understanding of this important era. During the time period of the exhibition, network television, print magazines, and newspapers were the primary news source for most Americans. For that reason, we wanted to include a video component to complement the photographs. I created a series of video rooms that are wrapped with large-scale images from the show—the monumental size relates to what is iconic about the events depicted. The result is a set of

structures that act as both architecture and image—spaces and structures that unfold as you move through the exhibition space. The video rooms also create a dissonant ambient sound (and the "tv flicker") throughout the entire exhibition space which reminds me of my parents suburban home in the sixties—three TVs on 24 hours a day. Did you recognize every image in the exhibition?

Yes. I was most stuck by how many of these events loom so large in our memory, but also how so many of them happened within such a short span of years.

Did the design turn out how you envisioned?

Yes, I’m extremely happy with how it all came together. What do you enjoy most about your job?

I enjoy being able to work alongside a curator/and or artist. I not only design the exhibitions but have the opportunity to participate in the installation and the successful completion of each project.

What was your first show at WAM? I came to WAM twelve years ago during the installation of Antioch: The Lost Ancient City. The first exhibition I designed for the Museum was The Stamp of Impulse: Abstract Expressionist Prints. Do you have a favorite artwork in the collection?

My longtime favorite is the Philip guston, but WAM recently acquired a fantastic Alice Neel which is now edging into my favorite spot.

Philip guston, Painting No. 4, 1952, oil on fabric, Anonymous gift, 1955.1

Alice Neel, Julie and Aristotle, 1967, oil on canvas, Stoddard Acquisition Fund, 2010.316

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In Memoriam: Paul S. Morgan

From left to right: Flip, Nancy and Paul Morgan

The Museum lost a wonderful friend and generous supporter with the recent passing of Paul S. Morgan. Former head of Morgan Construction Company, which for five generations was one of Worcester’s major manufacturers, Paul contributed to the community in numerous ways. As a businessman, philanthropist, civic leader, and volunteer for numerous non-profits, he never stopped working for his hometown. The Worcester Art Museum was always part of Paul’s life as his family was active from the time the Museum first opened. His uncle Paul B. Morgan served as President of the Museum from 1939-45, and his wife, Nancy, was the Museum’s first female President and the first to serve twice, from 198185 and 1989-90. Both Paul and Nancy got involved in the Museum by serving on the Members’ Council, and together, over the years, contributed immensely to the success of the Museum. The Museum’s 18th-century French gallery, which bears the Morgan name, is testimony to the important role that Paul and his family have played in the Museum’s history.

Travel to China with the Worcester Art Museum

A China Romance / Dream Idyll May 9-19, 2013 Take advantage of this once-in-a-lifetime opportunity to experience Beijing and Southern China with Paul Ropp, a renowned expert in Chinese history and a fluent Chinese speaker. Learn about the diversity of China's regional cultures, from the metropolitan and modern to the rural and historical. Traverse ancient ruins, royal palaces, cultural treasures and natural wonders as you discover Beijing, Guilin, Longsheng, Yangshuo, Hangzhou and Shanghai.

Call 508.793.4334 for more information. Sponsored by the Worcester Art Museum with Clark University

Worcester Art Worcester Art Museum Museum would would like to to extend extend a grateful grateful THANK YOU YOU tto o our supporters! supporters! The Clayton F. and Ruth L. Hawkridge Foundation The Frank M. Bernard Foundation Library Archival Slide Digitization

Institute of Museum and Library Services Museums for America: American and European Painting Digitization

Massachusetts Cultural Council Cultural Investment Portfolio: Partner

Mass Humanities : Crisis, Community, and Civic Culture Kennedy to Kent State Programming

National Endowment for the Arts ArtWorks: Teen Artists at WAM

Target Corporation Arts and Culture in Schools: Adopt-A-Portrait

TJX Foundation Free First Saturday mornings, 10am-noon

Thank you to our Individual and Business Supporters of the Salisbury Doors Campaign

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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 Worcesterâ&#x20AC;&#x2122;s past and the possibility for its future. If you are interested in investing in community, WAM will never disappoint. â&#x20AC;&#x201D;J. Christopher Collins, Senior Vice President & General Counsel, Unum US