Mead Art Museum at Amherst College

Annual Report for the Year 2013–2014 COVER: Visitors to the Mead on Family Fun Day. Photo by Zoe Vayer ’16 ABOVE: The Madrigal Singers performing during the 1st annual Amherst Fringe Festival in the Rotherwas Room. Photo by Stella Honey Yoon ’15 BACK COVER: A visitor to the Mead’s Family Fun Day enjoying books and crafts in the Rotherwas Room. Photo by Zoe Vayer ’16 Mead Art Museum TABLE OF CONTENTS at Amherst College Report from the Director ...... 2 Annual Report for the Year 2013–2014 Acquisitions ...... 4 Loans ...... 14

Research ...... 16

Financial Information ...... 19

Grants ...... 19

Curricular Collaborations ...... 21

Volunteer Student Docents ...... 26

Exhibitions ...... 27

Publications ...... 30

Programs ...... 31

Attendance ...... 36

Security and Facility ...... 37

Staff, Interns, Docents, Friends, Advisors . . . . 39

Strategic Plan, Status Report ...... 46

Amherst students enjoying an Evening at the Mead Bingo Night. Photo by Megan Robertson ’15

1 REPORT FROM THE DIRECTOR program, which expanded in February 2014 from a semiannual event to one that takes place monthly. Three New England Museum Association (NEMA) awards. Seven special exhibitions. Seven artists’ A total of 1,636 college students—a figure equiva- talks. One hundred thirty-one college class sessions. lent to 91.7% of Amherst College’s student body— One hundred sixty-six acquisitions. Twenty thou- from sixty-eight courses used the Mead’s collection sand visitors. Record attendance in January, March, in their studies in disciplines ranging from Law, Ju- April, and May of 2014, with an average increase of risprudence, and Social Thought to Spanish, Ameri- 18.5% in the first five months of the calendar year. can Studies, and Women’s & Gender Studies. If we The introduction of a new community reading group compare figures with the 2007–2008 academic and an expansion of Family Fun Days. In 2013–2014, year, when the Mead redoubled its commitment to the Mead was cooking with gas. academic service, the 2013–2014 tally represents a 400% increase in college class visits. Our visitors found much to savor. They listened to talks by artists Jonathon Keats (Amherst Col- Equally important, the range of artworks selected lege Class of 1994), Barbara Bosworth, Ekaterina for teaching and research has expanded at a Khromin, Michael Starkman (Amherst College comparable rate. Such diversification surely results Class of 1974), Robert Priseman, Katja Oxman, and from the special project, underwritten by the Sandra Matthews; a discussion with art collectors Institute for Museum and Library Services (IMLS) John Wieland (Amherst College Class of 1958), and completed in the fall of 2013, to digitize most John Hillman (Amherst College Class of 1966), and of the Mead’s 18,000 artworks. Today, 99.3% of Charles Wilkes (Amherst College Class of 1971 and the paintings; 99% of the sculpture; 98% of the Parent, Class of 2008). They participated in discus- drawings, prints, photographs, and decorative arts sions of the Mead Reads community book club and objects; and 61% of the furniture in the Mead’s col- enjoyed picture-book readings for children in the lection has been digitally photographed. With 94% Mini Mead Reads summer series. Many happy visi- of the collection now illustrated online—and new tors joined in the festivities of the Family Fun Days images continuing to be added—faculty are em-

Director Elizabeth Barker gives a Homecoming tour. Photo by Joshua Baum

2 powered to select the most pertinent, rather than Professional peers also recognized the fine work simply the most familiar, objects for examination. of our colleagues: as this report goes to press, the This refinement in the selection process not only New England Museum Association has honored ensures that students encounter the most relevant the Mead’s achievements with three awards in the objects for their courses; it also continues to yield small-museum category: the top prize for website new discoveries in the vaults, as professors and design, and second place for the Picturing Enlight- other scholars shed light on works not yet studied enment catalogue and the “Dig Into Art” family by the curators. activity totes.

The process of photographing so many artworks New members of our team promise to help main- in such rapid succession has drawn attention to tain this high standard of accomplishment in the opportunities for enhancing the museum’s storage years ahead. This spring, Katherine LeBeau joined areas, and prompted in the past year an important the museum’s staff as Accounting Manager, and Dr. expansion of the Mead’s print storage area, provid- Vanja Malloy will begin work as Curator of Ameri- ing sufficient space for years of additional growth. can Art and Keely Sarr as Assistant Educator this Digitization has also raised the prominence of the summer. During the 2013–2014 academic year, Mead’s collection around the globe, and increased Fiore Graziano, Alyssa Kristek, Roman Kucinski, the demand for access to publishable-quality im- Linda Matson, and Samuel Schwartz joined the ages. To streamline this process, in 2013–2014, the security team. Mead launched its long-awaited partnership with Bridgeman Images. Like the Mead’s arrangement Further staff transitions are planned for the fall. with Amazon to sell museum publications, this as- On October 1, I will become Stanford Calderwood sociation promises to free staff time for essential Director of the Boston Athenaeum, a position that collections work that can only be performed onsite. will allow me to continue, on a larger scale, the type of work I’ve keenly enjoyed here at Amherst— The Mead’s exhibition schedule in 2013–2014 ad- leading a talented team to energize, grow, and dressed a range of topics, from animals in art of make more inclusive an august New England cul- the ancient Americas to woodblock prints depicting tural institution. During the national search for the the start of the Russo-Japanese War and Barbara next Mead director, Dr. Pamela Russell, Head of Bosworth’s recent large-format photographs of the Education and Mellon Curator of Academic Pro- New England National Scenic Trail. Two exhibitions grams at the Mead, will serve as interim director. I featured selections from the more than 1,200 ac- know that you will welcome her as warmly in that quisitions made over the past seven years. Another, role as you have me. notably innovative project explored the previously little-known work of Kyohei Inukai, a Japanese- Thank you for the support and kindness that so born New York society portraitist active during the many of you—students, colleagues, alumni, and first half of the twentieth century and deserving of museum regulars—have extended to me. I look greater fame. forward to following the Mead’s continued success in the years ahead, and to seeing many of you again The Inukai exhibition received a favorable notice in Boston, or perhaps in Amherst. After all, I feel in the New York Times. And that wasn’t the only as you do: I wouldn’t dream of setting foot in the appearance of the Mead in the media during the Pioneer Valley without visiting the ever-changing, past year. The Tibetan tangka catalogue received always marvelous Mead! a positive review in the Wall Street Journal (shortly before the works in that exhibition are due to be shown at the Middlebury College Museum of Art), and the Mead’s decision to reopen a decades-old stolen-painting case with the help of the FBI attract- Elizabeth E. Barker, Ph.D. ed a flurry of television and newspaper coverage. Director

3 ACQUISITIONS Paul Ackerman (American, born 1936), Here I Come, Brooklyn, NYC, 1952; print 2014. Gelatin silver print. Gift of the artist GIFTS (alphabetical by artist) (Class of 1958) (2014.09)

Paul Ackerman (American, born 1936), The Conversation, Paul Ackerman (American, born 1936), Good Friends, Brighton Bowery, NYC, 1952; print 2014. Gelatin silver print. Gift of the Beach, Brooklyn, 1952; print 2014. Gelatin silver print. Gift of the artist (Class of 1958) (2014.10) artist (Class of 1958) (2014.07) Paul Ackerman (American, born 1936), My Brother Gives a Good Paul Ackerman (American, born 1936), Miss Sunshine, Shine, NYC, 1952; print 2014. Gelatin silver print. Gift of the Sheepshead Bay, Brooklyn, 1952; print 2014. Gelatin silver print. artist (Class of 1958) (2014.11) Gift of the artist (Class of 1958) (2014.08) Paul Ackerman (American, born 1936), A Hard Day’s Work, The Bowery, NYC, 1952; print 2014. Gelatin silver print. Gift of the artist (Class of 1958) (2014.12)

Paul Ackerman (American, born 1936), Barefoot in the Park - Central Park Zoo, NYC, 1952; print 2014. Gelatin silver print. Gift of the artist (Class of 1958) (2014.13)

Paul Ackerman (American, born 1936), The News Stand, NYC, 1952; print 2014. Gelatin silver print. Gift of the artist (Class of 1958) (2014.14)

Paul Ackerman (American, born 1936), Lunch in the Park, NYC, 1952; print 2014. Gelatin silver print. Gift of the artist (Class of 1958) (2014.15)

Paul Ackerman (American, born 1936), In the Bowery, NYC, 1952; print 2014. Gelatin silver print. Gift of the artist (Class of 1958) (2014.16)

Paul Ackerman (American, born 1936), (A Hard Day’s Night) The Bowery, NYC, 1952; print 2014. Gelatin silver print. Gift of the artist (Class of 1958) (2014.17)

Paul Ackerman (American, born 1936), The Funeral, NYC, 1952; print 2014. Gelatin silver print. Gift of the artist (Class of 1958) (2014.18)

Sol LeWitt (American, 1922-2007), Untitled, 1999. Gouache on 100% cotton Paul Ackerman (American, born 1936), The Funeral #2, NYC, paper. Gift of Mary Patricia Pence (2013.113) 1952; print 2014. Gelatin silver print. Gift of the artist (Class of 1958) (2014.19)

Paul Ackerman (American, born 1936), Time Out for Lunch, The Bowery, NYC, 1952; print 2014. Gelatin silver print. Gift of the artist (Class of 1958) (2014.20)

Paul Ackerman (American, born 1936), “Waiting for a Bite” Fishing for Snappers, Sheepshead Bay, Brooklyn, NYC, 1952; print 2014. Gelatin silver print. Gift of the artist (Class of 1958) (2014.21)

Paul Ackerman (American, born 1936), Bowery Boy, NYC, 1952; print 2014. Gelatin silver print. Gift of the artist (Class of 1958) (2014.22)

Paul Ackerman (American, born 1936), Self-Portrait, Manhattan Beach, NYC,1952; print 2014. Gelatin silver print. Gift of the artist (Class of 1958) (2014.23)

Paul Ackerman (American, born 1936), Steam Shovel, Manhattan Beach, NYC,1952; print 2014. Gelatin silver print. Gift of the artist (Class of 1958) (2014.24) Christo (American, born in Bulgaria, 1935), Wrapped Floors, Project for Haus Lange Museum, Krefeld, 1983. Lithograph in colors with collage of brown Eric Aho (American, born 1966), Putney Great Meadows, wrapping paper, hand-painted cloth, and staples on Arches Cover paper 2001. Plein air wash on paper. Gift of John Arthur (2014.28) mounted on cardboard. Gift of Leslie Feely (2014.04)

4 Barbara Bosworth (American, born 1953), Harry above Briggs Brook Falls, 2012. Archival ink jet print. Gift of the artist, Courtesy of the National Park Service (2013.103.1-3)

Georges Braque (French, 1882-1963), Daisies (Les marguerites), 1950. Color etching on heavy weight Arches paper (Maeght) blindstamp. Gift of Irving Vogel (friend of Amherst) (2013.24)

Georges Braque (French, 1882-1963), The Echo (L’echo), 1960. Color lithograph on heavy weight Arches paper (Maeght) blindstamp. Gift of Irving Vogel (friend of Amherst) (2013.25)

Elise Brewster (American, born 1962), Untitled (A View of Mt. Holyoke Range from the Amherst College War Memorial), 1998. Pastel and graphite. Gift of the artist (Class of 1984) and Amanda Moretti (Class of 1984) (2014.70)

Christo (American, born in Bulgaria, 1935), Wrapped Floors, Project for Haus Lange Museum, Krefeld, 1983. Lithograph in colors with collage of brown wrapping paper, hand-painted cloth, and staples on Arches Cover paper mounted on cardboard. Gift of Leslie Feely (2014.04)

Richard Estes (American, born 1932), Untitled (Kintai Bridge), 1989. Color print. Gift of John Arthur (2014.34)

Ralph Gibson (American, born 1939), “Perfect Future” from Paul Ackerman (American, born 1936), Good Friends, Brighton “Deja-vu,” 1972. Archival pigment print. Gift of Loretta and Erik Beach, Brooklyn, 1952; print 2014. Gelatin silver print. Gift of the Zetterstrom (2013.114) artist (Class of 1958) (2014.07) Ralph Gibson (American, born 1939), “Panama Hat” from “Quadrants,” 1975. Archival pigment print. Gift of Loretta and Walter Darby Bannard (American, born 1934), Prairie, 1971. Erik Zetterstrom (2013.115) Serigraph and silkscreen. Gift of Leslie Feely (2014.05)

Mark Baum (American, born in Poland, 1903-1997), Ithaca House with Porches, 1945. Oil on canvas. Gift of Paul F. Baum and William M. Baum in memory of their father (2013.63)

Mark Baum (American, born in Poland, 1903-1997), Mid Valley, Pennsylvania Coal Breakers, 1951. Oil on canvas. Gift of Paul F. Baum and William M. Baum in memory of their father (2013.64)

Mark Baum (American, born in Poland, 1903-1997), Untitled, 1961. Oil on canvas. Gift of Paul F. Baum and William M. Baum in memory of their father (2013.65)

Mark Baum (American, born in Poland, 1903-1997), Untitled,ca. 1977. Oil on canvas. Gift of Paul F. Baum and William M. Baum in memory of their father (2013.66)

Jack Beal (American, born 1931), Untitled (landscape near Beal’s property in Oneonta, NY), 1971. Pencil on paper. Gift of John Arthur (2014.30)

Jack Beal (American, born 1931), Study, ca. 1971. Sepia wash on cream museum board. Gift of John Arthur (2014.31)

Jack Beal (American, born 1931), Clouds (August 2, 1973), 1973. Lithograph on black paper. Gift of John Arthur (2014.36)

Charles S. Bell (American, 1935-1995), Art Angel, 1985. Color silkscreen with glitter. Gift of John Arthur (2014.29)

Peter Blume (American, born in the Russian Empire, now Belarus, 1906-1992), Turkey Carpets, 1968. Oil on canvas. Gift Daniel D. Teoli, Jr. (American, born 1954), Carla and Baby Doll, of Edward L. and Patricia A. Trapp. Given in memory of Frank 2012, printed in 2013. Inkjet print (Epson UltraChrome ink on Anderson Trapp (2013.110) paper). Gift of the artist (2013.62)

5 Ralph Gibson (American, born 1939), “Bastienne” from Chaim Livchitz (American, born in Vitebsk, Russian Empire, now “Infanta,” 1987. Archival pigment print. Gift of Loretta and Erik Belarus, 1912-1994), Spring Flood in Skouie Lagoon, 1993. Oil on Zetterstrom (2013.116) linen. Transfer from the Amherst Center for Russian Culture, Gift of Paul Abelsky (Class of 1999), Grandson of the Artist (2013.69) Ralph Gibson (American, born 1939), “113” from “Light Strings,” 2003. Archival pigment print. Gift of Loretta and Erik Sandra Matthews (American, born 1951), Ibi 1989 / Ibi 2007, Zetterstrom (2013.117) 2007; printed in 2013. Inkjet print. Gift of the artist (2013.112)

Ralph Gibson (American, born 1939), “Nude Back” from Muzalevsky; after Viktor Ivanovich Vikhtinsky (Russian, 20th “Quadrants,” 1989. Archival pigment print. Gift of Loretta and century), Vo imia mira (For the Sake of Peace. Signing of an Erik Zetterstrom (2013.118) Agreement between the Soviet Union and People’s Republic of China), 1952. Oil on canvas. Gift of Elizabeth Weiss-Koehler, Jacqueline Hayden (American, born 1950), #211 from “Passing daughter of Lawrence Weiss (Class of 1962) (2014.38) Away” series, 2009. Pigmented ink on silk. Gift of the artist (2013.104) Nalaev; after Dmitrii Arkadievich Nalbandian (Russian); (Russian, born 1906), For the People’s Happiness, 1952. Oil on canvas. Gift Jacqueline Hayden (American, born 1950), #153 from “Passing of Elizabeth Weiss-Koehler, daughter of Lawrence Weiss (Class Away” series, 2009. Pigmented ink on silk. Gift of the artist of 1962) (2014.39) (2013.105) Katja Oxman (American, born in Germany, 1942), In the Keith Jacobshagen (American, born 1941), Untitled (Nebraska Chamber, 1989. Etching and aquatint on wove paper. landscape), ca. 1990. Oil on postcard. Gift of John Arthur Anonymous gift (2013.107) (2014.32) Katja Oxman (American, born in Germany, 1942), Sound of Kazue Yamagishi (Japanese, 1893-1966), At U.S.A., ca. 1937. Water Over Rock, 2003. Triptych; etching and aquatint on wove Woodblock print. Gift of John Arthur (2014.35) paper. Anonymous gift (2013.108.1-3)

Daniel Lang (American, born 1935), Untitled,1960. Pencil and Katja Oxman (American, born in Germany, 1942), In Yellow pale wash. Gift of John Arthur (2014.33) Hewn, 2008. Etching and aquatint on wove paper. Anonymous gift (2013.109) Ellen Lanyon (American, 1926-2013), The Dancer, 1957-1960. Oil on canvas. Gift from the Estate of Ellen Lanyon (2014.40) Georges Rouault (French, 1871-1958), Lord, it is You, I know You (Seigneur, c’est vous, je vous reconnais), plate 32 from Ellen Lanyon (American, 1926-2013), Curiosities: Bodega Bay, “Miserere” portfolio,1927 (published 1948). Photogravure, 2009. Acrylic on canvas. Gift from the Estate of Ellen Lanyon etching and aquatint on heavy weight Arches paper with (2014.41) “Vollard” blindstamp. Gift of Irving Vogel (friend of Amherst) (2013.26) Sol LeWitt (American, 1922-2007), Untitled,1999. Gouache on 100% cotton paper. Gift of Mary Patricia Pence (2013.113) Georges Rouault (French, 1871-1958), Virgin of the Seven Swords (Vierge aux sept glaives), plate 53 from “Miserere” portfolio, Chaim Livchitz (American, born in Vitebsk, Russian Empire, now 1929 (published 1948). Photogravure, etching and aquatint on Belarus, 1912-1994), Tree against the Light (Tree in Silhouette), heavy weight Arches paper with “Vollard” blindstamp. Gift of 1954. Oil on canvas. Transfer from the Amherst Center for Irving Vogel (friend of Amherst) (2013.27) Russian Culture, Gift of Paul Abelsky (Class of 1999), Grandson of the Artist (2013.68)

Barbara Bosworth (American, born 1953), Harry above Briggs Brook Falls, 2012. Archival ink jet print. Gift of the artist, Courtesy of the National Park Service (2013.103.1-3)

6 Georges Rouault (French, 1871-1958), Sometimes the blind have Unknown Korean artist, Goryeo Dynasty–style bowl, n.d. comforted those that see (L’aveugle parfois a console le voyant), Ceramic. Gift from the heirs of the Estate of Alice J. Dowling plate 55 from “Miserere” portfolio,1929 (published 1948). (2013.74) Photogravure, etching and aquatint on heavy weight Arches paper with “Vollard” blindstamp. Gift of Irving Vogel (friend of Unknown Korean artist (Goryeo Dynasty), Small shallow bowl, Amherst) (2013.28) 918-1392. Ceramic. Gift from the heirs of the Estate of Alice J. Dowling (2013.75) Georges Rouault (French, 1871-1958), It is by His wounds that we are healed (C’est par ses meurtrissures que nous sommes Unknown Korean artist (Goryeo Dynasty), Octagonal bowl, 14th gueris), plate 58 from “Miserere” portfolio, 1922 (published century. Ceramic. Gift from the heirs of the Estate of Alice J. 1948). Photogravure, etching and aquatint on heavy weight Dowling (2013.76) Arches paper with “Vollard” blindstamp. Gift of Irving Vogel (friend of Amherst) (2013.29) Unknown Korean artist (Goryeo Dynasty), Celadon ribbed bowl, 13th-14th century. Ceramic. Gift from the heirs of the Estate of Cyndy Sperry (American, born 1966), Untitled from “The Alice J. Dowling (2013.77) Building Block” series, 2007. Reduction woodcut monoprint. Gift of George M. Friend, Fine Arts (2013.106) Unknown Korean artist (Goryeo Dynasty), Brown colored celadon bowl, 918-1392. Ceramic. Gift from the heirs of the David Stern (American, born in Germany, 1956), Two figures Estate of Alice J. Dowling (2013.78) (The Passengers # 1), 2010. Oil on cotton. Gift of David and Elinor Retter (2013.111) Unknown Korean artist (Goryeo Dynasty), Brown colored celadon bowl, 918-1392. Ceramic. Gift from the heirs of the Daniel D. Teoli, Jr. (American, born 1954), The Fashion Estate of Alice J. Dowling (2013.79) Statement, 1972, printed in 2013. Inkjet print (Epson UltraChrome ink on paper). Gift of the artist (2013.61) Unknown Korean artist (Goryeo Dynasty), Brown colored celadon bowl with raised design, 918-1392. Ceramic. Gift from Daniel D. Teoli, Jr. (American, born 1954), Carla and Baby Doll, the heirs of the Estate of Alice J. Dowling (2013.80) 2012, printed in 2013. Inkjet print (Epson UltraChrome ink on paper). Gift of the artist (2013.62) Unknown Korean artist (Goryeo Dynasty), Celadon bowl with floral design, 918-1392. Ceramic. Gift from the heirs of the Unknown Korean artist (Goryeo - Joseon Dynasty), Celadon Estate of Alice J. Dowling (2013.81) teapot with lid, 14th-15th century. Ceramic. Gift from the heirs of the Estate of Alice J. Dowling (2013.70) Unknown Korean artist (Goryeo Dynasty), Celadon dish with floral design, 13th-14th century. Ceramic. Gift from the heirs of Unknown Korean artist (Goryeo Dynasty), Celadon bowl with the Estate of Alice J. Dowling (2013.82) floral design, 13th century. Ceramic. Gift from the heirs of the Estate of Alice J. Dowling (2013.71) Unknown Korean artist (Goryeo Dynasty), Celadon cosmetic box, 13th-14th century. Ceramic. Gift from the heirs of the Estate of Unknown Korean artist (Goryeo Dynasty), Celadon teapot with Alice J. Dowling (2013.83a,b) lid and 2 cups, 12th-13th century. Ceramic. Gift from the heirs of the Estate of Alice J. Dowling (2013.72.1a,b-3) Unknown Korean artist (Goryeo Dynasty), Celadon oil bottle, 13th century. Ceramic. Gift from the heirs of the Estate of Alice Unknown Korean artist, Celadon cup and stand, n.d. Ceramic. J. Dowling (2013.84) Gift from the heirs of the Estate of Alice J. Dowling (2013.73.a,b)

Katja Oxman (American, born in Germany, 1942), Sound of Water Over Rock, 2003. Triptych; etching and aquatint on wove paper. Anonymous gift (2013.108.1-3)

7 Unknown Korean artist (Goryeo Dynasty), Small celadon bottle Unknown Korean artist, Reproduction Joseon Dynasty vase, n.d. with floral pattern, 918-1392. Ceramic. Gift from the heirs of the Ceramic. Gift from the heirs of the Estate of Alice J. Dowling Estate of Alice J. Dowling (2013.85) (2013.97)

Unknown Korean artist (Joseon Dynasty), Buncheong-style small Unknown Korean artist (Joseon Dynasty), Buncheong wine dish, 1392-1910. Ceramic. Gift from the heirs of the Estate of bottle,15th century. Ceramic. Gift from the heirs of the Estate Alice J. Dowling (2013.86) of Alice J. Dowling (2013.98)

Unknown Korean artist (Joseon Dynasty), Buncheong dish, Unknown Korean artist (Goryeo Dynasty), Celadon bottle,13th- 1392-1910. Ceramic. Gift from the heirs of the Estate of Alice J. 14th century or 19th century. Ceramic. Gift from the heirs of the Dowling (2013.87) Estate of Alice J. Dowling (2013.99)

Unknown Korean artist (Goryeo Dynasty), Brown celadon bowl Unknown Korean artist (Goryeo Dynasty), Wine jar, 13th-14th with exterior lotus pattern,13th-14th century. Ceramic. Gift century. Bronze. Gift from the heirs of the Estate of Alice J. from the heirs of the Estate of Alice J. Dowling (2013.88) Dowling (2013.100)

Unknown Korean artist, Reproduction ewer with animal spout, Unknown Korean artist (Late Goryeo - Early Joseon Dynasty), ca. 1900. Ceramic. Gift from the heirs of the Estate of Alice J. Bowl, 14th-15th century. Bronze. Gift from the heirs of the Dowling (2013.89) Estate of Alice J. Dowling (2013.101)

Sandra Matthews (American, born 1951), Ibi 1989 / Ibi 2007, 2007; printed in 2013. Inkjet print. Gift of the artist (2013.112)

Unknown Korean artist (Goryeo Dynasty), Celadon bowl, 918- Unknown Korean artist (Joseon Dynasty), Bowl with cover, 15th 1392. Ceramic. Gift from the heirs of the Estate of Alice J. century. Bronze. Gift from the heirs of the Estate of Alice J. Dowling (2013.90) Dowling (2013.102 a,b)

Unknown Korean artist (Late Goryeo - Early Joseon Dynasty), Unknown Chimú artist, Stirrup spout vessel in the form of a Small Jar, 14th-15th century. Ceramic. Gift from the heirs of the crustacean, 1000–1476. Ceramic. Gift of the Finberg family in Estate of Alice J. Dowling (2013.91) memory of Donald Finberg (Class of 1953) (2013.32)

Unknown Korean artist (Goryeo Dynasty), Celadon dish, 14th Unknown Chimú-Inca artist, Stirrup spout vessel with bird and century. Ceramic. Gift from the heirs of the Estate of Alice J. lizard, 1476–1534. Ceramic. Gift of the Finberg family in memory Dowling (2013.92) of Donald Finberg (Class of 1953) (2013.33)

Unknown Korean artist (Goryeo Dynasty), Celadon bowl, 13th- Unknown Chancay artist, Two-handled vessel, 1000-1476. 14th century. Ceramic. Gift from the heirs of the Estate of Alice Ceramic. Gift of the Finberg family in memory of Donald Finberg J. Dowling (2013.93) (Class of 1953) (2013.34)

Unknown Korean artist (Goryeo Dynasty), Celadon bowl with Unknown Chancay artist, Vessel in human form (chino), 1000- faint incised pattern,12th century. Ceramic. Gift from the heirs 1476. Ceramic. Gift of the Finberg family in memory of Donald of the Estate of Alice J. Dowling (2013.94) Finberg (Class of 1953) (2013.35)

Unknown Korean artist (Goryeo Dynasty), Celadon bowl, 918- Unknown Chancay artist, Vessel, 1000-1476. Ceramic. Gift of 1392. Ceramic. Gift from the heirs of the Estate of Alice J. the Finberg family in memory of Donald Finberg (Class of 1953) Dowling (2013.95) (2013.36)

Unknown Korean artist (Goryeo Dynasty), Inlaid celadon bowl Unknown Pre-Hispanic artist, Vessel, n.d. Ceramic. Gift of the with floral pattern, 12th-13th century. Ceramic. Gift from the Finberg family in memory of Donald Finberg (Class of 1953) heirs of the Estate of Alice J. Dowling (2013.96) (2013.37)

8 Ralph Gibson (American, born 1939), “Bastienne” from “Infanta,” 1987. Archival pigment print. Gift of Loretta and Erik Zetterstrom (2013.116)

9 Unknown Pre-Hispanic artist, Bowl, n.d. Ceramic. Gift of the Unknown Maya artist, Vessel, 250-900. Ceramic. Gift of the Finberg family in memory of Donald Finberg (Class of 1953) Finberg family in memory of Donald Finberg (Class of 1953) (2013.38) (2013.48)

Unknown Pre-Hispanic artist, Cooking pan, n.d. Ceramic. Gift of the Finberg family in memory of Donald Finberg (Class of 1953) (2013.49)

Unknown Pre-Hispanic artist, Carved figure, n.d. Stone. Gift of the Finberg family in memory of Donald Finberg (Class of 1953) (2013.50)

Unknown Pre-Hispanic artist, Celt (axe) , n.d. Greenstone. Gift of the Finberg family in memory of Donald Finberg (Class of 1953) (2013.51)

Unknown Pre-Hispanic artist, Door hinge, n.d. Stone. Gift of the Finberg family in memory of Donald Finberg (Class of 1953) (2013.52)

Cyndy Sperry (American, born 1966), Untitled from “The Building Block” series, 2007. Reduction woodcut Unknown Chimú-Inca monoprint. Gift of George M. Friend, Fine Arts (2013.106) artist, Vessel in the form of a bird wrapped by a snake, Unknown Pre-Hispanic artist, Vessel, n.d. Ceramic. Gift of the 1476–1534. Ceramic. Gift of the Finberg family in memory of Finberg family in memory of Donald Finberg (Class of 1953) Donald Finberg (Class of 1953) (2013.53) (2013.39) Unknown Chancay artist, Vessel, 1000-1476. Ceramic. Gift of Unknown Pre-Hispanic artist, Vessel, n.d. Ceramic. Gift of the the Finberg family in memory of Donald Finberg (Class of 1953) Finberg family in memory of Donald Finberg (Class of 1953) (2013.54) (2013.40) Unknown Quechua artist, Talisman (illa) with human figurine, Unknown Pre-Hispanic artist, Vessel, n.d. Ceramic. Gift of the n.d. Marble. Gift of the Finberg family in memory of Donald Finberg family in memory of Donald Finberg (Class of 1953) Finberg (Class of 1953) (2013.55 a,b) (2013.41) Manner of Claude-Joseph Vernet (French, 1714-1789), Shipwreck Unknown Pre-Hispanic artist, Vessel, n.d. Ceramic. Gift of the Off a Rocky Coast. Oil on canvas. Gift of Richard W. Franck (Class Finberg family in memory of Donald Finberg (Class of 1953) of 1958) (2014.37) (2013.42) Vladimir Igorevich Yakovlev (Russian, 1934-1998), Flower, 1969. Unknown Pre-Hispanic artist, Whistle, n.d. Ceramic. Gift of the Gouache on paper. Gift of Arlene and Irwin Chapman (2014.06) Finberg family in memory of Donald Finberg (Class of 1953) (2013.43) Zachary Yorke (American, born 1981), Self-Portrait, 2003. Oil on panel. Gift of Barry and Kristin O’Connell (2013.56) Unknown Maya artist, Vessel, 250-900. Ceramic. Gift of the Finberg family in memory of Donald Finberg (Class of 1953) (2013.44)

Unknown Maya artist, Tripod bowl, 250-900. Ceramic. Gift of the Finberg family in memory of Donald Finberg (Class of 1953) (2013.45)

Unknown Maya artist, Bowl, 250-900. Ceramic. Gift of the Finberg family in memory of Donald Finberg (Class of 1953) (2013.46)

Unknown Maya artist, Bowl, 250-900. Ceramic. Gift of the Finberg family in memory of Donald Finberg (Class of 1953) (2013.47)

10 PURCHASES (alphabetical by artist) Kageyama Kōyō (Japanese, 1907-1981), From the Top of the Asahi Newspaper Building from “One Hundred Views of Ginza at Night,” 1932; print 2014. Gelatin silver print. Museum Nina Evseevna Aizenberg (Russian, 1902-1974), Costume Purchase and Purchase with Richard Templeton (Class of 1931) design for “Komsomol member,” 1927. Pen and brush, India Photography Fund (2014.49) ink, watercolor and pencil on paper. Purchase with the Julia A. Whitney Russian Art Fund (2014.01)

Nina Evseevna Aizenberg (Russian, 1902-1974), Costume design for “Varia,” 1927. Pen and brush, India ink, watercolor and pencil on paper. Purchase with the Julia A. Whitney Russian Art Fund (2014.02)

Matt Brown (American, born 1958), April Evening at Fenway Park, 2011. Woodblock print; edition 80/500. Purchase with Trinkett Clark Memorial Student Acquisition Fund (2014.25)

Matt Brown (American, born 1958), Cog Railway, 2011. Woodblock print; edition 56/300. Purchase with Trinkett Clark Memorial Student Acquisition Fund (2014.26)

Matt Brown (American, born 1958), Moon Over Mt. Desert Island, 2010. Woodblock print, edition 206/300. Purchase with Trinkett Clark Memorial Student Acquisition Fund (2014.27)

Jacqueline Hayden (American, born 1950), Grammy’s Center of Gravity, 2012. Pigmented ink on Slickrock Metallic Pearl paper, edition 1/6. Purchase with Richard Templeton (Class of 1931) Photography Fund (2013.59)

Jacqueline Hayden (American, born 1950), Sentimental Journey, 2012. Pigmented ink on Canson Baryta Photographique paper, edition 1/6. Purchase with Richard Templeton (Class of 1931) Photography Fund (2013.60)

Kageyama Kōyō (Japanese, 1907-1981), A Young Woman of the Shitamachi: The Remains of the Emotions of Edo, from “100 Views of Tokyo,” 1928; print 2014. Gelatin silver print. Museum Jacqueline Hayden (American, born 1950), Sentimental Journey, 2012. Pigmented ink on Canson Baryta Photographique paper, Purchase and Purchase with Richard Templeton (Class of 1931) edition 1/6. Purchase with Richard Templeton (Class of 1931) Photography Fund (2014.46) Photography Fund (2013.60)

Michael Starkman (American, born 1952), Where Nepenthe Flows, 2006-2008. Six selenium-toned gelatin silver prints on Forte’s warmtone semi-matte fiber paper in handmade presentation box. Purchase with Richard Templeton (Class of 1931) Photography Fund. (2013.67.1)

Kageyama Kōyō (Japanese, 1907-1981), Modern Girls in Beach Kageyama Kōyō (Japanese, 1907-1981), Our New Married Pajama Style, 1928; print 2014. Gelatin silver print. Museum “Cultured Life” in the Jingumae Apartments, 1934; print 2014. Purchase and Purchase with Richard Templeton (Class of 1931) Gelatin silver print. Museum Purchase and Purchase with Photography Fund (2014.47) Richard Templeton (Class of 1931) Photography Fund (2014.50)

Kageyama Kōyō (Japanese, 1907-1981), Ero-Guro Nonsense, Kageyama Kōyō (Japanese, 1907-1981), Walking Together, 1934; 1930; print 2014. Gelatin silver print. Museum Purchase and print 2014. Gelatin silver print. Museum Purchase and Purchase Purchase with Richard Templeton (Class of 1931) Photography with Richard Templeton (Class of 1931) Photography Fund Fund (2014.48) (2014.51)

11 Kageyama Kōyō (Japanese, 1907-1981), One Poor Family: The Kageyama Kōyō (Japanese, 1907-1981), The Closing of the Severe Bad Harvest in Tōhoku, 1934; print 2014. Gelatin silver Dancehalls: The Last Night, 1940; print 2014. Gelatin silver print. print. Museum Purchase and Purchase with Richard Templeton Museum Purchase and Purchase with Richard Templeton (Class (Class of 1931) Photography Fund (2014.52) of 1931) Photography Fund (2014.56)

Kageyama Kōyō (Japanese, 1907-1981), Celebration of the 2600th Anniversary [of the Establishment of the Nation],1940; print 2014. Gelatin silver print. Museum Purchase and Purchase with Richard Templeton (Class of 1931) Photography Fund (2014.57)

Kageyama Kōyō (Japanese, 1907-1981), Air Drill Without Warning, 1944; print 2014. Gelatin silver print. Museum Purchase and Purchase with Richard Templeton (Class of 1931) Photography Fund (2014.58)

Kageyama Kōyō (Japanese, 1907-1981), Preparations Peter Winslow Milton (American, born 1930), Sight Lines I: Tracking Shot, 2008. Digital print on Moab for the “Evacuation” of Entrada Rag Natural paper. Purchase, Trinkett Clark Memorial Student Acquisition Fund (2014.03) Negatives and Albums, 1945; print 2014. Gelatin silver print. Museum Purchase and Purchase with Richard Templeton (Class of 1931) Photography Fund (2014.59)

Kageyama Kōyō (Japanese, 1907-1981), Air Defense Hoods, 1945; print 2014. Gelatin silver print. Museum Purchase and Purchase with Richard Templeton (Class of 1931) Photography Fund (2014.60)

Kageyama Kōyō (Japanese, 1907-1981), Tears in the Public Space in Front of the Imperial Palace, 1945; print 2014. Gelatin silver print. Museum Purchase and Purchase with Richard Templeton (Class of 1931) Photography Fund (2014.61)

Kageyama Kōyō (Japanese, 1907-1981), Devastation from the Fires of the Shinjuku Commercial District, 1945; print 2014. Gelatin silver print. Museum Purchase and Purchase with Richard Templeton (Class of 1931) Photography Fund (2014.62) Adrian Zingg (Swiss, 1734-1816), Arcadian Landscape with Classical Figures (Arkadische Landschaft mit antikisierend Figuren). Outline etching and brown Kageyama Kōyō (Japanese, 1907-1981), A Store Window wash. Purchase with William K. Allison (Class of 1920) Memorial Fund (2013.57) at Tokyo PX, 1948; print 2014. Gelatin silver print. Museum Purchase and Purchase with Richard Templeton (Class of 1931) Photography Fund (2014.63) Kageyama Kōyō (Japanese, 1907-1981), Anxious Times, 1936; print 2014. Gelatin silver print. Museum Purchase and Purchase Kageyama Kōyō (Japanese, 1907-1981), The Death of My with Richard Templeton (Class of 1931) Photography Fund Family’s Third Son, Yo-tchan, 1951; print 2014. Gelatin silver (2014.53) print. Museum Purchase and Purchase with Richard Templeton (Class of 1931) Photography Fund (2014.64) Kageyama Kōyō (Japanese, 1907-1981), “Hinomaru” Written in Blood, 1937; print 2014. Gelatin silver print. Museum Kageyama Kōyō (Japanese, 1907-1981), An American Soldier and Purchase and Purchase with Richard Templeton (Class of 1931) a “Base Girl” Going Straight to a Hotel, 1951; print 2014. Gelatin Photography Fund (2014.54) silver print. Museum Purchase and Purchase with Richard Templeton (Class of 1931) Photography Fund (2014.65) Kageyama Kōyō (Japanese, 1907-1981), Brides for the Continent, 1940; print 2014. Gelatin silver print. Museum Purchase and Kageyama Kōyō (Japanese, 1907-1981), A Victim of Militarism, Purchase with Richard Templeton (Class of 1931) Photography 1951; print 2014. Gelatin silver print. Museum Purchase and Fund (2014.55) Purchase with Richard Templeton (Class of 1931) Photography Fund (2014.66) 12 Takashi Murakami (Japanese, born 1962), Jellyfish Eyes-White ,4 2006. Color offset lithograph, edition 95/300. Purchase with William K. Allison (Class of 1920) Memorial Fund (2013.58)

Kageyama Kōyō (Japanese, 1907-1981), Demonstrations Against Sylvia Li (American, born in Taiwan, 1992), Afternoon Light at the ANPO [Treaty]: Demonstrators Force Their Way Into the the Front Door, 2014. Acrylic on board. Purchase, Wise Prize. National Diet Building,1959; print 2014. Gelatin silver print. (2014.44) Museum Purchase and Purchase with Richard Templeton (Class of 1931) Photography Fund (2014.67) Sylvia Li (American, born in Taiwan, 1992), Laundry Day, 2014. Acrylic on board. Purchase, Wise Prize. (2014.45) Kageyama Kōyō (Japanese, 1907-1981), Afro Hair, 1972; print 2014. Gelatin silver print. Museum Purchase and Purchase with David Maisel (American, born 1961), Library of Dust, #1210, Richard Templeton (Class of 1931) Photography Fund (2014.68) 2006, print 2013. Inkjet, archival pigment print. Purchase with Richard Templeton (Class of 1931) Photography Fund (2013.30) Johann Jacob Kirchhoff (German, 1796-1848), The Hearse of the Poor, 1827. Lithograph on heavy wove paper. Purchase with Sandra Matthews (American, born 1951), Amira and Nancy William K. Allison (Class of 1920) Memorial Fund (2014.71) 1989 / Amira and Samari 2008, 2008; print 2013. Inkjet print. Purchase with Richard Templeton (Class of 1931) Photography Sylvia Li (American, born in Taiwan, 1992), Winter Afternoon at Fund (2013.31) Esselon, 2014. Acrylic on paper. Purchase, Wise Prize. (2014.42) Peter Winslow Milton (American, born 1930), Sight Lines I: Sylvia Li (American, born in Taiwan, 1992), The Living Room from Tracking Shot, 2008. Digital print on Moab Entrada Rag Natural Atop the Stairs, 2014. Acrylic on board. Purchase, Wise Prize. paper. Purchase, Trinkett Clark Memorial Student Acquisition (2014.43) Fund (2014.03)

13 Moriyama Daidō (Japanese, born 1938), Nail; Claw (Tsume), LOANS Setagaya-ku, Tokyo, 1987. Gelatin silver print. Museum Purchase. (2014.69) LENDERS TO THE MEAD Takashi Murakami (Japanese, born 1962), Jellyfish Eyes-White 4, 2006. Color offset lithograph, edition 95/300. Purchase with John and Miyoko Unno Davey Collection William K. Allison (Class of 1920) Memorial Fund (2013.58)

OBJECTS LENT BY THE MEAD (alphabetical by artist)

Thomas Chambers (American, 1808-after 1866), The Capture of the “Guerriére” by the “Constitution,” ca. 1840-50. Oil on canvas. Gift of Dr. Calvin Plimpton (Class of 1939) (1954.103) to Kate Schimert: Camouflage, Ink and Silence, University Museum of Contemporary Art, University of Massachusetts Amherst (March 27 – May 24, 2014)

Erastus Salisbury Field (American, 1805-1900), Historical Monument of the American Republic, 1876. Photo engraving. Gift of Professor Reginald F. French (1946.3) to Alice Neel/ Erastus Salisbury Field: Painting the People, Bennington Museum, Bennington, Vermont (July 5 – November 2, 2014)

Jared French (American, 1905-1988), Untitled (Crouching Male Nude, 1946. Gelatin silver print. Museum Purchase with funds donated by Andrew J. Shilling (Class of 1989) and Kirsten N. Shilling; Jennifer S. Stein (Class of 1993) and Josh B. Stein; and A. Gary Shilling (Class of 1959) and Margaret B. Shilling (2012.36) to Fractured: The Modern Nude, University Museum of Contemporary Art, University of Massachusetts Amherst Unknown Korean artist (Joseon Dynasty), Buncheong wine bottle, (March 27 – May 4, 2014) 15th century. Ceramic. Gift from the heirs of the Estate of Alice J. Dowling (2013.98) Edward Hopper (American, 1882-1967), East Side Interior, 1922. Etching. Bequest of William Ives Washburn (Class of 1908) Michael Starkman (American, born 1952), Where Nepenthe (1947.61) to Edward Hopper: Art for Commerce, The Norman Flows, 2006-2008. Six selenium-toned gelatin silver prints Rockwell Museum, Stockbridge, Massachusetts (June 7 – on Forte’s warmtone semi-matte fiber paper in handmade October 26, 2014) presentation box. Purchase with Richard Templeton (Class of 1931) Photography Fund (2013.67.1-6) Edward Hopper (American, 1882-1967), Night on the El Train, 1918. Etching. Bequest of William Ives Washburn (Class of 1908) Adrian Zingg (Swiss, 1734-1816), Arcadian Landscape with (1947.62) to Edward Hopper: Art for Commerce, The Norman Classical Figures (Arkadische Landschaft mit antikisierend Rockwell Museum, Stockbridge, Massachusetts (June 7 – Figuren). Outline etching and brown wash. Purchase with October 26, 2014) William K. Allison (Class of 1920) Memorial Fund (2013.57)

BEQUESTS (none)

TRANSFERS (none)

DEACCESSIONS (none)

Erastus Salisbury Field (American, 1805- 1900), Historical Monument of the American Republic, 1876. Photo engraving. Gift of Professor Reginald F. French (1946.3)

14 Edward Hopper (American, 1882-1967), The Evening Wind, David Nash (British, born 1945), Charred, 1990. Charcoal on 1921. Etching. Bequest of William Ives Washburn (Class of 1908) paper. Gift of Andrew G. Galef (Class of 1954) and Bronya Galef (1947.63) to Edward Hopper: Art for Commerce, The Norman (2004.107) to CHARCOAL! Schick Art Gallery, Skidmore College, Rockwell Museum, Stockbridge, Massachusetts (June 7 – Saratoga Springs, New York (November 1 – December 15, 2013) October 26, 2014) David Nash (British, born 1945), Untitled (Sphere). Charred wood. Gift of Andrew G. Galef (Class of 1954) and Bronya Galef (2004.119) to CHARCOAL!, Schick Art Gallery, Skidmore College, Saratoga Springs, New York (November 1 – December 15, 2013)

David Nash (British, born 1945), Untitled (Cube). Charred wood. Gift of Andrew G. Galef (Class of 1954) and Bronya Galef (2004.120) to CHARCOAL! Schick Art Gallery, Skidmore College, Saratoga Springs, New York (November 1 – December 15, 2013)

David Nash (British, born 1945), Untitled (Pyramid). Charred wood. Gift of Andrew G. Galef (Class of 1954) and Bronya Galef (2004.121) to CHARCOAL! Schick Art Gallery, Skidmore College, Saratoga Springs, New York (November 1 – December 15, 2013)

Anton Maria Zanetti I (Italian, 1680-1757) after Parmigianino (Italian, 1503-1540), St. James (St. Jacques), 1722. Chiaroscuro woodcut from three blocks. Museum Purchase (1985.11) to In the Guise of the Brush: The Italian Chiaroscuro Woodcut, Mount Holyoke College Art Museum, South Hadley, Massachusetts (August 30 – December 17, 2013)

Edward Hopper (American, 1882-1967), East Side Interior, 1922. Etching. Bequest of William Ives Washburn (Class of 1908) (1947.61)

Anton Maria Zanetti I (Italian, 1680-1757) after Parmigianino (Italian, 1503-1540), St. James (St. Jacques), 1722. Chiaroscuro woodcut from three blocks. Museum Purchase (1985.11)

Edward Hopper (American, 1882-1967), Night Shadows, 1921; published 1924. Etching. Dr. Sanford B. Sternlieb (Class of 1946) and Esther Sternlieb Collection of American Art (2010.113) to Edward Hopper: Art for Commerce, The Norman Rockwell Museum, Stockbridge, Massachusetts (June 7 – October 26, 2014)

Claude Monet (French, 1840-1926), Matinée sur la Seine David Nash (British, born 1945), Charred, 1990. Charcoal on (Morning on the Seine, Giverny), 1897. Oil on canvas. Gift of paper. Gift of Andrew G. Galef (Class of 1954) and Bronya Galef Miss Susan Dwight Bliss (1966.48) to Monet and the Seine: (2004.107) Impressions of a River, Philbrook Museum of Art, Tulsa, Oklahoma (June 29 – September 21, 2014)

15 RESEARCH project involving a group of 43 pre-Columbian ceramics given by Donald Finberg, Class of 1953. American art: Thea Goldring, Class of 2014, worked Documentation on these objects was improved, as the Collections intern under Collection Manager particularly the identification of their culture Stephen Fisher during her four years at Amherst groups and dates. College. Major projects included conservation of the Jared French drawings and photographs (re- Asian art: Over the past year, the Mead’s large moval from original mountings) and conservation Japanese print collection has undergone extensive on the Edmund Blampied etching Driving Home in cataloguing, with several hundred works added the Rain, 1914, which had been heavily glued to to the museum’s online database, making them an acidic matt backing. Ms. Goldring removed the available for teaching and scholarly research. In backing, and also mended a three-inch tear, which addition, Bradley Bailey, the Carpenter Foundation will allow the Mead to display the print in future Fellow in Japanese Prints, has made many excit- exhibitions. ing discoveries in the Mead’s holdings, including 12 rare shin-hanga prints by Tsuchiya Rakusan, a bound collection of deluxe edition prints of the Si-

Visiting scholar Patricia Kane, the Friends of American Arts Curator of American Decorative Arts at the Yale University Art Gallery, studies an American highboy from the collection (AC Unknown Greek artist, Head of a Victor, 6th century BCE. Sand- 1955.296) with Mead Director Elizabeth Barker. stone. Gift of Bradford W. Hitchcock, Class of 1981, through the Greek Department (1941.18) no-Japanese War, and numerous actor and surimo- Ancient art: In August 2013 Pamela Russell, Head no (private publication) prints that represent some of Education and Andrew W. Mellon Curator of of the finest known examples in any public collec- Academic Programs, completed an article on a Cy- tion. In addition, Bradley has begun examination priot limestone male head in the Mead’s collection and research on the Mead’s Chinese art objects in (AC 1941.18). Entitled “Regifting, Cesnola-Style: The order to develop a comprehensive collection plan. Case of a Cypriot Votive Head at Amherst College,” European art: Elizabeth Barker continued her the article will appear in The Great Islands: Studies research into the Mead’s tempera painting by Wil- of Crete and Cyprus Presented to Gerald Cadogan, liam Blake. Her preliminary findings will appear in edited by S. Andreou, E. Hatzaki, and C. MacDonald the article “William Blake’s The Raising of Jairus’s and published by Kapon Editions, Athens, Greece. Daughter” in Interfaces: Images Texte Langage 35, Dr. Russell worked with Sylvia Ngo, Class of 2014, spring 2014. With Professor Nicola Courtright, she and Lucas Renique, Class of 2015, on a research has advised a group of students participating in the

16 Valentin Aleksandrovich Serov (Russian, 1865-1911), Princess Meshcherskaia, ca. 1905. Oil on canvas. Gift of Thomas P. Whitney (Class of 1937) (2001.19)

Mellon Student-Faculty Research Initiative in an in- which was donated to the Mead Art Museum in vestigation of two of the museum’s European cabi- 1951. She explored his ties with Arthur William nets and its Rhode Island highboy. Their discoveries Heintzelman (1890–1965), who inventoried Cros- will be featured in a special installation, Unlocking sett’s collection before transferring it to Amherst Wonder, which will go on view in the fall of 2014. College in 1951. She discovered that Heintzelman, a printmaker and curator of the print collection Mila Waldman continued her research focused in the Boston Public Library, was a consultant on reconstructing E. C.Crossett’s print collection, for Albert G. Wiggin, a generous donor of prints,

17 Kobayashi Kiyochika (Japanese, 1847-1915); Daikokuya Heikichi, publisher (Japanese, ca.1820–1910), Advancing Across the Ansong River at the Battle of Asa (‘Gazan gekisen anjō, no watashi shingeki no zu’), 1894. Polychrome woodblock print. Gift of Ruth S. Nelkin (2000.393.1-3) books, and paintings to the BPL, as well as for E. C. Crossett.

Dr. Waldman also conducted research into several Renaissance and Baroque prints, the results of which were summarized in the fall 2013 exhibition, as well as newly acquired prints by Rouault and Braque that were on display in the spring of 2014. She researched and recommended the acquisition of works on paper by seven largely contemporary U.S. artists, including realist painters Jack Beal and Daniel Lang, sculptor Harold Tovish, printmakers Katja Oxman and Cyndy Sperry, and Amherst Aleksandra Aleksandrovna Ekster (Exter) (Russian, 1884-1949), alumna artist Elise Brewster (Class of 1984). Stage Set Design for Shakespeare’s ‘Merchant of Venice,’ 1930. Pochoir. Gift of Thomas P. Whitney (Class of 1937) (2001.09) Russian art: Bettina Jungen, Senior Curator and Thomas P. Whitney, Class of 1937, Curator of Rus- sian Art, continued researching the Thomas P. Whitney Collection of Russian Art, which led to the discovery of the historic context of several works on paper, including Ekster’s Merchant of Venice (AC 2001.09) and Merkushev’s four abstract prints (AC 2001.200–203). She also confirmed the authenticity of Serov’s portrait Princess Meshcherskaia (AC 2001.19). Her findings were related to the prepara- tion of a major exhibition of Russian art from the collection and a reinstallation project at the Rus- sian Center Gallery.

18 FINANCIAL INFORMATION GRANTS

OPERATING INCOME AND EXPENSE GRANTS RECEIVED

In December 2013, the Julia A. Whitney Founda-

College Support 320,653 38% tion continued its transformative support of the Donations & Grants 264,254 31% Whitney Collection of Russian Art with a munificent Endowment Distribution 242,727 29% award of $63,000. Retail Sales 13,167 2% Total Operating Income $840,801 100% Funds awarded in a 2011 grant from the Institute of Museum and Library Services (IMLS) were expend- Art Acquisitions 107,615 15% ed in November 2013. The grant allowed the Mead Exhibitions & Programs 409,380 57% to digitize 94% of its collection, making it available General Operations 196,635 27% Retail Expenses 5,339 1% to the students, faculty, staff, and alumni of Am- Total Operating Expense $718,969 100% herst College, and to visitors around the world.

Operating Income 2013-‐2014 The 2012-awarded funds from the E. Rhodes and Leona B. Carpenter Foundation continue to support Retail Sales 2% the Postdoctoral Curatorial and Teaching Fellow- Endowment Distribution College ship in Japanese Prints. 29% Support 38% Thanks to ongoing support from Dwight M. Poler, Class of 1987, and Kirsten Cooper Poler, Class of 1988, the museum continues on a stable course to meet the terms of its endowment challenge grant from the Andrew W. Mellon Foundation, which will endow the vital position of Curator of Academic Donations & Grants Programs by 2015. 31%

Operating Expense 2013-‐2014 AWARDS GIVEN Retail Art Expenses Acquisitions 1% The 2014 Wise Award for Studio Art was presented General 15% Operations to Sylvia Li, Class of 2014, for four acrylic paint- 27% ings—Winter Afternoon at Esselon, The Living Room from Atop the Stairs, Afternoon Light at the Front Door, and Laundry Day—which will be added to the museum’s collection. This award is presented annually in the spring to a student in the college for distinction in the completion of an original work or Exhibitions works of art. & Programs 57% Sylvia Ngo, Class of 2014, was the recipient of the

Wise Award for Collection Research. This award is presented each spring to a student in any academic department whose senior thesis, in the judgment of the Mead Art Museum’s curators and director,

19 most effectively analyzes, interprets, or responds Legacy in Art”; and the Family Fun Day summer- to an object in the museum’s collection. Ms. Ngo’s reading program kickoff event “Fizz, Boom, Read!” thesis for the Department of Anthropology and with the Beneski Museum of Natural History and Sociology was titled “Constructing Objects: An the Jones Public Library. Examination of the Amherst College Collections and Their Museums.” In addition to tracing the history of the Mead and outlining its current administrative structure and mission, Ms. Ngo devoted a chapter (Chapter 3: Tracing Knowledge in Museums) to a study of the 2013 gift of 24 pre-Columbian objects from the collection of the late Donald Finberg, Class of 1953, and Mr. Finberg’s earlier gifts to the Mead in 1991, 1993, and 1995, which totaled 19 objects.

DONATIONS MADE

In the 2013–2014 fiscal year, the Mead co-sponsored many events:

A wine reception for alumni families with their first-year students organized by Alumni & Parent Programs; a champagne reception for the 5-Year Campaign Conclusion, preceded by the panel discussion “Collecting Art Now: Reflections from the Inside,” with Advancement; a reception for A student visitor enjoying a Mead study night during finals week. new department faculty with the Asian Languages Photo by Zoe Vayer ’16 and Civilizations Department; “A Closer Look: As It Almost Was: Amherst College’s Monuments to DONATIONS RECEIVED Lord Jeffery” with Archives & Special Collections; an Generous support from individuals, organizations, arts-events kickoff lecture and reception featur- and academic departments allowed the Mead to ing Lucy Guerin Inc., an Australian dance company, complete its successful past year. with the Theater & Dance Department; The Com- mon Magazine reading & reception; a string quartet The multiyear pledge from Younghee Kim-Wait, concert led by Mark Lane Swanson, senior lecturer Class of 1982, continued to provide critical support in music, music director & conductor, Amherst Sym- for the Coordinator of Community Programs posi- phony Orchestra; film screening at Amherst Cinema tion this year. of Roberto Rossellini’s Journey to Italy; panel The purchase of photographs by Kageyama Koyo presentation “Celebrating Architectural Studies: was made possible by the unstinting gift of Scott H. Perspectives from Five Young Alumni” with the Ar- Nagle, Class of 1985, in honor of Samuel C. Morse, chitectural Studies Department; the Amherst Fringe Howard M. and Martha P. Mitchell Professor of the Festival with arts departments at Amherst; spring History of Art and Asian Languages and Civilizations. musical concert performance with the Amherst Madrigals; reception for Alumni Retirees; 50th-year reunion reception for Class of 1964 with Alumni & Parent Programs; public conversation “Lord Jeff’s

20 The acquisition of three Japanese prints, which In addition, countless anonymous donations, de- were included in the exhibition Reinventing Tokyo, posited in the lobby piggy bank by many generous was funded by generous donations from Edith I. visitors, enhanced numerous student activities and Welch, Thomas C. Welch, and Willard G. Clark. events.

A leadership contribution was made by Helen and Charles Wilkes ’71 and P ’08, Chair of the Mead Art Museum Advisory Board, toward the foundation of a “Mead Collectors’ Circle,” which will engage museum supporters in assisting the Mead in making acquisitions during an art-shopping field trip with the museum’s director.

H. Nichols B. Clark, Frederick T. Griffiths, and Margaret Poser made welcome donations to the Trinkett Clark Memorial Student Acquisition Students getting a closer look at the Rotherwas Room mantel during an orientation tour. Photo by Megan Robertson ’15 Fund, thereby helping to ensure the continuation of this popular and enriching student art-collection project. CURRICULAR COLLABORATIONS

The generous gift of funds from the Shilling Family During the 2013–2014 academic year, 131 college allowed the museum to expand its storage cabinets class sessions were conducted at the Mead, where to accommodate the archive of drawings, prints, students engaged in the close study of original and photographs by Jared French, Class of 1925. works of art and artifacts in the museum’s collection. This figure represents a 10% increase in George S. B. Morgan, Class of 1955, made a dona- class visits from the previous academic year, and a tion to the Charles H. Morgan Fine Arts Fund, pro- more than 400% increase from the 26 class visits of viding support for museum acquisition and publica- 2007–2008, a mere six years ago. The average num- tions. The Fund was established in 1985 in honor of ber of class visits per week is now just over five, up the late Professor Charles H. Morgan, who oversaw from 4.6 last year. Twelve faculty members used construction of the Mead Art Museum. the collection for the first time, and 27 courses held The Amherst Art Series supported events associ- their first session at the Mead. ated with the exhibition New Arrivals, including gal- Courses that incorporated works of art at the Mead lery talks and lectures by Michael Starkman, Class into their curriculum included nine First Year Semi- of 1974, Robert Priseman, Katja Oxman, Patricia nars and represented 16 of the college’s 37 areas of Kane, and Sandra Matthews. study: American Studies, Anthropology, Architec- The Amherst Association of Students continued its tural Studies, Art and the History of Art, Asian Lan- docent-organized support of Evenings at the Mead. guages and Civilizations, English, European Studies, French, German, History, Law, Jurisprudence, and The Dean of the Faculty Office contributed sup- Social Thought, Psychology, Religion, Russian, Span- port to the semiannual Andrew W. Mellon Faculty ish, and Women’s and Gender Studies. Together, Seminars.

21 these classes brought 1,636 students—a figure Rhodes and Leona B. Carpenter Postdoctoral Cura- equivalent to 91.7% of Amherst College’s student torial Teaching Fellow in Japanese Prints, offered a body of 1,785 students—into direct contact with new seminar, The Social Life of the Japanese Print, objects in the college’s collection. every class session of which took place in the Mead and focused exclusively on the museum’s signifi- cant and sizeable collection of ukiyo-e prints. Each class session found the students clustered around the Study Room’s print rail, speaking with anima- tion—and steadily increasing expertise—about Japanese woodblock prints, which they considered both as representations of a flourishing urban society and also as important economic and cultural engines of that success.

Student intern Nadia Waski cataloguing ancient artifacts. Photo by Pam Russell

Several class sessions stand out as particularly productive. Students in Professor Hilary Moss’s First Year Seminar, Slavery and the American Imagina- tion, embarked on robust discussions of the works they studied, forging strong links between them and their course readings. Students in Professor Alicia Christoff’s First Year Seminar, Big Books, likewise uncovered fruitful links between styles in art and Proust’s style in Swann’s Way, and critiqued works of visual art that evoke nonvisual sensory Hampshire College Prof. Karen Koehler’s architecture students sketching in the galleries during a class visit. Photo by Rachel Rogol experience, such as taste and touch, in ways that parallel the themes of memory in Proust.

Some courses made more extensive use of the Mead’s collection. In the spring, Professor Nicola Courtright reprised her popular lecture course Art and Architecture of Europe from 1400–1800, which included 28 class sections held at the Mead. During the same semester, Bradley Bailey, the Mead’s E.

22 FALL 2013 OTHER CLASSES HELD AT THE MEAD

Hampshire College, Humanities, Arts, and Cultural Studies AMHERST COLLEGE CLASSES 124T-1: Drawing Tutorial, Professor Schrade HELD AT THE MEAD Hampshire College, Humanities, Arts, and Cultural Studies 162: The Sun’s Not Yellow, It’s Chicken, Professor Rafferty American Studies 111: Global Valley, Professor Sanchez-Eppler Mount Holyoke College, Gender Studies 333: Witches in the Art and the History of Art 111: Drawing I, Professor Culhane Modern Imagination, Professor Rundle Art and the History of Art 152/Asian Languages and Civilizations University of Massachusetts Amherst, Art History 623: 142: Visual Culture of the Islamic World, Professor Rice European Art 1780–1880, Professor Vickery Art and the History of Art 213: Printmaking I, Professor Garand Western New England University, Art 105-01: Drawing, Art and the History of Art 218: Photography I, Professor Kimball Professor Ritz Art and the History of Art 325: Advanced Photography, Wisconsin Lutheran College, Art Illustration, Professor Professor Kimball Burmeister Art and the History of Art 327: Printmaking II, Professor Garand Art and the History of Art 385/European Studies 385/Women’s and Gender Studies 310: Witches, Vampires, and Other SPRING 2014 Monsters, Professor Staller Art and the History of Art 456: Matisse and Picasso, Professor AMHERST COLLEGE CLASSES Staller Asian Languages and Civilizations 144/Religion 143: Religion in HELD AT THE MEAD Ancient India, Professor Heim Asian Languages and Civilizations 152/Religion 152: Introduction American Studies 468: Research Methods in American Culture, to Buddhist Traditions, Professor Heim Professor Vigil Asian Languages and Civilizations 221: Canons and Traditions: Anthropology 224: Archaeological Method, Theory, and Japanese Literature to 1750, Professor Van Compernolle Practice, Professor Klarich English 119: Modernism 101, or The Shock of the New, Architecture 102: Introduction to Architectural Studies, Professor Pritchett Professor Koehler English 221: Writing Poetry I, Professor Hall Art and the History of Art 135/European Studies 135: Art and Architecture of Europe from 1400 to 1800, Professor European Studies 242/History 232: European Intellectual Courtright History, Professor Glebov Art and the History of Art 137: American Art and Architecture, First-Year Seminar 103: Slavery and the American Imagination, 1600 to Present, Professor Clark Professor Moss Art and the History of Art 146/European Studies 146/Women’s First-Year Seminar 112: Growing Up in America, Professors Aries and Gender Studies 113: Art from the Realm of Dreams, and Hart Professor Staller First-Year Seminar 113: Exile in Spain and Latin America, Art and the History of Art 213: Printmaking I, Professor Tolley Professor Brenneis Art and the History of Art 262/Asian Languages and Civilizations First-Year Seminar 114: Encounters with Nature, Professor 238: From Edo to Tokyo: Japanese Art from 1600 to the Courtright Present, Professor Morse First-Year Seminar 115: Beethoven, Professor Kallick Art and the History of Art 265/Asian Languages and Civilizations First-Year Seminar 117: Big Books, Professor Christoff 265: The Social Life of the Japanese Print, Professor Bailey First-Year Seminar 118: Genocide, Professors Epstein and Art and the History of Art 268/Asian Languages and Civilizations Redding 268: Image of Empire: Art and Architecture of Mughal India, First-Year Seminar 125: Space and Place, Professor Van 1526–1858, Professor Rice Compernolle Asian Languages and Civilizations 252/Religion 252: Buddhist First-Year Seminar 127: Mind and Brain, Professor George Life Writing, Professor Heim French 346: Enfants Terribles: Children in 19th-Century French Asian Languages and Civilizations 336: Apocalypse Japan, Literature and Culture, Professor Katsaros Professor Van Compernolle German 101: Elementary German I, Professor Gomoluch European Studies 311/French 364/Russian 311: Birth of the German 102: Elementary German II, Professor Gomoluch Avant-Garde: Modern Poetry and Culture in France and Russia, German 312: Advanced Reading, Conversation, and Style I, 1870–1930, Professors Ciepiela and Katsaros Professor Gomoluch European Studies 340/Spanish 340: Violence, Art, and Memory German 356: The Artist as Hero and Victim, Professors of the Spanish Civil War, Professor Brenneis Gutzmann and Schrade European Studies 373/History 438: Topics in European History: History 260: Culture, Conquest, and Survival: The Creation of The Politics of Memory in 20th-Century Europe, Professor Latin America, Professor Rosenthal Epstein Spanish 212: Hispanic World: Past, Present, and Future, French 101: Elementary French, Professor Tapley Professor Maillo German 101: Elementary German I, Professor Gomoluch Law, Jurisprudence, and Social Thought 353: Guantanamo: Law, History, and US Empire, Professor Altman Psychology 337: Stereotypes and Prejudice, Professor Mendoza Spanish 211: Introduction to Hispanic Literatures, Professor Brenneis

23 Students in Prof. Bradley Bailey’s class studying Japanese prints. Photo by Rachel Rogol

OTHER CLASSES HELD AT THE MEAD (including hands-on exploration of relief printing Five College Learning in Retirement, Art and Nature Thus Allied: using a potato matrix), and making a field trip to a The Cultural Arts of Japan, Professor Morse and Judith Bruder Hampshire College, Humanities, Arts, and Cultural Studies regional gallery. The class culminated in a presen- 254: Still Photography II: The Body and the Frame, Professor tation advocating for a trio of works before an Hayden Hampshire College, Humanities, Arts, and Cultural Studies 263: audience. By secret ballot the winner was Peter Photography from Asia, Professors Matthews and Morse Milton’s Sightlines I: Tracking Shot, the first digital Mount Holyoke College, French 203: Advanced Intermediate French, Professor Shread print in the Mead’s collection. Smith College, Art History 280: Survey of African Art: The Creation of African Art, Professor Gilvin This year, the students also volunteered their time University of Massachusetts Amherst, Art History 298: beyond the scope of the course and joined in the Introduction to Art Museum Studies, Professor Weisbin University of Massachusetts Amherst, Art History 382: Native effort to have the print prominently displayed as American Narrative Art, Professor Couch part of the Fringe Festival at Amherst College. University of Massachusetts Amherst, Comparative Literature 391: Native American Narrative Art, Professor Couch Additionally, they designed a digital presentation University of Massachusetts Amherst, History 392C: focused on various aspects and meanings of the Environmental History of Latin America, Professor Scott University of Massachusetts Amherst, Japanese 557: print, which included intriguing insights by several Introduction to Classical Japanese II, Professor Forrest Amherst College faculty and independent scholars drawn to the project. INTERTERM COURSE EVENTS FOR FACULTY AND STUDENTS In January 2014, for the second consecutive year, Mead Director Elizabeth Barker and Study Room In August 2013, the Mead offered a mini-course Supervisor Miloslava Waldman led the interterm during Orientation Week, ASI: Art Scene Investiga- course Beyond Shopping: Acquiring Art for the tion, that provided first-year students with informa- Mead. Five students participated in learning and tion about opportunities for learning, participating, discussing the intricacies of acquiring a work of art working, and relaxing at the museum. In Septem- for a museum, studying printmaking techniques ber 2013, museum staff introduced new Amherst

24 College faculty members to the Mead’s teaching re- Nolen Curator of Education and Academic Affairs at the Yale University Art Gallery, Kate Ezra oversees the Education sources during an afternoon reception highlighted Department and develops course collaborations across the by an animated group discussion of Thomas Coles’s university to foster teaching and learning from the gallery’s collection. Her background includes both museum and The Past (AC 1950.189) and The Present (AC 1950. academic experience. From 1994 until 2008 she taught art 190), which demonstrated the benefits of object- history at Columbia College in Chicago. Prior to that she was curator of African art at the Metropolitan Museum based inquiry. of Art in New York, where she organized several major exhibitions of African art and wrote the accompanying exhibition catalogues, includingRoyal Art of Benin: The Perls Collection(1992), Art of the Dogon: Selections from the Lester Wunderman Collection (1988), and A Human Ideal in African ANDREW W. MELLON FACULTY SEMINARS Art: Bamana Figurative Sculpture (1986). Dr. Ezra received her Ph.D. in art history with a specialization in African art from Programs for faculty, funded by the Andrew W. Northwestern University. PARTICIPANTS: Rowland Abíódún, Amherst College, Art Mellon Foundation, are designed to promote use and the History of Art and Black Studies; Judyie Al-Bilali, of a particular segment of the Mead’s collection in University of Massachusetts Amherst, Performance and Theater for Social Change; Joye Bowman, University of teaching, while enhancing curatorial understanding Massachusetts Amherst, History; Rhonda Cobham-Sander, of that collection area. This year the January Amherst College, Black Studies and English; Faith Conant, Five College Director, West African Music Ensemble; John seminar featured Japanese prints and the June Higginson, University of Massachusetts Amherst, History; Barbara Kellum, Smith College, Art; Kathryn Lachman, seminar focused on African art. University of Massachusetts Amherst, French; John Lemly, Mount Holyoke College, English and African Studies; Kym January 9–10, 2014 Morrison, University of Massachusetts Amherst, Afro- The World in a Woodblock: Teaching with Japanese Prints in the American Studies; Carrie Mowbray, Smith College, Classical Mead Art Museum Languages and Literatures; Sean Redding, Amherst College, SEMINAR LEADER: Bradley Bailey, E. Rhodes and Leona B. History; Mwangi-wa-Githinji, University of Massachusetts Carpenter Postdoctoral Curatorial Teaching Fellow Amherst, Economics. Auditors: Ellen Alvord, Weatherbie PARTICIPANTS: Aurelia Campbell, Smith College, Art and East Curator of Academic Programs, Mount Holyoke College Art Asian Studies; Stephen Forrest, University of Massachusetts Museum; Amy Halliday, Independent Scholar and Educator; Amherst, Japanese; Heidi Gilpin, Amherst College, German Linda Muehlig, Associate Director for Curatorial Affairs, Smith and Architectural Studies; Angie Hauser, Smith College, College Museum of Art. Dance; Maria Heim, Amherst College, Religion; Laure SESSION TOPICS: Overview of African Art; Form and Katsaros, Amherst College, French; Trent Maxey, Amherst Aesthetics in African Art: The Human Body and Its Meanings; College, History and Asian Languages and Civilizations; Scott Yoruba; Textiles; Central Africa: Divination and Power; Mehl, University of Massachusetts Amherst, Asian Languages New Developments in Yoruba Art; Africa in the World: Two and Literatures; Abraham Ravett, Hampshire College, Film and Perspectives; Integrating the Mead’s African Art into Course Photography; Timothy Rohan, University of Massachusetts Curricula. Amherst, Art History; Reiko Sono, University of Massachusetts Amherst, Japanese; Thomas Wartenberg, Mount Holyoke College, Philosophy. Auditor: Meredith Broberg, Smith College, Art and Art History. SESSION TOPICS: Prints Abroad: Japonisme, Impressionism, and Arts and Crafts; Solo, Duet, Quartet, Quintet: Constituencies of Printmaking; How to Read a Japanese Print: Seals, Marks, and Subtle Details; History of Prints and Prints in History: Depictions of the Past, Censorship Laws, and Calendars; The Yoshiwara and the Floating World: Sex, Beauty, and Beauties; Performance in Print: Kabuki, Noh, and Urban Pastimes; Westernization and War: Foreign Place, People, and Techniques; The Twentieth Century: Shin- and Sosaku-hanga and Modern Japan.

June 12–13, 2014 Art for Life’s Sake: Teaching with African Bradley Bailey leads a Mellon Faculty Seminar about teaching Art at the Mead Art Museum with Japanese prints. Photo by Rachel Rogol VISITING SCHOLAR: Dr. Kate Ezra, Nolen Curator of Education and Academic Affairs, Yale University Art Gallery. As the

25 VOLUNTEER STUDENT DOCENTS Weekly informal group meetings led by the mu- This year’s team of Mead Student Docents, a group seum’s curatorial team offered docents a chance of volunteer museum educators from Amherst to learn from experts in a welcoming and student- College and the Five College community, continued friendly environment. By focusing on one or to play a critical role in the Mead’s educational two works of art per session, staff members and outreach. Docents served as museum ambassadors docents could embark on joint, in-depth explora- to visitors of all ages and gave tours to audiences tions of the Mead’s collection while simultaneously as diverse as local retiree communities, visiting building a sense of community among Amherst and conference attendees, bus tours, and youth groups. Five College students and staff. Local students—from pre-kindergarten to pre- Outside of the general docent meetings, the “train- college—frequented the Mead this year as well, ing teams” program continued to provide a com- leading docents to collaborate with museum staff prehensive and dynamic introduction to museum to produce engaging gallery activities aimed at education for new docents. These small groups of students of all levels. In addition to their work with three to five peers met weekly throughout the fall visiting groups, docents contributed immensely to semester to study the collection and participate in exhibition-related programming and assisted with interactive teaching exercises. Under the guidance major public events, including Sunday afternoon of education staff, students prepared to become tours and the Family Fun Day series, a program practicing docents by honing close-looking skills, that provided Halloween activities in October and exploring effective museum teaching techniques, monthly themed events during the spring semester.

Student Docents 2013-14: Back row, Alex Diones ’14, Sarah Seewai Hui ’16, Rosemary Frehe ’17, Carys Lamberg (Greenfield Community College), Elizabeth Kendrick (Mount Holyoke College); front row, Rob Croll ’16, Wendy Somes, Muling Si ’17, Daria Chernysheva ’16; not pictured, Sharline Dominguez ’16, Gabriela Espinosa ’16, Manuel Guerrero ’14, Emma Hartman ’17, Emma Hickman ’15, Chen Jiang ’15, Rachel Johnson ’15, Molly Jordan ’16, Elise Kei-Rahn (UMass Amherst), Jeanne Lee ’16, Seog in Paul Moon ’17, Pablo Morales ’16, Noah Morton ’17, Samantha Philbrook ’15, Tianshen Rong ’15, Jake Walters ’14, M Whitaker (Hampshire College), Jin Jin Xu ’17, Judy Yoo ’14, Dian Yu ’16. Photo by Stella Honey Yoon ’15

26 and testing their public speaking abilities in low- she encountered. This special exhibition featured pressure “practice” tours. 20 of the artist’s photographs displayed at nine different sites — each with its own relationship to Remaining true to their mission to serve the college the trail — to form a unique exhibition that viewers community, the docents also continued to organize experienced at their own pace and following their exciting student events for their peers. The docent- own path. Three of the 20 photographs were on hosted Evenings at the Mead series paired art from view at the Mead. the collection with performances by special guest groups such as the Amherst College Jazz Combo On the Glorious Stage of Death: The Attack on and the Amherst College Madrigal Singers, offer- Port Arthur in Woodblock Prints ing students a place to get together and enjoy live February 7–April 27, 2014 music and other entertainment. Japan’s surprise attack on Russian-held Port Arthur (modern-day Lüshunkou, China) on February 8, 1904, signaled the beginning of the Russo-Japanese EXHIBITIONS War. During the 11-month-long siege, Japanese public support for the war was nothing short of en- This Just In! Additions to the Collection from thusiastic. Woodblock printmakers and publishers Pompeii to Today capitalized on this enthusiasm by issuing dramatic August 16–December 29, 2013 compositions of war scenes that depicted the This exhibition celebrated the recent growth of Japanese as conquering heroes and the Russians as Amherst College’s art collection. The over 100 ob- valiant, if vanquished, foes. jects presented—most on view for the first time— represented a cross-section of the nearly one In commemoration of the 110th anniversary of this thousand artworks that have entered the Mead’s attack, the Mead Art Museum displayed war trip- collection since 2007. Featured works range across tychs and satirical prints from the Russo-Japanese artistic media and human cultures, and include im- War, including the work of Kobayashi Kiyochika and portant prints by Albrecht Dürer, Edward Hopper, Migita Toshihide, two master print designers of and Elizabeth Murray; stage designs for Boris Godu- Meiji Japan. Bradley Bailey, the Carpenter postdoc- nov by Mstislav V. Dobuzhinskii; photographs by Vik toral fellow, gave a talk at the exhibition’s opening, Muniz, Joel Levinson, and Michael Huey; paintings highlighting the indirect role of Amherst College’s by Jonathan Meese and Sunil Madhav Sen; and a relationship with Japan in the building and govern- Roman sarcophagus carved with sea creatures and ing of the Japanese Empire. inscribed with a memorial poem to the two chil- New Arrivals: Modern and Contemporary dren — siblings — whose remains it once held. Additions to the Collection To Be at the Farther Edge: Photographs Along the February 14–June 29, 2014 New England Trail / Barbara Bosworth This exhibition—the grand finale in a three-part August 28–December 8, 2013 series showcasing some of the 1,200 artworks that Photographer Barbara Bosworth spent the sum- have come to the Mead since 2007—featured an mer and fall of 2012 hiking sections of the New extraordinary array of art made after the Second England National Scenic Trail (NET) as the National World War, more than half of which dates to the Park Service’s first artist-in-residence for the NET. past decade alone, and most of which had never Traveling with her large-format view camera, she before been presented at the Mead. Featured created a visual response to the vistas and paths works spanned global cultures and artistic move- ments, and included prints by Georges Braque,

27 This Just In! Additions to the Collection from Pompeii to Today. Photo by Stephen Petegorsky

To Be at the Farther Edge: Photographs Along the New England Trail/Barbara Bosworth. Photo by Stephen Petegorsky

28 Andy Warhol, Leonard Baskin, Ay-O, Alex Katz, and curators, who further researched and studied the Takashi Murakami; photographs by Andres Serrano, print and its significance. As part of their research Mary Ellen Mark, Maria Magdalena Campos-Pons, they conducted an interview with Peter Milton, a Jacqueline Hayden, Michael Starkman (Amherst celebrated contemporary American printmaker, College Class of 1974), and Sandra Matthews; and and highlighted his role in breaking established paintings by Robert Priseman, Sarah Berman, and boundaries of traditional intaglio techniques by Mark Baum. embracing new technologies, while deploying a brilliant narrative that draws on diverse cultural An Unblemished Mirror of Truth: Kyohei Inukai, and art references. Robert Brackman, and Portraits of American Tragedy Animals in the Art of the Ancient Americas March 18–August 24, 2014 May 13–October 12, 2014 This special installation brought together the work This installation featured 18 works of art from the of New York–based portrait painters Kyohei Inukai Maya, Moche, Chimú, and Aztec cultures, many (1886–1954) and Robert Brackman (1898–1980), exhibited for the first time. The variety of animals both foreign-born artists who found great suc- represented, including alpacas, jaguars, deer, and cess painting high-society men and women before fish, reflects the diverse natural environments of World War II. Commissioned portraits, their works the Americas, which range from soaring mountains were meant to celebrate their blue-blooded sitters to arid coastal plains. This installation was orga- through flattering and stylish depictions, but, as nized by Sylvia Ngo, Class of 2014, Devin Pence, these portraits reveal, a life of wealth and privilege Class of 2014, and Nadia Waski, University of Mas- was not without its share of heartache and misery. sachusetts Amherst, Class of 2014.

The display featured the Mead Art Museum’s famed portraits of Charles A. and Anne Morrow Lindbergh and works by Kyohei Inukai from the collection of John and Miyoko Unno Davey, including a self-portrait of the artist and his monumental Javanese Coat (1932), neither of which had been displayed publicly for almost 80 years. An Unblem- ished Mirror of Truth received wide attention in the press, with write-ups in ArtDaily, the Japan Times, and the New York Times.

Alumni collectors John Wieland ’58, John Hillman ’66, and Going Digital: Peter Milton’s Tracking Shot Charles Wilkes ’71 and P ’08 participate in the public conversation “Collecting Art Now: Reflections from the Inside” with Elizabeth May 3–June 22, 2014 Barker. Photo by Zoe Vayer ’16 This focused exhibition featured a single print selected by students as part of an annual acquisition project undertaken in memory of Trinkett Clark, a former curator of American art at the Mead. A result of this year’s interterm course, which was attended by five enthusiastic students, Tracking Shot is the first born-digital print acquired for the Mead collection. The innovative display was accompanied by a digital presentation created by the student-

29 An Unblemished Mirror of Truth: Kyohei Inukai, Robert Brackman, and Portraits of American Tragedy. Photo by Stephen Petegorsky PUBLICATIONS

MEAD ELECTRONIC PUBLICATIONS OUTSIDE PUBLICATIONS FEATURING MEAD OBJECTS In the 2013–2014 academic year, the Mead posted three videos on the museum’s YouTube page, www.youtube.com/ meadartmuseum: Thayer Tolles, Thomas Brent Smith, et al. The American West in Bronze, Exh. cat., Metropolitan Museum of Art, New York, 2013. • “Collecting Art Now: Reflections from the Inside,” a public conversation with Amherst College • Pronghorn Antelope, by Paul Manship, Bequest of alumni collectors John Wieland ’58 (contemporary Herbert L. Pratt (Class of 1895) (1945.481) masterworks), John Hillman ’66 (photography and • Indian Hunger, by Paul Manship, Bequest of Herbert L. ceramics), and Charles Wilkes ’71 and P ’08 (European Pratt (Class of 1895) (1945.481) sculpture), and Mead director Elizabeth Barker • “No Human Way to Kill: Painting the American John W. Tyler and Elizabeth Dubrulle, The Correspondence of Execution,” a lecture by artist Robert Priseman with Thomas Hutchinson, volume 1: 1740–1766, Colonial Society of post-lecture discussion led by Austin Sarat, William Massachusetts, 2014. Nelson Cromwell Professor of Jurisprudence and • Lieutenant General Jeffery Amherst, by Joseph Political Science and Associate Dean of the Faculty Blackburn, Gift of Richard K. Webel (1972.1) • “An Evening at the Mead,” a special video project by Mark Idelman ’15, Zoe Vayer ’16, and Pablo Morales ’16, Alexis Drahos, Orages et tempêtes - Volcans et glaciers: Les with music by The DQ of Amherst College peintres et les sciences de la terre aux XVIII et XIX siècles, Éditions Hazan, 2014. • Landscape with Overturned Wagon in a Storm, Philippe Jacques de Loutherbourg, Purchased in honor of Susan Dwight Bliss (1974.30) David F. Martin and Margaret E. Bullock, Austere Beauty: The Art of Z. Vanessa Helder, Tacoma Art Museum, 2014. • Charles A. Lindbergh, by Robert Brackman, Gift of Mrs. Charles A. Lindbergh (1954.10) Douglas R. Cubbison, All Canada in the Hands of the British: General Jeffery Amherst and the 1760 Campaign to Conquer New France, University of Oklahoma Press, 2014. • Sir Jeffery Amherst (1717–1797), by Joshua Reynolds, Museum Purchase (1967.85) Thomas Dumm, My Father’s House: On Will Barnet’s Paintings, Duke University Press, 2014. • The Dream, by Will Barnet, Gift of Elena and Will Barnet (2008.25)

30 New Arrivals: Modern and Contemporary Additions to the Collection. Photo by Stephen Petegorsky

PROGRAMS Docent Open Meeting First official docent meeting of the year; open to Five College All programs took place at the Mead unless otherwise noted. students in any academic major. Friday, September 6, 2013, 1:00 P.M. FALL 2013 Exhibition Opening Celebration Exhibition Opening Gallery talk and reception,Professor Frederick Griffiths and This Just In! Additions to the Collection from Pompeii to Today special guest Richard Wilbur, former U.S. Poet Laureate and Amherst College professor and alumnus, in conjunction with Friday, August 16, 2013, 9:00 A.M. This Just In! Friday, September 6, 2013, 4:30 P.M. Orientation Event Highlights Tour, Bettina Jungen, Senior Curator and Thomas P. Book Club Whitney, Class of 1937, Curator of Russian Art Mead Reads: The Art Forger by Barbara Shapiro, discussion led Sunday, August 25, 2013, 5:00 P.M. by Elizabeth Barker, Director, and Heath Cummings, Head of Security and Facilities Orientation Event Sunday, September 8, 2013, 2:00 P.M. Highlights Tour, Bradley Bailey, E. Rhodes and Leona B. Carpenter Postdoctoral Curatorial Teaching Fellow in Japanese Prints Public Lecture in Stirn Auditorium Monday, August 26, 2013, 9:00 A.M. “Are Fakes the Great Art of Our Age?” by alumnus author Jonathon Keats, Class of 1994 Orientation Event Friday, September 13, 2013, 4:30 P.M. Highlights Tour, Bradley Bailey, Pamela Russell, Head of Education and Andrew W. Mellon Curator of Academic Programs, New Faculty Orientation Seminar and Mila Waldman, Study Room Supervisor The Art of Learning at the Mead Art Museum: Visual Resources Monday, August 26, 2013, 11:30 A.M. for Every Discipline For New and Returning Faculty Members Exhibition Opening Tuesday, September 17, 2013, 4:00 P.M. To Be at the Farther Edge: Photographs along the New England Trail Poetry Reading Wednesday, August 28, 2013, 9:00 A.M. No-Mic Open-Mic Poetry Reading organized by Maria Kirigin, Class of 2014 Orientation Event Wednesday, September 18, 2013, 9:00 P.M. Mini-Course: ASI – Art Scene Investigation, Pamela Russell Wednesday, August 28, 2013, 2:00 P.M. Evening at the Mead Bingo Night hosted by Wendy Somes, Coordinator of Community Programs, and Mead docent Pablo Morales, Class of 2016 Friday, September 20, 2013, 6:00 P.M.

31 Amherst College Campaign Closing Event in Stirn Auditorium Museum Tour Collecting Art Now: Reflections from the Inside, A Discussion Pick Three Focus Tour with Mead docents with Alumni Collectors, with John Wieland ’58 (contemporary Sunday, October 20, 2013, 2:00 P.M. masterworks), John Hillman ’66 (photography and ceramics), and Charles Wilkes ’71 and P ’08 (European sculpture), and Mead Family Fun Day director Elizabeth Barker The Haunted Museum with Mead docents Saturday, September 21, 2013, 3:00 P.M. Saturday, October 26, 2013, 11:00 A.M.

Public Lecture and Reception in Pruyne Auditorium Museum Tour Artist Barbara Bosworth in conjunction with To Be at the Farther Edge Pick Three Focus Tour with Mead docents Sunday, October 27, 2013, 2:00 P.M. Sunday, September 22, 2013, 2:00 P.M.

Student visitors enjoying a Mead study night during finals week. Photo by Zoe Vayer ’16

A Closer Look Gallery Talk Lucy Guerin event Amherst College’s Monuments to Lord Jeffery with Mead director Reception co-sponsored by Theater and Dance Department Elizabeth Barker and Jeremy Simon, Class of 2013 Tuesday, October 29, 2013 Friday, October 4, 2013, 4:30 P.M. Trick or Treat at the Mead Museum Tour Campus-wide event organized by the Keefe Campus Center Pick Three Focus Tour with Mead docents Thursday, October 31, 2013, 7:00–9:00 P.M. Sunday, October 6, 2013, 2:00 P.M. The Common Reception Museum Tour Organized by The Common editor Jennifer Acker, Class of 2000, Pick Three Focus Tour with Mead docents and Diana Babineau, Class of 2014 Sunday, October 13, 2013, 2:00 P.M. Saturday, November 2, 2013, 5:30 P.M.

Exhibition Tour Gallery Discussion This Just In! with Mead docents The American Landscape, Past and Present with Mead docents Friday, October 18, 2013, 5:00 P.M. Friday, November 1, 2013, 1:00 P.M.

Friends of the Mead Celebration A Closer Look Gallery Talk An Entertaining Medley of Art and Music with Mead docents and Amherst’s Roman Sea Nymph Sarcophagus with Dr. Elizabeth the Zumbyes Bartman, President of the Archaeological Institute of America Friday, October 18, 2013, 5:30 P.M. Friday, November 1, 2013, 4:30 P.M.

Museum Tour Museum Tour Masterpieces at the Mead with Mead docents Masterpieces at the Mead with Mead docents Saturday, October 19, 2013, 9:15 A.M. Saturday, November 2, 2013, 11:00 A.M.

32 Exhibition Tour Book Club This Just In! with Mead docents Mead Reads: Seven Days in the Art World by Sarah Thornton, Saturday, November 2, 2013, 1:00 P.M. discussion lead by Paul Gulla, Gallery Manager of R. Michelson Galleries in Northampton, Massachusetts Museum Tour Sunday, December 8, 2013, 2:00 P.M. Art in the Liberal Arts Education with Elizabeth Barker Saturday, November 2, 2013, 3:00 P.M. Film Screening at Amherst Cinema Roberto Rossellini’s Journey to Italy (1954) with introduction and post-screening discussion by Smith College Professor Barbara Poetry Reading Kellum in conjunction with This Just In! No-Mic Open-Mic Poetry Reading organized by Maria Kirigin, Wednesday, December 11, 2013, 7:00 P.M. Class of 2014 Thursday, November 7, 2013, 8:30 P.M.

Student docent Pablo Morales ’16 giving an Orientation tour of the galleries. Photo by Megan Robertson ’15

Finals Week Event Study at the Mead, offering student study tables throughout the museum and midnight snacks Thursday, December 12 – Thursday, December 19, 2013

SPRING 2014 Student docent Gabriela Espinosa ’16 leading a Homecoming weekend tour. Photo by Zoe Vayer ‘16 Mellon Faculty Seminar The World in a Woodblock: Teaching with Japanese Prints in the Mead Art Museum, Bradley Bailey, E. Rhodes and Leona Evening at the Mead B. Carpenter Postdoctoral Curatorial Teaching Fellow, Mead Food in Art presented by Mead docent Pablo Morales, Class of Art Museum 2016 Thursday and Friday, January 9–10, 2014 Friday, November 8, 2013, 6:00 P.M.

Interterm Course Musical Performance Beyond Shopping: Acquiring Art for the Mead, Elizabeth Barker Student celebration of opera composer Giuseppe Verdi (1813– and Miloslava Waldman 1901) by Heesun (Sonia) Min ’16, violin; Ella Cohen ’17, violin; Tuesday, January 14 – Friday, January 17, 2014, 12:30–4:30 P.M. Matthew Van Pelt ’14, viola; and Caroline Magee ’16, cello Wednesday, December 4, 2013, 8:00 P.M. Exhibition Opening On the Glorious Stage of Death: The Attack on Port Arthur in A Closer Look Gallery Talk Woodblock Prints A Contemporary White-on-White Russian Painting by Victor Friday, February 7, 2014, 9:00 A.M. Khromin with Bettina Jungen; Vladimir von Tsurikov, director and curator at the Foundation of Russian History; and Ekaterina Khromin, the artist’s wife and collaborator A Closer Look Gallery Talk Friday, December 6, 2013, 4:30 P.M. On the Glorious Stage of Death with Bradley Bailey Friday, February 7, 2014, 4:30 P.M.

33 Family Fun Day visitors drawing in the galleries. Photo by Mark Idelman ’15

Exhibition Opening Exhibition Opening New Arrivals: Modern and Contemporary Additions to the An Unblemished Mirror of Truth: Kyohei Inukai, Robert Brackman, Collection and Portraits of American Tragedy Friday, February 14, 2014, 9:00 A.M. Tuesday, March 18, 2014, 9:00 A.M.

Exhibition Opening Celebration Artist Slide Lecture in Stirn Auditorium with Gallery Talk and New Arrivals with gallery talk by photographer Jacqueline Reception Hayden No Human Way to Kill: Painting the American Execution, artist Friday, February 14, 2014, 4:30 P.M. Robert Priseman in conjunction with New Arrivals Friday, March 28, 2014, 4:30 P.M. Family Fun Day Family-friendly gallery activities on the third Saturday of every Gallery Talk month, Mead docents A Closer Look with printmaker Katja Oxman in conjunction with Saturday, February 15, 2014, 11:00 A.M. New Arrivals Friday, April 4, 2014, 4:30 P.M. Evening at the Mead An Entertaining Medley of Art and Music with Mead docents and Evening at the Mead the Madrigal Singers An Entertaining Medley of Art and Music, Mead docents and the Thursday, February 20, 2014, 7:30 P.M. Amherst College Jazz Combo Thursday, April 10, 2014, 7:30 P.M. A Closer Look Gallery Talk Where Nepenthe Flows with alumnus photographer Michael Exhibition Opening Event Starkman, Class of 1974, in conjunction with New Arrivals Gallery talk by Bradley Bailey in conjunction with An Friday, March 7, 2014, 4:30 P.M. Unblemished Mirror of Truth Friday, April 11, 2014, 6:00 P.M. Book Club Mead Reads: Living Well Is the Best Revenge by Calvin Tomkins, Museum Tour discussion led by Pamela Russell and Professor Ronald Rosbottom Slow Art Day Worldwide Event, Mead docents Sunday, March 9, 2014, 2:00 P.M. Saturday, April 12, 2014, 11:00 A.M.

Family Fun Day Family Fun Day Family-friendly gallery activities on the third Saturday of every Family-friendly gallery activities on the third Saturday of every month, Mead docents month, Mead docents Saturday, March 15, 2014, 11:00 A.M. Saturday, April 19, 2014, 11:00 A.M.

34 A Closer Look Gallery Talk SUMMER 2014 Masterpieces of Early American Furniture, Patricia Kane, Friends of American Arts Curator of American Decorative Arts at the Yale A Closer Look Gallery Talk University Art Gallery Timelines, artist Sandra Matthews in conjunction with New Friday, May 2, 2014, 4:30 P.M. Arrivals Friday, June 6, 2014, 4:30 P.M. Exhibition Opening Going Digital: Peter Milton’s “Tracking Shot” (2008) Book Club Saturday, May 3, 2014, 9:00 A.M. Mead Reads: Alena by Rachel Pastan, discussion led by Elizabeth Barker Exhibition Opening Event Sunday, June 8, 2014, 2:00 P.M. Gallery talk by student curators Robert Croll ’16, Sylvia Ngo ’14, Rosemary Frehe ’17, and Elise Kei-Rahn (UMass Amherst ’16) in Mellon Faculty Seminar conjunction with Going Digital Art for Life’s Sake: Teaching with African Art at the Mead Saturday, May 3, 2014, 12:00 noon. Art Museum, Dr. Kate Ezra, Nolen Curator of Education and Academic Affairs, Yale University Art Gallery Musical Performance Thursday and Friday, June 12–13, 2014 Madrigal Singers student performance in the Rotherwas Room Sunday, May 4, 2014, 4:00 P.M. Gallery Talks It’s Cool at the Mead, Elizabeth Barker, Bradley Bailey, Bettina Jungen, Pamela Russell, and Sheila Flaherty-Jones Family Fun Day Thursdays at 2:00 P.M. and Fridays at 11:00 A.M., June 19– Family-friendly gallery activities on the third Saturday of every August 22, 2014 month, Mead docents Saturday, May 17, 2014, 11:00 A.M. Family Fun Day Family-friendly gallery activities on the third Saturday of every Museum Tour month, Mead docents Teaching Old Art New Tricks: How the Mead Engages 21st- Saturday, June 21, 2014, 11:00 A.M. Century Students, Pamela Russell Thursday, May 29, 2014, 11:00 A.M. Book Club Mini Mead Reads, Elizabeth Barker, Bradley Bailey, Bettina Exhibition Tour Jungen, Pamela Russell, and Sheila Flaherty-Jones New Arrivals: Modern and Contemporary Additions to the Wednesdays at 10:30 A.M., June 25–August 13, 2014 Collection, Bettina Jungen Thursday, May 29, 2014, 3:00 P.M. Film Screening in Stirn Auditorium Portrait of Jennie (1948) in conjunction with An Unblemished Museum Tour Mirror of Truth, Bradley Bailey Extraordinary Art for a Great College: Highlights of the Mead Art Friday, July 11, 2014, 4:30 P.M. Museum, Elizabeth Barker Friday, May 30, 2014, 11:00 A.M. Book Club Mead Reads: The Goldfinch by Donna Tartt, discussion led by Exhibition Tour Professor Nicola Courtright An Unblemished Mirror of Truth: Kyohei Inukai, Robert Brackman, Sunday, July 13, 2014, 2:00 P.M. and Portraits of American Tragedy, Bradley Bailey Friday, May 30, 2014, 1:00 P.M. Family Fun Day Family-friendly gallery activities on the third Saturday of every Exhibition Tour month, Mead docents New Arrivals: Modern and Contemporary Additions to the Saturday, July 19, 2014, 11:00 A.M. Collection, Elizabeth Barker Friday, May 30, 2014, 3:00 P.M. Film Screening in Stirn Auditorium The Heiress (1949) in conjunction with An Unblemished Mirror of Museum Tour Truth, Bradley Bailey Russian Stories, Bettina Jungen Friday, July 18, 2014, 4:30 P.M. Saturday, May 31, 2014, 10:00 A.M.

Film Screening in Stirn Auditorium Public Conversation Murder on the Orient Express (1974) in conjunction with An Lord Jeff’s Legacy in Art, Lindsey Echelbarger, Class of 1974, and Unblemished Mirror of Truth, Bradley Bailey Elizabeth Barker Friday, July 25, 2014, 4:30 P.M. Saturday, May 31, 2014, 2:30 P.M.

Family Fun Day Family-friendly gallery activities on the third Saturday of every month, Mead docents Saturday, August 16, 2014, 11:00 A.M.

35 ATTENDANCE

o MUSEUM ( ❚ = 200) July 2013-June 2014: 19,973 (3,962 for special events) o o o o o o July 2013: 1,297 (117 for special events) ...... ❚ ❚ ❚ ❚ ❚ ❚ o o o o o o o August 2013: 1,421 (321 for special events) . . . . . ❚ ❚ ❚ ❚ ❚ ❚ ❚ o o o o o o o o o September 2013: 1,835 (419 for special events) . . . ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ o o o o o o o o o o o o October 2013: 2,326 (496 for special events) . . . . .❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ o o o o o o o o November 2013: 1,609 (496 for special events) . . . .❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ o o o o o December 2013: 974 (452 for special events) . . . . .❚ ❚ ❚ ❚ ❚ o o o o o January 2014: 1,021 (56 for special events) . . . . . ❚ ❚ ❚ ❚ ❚ o o o o o o o o February 2014: 1,596 (255 for special events) . . . . ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ o o o o o o o o o o March 2014: 2,035 (182 for special events) . . . . . ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ o o o o o o o o o o o April 2014: 2,190 (317 for special events) ...... ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ o o o o o o o o o o o o o May 2014: 2,564 (1,009 for special events) . . . . . ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ o o o o o o June 2014: 1,132 (177 for special events) ...... ❚ ❚ ❚ ❚ ❚ ❚ *Off-site attendance for Mead-organized events was 338

o STUDY ROOM ( ❚ = 10) July 2013–June 2014 (classes and individual appointments): 1,467 July 2013: 0 ...... o o August 2013: 13 ...... ❚ ❚ o o o o o o o o o September 2013: 90 ...... ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o October 2013: 318 ...... ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ o o o o o o o o o o o o o o o o November 2013: 154 ...... ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ o o December 2013: 17 ...... ❚ ❚ o o o o o o o January 2014: 69 ...... ❚ ❚ ❚ ❚ ❚ ❚ ❚ o o o o o o o o o o o o o o o o o o o o o o o o o o February 2014: 258 ...... ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ o o o o o o o o o o o o o o o March 2014: 152 ...... ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o April 2014: 296 ...... ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ o o o o o May 2014: 47 ...... ❚ ❚ ❚ ❚ ❚ o o o o o o June 2014: 53 ...... ❚ ❚ ❚ ❚ ❚ ❚

o SCHOOL & COMMUNITY GROUPS ( ❚ = 10) July 2013-June 2014: 950 o o o o o o o o o July 2013: 81 ...... ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ August 2013: 0 ...... o o September 2013: 20 ...... ❚ ❚ o o o o o o o o o o o o o o o October 2013: 145 ...... ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ o o o o o o o November 2013: 70 ...... ❚ ❚ ❚ ❚ ❚ ❚ ❚ o o o o o December 2013: 47 ...... ❚ ❚ ❚ ❚ ❚ o o o o o o o January 2014: 67 ...... ❚ ❚ ❚ ❚ ❚ ❚ ❚ o o o o o o o o February 2014: 80 ...... ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ o o o o o o o o o o o o March 2014: 124 ...... ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ o o o o o o o o o o o o o o o o o o o o o o April 2014: 231 ...... ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ ❚ o o o May 2014: 25 ...... ❚ ❚ ❚ o o o o o o June 2014: 60 ...... ❚ ❚ ❚ ❚ ❚ ❚

36 SECURITY AND FACILITY department worked with museum security and facilities management to post new occupancy limi- During the 2013–2014 academic year, the Mead tation signage throughout the museum in compli- made renovations to the print-storage room, ance with Town of Amherst regulations. As part of enhanced the study room and staff areas, and this initiative, Heath Cummings, Nicholas Taupier, became more environmentally responsible. and Samuel Schwartz became Massachusetts state Ecofriendly improvements included the addition certified Crowd Managers through the Executive of compost bins in the café and staff kitchen, the Office of Public Safety and Security. contents of which are now regularly transported to the campus farm, the Book and Plow; the conver- Security Spotlight Program Recipients 2013–2014: sion to energy-efficient LED lighting in the galleries; Robert McLeod, July 2013; Jeffrey Ragle, August and the installation of energy-conserving lights and 2013; Department Awarded, September 2013; color-changing LED fixtures in the café, as well as Shannon Brathwaite, October 2013; Dessaure motion-activated light switches in the restrooms. Davis, November 2013; Department Awarded, December 2013; Rachel Thern, January 2014; Linda To enhance the visitor experience, the Mead added Matson, February 2014; Dessaure Davis, March an iPad to the front desk, which allows for more 2013; Gerald Devine, April 2014, Joseph Kosiorek / secure and more affordable credit-card processing. Gerald Devine, May 2014; Samuel Schwartz, June An iPad kiosk was also installed in the public hall- 2014 ways adjacent to the main gallery to allow visitors to browse the museum website and participate in museum-related sur- veys. A new café rewards program allows members to use a punch card to earn free drinks in the café.

Also in 2013-14, the museum’s security department adopted the In- ternational Foundation for Cultural Property Protection’s (IFCPP) basic officer training program. The Certi- fied Institutional Protection Special- ist (CIPS) program is internationally recognized and used by museum security managers in most institutions. The Mead certified its entire Mead security officer Gerald Devine during annual fire-safety security force in this program — one training. Photo by Heath Cummings of few institutions in the nation to undertake such comprehensive training — and incorporated the training into its Museum Security Officer orientation for all incoming officers.

The security program also expanded to encompass patrols and posts at the Beneski Museum of Natu- ral History. The Environmental Health and Safety

37 Back: Tim Gilfillan, Mila Waldman, Mason Fields, Sheila Flaherty-Jones, Bradley Bailey, David Dashiell, Heath Cummings Middle: Karen Summers, Rachel Rogol, Pamela Russell, Bettina Jungen, and Wendy Somes Front: Elizabeth Barker and her dog, Lottie

38 STAFF NEWS

TRANSITIONS Bradley Bailey catalogued several hundred examples from the Mead’s holdings of nearly 5,000 uki- In September 2014, Elizabeth Barker will leave the position of yo-e prints, greatly expanding the number available Director to become Stanford Calderwood Director of the Boston Athenaeum. for research and teaching. In Spring 2014, he also In April 2014, Stephen Bradley left the position of Museum taught a course using the Mead’s collection, titled Security Officer. “The Social Life of the Japanese Print,” which drew In July 2013, Maggie Dethloff left the position of Acting Curator students from all Five Colleges. He curated two of American Art and entered the Ph.D. program in Visual Studies at the University of California, Irvine. displays for the Mead: one on prints related to the In March 2014, Fiore Graziano, who holds a B.S in criminal 1904 attack on Port Arthur, and another about the justice from American International College, was hired as a Museum Security Officer. Japanese American portrait painter Kyohei Inukai. In September 2013, Alyssa Kristek, who holds a B.A. in For his work on the latter, he received a small grant psychology from UMass Amherst, was hired as a Museum from a subsidiary of the Fukutake Foundation, one Security Officer. of Japan’s premier arts organizations, which will Roman Kucinski held the position of Museum Security Officer from September 2013 until December 2013. support his further research on Inukai, with the In March 2014, Katherine LeBeau was hired as Accounting aim of organizing the first-ever retrospective of the Manager. artist’s work. In the summer of 2014, Bradley rep- In July 2014, the Mead will welcome Vanja Malloy, Ph.D., as resented the Mead as a participant in Hampshire Curator of American Art. A graduate of Duke University and Sotheby’s Institute of Art in New York, Dr. Malloy received her College’s Summer Institute for Curatorial Practice, Ph.D. from the Courtauld Institute of Art, University of London, where she wrote the dissertation “Rethinking Alexander Calder: which provided funds and IT support for a full-time Astronomy, Relativity, and Psychology.” Dr. Malloy previously internship and digital exhibition of the Mead’s served as Chester Dale Fellow in the Department of Modern and Contemporary Art, Metropolitan Museum of Art, New York. album of Sino-Japanese War prints. For additional In September 2013, Linda Matson, who holds an M.A. in library support of this project, Bradley received an Am- and information science from the University of Oklahoma, was herst College Information Technology Development hired as a Museum Security Officer. grant that will enable the uploading of 35 Japanese In October 2013, Jeffrey Ragle was promoted from Museum Security Officer to Security Officer (part-time). In March 2014, he prints into the College’s Digital Collections Fedora- left the Mead to accept the position of Community Service Officer with Amherst College Campus Police. based viewer, a powerful high-resolution platform In July 2014, the Mead will welcome Keely Sarr as Assistant that will serve as a pilot project for all the Mead’s Museum Educator. A recent graduate of Cornell, Ms. Sarr works on paper. previously worked at the Herbert F. Johnson Museum of Art, Cornell University, Ithaca, New York. Elizabeth Barker served on the steering commit- In March 2014, Samuel Schwartz, who holds a B.S. in criminal justice from Springfield College, was hired as a Museum Security tee of the College’s Arts at Amherst initiative. In Officer. In June 2014, he was promoted to Museum Security November 2013, she acted as external evaluator Officer Part-Time. of Art History student capstone projects at the In April 2014, Wendy Somes left the position of Coordinator of Community Programs. College of the Holy Cross in Worcester, Massachu- In January 2014, Karen Summers left the position of Accounting setts. In April 2014, she was appointed Lecturer, Manager. She is now an Administrative Assistant in the Office of General Counsel at Amherst College. History of Art; in the same month, she spoke to the In September 2013, Nicholas Taupier was promoted from Lead Alumni Association of New Hampshire. In May, she Security Officer to Museum Security and Retail Supervisor. published the article on Blake listed in the Research section of this report. In June, she attended the annual North Eastern Small College Art Museum (NESCAMA) directors’ meeting and gave the paper “Joseph Wright of Derby, William Tate, and Barnsley” at the Cooper Gallery, Barnsley, South Yorkshire.

39 Heath Cummings became recertified as a First Stephen Fisher planned and oversaw the much- Responder through the Franklin County Sherriff’s needed expansion of the print-storage room, Department in August 2013. Also in August, he increasing storage capabilities of works on paper became an interim Certified Institutional Protec- by at least one-third. He also brought in conservation Instructor (CIPI) for the International Foun- tors from Museum Textile Services to rehouse the dation for Cultural Property Protection (IFCPP), Mead’s tangka collection, making access easier and allowing him to certify individuals in the Certified safer. Institutional Protection Specialist (CIPS) program, a Sheila Flaherty-Jones co-wrote an article with Pa- basic security-officer training program through the mela Russell for The Common Online, titled “Sidney IFCPP. He completed the requirements for the CIPI Waugh, Monuments Man,” about the sculptor and training in April 2014 at Yale University, becoming Amherst native Sidney Waugh. She also success- a full instructor. In August 2013, Heath attended a fully pitched the Mead’s exhibition catalogue conference at Smith College specializing in forensic Picturing Enlightenment to the Wall Street Journal, investigation into art crimes, damage, and forgery earning a favorable review of the book in the Wall detection. In September 2013, he taught his first Street Journal online edition on March 17, 2014. CIPS course, certifying the entire museum Security staff, and led a Mead Reads book group discussion Tim Gilfillan implemented the final phase of the on the novel The Art Forger by Barbara Shapiro. In museum’s conversion to LED lighting in Bassett, October 2013, Heath began assisting the Beneski Collins, and Daniels galleries in February 2014. As Museum of Natural History on the Amherst Cam- of this spring, the entire museum is now illumi- pus with starting a security program, which has led nated by these high-tech, low-energy-consuming to full-day security posts at the museum during marvels of electrical engineering. weekend open hours. In December 2013, Heath participated in a large-scale security response drill Bettina Jungen’s article “Sweet Dreams: Retro at the Northfield Mountain Power Facility and Rec- Imagery on Chocolate Packaging in Post-Soviet reation area with the FBI and Department of Home- Russia” appeared in Russia’s New Fin de Siècle: land Security. In January 2014 he attended an IFCPP Contemporary Culture between Past and Present regional training at the Isabella Stewart Gardner (Intellect, 2013). In November she chaired a panel Museum in Boston. Over the winter he concluded on contemporary art and acted as discussant on a his research into the 1975 theft of Jan Baptist panel on émigré literature at the annual conference Lambrechts’s Interior with Figures Smoking and of the Association for Slavic, East European, Drinking from the Mead. The missing painting had & Eurasian Studies (ASEEES). never been entered into the FBI National Stolen Rachel Rogol, in her new position as Media & Art File (NSAF). Heath presented the facts of the Marketing Coordinator, researched new market- case to the Boston Division of the FBI, resulting in ing opportunities, connected with new advertis- the reopening of the case and the inclusion of the ing agencies, successfully reached specific target artwork in the NSAF. The news story was featured audiences, and began overseeing the Mead’s in local television interviews and national newspa- marketing budget. In collaboration with Big Wheel pers. Heath gave several television and newspaper Press in Northampton, she oversaw the design and interviews regarding the case. In May 2014, Heath creation of a letterpress print that was given to became a certified Crowd Manager through the special guests at the opening of This Just In! and Massachusetts Executive Office of Public Safety and is available for purchase in the museum shop. She Security. redesigned the “Collection” tab of the museum’s

40 website by reorganizing existing information in a Outreach and Education of the Archaeological more intuitive order for visitors; created an online Institute of America, took part in governing-board slideshow of images to illustrate collection “High- and committee meetings held at the AIA Annual lights”; and generated an illustrated list of objects Meeting in Chicago in January 2014. In February on view in the museum galleries. Rachel oversaw 2014 she participated in a summit meeting held at the design, printing, and installation of four out- the American Federation for the Arts in New York door museum banners. She programmed two new City with representatives from the Association of iPads for the Mead, one to display an exhibition Art Museum Directors and the AIA to discuss im- project in the galleries and another to administer provements to the AAMD’s online Object Registry a museum-visitor survey. She oversaw a student of New Acquisitions of Archaeological Material and intern who created a video promo for the student Works of Ancient Art. In May 2014 Dr. Russell at-

Pat Kane giving a gallery talk about the American desk and bookcase (AC 1945.433.a,b). Photo by Mark Idelman ’15 event “Evenings at the Mead.” In June 2014, the tended a three-day conference at the Yale Univer- Mead won first place in the New England Museum sity Art Gallery, “Expanding a Shared Vision: The Association (NEMA) Publication Contest website Art Museum and the University.” During the Spring category, listing Rachel as the in-house designer. 2014 semester Dr. Russell was a co-instructor in an Amherst College Mellon Research Seminar, Pamela Russell was the featured speaker at the “Archives of Childhood,” led by Professor Karen September 2013 Annual Business Meeting of the Sánchez-Eppler, which produced an online exhibi- Western Massachusetts Society of the Archaeologi- tion of a rare group of miniature, handmade books, cal Institute of America where she presented “An owned by Dr. Russell, that were created by three Update on Antiquities at the Mead.” Dr. Russell, brothers in rural New Hampshire in the 1890s. who continues to serve as the Vice President for

41 Jared French (American, 1905-1988), Untitled (Forest) 1946. Pen and black ink on tan wove paper. Museum Purchase with funds donated by Andrew J. Shilling (Class of 1989) and Kirsten N. Shilling; Jennifer S. Stein (Class of 1993) and Josh B. Stein; and A. Gary Shilling (Class of 1959) and Margaret B. Shilling (2012.36)

Georges Braque (French, 1882-1963), The Echo (L'echo), 1960. Color lithograph on heavy weight Arches paper (Maeght) blindstamp. Gift of Irving Vogel (friend of Amherst) (2013.25)

42 Wendy Somes delivered a paper at the November PROFESSIONAL STAFF 2013 NEMA Annual Conference in Newport, RI. Her Elizabeth E. Barker, Ph.D., Director, and Lecturer, History of Art topic, co-presented with colleagues from Old Stur- Bradley Bailey, M.B.A., A.B.D., E. Rhodes and Leona B. Carpenter bridge Village and the Springfield Museums, was Postdoctoral Curatorial Teaching Fellow in Japanese Prints Heath Cummings, Head of Security and Facilities “Who Needs Docents? We Do! The Building Blocks Sheila Flaherty-Jones, Ph.D., Curatorial and Editorial Assistant of a Successful Docent Program.” Stephen Fisher, M.A., Collections Manager Tim Gilfillan, Preparator Dr. Bettina Jungen, Senior Curator and Thomas P. Whitney, Class Nicholas Taupier attended the Mead Security of 1937, Curator of Russian Art Department’s annual Fire Safety Training in July Kathy LeBeau, Accounting Manager Rachel Rogol, Executive Assistant to the Director and Media & 2013. In September he began offering iced coffee Marketing Coordinator in the Mead café, and helped launch Club Mead, Pamela Russell, Ph.D., Head of Education and Andrew W. Mellon Curator of Academic Programs which provides discounts to students and frequent Mila Waldman, Ph.D., Study Room Supervisor customers. In October, Nicholas was promoted to Nicholas Taupier, Security and Retail Supervisor Security and Retail Supervisor, and he developed a Customer Service Training program for the Mead’s SECURITY OFFICERS lobby attendants. Nicholas became a Certified In- Gil Bolduc stitutional Protection Specialist through the IFCPP, Stephen Bradley Jerry Devine also attending a regional conference at the Isabella Fiore Graziano Stewart Gardener Museum in Boston in January Mary Hazlett Joe Kosiorek 2014, and trained the front-desk staff on a new Alyssa Kristek mobile credit-card processing system in an effort Roman Kucinski to reduce café costs. In March 2014 Nicholas began Linda Matson Robert McLeod maintaining the Mead’s attendance records and Lourdes Morales assisted with joining “NEMA Stats,” an initiative to Jeffrey Ragle Samuel Schwartz share attendance figures and track trends among Nicholas Taupier New England Museums. In May 2014, Nicholas Rachel Thern became a Massachusetts state certified Crowd Manager through the Executive Office of Public LOBBY ATTENDANTS

Safety and Security. Zeina Amhaz, Class of 2017 Shannon Brathwaite, Class of 2015 Mila Waldman co-curated the special exhibi- Monica Cesinger, Class of 2015 Kelvin Chen, Class of 2016 tion This Just In! Additions to the Collection from Dessaure Davis, Class of 2016 Pompeii to Today (August 16–December 29, 2013) Jennifer Gaida, Class of 2014 and delivered a presentation about Renaissance Jonathan Jordan, Class of 2015 Soo Kim, Class of 2014 intaglio prints at the exhibition opening. She also Jessica McMillan, Class of 2015 contributed label texts for contemporary prints in- Yosef Negussie, Class of 2015 Sylvie Ramierez, Class of 2014 cluded in the exhibition New Arrivals: Modern and Zoe Vayer, Class of 2016 Contemporary Additions to the Collection(Febru - Jacob Walters, Class of 2014 ary 14–June 29, 2014). In March 2014 she attended Ryland Webb, Class of 2015 Christina Won, Class of 2015 five sessions dedicated to Renaissance prints at the Lucy Xu, Class of 2014 Annual Conference of the Renaissance Society of America in New York CIty.

43 PAID STUDENT INTERNS ADVISORY BOARD

Thea Goldring, Class of 2014 Danielle Allen, Amherst College Trustee Pablo Morales, Class of 2016 Elizabeth Barker, Director of the Mead Art Museum Sylvia Ngo, Class of 2014 Gregory Call, Dean of the Faculty and Professor of Mathematics Lucas Renique, Class of 2015 Linda and Ronald Daitz ’61 and P ’88 Luis Velasquez, Class of 2016 Charles Eldredge ’66 and P ’90, Amherst College Trustee Emeritus Suzannah Fabing, Director Emerita of the Smith College VOLUNTEER STUDENT DOCENTS Museum of Art Thomas R. Firman ’66 Daria Chernysheva, Class of 2016 Loretta Howard ’83 Robert Croll, Class of 2016 Younghee Kim-Wait ’82 Alex Diones, Class of 2014 Arthur Koenig ’66, Amherst College Trustee Sharline Dominguez, Class of 2016 Carolyn Martin, Amherst College President Gabriela Espinosa, Class of 2016 John Middleton ’77, Amherst College Trustee Rosemary Frehe, Class of 2017 Megan Morey, Amherst College Chief Advancement Officer Manuel Guerrero, Class of 2014 Scott Niichel ’06 Emma Hartman, Class of 2017 Brooke Kamin Rapaport ’84, Chair Emerita of the Mead Art Emma Hickman, Class of 2015 Museum Advisory Board Sarah Seewai Hui, Class of 2016 Kenneth Rosenthal ’60, Secretary of the Mead Art Museum Chen Jiang, Class of 2015 Advisory Board Rachel Johnson, Class of 2015 Axel Schupf ’57 and P ’87 and ’81, Amherst College Life Trustee Molly Jordan, Class of 2016 Perrin Stein ’84 and P ’12, Vice Chair of the Mead Art Museum Elise Kei-Rahn, UMass Amherst Advisory Board Elizabeth Kendrick, Mount Holyoke College Bette and Thomas Sturges II ’66 and P ’05 Carys Lamberg, Greenfield Community College Helen and Charles Wilkes ’71 and P ’08, Chair of the Mead Art Jeanne Lee, Class of 2016 Museum Advisory Board Seog in Paul Moon, Class of 2017 Patricia and Philip Winterer ’53, Amherst College Life Trustee Pablo Morales, Class of 2016 Noah Morton, Class of 2017 FRIENDS OF THE MEAD OFFICERS Samantha Philbrook, Class of 2015 Tianshen Rong, Class of 2015 James B. Lyon, Class of 1952, President, 2013 Muling Si, Class of 2017 Stephen Petegorsky, Class of 1975 , President 2014 Jake Walters, Class of 2014 J. Hylton Cooke, Class of 1986, Vice President M Whitaker, Hampshire College Suzannah J. Luft, Class of 2008, Vice President Jin Jin Xu, Class of 2017 Judy Yoo, Class of 2014 Dian Yu, Class of 2016 FRIENDS OF THE MEAD ART MUSEUM

James F. Ahearn, Class of 1953 A. Elizabeth Anema and Betsy Johnson Elizabeth Barker James and Georgia B. Barnhill Kit S. Basquin, Ph.D. Robert R. Benedetti, Class of 1964 James B. Bittman, Class of 1972 Stephen Bonner, Class of 1968, and Lisa Bonner Thomas R. Borkowski, Class of 1978, P ’07, ’11 Peter O. Brown, Class of 1962, and Nancy S. Brown, P ’89 Janet P. Bruce, Class of 1980 John S. Burlingham, Class of 1956 Buffy and William Cafritz, P ’71, G ’08 Elizabeth Cannon Smith, Class of 1984, and Randall P. Smith, P ’15 Student docents Jin Jin Xu ’17, Daria Chernysheva ’16, Rosemary Salvatore J. Carbone, Class of 1973 Frehe ’17, and Elise Kei-Rahn (UMass Amherst), dressed up as Coleman H. Casey, Class of 1969 the four virtues – Justice, Temperance, Wisdom, and Fortitude – Timothy F. Clark, Class of 2012 during an Evening at the Mead event. Photo by Elizabeth Barker George C. Corson, Jr., Class of 1956, P ’85 Tacy B. Corson, Class of 1985 Robert D. Denious, Class of 1983, and Catherine Fulton Denious, Class of 1983, P ’10, ’12 Cushing J. Donelan, Class of 2005

44 Rita G. Edelman Brooke K. Rapaport, Class of 1984, and Richard Rapaport, P ’16 Charles C. Eldredge, Class of 1966, and Jane M. Eldredge, P ’90 Professor Ronald C. Rosbottom Jeffrey M. Epstein, Class of 1962, P ’94, ’02 Kenneth Rosenthal, Class of 1960 Claude E. Erbsen, Class of 1959, P ’86 Donald E. Sackheim, Class of 1967 Kent W. Faerber, Class of 1963, and Scottie B. Faerber Peter J. Sands, M.D., Class of 1986, and Lisa Calgaard Sands, Sheila Flaherty-Jones Class of 1987 Stephen M. Foster, Class of 1970 Barret T. Schleicher, Class of 1953 Ronna Freiberg and William Wise, Class of 1966 Paul T. Schnell, Classs of 1976, and Joanne W. Schnell, P ’11 Isaac A. Gendelman, Class of 2011 H. Axel Schupf, Class of 1957, P ’81, ’87, G ’12, ’18 Professor Frederick T. Griffiths Ernest Van B. Seasholes, Class of 1955 W. B. Martin Gross, Class of 1958 James M. Shook, Class of 1971 Jack W. Hagstrom, Class of 1955 Hubbard M. Smith, Class of 1957 Professor Hugh Hawkins Bryan T. Southergill, Class of 1998 Harvey L. Hecht, M.D., Class of 1958, P ’88, ’89, ’93 Edward and Perrin Stein, Class of 1984 Thomas Hickey, Jr., Class of 1974, and Sharon Hickey Sanford B. Sternlieb, M.D., Class of 1946, P ’69 Frederick D. Hill, Class of 1967, P ’65 Thomas Sturges, II, Class of 1966, and Bette Sturges, P ’05 Warren H. Hollinshead, Class of 1957, and Marilyn Hollinshead, Gregory B. Sutphin, Class of 1971, and Daniel C. Cochran, Class P ’81 of 1968 Dr. Richard and Mrs. Ann Holt, P ’04 Albert L. Swett, Class of 1975 Ms. Amy S. Hopwood, Class of 1988 John F. Swope, Class of 1960 Professor Nicholas J. Horton and Julia Riseman Robert W. Taft, Class of 1959 Loretta E. Howard, Class of 1983 Thomas W. Thaler, Class of 1975 Robert A. Howard, Class of 1976, P ’10 Mary Sidney Treyz Jordan James William M. Vickery, Class of 1957 Robert D. Jones, Class of 1952 Kenneth M. Wachtell, Class of 1968 Andrew and Patricia Keats, P ’94 Mr. George R. Wanlass, Class of 1964 Charles A. Kelly, Class of 1953 Mr. George G. Watson, III, Class of 1954, and Ms. Carlyjane D. Peter S. Krensky, Class of 2011, and Nicole P. Panico, Class of Watson, P ’82, ’84, G ’18 2011 Dr. William A. Weary, Class of 1964 Stephen T. Kunian, Class of 1960 David and Myrna D. Yashon, P ’87 Elayne Lepes Mr. George M. Zimberg, Class of 1948 Donna and Maurice Levin Lewis A. Shepard Works of Art AD HOC FACULTY ADVISORY COMMITTEE Richard A. Linenthal, Class of 1978 Suzannah J. Luft, Class of 2008 FOR THE MEAD ART MUSEUM James B. Lyon, Class of 1952 Carol Clark, Professor of the History of Art and American Studies William F. Malloy Nicola Courtright, Professor of the History of Art Roger Marshall, Class of 1953, P ’81 Lawrence Douglas, Professor of Law, Jurisprudence, and Social Dr. Murray McClellan & Dr. Pamela Russell McClellan Thought W. Drake McFeely, Class of 1976, and Karen E. McFeely, P ’05 Heidi Gilpin, Associate Professor of German Joseph McGrath, Class of 1979, and Dale S. McGrath, Class of Tekla Harms, Professor of Geology 1981 Maria Heim, Professor of Religion John D. McKenzie, Jr., Class of 1966 Jenny Kallick, Professor of Music Henry T. Meneely, Jr., Class of 1963 Carol Keller, Professor of Art John S. Middleton, Class of 1977 William Loinaz, Professor of Physics Alan D. Miller, M.D., Class of 1942, P ’68, ’85, G ’96, ’01 Marisa Parham, Associate Professor of English Samuel D. Miller, III, Class of 1964 Boris Wolfson, Associate Professor of Russian George S. B. Morgan, Class of 1955 Ann D. Mulvihill, Class of 1983 Cullen Murphy, Class of 1974, and Anna Marie Murphy FACULTY ADVISORS Scott K. Niichel, Class of 2006 Victor S. Noerdlinger, Jr., Class of 1952, P ’81, ’89, G ’17 Rowland O. Abiodun, John C. Newton Professor of the History of Charles V. O’Boyle, Jr., Class of 1986, and Professor Richard Art and Black Studies (African Art) Rambuss, Class of 1983 Maria Heim, Professor and Chair of Religion (Buddhist Art) Gene M. O’Grady, Class of 1969 Rick A. Lopez, Professor of History (Mexican Art) Ronald E. Ohl, Class of 1958 Samuel C. Morse, Howard M. and Martha P. Mitchell Professor Kevin J. O’Mara, Class of 1961 of the History of Art and Asian Languages and Civilizations (Asian Art) Paul L. H. Ouyang, Class of 1978, and Deborah G. Ouyang, P ’10, ’14 John Pemberton, Professor Emeritus of Religion (African Art) Rebecca H. Sinos, Professor of Classics (Ancient Art) Charles A. Pittman, III, Class of 1951 John A. Quisenberry, Class of 1960 Francis B. Randall, Class of 1952

45 STRATEGIC PLAN STATUS REPORT outgoing loans, and to enter didactic wall labels and exhibition texts into the database. (Curatorial and collections management staff, ongoing, no special funding required) 2. Enrich keyword searching of the collection database The Interim Strategic Plan that follows, approved via the ARTigo social image tagging game developed at by the Mead Art Museum Advisory Board at its the Institute for Art History at the University of Munich October 20, 2012 meeting, concerns the transi- and funded by the German Research Foundation (DFG). (ARTigo intern, other student interns, and curatorial staff, tional period from 2012 to 2015, when Amherst ongoing, Museum and College funding) College will be developing a new Strategic Plan. 3. Update, expand cataloguing of Japanese prints. (Post-Doc By adopting a three-year plan before preparing a Fellow in Japanese art, 2013-15, grant funding) seven-year plan, the Mead seeks to synchronize its New procedures for documenting acquisitions, adopted in spring 2014, promise to streamline the documentation of new acquisi- strategic planning process with that of the College tions. During the 2013-14 academic year, the Mead’s Russian as a whole. This plan seeks to sustain the Mead’s paintings were fully keyword “tagged” using ARTigo. Curators and remarkable recent success, while also laying the collections management staff continue to make daily improvements to the museum’s cataloguing records. Most notably, Bradley groundwork for addressing certain longstanding Bailey added several hundred Japanese prints to the museum’s challenges (noted in the 2007 conversations, and online database. subsequently noted by the Advisory Board) that C. Publish the collection. lie beyond the Museum’s immediate purview, and 1. Publish a scholarly catalogue of the collection of Russian which the College is now in a position to consider: art. (Curator of Russian art, ongoing, to be completed in exterior lighting, parking, and, most important, the 2016, donor and foundation funding) 2. Develop a proposal, work schedule, and funding plan need for a new Museum facility. for a scholarly catalogue of the collection of American nineteenth-century paintings to be published in 2018. In the text that follows, passages written in roman (Curator of American Art, 2013–14, no special funding letters represent the Interim Strategic Plan; an- required) notations inserted in italics document the Mead’s In 2013, the museum published a scholarly catalogue of its progress in meeting those goals and objectives dur- Tibetan tangkas. Plans to publish comprehensive scholarly catalogues of the collections of American nineteenth-century ing the 2013–14 academic year. paintings (and perhaps also of sculpture) and of Russian art remain on track for completion in the years ahead. GOALS AND OBJECTIVES D. Sustain and increase use of the Study Room. 1. Offer faculty orientation programs. (Curator of Academic 1. Strengthen access to and enrich information about the Programs, ongoing, no special funding required) permanent collection. 2. Offer faculty seminars. (Curator of Academic Programs, A. Complete the digitization of the collection. ongoing, transitional support from the Dean of the Fac- 1. Digitize the 4,140 objects—23% of a collection of 18,000 ulty’s office, then endowment support) artworks and artifacts—that remain un-illustrated in 3. Offer student orientation programs. (Curator of Academic the collection database. (Digitization project specialists, Programs, ongoing, no special funding required) 2012-13, IMLS grant support) 4. Offer student research prize. (Director, to begin in 2013, 2. Develop procedures to ensure the prompt and efficient Wise Fund support) digitization of all future acquisitions. (Collections man- In 2013-14, as documented in the Curricular Connections section agement staff, 2013, Museum funding) of this report, the Mead continued to serve as a national leader By November 2013, when IMLS funding for the digitization among academic art museums in integrating its collections suc- project was expended, more than 94% of the collection was cessfully into college teaching and research, and sustained all of illustrated in the online database. Of the 1,097 objects that the programs listed above. remain to be photographed, most are textiles, objects whose fragility and size slows their digitization. The Mead plans to 2. Deepen curricular and co-curricular use of the collection. address this modest backlog and maintain its ongoing efforts A. Promote and coordinate teaching involving the collection. through a combination of in-house photography and quarterly (Curator of Academic Programs, ongoing, no special fund- visits by professional photographers. ing required) B. Enrich cataloguing information recorded in the database. B. Invite faculty to participate, as appropriate, in exhibitions 1. Continue to catalogue thoroughly new acquisitions and and special events. (Curatorial and education staff, ongo-

46 ing, no special funding required) from the Amherst Center for Russian Culture concludes C. Strengthen the student docent program. (Coordinator of in autumn 2016. (Director, 2013-15, College and/or donor funding) Community Programs, ongoing, Friends association sup- C. Secure funding to ensure the continuation of the Museum’s port) soft-funded Coordinator of Community Programs position D. Offer interterm courses at the Museum. (Curatorial staff, once the pledged funding from two donors concludes in ongoing, no special funding required) summer 2014. (Director, 2013, Friends association funding) E. Provide internship opportunities for students. (Curato- D. Reestablish the Mead’s successful former two-year Post- Bac Curatorial Fellowship program. (Director, ongoing, rial, education, and collection management staff, ongoing, College, foundation, and/or donor funding) Amherst College funding) In 2012-13, the Mead secured a generous pledge for the full F. Expand faculty and student use of the collection for matching amount required by the Mellon Foundation. In research. (Curator of Academic Programs, ongoing, no 2013-14, the Mead expanded the Assistant Educator position special funding required) (formerly titled Coordinator of Community Programs) to full In 2013-14, the Mead continued this important work. time, and arranged for its underwriting in full by the Friends of the Mead Art Museum. Planning for the other funding consider- 3. Create innovative, collections-based, sometimes cur- ations listed above is ongoing. riculum-related, exhibitions. (Curatorial staff, ongoing, Museum, College, donor, and foundation funding) 8. Maintain and continue to improve recent advances in the College’s communication about the Museum and in the In 2013-14, the Mead continued this important work. Museum’s public communication. (Director, Media and 4. Work with the Office of Advancement to realize the priori- Marketing Coordinator, and Advisory Board, in coordina- ties and responsibilities outlined in the Collection Plan. tion with Office of Public Affairs and President’s staff, (Director, Curators, and Advisory Board, ongoing, Museum 2012–14, Museum and College funding) and College funding and/or grants) The Arts at Amherst campus collaboration, launched in 2012-13, In 2013-14, the Mead continued these discussions, and began to and the anticipated redesign of the Amherst College website chart a forward course to reach these goals. (being undertaken by the office of the Chief Communications Officer) promise to further this initiative. 5. Strengthen the Museum’s community- and public-education programs. 9. Begin to develop a Conceptual Plan for a new teaching Museum facility. (Director and museum staff with Advi- A. Engage the Docents in leading school visits and activities for families with children. (Coordinator of Community sory Board, faculty advisors, and College administrators, Programs, ongoing, Friends association support) 2013–15, Dean of the Faculty’s office support for facilities B. Continue the program of consistently scheduled public research travel) tours and family activity days. (Coordinator of Community Programs, ongoing, Friends association and Museum sup- This goal is no longer a near-term priority for the Mead. In port) 2012-13, after learning that the timeframe for planning a new C. Pilot a K-12 curricular Museum project. (Coordinator of museum facility might extend beyond the present decade, the Community Programs, ongoing, Friends association sup- Advisory Board decided to postpone indefinitely a planned port) series of fact-finding visits to peer institutions. In 2013-14, the Mead continued its important work in service of the first two initiatives, and hired an Assistant Museum Educa- tor charged with implementing the third. ASSESSMENT 6. Work with College administration to develop a sufficient, stable baseline operating budget. The Museum has and will continue to provide sta-

(Director, Advisory Board Budget Committee, with Chief Financial tus reports on its progress in meeting these goals Officer and other College administrators, 2012–14) and objectives in its annual reports for 2013, 2014, and 2015. During the same period, the Advisory In 2013-14, the parties concerned held productive meetings aimed at achieving this important goal. Board of the Mead Art Museum, in consultation with the Amherst College strategic planning pro- 7. Work with College administration to secure hard funding for soft-funded staff positions. cess, will continue work to draft a new, seven-year A. Raise matching funds to allow the Mead to accept the $1M Strategic Plan for the Museum. Andrew W. Mellon Foundation challenge grant to endow the position of Curator of Academic Programs. (Director, in coordination with office of Advancement, 2012-14, private donor or donors) B. Secure funding to ensure the continuation of the Museum’s second curatorial position once the pledged funding

47 Family Fun Day visitors with a portrait of Lord Jeffery Amherst. Photo by Mark Idelman ’15

48 MISSION

The Mead Art Museum at Amherst College EXCELLENCE | The Mead is committed to seeks to stimulate thought, inspire creativity, providing the best possible experiences for its provide insight, interrogate preconceptions, various audiences, and to undertaking rigorous and invite contemplation through interaction and regular self-assessment to ensure its ongo- with the original works of art that the Museum ing advancement. collects, researches, interprets, exhibits, pub- lishes, and preserves. AGILITY | The Museum seeks to act rapidly to realize new ideas that serve its mission and, by To realize its mission, the Museum makes its extension, the educational mission of Amherst collections available to the students, faculty, College. staff, and alumni of Amherst College, and to visitors from around the world; develops in- INNOVATION | The Museum strives con- novative exhibitions drawn primarily from the tinuously to test fresh ideas and implement permanent collection and linked meaningfully improvements. to the curriculum and to the wider intellectual life of Amherst College; engages faculty, stu- DIVERSITY | The Museum aims to present dents, and other visitors in fresh, sometimes art representing a wide range of cultures and interdisciplinary inquiries involving art and historical periods; to offer a rich array of in- visual understanding; and produces original, terpretative and educational programs; and to engaging, academically rigorous publications. cultivate an environment in which visitors from all backgrounds feel welcome. VISION ACCESSIBILITY | The Museum recognizes its The Museum strives to become an essen- responsibility to make the art collection of Am- tial, integrated participant in the intellectual herst College available in person, in print, and and cultural life of Amherst College; a leader in new electronic media to its audiences, and among college and university art museums; to make its facility accessible to many types of and a destination for a diverse range of visitors visitors, including people with disabilities. from around the world.

INQUIRY | The Museum pursues its activi- VALUES ties in a spirit of intellectual curiosity, always AUTHENTICITY | The Museum grounds all of testing received ideas and seeking new under- its activities in the unique experience of origi- standing. nal works of art, which offer irreproducible insights into the human condition.

INTEGRITY | The Museum endeavors to meet the highest professional, academic, and ethical standards in all of its activities, policies, and procedures.