Betye Saar: Extending the Frozen Moment March 18-June 4, 2006

ABOUT THIS CURRICULUM: This guide is the result of an exciting new partnership Exhibition Credits: between the Norton Museum of Art and Sun-Sentinel News in Betye Saar: Extending the Frozen Education. Based on the exhibition appearing at the Norton Museum from March 18 through June 4th, this student guide Moment is organized and circulated by the is designed to familiarize your students with the art of University of Michigan Museum of Art. assemblage, for which Betye Saar is so famous. In addition, it is This exhibition has been made possible in important to note that Betye Saar’s works embrace many of part by the National Endowment for the Arts, the events of her lifetime. Through these works the curriculum the Henry Luce Foundation, The Andy Warhol touches on themes of racism, prejudice, personal loss, war, Foundation for the Visual Arts and the Peter feminism, protest, history, storytelling, and individualism. Norton Family Foundation, and other generous donors. Support for the local presentation of this exhibition is provided by Marjorie S. Fisher, THE MOSAIC FOUNDATION (of R. & P. Heydon), The Georgene and Hamish Maxwell Exhibition Endowment and the State of Florida, Department of State, Division of Cultural TABLE OF CONTENTS Affairs, the Florida Arts Council, and the National Endowment for the Arts. Media Page 3:...... Introduction support provided by the Sun-Sentinel. Page 4:...... The Artist As Storyteller Page 5:...... What is an Assemblage? Page 6:...... Symbols in Art Page 7:...... Recycling/Re-seen Page 8/9:...... Remembering and Honoring Page 10/11: ...... Challenging Prejudice Page 12: ...... Likeness and Difference Page 13: ...... Poem: I Want to Thank You, Credits: Betye Saar on the occasion Written by: Glenn Tomlinson, William Randolph of your 75th birthday, Hearst Curator of Education, and by Harryette Mullen Carole Gutterman, Assistant Curator of Page 14: ...... Student Works of Art Education for School Programs and Page 15: ...... The Norton Museum of Art Development, Norton Museum of Art Edited by: Lynn Baden, Sun-Sentinel Designed by: Austin Humberson, Sun-Sentinel INTRODUCTION

orn in 1926 in Los Angeles, Betye Saar emerged in the B1960s as a powerful figure in the redefinition of African American identity in art and in the making of a socially engaged art. Throughout her career, Saar has injected African American visual histories into mainstream visual culture by blending cultural, political, and spiritual iconography to create complex works with universal impact.

“As one of the leading artists of our time, Betye Saar is central to understanding American art of the last 40 years. Her use of photography – one of the most profoundly immediate and powerful media of the last century – has allowed Saar to merge the historical, the personal, and the universal to make art that is transcendent and somehow remarkably generous,” said Christina Orr-Cahall, Director of the Norton Museum of Art. Betye Saar: Courtesy of Michael Rosenfeld Gallery Saar’s innovative and politically trenchant artwork moves beyond protest to encapsulate what links human beings across cultures and time. She expresses her interest in the past and in memory by including vintage portraits and personal effects in order to challenge stereotypes and reconstruct and reclaim the identities of those lost to history.

Consider this: Have you ever had the experience of relating old memories with friends or family members? Do you remember if all the memories of the shared event were the same? Very often, each person’s memories are slightly different based on their own very personal experiences. Betye Saar spends a great deal of time scouring flea markets and junk shops in search of the objects she uses in her artwork. The finding and collecting of memories (in the guise of advertisements, photographs, toys, household objects and musical instruments) that represent how African Americans have been treated in this country is an important a part of Saar’s art-making process. If some of the unpleasant and misplaced attitudes people have towards others have a way of fading from our memories over time, we are fortunate to have songwriters, authors, poets and artists such as Betye Saar to remind us.

Vocabulary: iconography; transcendent; trenchant; encapsulate; vintage ; guise 3 THE ARTIST AS A STORYTELLER

ince prehistoric times, artists have used images to tell stories. Saar says: “When I Swas a child, I loved looking through my great-aunt Hattie’s album filled with photographs of family and friends from Kansas City, Missouri. As Hattie and my mother recalled events and people, they exchanged stories and memories of their shared past. This experience made me realize that every picture tells a story.”

Blackbird is an assemblage. The top half portrays the third grade class that Saar’s great- aunt Hattie taught in 1911 in Missouri. The bottom half is composed of an arrangement of objects, some of which begin with the letter “B”. Many of the objects signify derogatory stereotypes of African Americans. The word “blackbird” was a negative term used by white people to describe any dark-skinned person. The watermelons used in the piece were also symbols signaling derogatory stereotypes of African Americans.

Blackbird, 2002. Mixed-media assemblage on vintage blackboard, 23 1/4” x 23 1/4” x 2 3/4”. Courtesy of the Pennsylvania Academy of the Fine Arts, Philadelphia, Henry D. Gilpin Fund.

Activity: Part 1: Betye Saar has said about herself, “Sometimes I think of myself as a griotte; it’s an African word meaning the historian, storyteller.” a. Who are the storytellers in your family? b. How do your family and your beliefs help establish values in your life? Do you think those values are unique or shared by many other Americans? c. How does our society or our culture define who we are? d. What are some ways we can positively impact society or our culture? e. Think of storytellers in everyday contemporary culture. How do rappers, poets and artists tell stories? Part 2: Choose an example of a contemporary musician and research his or her work. Use a variety of resources. How do you think that this artist has positively impacted modern culture? Discuss with your class, using examples and facts from your findings to support your opinion.

Bonus activity: If someone among your family or friends is a storyteller, interview that person. You may want to write down or tape what they tell you.

4 Vocabulary: signify; derogatory; stereotype; contemporary WHAT IS AN ASSEMBLAGE?

n assemblage is a three-dimensional work of art made by combining various Aelements, especially found objects, into an integrated whole.

Louise Nevelson, one of America’s best known assemblage artists, spent a lot of her time looking through many buildings that were in the process of renovation in New York City, where she lived. She collected pieces of material that had been discarded, such as moldings, doorknobs, and scraps of wood whose shapes she found interesting. She arranged some of these pieces, gluing them down or nailing them to a backing to create her compositions. She painted many of the artworks all one color.

Sky Wall, 1980. Louise Nevelson, American, born Russia, 1899-1988 Painted black wood wall hanging with 6 hinged door box sculptures within composition. 42 by 52 by 8 in. Gift of Milton and Etta Fleisher, 2002.6 © Estate of Louise Nevelson/Artists Rights Society (ARS), New York

Activity: Part 1: a. What do you notice when you look at Sky Wall? b. Why do you think that Nevelson chose to paint this assemblage all black? c. Both Betye Saar and Louise Nevelson are assemblage artists. Research both artists. d. Compare and contrast their works Sky Wall and Blackbird. How are they alike? How are they different? Use examples from their art to explain your conclusions. Part 2: Collect a variety of objects that you would like to use to create your own assemblage. Use anything you like, as long as it has meaning to you or relates to a theme you have chosen for your art. As you assemble your sculpture, think about what objects should go next to each other, and why. Share your art with your class.

Vocabulary: found objects; renovation; theme 5 SYMBOLS IN ART

hat are symbols, and why does Betye WSaar use them in her assemblages? A symbol is something that stands for something else, like each star on the United States’ flag is a symbol for one of the fifty states. During the 1960s, Betye Saar began to use symbols in her art that came from astrology, African traditions and other sources. One of these is a “mojo”, which is a charm or amulet used for its magic or healing power in traditional societies.

The toy lion in Nine Mojo Secrets is a symbol for the artist herself, since Leo the Lion is Saar’s zodiac sign. This symbol links the artist to other symbols in the composition, like the crescent moons, stars, and Stars of David. In the center of the composition, a photograph taken from the National Geographic magazine depicts people preparing for a ceremony in Africa. Saar has said that she mixed symbols from different cultures in her works to express something that all people share: “It’s like a universal statement… man has a need for some kind of ritual.”

Nine Mojo Secrets, 1971. Mixed-media window assemblage, 49 3/4” x 23 1/2” x 1 3/4”. Collection California African American Foundation, Courtesy California African American Museum

Activity: Think about the following:

1. What symbols are important to you? 2. Often, symbols represent beliefs or qualities in people; for instance, can you think of symbols that might represent wisdom, courage or compassion? Now, think of one of your own character traits. Design a symbol that would represent that aspect of yourself.

6 Vocabulary: astrology; “mojo”; amulet; zodiac; ritual RECYCLING/RE-SEEN: USING OBJECTS TO RELATE TO HISTORY

etye Saar inherited several handker- chiefs from her great-aunt Hattie. On Bone of these, she sewed a picture of her father and herself in the lower left corner. She left a space that looks like a rip or tear between the figures. Since Betye Saar’s father died early in her life, the combination of the handkerchief, torn photograph and other symbols take on a personal meaning. She used the butterfly and the leaf as symbols of change. Saar gave this work the title The Loss.

The Loss, 1977. Mixed-media on handkerchief, 8 3/4” x 9 1/2”. Collection of the artist

Activity: 1. Discuss with your class what we can learn about our relatives by examining the personal memorabilia they leave us. 2. Ask your family to help you select objects or memorabilia handed down to you or your relatives. Take them into class. 3. Arrange the objects on a shelf or a table where everyone in the class can see them. 4. Make a list of some of the topics you think the items represent. Explain your conclusions.

Vocabulary: inherit; memorabilia 7 REMEMBERING AND HONORING Historical Events During Betye Saar's Lifetime (1926 - present) etye Saar was born Betye Brown in 1926. When you look at her work, you understand that she is or years, I have collected vintage washboards and to influenced by many of the events of her lifetime. Saar grew up in Los Angeles, and spent many me, they symbolize hard labor. By recycling them, I am Bchildhood days at her grandmother’s house in the Watts district of Los Angeles. There she watched “Fhonoring the memory of that labor and the working the famous Watts Towers being built from debris and discarded items. She always liked to collect “things”, woman upon whose shoulders we now stand.” Betye Saar and the Tower influenced her interest in recycling existing objects in new and meaningful ways. Saar’s art reflects on shared history, spirituality, racism, feminism, family, and the environment, issues that have been especially prominent in recent American history.

1930s (Swing music, "Porgy and Bess” - American folk opera) During the 1920s, the artist Augusta Savage created a The Great Depression continues sculpture of a young African American boy. The model was Star-Spangled Banner adopted as the U.S. National Anthem probably her nephew, but she gave the sculpture the title Scottsboro Trial - reveals the depths of southern racism Gamin, a French word used to describe boys who lived on the 1940s (Big Band music & dance bands; the first McDonalds) streets of cities like New York. In spite of this character’s tough World War II life, Savage portrayed Gamin with dignity. Gamin, 1927. AUGUSTA SAVAGE, American, Racial segregation in the Armed Forces ends 1892 - 1962, ca. 1929 painted plaster cast, Jackie Robinson joins the Brooklyn Dodgers baseball team Height: 9” (22.9 cm) Purchase, R.H. Norton Trust, 2004.26 Women's Military Services established Betye Saar has also used images of particular people to portray issues that affect many. For decades she has used old 1950s (Rock and Roll; Hula Hoops; Silly Putty; Drive-in movies) Brown vs. The Board of Education ends school segregation photographs and objects she collected at garage sales and flea Rosa Parks refuses to give up her seat on a bus to a white person markets to create assemblages that tell stories about African Martin Luther King, Jr., heads a boycott of the Montgomery, AL bus system American history. For Lest We Forget, The Strength of Tears, Lullaby also combines words, an antique The "Little Rock Nine" integrate an Arkansas high school Of Those Who Toiled, the artist used three old washboards used photograph and an everyday object (a serving tray) for cleaning clothes. Saar transferred images of African 1960s (Folk music; The Beatles, Sesame Street; skateboards) in meaningful ways. How do you think the War in Vietnam American women workers onto their surfaces. Fixed on top of photograph relates to the tray? Saar wrote a slave Man walks on the moon the washboards is a framed photograph of two young women, lullaby called “All The Pretty Little Ponies” over the Rioting in Watts, California one of whom holds a diploma. photograph to comment on the injustice of the President Kennedy, Senator Kennedy, Dr. Martin Luther King, Jr. assassinated American Indian Movement (AIM) begins woman’s labor and forced neglect of her own Silent Spring, by Rachel Carson, triggers the Environmental Movement children. 1970s (Disco music; Star Wars; Sony Walkman; Walt Disney World) In assemblages like these, Saar asks us to Watergate break-in remember and honor the struggle and sacrifice of Women's Liberation Movement gains momentum U.S. Supreme court rules that busing is allowed to achieve school desegregation those who came before us. Clean Air, Clean Water and Endangered Species Acts Activity 1: Three Mile Island Nuclear Reactor Disaster Think about and answer the following questions: 1980s (Hip-Hop, Reggae, music videos, MTV; PacMan) 1. What does the shape of the assemblage look like? Fall of the Berlin Wall 2. How do the words of the title relate to the images of Challenger explosion the assemblage? Rise of cable TV 3. What is Saar telling us about the women she portrays? Sandra Day O’Connor first woman on the U.S. Supreme Court Exxon Valdez Alaskan oil spill

1990s (Grunge music, the Internet; 1st Harry Potter book) Gulf War Apartheid ends in South Africa Dolly the sheep is cloned Los Angeles riots after Rodney King beating Nelson Mandela freed from prison in South Africa

Activity 2: 2000s (Rap music; Star Wars II) Lullaby, 1999. Mixed-media assemblage, 16 1/2” x 9 3/4” x 3/4”. Elian Gonzalez returned to his father in Cuba Mary Anne Mott and Herman Warsh, Santa Barbara, California 1. Using found objects and other materials, including Lest We Forget, The Strength of Tears, Of Those Who Toiled, Terrorists bring down the Twin Towers in New York City, September 11th, 2001 1998. Mixed-media assemblage of 3 stacked vintage pictures, photographs, words, headlines or illustrations Backlash against Muslim peoples for 9/11 attacks washboards with photo transfers and framed photo cut from the Sun-Sentinel create an assemblage that Iraq War; War in Afghanistan atop; 60” x 8 1/2 ” x 1 3/4”. honors someone or something that is important Asian Tsunami kills 200,000 people Oakland Museum of California, Museum Purchase Fund to you. Hurricanes Charley, Frances, Ivan, Jeanne, Katrina, Rita and Wilma 2. Write a poem, haiku, short story, or song lyrics that 8 relate to your artwork. Share your work with your class. 9 CHALLENGING PREJUDICE

rejudice – a negative opinion or judgment made without knowledge of the facts – is a problem that people encounter with Pothers all around the world. Prejudice has plagued the United States throughout its history, from our colonial beginnings to the present. As an African American, Betye Saar has felt the effects of prejudice in her life and has set out to develop artworks that challenge it. As she said in 1998:

“During the late sixties, during the black revolution, the work became very political. I think that was my way of responding to what was happening in the United States and the treatment of the blacks in the South and also a reaction to the death of Martin Luther King. I had previously started to collect derogatory black images, and I recycled them into my work to express rage or pain or just how I felt about this country politically.”

Sambo’s Banjo addresses the terrible extremes of prejudice. Calling someone a “Sambo” is understood as a racial slur. The banjo case recalls the stereotype of the African American entertainer. The piece of watermelon also refers to a demeaning African American stereotype. Looking inside the case, we find the popular American musical instrument replaced by horrific images related to racially motivated murders from the twentieth century called “lynching.”

Activity: 1. What are the roots of prejudice? 2. As a class, brainstorm how prejudice can be challenged in a productive way. Make a list of all the ideas you think of. 3. Research the meanings of the words listed below. Analyze your findings against some of the images included in Sambo’s Banjo.

• Narrow-mindedness • Discrimination • Bigotry • Intolerance • Injustice • Unfairness • Bias

Sambo’ s Banjo, 1971-72. Mixed media assemblage, 41” x 14 1/2” x 18” (banjo case); 6 1/2” x 12 3/4” x 2 3/4” (watermelon slice). Collection California African American Foundation, 10 Courtesy California African American Museum Black Crows in the White Section Only refers to ways that African American men are subjected to racism, from the black baby depicted as bait for an alligator to an “Uncle Tom.” Betye Saar used vintage American advertisements and her own designs to construct this assemblage that illustrates racial stereotyping. The work, composed of twelve windowpanes contained in a salvaged frame, illustrates how African Americans were viewed by whites, and how they viewed their own existence. Saar has said this about her art:

“My purpose in creating these works is to remind us about the struggle of African Americans and to reclaim the humiliating images of how these workers were once portrayed. I feel that, however painful, there is honor in re-presenting the past. Racism should neither be ignored nor satirized, as it is a form of bondage for everyone, regardless of color. Racism cannot be conquered until it is confronted.”

Black Crows in the White Section Only ,1972. Mixed-media assemblage, 22” x 18” x 1 3/4”. Collection of halley k. harrisburg and Michael Rosenfeld, New York, NY

Activity: Part 1: Advertising can play a role in reinforcing cultural stereotypes. a. Find images online or from other sources that you think reflect cultural or racial stereotypes. Decide what stereotypes you are seeing in these images. b. Choose a political stereotype and assemble images that relate specifically to that particular topic or theme. c. Glue the images down inside a frame or onto a shape that you think reinforces the message the images convey. d. Write your own advertising slogan to accompany the collage you have constructed.

Part 2: Political cartoons often address social causes. a. For several days look in the Sun-Sentinel or other sources to find examples of political cartoons that convey a satirical message addressing social causes. b. Cut out the cartoons and glue them onto separate pieces of paper. c. Write a new message for each. Does your message challenge or reinforce the original meaning of the cartoon?

Vocabulary: vintage; salvage; satirical 11 LIKENESS AND DIFFERENCE

eople often focus on differences based on race, ethnic background, religion or gender. PSome of Saar’s assemblages ask us to examine these ways of thinking more closely. In a statement from 2002, Saar said: “Our past has programmed us to judge ourselves and each other by skin color as well as class and occupation. By defining who we are by the color of our skin, by calling each other names from rude insults to terms of endearment, is in a way, a continuation of slavery. In reality, all the things that hold us together as African Americans are as varied as the things that make us unique.”

Colored, 2002. Mixed-media assemblage with hand mirror, 14 1/2” x 30” x 1 1/2”. University of Michigan Museum of Art; Museum purchase made possible by Dr. James and Vivian Curtis and the W. Hawkins Ferry Fund Saar made Colored in 2001, as part of a series of works she called Colored – Consider the Rainbow. Activity: Look at the work called Colored. In this work, Saar includes four photographs of African American girls and women in a single wood frame. Beneath the photograph is a strip of thread samples for stockings that range from white to black.

1. How do the threads relate to the women in the photographs? 2. How do they relate to the proverb in the central opening of the frame:

LIGHT IS ALRIGHT

YELLOW IS MELLOW

BROWN, STICK AROUND

BLACK, GET BACK

(but black don’t crack)

3. Why do you think Saar hung a hand mirror next to the framed photographs? 12 I Want to Thank You, Betye Saar Exhibition Programs: on the occasion of your 75th birthday First Saturday Family Studio: Mementos of My Family ** Saturday, April 1, 10:30 a.m.-12:30p.m. I want to thank you, Betye Saar, Betye Saar’s beautiful collages often include images of families. Take a closer look at her work, then assemble keepsakes that capture your own for assembling our torn truths, for collaging life. Bring photos and other memorabilia to personalize your collage. This studio program is recommended for children ages 4 – 12 and their the fragile fragments of our collective history. parents. $5 material fee payable at the door; call to register: (561) 832-5196, ext. 1133.

I want to thank you, Betye Saar, Film: Betye and Alison Saar: Conjure Women of the Art Saturday, April 1, 1:00 p.m. for building the gris-gris house Including footage of the artists working in their studios, this video examines the personal and artistic relationship between mother and of beautiful black magic. daughter, two of America’s leading artists.

Treasure of the Month Thank you, Betye Saar, Wednesday, April 19, 1:00 p.m. for liberating the black Jemimas Join Lorena Mihok, Assistant Curator of Education, for a discussion of Faith Ringgold’s painting The French Collection, Part II, #12, Moroccan who mothered us all. Holiday, 1997. Live! at the Norton: What is Ruby Green Singing? * Thank you, Betye Saar, Sunday, April 23, 3:00-4:00 p.m. Michael Lasser, host of the public radio program Fascinatin’ Rhythm, for cracking open the slave ship places singer Ruby Green, the subject of the Museum’s popular portrait by James Chapin, in the context of the Harlem Renaissance, blues and and giving us passage to ourselves. jazz. He will also discuss Hall Johnson’s Chorus in Harlem, a group in which Ruby Green sang.

Thank you, Betye Saar, for remembering the ancestors Family Festival: Community Celebration!** Sunday, April 30, 1:00-5:00 p.m. with shrines of dainty gloves and flirtatious fans, Come to the Norton Museum of Art for a celebration of our diverse South Florida community. Enjoy music and dance by area performers for opening the black girl’s window. who present distinct cultural traditions. Participate in hands-on workshops, tours, artists’ demonstrations, and much more throughout the day. Thank you, Betye Saar, mystical digital griot, * Generously underwritten by Shirley K. and Alan S, Lavine. for uncovering windows, screens, and mirrors ** Norton Museum of Art Family Programs are generously underwritten in which we finally see our secret identities. by The Sarah Vierck Mettler Family Fund, The Andrea and Charles Bronfman Fund for Families, The Samuel Rosenthal Endowment for Outreach Programs, and The Picower Foundation. © 2002 by Harryette Mullen

Special Exhibition Tours To schedule adult tours, please call: (561) 832-5196 ext. 1135, Activity: or email [email protected]. Choose one of Saar’s works from this booklet that appeals For school tours, please call: (561) 832-5196 ext. 1198. to you. Write your own poem, essay, or song lyrics about For college tours, please call: (561) 832-5196 ext. 1132. how her art made you feel. Share your work with your class. 13 Echoes: Student Responses to the Works of Betye Saar n May, 2005, the Education Department at the Norton Museum of Art invited Palm Beach County high school art teachers to encourage students to participate in an exhibition that would be on view in conjunction with the special exhibition, Betye Saar: Extending the Frozen IMoment. Through their art, students were encouraged to explore their family history, cultural roots, and/or issues of social relevance. In keeping with Saar's many comments about her own art, each student work that was submitted was required to be accompanied by a thoughtfully written artist's statement that explained the artist's concept, intent, process, and exploration of media. Each student was also required to address how they were inspired by Saar's work and reference how their artwork reflected their research into Saar's art. The Bernard and Chris Marden Community Gallery serves as a venue for the exhibition of artworks created through collaborative programs between the Norton Museum of Art and student and community groups. The Gallery features four exhibitions per year.

"The Betye Saar assignment was to create "This piece narrates the story of my "The comprehensive process of an interesting piece of artwork that explored grandfather's personal experiences with the understanding oneself and the surrounding the realm of Saar's style and how she creates Holocaust, and demonstrates the emotional world is a mystifying journey. I strived to artwork pertaining to her background and effect it has projected into the lives of those imitate the human sensation of curiosity of family. ...I created a piece of artwork about my who were never directly affected by that the undiscovered and the utter fear of the family background and did it with Betye Saar's horrible event. Creating this piece was an unknown." style in mind. My piece is about my family and experience for me, because it became one of "Saar's work embodies an essence of my dad. My dad passed away not too long those cases where you learn more about a purity and sincerity. ...I find an extra ago, and I think about it every single day. This person after their death. My grandfather, Max dimension with her work which cannot be piece is about my dad's presence and how my Ezratty, had a past that was seldom spoken fully attained by just looking. Instead, for her family and I are coping with this loss." about, but rummaging through his old meaning to be thoroughly perceived, one -- Joseph Parra, 10th grade, Dreyfoos photographs and belongings, I was able to must 'see' with their heart and mind. I School of the Arts. determine, along with my father's attempted to incorporate these conceptual knowledge, the inspiration to this artwork." aspects of internal interaction in addition -- Halie Ezratty, 10th grade, Dreyfoos with her intuitive artistic execution." School of the Arts. -- Lesa Goltz, 10th grade, Dreyfoos School of the Arts.

14 The Norton Museum of Art he Norton Museum of Art opened on February 8, 1941 “for the education and enjoyment of the public.” Ralph Norton and his wife, Elizabeth, had moved from Chicago, where he Thad worked up through the ranks to become president of Acme Steel Company. The Nortons enjoyed collecting art. They retired to live in West Palm Beach, south of where the Museum stands today. At the time, Palm Beach County’s population was 57,000 and there was just one public high school.

In 1941, the Norton Museum collection included about one hundred paintings and sculptures that the Nortons had collected. Over the years, the Museum collection has grown to include over 4,500 objects, including European, American and Chinese art, Photography and Contemporary art. Works by artists such as Claude Monet, Pablo Picasso, Anthony van Dyck, Georgia O’Keeffe and Jacob Lawrence are a part of the collection.

The Norton Museum has grown along with its collection. When the Gail and Melvin Nessel Wing opened in 2003, the Museum added eleven new galleries to display art, a new art classroom for use by children and adults, and a beautiful installation by glass artist Dale Chihuly. We hope that all our readers will visit the Norton Museum soon to see the collection and enjoy special exhibitions and programs for all ages.

IF YOU WOULD LIKE TO VISIT:

Exhibition Admission: (includes the Museum’s permanent collection) Adults: $10; Visitors age 13-21: $4; Children 12 & under and members: free.

West Palm Beach residents receive free admission to the permanent collection every Saturday, with proof of residency. Palm Beach County residents receive free admission to the permanent collection the first Saturday of each month, with proof of residency.

Exhibition Hours: Monday–Saturday, 10 a.m. to 5 p.m., Sunday, 1 to 5 p.m. (Closed Mondays from May through October and on major holidays.)

Visitor Information: For general information, please call (561) 832-5196 or visit www.norton.org.

Café 1451 at the Norton: Lunch is served Monday through Saturday from 11:00 am to 3:00 pm. --drinks, wine, cheese and desserts are served until 4:00 pm. On Sunday the full menu is served from 1:00 to 4:00 pm. Admission to the Museum is not required and free parking is available at the Museum or in the West Parking Lot located on South Dixie Highway. For reservations for all size groups please call (561) 366-8500 or e-mail [email protected]. 15