Your journey begins here.
Artist
Gabriel Dawe
transforms light
...Page 2
NEWARK MUSEUM
COLORS OUTSIDE
THE LINES
...Page 3
THOUGHTS ON
A REVERED
HOMER PAINTING
...Page 9
AUTUMN 2015
Also in this issue...
Museum Staff
Proiles............................04
Update on Arts
of Global Africa...........08
New Museum
Acquisitions ..................11
W
elcome
back
after a
long, hot summer.
The Museum is
Brenda Jackson,
soaring to new
NMVO President
heights with the
Shape Of Light: Gabriel Dawe
exhibition, which will be on view
through January 10th, 2016.
Would you believe I happened
to be at the Museum during
the installation and met the
artist, Gabriel Dawe! I also had
an opportunity to preview the
exhibit. All I can say is WOW!!
Shape of Light is not to be
missed.
An related exhibition, Outside
the Lines: Color Across the
Collections presents modern
and contemporary works
from the Museum’s four main
permanent collections—African,
American, Asian and Decorative
Arts. In addition, the Museum
is offering a number of related
programs associated with the
exhibits.
We are going to need volunteers
for the related programs, as
well as for the Hot Chili and
Cool Brew evening, Thursday,
October 15th, 6pm, our joint
The (NMBCC) Newark Museum
Business Community Council. The
NMVO Initiatives are progressing
well. Here's a brief update:
•This October, the Education
Committee will roll out the irst ever
Volunteer Orientation Class. New
volunteers as well as seasoned
volunteers should plan to attend the
initial training session on October
29 from 1:30-3:30 pm in the Billy
Johnson Auditorium.
•The Website Committee is working
to update the content of the Volunteer
section of the Newark Museum's
website. You should see the results
before the end of the year.
Watch your e-mail for the save-thedate of the bi-annual volunteer trip
and the Newark Museum Annual
Tea in 2016.
Finally, it was gratifying to see a
packed house for the October 1st
NMVO general meeting. Thank you
to staff members Sonnet Takahisa,
Shunzyu Haigler, Patricia Faison,
Merle Lomrantz and Sue Smith,
who clearly articulated for us the
extensive changes the Museum is
undergoing and the many programs
being implemented to appeal to a
broad audience.
Remember! You are
the #1 ambassadors for
the Newark Museum!
—Brenda
newarkmuseum.org
THE SHAPE OF LIGHT: GABRIEL DAWE
NEWARK MUSEUM STAFF
on view from 09.19.2015 to 01.10.2016
Steven Kern
Director and
Chief Executive Oficer
Kristin Curry
Interim Deputy Director of
Development and Membership
Shunzyu Haigler
Director of Membership Services
Sue Smith
Volunteer Services Coordinator
Gabriel Dawe, Plexus no.
30, 2015. Site-speciic
installation at the Newark
Museum. Gütermann
thread, hooks and wood,
199 x 238 x 183 in.
© Gabriel Dawe. Photo
© Pierce Jackson
NMVO OFFICERS
Brenda Jackson
President
Prudence Bradley
Vice President
Gwynne McConkey
Secretary
Arlene Gerencser
Treasurer
Tom Forgash
Past President
Hugh Michael Brown
Volunteer Vistas Editor
NMVO MISSION
The primary purpose of the Newark
Museum Volunteer Organization is
to serve, to support and to interpret
the Newark Museum and its goals
through volunteer participation. In
the words of founding director John
Cotton Dana, “A good museum
attracts, entertains, arouses curiosity, leads to questioning—and thus
promotes learning.”
DEADLINE FOR
SUBMISSIONS
TO THE WINTER 2016
VOLUNTEER VISTAS
IS FRI., DECEMBER 18, 2015
SEND SUBMISSIONS TO:
Hugh Michael Brown,
Volunteer Vistas Editor, at:
[email protected]
2 | VOLUNTEER VISTAS Autumn 2015
abriel Dawe is best known
for his series of site-speciic
installations entitled Plexus.
Working with little more than sewing
thread and architectural spaces,
Dawe designs and creates largescale geometric structures built up
into luminous planes of color. Since
2010, he has been installing his
Plexus series throughout the United
States and Europe. Now, he has
created Plexus no. 30 and Plexus
no. 31 for the Newark Museum.
G
sculptures, line drawings, and
hand-embroidered works.
The Shape of Light, Dawe's
most comprehensive museum
exhibition to date, is designed to be
encountered from multiple vantage
points. His inely layered planes of
color and angular forms appear to
shift and change under the viewer’s
gaze.
The exhibition also includes the
artist's works in a range of other
materials, including textile-based
Gabriel Dawe, Intolerance, 2011.
Vintage army pants and pins, 30 x
18 x 12 ½ in. Private Collection,
Dallas. © Gabriel Dawe
OUTSIDE THE LINES: COLOR ACROSS THE COLLECTIONS
ON VIEW FROM 09.19.2015 to 01.10.2015
Left:
Ron Nagle, Vessle,
2001. Earthenware,
6¾x5¾x4
5/8 in. Newark
Museum, Purchase
2002 Membership
Endowment Fund
and Emma Fantone
Endowment Fund,
2002.23.5.
© Ron Nagle
Right:
James Little, Zulu
Boogie-Woogie,
2012. Oil and wax
on canvas, 72 ½
x 95 ½ in. Newark
Museum , Purchase
2013 Alberto Burri
Memorial Fund
established by
Stanley J. Seeger,
2013.8.
© James Little
utside the Lines: Color
Across the Collections
presents modern and
contemporary works from the
Museum’s four main permanent
collections—African, American, Asian
and Decorative Arts. Featuring a
number of recent acquisitions, the
exhibit sets up a visual dialogue that
crosses not only international lines
but also traditional divisions between
ine and applied art.
O
Outside the Lines brings together
textiles, paintings, ceramics and
collages from around the world—
highlighting artists who explore
color and texture through layering,
translucency and abstract pattern.
Left:
Jin Yuan Shan, Pojagi
Wrapping with Patchwork
Pattern, 2000. Silk, 18 x 19
in. Newark Museum, Gift
of Dr. Chung Young Yang,
2002, 2002.62.4.
Right:
Ugochukwu-Smooth
C. Nzewi, Between
Two Worlds, 2010.
Chalk pastel on paper,
49 x 36 in. Newark
Museum, Purchase
2015, TR21.2015. ©
2010 UgochukwuSmooth C. Nzewi
newarkmuseum.org | 3
MUSEUM STAFF PROFILES
Museum staff member since 2002, Christa Clarke is in charge
of the Arts of Global Africa collection. She is responsible for
researching the collection, identifying works for acquisition and
developing such exhibitions as Hassan Hajjaj: My Rock Stars, which
she is shepherding as it tours other museums. Says Christa, “I strive to
represent the diversity as well as the contemporary relevance of the arts
of Africa. For so long, “African art” meant masks and sculpture. But it’s
so much more. My goal is to inspire new ways of thinking about African
art—which is almost impossible to deine when we are talking about 54
countries and a variety of artistic practices from past to present.”
A
Christa Clarke, Ph.D.
Senior Curator,
Arts of Global Africa
When asked to describe recent accomplishments, Christa responded,
“I am very proud that in 2010 the department received a NEH Challenge
Grant ($500,000 with a 3:1 match) for the expansion of the African art
galleries. Also, in 2011, we received a $1,000,000 grant from the Andrew
W. Mellon Foundation to support curatorial capacity. We were a irst-time
grantee and it’s my sincere hope the success of this grant will enable
future funding for other institutional needs.” 
pon joining the Museum in March 2015, Linda Lin began
as Conservator for Arts of Asia. Her position is supported by
a 2-year grant from the E. Rhodes and Leona B. Carpenter
Foundation. A major component of the grant is to improve storage of
Asian textiles, costumes, arms and armor. As the irst conservator on
staff, Linda collaborates with registrars and the collections staff about
conservation activities related to exhibitions, outgoing loans and general
preventive care of collections. Currently, Linda is focused on setting
up a conservation lab where collection pieces of the Museum can be
examined, studied and conserved (if necessary) in a designated space.
U
Linda Lin,
Conservator,
Arts of Asia
4 | VOLUNTEER VISTAS Autumn 2015
Says Linda, “Artifacts tell stories of eras, cultures, of people's individual
expressions and experiences that may inspire many generations to come.
As a conservator, it is ethically imperative that I make sure any work I
do to prolong the story-telling life of an artifact will not interfere with its
historic authenticity. A conservator's best work should be invisible. Yet,
in a practical sense, whatever is done to an artifact, becomes a part of
the object’s history. Therefore, before any treatment, I try to understand
the artifact, its present condition, material composition and fabrication
techniques. I deine the purpose of my intervention and document
materials and procedures used in conservation. That way, whoever comes
after me will have a record of what was done." When asked to describe a
recent accomplishment, Linda replied, “Hopefully time spent on research
and experiments leads to better ways to solve a sticky problem. Last year,
at a conference in Hong Kong, I presented a research paper, sharing my
indings on new treatment and methodology for conserving amber.” 
vOLUnTEER SPOTLIghT
V
olunteer Spotlight articles help volunteers learn a bit more about
each other. Here are informative excerpts about the volunteer
experiences of Prudence Bradley and Marjorie Marciano-Vere.
rudence Bradley has a Ph.D. in
chemistry; a MS Ed in Science and an
N6 diploma to teach the developmentally
delayed. Having begun volunteering at the
Newark Museum in September 2013, she has
worked with Linda Nettleton two days a week
in the Adult Learning and Public Program
Department, helping with such administrative
tasks as registering people for public program
events; tracking reserved tours, preparing
materials for docent training, assisting with
events sponsored by the department and
preparing the information forms for events
and activities that will be used for the Museum
website.
P
M
In addition, she has volunteered for the Holiday
Shopping Spree since 2013; and served on the
NMVO Board and Annual Tea Committee since
2014. Says Prudence, “It's work I love, in a place
that allows me to learn everyday. Growing up,
I never had the opportunity to visit museums.
Now I realize how important it is to expose
everyone to the arts and sciences. By performing
routine tasks in a department that contributes
to the education of Museum patrons, I free up
time for the staff to create new programs and
experiences. It's my way of feeling part of the
education process. And I know the Museum staff
really appreciate my efforts. Not a day goes by
that someone doesn’t thank me.”
She continues, "I’ve given a special presentation
to a few business groups; and helped write
several new presentations. And, because
it's important that all our records be current
and correct, I've aided in reorganizing
and standardizing the Speakers Bureau's
administrative paperwork." To volunteers who
haven't hit their stride yet, she offers this bit of
sage advice, "If the volunteer assignment you
chose isn’t exactly as you expected, please don't
be discouraged. Try other volunteer posts. You’re
sure to ind a better it for the skills and amount
of time you have to give.”
arjorie Marciano-Vere has a degree
in Magazine Journalism and American
Studies from Syracuse University and
a Master of Arts in Counseling from Montclair
State. Marge joined the Newark Museum in
2007. At irst, she thought of becoming a docent,
but realized it required more time than she could
give. She eventually found that the Speakers
Bureau was the perfect way to satisfy her desire
to learn more about the Museum’s American
art collection. Says Marge, “By consolidating,
updating and cataloguing all the Background
Information ‘scripts’ into binders, I get to bring
my communication and organizational skills into
play. These reference binders are used by both
docents and members of the Speakers Bureau."
newarkmuseum.org | 5
VOLUNTEERS IN ACTION
Right: At the June 9, 2015 NMVO
Recognition Event, NMVO President
Brenda Jackson presents Museum
Director and CEO Steven Kern with
a check for $20,000.
The gift was to be used toward publicity and marketing for The Shape of
Light: Gabriel Dawe exhibition, which
was overseen by Tricia Laughlin
Bloom, Curator of American Art.
Left: Pictured are Anne Cummings, Pat
Wessel, NMVO President Brenda Jackson
and Museum Librarian, William Peniston.
Anne received the coveted Emma Fantone
Distinguished Volunteer Service award in acknowledgment of her 27 years of dedication
to the Museum—irst as a docent, and then
in the Museum library. Pat Wessel described
Anne's overall contributions and Librarian
William Peniston described the many ways
she has helped keep the Museum library
functioning sucessfully.
Right: At the June 9, 2015
NMVO Recognition Event, retiring NMVO Board Member Ruth
Hutter received a Certiicate of
Appreciation for her service.
Fortunately, Ruth will continue
working with the NMVO board
as an Initiative committee
member.
6 | VOLUNTEER VISTAS Autumn 2015
VOLUNTEERS IN ACTION
Left: The 24th Annual Tea was held
on May 19, 2015. This gorgeous
collage, featuring many aspects of
the splendid event, is a result of
the discerning eye of photographer
Irene Pomianowski.
Kudos to the 2015 Tea Committee and Co-Chairs Arlene Gerencser and Gwynne McConkey for an
afternoon that was described by the
capacity crowd as "Just marvelous!"
Left: Decorated in honor of the Royals and Regalia: Inside the Palaces of
Nigeria's Monarchs exhibit, Engelhard
Court was resplendid for the 24th Annual Museum Tea, with tables clothed
in regal purple, gold African-print runners and lilac and yellow centerpieces.
newarkmuseum.org | 7
HERE'S WHAT'S
HAPPENING...
IN THE DEPARTMENT OF THE
ARTS OF GLOBAL AFRICA
In January 2015, Kimberli Gant began
as Mellon Pre-Doctoral Fellow, a twoyear position. Kim is currently completing
her Ph.D. in Art History at the University
of Texas, Austin, pursuing research
on photographic depictions of Lagos,
Nigeria. She is working with KatherineAnne Paul, Ph.D., Curator of the Arts
of Asia, on the forthcoming exhibition,
Wondrous Worlds: Art and Islam Across
Time and Place.
he Arts of Global Africa department
recently welcomed two new staff
members. These positions are
funded by the Andrew W. Mellon Foundation,
as part of a $1,000,000 grant to support
a larger curatorial initiative for the Arts of
Global Africa at Newark.
T
The department’s major project this year
is the irst-ever collections catalogue:
Arts of Global Africa: The Newark Museum
Collection. It will be published to coincide
with the 100th anniversary of the collection
and a reinstallation of the galleries in 2017.
Highlighting 100 works from the collection,
the catalogue will also include essays by
four noted scholars, presenting its unique
strengths; as well as an introduction by
Christa Clarke, Ph.D., Curator of the Arts of
Global Africa, that surveys the Museum’s
pioneering history of collecting and exhibiting
African art. The pieces shown here are
among the artworks the catalogue will
feature:
In April 2015, Roger Arnold began
his position as a Research Assistant
for the Arts of Global Africa. He is
currently completing an MA thesis on
historical textiles at City College of the
City University of New York. He will be
primarily focused on researching and
cataloguing the collection.
Left: A painting by Ibrahim el-Salahi
(b. 1930, Omdurman, Sudan; lives and
works in Oxford, UK) entitled They
Always Appear, 1964-65. This is a
rare and early work by an important
modernist artist who maintains an active
artistic practice today.
Right: A tent panel, collected in Cairo,
Egypt, by Newark Museum founder
John Cotton Dana in the 1920s. Dana
developed our extensive collection
of North African art, which is rarely
represented in museum collections of
African art.
Editor's Note: Thank you to Christa Clarke, Ph.D.,
Senior Curator, Arts of Global Africa for
contributing this article.
8 | VOLUNTEER VISTAS Autumn 2015
Left: A helmet mask made in
the late 19th – early 20th century
by a Senufo artist in presentday Cote d’Ivoire. This mask,
formerly in the collection of
beauty entrepreneur Helena
Rubenstein, was recently on
display in the exhibition Senufo
Unbound, organized by the
Cleveland Museum of Art.
dOcEnT'S chOIcE
WHY HOMER'S NEAR ANDERSONVILLE
SPEAKS TO ME by Mary Courtien
Winslow Homer
Near Andersonville, 1865-1866
oil on canvas, 23 x 18 in.
Gift of Mrs. Hannah Corbin
Carter, Horace K. Corbin, Jr.,
Robert S. Corbin, William D.
Corbin and Mrs. Clementine
Corbin Day in memory of their
parents. Collection of the
Newark Museum 66.354
rtist Winslow Homer (1836-1910)
began his career as an illustrator
for the 1860s newspaper, Harper's
Weekly. He was assigned to document the
Civil War in the American South. At that time,
illustrators were not political commentators.
Yet due to the fact that the Boston-bred
Homer and his family had close ties to the
Stowe family of abolitionist fame, we can
be certain that his Near Andersonville, is
layered with editorial-like symbolism.
A
The painting has been called Captured Liberators
and At the Cabin Door. However, in an article dated
April 19, 1866, The Evening Post (a New York Civil
War-era newspaper) accurately identiies its title
as Near Andersonville. Andersonville (also known
as Camp Sumter, Georgia) was the most famous
and deadliest of the Civil War military prisons.
Knowing the work’s link to Andersonville, elevates its
importance and leads us to see it in its true historical
perspective.
The female subject emerges at the threshold, from
darkness to light. Is this her master's house? Is
this her house? At her feet, wooden planks lead in
different directions. What direction will her life take?
What direction will the lives of the Union soldiers
being led to Andersonville take? The planks also
connote the political platform that President Lincoln,
in his bid for reelection, had to make clear to the
people of the nation. Her gaze is steady, pensive—
quite atypical from the way African Americans were
depicted then. Symbolic of "freedom", her red kerchief
closely resembles the liberty cap that has appeared in
societies since the age of the Greeks. Using this type
of kerchief is a pointed departure from the "mammy"
type more frequently shown on African American
women of the time. Homer means it to be a marked
counterbalance to the red confederate lag.
Her Giuseppe Garibaldi-style blouse references
the 1860s nationalist who championed Italian
independence from Austria. Homer’s audience knew
the uniform that Garibaldi's guerilla “redshirts” wore.
Of note, this particular mode of dress would not have
been known to the woman shown wearing it.
Next to the door are several gourds—everyday
utensils, yet deeply symbolic of the light from
slavery. Their shape resembles the Big Dipper, the
constellation that points to the North Star, which was
a key directional tool for those desparately trying to
lee the South toward liberation in the North.
Painted in 1865-66 at the end of the Civil War, Near
Andersonville is powerful and poignant. It depicts just
how uncertain the future of this "uniied" country was
then. It may even allude to the precariousness that
America faces still.
newarkmuseum.org | 9
BACK STORY
THE
ON NEAR ANDERSONVILLE
NMVO 2015
by Mary Courtien
pparently, Sarah Louise
Kellog was the irst owner
of the painting. She spent
several years at a South Carolina
school, educating black South
Carolinians freed by the Union
army. After moving back to the
North, she died at a young age from
tuberculosis. As the unique painting
was passed down across generations of Kelloggs, the
title, subject matter, as well as the identity of the artist,
was forgotten.
A
In 1960, the painting was re-discovered in the attic
of a home in Llewellyn Park, NJ. The heirs of Horace
Kellogg Corbin had divided up the estate items and
then contacted Lincoln Storage to clean out the
remaining bric-a-brac. Yes, the painting had been
relegated to the status of bric-a-brac. The gentleman
from Lincoln Storage wasn't too enthusiastic about
getting to bric-a-brac. So, fortunately, when the 5 kids
gathered again to examine the objects in the attic
more thoroughly, and one of them said, “Ever hear of
an artist named Homer?" Upon realizing what they
had, the family held onto the painting for several more
years...before gifting it to the Newark Museum in
1966.
Near Andersonville has been known by three
titles. In 1962, a NY art dealer gave it its irst name:
Captured Liberators. Sometime later, Lloyd Goodrich,
a Whitney Museum Homer scholar, suggested the
more apt title: At The Cabin Door. However, when
The Fine Arts Museum of San Francisco sought
research material for their exhibit, Winslow Homer
Paintings of the Civil War, a local San Franciscan art
dealer came across an eye-opening article in the a
Civil War-era newspaper. Dated April 19, 1966, The
New York Evening Post article identiied this piece
as “depicting a Negro woman standing at the door of
her cabin, gazing at Union prisoners as they passed’’.
The Evening Post observed that this particular
image, entitled Near Andersonville, was "full of
signiicance". Having the painting identiied with
Andersonville, one of the deadliest Civil War military
prisons, elevated its importance.
10 | VOLUNTEER VISTAS Autumn 2015
Thursday, October 15
Hot Chili & Cool Brew
Volunteers: Set-Up 10:30–12:30pm & 3–6pm
6-9pm: Chili Servers, Beer Servers,
Beer & Ice Cream Soda Servers, Cornbread &
Cookie Bakers
Saturday, October 17, 12–9pm
Festival of Color and Light
Volunteers: Noon–5 pm, Membership
Ambassadors, Greeters, ASK-ME.
6–9pm, Greeters, Drink Ticket Sellers
Newark 350 Family Fun Festival
—Military Park, Noon–5pm
Volunteers: Membership Ambassadors
in 2-hour shifts
Thursday, October 29, 1:30–3:30pm
Thursday, December 4, 1:30–3:30pm
Volunteer Orientation Class
New and seasoned volunteers welcome.
Billy Johnson Auditorium
Wednesday, November 18–Sunday, November 22,
Noon–5pm, (10am–5pm, Nov 18)
Annual Shopping Spree
Many volunteers are needed each day.
(Hours will be determined in late October)
Volunteers: Shopper Assistance, Wrappers
New Program–Second Sundays
Sunday, November 8, Noon–5pm
Second Sunday Kickoff
Volunteers: Membership Ambassadors,
Greeters, ASK-ME
Sunday, December 13, Noon–5pm
Second Sundays Holiday Version
Volunteers: Membership Ambassadors,
Greeters, ASK-ME
ASK-ME Training
10/21–12pm, 10/24–12pm
11/11–11am, 12/9–12pm
nEw AcqUISITIOnS
THE LIDA CLANTON BRONER COLLECTION
v e r a y e a r a g o , D a v id a n d
To m C la n to n , g ra n d s o n s o f
L id a C la n to n B ro n e r, me t with
C h ris ta C la rk e , S e n io r C u ra to r, A rts
o f Glo b a l A fric a . T h e y b ro u g h t with
th e m ma n y wo rk s c o lle c te d b y th e ir
g ra n d mo th e r— a n a rc h iv e o f o b je c ts
th a t te lls a n e x tra o rd in a rily ric h s to ry.
O
For twenty-eight years, Broner worked as a
domestic and hairstylist, to fund a nine-month
journey to South Africa in 1938— on the eve
of apartheid. She was an active member of the
newly-formed anticolonialist Council on African
Affairs, an organization led by W. E. B. DuBois.
The purpose of her travel was to “study the
conditions of the Negro in South Africa.” Once
there, she spoke to black groups throughout
the country. She also assembled a collection
of beadwork, pottery and missionary schoolproduced embroidery, which her grandsons
recently gave the Museum, along with her diaries,
scrap books and photo albums.
This incredibly evocative archive provides a
unique window into black South Africa in the years
leading up to apartheid. It offers an illuminating
counterpoint to the dominant narrative of the
collecting and display of African art.
Top: Lida Broner in Xhosa dress,
photographed at Columbus Studio Co., Newark,
NJ, late 1930s.
Middle: Zulu beaded headbands, worn by Lida
Broner in the above photograph. Given to the
Museum in 2014.
Left: Necklace for a nursing mother, early 20th
century, Xhosa artist, South Africa, given to the
Museum by Lida Clanton Broner in 1947.
Editor's note: Thanks to Christa Clarke, Ph.D., Senior Curator,
Arts of Global Africa for contributing this article.
newarkmuseum.org | 11
BACK STORIES
offer historical perspective.
back*story
narrative providing a
history or
hen I think of the
background
Museum’s extensive
context.
A
W
Hugh Michael
Brown, Volunteer
Vistas Editor
collections, the
opening monologue of the
vintage TV series Naked City
comes to mind. It began…
“There are eight million stories
in the naked city…” In like
manner, each of the Museum’s
120,000 artifacts has a story.
Each 18th-century American painting; each 20thcentury work by the likes of Joseph Stella, Romare
Bearden and Alexander Calder; each treasured
Tibetan, African and Asian pottery, sculpture or
ceremonial object; each Decorative Arts textile,
silver, ceramic, glass or jewelry piece; each ine
classical holding of ancient Egyptian, Greek,
Roman and Coptic art—each has a back story,
waiting to be told. A back story is a narrative that
provides historical perspective or background
Your journey begins here.
49 washington street
newark, nj 07102-3176
VOLUNTEER VISTAS Autumn 2015
back*story
A narrative providing historical
perspective or background context.
context. Back stories, as they relate to the
Newark Museum’s art objects, typically add a
rich new layer of enjoyment to appreciating each
of the artworks. They give heretofore unknown
information about who, what, when and why an
object was collected.
This issue includes two fascinating back stories:
Docent Mary Courtien’s, on the Homer painting
Near Andersonville, is on page 10. The other,
from Christa Clarke, Senior Curator, Arts of
Global Africa, opens the new acquisitions article
on page 11. It’s not often that we’re treated to
"behind the scenes" info about how art pieces
came to the Museum. Please take a look. 