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Annual Report 2Oo6–2Oo7 Board of Trustees Officers Members Anne Morgan Lillian Bender Barbara Nessim Daniel M

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Annual Report 2Oo6–2Oo7 Board of Trustees Officers Members Anne Morgan Lillian Bender Barbara Nessim Daniel M annual report 2oo6–2oo7 board of trustees officers members Anne Morgan Lillian Bender Barbara Nessim Daniel M. Cain Ruby Bridges Hall Thomas L. Pulling President Ann Fitzpatrick Brown Cynthia Rockwell Perri Petricca Alice A. Carter Thomas Rockwell First Vice President Dr. Robert & Mary Mark Selkowitz Woodson Crowell John Spellman Michelle Gillett Michael P. Daly Richard B. Wilcox Second Vice President Catharine B. Deely Lee Williams Peter de Sève Jamie Williamson Steven Spielberg John V. Frank Third Vice President Dr. Mary K. Grant trustees emeriti Lila W. Berle James W. Ireland Pamela Kinsey Jane P. Fitzpatrick Treasurer Jeffrey Kleiser & Diana Walczak Paul W. Ivory Peter Chase Williams Mark A. Krentzman David L. Klausmeyer Norma G. Ogden Clerk Deborah S. McMenamy Wendell Minor Henry H. Williams, Jr. national council members Malouf & Therese Abraham Richard J. & Mary Kelly Robert & Lonna Berridge Carol Konner Jim & Marty Bush Barry & Pamela Kriebel Walter & Mary Jo Engels David & Betsey McKearnan Carl & Eunice Feinberg Andrew J. III & Susan F. Sordoni Johnny & Beth Haney Frederick B. & Carole Taylor William W. & Penny Hargreaves Jamie & Laura Trowbridge Louise A. Holland Jonathan P. Ward & Margo Montgomery illustrators advisory board Natalie Asencios Frances Jetter Marc Rosenthal Steve Brodner Wendell Minor Ruth Sanderson John Burgoyne Barbara Nessim Elwood Smith Kinuko Craft Tim O’Brien Teresa Fasolino C.F. Payne cover illustration: Photographer unknown. Norman Rockwell works with photographer Louie Lamone (1918-2oo7) to stage a scene in his Stockbridge, Massachusetts, studio. president’s letter Each year, the Norman Rockwell Mu- Accreditation is a voluntary undertak- seum sets goals and objectives consis- ing which requires a significant com- tent with our mission statement. As mitment of time, resources, and staff we look back at 2oo7 achievements, focus. The Museum is committed to one dominant theme above all others the principals of institutional transpar- seems to emerge—the sense of insti- ency as we seek and use public and pri- tutional momentum. The Museum is vate resources to achieve our objectives on a roll! As we approach our 40th an- and view this accreditation process as niversary, we have much to take pride our “seal of approval” that progress is in, recognizing that bigger dreams are indeed accelerating. ahead. From our humble beginnings, the Museum now touches the lives and Secondly, as evidenced in daily atten- values of a national audience far be- dance statistics, the Norman Rockwell yond its initial footprint in our beloved Museum continues to pass another Berkshire mountains. rigorous test in the marketplace. Dur- ing a time when consumers, patrons, This year’s Annual Report is fittingly and volunteers have an abundance of dedicated to this spirit of momen- options for their time and treasure, the tum and the many ways community Museum is gathering new stakehold- volunteerism is captured in the daily ers as well as their contagious enthu- activities of the Museum. Specifically, siasm. Our constant offerings of new I would like to convey three discreet exhibits, seminars, conferences, and examples of how this phenomenon of social exchanges exposes the Museum momentum drives the enthusiasm and to new audiences and a generation of optimism of staff, volunteers, and the viewers growing up with different me- many external constituents who make dia forms and value systems. up the extended Museum family. Thirdly, success breeds its own reward. First, as more fully explained in our In recognition of this tangible mo- Director’s report, the Museum re- mentum and the commitment of your ceived its national accreditation and Board to preserve and foster the values the assurances implicit through inde- implicit in the art of Norman Rock- pendent peer review. The hard work well, the Museum is embarking with and dedication of our leadership and confidence on a capital campaign to the museum staff commands a “hats safeguard and preserve this invaluable off” for everything captured in this American icon. Our campaign goal is prestigious accreditation achievement. to assure that quality and public access president’s report continued to Norman Rockwell’s works and the tions. Our cultural institutions are be- world of illustration that was the cata- ing asked to fill an unprecedented void lyst for the formation of the Museum in preserving and enhancing “social nearly 4o years ago is never in jeopardy. values” as family and schools falter. Stewardship over our national heritage Museums like ours will be asked to do and the values expressed in our collec- even more. We are proud of our mo- tion does not come cheap. As future mentum and those who have joined Annual Reports are written and distrib- the efforts. uted, it will be our distinct pleasure to update our stakeholders of our success- Many thanks to all who have given es and what new initiatives these finan- their time, energy, and resources. cial resources will make possible. America today is facing its own menu of challenges which might well stack Daniel M. Cain up against the toughest of prior genera- President Norman Rockwell’s 323 Saturday Evening Post Covers On view continuously from May 27, 2oo6 Boy Painting Girl’s Slicker (She’s My Baby), Norman Rockwell. ©927 SEPS: Licensed by Curtis Publishing, Indianapolis, IN. 2 director’s report I am delighted to report to you that courtesy of Museum Trustee Ann Fitz- Norman Rockwell Museum has again patrick Brown. The Museum examined achieved accreditation by the Ameri- three key issues—demographic trends, can Association of Museums (AAM) the changing expectations of visitors, —the highest national recognition for and financial projections analysis, a museum. Accreditation signifies ex- which modeled ‘what-if?’ scenarios five cellence to the museum community, years into the future. Set within a con- to government, funders, outside agen- text of national museum benchmarks, cies, and to the museum-going public. trustees affirmed the critical importance The Museum was initially accredited of growing the Museum’s endowment in 997, following the completion and to support national exhibition and pro- opening of our new facility in 99. gram outreach and to adequately fund The board and staff of the Museum capital maintenance needs. Building take great pride in knowing their an endowment is the Museum’s highest stewardship of the Museum meets priority. To that goal, under the helm of the highest professional standards. Trustees Anne Morgan and Dan Cain, the board has begun a major gifts en- AAM accreditation brings national dowment campaign, Sharing Rockwell’s recognition to a museum for its com- Legacy, The Campaign for the Future, in mitment to excellence, accountability, celebration of the Museum’s 4oth anni- professionalism, and continued insti- versary in 2oo9. tutional improvement. Of the nation’s nearly 7,5oo museums, about 775 are The Museum prepares to launch a currently accredited. Norman Rock- major traveling exhibition of its collec- well Museum is one of only 6 art tion called American Chronicles: The museums accredited in Massachusetts. Art of Norman Rockwell in the fall of The Museum was especially lauded by 2oo7. The exhibition, which has been the chair of the accreditation commis- organized by the Museum, will travel sion for “the Museum’s strategic plan- to o venues nationwide, opening at the ning and the actions taken to insure its distinguished new facility of the Akron long-term relevance and viability.” Art Museum in November 2oo7. The exhibition has been made possible by With the leadership of Board Chair Dan the Fidelity Foundation, through Fi- Cain, trustees and staff held a strategic delity Investments, and by a grant from planning retreat hosted under the gra- the National Endowment for the Arts, cious hospitality of Blantyre in Lenox, American Masterpieces Program. A 2 director’s report continued 272-page collections catalogue is be- in the Museum’s database. The long- ing produced and published by the term goals of ProjectNORMAN are Museum to accompany the exhibition to preserve the collections, to make and has been underwritten by a grant the archival materials easily accessible from the Henry Luce Foundation. Me- to scholars and researchers through a dia sponsorship has been provided by searchable database in the Museum’s the Curtis Publishing Company and Reference Center, and eventually to a by the Norman Rockwell Licensing make this important resource available Company. Conservation support for online. An interactive timeline on the the collection has been provided by the art and life of Norman Rockwell can Stockman Family Foundation. Other now be seen on the Museum’s Web materials being prepared by staff for the site, www.nrm.org, utilizing rarely exhibition include a new multi-lingual seen reference photographs made audio guide, family guide, and an up- available through ProjectNORMAN. dated school curriculum. The Museum’s exhibitions program The Museum made important strides flourishes at an ambitious pace. Dedi- on its ambitious collections man- cated to exploring the narrative and agement and digitization program, interpretive powers of visual imagery, ProjectNORMAN. Nearly all of the the Museum curated and organized 6,98 acetate negatives in the Muse- three major illustration exhibitions um’s archive have been scanned, digi- this year: Frederic Remington and the tized, associated with their art records, American Civil War: A Ghost Story; properly packaged and placed in cold Picturing Health: Norman Rockwell and storage for their maximum preserva- the Art of Illustration; and Ephemeral tion and longevity. This monumen- Beauty: Al Parker and the American tal achievement was supported by a Women’s Magazine, 1940-1960. Each Save America’s Treasures grant from exhibition explored the impact of il- the National Endowment for the Arts, lustration on visual culture—artists which provided for the outsourcing whose work influences our cultural services of Chicago Albumen Works appetites and understanding through to scan and digitize the negatives.
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