Mead Art Museum - Amherst College

Transcription

Mead Art Museum
at Amherst College
Annual Report for the Year 2008-2009
Artist Will Barnet speaking about his work. Photo by Charles Quigg ’09
Front cover
Artist Jonathan Meese performing. Photo by Charles Quigg ’09
Mead Art Museum
at Amherst College
Annual Report for the Year 2008-2009
TA B L E O F C O N T E N T S
Report from the Director 2
Acquisitions 5
Loans 17
Grants 18
Curricular Collaborations 19
Exhibitions, Publications, Podcasts 26
Programs 28
Attendance 32
Facility 33
Staff, Interns, Docents, Advisors, Friends 33
Strategic Plan, Status Report 37
Docent Angela Pratt ’11 presenting Will Barnet’s The Dream.
Photo by Charles Quigg ’09
1
Report from the Director
center of intellectual life at Amherst, in which the
Mic” series of public poetry readings in the mu-
college’s broad and deep art collections serve the
seum’s Rotherwas Room, where Robert Frost once
A raucous performance by Jonathan Meese. A reflec-
curriculum across disciplines. More than 1,500 col-
read his work.
tive presentation by Will Barnet. Four new hires. A
lege students visited the Mead in organized class
bold expansion of open hours. Unanticipated budget
visits during the 2008-09 academic year, a figure
The autumn semester closed with the first meeting
reductions. A fresh website. A major grant from
equivalent to 90% of the college’s enrollment. Some
of the Mead’s new Advisory Board, which began
the Andrew W. Mellon Foundation. Professional
visits spurred larger projects, including an installa-
its work by undertaking a successful revision to the
reaccreditation from the American Association of
tion of Russian icons linked to a concert performed
museum’s Code of Ethics. In the spring semester, the
Museums. The formation of an Advisory Board. The
by Music students; a podcast museum tour focused
Mead launched a new series of faculty lunchtime
re-launch of the Friends group. For the Mead Art
on geometric forms prepared by Calculus students;
talks, and revived its dormant Friends association.
Museum, 2008-09 was a year to remember.
a presentation of Roman artifacts to area school-
Generous donations from the group’s members al-
children made by Classics students; and a display
lowed the museum to purchase a scanner that will
Against the somber backdrop of the economic down-
and lecture on ancient Greek coins also related to a
be used to digitize artworks on paper and a micro-
turn, the Mead’s continued progress—made possible
Classics course. As the museum adopted exception-
scope for use in the study room. The academic year
with extraordinary financial assistance from outside
ally late open hours—until midnight on school nights
concluded with the American Association of Muse-
sources, unwavering support from the Amherst Col-
during the academic term—college students became
ums‘ award of continuing accreditation to the Mead.
lege administration, and the tireless, creative efforts
the Mead’s largest audience group, whose regular
of the museum’s dedicated staff—appears vibrant.
visits helped to increase the museum’s annual at-
In the year ahead, the Mead will host an exhibition
Remarkably, in the midst of a global financial crisis,
tendance by 23%. The addition of comfortable chairs
of paintings and prints by Italian artist Lino Mannoc-
the Mead was able to fill its vacant staff positions
to the galleries and the presence of free wi-fi have
ci; continue to enrich the collection database; refresh
with talented new colleagues: a curator of American
further helped to make the Mead a desirable campus
its gallery displays; refine the utility of its website;
art, a coordinator of college programs, a post-bacca-
study space.
engage faculty and students across a range of academic fields; and offer a variety of events. In sum,
laureate curatorial fellow, and, beginning in SeptemTo assist researchers curious to see the Mead’s hold-
2009-10 promises to be another memorable year. I
ings, museum staff completed a project launched
hope we’ll have the pleasure of welcoming you back
The museum made these crucial hires while dramati-
in 2007-08 to digitize all paintings in the collection,
to the Mead then.
cally reducing college spending on Mead salaries:
and then proceeded to photograph other types of
three of the four positions have been funded by oth-
objects, including small works of African sculpture,
Elizabeth E. Barker, Ph.D.
er sources. The seven-year term position of Thomas
Indian miniature paintings, and American portrait
Director and Chief Curator
P. Whitney, Class of 1937, Curator of Russian Art has
miniatures. As a result of this concerted effort, 24%
been generously sponsored by the Amherst Center
of the museum’s collection is now illustrated in the
for Russian Culture, the distinguished archive whose
on-line database. Other improvements also assisted
founder also donated his world-class collection of
visitors. In the autumn of 2008, the Mead launched a
Russian art to Amherst. The coordinator of college
new, richly informative website, opened a small café
programs position and post-baccalaureate curato-
in the museum’s lobby and bookshop, and began
rial fellowship have been supported by a $500,000
accepting AC Dollar$ (the campus ID card charge sys-
three-year spendable grant from the Andrew W.
tem) for purchases. At the same time, the museum
Mellon Foundation’s College and University Art Mu-
opened Stearns Steeple, the adjacent fragment of
seums program. That prestigious award also provides
the former college church, as a display space. The
support for collections-based faculty course develop-
museum‘s volunteer student docents introduced
ment seminars and faculty guest curators’ stipends.
“Evenings at the Mead,” a regular program of art pre-
ber 2009, a curator of Russian art.
Photo by Rose Lenehan ’11
sentations paired with a cappella songs, and began
2
Already, the Mellon-sponsored initiatives have begun
their first art collecting project for the museum. Soon
to propel the Mead toward its goal of becoming a
afterwards, students launched the “No Mic Open
3
Acquisitions
G i fts (alphabetical by artist)
Will Barnet (American, born in 1911), The Dream, 1990. Oil on
canvas. Gift of Elena and Will Barnet (2008.25)
Will Barnet (American, born in 1911), Study for ‘The Dream’, 1990.
Carbon pencil on vellum. Gift of Elena and Will Barnet (2008.26)
Chinese 19th century, Portrait of retired Army General, 2nd or 3rd
class Mandarin and Governor of a province, ca.1800. Pigment on
scroll. Gift of Lawrence M. Mead (2008.66)
Chinese 19th century, Four panel Kesi screen depicting gentleman
with servants, ca.1850. Woven cut silk, pigmented and gold
threads. Gift of Lawrence M. Mead (2008.67)
Chinese 19th century, Vase, ca.1850. Porcelain. Gift of Lawrence
M. Mead (2008.68)
Chinese 19th century, Jar with lid (blue and white landscape
decoration), ca.1850. Porcelain. Gift of Lawrence M. Mead
(2008.69.a,b)
Chinese 19th century, Celedon vase, ca.1870. Porcelain. Gift of
Lawrence M. Mead (2008.70)
Chinese 19th century, Ball “Chrysanthemum” Vase, ca.1870.
Porcelain. Gift of Lawrence M. Mead (2008.71)
Chinese 19th century, Jar-shaped Vase (five children playing).
Porcelain. Gift of Lawrence M. Mead (2008.72)
Chinese turn of the 20th century, Snuff bottle in the shape of two
melons with coral stopper. Mutton fat jade, coral. Gift of Lawrence
M. Mead (2009.08)
Chinese 19th century, Snuff bottle with carnelian stopper.
Carnelian. Gift of Lawrence M. Mead (2009.09)
Chinese turn of the 19th century, Snuff bottle with ivory stopper.
Jade, ivory. Gift of Lawrence M. Mead (2009.10)
Chinese turn of the 20th century, Snuff bottle. Cloisonné. Gift of
Chinese late Ching Dynasty, Snuff bottle. Cloisonné. Gift of
Chinese late Ching Dynasty, Snuff bottle. Cloisonné. Gift of
Chinese mid-Ching Dynasty, Snuff bottle (inside painted) with jade
stopper. Glass, jade, water-based pigment. Gift of Lawrence M.
Mead (2009.14)
Chinese late Ching Dynasty, Snuff bottle with ivory stopper. Ivory.
Gift of Lawrence M. Mead (2009.15)
Chinese late Ching Dynasty, Snuff bottle with ivory stopper.
Amethyst, ivory. Gift of Lawrence M. Mead (2009.16)
Chinese late Ching Dynasty, Snuff bottle (inside painted) with jade
stopper. Glass, jade, water-based pigment. Gift of Lawrence M.
Mead (2009.17)
Chinese late Ching Dynasty, Snuff bottle made from beak of horn
bill bird. Horn bill. Gift of Lawrence M. Mead (2009.19)
Chinese 19th century, Snuff bottle made from beak of horn bill
bird. Horn bill. Gift of Lawrence M. Mead (2009.20)
Chinese 19th century, Powdered Incense Clock. Paktong with
copper trim. Gift of Lawrence M. Mead (2009.21.a-h)
Chinese 19th century, Sang-de-boeuf vase (jar-shaped). Porcelain.
Gift of Lawrence M. Mead (2008.73)
Chinese 19th century, Sang-de-boeuf Jar. Porcelain. Gift of
Chinese 19th century, Courtesan surrounded by children in
landscape. Painting on silk. Gift of Lawrence M. Mead (2008.75)
Chinese 10th century, Scroll painting of gods, attendants, donors
and donors’ ancestors. Gift of Lawrence M. Mead (2008.76)
Chinese turn of the 20th century, Snuff Bottle with carnelian
stopper. Porcelain, carnelian. Gift of Lawrence M. Mead (2009.01)
Chinese turn of the 20th century, Snuff Bottle with coral stopper.
Porcelain, coral. Gift of Lawrence M. Mead (2009.02)
Chinese turn of the 20th century, Snuff Bottle with jade stopper.
Porcelain, jade. Gift of Lawrence M. Mead (2009.03)
ABOVE: Slam poet Jared Paul performing in the Jonathan Meese exhibition. Photo by Charles Quigg ’09
BELOW: The Libero Quartet performing in an Evening at the Mead. Photo by Charles Quigg ’09
4
Chinese 19th century, Snuff Bottle with jade stopper. Curly agate,
jade. Gift of Lawrence M. Mead (2009.04)
Chinese late Ching Dynasty, Snuff bottle made
from the beak of a horn bill bird, Gift of Lawrence
M. Mead (2009.19). Photo by Ashley Hogan ’11
5
Wendy Ewald (American, born in 1951), Makhoo, Nombuso and
Thuli are long at the album - Pamela Zungu, 1992. Silver gelatin
print. Gift of Katy Homans (2008.79)
Wendy Ewald (American, born in 1951), The boys standing in the
house playing - Bafana Radebe, 1992. Silver gelatin print. Gift of
Katy Homans (2008.80)
Wendy Ewald (American, born in 1951), Untitled - René Jansen
Van Vuuren, 1992. Silver gelatin print. Gift of Katy Homans
(2008.81)
Wendy Ewald (American, born in 1951), Granny having a smoke
- Kaith Ntuli, 1992. Silver gelatin print. Gift of Katy Homans
(2008.82)
Wendy Ewald (American, born in 1951), A group of the neighbor
children standing in the street - René Jansen Van Vuuren, 1992.
Silver gelatin print. Gift of Katy Homans (2008.83)
Julie Hedrick (Canadian, born in 1958), Anigh, 1999. Oil on canvas.
Gift of the artist in memory of Trinkett Clark (2008.33)
Japanese 20th century, Haori with baseball theme lining. Silk. Gift
of Kenneth Rosenthal (Class of 1960) (2009.22)
Koizumi Kishio (Japanese, 1893-1945), Mitsui and Mitsukoshi
Department Stores (Mitsui to Mitsukoshi) from ‘One Hundred
Woodblock Printed Views of Greater Tokyo in Showa: number 3’
series (Showa Tokyo fukei hanga hyakuzue hanpu ga dai sankei),
1930. Woodblock print. Gift of Charles Wilkes (Class of 1971) and
Helen Wilkes, Parents, Class of 2008 (2008.34)
Koizumi Kishio (Japanese, 1893-1945), Central Weather Station
(Chuo kishodai) from ‘One Hundred Woodblock Printed Views of
Greater Tokyo in Showa: number 41’ series (Showa Tokyo fukei
hanga hyakuzue hanpu ga dai yonjuik’kei), 1933. Woodblock print.
Gift of Charles Wilkes (Class of 1971) and Helen Wilkes, Parents,
Class of 2008 (2008.35)
Koizumi Kishio (Japanese, 1893-1945), Spring Sumo Tournament,
Kokugi Hall (Haru basho no Kokugikan) from ‘One Hundred
Woodblock Printed Views of Greater Tokyo in Showa: number 59’
series (Showa Tokyo fukei hanga hyakuzue hanpu ga dai gojukyu
kei), 1935. Woodblock print. Gift of Charles Wilkes (Class of 1971)
and Helen Wilkes, Parents, Class of 2008 (2008.36)
Dominique Labauvie (French, born in 1948) and text by Marcelin
Pleynet (French, born in 1933), Une Saison, June 7, 1996. Edition
50/59, published by Dumerchez Editions, France. Hand printed
artist’s book with lithograph and woodblock on Arches paper. Gift
of Erika Greenberg-Schneider (Class of 1979) in honor of the 30th
reunion of the Class of 1979 (2009.165)
Jonathan Meese (German, born in 1970), Die Sphinx (Dr. Rippchen)
in der Wuste, 2005. Oil and mixed media on canvas. Gift of Adam
Lindemann (Class of 1983) and Amalia Dayan (2008.65)
Jonathan Meese (German, born in 1970), Amherst College
Manifesto on seven separate sheets of paper, 2008. Mixed media,
collage, photograph, ink, xerox on seven sheets of paper. Gift of
the artist (2008.78.a-g)
Johann Elias Ridinger (German, 1698-1767), Cebus, Capite Vulpino.
Cebus Minor / Füchsel Manchen - Kleine Meer Katze / La Marmot
avec la fete de renard. Marmot petit, ca.1730. Engraving with
hand-coloring. Gift of Stephen Kirschenbaum (Class of 1955)
(2008.22)
Johann Elias Ridinger (German, 1698-1767), Elephas / Abgerichter
Elephant / Elephant dressé / Familia V Fünffhufige, ca.1730.
Engraving with hand-coloring. Gift of Stephen Kirschenbaum (Class
of 1955) (2008.23)
Jonathan Meese, Die Sphinx (Dr. Rippchen) in der Wuste, 2005, Gift of
Adam Lindemann ’83 and Amalia Dayan (2008.65). Photo by Jan Bauer
Johann Elias Ridinger (German, 1698-1767), Camelus / Weisses
Kamel / Dromadaire blanc / Familia I Zweihufig, ca.1730.
Engraving with hand-coloring. Gift of Stephen Kirschenbaum (Class
of 1955) (2008.24)
Lorna Ritz (American, born in 1947), Mt. Norwottuck and Apple
Trees, November 6, 2005. Cray-pas on paper. Gift of the artist
(2009.164)
Unknown, Stone rubbing of scenes from Wu family Han Dynasty
tomb. Gift of Lawrence M. Mead (AC 2008.77)
Andy Warhol (American 1928-1987), Mao Tse-Tung, 1972.
Silkscreen. Gift of Kate Butler Peterson (2008.21)
Yeh Chung San (Chinese 1817-1920), Snuff bottle (inside painted)
with jade stopper. Glass, jade, water-based pigment. Gift of
Yeh Chung San (Chinese 1817-1920), Snuff bottle (inside painted)
with amethyst stopper. Rock crystal, amethyst, water-based
pigment. Gift of Lawrence M. Mead (2009.07)
Yen Yi Tien (Chinese 1895-1918), Snuff bottle (inside painted) with
jade stopper. Glass, jade, water-based pigment. Gift of Lawrence
M. Mead (2009.05)
Ahmed Alsoudani, Untitled (1/30), 2008, Purchase with Funds
donated by H. Nichols B. Clark in Memory of Trinkett Clark (2009.24).
Photo by Stephen Fisher
Yung Chen Pyn (Chinese, late Ching Dynasty), Snuff bottle with
carnelian stopper. Porcelain, carnelia. Gift of Lawrence M. Mead
(2009.18)
Andy Warhol, Mao Tse-Tung, 1972, Gift of Kate Butler Peterson
(2008.21). Photo by Petegorsky/Gipe Photography
6
Koizumi Kishio, Spring Sumo Tournament, Kokugi Hall (Haru basho
no Kokugikan) from ‘One Hundred Woodblock Printed Views of
Greater Tokyo in Showa: number 59’ series (Showa Tokyo fukei hanga
hyakuzue hanpu ga dai gojukyu kei), 1935, Gift of Charles Wilkes ’71
and Helen Wilkes, Parents ’08 (2008.36). Photo by Inga Stevens
7
P u rc h ases (alphabetical by artist)
Ahmed Alsoudani (American, born in Iraq in 1975), Untitled
(1/30), 2008. Hardground etching, aquatint, spit bite aquatint,
drypoint and roulette on Somerset satin, white paper. Purchase
with Funds donated by H. Nichols B. Clark in memory of Trinkett
Clark (2009.24)
Azechi Umetaro (Japanese, 1902-1999), Graveyard at Sengakuji
(Sengakuji hakusho) from ‘15 Scenes of Last Tokyo in Original
Wood-cut’ (Tokyo kaiko zue), 1945. Woodblock print. Purchase
with William K. Allison (Class of 1920) Memorial Fund
(2008.63.13)
Gideon Bok (American, born in 1966), Wingate Studios with Aldo’s
Press #2: No Sleep till Hinsdale (1/20), 2008. Hardground etching,
aquatint, sugarlift, whiteground and drypoint on Somerset
satin, white paper. Purchase, Trinkett Clark Memorial Student
Acquisition Fund (2009.23)
Eugène Delacroix (French, 1798-1863), Juive d’Alger (Jewish
Woman of Algiers), 1833. Etching on cream-colored laid paper.
Purchase with the Samuel B. Cummings (Class of 1926) Art Fund
(2008.31)
Fujimori Shizuo (Japanese, 1891-1943), Eleventh Month: Autumn
at Haneda, Tokyo Airport (Juichigatsu Haneda no aki Tokyo hikojo)
from ‘Twelve Views of Greater Tokyo’ series (Dai Tokyo junikei no
uchi), June 22, 1930. Woodblock print. Museum Purcase (2008.62)
Fujimori Shizuo (Japanese, 1891-1943), Tsukijima from ‘One
Hundred Views of Modern Tokyo: Sosaku hanga (Shin Tokyo
Hyakkei: sosaku hanga), 1929. Woodblock print. Purchase with
Wise Fund for Fine Arts (2008.64)
Fukazawa Sakuichi (Japanese, 1896-1946), Distant View of Nikolai
Cathedral (Nikkorai enbo) from ‘One Hundred Views of Modern
Tokyo: Sosaku hanga (Shin Tokyo Hyakkei: sosaku hanga), first set,
no.25, September 29, 1929. Woodblock print. Purchase with Wise
Fund for Fine Arts (2008.57)
Fukazawa Sakuichi (Japanese, 1896-1946), Baseball Match
Between Waseda and Keio at Jingu Baseball Stadium (Jingu Kyujo
Sokeisen) from ‘One Hundred Views of Modern Tokyo: Sosaku
hanga (Shin Tokyo Hyakkei: sosaku hanga), fourth set, no.14,
December 4, 1931. Woodblock print. Purchase with Wise Fund for
Fine Arts (2008.61)
Henmi Takashi (Japanese, 1895-1944), Motomachi Park in Hongo
(Hongo Motomachi Koen) from ‘One Hundred Views of Modern
Tokyo: Sosaku hanga (Shin Tokyo Hyakkei: sosaku hanga), July
1930. Woodblock print. Purchase with Wise Fund for Fine Arts
(2008.59)
Hiratsuka Un’ichi (Japanese, 1895-1997), Wadakura Gate
(Wadakura) from ‘Views of Tokyo after the Earthquake’ series
(Tokyo shinsai ato fukei), December 1923. Woodblock print.
Purchase with William K. Allison (Class of 1920) Memorial Fund
(2008.49)
Hiratsuka Un’ichi (Japanese, 1895-1997), Fukagawa Timberyards
(Fukagawa kiba) from ‘Views of Tokyo after the Earthquake’ series
(Tokyo shinsai ato fukei), April 1924. Woodblock print. Purchase
with William K. Allison (Class of 1920) Memorial Fund (2008.50)
Hiratsuka Un’ichi (Japanese, 1895-1997), Seiroka Hospital, Tsukiji
(Tsukiji) from ‘Views of Tokyo after the Earthquake’ series (Tokyo
shinsai ato fukei), 1923. Woodblock print. Purchase with William
K. Allison (Class of 1920) Memorial Fund (2008.51)
Hiratsuka Un’ichi (Japanese, 1895-1997), Asakusa (Asakusa) from
‘Views of Tokyo after the Earthquake’ series (Tokyo shinsai ato
fukei), edition 26/50, September 1925. Woodblock print. Purchase
Hiratsuka Un’ichi (Japanese, 1895-1997), National Sports Palace
(Kokugikan) from ‘Views of Tokyo after the Earthquake’ series
(Tokyo shinsai ato fukei), edition 17/50, April 1925. Woodblock
print. Purchase with William K. Allison (Class of 1920) Memorial
Fund (2008.53)
Hiratsuka Un’ichi (Japanese, 1895-1997), Azuma Bridge
(Azumabashi) from ‘Views of Tokyo after the Earthquake’ series
Fund (2008.54)
Hiratsuka Un’ichi (Japanese, 1895-1997), Great Gate at Shiba
(Shiba Daimon) from ‘Views of Tokyo after the Earthquake’ series
Fund (2008.55)
Hiratsuka Un’ichi (Japanese, 1895-1997), Ryo-tashi (Ryo-taishi)
from ‘Views of Tokyo after the Earthquake’ series (Tokyo shinsai
ato fukei), edition 17/50, April 1925. Woodblock print. Purchase
Hiratsuka Un’ichi (Japanese, 1895-1997), Akasaka Palace (Akasaka
Rikyu) from ‘15 Scenes of Last Tokyo in Original Wood-cut’ (Tokyo
kaiko zue), 1945. Woodblock print. Purchase with William K.
Allison (Class of 1920) Memorial Fund (2008.63.2)
Kobayashi Kiyochika (Japanese, 1847-1915), One Hundred Stakes
on the Okawa (Sumida) River (Okawabata hyappongui), 1884.
Woodblock print (oban tate-e). Purchase with Wise Fund for Fine
Arts (2008.43)
Hiratsuka Un’ichi (Japanese, 1895-1997), Sukiya Bridge (Sukiyabashi) from ‘15 Scenes of Last Tokyo in Original Wood-cut’ (Tokyo
Kobayashi Kiyochika (Japanese, 1847-1915), Meguro Arsenal
(Meguro Ienyuzo), November 10, 1884. Woodblock print (oban
tate-e). Purchase with Wise Fund for Fine Arts (2008.44)
William Hogarth, William (British, 1697-1764), Beer Street, 1751.
Etching and engraving on medium weight laid paper. Purchase
with the Samuel B. Cummings (Class of 1926) Art Fund (2008.30)
Kobayashi Kiyochika (Japanese, 1847-1915), Steel Bridge at
Kyobashi, Distant View of Tsukudajima (Tepposhu Kyobashi
Tsukudajima enkei), November 10, 1884. Woodblock print (oban
tate-e). Purchase with Wise Fund for Fine Arts (2008.45)
Inoue Yasuji (Japanese, 1864-1889), The Azuma Restaurant (Tokyo
Koamicho Yoroibashidori Azumatei), 1888. Woodblock print (oban
tate-e triptych). Museum Purchase (2008.47.1-3)
François Joullain (French, 1697-1778) after Jean-Antione Watteau
(French, 1684-1721), Les Agréements de L’eté [sic], 1732.
Engraving on paper. Purchase with William K. Allison (Class of
1920) Memorial Fund (2008.32)
Kawakami Sumio (Japanese, 1895-1972), Casino Fleuri, Asakusa
Park (Asakusa koen Kajino Foeuri) from ‘One Hundred Views of
Modern Tokyo: Sosaku hanga (Shin Tokyo Hyakkei: sosaku hanga),
third set, no.1, June 22, 1930. Woodblock print. Purchase with
Kawakami Sumio (Japanese, 1895-1972), Torii of Kudan (Kudan Dai
Torii) from ‘15 Scenes of Last Tokyo in Original Wood-cut’ (Tokyo
Kawakami Sumio (Japanese, 1895-1972), Night of Ginza (Yoru no
Ginza) from ‘15 Scenes of Last Tokyo in Original Wood-cut’ (Tokyo
Kobayashi Kiyochika (Japanese, 1847-1915), View of Mount Atago
(Atagoyama no zu), October 3, 1878. Woodblock print (oban
yoko-e). Purchase with Wise Fund for Fine Arts (2008.37)
Kobayashi Kiyochika (Japanese, 1847-1915), Ryogoku Bridge and
the One Hundred Stakes (Senpon gui Ryogoku), 1880. Woodblock
print (oban yoko-e). Purchase with Wise Fund for Fine Arts
(2008.38)
Kobayashi Kiyochika (Japanese, 1847-1915), View of the Great
Fire at Ryogoku from Hamacho (the Fire of January 26th, 1881),
(Hamacho yori sha Ryogoku taika, Meiji juyonnen shogatsu
nijuroku nichi shukka), 1881. Woodblock print (oban yoko-e).
Purchase with Wise Fund for Fine Arts (2008.39)
Kobayashi Kiyochika (Japanese, 1847-1915), Outbreak of Fire Seen
from Hisamatus-cho (Great Fire on the Night of February 11, 1881)
(Hisamatsu-cho yori miru shuk’ka, Meiji juyonen nigatsu juichinichi
yoru taika), 1881. Woodblock print (oban yoko-e). Purchase with
Kobayashi Kiyochika (Japanese, 1847-1915), Night on the Sumida
River (Sumidagawa yoru), 1881. Woodblock print (oban yoko-e).
Purchase with Wise Fund for Fine Arts (2008.41)
Kobayashi Kiyochika (Japanese, 1847-1915), Night at Nihonbashi
(Nihonbashi yoru), 1881. Woodblock print (oban yoko-e). Purchase
with Wise Fund for Fine Arts (2008.42)
Gideon Bok, Wingate Studios with Aldo’s Press #2: No Sleep till Hinsdale (1/20), 2008, Purchase, Trinkett Clark Memorial Student Acquisition
Fund (2009.23). Photo by Stephen Fisher
8
Kobayashi Kiyochika (Japanese, 1847-1915), View of Nihonbashi
from Ebo Bridge (Edobashi yori Nihonbashi no kei), 1884.
Woodblock print (oban tate-e). Purchase with Wise Fund for Fine
Arts (2008.46)
Maeda Masao (Japanese, 1904-1974), Akamon of Imp. University)
from ‘15 Scenes of Last Tokyo in Original Wood-cut’ (Tokyo kaiko
zue), 1945. Woodblock print. Purchase with William K. Allison
(Class of 1920) Memorial Fund (2008.63.6)
Maekawa Sempan (Japanese, 1888-1960), Factory Street at
Fukagawa (Honjo kojochi ichi) from ‘15 Scenes of Last Tokyo in
Original Wood-cut’ (Tokyo kaiko zue), 1945. Woodblock print.
Purchase with William K. Allison (Class of 1920) Memorial Fund
(2008.63.14)
Maekawa Sempan (Japanese, 1888-1960), Night of Shinjuku
(Shinjuku no yoru) from ‘15 Scenes of Last Tokyo in Original Woodcut’ (Tokyo kaiko zue), 1945. Woodblock print. Purchase with
William K. Allison (Class of 1920) Memorial Fund (2008.63.15)
Maekawa Senpan (Japanese, 1896-1946), The Battery at Suijo
Park (Mizukami Koen daiba) from ‘One Hundred Views of Modern
Tokyo: Sosaku hanga (Shin Tokyo Hyakkei: sosaku hanga), third
set, no.7, August 23, 1930. Woodblock print. Purchase with Wise
Fund for Fine Arts (2008.60)
Onchi Koshiro (Japanese, 1891-1955), Niju Bridge (Nijubashi) from
‘15 Scenes of Last Tokyo in Original Wood-cut’ (Tokyo kaiko zue),
1945. Woodblock print. Purchase with William K. Allison (Class of
1920) Memorial Fund (2008.63.1)
Onchi Koshiro (Japanese, 1891-1955), Tokyo Station (Tokyo eki)
Onchi Koshiro (Japanese, 1891-1955), Ueno Zoo (Ueno Dobutsuen)
Saito Koshiro (Japanese, 1907-1997), Asakusa Kannon (Asakusa
Kannondo) from ‘15 Scenes of Last Tokyo in Original Wood-cut’
(Tokyo kaiko zue), 1945. Woodblock print. Purchase with William
K. Allison (Class of 1920) Memorial Fund (2008.63.7)
William Taylor (American, born in 1987, Class of 2009), Worms of
the Senses (Series of 20 images), 2009. Linocut. Purchase, Wise
Prize (2009.163.1-20)
Utagawa Kunimasa IV (Japanese, 1848-1920), Brocade Picture
of the “Pavilion Above the Clouds” Sugoroku (Ryounkaku kikai
sugoroku), 1890. Woodblock print. Museum Purchase (2008.48)
9
Yamaguchi Gen (Japanese, 1903-1976), Meiji Shrine (Meiji Jingu)
Yamaguchi Gen (Japanese, 1903-1976), Zojoji Temple (Zojoji) from
‘15 Scenes of Last Tokyo in Original Wood-cut’ (Tokyo kaiko zue),
1945. Woodblock print. Purchase with William K. Allison (Class of
1920) Memorial Fund (2008.63.9)
Yamaguchi Gen (Japanese, 1903-1976), Benkei Bridge
(Benkeibashi) from ‘15 Scenes of Last Tokyo in Original Wood-cut’
(Tokyo kaiko zue), 1945. Woodblock print. Purchase with William
K. Allison (Class of 1920) Memorial Fund (2008.63.10)
Japanese 20th century, Brown Summer Kimono. Silk. Bequest of
Howard Hamilton (2009.149)
Japanese 20th century, Blue Yakata with ‘mugen’ reverse swastika
pattern. Cotton. Bequest of Howard Hamilton (2009.150)
Japanese 20th century, Blue Kimono with matching Haori. Rayon
and silk. Bequest of Howard Hamilton (2009.151.a,b)
Japanese 20th century, Kimono with Otowaya family (Kabuki
actors) pattern. Rayon, cotton, and silk. Bequest of Howard
Hamilton (2009.152)
Japanese 20th century, “Practice” Hakama (Blue Striped). Silk,
cotton, and rayon. Bequest of Howard Hamilton (2009.153)
B e q u ests (alphabetical by artist)
Japanese 20th century, Hakama (Gray and Blue Striped). Silk,
cotton, and rayon. Bequest of Howard Hamilton (2009.154)
Japanese 20th century, Kimono with trilateral wave motifs. “Ro”
Silk. Bequest of Howard Hamilton (2009.141)
Japanese 20th century, Hakama (Blue Striped with monogram).
Silk, cotton, and rayon. Bequest of Howard Hamilton (2009.155)
Japanese 20th century, Kimono and matching happi coat. Crepe
silk. Bequest of Howard Hamilton (2009.142.a,b)
Japanese 20th century, Montsuki Kimono (Black Light Weight).
Japanese 20th century, Kimono with “basket weave” pattern. Silk.
Bequest of Howard Hamilton (2009.143)
Japanese 20th century, Montsuki Kimono( Black Heavy Weight).
Japanese 20th century, Jiban. Silk. Bequest of Howard Hamilton
(2009.144)
Japanese 20th century, White Nagajiban with black eri. Linen.
Japanese 20th century, Jiban. Silk. Bequest of Howard Hamilton
(2009.145)
Japanese 20th century, Brown Nagajiban. Silk. Bequest of Howard
Hamilton (2009.159)
Japanese 20th century, Tan Hakama. Silk. Bequest of Howard
Hamilton (2009.146)
Japanese 20th century, Brown Kimono. Wool. Bequest of Howard
Hamilton (2009.160)
Japanese 20th century, Striped Hakama. Silk. Bequest of Howard
Hamilton (2009.147)
Japanese 20th century, Obi sashes. Silk, cotton. Bequest of
Howard Hamilton (2009.161.1-12)
Japanese 20th century, Brown Kimono with Howard Hamilton’s
Crest and inside painting of Mount Fuji. Silk. Bequest of Howard
Hamilton (2009.148)
Mme Kii, Japanese (20th century), Screen depicting embroidered
Noh costumes. Linen, silk. Bequest of Howard Hamilton (2009.162)
Japanese 20th, Bound portfolio of Kumadori in blue linen box.
Bequest of Howard Hamilton (not accessioned)
Katsukawa Shunei (Japanese, 1762-1819), The Actor Masumoto
Koshiro as a Samurai. Woodblock print. Bequest of Howard
Hamilton (2009.131)
Katsukawa Shunei (Japanese, 1762-1819), Act V Chushingura:
Sadakuro and Yoichibei. Woodblock print. Bequest of Howard
Hamilton (2009.134)
Katsukawa Shunei (Japanese, 1762-1819), The Actor Sawamura
Sojuro. Woodblock print. Bequest of Howard Hamilton (2009.138)
Katsukawa Shuntei (Japanese 1770-1820), The Actors Iwai
Hanshiro and Onoe Eisaburo. Woodblock print. Bequest of Howard
Hamilton (2009.136)
Katsukawa Shunto II also known as Katsukawa Shunsen
(Japanese, 1762-1830), The Actor Sawamura Jojuro depicting an
evil character. Woodblock print. Bequest of Howard Hamilton
(2009.137)
Nomura Ran, Noh Mask representing Shishiguchi, Bequest of
Howard Hamilton (2009.40). Photo by Stephen Fisher
10
Nomura Ran (Japanese 20th century), Noh Mask representing
Ayakashi, carved wood, lacquer, whitewash, pigments. Bequest of
Atsumori, carved wood, lacquer, whitewash, pigments. Bequest of
Howard Hamilton (2009.26).
Chujo, carved wood, lacquer, whitewash, pigments. Bequest of
Deigan, carved wood, lacquer, whitewash, pigments. Bequest of
Doji, carved wood, lacquer, whitewash, pigments. Bequest of
Heita, carved wood, lacquer, whitewash, pigments. Bequest of
Kantan Otoko, carved wood, lacquer, whitewash, pigments.
Nomura Ran (Japanese 20th century), Noh Mask representing Ko
Omote, carved wood, lacquer, whitewash, pigments. Bequest of
Nomura Ran (Japanese 20th century), Noh Mask representing Ko
Tobide, carved wood, lacquer, whitewash, pigments. Bequest of
Kurohige, carved wood, lacquer, whitewash, pigments. Bequest of
Masugami, carved wood, lacquer, whitewash, pigments. Bequest
of Howard Hamilton (2009.35)
Mikazuki, carved wood, lacquer, whitewash, pigments. Bequest of
Sankojo, carved wood, lacquer, whitewash, pigments. Bequest of
Shakumi, carved wood, lacquer, whitewash, pigments. Bequest of
Shikami, carved wood, lacquer, whitewash, pigments. Bequest of
Shishiguchi, carved wood, lacquer, whitewash, pigments. Bequest
Shojo, carved wood, lacquer, whitewash, pigments. Bequest of
Tenjin, carved wood, lacquer, whitewash, pigments. Bequest of
Uba, carved wood, lacquer, whitewash, pigments. Bequest of
Yama Uba, carved wood, lacquer, whitewash, pigments. Bequest
Yase Otoko, carved wood, lacquer, whitewash, pigments. Bequest
Yorimasa, carved wood, lacquer, whitewash, pigments. Bequest of
Oshiguma (face rubbing) of Onoe Baiko VII (Japanese, 1915-1995)
as Arima neko, silk on paper scroll. Bequest of Howard Hamilton
(2009.47)
Oshiguma (face rubbing) of Onoe Shōroku II (Japanese, 19131989) as Benkei from “Benkei Joshi”, silk on paper scroll. Bequest
Oshiguma (face rubbing) of Ichimura Uzaemon XVII (Japanese,
1916-2001) as Benkei from “Benkei Joshi”, silk on paper scroll.
Oshiguma (face rubbing) of Onoe Shoroku II (Japanese, 19131989) as Benkei and Onoe Tatsunosuke I (Japanese, 1946-1987)
as Tosabo from “Benkei Joshi”, silk on paper scroll. Bequest of
Oshiguma (face rubbing) of Jitsukawa Enjaku III (Japanese, 19211991) as Bannai from “Chushingura”, silk on paper scroll. Bequest
as Hanako/Oni from “Dojoji”, silk on paper scroll. Bequest of
Howard Hamilton (2009.52.1)
Oshiguma (face rubbing) of Onoe Shoroku II (Japanese, 19131989) as Oshi Modoshi from “Dojoji”, silk on paper scroll. Bequest
of Howard Hamilton (2009.52.2)
as Hanako/Oni from “Dojoji”, silk on paper scroll. Bequest of
1916-2001) as Oshi Modoshi from “Dojoji”, silk on paper scroll.
Bequest of Howard Hamilton (2009.53.2)
Oshiguma (face rubbing) of Onoe Kuroemon II (Japanese, 19222004) as Oshi Modoshi from “Dojoji”, silk on paper scroll. Bequest
Oshiguma (face rubbing) of Nakamura Utaemon VI (Japanese,
1917-2001) as Hanako/Oni from “Dojoji”, silk on paper scroll.
Oshiguma (face rubbing) of Jitsukawa Enjaku III (Japanese, 19211991) as Oshi Modoshi from “Dojoji”, silk on paper scroll. Bequest
Oshiguma (face rubbing) of Onoe Kikugoro VII (Japanese, born in
1942) as Hanako/Oni from “Dojoji”, silk on paper scroll. Bequest of
Oshiguma (face rubbing) of Onoe Shoroku II (Japanese, 19131989) as Oshi Modoshi from “Dojoji”, silk on paper scroll. Bequest
11
as Tomomori from “Funa Benkei”, silk on paper scroll. Bequest of
Oshiguma (face rubbing) of Onoe Tatsunosuke I (Japanese, 19461987) as Kanu’s Son? from “Kanu”, silk on paper scroll. Bequest of
Oshiguma (face rubbing) of Onoe Shoroku II (Japanese, 19131989) as Tomomori from “Funa Benkei”, silk on paper scroll.
1916-2001) as Benkei from “Kiichi Hogan”, silk on paper scroll.
Oshiguma (face rubbing) of Sawamura Tanosuke VI (Japanese,
born in 1932) as Inari Myojin from “Futari Yaegakihime”, silk on
paper scroll. Bequest of Howard Hamilton (2009.58)
Oshiguma (face rubbing) of Morita Kan”ya XIV (Japanese, 19071975) as Ushiwakamaru from “Kiichi Hogan”, silk on paper scroll.
Oshiguma (face rubbing) of Kataoka Roen VI (Japanese, born in
1926) as Inage Nyudo from “Gohiki Kanjincho”, silk on paper scroll.
Oshiguma (face rubbing) of Ichikawa Ennosuke III (Japanese, born
1939) as Inari Myojin from “Kokaji”, silk on paper scroll. Bequest of
Oshiguma (face rubbing) of Bando Minosuke VII, later known as
Bando Mitsugoro IX (Japanese 1929-1999) as Matano Kagehisa
from “Hiruga Kojima” silk on paper scroll. Bequest of Howard
Hamilton (2009.60)
Oshiguma (face rubbing) of Onoe Shoroku II (Japanese, 19131989) as Watonai from “Kokusenya Kassen”, silk on paper scroll.
Oshiguma (face rubbing) of Ichikawa Sadanji III (Japanese 18981969) as Mashiba/Oni from “Ibaraki”, silk on paper scroll. Bequest
1917-2001) as Mashiba/Oni from “Ibaraki”, silk on paper scroll.
as Mashiba/Oni from “Ibaraki”, silk on paper scroll. Bequest of
Oshiguma (face rubbing) of Onoe Shoroku II (Japanese, 19131989) as Kumagai from “Ichinotani”, silk on paper scroll. Bequest
1916-2001) as Iruka from “Imoseyama”, silk on paper scroll.
1916-2001) as Iruka from “Imoseyama”, silk on paper scroll.
1939) as Iruka from “Imoseyama”, silk on paper scroll. Bequest of
Oshiguma (face rubbing) of Jitsukawa Enjaku III (Japanese, 19211991) as Iruka from “Imoseyama”, silk on paper scroll. Bequest of
as Yayoi/Shishi from “Kagami Jishi”, silk on paper scroll. Bequest
William Hogarth, Beer Street, 1751, Purchase with the Samuel B. Cummings (Class of 1926) Art Fund (2008.30). Photo by Stephen Fisher
Oshiguma (face rubbing) of Nakamura Shikan VII (Japanese, born
in 1928) as Yayoi/Shishi from “Kagami Jishi”, silk on paper scroll.
Oshiguma (face rubbing) of Onoe Kikunosuke IV, later known as
Onoe Kikugoro VII (Japanese, born in 1942) as Yayoi/Shishi from
“Kagami Jishi”, silk on paper scroll. Bequest of Howard Hamilton
(2009.71)
Oshiguma (face rubbing) of Onoe Shoroku II (Japanese, 19131989) as Kanu/Kagekiyo from “Kanu”, silk on paper scroll. Bequest
12
Oshiguma (face rubbing) of Onoe Shoroku II (Japanese, 19131989) as Goro from “Kongen Soga” (Acts I and IV), silk on paper
scroll. Bequest of Howard Hamilton (2009.76.1)
Oshiguma (face rubbing) of Onoe Shoroku II (Japanese, 19131989) as Goro from “Kongen Soga” (Act III), silk on paper scroll.
Oshiguma (face rubbing) of Onoe Shoroku II (Japanese, 19131989) as Goro from “Kongen Soga” (Act II), silk on paper scroll.
1917-2001) as Tsumagiku from “Kumo no Hyoshimai”, silk on
paper scroll. Bequest of Howard Hamilton (2009.77.1)
Oshiguma (face rubbing) of Jitsukawa Enjaku III (Japanese, 19211991) as Usui Sadamitsu from “Kumo no Hyoshimai”, silk on paper
1939) as Iwate, the Ogress from “Kurozuka”, silk on paper scroll.
Oshiguma (face rubbing) of Ichikawa Danshiro IV (Japanese, born
1946) as Goro from “Kusazuri Biki”, silk on paper scroll. Bequest of
Oshiguma (face rubbing) of Onoe Tatsunosuke I (Japanese, 19461987) as Yakko from “Mitsu Ningyo”, silk on paper scroll. Bequest
as Sayuri/Demoness from “Modori Bashi”, silk on paper scroll.
Oshiguma (face rubbing) of Bando Mitusgoro VII (Japanese, 18821961) as Watanabe Tsuna from “Madori Bashi”, silk on paper
as Sarashina/Demon from “Momijigari”, silk on paper scroll.
Oshiguma (face rubbing) of Bando Minosuke VII later known
as Bando Mitusgoro IX (Japanese, 1929-1999) as SanJin from
“Momijigari”, silk on paper scroll. Bequest of Howard Hamilton
(2009.82.2)
13
1917-2001) as Sarashina/Demon from “Momijigari”, silk on paper
1916-2001) as Otokonosuke from “Meiboku Sendai Hagi”, silk on
Oshiguma (face rubbing) of Ichikawa Ennosuke III (Japanese,
born 1939) as SanJin from “Momijigari”, silk on paper scroll.
Bequest of Howard Hamilton (2009.83.Oshiguma (face rubbing)
of Onoe Shoroku II (Japanese, 1913-1989) as Kagekiyo from
“Nanatsumen”, silk on paper scroll. Bequest of Howard Hamilton
(2009.84.1)
Oshiguma (face rubbing) of Onoe Shoroku II (Japanese, 19131989) as Gongoro from “Shibaraku”, silk on paper scroll. Bequest
1916-2001) as Kokan Koshiro from “Nanatsumen”, silk on paper
Oshiguma (face rubbing) of Onoe Shoroku II (Japanese, 19131989) as Narukami from “Narukami”, silk on paper scroll. Bequest
1917-2001) as Yamata from “Nihon Furisode Hajime”, silk on
Oshiguma (face rubbing) of Bando Minosuke VII later known
as Bando Mitusgoro IX (Japanese, 1929-1999) as Ranpei from
“Ranpei Monogurui”, silk on paper scroll. Bequest of Howard
Hamilton (2009.87)
Oshiguma (face rubbing) of Onoe Tatsunosuke I (Japanese, 19461987) as Ranpei from “Ranpei Monogurui”, silk on paper scroll.
Oshiguma (face rubbing) of Onoe Shoroku II (Japanese, 19131989) as Otojishi and Ichimura Uzaemon XVII (Japanese, 19162001) as Kojishi from “Renjishi”, silks on 2 paper scrolls. Bequest of
Howard Hamilton (2009.89.a,b)
Oshiguma (face rubbing) of Bando Minosuke VII later known as
Bando Mitusgoro IX (Japanese, 1929-1999) as Sambaso from
“Sambaso”, silk on paper scroll. Bequest of Howard Hamilton
(2009.90)
Oshiguma (face rubbing) of Onoe Shoroku II (Japanese, 19131989) as Sekibei from “Seki no To”, silk on paper scroll. Bequest of
Oshiguma (face rubbing) of Bando Minosuke VIII (Japanese, 19061975) as Sekibei from “Seki no To”, silk on paper scroll. Bequest of
Oshiguma (face rubbing) of Yamazaki Gon”ichi (Japanese,
20th century) as unknown character from “Yoshitsune Senbon
Zakura” (Act 4 Michiyuki), silk on paper scroll. Bequest of Howard
Hamilton (2009.93)
Oshiguma (face rubbing) of Onoe Shoroku II (Japanese, 19131989) as Tadanobu from “Yoshitsune Senbon Zakura” (Act 4
Michiyuki), silk on paper scroll. Bequest of Howard Hamilton
(2009.94)
Oshiguma (face rubbing) of Onoe Shoroku II (Japanese, 19131989) as Otokonosuke from “Meiboku Sendai Hagi”, silk on paper
scroll. Bequest of Howard Hamilton (2009.95)
Oshiguma (face rubbing) of Jitsukawa Enjaku III (Japanese, 19211991) as Otokonosuke from “Meiboku Sendai Hagi”, silk on paper
scroll. Bequest of Howard Hamilton (2009.96)
14
Oshiguma (face rubbing) of Kawarasaki Gonjuro III (Japanese,
1918-1998) as Narita Goro from “Shibaraku”, silk on paper scroll.
1916-2001) as Gongoro from “Shibaraku”, silk on paper scroll.
Oshiguma (face rubbing) of Onoe Shoroku II (Japanese, 19131989) as Umeomaru and Matsumoto Koshiro VIII (Japanese, 19491981) as Matsuomaru from “Sugawara Denju” (Ga No Iwai scene),
silk on paper scroll. Bequest of Howard Hamilton (2009.107.a,b)
Oshiguma (face rubbing) of Bando Kamesaburo IV later known
as Bando Hikosaburo VIII (Japanese, born 1943) as Umeomaru
from “Sugawara Denju” (Act 3: Kurumabiki), silk on paper scroll.
Oshiguma (face rubbing) of Jitsukawa Enjaku III (Japanese, 19211991) as Umeomaru and Ichimura Uzaemon XVII (Japanese, 19162001) as Matsuomaru from “Sugawara Denju” (Ga No Iwai scene),
silk on paper scroll. Bequest of Howard Hamilton (2009.108.a,b)
Oshiguma (face rubbing) of Kataoka Ichizo V (Japanese, 19161991) as Shihei from “Sugawara Denju” (Act 3: Kurumabiki), silk on
Bando Mitusgoro IX (Japanese, 1929-1999) as Umeomaru from
“Sugawara Denju” (Act 2: Hippo Denju), silk on paper scroll.
Oshiguma (face rubbing) of Jitsukawa Enjaku III (Japanese, 19211991) as Takehira from “Shibaraku”, silk on paper scroll. Bequest
Oshiguma (face rubbing) of Matsumoto Koshiro VIII (Japanese,
1949-1981) as Matsuomaru from “Sugawara Denju” (Act 3:
Kurumabiki), silk on paper scroll. Bequest of Howard Hamilton
(2009.110.1)
1916-2001) as Gongoro from “Shibaraku”, silk on paper scroll.
as Sakuramaru from “Sugawara Denju” (Act 3: Kurumabiki), silk on
Oshiguma (face rubbing) of Onoe Kuroemon II (Japanese, 19222004) as Takehira from “Shibaraku”, silk on paper scroll. Bequest
Oshiguma (face rubbing) of Nakamura Kichiemon II (Japanese,
born 1944) as Umeomaru from “Sugawara Denju” (Act 3:
(2009.110.3)
Oshiguma (face rubbing) of Ichikawa Omezo V later known as
Ichikawa Sadanji IV (Japanese, born in 1940) as Narita Goro from
“Shibaraku”, silk on paper scroll. Bequest of Howard Hamilton
(2009.100.3)
Oshiguma (face rubbing) of Onoe Tatsunosuke I (Japanese, 19461987) as Shisai from “Shibaraku”, silk on paper scroll. Bequest of
as Shishi from “Shuchaku Jishi”, silk on paper scroll. Bequest of
Oshiguma (face rubbing) of Shikazo (Japanese, 20th century)
as Yoten from “Shuchaku Jishi”, silk on paper scroll. Bequest of
Oshiguma (face rubbing) of Bando Mitsugoro VIII (Japanese, 19061975) as Shihei from “Sugawara Denju” (Act 3: Kurumabiki), silk on
Oshiguma (face rubbing) of Onoe Ushinosuke V later known as
Onoe Kikugoro VII (Japanese, born 1942) as Sakuramaru from
“Sugawara Denju” (Act 3: Kurumabiki), silk on paper scroll.
Oshiguma (face rubbing) of Ichikawa Omezo V later known as
Ichikawa Sadanji IV (Japanese, born 1940) as Matsuomaru
from “Sugawara Denju” (Act 3: Kurumabiki), silk on paper scroll.
Oshiguma (face rubbing) of Yujiro IV (Japanese, 20th century)
as Sakuramaru and Bando Yasosuke IV later known as Bando
Mitsugoro IX (Japanese, 1929-1999) as Umeomaru from
“Sugawara Denju” (Act 3: Kurumabiki), silk on paper scroll.
Oshiguma (face rubbing) of Ichigawa Somegoro VI later known
as Matsumoto Koshiro IX (Japanese, born 1942) as Matsuomaru;
Ichikawa Ebizo X later known as Ichikawa Danjuro XII (Japanese,
born 1946) as Sakuramaru; and Onoe Tatsunosuke I (Japanese,
1946-1987) as Umeomaru from “Sugawara Denju” (Act 3:
(2009.113)
1918-1998) as Shihei from “Sugawara Denju” (Act 3: Kurumabiki),
silk on paper scroll. Bequest of Howard Hamilton (2009.114)
1918-1998) as Michizane from “Sugawara Denju” (Act 4:
Tempaizan), silk on paper scroll. Bequest of Howard Hamilton
(2009.115)
1918-1998) as Genba from “Sugawara Denju” (Act 4: Terakoya),
silk on paper scroll. Bequest of Howard Hamilton (2009.116)
Oshiguma (face rubbing) of Ichikawa Danjuro XI (Japanese, 19091965) as Sukeroku from “Sukeroku”, silk on paper scroll. Bequest
1916-2001) as Asahina from “Soga no Taimen”, silk on paper scroll.
Oshiguma (face rubbing) of Bando Kamesaburo IV later known
as Bando Hikosaburo VIII (Japanese, born in 1943) as Asahina
from “Soga no Taimen”, silk on paper scroll. Bequest of Howard
Hamilton (2009.103)
Oshiguma (face rubbing) of Onoe Kikunosuke IV later known
as Onoe Kikugoro VII (Japanese, born in 1942) as Juro; Onoe
Tatsunosuke I (Japanese, 1946-1987) as Goro; and Bando Shinsui
VIII later known as Bando Hikosaburo VIII (Japanese, born in
1943) as Asahina from “Soga no Taimen”, silk on paper scroll.
Bando Mitusgoro IX (Japanese, 1929-1999) as Asahina from “Soga
no Taimen”, silk on paper scroll. Bequest of Howard Hamilton
(2009.105)
Oshiguma (face rubbing) of Bando Kamezo II later known as Bando
Hikosaburo VIII (Japanese, born in 1943) as Asahina from “Soga
no Taimen”, silk on paper scroll. Bequest of Howard Hamilton
(2009.106)
Digitization team in Johnson Chapel: Tim Gilfillan, Teddy O’Connor, Inga Stevens, Jim Gipe, Stephen Petegorsky ’75, and Stephen Fisher.
Photo by Petegorsky/Gipe Photography
15
Oshiguma (face rubbing) of Onoe Kikugoro VII (Japanese, born
1942) as Sukeroku from “Sukeroku”, silk on paper scroll. Bequest
Oshiguma (face rubbing) of Ichikawa Somegoro VI later known as
Matsumoto Koshiro IX (Japanese, born 1942) as Sukeroku from
“Sukeroku”, silk on paper scroll. Bequest of Howard Hamilton
(2009.119)
Oshiguma (face rubbing) of Ichikawa Danjuro XII (Japanese, born
1946) as Sukeroku from “Sukeroku”, silk on paper scroll. Bequest
Oshiguma (face rubbing) of Onoe Shoroku II (Japanese, 19131989) as Chichu/Demon from “Tsuchigumo”, silk on paper scroll.
Oshiguma (face rubbing) of Onoe Tatsunosuke I (Japanese, 19461987) as Chichu/Demon from “Tsuchigumo”, silk on paper scroll.
Oshiguma (face rubbing) of Onoe Shoroku II (Japanese, 19131989) as Chichu/Demon from “Tsuchigumo”, silk on paper scroll.
Oshiguma (face rubbing) of Bando Hideko (Japanese, 20th
century) as Ko Zaru from “Utsubo Zaru”, silk on paper scroll.
1918-1998) as Kaidomaru from “Yamauba”, silk on paper scroll.
1916-2001) as Goro from “Yanone”, silk on paper scroll. Bequest
Oshiguma (face rubbing) of Jitsukawa Enjaku III (Japanese, 19211991) as Tota from “Yoshinoyama Michiyuki”, silk on paper scroll.
Oshiguma (face rubbing) of Onoe Shoroku II (Japanese, 19131989) as Goro from “Youchi Soga”, silk on paper scroll. Bequest of
Oshiguma (face rubbing) of Onoe Shoroku II (Japanese, 19131989) as Gennaizaimon from “Zoo Hiki”, silk on paper scroll.
1916-2001) as Iruku from “Zoo Hiki”, silk on paper scroll. Bequest
Oshiguma (face rubbing) of Onoe Tatsunosuke I (Japanese, 19461987) as Usui no Sadamitsu in a parody of famous Kabuki plays
performed at the Tokyo’s National Theater, January, 1980. Silk on
1918-1998) as Narita Goro in a parody of famous Kabuki plays
performed at the Tokyo’s National Theater, January, 1980. Silk on
Tsukioka Kogyo (Japanese, 1869-1927), Nogaku Zue (One Hundred
Noh Dramas) Volume 1, 1922-1926. 26 vertical Oban tate-e
woodblock prints bound in brocade covered boards. Bequest of
16
Utagawa Sadahide (Japanese, 1807-1873), The Chushingura (Act
I, Tsurugaoka Hachiman Shrine), ca. mid 1830s. Woodblock prints.
II, Palace of Momoi Wakasanosuke), ca. mid 1830s. Woodblock
prints. Bequest of Howard Hamilton (2009.140.2)
III, Gate of Ashikage Palace), ca. mid 1830s. Woodblock prints.
IV, Palace of Enya Hangan), ca. mid 1830s. Woodblock prints.
V, Yamazaki Highway Shotgun Scene), ca. mid 1830s. Woodblock
VI, Kampei’s Suicide), ca. mid 1830s. Woodblock prints. Bequest of
VII, Kyoto Gion Ichiriki Tea House), ca. mid 1830s. Woodblock
VIII, Bridal Journey), ca. mid 1830s. Woodblock prints. Bequest of
IX, Yuranosuke’s House in Yamashina), ca. mid 1830s. Woodblock
Utagawa Sadahide (Japanese, 1807-1873), The Chushingura (Act X,
Storehouse of Merchant Amakawaya), ca. mid 1830s. Woodblock
Utagawa Sadahide (Japanese, 1807-1873), The Chushingura
(Act XI, Vendetta – Raid on Moronao’s Mansion), ca. mid 1830s.
Woodblock prints. Bequest of Howard Hamilton (2009.140.11)
Utagawa Shunsho (Japanese, fl. 1830-1854), The Actor Ichikawa
Danjiro as a scowling man holding a beam. Woodblock print.
Utagawa Shunsho (Japanese, fl. 1830-1854), The Actor Ichikawa
Danjuro in the role of Sansho Danyu. Woodblock print. Bequest of
Utagawa Shunsho (Japanese, fl.1830-1854), The Actor Arashi
Ninasuke. Woodblock print. Bequest of Howard Hamilton
(2009.139)
Utagawa Toyokuni (Toyokuni I) (Japanese, 1769-1825), Ichikawa
Danjiro VII in the role of Sukeroku. Woodblock print. Bequest of
D eaccess i ons (none)
O w ners h i p T ransfer
In April 2009, following a twenty-five year extended loan from
the estate of Charles H. Morgan, the Mead transferred The Wind
from the Sea, a 1947 tempera painting on panel by Andrew Wyeth
(American, 1917-2009), to its permanent owner, the National
Gallery of Art in Washington D.C.
Loans
L enders to t h e M ead
1952.2), to William Stanley Haseltine: Painter of Place, Smith
College Museum of Art, Northampton, Massachusetts (11/7/20082/1/2009)
O b j ects L ent by t h e M ead
Amand-Durand (French, 1831-1905) after Albrecht Dürer
(German, 1471-1528), Knight, Death and the Devil, engraving,
Museum Purchase (AC 1980.26), to Emulation or Imitation:
The Case of Dürer vs. Raimondi, Smith College Museum of Art,
Northampton, Massachusetts (1/9/2009-4/19/2009)
David Lucas (British, 1802-1881) after John Constable (British,
1776-1837), Old Sarum, from Various Subjects of Landscape,
Characteristic of English Scenery, 1830-1832, mezzotint on soft
laid paper. Museum Purchase (1979.04.o), to Beautiful Britain:
18thand 19th-Century Landscapes, Smith College Museum of Art,
Northampton, Massachusetts (4/25/2008-7/20/2008)
Albrecht Dürer (German, 1471-1528), ‘The Presentation of
Christ in the Temple’, from The Life of the Virgin series, 15021503, woodcut, Gift of Edward C. Crossett (Class of 1905)
(AC 1951.1005), to Emulation or Imitation: The Case of Dürer
vs. Raimondi, Smith College Museum of Art, Northampton,
Massachusetts (1/9/2009-4/19/2009)
Joseph Wright (American, 1756-1793), Portrait of George
Washington, ca.1783, oil on canvas, Bequest of Herbert L. Pratt
(Class of 1895) (1945.3), to Picturing Princeton 1783: The Nation’s
Capitol, Morven Museum and Garden, Princeton, New Jersey
(6/1/2008-1/11/2009)
Albrecht Dürer (German, 1471-1528), The Sea Monster, c.1501,
engraving, Museum Purchase (AC 1969.2), to Emulation or
Imitation: The Case of Dürer vs. Raimondi, Smith College Museum
of Art, Northampton, Massachusetts (1/9/2009-4/19/2009)
Anonymous
Adam Lindemann (Class of 1983) and Amalia Dayan
Edward Hicks (American, 1780-1849), Peaceable Kingdom, ca.
1822-25, oil on canvas, Gift of Stephen C. Clark (AC 1951.384),
to American Menagerie, the Portland Museum of Art, Portland,
Maine (8/16/2008-11/9/2008)
Albrecht Dürer (German, 1471-1528), Knight, Death and Devil,
1513, engraving, Gift of Dr. Beekman Delatour (Class of 1918)
in honor of Professor Otto Manthey-Zorn (AC 1975.77), to
Emulation or Imitation: The Case of Dürer vs. Raimondi, Smith
College Museum of Art, Northampton, Massachusetts (1/9/20094/19/2009)
Jacques Callot (French, c.1592-1635), ‘The Strappado, No. 10,’
from The Miseries and Disasters of War, 1633, etching, Gift of
Edward C. Crossett (Class of 1905) (AC 1951.750), to Mystic
Masque: Semblance and Reality in Georges Rouault, 1871-1958,
McMullen Museum of Art, Boston College, Boston, Massachusetts
(8/30/2008-11/28/2008)
Jacques Callot (French, c.1592-1635), The Hanging (La Pendaison),
1633, etching, Gift of Edward C. Crossett (Class of 1905) (AC
1951.751), to Mystic Masque: Semblance and Reality in Georges
Rouault, 1871-1958, McMullen Museum of Art, Boston College,
Boston, Massachusetts (8/30/2008-11/28/2008)
Richard Yarde (American, born in 1939), Kismet #2, 2006,
watercolor and gouache on paper, Purchase with Wise Fund for
Fine Arts (AC 2007.12), to Nowhere Else but Here: Studio Arts at
the University of Massachusetts, 1958-2008, Herter Art Gallery,
University of Massachusetts, Amherst, Massachusetts (9/17/200810/31/2008)
Lyonel Charles Adrian Feininger (American, 1871-1956), Fleeing
Ships, 1933, watercolor, Gift of Charles H. Morgan (AC 1962.80),
to Bauhaus Modern, Smith College Museum of Art, Northampton,
Massachusetts (9/26/2008-12/7/2008)
Wassily Kandinsky (Russian, 1866-1944), Kleine Welten I [Small
Worlds I], 1922, colored lithograph, Gift of Richard G. Bump, in
memory of Elmo Giordanetti (AC 1985.75), to Bauhaus Modern,
Smith College Museum of Art, Northampton, Massachusetts
(9/26/2008-12/7/2008)
William Stanley Haseltine (American, 1835-1900), Amalfi, Valley
of the Molina, ca.1871, oil on paper mounted on canvas, Gift
of Herbert W. Plimpton: The Hollis W. Plimpton (Class of 1915)
Memorial Collection (AC 1968.25), to William Stanley Haseltine:
Painter of Place, Smith College Museum of Art, Northampton,
Massachusetts (11/7/2008-2/1/2009)
Albrecht Dürer, Knight, Death and Devil, 1513, Gift of Dr. Beekman
Delatour (Class of 1918) in honor of Professor Otto Manthey-Zorn
(AC 1975.77). Photo by Stephen Fisher
William Stanley Haseltine (American, 1835-1900), Cannes in the
Sixties, c.1867, pencil and watercolor wash drawing on medium
weight wove watercolor paper, Gift of Charles H. Morgan (AC
17
Marcantonio Raimondi (Italian, c.1480-c.1530) after Albrecht
Dürer (German, 1471-1528), ‘The Presentation of the Virgin’ from
Life of the Virgin Series, 16th century, engraving, Gift of Professor
Harry Bober (AC 1978.62.a), to Emulation or Imitation: The Case of
Dürer vs. Raimondi, Smith College Museum of Art, Northampton,
Massachusetts (1/9/2009-4/19/2009)
James Wells Champney (American, 1843-1903), Feeding the
Chickens, oil on canvas, Gift of Herbert W. Plimpton: The Hollis
W. Plimpton (Class of 1915) Memorial Collection (AC 1978.69),
to What Can a Woman Do? Women, Work, and Wardrobe
1865-1940, Mount Holyoke College Art Museum, South Hadley,
Massachusetts (2/3/2009-5/31/2009)
John Quidor (American, 1801-1881), Peter Stuyvesant’s Voyage up
the Hudson River, 1866, oil on canvas, Gift of Herbert W. Plimpton:
The Hollis W. Plimpton (Class of 1915) Memorial Collection (AC
1980.88), to New York at 400: The Persistence of Dutch Heritage
and the Language of Celebration, The Hudson River Museum,
Yonkers, New York (6/13/2009-1/3/2010)
Curricular Collaborations
D onat i ons M ade
In the 2007-08 academic year, the Mead partnered with the
Department of Art and the History of Art in presenting the
Reimagining the Distaff Toolkit exhibition; with the English
Department for the Jared Paul poetry slam; and with the Russian
Department on the screening of a film by Hannah Collins.
The Mead collaborated with the Department of Music on the
Faultlines jazz festival performances with Marty Elrich, Jason
Robinson, Bruce Diehl, and Adam Larrabee; the Fortune’s Wheel
Medieval Music concert; and the Arvo Pärt concert performed by
Jeffers Engelhardt, David Schneider, Jenny Kallick, and singers from
the Amherst College Choral Society. Additionally, the museum
co-sponsored with Marsh House the No Mic, Open Mic poetry
reading series at the Mead; joined the Amherst Area Chamber
of Commerce in serving as a venue for the Amherst Art Walk on
the first Thursday of each month; and co-sponsored the U. Mass.
Fine Arts Center’s Careers in Art History roundtable. The Mead
also contributed substantially to the 2009 Amherst College Press
publication Who Am I in This Picture? Amherst College Portraits
with Brett Cook and Wendy Ewald.
In 2008–09, the Mead strengthened and expanded
its links to the curriculum—efforts reflecting the
museum’s refocused educational mission, and
greatly assisted by the Mellon Foundation grant
(listed above). Educator Christine Paglia, who joined
the Mead’s staff in August 2008, and her successor,
Interim Andrew W. Mellon Coordinator of College
Programs Susan Anderson, who began work in January 2009, oversaw this crucial work.
Not surprisingly, the vast majority of Amherst College courses in studio art, the history of art, and
museum studies met for at least one session in the
D onat i ons R ece i v ed
William Taylor ’09, Worms of the Senses (No. 1 in a series of 20
linocuts), 2009, Purchase, Wise Prize (2009.163.1). Artist photo
G rants R ece i v ed
Awards G i v en
In December 2009, the Andrew W. Mellon Foundation awarded
the Mead a prestigious three-year, $500,000 grant to support
staffing, assist faculty in integrating museum collections into
teaching and research, and provide curatorial fellowships to
recent Five Colleges graduates. The grant supports a full-time
staff position devoted to increasing awareness of Amherst’s
art collection as a cross-disciplinary resource for teaching and
research; two faculty course-development seminars focused
on the Mead’s collection each year; stipends for faculty guest
curators; and two, two-year Post-Baccalaureate Curatorial
Fellowships to allow exceptionally promising recent Five Colleges
graduates from any field of study to undertake substantive
curatorial work during the crucial interval between college and
graduate study. Also in December 2009, the Julia A. Whitney
Foundation presented the Mead with $50,000 in support of
initiatives to conserve, catalogue, and present the Thomas P.
Whitney (Class of 1937) Collection of Russian Art.
18
and the History of Art 1 (Introduction to the History
of Western Art) met weekly during the fall semester in the galleries or in the study room to examine
original objects from ancient Egypt to the present
day. Professor Carol Clark’s Art and the History of Art
71 (American Art at the Mead) followed suit in the
spring semester, with twice-weekly meetings at the
Mead, studying American art from the Colonial era
through the early twentieth century.
Building upon efforts from 2007-08, the museum
also welcomed new and returning faculty and
students from across the Humanities, Social Sci-
Grants
In May 2009, the Mead awarded the 2009 Wise Fine Arts Award
to William Taylor, Class of 2009. As a requirement of the prize,
twenty linocuts from Mr. Taylor’s senior thesis exhibition entered
the special Wise Prize collection overseen by the Mead. In
recognition of the number of works acquired, the prize amount
was increased in this instance to $2,000. Also in May 2009, the
Mead Art Museum and the Department of Art and the History of
Art awarded four Summer Fellowships for 2009. Oscar Bedford,
Class of 2011, received $1,000 to prepare a photographic
documentary project involving family and cultural identity;
Colombina Valera, Class of 2010, received $1,000 to participate
in an eight-week internship at DNA Gallery, Provincetown,
Massachusetts; Porsche Dames, Class of 2012, received $500
to participate in a ten-week internship at the Rubin Museum,
New York; and Ashley Hogan, Class of 2012, received $500 to
participate in the Summer Institute for Art Museum Studies at
Smith College, Northampton, Massachusetts.
museum. Notably, Professor Andaleeb Banta’s Art
The Mead could never have completed its successful year of
exhibitions, acquisitions, and events without the generous support
of many individuals and academic departments. Adam Lindemann
(Class of 1983) and Amalia Dayan supported the Jonathan Meese
exhibition and related artist’s visit and campus performance.
Charles Wilkes (Class of 1971) and Helen Wilkes (Parents, Class
of 2008) and H. Nichols B. Clark made donations to support
specific acquisitions. The revived Friends of the Mead Art Museum
raised nearly $15,000 to support the museum’s programs, and
museum visitors left cash donations totaling more than $1,000 in
the lobby piggy bank. Additionally, the Mead received generous
contributions from the Classics Department for Whispering Coins:
Echoes of Classical Greece; the office of the Dean of Faculty for
the New Faculty Museum Orientation; the Lamont Fund for the
lecture by Will Barnet; the Amherst Association of Students for
Evenings at the Mead; the Amherst Art Series Fund for numerous
special events; the Department of Art and the History of Art and
the Department of Music for Tuning in – Musical Variations on
Weather with Nathalie Miebach; and the former department for
the special reception for Amherst College Honorand Frank Stella.
ences, and Natural Sciences. In September, Professor
Benjamin Hutz’s Math 13 (Multivariable Calculus)
visited the galleries to measure objects and construct
computer-generated models, and Professor Karen
Koehler’s Art 91 (Apocalypse and Utopia: German
Architecture, Art and Design in the Twentieth Century) viewed prints by the German Expressionists.
In October, Professor Carol Clark’s American Studies
11 (The American Dream) considered nineteenthcentury American landscape paintings in terms of
national identity; Professor Manuela Picq’s Women’s
ABOVE: Docent Katherine Eisen ’12 presenting Ahmed Alsoudani’s
Untitled to the acquisitions board of the Trinkett Clark Memorial
Student Acquisition Fund. Photo by Samuel Masinter ’04
BELOW: Docent Miranda Marraccini ’12 exploring an interactive
installation at Mass MOCA. Photo by Teddy O’Connor
and Gender Studies 3 (Gender and Ethnicity in Latin
America) viewed Latin American jewelry, textiles
and related tools; and Professor Alexander Chee’s
19
English 26 (Fiction Writing 1) visited the galleries for
tory, Society, and Culture) studied images of drug use
inspiration. In November, Doug Culhane’s Art and
alongside decorative arts objects related to smoking
the History of Art 91 (Five College Advanced Drawing
and drinking; Professor Ronald Rosbottom’s First Year
Seminar) viewed drawings and prints from a range of
Seminar 10 (Pariscape: Imagining Paris in the Twen-
cultures and eras, and Professor Karen Sanchez-Ep-
tieth Century) considered the shifting pleasures and
pler’s English 5 (Reading Historically) considered ob-
anxieties of Parisian life depicted in French prints and
jects related to Edith Wharton’s The House of Mirth.
photographs from the mid-nineteenth through the
In December, Professor Timothy Van Compernolle’s
mid-twentieth centuries; Professors Joel Upton’s and
Asian Languages and Civilizations 21 (Traditional
Arthur Zajonc’s First Year Seminar 13 (Erôs and In-
Japanese Literature) contrasted Japanese wood-
sight) viewed Anna Kagan’s A Suprematist Composi-
block prints depicting scenes from the popular play,
tion through the mindful lens of intense meditation;
Chushingura, with their literary counterpart; Profes-
Professors Carol Clark’s and Elizabeth Aries’s First
sor Luca Grillo’s Latin 15 (Latin Literature: Catullus
Year Seminar 19 (Growing up in America) considered
and the Lyric Spirit) read, transcribed, and translated
photographs, drawings, and sculpture of American
passages from Medieval and Renaissance illuminated
childhood from the mid-nineteenth century through
manuscript pages; and Professors Amanda Walling’s
the present day; and Professor Cathy Ciepela’s First
and Jane Taubman’s Russian 1 (First-Year Russian I)
Year Seminar 22 (Strange Russian Writers) viewed
practiced speaking Russian within a display of Rus-
Constructivist works as a visual manifestation of
sian art.
contemporaneous writings. In November, Professors
Paola Zamperini’s and Timothy Van Compernolle’s
Also in the fall semester, the Mead participated in
First Year Seminar 8 (Figures of Ill-Repute: China,
many of the college’s twenty-five required First Year
France, Japan) studied images of geishas, courtesans,
Seminars. In September, Professor Marni Sandweiss’s
and prostitutes in Japanese and French prints.
First Year Seminar 7 (Telling Lives) examined early
American portraits as visual counterparts to written
The spring semester proved equally productive.
memoirs of the same period. In October, Professor
In February, Professor Kevin Sweeney’s History 37
Frank Couvares’s First Year Seminar 5 (Drugs in His-
(Material Culture of American Homes) examined
Pianist Elaine Rombola performing in Nathalie Meibach’s Tuning in—Musical Variations on Weather. Photo by Geoffrey Giller ’10
ABOVE: Professor Andaleeb Banta considering works of art in storage. Photo by Charles Quigg ’09
BELOW: Students in Professor Grillo’s Life in Ancient Rome class with children from Girls, Inc. Photo by Charles Quigg ’09
20
21
American furniture and considered its manufac-
French literary sources; and Professor Manuela Picq’s
ture and function; Professor Jeffers Engelhardt’s
Women’s and Gender Studies 7 (Gender and the
Music 49 (Seminar in the Anthropology of Music)
Environment) critiqued images of women and labor
discussed Russian icons in relation to the composi-
in the Third World.
tions of Estonian composer Arvo Pärt; Professor
Robert Hayashi’s English 1 (American Wilderness)
Throughout the academic year, faculty from outside
considered American landscape painting as inspira-
of Amherst College also used the Mead’s resources.
tion for written compositions; Professor Rebecca
In September, Western New England College Profes-
Sinos’s Classics 34 (Archaeology of Greece) discerned
sor Lorna Ritz’s studio art class visited the galleries;
original Greek artifacts from reproductions; Profes-
in October, U. Mass. Amherst Professor Kathryn
sor Rick Lopez’s History 54 (Environmental History of
Lachman’s French Studies 384 (Orient in the French
Latin America) considered the varied representations
Imagination) viewed orientalizing imagery by Delac-
of South America in landscape painting; Professor
roix, Gros, and Gérôme; In February, Paul Berman’s
David Schneider’s Music 21 (Music and Culture I)
History of Photography, from the Five College Learn-
studied and sang from an illuminated manuscript
ing in Retirement program, studied nineteenth-cen-
of medieval chant with the assistance of the profes-
tury photographs; and in March, Hampshire College
sional musical group, Fortune’s Wheel; and Professor
Professor Karen Koehler’s Art 163 (Guernica: 1936 to
Benjamin Hutz’s Math 12 (Intermediate Calculus)
the Present) considered prints by Picasso and Goya.
measured three-dimensional objects (with the assistance of Mead staff) and calculated their volumes.
Some class visits generated larger projects. During
In March, Professor Wendy Woodson’s Theater
the fall, Professor Benjamin Hutz’s Math 13 (Multi-
and Dance 25 (Scripts and Scores) drew inspiration
variable Calculus) returned for the third semester to
from the Mead’s gallery spaces and artworks on
measure objects and create digital computer models
view to compose movement-based performances;
of them. The resulting podcasts exploring the rela-
Professor Ronald Rosbottom’s European Studies 14
tionship of math and art are available on the Mead’s
(Napoleon’s Legends) contrasted French and Brit-
website and as part of the museum’s iPod tours of
ish official and popular printed images of Napoleon
the galleries. In the spring, Professor Hutz returned
Bonaparte; and Professor Karen Sanchez-Eppler’s
with Math 12 (Intermediate Calculus) for a similar
American Studies 68 (Research Methods in American
exercise in which students calculated the volume
Culture) considered American portraits as primary
of various three-dimensional objects, including an
research tools. In April, Professor Heidi Gilpin’s Eu-
ancient Roman alabastron and twentieth-century
ropean Studies 65 (Making Memorials) investigated
Mexican jar. Students in Professor Jeffers Engelhar-
the shifting iconographic traditions and intellectual
dt’s Music 29 (Seminar in the Anthropology of Music)
and emotional functions of memorials and monu-
compared Russian icons to their auditory equivalents
ments from ancient Greece through contemporary
in the musical compositions of Arvo Pärt; arranged
photojournalism; Professor Luca Grillo’s Latin 2
for the musician and icon painter Nektarios Antoniou
(Intermediate Latin) read, transcribed, and trans-
to speak about the technique of icon painting; pre-
lated Latin passages from medieval and Renaissance
pared wall texts for a museum display of icon paint-
manuscript pages; Professor Boris Wolfson’s Russian
ings; and participated in a public performance of
32 (War Stories) compared Eastern Orthodox icons
Pärt’s music with singers from the Amherst College
to Western European altarpieces of the Renaissance;
Choral Society, a recording of which is now played
Professor Laure Katsaros’s French 42 (Women of Ill
in continuous loop in the related gallery display.
Repute) considered images of prostitution and fin-
Students in Professor Wendy Woodson’s Theater and
de-siècle Parisian life in light of nineteenth-century
Dance 25 (Scripts and Scores) took inspiration from
22
ABOVE: Professor Jeffers Engelhardt presenting the concert Icons in Sound: Music of Arvo Pärt. Photo by Charles Quigg ’09
BELOW: Professor Luca Grillo discussing the Assyrian reliefs in a Faculty Lunchtime Talk. Photo by Charles Quigg ’09
23
the Mead’s public spaces and displays in composing
subtle, movement-based performances, which they
debuted at the Mead in an unadvertised “happening” before a happily surprised audience of museum
on Sano di Pietro’s The Adoration of the Child with
Oedel, Professor of Art History, U. Mass. Amherst;
host slam poet Jared Paul. That successful perfor-
Saints Bernard and Bernardino; and Professor Luca
Laura Sizer, Professor of Philosophy, Hampshire Col-
mance inspired other students to organize a series of
Grillo offered an engaging discussion of the Mead’s
lege; and Paul Staiti, Professor of Art History, Mount
No Mic, Open Mic poetry readings in the museum’s
renowned Assyrian reliefs.
Holyoke College. Rotherwas Room, where Robert Frost once read his
Fac u lt y S em i nar
S t u dent In volv ement
In June 2009, the Mead held its first Mellon-funded
Spurred by the Mead’s curricular engagement initia-
by Christine Paglia and Susan Anderson, in collabora-
faculty seminar, on the topic of American portrait
tives, dramatically expanded open hours, and the
tion with director Elizabeth Barker and volunteer Jill
miniatures, led by Robin Jaffee Frank of the Yale
presence of comfortable seating, free wi-fi, and a
Bierly, continued to offer museum tours, and to re-
University Art Gallery. Five College faculty members
lobby espresso bar, Amherst students continued to
search and record podcast audio guides. The docents
from a range of academic disciplines considered
feel at home in the Mead in 2008-09. In November,
restructured the 2007-08 Fall into Art and Spring
miniatures by the Peales, Edward Greene Malbone,
students approached the Mead with the request to
into Art events into Evenings at the Mead, a series of
visitors. Students in Professor Luca Grillo’s Classics
28 (Life in Ancient Rome) developed their original
works when on campus between 1949 and 1962.
research on seventeen Roman artifacts in the Mead’s
collections into a rotating public installation, web
site feature, and—as part of a new partnership with
Amherst College’s Center for Community Engagement—engaging presentations to area children in
Big Brothers Big Sisters, Girls, Inc., and the Pipeline
academic enrichment program.
The museum’s volunteer student docents, led in turn
and others as a tokens of mourning and of love, as
In a few instances, faculty projects sparked new
family heirlooms, as evidence for biography and
Mead projects. In November, Professor Luca Grillo
inspiration for literary fiction, and as symbols of pub-
organized two lectures related to a group of ancient
coins on loan to the Mead from a private collection,
a project that began as a class visit by students in
Latin 1 (An Introduction to Latin Language and Literature) and resulted in a refreshed gallery display and
forthcoming scholarly article. Inspired by Professor
Jason Robinson’s Faultlines jazz performance series,
which explored music that defies conventional
categorization by genre, Mellon coordinator Susan
Anderson organized an exhibition of master prints
by Hendrick Goltzius that showed the sixteenthcentury engraver “riffing” on the styles of earlier
artists. That exhibition, in turn, prompted an April
lecture by Professor Andaleeb Banta about the term
“masterpiece” as applied to early northern prints.
Coach Billy McBride discussing works by George Bellows in a
Faculty Lunchtime Talk. Photo by Geoffrey Giller ’10
Also in the spring, Amherst College Artist in Residence Nathalie Miebach presented her recent woven
lic allegiance. Participants included Melissa Burch,
sculpture—derived from weather data—and pianist
Professor of Psychology, Hampshire College; Carol
Elaine Rombola performed Miebach’s related musical
Clark, Professor of Art History and American Studies,
score in the museum’s Bassett Gallery, surrounded
Amherst College; Heidi Gilpin, Professor of German,
by nineteenth-century landscape paintings evoking a
Amherst College; Robert Hayashi, Professor of Eng-
similar range of weather conditions.
lish and American Studies, Amherst College; Chaia
Heller, Professor of Gender Studies, Mount Holyoke
Back: Angela Pratt ’11, Samantha Schnell ’11, Chelsea Amegatcher
’11, Clare Howard ’10, Christina Martinez ’10, Seguin Strohmeier
’10, Teddy O’Connor, Elizabeth Barker, Brittany Berckes ’10, Erin
Morrison ’09, Kendra Stern ’11, Margaret Tato ’09, Brooke Bennett
’11. Front: Alexandria Valera ’10, Katherine Eisen ’12, Louisa
Sonstroen ’12, Timothy Clark ’12, Miranda Marraccini ’12, Caroline
Stern ’11, Erin Downey ’11, Sara Sligar ’10. Not pictured: Iris
Aliaj ’12, Jessica Ball ’09, Daniel Bamba ’11, Brittany Berckes ’10,
Katie Breen U. Mass. Amherst ’09, Brenna Brown ’12, Olivia Chase
’12, Porsche Dames ’12, Caroline Darmody ’10, Caitlin Demkin
’11, Grace Deveney ’09, Kristin Dier ’10, Elizabeth Ganley-Roper
Hampshire College ’11, Jennifer Kane Hampshire College ’09, Nary
Kim ’10, Maryam Khan ’10, Emily Mackey ’10, Christina Martinez
’10, Rebecca Martinez ’10, Katrina Moreno ’10, Abigail Murray ’11,
Kathleen Paeth ’12, Alexandra Poreda ’12, Maggie Shannon ’10,
Louisa Sonstroem ’12
brief gallery talks wittily paired with a cappella songs.
The year’s eight Evenings featured the Bluestockings, Route 9, the Sabrinas, the Zumbyes, the DQ,
Hampshire College’s Gin and Tonics, and the Libero
chamber group.
Also new in 2008-09, the docents participated in a
year-long practicum in museum acquisitions using
funds established in honor of Trinkett Clark (1951-
In spring 2009, the Mead launched a new series
College; Karen Koehler, Professor of Art History,
of ten-minute Faculty Lunchtime Talks. Coach Billy
Hampshire College; Ronald Lembo, Professor of So-
Following several months’ consideration of the topic
McBride enthralled listeners with a discussion of
ciology, Amherst College; Michael Lesy, Professor of
through readings, field trips, and guest speakers,
two George Bellows lithographs depicting boxing;
Literary Journalism, Hampshire College; Richard Mil-
the docents identified three strong candidates for
Professor Andaleeb Banta presented new research
lington, Professor of English, Smith College; William
acquisition, and argued their cases in teams before
24
2006), former curator of American art at the Mead.
25
an Acquisitions Board comprised of museum staff,
faculty, and local experts. After the Board selected
Gideon Bok’s 2008 print, Wingate Studio with Aldo’s
Press, No Sleep ’Til Hinsdale for acquisition, Board
member H. Nichols B. Clark surprised the docents by
generously offering to purchase for the museum a
second student-proposed print, Ahmed Alsoudani’s
Untitled, 2008, as well. The Mead displayed both
prints in a summer exhibition.
F u t u re P lans
The Mead is gearing up for another successful year
in 2009-10, with various class projects and faculty
lunchtime talks already in the works to keep the
Mead humming by day—and Evenings at the Mead
and No Mic Open Mic sessions on tap to energize
the museum at night. Highlights of the coming
academic year include an expanded schedule of new
student orientation events; an exhibition featuring
the paintings and prints of Lino Mannocci, an Italian
artist active in London; a sports-themed Homecoming Weekend museum tour; a display of Russian
costume designs related to a museum performance
of Silver Age music by Arthur Lourié; and a January
2010 Mellon Faculty Seminar on Pre-Hispanic Central
and South American art led by Rosemary A. Joyce,
Richard and Rhoda Goldman Distinguished Professor of Social Sciences, and Chair of the Department
Exhibitions Held
Celebrating a Transforming Legacy: Russian Art from the
Collection of Thomas P. Whitney, Class of 1937
March 14, 2008-January 4, 2009
This special installation of eleven highlights from the collection of Thomas P. Whitney, Class of 1937, was organized in memory of the
extraordinary donor to Amherst College. ALARM de ALARM (PROPAGANDA IN ALASKA): New and
Recent Works by Jonathan Meese from the Collection of Adam
Lindemann ’83 and Amalia Dayan
October 19-December 14, 2008
This temporary installation of paintings and sculpture offered
a glimpse into the German artist’s expressive, energetic vision,
and provided a context for his December 7th performance at
Amherst—his first at an American college.
Interpreting “The Dream”: A Recent Painting by Will Barnet
in Context
January 4-April 26, 2009
This exhibition drawn from the collection featured and
contextualized gifts from the esteemed artist Will Barnet and his
wife, Elena, of four works (one painting and four related drawings)
from the series My Father’s House.
Hendrick Goltzius’s ‘Life of the Virgin’: Surpassing Tradition
March 17-October 11 2009
This installation featured the six-print series depicting scenes
from the life of the Virgin Mary by Hendrick Goltzius, who
demonstrated his rightful place among an established canon
of great masters by adapting and transforming the style and
iconography of such earlier artists as Albrecht Dürer, Lucas van
Leyden, and Federico Barocci.
Divination
April 24, 2009-May 16, 2010
This special cross-cultural installation drawn from the collection
explored objects, rites and traditions of divination in Africa,
Europe, and the United States.
What Avant-Garde Was
May 1-August 9, 2009
This special installation from the collection surveyed American art
from 1960 to 1990, including Color Field Painting, Pop Art, and
Postmodern assemblage.
of Anthropology, at the University of California,
Berkeley. Also in 2009-10, Professor of Political Science Thomas Dumm will publish (in the winter issue
Publications
of The Massachusetts Review) an article developed
P r i nt P u bl i cat i ons (none)
from his insightful February 2009 public conversation
with the artist Will Barnet about the painting series,
My Father’s House.
Above RIGHT: Artist Jonathan Meese, Professor Lawrence
Douglas, and collector and author Adam Lindemann ‘83
discussing the artist’s work. Photo by Jan Bauer
below RIGHT: Artist Frank Stella Hon. ’09 with Professor Carol
Clark and a museum visitor at the Mead’s reception. Photo by
Charles Quigg ’09
26
E lectron i c P u bl i cat i ons and Web F eat u res
In September 2008, the Mead launched the consortial on-line
catalogue, Will Barnet: My Father’s House, which documents the
seven paintings and related preparatory drawings generously
donated by the artist and his wife to the museums at Amherst,
Bowdoin, Mt. Holyoke, Smith, and Williams Colleges, and Yale
University. During the fall semester, the Mead launched new
episodes of its Museum Audio Tours podcasts recorded by
students in the museum’s volunteer Docent program, available
as free iTunes downloads and on handsets distributed at the
museum’s lobby information desk. In the spring 2009 semester,
the museum posted on line new Gallery Talk Videos of the Faculty
Lunchtime Talks. Additionally, the Mead recorded and webpublished several class projects: the student-organized exhibition,
Boudoir, Bath and Temple: Life in Ancient Rome; virtual models of
27
museum artworks created by students in Intermediate Calculus
and Multivariable Calculus; and an exhibition-related concert of
the music of Arvo Pärt.
Programs
All programs took place at the Mead Art Museum unless
otherwise noted.
Fall 2 0 0 8
New Faculty Museum Orientation
Thursday, September 18, 2008, 4:30 p.m.
Amherst Art Walk: Annual Block Party co-sponsored with the
Amherst Area Chamber of Commerce
Thursday, October 2, 2008, 5:00 p.m.
Student-Led Family Weekend Museum Tours: Docents
Saturday, October 25, 2008, 12:00, 12:30, 1:00, 1:30 p.m.
Slide Lecture
From the English Landscape Garden to the American Frontier:
The Transatlantic Taste for Romantic Hermits: Elizabeth Barker,
Director and Chief Curator
Pruyne Auditorium
Saturday, October 25, 2008, 3:00 p.m.
Evenings at the Mead
Docent-Organized Student Celebration and Museum Tours
Special Guests: The Bluestockings
Wednesday, October 29, 2008, 8:00 p.m.
Thursday, November 6, 2008, 5:00 p.m.
Public Conversation
The Psychology of Collecting: Henry Hacker, New York-based art
collector and lecturer
Friday, October 3, 2008, 1:00 p.m.
Special Presentation
Whispering Coins: Echoes of Classical Greece: Peter van Alfen,
Margaret Thompson Associate Curator of Greek Coins at the
American Numismatic Society, and Luca Grillo, Assistant Professor
of Classics at Amherst College
Thursday, November 6, 2008, 4:30 p.m.
Museum Forum
Tuesday, October 7, 2008, 4:30 p.m.
Student-Led Homecoming Weekend Tours: Docents
Friday, November 7, 2008, 1:00, 1:30, 2:00, 2:30 p.m.
Jazz Performance
Faultlines: Mapping Jazz in the 21st Century: Jason Robinson,
Visiting Assistant Professor of Music at Amherst College, and
Marty Ehrlich, Associate Professor of Music at Hampshire College
Tuesday, October 7, 2008, 8:30 p.m.
Gallery Talk
Ahoi de Angst: Meese, Myth and Culture: Kim Conaty, Museum of
Modern Art-based scholar
Stirn Auditorium
Sunday, October 19, 2008, 3:30 p.m.
Museum Tour
Luminaries and Legacies: American Art in Amherst College’s Mead
Art Museum: Randall Griffey, Curator of American Art
Friday, November 7, 2008, 3:00 p.m.
Museum Tour
Fresh Takes on the Old Masters: A Renewed Liberal Arts Mission
for the Mead: Elizabeth Barker, Director and Chief Curator
Saturday, November 8, 2008, 11:30 a.m.
Public Conversation
The Art Market, Old Master works, and Collecting Art on Paper:
Susan Schulman, New York-based dealer in master prints
Friday, October 24, 2008, 1:00 p.m.
Gloria Martinez ’11 and Nicholaus Mollel ’10 at an Evening at the
Mead. Photo by Charles Quigg ’09
28
A demonstration of Russian icon painting by conductor and icon
collector Nektarios Antoniou. Photo by Katherine Berry ’12
Gallery Talk
No Cause for Alarm: Elizabeth Barker, Director and Chief Curator
Saturday, November 8, 2008, 2:00 p.m.
Filmmaker Discussion and Film Screening: Hannah Collins
Co-sponsored with the Amherst College Russian Department
Fayerweather 115
Wednesday, November 12, 2008, 4:00 p.m.
Special Guests: The DQ
Poetry Slam: Jared Paul
Organized by Maxwell Suechting, Class of 2011 and Michael
Harrington, Class of 2011, on behalf of Marsh Arts House
No-Mic Open-Mic Poetry Reading
Organized and hosted by Max Kaisler, Class of 2011, on behalf of
Marsh Arts House
Wednesday, December 3, 2008, 9:00 p.m.
Thursday, December 4, 2008, 5:00 p.m.
Artist’s Conversation: Lawrence Douglas, James J. Grosfeld
Professor of Law, Jurisprudence and Social Though; Adam
Lindemann, collector and author; and artist Jonathan Meese
Sunday, December 7, 2008, 12:00 p.m.
Artist’s Performance
DRIVE ME HOMEESE BABYBABY, TO ERZLAND (ACHTUNG):
Jonathan Meese
Kirby Theater
Sunday, December 7, 2008, 7:30 p.m.
S pr i ng 2 0 0 9
Thursday, January 1, 2009, 5:00 p.m.
Museum Forum
Wednesday, February 4, 2009, 4:30 p.m.
Thursday, February 5, 2009, 5:00 p.m.
Special Guests: The Zumbyes
Special Installation
Darwin Days @ Amherst: Feejee Mermaid
Thursday, February 12, 2009
Special Presentation
ICONS “R” US: Aesthetics of Representation and Liturgical Icons:
Nektarios Antoniou, conductor and icon collector
Friday, February 13, 2009, 1:00 p.m.
Docent Fieldtrip: Wingate Studios
Sunday, February 15, 2009, 12:30 p.m.
Marsh Arts House
Curator’s Tour of Interpreting the Dream: A Recent Painting by Will
Barnet in Context: Randall Griffey, Curator of American Art
Thursday, February 19, 2009, 4:30 p.m.
Special Guests: The Zumbyes
Wednesday, December 10, 2008, 8:00 p.m.
Faculty Lunchtime Talk
Bellows and Boxing: Billy McBride, Assistant Athletic Director and
Senior Coach
Friday, February 20, 2009, 12:00 p.m.
Sotheby’s specialist Scott Niichell ’06 discussing the market for
Russian art. Photo by Rose Lenehan ’11
Cindy Li ’12 and Andrew Kelly ’12 in Professor Hutz’s Multivariable
Calculus class. Photo by Geoffrey Giller ’10
29
in Residence, and pianist Elaine Rombola
Tuesday, March 10, 2009, 4:30 p.m.
Jazz Performance
Faultlines: Mapping Jazz in the 21st Century: Bruce Diehl, Senior
Lecturer and Director of Jazz Performance, and guitarist Adam
Larrabee
Special Guests: The Libero Quartet
Wednesday, March 11, 2009, 8:00 p.m.
Marsh Arts House
Sano di Pietro’s The Adoration of the Child with Saints Bernard and
Bernardino: Andaleeb Banta, Visiting Assistant Professor of the
History of Art
Friday, March 27, 2009, 12:00 p.m.
Special Guests: The Gin and Tonics
Wednesday, April 1, 2009, 8:00 p.m.
Thursday, April 2, 2009, 5:00 p.m.
ABOVE: The Zumbyes performing in an Evening at the Mead.
Photo by Charles Quigg ’09
BELOW: Visitors to Professor Banta’s public lecture Meisterstiche
as Masterpieces. Photo by Charles Quigg ’09
Medieval Music Concert: Fortune’s Wheel
Sunday, February 22, 2009, 3:00 p.m.
Docent Art Acquistion Project
Friday, April 3, 2009, 1:00 p.m.
Artist’s Conversation: Artist Will Barnet and Thomas Dumm,
Amherst College Professor of Political Science
Stirn Auditorium
Tuesday, February 24, 2009, 4:30 p.m.
Curator’s Tour of Hendrick Goltzius’s Life of the Virgin Series:
Surpassing Tradition: Susan Anderson, Interim Andrew W. Mellon
Coordinator of College Programs
Tuesday, April 7, 2009, 4:30 p.m.
Special Guests: The DQ
Marsh Arts House
Concert
Icons in Sound: Music of Arvo Pärt: Jeffers Engelhardt, Assistant
Professor of Music; David Schneider, Associate Professor of Music;
Jenny Kallick, Professor of Music; and singers from the Amherst
College Choral Society
Sunday, March 1, 2009, 4:00 p.m.
Public Conversation
The Rising Market for Russian Paintings: Scott Niichel, Class of
2006, Russian art specialist at Sotheby’s
Friday, April 10, 2009, 1:00 p.m.
Marsh Arts House
Wednesday, March 4, 2009, 9:00 p.m.
Thursday, March 5, 2008, 5:00 p.m.
Docent Field Trip: William College Museum of Art, Sterling and
Francine Clark Art Institute, and MASS MoCA
Sunday, March 8, 2009
Artist’s Talk and Concert
Tuning in-Musical Variations on Weather: Nathalie Miebach, Artist
30
Observance of 5-year Anniversary of Iraq Museum Looting in
conjunction with SAFE (Saving Antiquities for Everyone)
Special Installation: Iraqi children’s artwork
Gallery Talk: Jill Bierly, University of Massachusetts doctoral
candidate in Anthropology; Claudia Lefko, Coordinator of the Iraqi
Children’s Art Exchange; and Mead Docents
Stearns Steeple, Neuhoff Sculpture Court, Mead Art Museum
Special Guest: The Bluestockings
The Assyrian Reliefs: Luca Grillo, Assistant Professor of Classics
Friday, April 17, 2009, 12:00 p.m.
Special Conversation with Girls, Inc.
Life In Ancient Rome: Luca Grillo, Assistant Professor of Classics,
and his students
Tuesday, April 21, 2009, 9:00 a.m.
Public Conversation
and his students
Marsh Arts House
Slide Lecture
Meisterstiche as Masterpieces: The Prints of Albrect Dürer, Lucas
van Leyden and Hendrick Goltzius: Andaleeb Banta, Visiting
Assistant Professor of the History of Art
Thursday, April 23, 2009, 4:30 p.m.
Special Conversation with Big Brothers and Big Sisters
and his students
Museum Forum
Thursday, May 7, 2009, 5:00 p.m.
Book Signing Party
Who Am I in This Picture?: Amherst College Portraits: Artist Brett
Cook, and Wendy Ewald, Visiting Artist-In-Residence
Frost Library
Thursday, May 7, 2009, 4:30 p.m.
Curator’s Tour of Hendrick Goltzius’s Life of the Virgin Series:
Surpassing Tradition: Susan Anderson, Interim Andrew W. Mellon
Coordinator of College Programs
Thursday, May 28, 2009, 11:00 a.m.
Museum Tour
A New Mead for the Next Generation: Art’s Central Role in the
Amherst Education: Elizabeth Barker, Director and Chief Curator
Thursday, May 28, 2009, 4:00 p.m.
Museum Tour
Extraordinary Art for a Great College: Highlights of the Mead Art
Museum: Elizabeth Barker, Director and Chief Curator
Friday, May 29, 2009, 1:00 p.m.
Museum Tour
Treasures in Our Midst: American Art at Amherst’s Mead Art
Museum: Randall Griffey, Curator of American Art
Friday, May 29, 2009, 3:00 p.m.
Artists’s Conversation
The Artistic Vision of Thomas Cornell, Class of 1959: Elizabeth
Barker, Director and Chief Curator, and Thomas Cornell, Class of
1959, Artist-in-Residence at Bowdoin College
Saturday, May 30, 2009, 2:30 p.m.
Museum Tour
Treasures in Our Midst: American Art at Amherst’s Mead Art
Museum: Randall Griffey, Curator of American Art
Saturday, May 30, 2009, 4:30 p.m.
31
Attendance
Facility
works on paper, which are particularly vulnerable to
M u se u m
July 2008–June 2009: 14,788 (2,997 for special events)
o
July 2008: 798 (53 for special events) . . . ❚
o
August 2008: 804 (84 for special events) . . . ❚
o
September 2008: 928 (205 for special events) . . . ❚
o
October 2008: 1,934 (77 for special events) . . . ❚
o
November 2008: 1,412 (477 for special events). . . ❚
o
December 2008: 761 (283 for special events) . . . ❚
o
January 2009: 576 (17 for special events)
. . . ❚
o
February 2009: 1,512 (512 for special events) . . . ❚
o
March 2009: 1,435 (340 for special events)
. . . ❚
o
April 2009: 1,873 (312 for special events)
. . . ❚
o
May 2009: 2,097 (586 for special events)
. . . ❚
o
June 2009: 658 (51 for special events)
. . . ❚
o o o o o o o
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July 2008 – June 2009: 1,529
July 2008: 3
. . . . . . . . . . . .
August 2008: 1
. . . . . . . . . . . .
January 2009: 1
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February 2009: 199
March 2009: 108
April 2009: 300
May 2009: 128
June 2009: 37
o o o o o
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o o o o o o
fading, in the sunlit Rotherwas Room, the museum
visitors’ experiences and streamlined the Mead’s
has begun to build a stock of protective curtains
daily operations. The erection of a freestanding, il-
fitted to the new frames and embroidered with the
luminated exterior signboard in which museum staff
instructive words “Please Lift.”
can mount daily listings of events has eliminated
the need to produce costly vinyl banners (destined
Additionally, the Mead introduced an electronic
for landfills) that previously marred the Mead’s
access system for the office wing; upgraded the
architecture. The opening of the lower level of
electronic notification systems for its intrusion and
Stearns Steeple (part of the college’s Gothic Revival
fire alarms; remodeled two supply storage areas—in
Victorian church, which stands immediately adja-
part, to accommodate the storage of a Parlor Grand
cent to the Mead’s entrance) as an installation/new
piano, which the department of Music has gener-
media space, and the placement of an explanatory
ously placed on long-term loan to the museum for
granite marker at its base has helped to clarify that
use in professional concerts; and modified the lobby
once confusing structure in the museum’s sculpture
coat check system to speed retrieval and eliminate
courtyard. And the creation of a small café in the
the need for wasteful paper number tags.
based coffee drinks, tea, and cookies (treats that
December 2008: 66
November 2008: 170
❚ ❚
Various projects undertaken in 2008-09 improved
museum’s lobby, where visitors can enjoy espresso-
o
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October 2008: 346
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S t u dy R oom
September 2008: 170
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charge to their ID cards using the convenient “AC
refueling space.
tor of American Art, responsible for the research,
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cataloguing, exhibition, publication, and growth of
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the Mead’s most celebrated holdings. A specialist in
American art before 1945, Randy previously served
o o o o o o o
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as associate curator of American art at the NelsonAtkins Museum (where he curated the 2003 Marsden Hartley retrospective), and as visiting associate
November 2008: 21
December 2008: 11
. . . . . . . . . . . .
January 2009: 17
. . . . . . . . . . . .
February 2009:16
. . . . . . . . . . . .
March 2009: 141
October 2008: 82
Kansas City.
o o
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September 2008: 43
In September 2008, Dr. Randall Griffey became Cura-
professor of art history at the University of Missouri-
July 2008-June 2009: 576
August 2008: 72
T rans i t i ons
Dollar$” system) has offered a welcome meeting and
o o o o o o o
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Staff
Amherst College students and employees may now
S c h ool G ro u ps
July 2008: 53
and photographs. To permit the display of such art-
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In January 2009, Dr. Susan Anderson became interim
Andrew W. Mellon Coordinator of College Programs,
Docent Miranda Marraccini ’12 and Olivia Chase ’12 at an Evening
at the Mead. Photo by Charles Quigg ’09
responsible for engaging faculty and students with
the Mead’s collections. Susan succeeded Christine
Paglia, who served as the Mead’s first full-time Edu-
Other improvements have impacted the museum’s
cator from August through October 2008. A special-
operations behind the scenes. Throughout the
ist in Dutch old master drawings, Susan previously
2008-09 year, as funds permitted, the Mead contin-
served as Curatorial Research Associate at the Fogg
April 2009: 85
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o o o
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ued to replace its outdated black metal frames with
Art Museum, where she contributed to a forthcom-
May 2009: 10
. . . . . . . . . . . .
stronger, more attractive white-stained ash frames in
ing highlights catalogue of Dutch and Flemish draw-
June 2009: 25
. . . . . . . . . . . . ❚
standard sizes for use in exhibiting drawings, prints,
ings.
32
o o o o o o
o
33
In July 2009, Susan passed her responsibilities to Dr.
News
Pamela J. Russell, the Mead’s “permanent” Andrew
W. Mellon Coordinator of College Programs. Pam,
In December 2008, Elizabeth Barker’s short essay,
a scholar of classical antiquities, curator, professor,
“Wright of Derby and Industry,” was published in
and museum educator, will bring her unique fusion
The History of British Taste, Volume 2: 1600 to 1870,
of talents to bear on the crucial work of linking the
edited by David Bindman. In January 2009, her book-
Mead’s collections to the curriculum.
length article, “Documents related to Joseph Wright
P rofess i onal S taff
Susan Anderson, Ph. D., Interim Andrew W. Mellon Coordinator
of College Programs
Elizabeth E. Barker, Ph.D., Director and Chief Curator
Karen Cardinal, Accounting, Web, and Marketing Manager
Heath Cummings, Head of Security and Facility Manager
Stephen Fisher, Collections Manager
Tim Gilfillan, Preparator
Randall R. Griffey, Ph.D., Curator of American Art
Teddy O’Connor, Assistant in the Mead Art Museum
Inga Stevens, Assistant Collections Manager
‘of Derby’ (1734-1797)” appeared in the journal of
the Walpole Society. In March, Lizzie delivered a paper related to a forthcoming article at The Intimate
Portrait symposium held at the Paul Mellon Centre
for Studies in British Art, London. In June, the Joseph
Wright of Derby in Liverpool exhibition catalogue
that Lizzie co-authored was named as a finalist for
the William M.B. Berger Prize for British Art History.
During the fall of 2008, Heath Cummings became a
First Aid and CPR (Cardiopulmonary resuscitation)
Back: Karen Cardinal, Heath Cummings, Elizabeth Barker, Tim
Gilfillan, Stephen Fisher. Front: Teddy O’Connor, Inga Stephens,
Randall Griffey, Susan Anderson. Photo by Jim Gipe/Pivot Media
with AED (automated external defibrillator) instructor, recertification that has enabled him to train museum guards, college staff and students, and commu-
In July 2009, Katrina Greene (Smith College Class
nity members. Heath updated the museum’s security
of 2008) became the Mead’s first Andrew W. Mel-
policies and procedures, and developed a new fire
lon Mellon Post-Baccalaureate Curatorial Fellow,
safety and prevention procedures specialized training
a grant-funded two-year position that will provide
course for the museum’s guards.
the museum with an additional researcher, and give
Katrina the chance to prepare her first small exhibi-
In May 2009, Randall Griffey was awarded “Out-
tion and accompanying publication before she begins
standing Article, Catalogue Essay, or Extended
graduate school.
Catalogue Entry of 2008” from the Association of
Art Museum Curators for his article “Marsden Hart-
In September 2009, Dr. Bettina Jungen will become
ley’s Aryanism: Eugenics in a Finnish-Yankee Sauna,”
the Mead’s first Thomas P. Whitney Class of 1937
which was published in the Smithsonian journal
Curator of Russian Art, responsible for the research,
American Art.
cataloguing, exhibition, publication, and growth of
the Mead’s distinguished collection of Russian art,
In November 2008, Teddy O’Connor exhibited with
notable for its fine quality and broad-ranging works
Ali Osborn and Raphael Griswold in the group show
of the first Russian avant-garde. A specialist in Rus-
DESIGNPADDLEPATTERNS, held at the Window
sian art of the early twentieth century, Bettina previ-
Gallery in Northampton, Massachusetts. Teddy is
ously taught in her native Zurich, Switzerland, and
currently preparing work for an autumn exhibition in
contributed to the catalogues of exhibitions held at
Pittsfield, Massachusetts, and a winter 2010 exhibi-
the Kunstmuseum Bern, the Museum für Kunst and
tion at the University Gallery at the U. Mass Amherst
Gewerbe Hamburg, the Hamburger Kunsthalle, and
Fine Arts Center.
the Kunsthaus Zurich.
34
S ec u r i t y G uards
Jill Bierly, Lead Guard
Gil Bolduc
Jerry Devine
Mary Hazlett
Joe Kosiorek
Chester Palerma
Tony Yacuzzo
Arthur Williamson
Mary Lovett
L obby Attendants
Catherine Bryars, Class of 2011
Sarah Farron, Class of 2010
Angela Pratt, Class of 2011
Madeline Tamagni, Class of 2009
Malia Chan, Class of 2009
Peter Krensky, Class of 2011
Emily Dick, Class of 2011
Helen Tsai, Class of 2009
Samantha Regenbogen, Class of 2011
Ashley Hogan, Class of 2011
Lilia Kilburn, Class of 2012
Pa i d S t u dent Interns
Katherine Eisen, Class of 2012
Caroline Dulaney, Class of 2010
Ashley Hogan, Class of 2011
Nary Kim, Class of 2009
Sara Sligar, Class of 2010
Vol u nteer S t u dent D ocents
Sara Sligar, Class of 2010, Head Docent
Katherine Eisen, Class of 2012, Head Docent
Iris Aliaj, Class of 2012
Chelsea Amegatcher, Class of 2011
Jessica Ball, Class of 2009
Daniel Bamba, Class of 2011
Brooke Bennett, Class of 2011
Brittany Berckes, Class of 2010
Katie Breen, UMASS Amherst Class of 2009
Brenna Brown, Class of 2012
Olivia Chase, Class of 2012
Timothy Clark, Class of 2012
Porsche Dames, Class of 2012
Caroline Darmody, Class of 2010
Caitlin Demkin, Class of 2011
Grace Deveney, Class of 2009
Kristin Dier, Class of 2010
Erin Downey, Class of 2011
Elizabeth Ganley-Roper, Hampshire College Class of 2011
Clare Howard, Class of 2010
Jennifer Kane, Hampshire College Class of 2009
Nary Kim, Class of 2010E
Maryam Khan, Class of 2010
Emily Mackey, Class of 2010
Miranda Marraccini, Class of 2012
Christina Martinez, Class of 2010
Rebecca Martinez, Class of 2010
Katrina Moreno, Class of 2010
Erin Morrison, Class of 2009
Abigail Murray, Class of 2011
Kathleen Paeth, Class of 2012
Alexandra Poreda, Class of 2012
Samantha Schnell, Class of 2011
Maggie Shannon, Class of 2010
Louisa Sonstroem, Class of 2012
Caroline Stern, Class of 2011
Kendra Stern, Class of 2011
Seguin Strohmeier, Class of 2010
Margaret Tato, Class of 2009
A d v i sor y B oard
Danielle Allen, Amherst College Trustee
Elizabeth Barker, Mead Art Museum Director and Chief Curator
Greg Call, Dean of the Faculty, Professor of Mathematics
Nicola Courtright, Associate Dean of the Faculty, Professor of Art and the History of Art
Linda and Ronald Daitz, Class of 1961
Suzannah Fabing, Director Emerita, Smith College Museum of Art
William Ford III, Class of 1983, Amherst College Trustee, and Charlotte Ford
Adam Lindemann, Class of 1983, and Amalia Dayan
Anthony Marx, Amherst College President
John Middleton, Class of 1977, Amherst College Trustee
Megan Morey, Amherst College Chief Advancement Officer
Brooke Kamin Rapaport, Class of 1984, Chair, and
Richard Rapaport
Kenneth Rosenthal, Class of 1960, Secretary
Perrin Stein, Class of 1984
Elizabeth and Thomas Sturges II, Class of 1966
Helen and Charles Wilkes, Class of 1971, Vice Chair
Patricia and Philip S. Winterer, Class of 1953, Amherst College
Life Trustee
F r i ends of t h e M ead A rt M u se u m
Officers
Landis Olesker, Class of 1961, President
James B. Lyon, Class of 1952, Treasurer
H. Hylton Cooke, Class of 1986, Vice President
Suzannah J. Luft, Class of 2008, Vice President
Members
3M
Fred Aronow, Class of 1967
Sarah Bacon, Class of 1998
Lucy Benson
Dirck Born, Class of 1955
Will and Lee Bridegam
John Burlingham, Class of 1956
Barkley, Class of 1962, and Barbara Clark
Dan Cochran, Class of 1968
Ron, Class of 1961, and Linda Daitz
Steve DeLapp, Class of 1967
Lindsey Echelbarger, Class of 1974
Jynx Eldredge, Class of 1966
Avril and Sam Ellenport, Class of 1965
Bruce Evans, Class of 1961
Fred Gardner, Class of 1949, Trust
35
Arnold and Susi Friedmann
Karen Friedman, Class of 1986
Cora Lee Gibbs
Jim Gipe
Werner Gundersheimer, Class of 1959
Hartford Foundation for Public Giving
Grant Haskell, Class of 1975
Harvey Hecht, Class of 1958
Geof Hendricks, Class of 1953
Fred Hill, Class of 1967
Richard and Ann Holt
Bill Jacobi, Class of 1965
Dom Kaschak, Class of 2002
Bill Kennick
Steve Kunian, Class of 1960
Jim Lyon, Class of 1952
Roger Marshall, Class of 1953
Evan Maurer, Class of 1966
Drake McFeely, Class of 1976
Len Meeker, Class of 1937
Whitney Morsman Ebmeyer, Class of 1996
James and Suzannah Muspratt
Vic Noerdlinger, Class of 1952
Sarah and Andy Olesker, Class of 1961,
George Pendleton, Class of 1949
Stephen Petegorsky, Class of 1975
Pivot Media Inc.
Ross Read, Class of 1973
Ken Rosenthal, Class of 1960
Barret Schleicher, Class of 1953
James and Burd Schlessinger
Joanne and Paul Schnell, Class of 1976
Van Seasholes, Class of 1955
Barret Schleicher, Class of 1953
Jim Shook, Class of 1971
Anne Spencer
Sara Spink, Class of 2006
Tom Sturges, Class of 1966
Greg Sutphin, Class of 1971
Jon Sutton, Class of 1966
David and Arlene Thrope
Bill Vickery, Class of 1957
Mandy Vincent, Class of 2008
W. W. Norton & Company, Inc.
Helen and Charles Wilkes, Class of 1971
Phil Winterer, Class of 1953
Fac u lt y A d v i sors
Luca Grillo, Assistant Professor of Classics (Ancient Art)
Samuel C. Morse, Professor of Art and Art History and of
Asian Languages and Civilizations (Asian Art)
John Pemberton, Professor Emeritus of Religion (African Art)
Rowland O. Abiodun, Professor of Art and Art History and of
Black Studies (African Art)
Rebecca H. Sinos, Professor of Classics (Ancient Art)
Rick A. Lopez, Assistant Professor of History (Mexican Art)
REPORT ON THE STRATEGIC PLAN
ii. Enter all didactic wall labels and exhibition texts concerning collection objects into In the text that follows, the passages written in Ro-
database (Administrative Assistant and forth-
man letters represent the strategic plan adopted in
coming ‘Green Dean’, ongoing, no special January 2007; annotations inserted in italics docu-
funding required)
ment the Mead’s progress in meeting those goals
iii. Establish, monitor clear cataloguing research and objectives during the 2008-09 academic year.
goals for curatorial staff (Curatorial staff, 2008, no special funding required)
Goals and Objectives
1.Improve access to and information about the permanent collection.
A.Digitize the collection
i. Photograph and link to the online catalogue:
a.All paintings (Professional photographers, summer 2008, Amherst College support)
b. All drawings (Museum staff, 2008-2009,
Museum funding)
c. All sculpture (Professional photographers, 2009-2010, grant support)
Docent Miranda Marraccini ’12 presenting Frans Snyders’s Still
Life. Photo by Charles Quigg ’09
d. Applied arts (Professional photographers, 2010-2011, grant support)
In 2008-09, collection cataloguing work continued,
e. Photographs and Prints (To be determined aided by the presence of a new curator of American
in 2010)
art, and by vital contributions from exceptionally
skilled student interns. Didactic display texts not only
Although museum staff have adjusted the order in
entered the electronic database, but also became
which collections areas are digitized to accommodate
accessible to general readers following an adjust-
various logistical considerations, the overarching
ment to the cataloguing software. The director and
effort remains on target, with more than 24% of the
curator of American art launched plans for future
collection illustrated in the on-line database in sum-
catalogues of collections highlights and of American
mer 2009 (a sizeable increase from 2% in 2007). In
paintings, and the search for the Mead’s first curator
2008-09, aided by generous support from Amherst
of Russian art made the production of a catalogue of
College, the Mead completed a project to photo-
the Russian collection by 2016 a central responsibility
graph all paintings in the collection. Additionally,
for that position.
museum staff photographed all African sculpture,
and adopted the policy of making images of every
C. Expand the opening hours of the Study Room
work requested for use in the Study Room.
i. Increase position of Assistant Collections Man-
ager to full time (2008-2009 academic year, TOP: No-Mic Open-Mic poetry reading.
MIDDLE: Participants in Girls, Inc. admiring artifacts presented by
students in Professor Grillo’s Life in Ancient Rome class. Photo by
Charles Quigg ’09
BOTTOM: Siobhan McKissic ’12 at an Evening at the Mead. Photo
by Charles Quigg ’09
36
B.Enrich cataloguing information recorded in the Amherst College funding)
database:
ii. Create ‘Green Dean’ two-year competitive,
i. Catalogue thoroughly all new acquisitions and rotating position for graduating student
outgoing loans (Curatorial staff, ongoing, no to oversee Study Room, learn the ropes of
special funding required)
museum work, assist in cataloguing the col37
lection, and curate a small in-house exhibition
delayed the desired introduction of cross-referenced
of works on paper (2009-1010 academic year,
library and museum electronic catalogues, staff at
Amherst College funding)
the Frost Library and the Mead worked in close collaboration to share information about related holdings with one another and with curious researchers
through traditional tools such as printed finding aids.
2. Increase opportunities for curricular, including interdisciplinary, collaboration with and involving the Museum.
A. Hire a full time Museum Educator to promote and coordinate institutional research involving the Museum (2008, Amherst College funding)
A visitor admiring Greek coins at a reception for Whispering Coins:
Echoes of Classical Greece. Photo by Charles Quigg ’09
B. Invite faculty to participate in exhibitions and special events (Curatorial staff, ongoing, no The assistant collections manager position increased
special funding required)
to full time in 2007-08; in 2008-09, the expanded position began to report to the director and chief cura-
C. Establish a Museum Forum open to faculty,
tor. A generous three-year spendable grant from the
students, and the public to exchange ideas and Andrew W. Mellon Foundation allowed the Mead to
information with Museum staff at least four create a green dean position beginning in July 2009:
times per year (Director and Chief Curator,
a two-year Post-Baccalaureate Curatorial Fellowship
then Museum Educator, 2008, no special fund-
open to recent graduates from the Five Colleges.
ing required)
Visitors to Coach McBride’s Faculty Lunchtime Talk. Photo by Geoffrey Giller ’10
D. Encourage the use of the Study Room
D. Expand curatorial experiences offered to stu-
net was delayed by several weeks to accommodate
drawings to U.S. American and European paintings
i. Meet with incoming faculty at orientations dent docents (currently Director and Chief the artist’s schedule.
and prints. The faculty guest curator stipends funded
(Director and Chief Curator, beginning in 2008, Curator, later in collaboration with Museum no special funding required)
Educator, ongoing, no special funding required)
ii. Approach specific faculty members with ideas by the Mead’s Mellon grant promise to expand the
3. Create small, innovative, collections-based, possibility for such projects in future years.
curriculum-related exhibitions. (Curatorial staff relating collection objects to specific courses E. Offer Interterm courses that provide opportuni-
in collaboration with Faculty coordinated by
4. Engage a wide community of Museum stake-
(Museum Educator, Curatorial staff, ongoing, ties for students to learn about museum work
Museum Educator, planning to begin in 2008, holders.
no special funding required)
and to curate exhibitions (currently Director resulting exhibitions to appear by 2010, Museum iii. Post Study Room information on the Frost and Chief Curator, later in collaboration with funding with possible support from outside Library website, where student research-
other Curators and Museum Educator, ongoing, sources)
ers are likely to encounter it (Museum Educa-
no special funding required)
tor, 2008, no special funding required)
A. Form a Mead Advisory Board comprised of
trustees, major donors, alumni collectors, regional museum professionals, and senior admin-
In 2008-09, the Mead continued this important work,
istrators to oversee acquisitions, deaccessions,
F. Provide internship opportunities for students which resulted in telling displays of Japanese ukiyo-e
and museum policies (Director and Chief Curator
The director, educator, and then interim Mellon
(Curatorial staff, ongoing, Museum and Amherst prints alongside European and American 19th-
pending the approval of the College’s Board of
coordinator of college programs met the first two ob-
College funding)
century paintings, and (perhaps less predictably),
Trustees, 2008, no special funding required)
jectives, resulting in more than 1,525 visitors to the
an exploration of the theme of divination across
study room (a figure equivalent to 90% of Amherst’s
The Mead met all of these goals, although its inter-
cultures, ranging from West African ritual objects
student body) in 2008-09. While technical challenges
term event involving the distinguished artist Will Bar-
to South American photographs to Native American
38
B. Create a Museum Forum open to faculty,
students, and the public to share information
39
and ideas about exhibitions, events, and services
in February and April of 2009; meeting minutes are
(Director and Chief Curator and Museum Educa-
posted on the museum’s website. In February 2009,
tor, 2008, no special funding required)
the museum revived the Friends of the Mead Art Museum, which raised a remarkable $15,000 in its first
C. Relaunch the Friends of the Mead Art Museum
months of existence. The museum made less rapid
(Director and Chief Curator in coordination
progress in its community outreach efforts, slowed by
with Advancement, 2008, no special funding
the cancellation of an anticipated full-time coordi-
required)
nator of community programs position due to the
economic downturn, and by a campus outbreak of
D. Strengthen relationships with local and regional
the H1N1 virus that forced the postponement (until
groups and institutions (specific priorities and
early October) of a docent-led Community Day event
activities to be developed by the Museum Edu-
scheduled for May 2009.
cator in conjunction with the Director and Chief
Curator, Advisory Board, Museum Forum, and
Assessment
Friends, 2008-2010, funding needs and sources
to be determined)
The Museum will provide status reports on its progress in meeting these goals and objectives in its an-
In May 2008, the Amherst College Board of Trustees
nual reports for 2008, 2009, 2010, and 2011. In 2011,
approved the charter for the Mead Art Museum
informed by the experiences of the current plan, and
Advisory Board, whose twenty-four members are
with the assistance of a complete professional staff,
listed on the museum’s website. The Advisory Board
a lively Museum Forum, and active Friends group,
met in December 2008 and April 2009, and revised
the Mead Advisory Board will reopen the planning
the museum’s Code of Ethics among its first matters
process to draft a new, longer-term institutional plan
of business. The Mead launched its Museum Forum
for the Museum.
meetings in October 2008, and met subsequently
Painting storage racks. Photo by Jessica Mestre ’10
40
Mission
Integrity • The Museum endeavors to meet
the highest professional, academic, and ethi-
The Mead Art Museum at Amherst College seeks
cal standards in all of its activities, policies, and
to stimulate thought, inspire creativity, provide
procedures.
insight, interrogate preconceptions, and invite
contemplation through interaction with the
Excellence • The Museum is committed to provid-
original works of art that the Museum collects,
ing the best possible experiences for its various
researches, interprets, exhibits, publishes, and
audiences, and to undertaking rigorous and
preserves.
regular self-assessment to ensure its ongoing
advancement.
To realize its mission, the Museum makes its
collections available to the students, faculty, staff
Agility • The Museum seeks to act rapidly to real-
and alumni of Amherst College, and to visitors
ize new ideas that serve its mission, and by exten-
from around the world; develops innovative
sion, the educational mission of Amherst College.
exhibitions drawn primarily from the permanent
collection and linked meaningfully to the cur-
Innovation • The Museum strives continuously to
riculum and to the wider intellectual life of the
test fresh ideas and implement improvements.
College; engages faculty, students, and other
visitors in fresh, sometimes interdisciplinary
Diversity • The Museum aims to present art rep-
inquiries involving art and visual understanding;
resenting a wide range of cultures and historical
and produces original, engaging, academically
periods; to offer a rich array of interpretative and
rigorous publications.
educational programs; and to cultivate an environment in which visitors from all backgrounds
Vision
feel welcome.
The Mead strives to become an essential, integrated participant in the intellectual and cultural
Accessibility • The Museum recognizes its re-
life of Amherst College; a leader among college
sponsibility to make the art collection of Amherst
and university art museums; and a destination for
College available in person, in print, and in new
a diverse range of visitors from around the world.
electronic media to its audiences, and to make
its facility accessible to many types of visitors,
Va lu e s
including people with disabilities.
Authenticity • The Museum grounds all of its activities in the unique experience of original works
Inquiry • The Museum pursues its activities in
of art, which offer irreproducible insights into the
a spirit of intellectual curiosity, always testing
human condition.
received ideas and seeking new understanding.
Amherst College
Amherst, MA 01002-5000
USA
413/542-2335
www.amherst.edu/museums/mead
Mead Art Museum

Mead Art Museum - Amherst College

Transcription

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