Access Magazine Fall | Winter 2023 by Worcester Art Museum

access Member Magazine Fall/Winter 2023

The Worcester Art Museum’s access magazine is an opportunity for our close community of supporters to dive deeper into what we do. As a Member, you receive this not only as a thank-you for your support, but as an invitation to continue to get excited about art.

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Members visit free worcesterart.org | @worcesterartmuseum Q E M

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Board of Trustees 2023 Dorothy Chen-Courtin, President Douglas S. Brown, Vice President Sarah G. Berry, Treasurer Susan M. Bassick, Clerk Edward M. Augustus, Jr. Lawrence H. Curtis Jennifer Davis Carey James C. Donnelly, Jr. Michael B. Fox Mark W. Fuller Jennifer C. Glowik-Adams Karen M. Keane Sohail Masood Thomas P. McGregor Thomas Michie Malcolm A. Rogers Kent Russell Jonathan R. Sigel Anne-Marie Soullière Cynthia L. Strauss George W. Tetler Carmen D. Vazquez Christina Villena Ex Ofﬁcio – Matthias Waschek, Jean and Myles McDonough Director of the Worcester Art Museum 4

Cover: access magazine is a publication of the Worcester Art Museum and funded in large part by the Herron-Dresser Publications Fund. All rights reserved. Information subject to change. Editor: Jack Gallagher Design: Kim Noonan Photography: Stephen Briggs, Dany Pelletier, Troy B. Thompson Worcester Art Museum worcesterart.org

From the Director When you visit us this fall and winter, you will notice change. Change is a word I write with pride, gratitude, and excitement. As an institution that has thrived through industrial decline, population shifts, and a global pandemic, change has at times been something the Worcester Art Museum has had to face head-on. But the Museum has always had a legacy of embracing change, and now, we are taking that legacy even further. We are actively pursuing and making change as we explore questions like “What is the role of museums today?” and “How can we innovate for the modern visitor?” As supporters of the Museum, you are part of our progress.

Worcester Art Museum

Board of Trustees 2024 Dorothy Chen-Courtin - President Kent Russell - Vice President George W. Tetler III - Vice President Sarah G. Berry - Treasurer Susan M. Bassick - Clerk Lawrence H. Curtis Jennifer Davis Carey James C. Donnelly, Jr. Michael B. Fox Mark W. Fuller Jennifer C. Glowik-Adams John J. Herron Karen M. Keane Mary Beth Leonard Barry M. Maloney Sohail Masood John H. McCabe Thomas S. Michie Carl D. Rapp Malcolm A. Rogers Anne-Marie Soullière Cynthia L. Strauss Carmen D. Vazquez Christina Villena

With Faith Ringgold: Freedom to Say What I Please (through March 17, 2024), we celebrate an artist who has used art as a tool for change throughout her continuing career. The exhibition highlights Ringgold’s commitment to political activism and her deeply personal stories that celebrate African American culture. More than 300 years earlier and 3,000 miles across the Atlantic, Rembrandt van Rijn was changing the practice of etching, creating prints that communicated emotion and movement like never before. Rembrandt: Etchings from the Museum Boijmans Van Beuningen (through February 19, 2024) shows how the self-taught artist made his mark on art history. Meanwhile, throughout our building, largescale contemporary art installations are transforming several of our high-traffic yet underutilized spaces, including monumental works by Brie Ruais and Nevena Prijic. In the coming months, look out for new site-specific commissions. The process of change can also be seen (and sometimes heard) throughout our building with construction projects that will vastly improve experience and access, including updates to our central elevator and the construction of our upcoming arms and armor gallery. This is just the beginning. We will be able to creatively and responsibly bring about change thanks to ongoing contributions to our current campaign, A Bold Step Forward: Campaign for the Worcester Art Museum (worcesterart.org/boldstep-forward), empowering us to modernize our facilities, strengthen programming and operations, grow our endowment to ensure long-term financial strength, connect us with new audiences, and broaden the stories we tell.

Matthias Waschek Jean and Myles McDonough Director

Ex Ofﬁcio — Matthias Waschek, Jean and Myles McDonough Director

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What’s on This season, there are many reasons to visit, and even more to return! Here are some of the highlights. Visit worcesterart.org to view our full calendar and learn more.

October 7, 2023–March 17, 2024

November 8, 2023–May 2024

November 18, 2023–February 19, 2024

EXHIBITION

ARTWORK

EXHIBITION

Faith Ringgold: Freedom to Say What I Please Page 12–13

Central Massachusetts Artist Initiative: Claudio Eshun

Rembrandt: Etchings from the Museum Boijmans Van Beuningen Page 10–11

November 24, 2023–January 7, 2024

December 1, 2023

January 15, 2024

EVENT SERIES

EVENT

DEMONSTRATION

Winter at WAM

Champagne, Chocolate, and Shopping Members-only party

The Science of Etchings Special holiday hours

Tours and demonstrations

Studio art classes

Find a new favorite artist or artwork with free tours, offered every week. Come closer to the art and learn hands-on through interactive demonstrations, art carts, and more.

Discover a new skill or reﬁne your specialty in studio art classes for adults and kids. Members receive 10% off.

Worcester Art Museum worcesterart.org

As a Member, you receive free Museum admission year-round as well as advance, free, or discounted program and party tickets.

February 22, 2024

February 29–March 3, 2024

April 6–July 7, 2024

TALK

EVENT SERIES

EXHIBITION

Amelia and Robert H. Haley Memorial Lecture: Dorian Bergen and Michele Wallace on Faith Ringgold

Flora in Winter 2024 February 29: Salisbury Giving Society reception

New Terrain: 21st-Century Landscape Photography © Meghann Riepenhoff

Ongoing

SITE-SPECIFIC COMMISSION

CONSERVATION IN ACTION

ARTWORK

Nevena Prijic: Voyager

Arms and armor with Bill MacMillan Page 16

Brie Ruais: Uncontrollable Drifting Inward and Outward Together (130lbs times two)

Higgins Education Wing exhibitions

For teens

There’s always something special down the hall! Explore exhibitions from students of all ages, community partners, and more in the education wing.

Do you know a teenager interested in art and museums? Learn about internships and the WAM Teen Council at worcesterart.org/teen-programs.

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A quilt with a story Faith Ringgold’s Picasso’s Studio (1991) is a cornerstone of the Worcester Art Museum’s collection. Acquired directly from the artist via her gallery in 1998, the work is one of the most celebrated narrative quilts by the artist, author, and activist. Recently a part of major exhibitions on Ringgold at Musée Picasso Paris, New York's New Museum, and more, Picasso's Studio is back on view in Worcester for the first time in ten years. The quilt is part of a series titled The French Collection which tells the fictional story of Willia Marie Simone, a young African American woman visiting Paris in the 1920s. Throughout the story, Willia meets numerous influential figures in European culture. In stark contrast to the realities of the time, Willia ultimately finds herself accepted and respected as a peer. Through Picasso’s Studio, Ringgold boldly challenges the accepted narrative of art history—a narrative that has historically excluded and ignored the achievements of Black women and "non-western" artists. In the quilt, Ringgold depicts Willia modeling for Pablo Picasso (1881–1973), in front of Les Demoiselles d’Avignon (1907), his iconic early Cubist painting of a group of white female sex workers. Picasso, who is credited for co-founding the Cubist Movement, was heavily influenced by the aesthetics created by African artists, particularly as seen in African masks. Ringgold takes this on directly. Across the quilt, in an imagined letter from Willia to her aunt at home in America, Ringgold writes,

“Europeans discovered your image as art at the time they discovered Africa’s potential for slavery and colonization. They dug up centuries of our civilizations, and then called us savages and made us slaves.

“It’s the African mask straight from African faces that I look at in Picasso’s studio and in his art. He has the power to deny what he doesn’t want to acknowledge. But art is the truth, not the artist. Doesn’t matter what he says about where it comes from. We see where, every time we look in the mirror.” By placing Willia in conversation with Picasso's painting, Ringgold calls out the sources the artist mined for inspiration— women and the art of Africa—and re-inserts Black women into the history of art. The story of Picasso’s Studio and The French Collection is semi-autobiographical for Ringgold, depicting a Black woman ﬁnding acceptance and praise for her art in the face of racism and sexism. It is also a form of wish fulﬁllment, depicting a life that few African American woman artists could have dreamed of having at the time.

“You asked me once why I wanted to become an artist and I said I didn’t know. Well I know now. It is because it’s the only way I know of feeling free. My art is my freedom to say what I please. [It's not important] what color you are, you can do what you want [with your] art. They may not like it, or buy it, or even let you know it; but they can’t stop you from doing it.” This sentiment and its powerful themes of racial justice, feminism, and family are woven throughout Ringgold’s decades-long career.

… Experience Picasso's Studio and more in Faith Ringgold: Freedom to Say What I Please, on view through March 17, 2024. For more information, visit worcesterart.org/exhibitions.

Worcester Art Museum worcesterart.org

Faith Ringgold: Freedom to Say What I Please is generously supported by the Fletcher Foundation and an anonymous donor. It is also funded in part by the Don and Mary Melville Contemporary Art Fund and John M. Nelson Fund. Media partner:

Faith Ringgold, Picasso’s Studio, 1991, acrylic on canvas; printed and tie-dyed fabric, Charlotte E.W. Buffington Fund, 1998.148. © Faith Ringgold / Artists Rights Society (ARS), New York, Courtesy ACA Galleries, New York

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After conservation: Rembrandt van Rijn, The Hog, 1643, etching, Gift of Frederick Rice, 1957.146

Worcester Art Museum worcesterart.org

Preparing a rarely seen Rembrandt for display By Claire Whitner, Director of Curatorial Affairs and James A. Welu Curator of European Art

On November 18, Rembrandt: Etchings from the Museum Boijmans Van Beuningen opened at the Worcester Art Museum. Established in 1849 in Rotterdam, The Netherlands, the Boijmans has an extensive collection of prints by Rembrandt van Rijn (Dutch, 1606–1669) that are now on view in Worcester for their first international exhibition. In our own collection, the Worcester Art Museum is fortunate to have a large number of 17th-century Dutch paintings as well as works on paper. Our print collection includes several exceptional examples of Rembrandt’s etchings as well as the copper plate Rembrandt created for Christ and the Woman of Samaria (1658). We do not, however, have the scale or breadth of Rembrandt etchings that would allow us to organize a comprehensive survey of his work on our own. The traveling exhibition organized by the Boijmans was an opportunity to present our own etchings by Rembrandt in a wider context. Like all works on paper, these etchings are usually in storage due to their sensitivity to fading when exposed to light. Of the 90 works on view in the exhibition, seven Rembrandt etchings come from the Worcester Art Museum’s collection. Among them is The Hog (1643), which came to the Museum in 1957 as a gift from local collector Frederick G. Rice. Nancy Kathryn Burns, the Museum’s Stoddard Curator of Prints, Drawings, and Photographs, was particularly enthusiastic about including this etching in the exhibition. The subject—a large hog tethered to a tree with loosely sketched figures in the background—appealed to her because it does not focus on the human figure like so many of Rembrandt’s iconic historical and biblical subjects. Burns says, “Among the handful of animal studies Rembrandt created, nearly all the animals are presented in repose, like this sprawling sow. I’ve always seen these animal studies as the closest analog to a Rembrandt still-life, a genre he seldom explored.” Despite its engaging subject, The Hog has never been shown at the Worcester Art Museum. This is in part due to two prominent

Spend some time with The Hog, a favorite of our curatorial and conservation teams, on view in Rembrandt: Etchings from the Museum Boijmans Van Beuningen through February 19, 2024. Learn more at worcesterart.org/exhibitions.

Before conservation: Rembrandt van Rijn, The Hog, 1643, etching, Gift of Frederick Rice, 1957.146

brown stains on the paper that were distracting to the eye. This traveling exhibition provided the opportunity for the print to be examined by Eliza Spaulding, the Museum’s former Conservator for Works on Paper. After careful observation and conversations with curators, she began a conservation treatment to bring the print closer to its original condition as safely as possible. After testing the stability of the print’s media and the absorbency of its paper, Spaulding treated the print in steps, evaluating its changing condition at each interval to guide future ones. The treatment entailed careful bathing and light bleaching to reduce overall discoloration, as well as localized bleaching of the most prominent stains. Ultimately, although traces of the stains remain, the print was brought much closer to its original condition, allowing us to better understand Rembrandt’s beautiful draftsmanship as he intended. Rembrandt: Etchings from the Museum Boijmans Van Beuningen has been made possible through the generous loan of artworks by Museum Boijmans Van Beuningen, Rotterdam, The Netherlands. The exhibition is generously supported by the Fletcher Foundation. It is also funded in part by the Ruth and John Adam, Jr. Exhibition Fund, Richard A. Heald Curatorial Fund, the Christian A. Johnson Exhibition Fund, Michie Family Curatorial Fund, Bernard and Louise Palitz Fund, and WAM Exhibition Fund. Related programming is supported by the Schwartz Charitable Foundation and Spear Fund for Public Programs. Sponsored by:

Media Partner:

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Recent acquisitions

Myrlande Constant, Baron Lakwa, 2022, beads, sequins, and tassels on fabric, Museum purchase through the Chapin Riley Fund at the Greater Worcester Community Foundation and the Helen Sagoff Slosberg Fund in Honor of Daniel Catton Rich, 2023.25. © Myrlande Constant. Courtesy of the artist and Fort Gansevoort, New York.

Maria Marc, Blumenbeet (Bed of Flowers), about 1913, oil on canvas, 74.6 × 97.2 cm (29 3/8 × 38 1/4 in.), Museum purchase through the Gift of Jean McDonough and Theodore T. and Mary G. Ellis Fund, 2023.24

Myrlande Constant Baron Lakwa 2022

Maria Marc Blumenbeet (Flowerbed) about 1913

Myrlande Constant (Haitian, b. 1968) is the ﬁrst Haitian woman to gain international acclaim for her innovations to the traditional form of Drapo Vodou—vernacular ﬂags adorning temples and used in ceremonial practices. Handstitched with thousands of beads, Constant’s artworks are closely tied to her spiritual practice and the Vodou belief that the spirit world and the realm of the living are deeply interconnected.

This ambitious flower composition demonstrates Maria Marc’s (German, 1876–1955) embrace of the modernist ideals and approach to painting espoused by the Munich-based GermanExpressionist group Der Blaue Reiter (The Blue Rider). Influenced by her contemporaries and colleagues, including her husband, Franz Marc, Vassily Kandinsky, and Gabriele Münter, Blumenbeet (Flowerbed) exemplifies the vivid palette and focus on form that define her unique style.

Worcester Art Museum worcesterart.org

Marcia Resnick, Landscape/Loftscape #15, 1976, diptych of vintage gelatin silver prints, Gift in Honor of Edward J. Osowski purchased with funds provided by Joan Morgenstern, 2023.31. © Marcia Resnick, Courtesy Deborah Bell Photographs, New York and Paul M. Hertzmann, Inc., San Francisco.

Claudine Bouzonnet-Stella, Jesus Mocked by his Guards, plate 9 from The Passion of Christ, 1690-1697, etching and engraving on paper, Museum purchase through the Theodore T. and Mary G. Ellis Fund, 2023.29

Marcia Resnick Landscape/Loftscape #15 1976

Claudine Bouzonnet-Stella Jesus Mocked by his Guards, plate 9 from The Passion of Christ 1690–1697

Part of her conceptual series, Landscape/Loftscape, Marcia Resnick (American, b. 1950) creates an illusion, pairing two photographs of deceptively similar subjects. The ﬁrst image, a landscape captured outdoors, serves as a model for the “loftscape” below, a recreation from torn construction paper assembled in her New York City loft.

Claudine Bouzonnet-Stella (French 1636–1697) was trained in intaglio printmaking by her uncle, the painter Jacques Stella, and inherited his workshop upon his death when she was 21. This engraving is from a series begun late in Bouzonnet-Stella’s career, The Life and Passion of Christ, which is after a group of paintings on the same subject by Jacques Stella.

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How do you clean a 500-year-old suit of armor? by Bill MacMillan, Project Conservator of Objects, Higgins Armory Collection

One of the most common questions we get related to arms and armor (right after “how did knights go to the bathroom?”) is what is behind the scenes. Visitors have an image of a secret room, hidden deep in the catacombs of the Museum, ﬁlled with rows of swords and pikes, shelves brimming with helmets and shields, carefully packed boxes of armor reaching to the ceiling that are hidden from view.

mount makers, curators, interns, conservators, researchers, and others. Far from a solo effort, getting the Higgins Armory Collection ready for permanent exhibition takes a village and everyone holds a critical role in that process.

When the new arms and armor gallery opens, you’ll ﬁnally get to see that mysterious secret room through our Open Storage Gallery. All those objects that have been hidden in secure storage will now be visible to all. But to achieve that, there is a lot of work that must be done. That is where the Jeppson Idea Lab comes into play.

Architects and designers shape our grand visions into cohesive blueprints. Contractors take those designs and make them tangible while keeping the care of the collection at the forefront. Curators and educators research objects and their context in history to help present the rich story that they have to tell. Preparators help oversee mounts, case design, and lighting to make sure that the objects are safe while showing them in the best way possible. Outside consultants review our layouts and designs to make sure that as many people as possible can enjoy the displays, regardless of age or mobility issues. Website designers work closely with our team to make sure the collection is searchable in the gallery via tablets or on your phone. The development team helps ﬁnd the funds to make our grand dreams a reality while tying it into the larger campus-wide plans. The communications team lets you know what is happening and keeps you up to date on our progress.

The Jeppson Idea Lab will be showing a bit of what it takes to ready the objects for exhibition. I will be assessing and conserving the armors, swords, helmets, shields, and other objects that will be shown in the new arms and armor gallery. This is your ﬁrst peek behind those secret doors to see a small slice of what it takes to transition an object from storage to gallery. You’ll see object treatments, test ﬁttings on mannequins, collections research, and general maintenance of the Higgins Armory Collection. I’ll be joined on occasion by exhibition preparators,

This is just the tip of the iceberg. For every armor object that will be on display there are literally dozens and dozens of people who all contributed to making that possible. From building maintenance to security, docents to administrators, the contractor hauling electrical cable to a slightly overcaffeinated conservator working in the Idea Lab. We are all doing our best so that you can ﬁnally see the Higgins Armory Collection in all its glory. We hope you’ll stop on by and witness that process in action.

And they are right. That room does exist, and it is just as cool as you think it is. The frustration for those of us who work with the Higgins Armory Collection daily (and for the visitors) is that we haven’t been able to show you this room. Security, space restrictions, and basic logistics have prevented the public from being able to view these hidden objects. That is about to change.

See what Bill is working on now in the Jeppson Idea Lab on Level 3, or learn more at worcesterart.org/exhibitions.

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Left: Phuong Linh Nguyen (b. 1985, Vietnam) speaking to visitors at the Worcester Art Museum. Right: still image from an untitled ﬁlm made by Phuong Linh while in residence.

Samantha Cataldo: Both of you have strong ties to your local art communities. How has your engagement with those communities inﬂuenced the direction of your artistic work?

Community, culture, and contemporary art During their ﬁrst week in Worcester, Indonesian artist Arahmaiani and Vietnamese artist Phuong Linh Nguyen sat down with Samantha Cataldo, the Worcester Art Museum’s Associate Curator of Contemporary Art, to discuss their work and their participation in the Museum’s annual Southeast Asian Artist-in-Residence program. Arahmaiani and Linh spent six weeks creating art and collaborating with communities around Worcester, culminating in an after-hours presentation of their work this past September.

Arahmaiani: Community is very important in my art because it lets us ask the question, “How can we find creative solutions to the problems that we all face?” Through my art, I think about how when we can work together with different communities, we are learning about other people’s problems and needs. This gives me a sense of hope for the future. Phuong Linh: When I was younger, I immersed myself in other cultures as a kind of research. I learned from people to get a sense of history. My father is also an artist, and his studio was based in his home. My father’s space was about gathering for the artist community and creatives, including local craftspeople, who were willing to teach us how to work with certain materials. My experience growing up in this environment has shaped my idea of community, which to me is about friendship and creating things together. SC: The work you describe is so collaborative and international. How do you approach incorporating diverse cultural influences into your art without losing your individual artistic voice? PL: Before COVID and before having a baby, my practice was quite specific to one environment. Back then, it was easier to

Worcester Art Museum worcesterart.org

Arahmaiani (b. 1961, Indonesia) leading a participatory performance at the Worcester Art Museum, September 20, 2023.

read the context of my art. After I gave birth and COVID happened, I focused more on the mental landscape: I was fascinated with death, illnesses, and the body. I had a neardeath experience when I gave birth, which was transformative to my practice. Around that time, my father’s health was also getting very bad. So the whole idea of history—family history, national history—all the chaos within my identity became more abstract as it became more about death. It made me think of people as people, not tied to a speciﬁc place. This focus made my work at once universal and yet very personal to me. A: I need to spend time understanding where I am. I'm from Indonesia, an archipelago where people from many parts of the world come—from parts of Africa, from India, from China, from the west. We have to be able to live together. I've learned from my ancestors about understanding as the key to living together. I like to explore this in my art, especially personally as I live a nomadic lifestyle now.

PL: The Worcester Art Museum has been very kind to me, and it has been clear that you know and care about my work. While kindness is very important to me, I was also curious to come to this part of the United States where everything is different from what I am used to. I have a feeling of dislocation when I'm in a new place, and I wanted to have this dislocated feeling while I create work. SC: This museum has a collection that spans time and space, from ancient objects to art made today. How do you think our collection will inﬂuence your work here? A: History is very important to understand, especially with my interest in colonization. Art from around the world can tell those stories of power and what happens to cultures over time as people and communities build relationships with one another, good and bad.

SC: People who are reading this interview might be curious to know why you were interested in coming to the Worcester Art Museum to participate in this residency. Why did you take this opportunity and what are you looking forward to doing while you are here?

PL: Before I came here, I did a lot of research on the Museum’s collection and I was particularly interested in the works by Isamu Noguchi. I may create some kind of dialogue with his work while I am here, but I still have a lot to be inspired by. I am also interested in the architecture of the Museum: the columns, the light. We will see what I come up with.

A: I am interested in identity politics, and the idea of the United States of America is very important when exploring identity.

The Southeast Asian Artist-in-Residence program is supported in part by the IAP Fund at WAM and a grant from the Worcester Arts Council, a local agency, which is supported by the Mass Cultural Council, a state agency. Support for 2023 artist housing provided in part by Homewood Suites by Hilton Worcester.

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In memoriam

James A. Tellin, Torso, 1999, plywood, pine board and acrylic paint, Gift of James Herbst in honor of his friendship with Jim Tellin, 2022.59

Antonella Doucette

Seth David Rubin, #2 (John O’Reilly and Jim Tellin Outside Their Home), detail, 2012; printed 2017, chromogenic print, Gift of Stephen DiRado, Bill Jacobson & Seth David Rubin, 2018.29.39. © Seth David Rubin.

Antonella Doucette

Jim Tellin

Antonella Doucette cultivated a decades-long relationship with the Worcester Art Museum that deﬁed categorization. She was deeply connected with the Museum as a beloved docent, teacher, donor, Corporator, and head of the Museum’s volunteers. She joined the Board of Trustees in 1998, serving until 2007 and then serving again in 2018–2021.

Artist James (Jim) Tellin lived and worked in Worcester for the majority of his life. Known for his dynamic, abstract sculptures, Jim explored perception and ways of viewing the world, using art as a means of reﬂection and connection. During his lifetime, he fostered a strong community in Worcester; this commitment to the creativity and wellbeing of others has made a lasting impact on the city. Upon his death in May 2023, Jim left the Worcester Art Museum a bequest gift, the majority of which will be added to the Museum’s endowment. Jim's work is represented in the collection by a sculpture, Torso (1999), which the Museum acquired in 2022.

Antonella was born in Lomazzo, Italy, where she studied Greek, Roman, and Latin classical literature, philosophy, and European history and art, with a focus on the Italian Renaissance. She graduated from law school at the Università di Pavia before immigrating to the United States in her 20s. Antonella appreciated the importance of history and sociology in the process of understanding the intention of an artist and the interpretation of an artwork. Her vast knowledge and lifelong enthusiasm for learning was a gift to the Worcester Art Museum’s education department, which shares Antonella’s love for curiosity as core to its mission. While she was a Trustee, Antonella served on and chaired an array of committees, making direct contributions to crucial causes within the Museum, including the audience experience, diversity, collections, and learning. She was recognized for her outstanding service throughout the Worcester community in 2003 when she was named the Women in Development Volunteer of the Year. Antonella passed away on April 19, 2023, but she will always be part of the fabric of the Worcester Art Museum.

Jim moved to Worcester with his partner, artist John O’Reilly, in the early 1960s. At a time when gay couples rarely lived together openly, Jim and John built a life in their house on Grafton Street. In 1964, the artists established the Art Therapy Department at Worcester State Hospital, which they directed until 1991. Throughout their time in Worcester, Jim and John cultivated individual artistic practices that evolved over the years. While John created collages that used photographic elements to discuss identity and history, Jim focused on wooden sculpture and mixedmedia works. An ideal example of Jim’s practice, Torso features a rigid geometric sculpture that is animated by his approach to scale and shape. While non-representational, the work’s title and the gentle undulations in its form connote the body. Jim cited the inspiration for his subtle juxtapositions of shifting ﬂat planes and richly colored surfaces to his love and fascination with the formal qualities of the Japanese woodblock prints he ﬁrst encountered as a young man serving in the military in Japan. In addition to the sculpture by Jim, the Museum's collection also boasts 23 works by John, in addition to dozens of photographs of the couple. Jim’s legacy will live on for generations through his impact on the art world, the city of Worcester, and his generosity to the Worcester Art Museum.

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What does the Museum mean to you? Daniel D’Amico

Victoria Nessen When I think about the Worcester Art Museum, I think of the Higgins Armory Collection. No single piece of arms and armor is really my favorite, but that is the beauty of this collection: it spans thousands of years of history and multiple continents. From unique ceremonial swords from the Congo to elaborate Persian helmets covered in calligraphy, the Higgins Armory Collection runs the gamut.

However, I would have to say that one of the most striking pieces is the Armor for Field and Tilt of Count Franz von Teuffenbach. It was made by an Austrian armorer, Stefan Rormoser, in 1554. Two things really grab me with this suit of armor. First, it is incredibly imposing. It currently stands in the European Galleries of the Museum, and it towers over you. It would cover the wearer’s entire body with shining steel, transforming them into a fearsome, awesome sight in front of their enemies. The face of its wearer would be nearly entirely invisible, except for two small slits for the eyes. I can imagine seeing Count Teuffenbach in his glinting armor, and, easily, he must have been the most intimidating ﬁgure on the battleﬁeld. The Teuffenbach Armor is also incredibly beautiful. Nearly every inch of this armor is covered in decoration, from plants and vases to suits of armor and even cherubs. What is most interesting, I think, is that Count Teuffenbach himself makes an appearance right on the front of the breastplate. We see him kneeling in prayer in a suit of armor (perhaps the same armor?), sporting a great beard as well. Every time you look at the Teuffenbach Armor, you discover something else in the details. For instance, I recently discovered that the backplate of the armor includes images of pieces of armor and even the date it was made (1554). The level of detail and craftsmanship that Stefan Rormoser used when making this armor is apparent, and this only adds to the armor’s impressive presence. When I visit the Museum with my family, I am always sure to spend time with the Higgins Armory Collection and pieces like the Teuffenbach Armor. The collection is truly amazing, and there is always something new to discover! Daniel D’Amico is the Vice President and Commercial Services Manager at Cornerstone Bank, as well as a Member of the Business Partner Committee at the Worcester Art Museum.

My passion for art started in my youth, visiting museums regularly with my maternal grandfather. An immigrant from Bohemia, my grandfather loved the impressionists and fostered my love for contemporary art. One of my favorite memories is visiting the Musée de l'Orangerie with him. We were sitting on a bench, and I felt swept up into the art and the room. I found myself holding his hand to get grounded. From then on, I have always found being with art helps me feel connected, invigorated, and inspired. I’m particularly drawn to how artists construct their work from the spark of an idea through to the physical construction of a piece. I found my way to the Worcester Art Museum in 2017 for a photo exhibition, Rediscovering an American Community of Color: The Photographs of William Bullard. The exhibition had me deep in thought, and as I wandered around the adjacent galleries to process, I found myself taken by the permanent collection. I was enamored with how special the works are by artists near and dear to my grandfather’s heart. I felt at home with the Museum’s impressionist collection and wished he could have been with me to view the recent Frontiers of Impressionism exhibition. I can only imagine the conversation we would have had, especially his thoughts on Childe Hassam’s wide-ranging pieces in the exhibition. In 2021, Dorothy Chen-Courtin, WAM’s Board President, guided me back to the Museum. I was interested in finding a way to contribute my time to an art museum and cultivate a long-term philanthropic relationship. I wanted to pass on my grandfather’s gift of finding joy and peace through art. The Museum’s collection, accessibility, integration of technology, and vibrant educational programs all drew my interests. In my spare time, I love to travel to experience art and see how museums construct their exhibitions. This year alone, I have been to 17 exhibitions in four different states and two countries. But there is something special about returning to WAM. The depth of the collection rivals any of the museums I’ve seen and watching how the curatorial team assembles exhibitions and tells a story always helps me see and feel the way I did when I was with my grandfather—filled with wonder! Victoria Nessen is a consultant to family enterprises and owner-led businesses at CFAR and has worked with many artists, helping them build their professional brands. She is a Corporator, Salisbury Giving Society Patron, and member of the Collections Advisory Committee.

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Cover: Nevena Prijic, Voyager, 2023, detail, acrylic paint on wall, approximately 20 x 16 feet, courtesy of the artist and M+B, Los Angeles. © Nevena Prijic, 2023 access magazine is a publication of the Worcester Art Museum and funded in large part by the Herron-Dresser Publications Fund. All rights reserved. Information subject to change. General operating support is provided by the Barr Foundation, Mass Cultural Council, Patrick and Aimee Butler Family Foundation, Carl Lesnor Family Foundation, Paine Charitable Trust, and Jeppson Memorial Fund.

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