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Master 24 Page Document.Qxd worcester art museum magazine access& 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 – 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 Shana’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 Waschek Matthias Waschek, Director of the 2WorcesterWWW Art .MuseumWORCESTERART. O R g 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. Jere Shea, Director of Development Prior to PIH, Shea worked for two art museums, first serving as 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, WWW. WORCESTERART. O R g 3 (detail) July 20, 1969, Chromogenic print, gift of David Davis, E.33.12.3 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 WWW. WORCESTERART. O R g 13 January 31–February 3, 20 in winter Flora . They met years ago as And when masonryNative is part Landscaping of her design, Lisa turns to Jim and The Transformation of theGardens Lancaster by Lisa, Lobbyhis design During team at Flora in Winter fellow flower show exhibitors and quickly recognized that they For garden designer Lisa Huntington of shared a similar vision and approachFlora to theimages art. Capitalizing from past shows. on Oakham, MA) form follows function. That guiding principal their complementary talents, the two work together and achieve ( over the stunning results as evidenced by the inspires much of Lisa’s work, including Florathe garden in Winter installations in the Lancaster Lobby that have welcomed thousands of visitors to the Worcester Art Museum’s past 10 years. In partnership with friend and stonemason Jim Native Landscaping, (Charlton, MA) Lisa transforms the Baker of modern, utilitarian lobby into a gateway to a garden respite from the harsh winters of Central Massachusetts. While the lobby design began as a way to generate interest in and “invite” Flora patrons to the Central MA Flower Show, it has become a labor of love for her and an integral part of , the Museum’s floral exhibition. Gardens by Lisa However, Lisa’s real focus is on her busy garden design and maintenance business, which she started 15 years ago. She is passionate about what she does and believes that creating the right design for each client requires an understanding of their lifestyle and habits—that it's essential to ask clients very specific questions about how they live in their home and landscape before ever setting a shovel to the soil. Of course, budget is often a key consideration, but in Lisa’s words, “It’s most important to get a sense of what the true goals of the project are—and then figure a way Flora in Winter to get there within a comfortable is generously sponsored by budget. Sometimes it happens all at once, however most often the project is phased.” O R g 6 W W W . WORCESTERART . The Eye of the Beholder Seated Buddha with Attending Many people do ask us, how are the artworks that Bodhisattva will be interpreted in Flora in Winter chosen? The Left: Sally Jablonski, 2006 answer is simple: we want our guests to visit as many Right: Kathy Michie, 2012 galleries as possible during Flora. In order to accomplish this, our Flora committee selects a variety of artworks This 6th century Chinese stele shows Buddha with two approved by our conservation and curatorial teams that bodhisattvas set against a mandola with apsara figures and reflect the breadth of the Museum’s collection and are flames.
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