• Abstract and Figures
• Public Full-text

EVER Fiscal Year 2018 Annual Report ONWARD JULY 1, 2017–JUNE 30, 2018 2 From the Director Standing on the marble steps of the Toledo Museum of Art, looking out across campus at our summer block party last July, we were all in awe of the spectacle. The stretch of Monroe Street that divides the All this is happening in an atmosphere of main building from the Glass Pavilion was closed anticipation as we prepare the next phase in TMA’s to traffic. The community, those within walking evolution: a campus master plan. It aims to make distance and those who drove in from the suburbs, the Museum an ever more accessible and beautiful converged, filling every terrace with their energy. place, uniting its unique elements (Main Museum, The music was joyous as visitors playfully posed Welles Sculpture Garden, and Glass Pavilion) into with works in the Sculpture Garden. a more cohesive campus. This is the vibrant community museum our founders All of this is possible because of the sum of all surely hoped for when they insisted the institution our respective work as individuals, giving of our be named after its city, not its benefactors. time, funding, and insight to this beloved Toledo institution. From the students of the Toledo School One hundred and seventeen years into its for the Arts who work with us to organize teen existence, TMA maintains free admission, through programming to the commercial companies who the generous support of donors and members. sponsor exhibitions, together we form the great It innovates with its collection—one of the finest engine keeping the Toledo Museum of Art thriving. in the country—by using it to educate workers in the health and safety field around the country to become more visually literate. And it continues to grow, acquiring new works and developing programs and exhibitions that reflect and represent its surrounding community. — Brian Kennedy, Edward Drummond and Florence Scott Libbey President, Director, and CEO 1 TABLE OF CONTENTS 1 2 3 4 2 ART MATTERS Reviewing the year’s exhibitions and installations, featuring work from the ancient to the contemporary. PAGES 4–31 GLOBAL LOCAL Bringing perspectives from around the world home to Toledo through new acquisitions; programming emphasizing the community’s diverse interests. PAGES 32–55 OUR PAST INFORMS OUR FUTURE Where are we headed, and why? Examining the support that brought TMA to this incredible moment, on the cusp of a new master plan. PAGES 56–65 IMPACT & DONORS Honoring those whose gifts of time, treasure, and talent make TMA’s free admission, exhibitions, acquisitions, and other work possible. PAGES 66–97 3 14 ART MATTERS 5 6 1 Art Matters From an ancient painter to a contemporary American iconoclast, the artists whose work filled the Toledo Museum of Art galleries in 2018 each had something important to say. Some, like the Berlin Painter, spoke of expertise Visual artists don’t ask for passive viewers. Their and the pursuit of perfection. Others, like Kara work exists open to the interpretation—in fact, Walker, put dark histories in stark new perspective. dependent on the interpretation—of the people And still others, jewelry makers and embalmers, consuming their work. People like you. illuminated the traditions and beliefs of the people In that exchange of messages, art’s significance who came before us. emerges. Art matters because it is a way we Each artist is gifted in their own right. But each collectively communicate with our past and our artist is dependent on their relationship with you— future. A deeply pleasurable, constructive way. the TMA visitors who view, appreciate, question, Every day you visit a gallery and interact with these delight in, challenge, and engage with their work. messages, you affirm art’s significance to our culture, to our community, and to your own life. 7 8 9 10 1 n EXHIBITIONS The Berlin Painter and His World An anonymous artist whose career ended “Ultimately this exhibition was 2,500 years ago finally received his due. about the fact that we were able The Berlin Painter and His World: Athenian Vase to discover an artist who was almost Painting in the Early Fifth Century B.C. (July 8– Oct. 1, 2017) was the first major museum forgotten, because he had a unique exhibition focused on the art and career of the differentiated style. Everyone has influential ancient Mediterranean artist who came a style or thing about them that is to be known as the Berlin Painter, named for different—you don’t know if it’s going a vase in the collection of the Antikensammlung in Berlin. to be recognized in your lifetime or 2,500 years later. The Berlin Painter’s This was the man (art historians work under the assumption that he was a man, given the social talent was so distinguished we were context of the time) who put ceramics on the able to piece together what he did map, so to speak. A man who knew his craft thousands of years later. People are so well he created near-perfect figure paintings fascinated with how people lived in before the invention of clocks, thermometers, and other technologies. the past, and this exhibition gave us a peek into the Berlin Painter’s world.” The exhibition, which was organized by Princeton University Art Museum, featured masterpieces Adam Levine, Deputy Director and Curator of Ancient Art on loan from 15 renowned museums and two The Berlin Painter and His World: Athenian private collections, including the British Museum; Vase-Painting in the Early Fifth Century B.C. was Metropolitan Museum of Art; Museum of Fine Arts, organized by the Princeton University Art Museum. Boston; J. Paul Getty Museum; Vatican Museums; Major support for this exhibition was provided by Musée du Louvre and the Antikensammlung, the Stavros Niarchos Foundation; the National Staatliche Museen zu Berlin. Endowment for the Arts; and the Leon Levy Foundation. The Toledo showing was made possible in part by Taylor Cadillac, Christie’s, Ohio Arts Council, James and Gregory Demirjian, Princeton University Alumni of Northwest Ohio, an anonymous donor, and generous gifts received in memory of Kurt Luckner, with additional support from 2017 Exhibition Program Sponsor ProMedica. 11 12 13 14 1 n EXHIBITIONS Kara Walker With just a passing glance, you might mistake “The dramatic force that Walker Kara Walker’s Harper’s Pictorial History of the Civil War (Annotated) for quaint. But look deeper creates through her lively dialogue and you’ll discover Walker’s screen prints lay bare with traditional Civil War-era a violent, painful period in American history. iconography is both poignant Walker’s work takes the images we associate and layered. It was an incredibly with the antebellum South—women in hoop important work that we added to the skirts, soldiers on battlefields—and layers on collection and with which visitors often distressing silhouettes. Dismembered body parts and racist stereotypes invade portrayals got to engage this past year.” that had excluded the narratives of people who Robin Reisenfeld, the Museum’s Works on Paper Curator suffered in slavery. Kara Walker, Harper’s Pictorial History of the TMA installed all 15 prints from the 2005 series Civil War (Annotated) was supported in part by by the preeminent artist, which were on display the H. L. Thompson, Jr. Family Fund and the between June 17 and Oct. 22, 2017. Ohio Arts Council. 15 16 17 18 1 n EXHIBITIONS Fired Up: Contemporary Glass by Women Artists Fired Up: Contemporary Glass by Women Artists The exhibition was co-curated by former TMA (Sept. 2, 2017–March 18, 2018) celebrated the Curator of Decorative Arts and Glass Jutta Page perseverance of women in a male-dominated field (now Executive Director of the Barry Art Museum at and their incredible contributions to glass art. Old Dominion University) and Mint Museum Senior Curator of Craft, Design and Fashion Annie Carlano. The popularization of glass as a serious artistic medium in the ‘60s—sparked during the Studio Fired Up: Contemporary Glass by Women Artists Glass Movement that originated at the Toledo was first on view at the Mint Museum in Charlotte, Museum of Art—was pivotal. Yet in its earliest North Carolina (Oct. 22, 2016–Feb. 26, 2017) decades, women faced an uphill battle in their before opening at TMA. demand for fair recognition of their significant The Toledo showing was sponsored by O-I, impact, vision, and work. Shumaker, Loop & Kendrick, the Ohio Arts The first American art museum exhibition to focus Council and with funds received in memory solely on women glass artists, Fired Up drew of Dr. Edward A. and Mrs. Rita Barbour Kern. from the Toledo Museum of Art’s internationally renowned glass collection and key loans from notable private collections. More than 50 stunning objects were on view, by women who now rank among the most innovative and celebrated glass artists in the world. The works, which ranged from small scale to life- size in a variety of glass techniques, documented nearly six decades of unwavering dedication, from the art that helped women forge a path in the Studio Glass Movement of the 1960s to the ingenuity of 21st-century innovations. 19 20 21 22 1 n EXHIBITIONS Glorious Splendor The jewels and metals that adorn our bodies The objects on display would have been found signify to others some of the most intimate across social classes and used in different contexts, details of our lives: our religious beliefs, whether on the arms of the wealthiest individuals relationship status, income. or in the hands of priests conducting church rituals. Some, like the high-relief cameos of an emperor’s Glorious Splendor: Treasures of Early Christian likeness, were tokens of appreciation sent to Art (Nov.

Load more

  100

Copy Link