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A Nnual R Eport Annual Report

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A Nnual R Eport Annual Report Annual Report 2011 – 2012 ReportAnnual 2011 –2012 Mission: The mission of the Westmoreland Museum of American Art is to enrich a growing public through innovative and collaborative approaches to the collection, preservation and presentation of American art. We Value: • Our art • Our mission • Our visitors and community • Innovation, creativity, and collaboration • Integrity • Inclusionary attitudes • Quality and excellence • Providing an exemplary experience • Education and engagement • Our sense of place 3 From the President s it me, or is everyone talking about the future? Most of the talk revolves around the economy, politics and, since Iwe’re in Pittsburgh, sports. That leads me to think of a book I once read about growing up, waiting for your favorite team to win (in the book it was the Brooklyn Dodgers; for me it’s the Pirates) and the ending and beginning of significant periods in history and in life. “Wait Till Next Year,” by Doris Kearns Goodwin, doesn’t have a lot to do with American art (unless you consider baseball to be one), but it makes me think of what we are doing right now to prepare for the future of The Westmoreland; and the end of an era; and beginning of a new one. For those of us involved in the process of planning for the expansion and renovation of the Museum—my fellow Trustees, our dedicated staff, consultants and volunteers—things have unfolded rather quickly. But we realize that for those of you waiting for those big cranes and bulldozers to arrive, it might seem as if we’re moving at a snail’s pace. We do feel like that ourselves some days, when asked when we will break ground and the words “in about a year” come out of our mouths again and again. You do not, however, have to wait until next year to see what our future Westmoreland will look like. As soon as our plans become final and we reach our major fundraising goals, the Museum will open a “war room” in the Barclay Gallery, where we will display all the materials from our current planning efforts. You will be able to see what we’ve been doing this past year and what you can expect to see in the future. Of course, our generous funders are playing a key role in all of this. I’m sure you remember the excitement surrounding the $8 million lead gift from the Richard King Mellon Foundation last January. That unprecedented gift allowed the Museum to get moving on the completion of building design and the very first steps in the renovation/expansion project. $2 million of that amount has been issued as a challenge to our community and will match every gift of $25,000 and under that is given toward the project. It is also important to note the generosity and commitment of my fellow Trustees in this early phase of development. 100% of our Board has made pledges or donations to the campaign and the Trustees as a whole have exceeded their original goal by nearly double, committing nearly $1.8 million to the Future Westmoreland. As autumn turned to winter here in southwestern Pennsylvania—and we watched the Pirates’ chances of a winning season and playoff berth evaporate before our eyes (wait until next year, again)—we are grateful to have other points of focus; other chances at renewal and change and achievement. The Westmoreland— a fixture in Greensburg for 53 years— is embarking on a once in a lifetime journey to expand the possibilities not only for the Museum, but for our community and our region. Unlike the Pirates, we do know what’s going to happen next year. And we know it’s going to be a good one. Plus, we always have the Steelers . Bruce M. Wolf Bruce M. Wolf PRESIDENT, BOARD OF TRUSTEES 4 From the Director/CEO Y 2011-12 was one of experimentation and validation. It was also a period during which we saw the continued Fcoalescence of The Future Westmoreland. We saw the success of exhibitions, including Mark Perrott’s exquisite and ground breaking (at least for us) black and white photographs titled Tattoo Wittness. Art on Tap 5.2.7 took off as an event to bring people of all ages and interests into the Museum to enjoy each other’s company and compete for great prizes by successfully completing scavenger hunts throughout the galleries. The members of our Board of Trustees and the R.K Mellon Foundation stepped up to the plate BIG TIME to kick off our Capital & Endowment Campaign effort. And our work with Ennead Architects and LaQuatra Bonci Associates resulted in preliminary plans for the building and grounds that will fulfill our dreams for the future. We have found that the design process takes a long time. Longer, I think, than it will take to build the building. It involves a lot of planning and review to design a transformative building while insuring an equally transformative programmatic design. The process has been a fascinating yet arduous one as we test building designs against function and budget. Our Architectural Steering Committee has stuck with us every step of the way as have our other advisors upon whom we depend to guide us. We know that all of this work up front will provide the detail needed to make the construction process as smooth as possible. Meanwhile, your staff has been valiantly moving forward while managing two jobs: those of the present and those of the future. Our programming has been seamless despite countless hours now spent by staff working on inventorying the collection in preparation for its move; raising campaign funds while still securing the financing needed for day- to-day operations; engaging scores of children’s groups and thousands of visitors in our collections and exhibits while planning ways to further engage them in programming for the future. As is my tradition in this annual letter, I want to thank you all for your support and interest in The Westmoreland. I would also like to redouble my words of gratitude and encouragement to the staff and volunteers who make this Museum the cherished landmark it is today. To our trustees and donors I can only add that we would not be here without you. Your investment in us is the reason we are able to make a difference in our community and advance the knowledge and interest in American Art. I look forward to continuing our work together to make the Future Westmoreland much more than a possibility! Yours, Judith H. O’Toole DIRECTOR/CEO 5 Exhibition Schedule MAY 15 – SEPTEMBER 4, 2011 They Practice What They Teach: Artist Faculty of Carnegie Institute of Technology, 1925-1950 Moments in Time: Paintings by Hubert J. FitzGerald SEPTEMBER 18 – OCTOBER 16, 2011 Tattoo Witness OCTOBER 30, 2011—JANUARY 22, 2012 The Tides of Provincetown: Pivotal Years in America’s Oldest Continuous Art Colony, 1899-2011 Carol Brode: One Time/One Place FEBRUARY 5 – APRIL 8, 2012 The Art of Seating: 200 Years of American Design Brian Ferrell: Transitions of Form APRIL 29—JULY 22, 2012 WMAA Juried Biennial Westmoreland Jazz Society 2011/2012 SEASON SEPTEMBER 15 FEBRUARY 16 Virgil Walters The Bone Forum OCTOBER 20 MARCH 15 The Ortner-Roberts Trio Harold Betters Quartet NOVEMBER 17 APRIL 19 Donna Bailey & Autumn Leigh and Lou Schreiber Her Jazz Ensemble MAY 17 DECEMBER 15 Lisa Ferraro Michele Bensen JUNE 15 JANUARY 19 Jazz in June at St. Clair Park- Eric Barchiesi Snarky Puppy 6 Acquisitions Roy Hilton (1891-1963) Workers Entering the Mill, c. 1940s Oil on canvas 29 x 34 inches Signed l.l.: Roy Hilton The William H. Jamison Art Acquisition Fund, Thomas Lynch Fund, and Museum purchase (Sale of Art Fund) 2011.8 Robert Gwathmey (1903-1988) By the Sea, 1974 Oil on canvas 30 x 41 ½ inches Signed u.r.: Gwathmey Titled and dated: By the Sea, 1974 on section of original stretcher attached to present stretcher The Thomas Lynch Fund, Peter Moshein, Robert and Arlene Kendra, and the William H. Jamison Art Acquisition Fund 2012.5 Robert Lewis Lepper (1906-1991) Peacock, not dated Metal on aluminum base 10 x 10 x 10 inches Not Signed The Thomas Lynch Fund 2011.7 7 Carol R. Brode Four Quarters: East Coker (III), 2011 Encaustic mixed media on wood 23 x 23 inches The Thomas Lynch Fund and Museum purchase (Sale of Art Fund) 2012.3 Carol R. Brode Depths, 2011 Encaustic mixed media on wood 23 x 23 inches The Thomas Lynch Fund and Museum purchase 2012.4 8 Gifts to the Collection Gift of Susan and Marty O’Brien, Sewickley Heights, PA Frederick Polley (1875-1957) The Volcano (Pittsburgh), not dated Drypoint etching on paper 6 ¾ x 5 9/16 inches Signed in pencil in l.r.: Frederick Polley Marked in pencil in l.l.: 12/100 Mat inscribed: The Volcano, Pittsburgh (etching) 2012.1 Gift of Richard M. Scaife Marsden Hartley (1877-1974) Blue Hills, Taos, New Mexico, not dated Pastel on paper 10 x 12 ½ inches Signed l.r.: Marsden Hartley 2012.2 Gift of the Family of Hubert J. Fitzgerald Hubert J. Fitzgerald (1923-2011) Red Apple, 1952 Oil on board 24 x 20 inches Signed in marker verso at u.l.: fitzGerald; and along right: fITZGERALD 2011.6 9 Gifts to the Collection Gift of Mr. and Mrs. David Assard, Mr. and Mrs. Arthur Boyle, Dr. Frances DePaul and Mr. John DePaul, Ms. Alice Kaylor and Mr. Timothy Thompson through the Westmoreland Society, 2011 Ron Donoughe (1958-) Death of Elaine, 2004 Oil on panel 11 x 14 inches Signed and dated in oil l.l.: R.
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