arTMAtters
May–August 2017
WHAT’S INSIDE
BOARD OF DIRECTORS
HAPPENINGS
EXHIBITIONS
Director’s Letter
3
Berlin Painter
10–14
Briefs
4–7
Exhibitions
15
Visualize It
8–9
Kara Walker
16–17
MUSEUM STORE
The season’s must-haves 18–19
PEOPLE
Donor Story
20–21
Staff Profile
22
CALENDAR
May–August
Michele Alexander
Michael J. Anderson
Allan Block
Elizabeth Brady
Judith Herb
James A. Hoffman
Mike Hylant
Billie B. Johnson
George M. Jones, III
Amir Khan
Harley J. Kripke
Joseph Napoli
Susan Palmer
Mary Ellen Pisanelli
Stephen D. Taylor
Michael H. Thaman
Pat Timmerman
Scott Trumbull
Deke Welles
Museum Hours:
Tuesday & Wednesday 10 a.m.–4 p.m.
Thursday & Friday 10 a.m.–9 p.m.
Saturday 10 a.m.–5 p.m.
Sunday Noon –5 p.m.
23–27
ON THE COVER
The artist who painted this vessel was
not acquainted with the words “art” or
“museum”; both would have eluded him
in a culture where neither concept existed.
But 2,500 years later, his skill is admired
by historians and gallery visitors in equal
measure. The Berlin Painter, as he is
known, is one of the anonymous greats of
the ancient Greek world because of the
mastery he displayed in the sharpness of
his red figure painting. In a time before
clocks or thermometers, achieving these
beautiful, glossy black backdrops and
detailed figure paintings was an incredibly
laborious process, achieved by artists with an
exceptional feel for their craft. This vessel,
an amphora painted with a military scene,
Cynthia B. Thompson, Chair
George L. Chapman, Vice Chair
Sara Jane DeHoff, Vice Chair
Randy Oostra, Vice Chair
Dennis G. Johnson, Secretary
John S. Szuch, Treasurer
Brian Kennedy, President, Director
and CEO
Amy Gilman, Deputy Director
Adam Levine, Associate Director
Lynn Miller, Assistant Director
would have been used to store and transport
wine or foodstuffs. It is one of 84 vessels
and statuettes from the early fifth century
B.C. that will be shown in The Berlin Painter
and His World, on view July 8 through Oct.
1, 2017 in Canaday Gallery and organized by
the Princeton University Art Museum.
Cover: Greek, Attic, attributed to the
Berlin Painter, Red-figure neck-amphora
with ridged handles: Amazonomachy with
Herakles. Ceramic, about 490–480 B.C. H.
55 × diam. 30.2 × diam. lip 19.1 × diam.
foot 16.6 cm, Antikenmuseum Basel und
Sammlung Ludwig (BS 453).
ArTMAtters Staff:
Managing Editor: Alia Orra
Graphic Designer: Jameson Staneluis
Photography: Robert Wagner, Andrew
Weber, Richard Goodbody
ArTMAtters is published for TMA
members three times per year by the
Toledo Museum of Art. © Toledo Museum
of Art
From the Director
The Toledo Museum of Art was
founded on April 18, 1901. On that
day, it had no permanent collection,
120 charter members, and opened a
temporary exhibition in rented rooms in
the Gardner Building in downtown Toledo.
One hundred and sixteen years later,
you could say we are aging gracefully.
The Museum now contains one of
the country’s preeminent collections,
displaying them in two architectural
gems, the Edward B. Green-designed
main building and the SANAA-designed
Glass Pavilion. It is the birthplace of the
Studio Glass Movement. It is home to
300 staff and nearly 23,000 objects. It is a devoted champion of art education.
Along with a full-time staff who mount special exhibitions, acquire works of art,
maintain the facilities, guard the collection, and conduct a long list of other duties,
the Museum could not have achieved all it has without two essential partners: its
Docents and Ambassadors.
The Docents, a corps of volunteer educators, have opened up the galleries
to countless thousands of visitors, from school children to gallery groups. Since
their official start in 1947, the program has recruited hundreds of volunteers. They
undergo rigorous training on the Museum’s collection, and commit hours upon hours
of their free time. They are an essential part of the fabric of the TMA community.
The Ambassadors, established a decade later in 1957, have, similarly, been
tremendously generous with their time and resources. They worked to create
Collector’s Corner, a gallery selling work by local artists in what became the Museum
Store. They created the ArTravel program, the Museum Library League, and now
sponsor the Masters Series. They have been responsible for creating and opening
many major fundraising and awareness events for the Museum, such as the recent
Art in Bloom in 2014 and Art in Food in 2016.
Each organization is celebrating a special anniversary this year—the Docents, 70
years, and the Ambassadors, 60 years. (You can see a more detailed visual history
in the story on page 20.) I know that as we proceed toward their centenaries, they
will continue to serve as tireless advocates of the Toledo Museum of Art. As Museum
members, you join them in providing support to this place we all value and love.
Thank you
to the sponsors of the
exhibitions and programs
featured in this issue
2017 Exhibition Program Sponsor
Berlin Painter and Program Support
Berlin Painter
Dina and Hicham Aboutaam
Jim and Gregory Demirjian
Gifts in honor & memory of Kurt Luckner
Education
It’s Friday! Programming
Masters Series
TMA Thursday Programming
PRIVATE CLIENT GROUP
Great Performances
Exhibitions
Brian P. Kennedy
Director
Art Minute
P.S. In this issue, you'll see we've made some design updates. Our calendar has
moved to the back, and includes more thorough, clear descriptions, so that you can
plan your season of programming more easily. We hope you like what you see!
Connect with TMA
The Andersons
Buckeye Broadband
HCR Manor Care
Hylant Family Foundation
Joseph and Ann Pilkington
Yark Automotive
And TMA members like you
VOLUME 13 | Issue 2
3
HAPPENINGS
TMA's Annual Block Party Takes Over Campus July 8
Color Focus
of New Show
The singular power of color and its astonishing
ability to produce a range of psychological
and perceptual effects is the focus of the
exhibition Color Across the Spectrum, on
view May 13 to July 30 in the Wolfe Gallery
Mezzanine. The show is one of the first in
a new initiative to display the Museum’s
high-caliber works on paper collection in the
second floor galleries, and features the recent
acquisition In-Between Colors (pictured) by
American artist Spencer Finch.
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| May–August 2017
Spencer Finch (American, born 1962), In-Between Colors, 2015, portfolio of six aquatints.
The Museum’s fourth annual Block Party, which draws together the area’s entertainment, food, and music purveyors for a celebration of summer,
will invite thousands of partygoers to enjoy the 36-acre campus on Saturday, July 8 from 6 to 10 p.m. The festivities are spread out across
Monroe Street, which will be closed to traffic, and coincide with the opening of the special exhibition The Berlin Painter and His World, a display
of ancient Athenian vase painting. With the season’s focus on the art of Greece, expect inspiration for the Block Party’s food, dance, and music to
come from across the Atlantic. Opa! Admission to the Block Party is free; additional details will be available starting June 1 at toledomuseum.org.
Gabriel Dawe
Returns
The ethereal indoor rainbow known as Plexus
no. 35, created by hand with colored thread,
drew international attention and thousands
of visitors when it was installed in the Toledo
Museum of Art’s Great Gallery this past winter.
Now, the artist behind that ingenious idea,
Gabriel Dawe, is returning to TMA to create
a new work, this time exchanging textiles
for glass. The Mexican-born artist has been
invited to take part in the Guest Artist Pavilion
Project (GAPP) May 3 through May 12, where
visitors can watch him at work live in the Hot
Shop. He’ll also give a free lecture on Friday,
May 5 at 7 p.m. about his work. Details at
toledomuseum.org.
Celebrating Ten
To celebrate the tenth anniversary of the Glass Pavilion, artist and
Assistant Glass Studio Manager Alan Iwamura designed a series
of works known as the Glass Pavilion Architecture Series for sale
in the TMA Store. Here, Iwamura takes us through the creation of
one of these vessels, inspired by the building’s sleek curves.
STEP 1
Gathering Glass
Steel blowpipes are to glass what brushes are
to paint—they are the vehicle for the material
in its molten form. Glassblowers clean pipes
(residual carbon creates bubbles), heat them
until they're cherry red, then dip them into a
2,000-degree furnace to gather glass.
STEP 2
Throwing Shade
To get the translucent shade of the Ten-Year
Objects just right, Iwamura and assistant Ryan
Thompson must layer colored glass over clear
glass, keeping both at the same temperature.
"It's a combination of learned skill, intuition,
and muscle memory," Iwamura says.
STEP 3
Fire Starter
Once Iwamura has layered glass for color and
blown air into the object to help it expand,
he fine tunes the shape with tools like fire,
wooden paddles, air, and even gravity. "This
stage is critical," he says. The object is
reheated often to keep it malleable.
App Enhances
Gallery Experience
Our smartphones enhance our fitness, travel,
and dining experiences—why not our artviewing ones, too? TMApp, the Museum’s
recently-launched smartphone application,
provides audio commentary, scavenger hunts,
multimedia guides, and other tools to take
visitors beyond a work of art’s label. Available
for Apple and Android devices, one of
TMApp's special features is a series of poems
read by acclaimed Irish poet Paul Durcan,
written about the TMA collection. Those who
are smartphone-free but still want to use the
app can borrow a device from the TMA info
desk in Herrick Lobby.
STEP 4
Bottoms Up
The duo use a "punty" to allow them to shape
the neck of the Glass Pavilion Architecture
Series object. A punty is a piece of hot glass
that is attached to the object, helping transfer
it from one pipe to another. This way they can
work on the opposite side of the vessel.
STEP 5
Annealed and Polished
Once the object is properly cooled off in an
annealing oven (which ensures the glass won't
cool too rapidly, causing cracks or breaks),
it's taken to a Cold Working Studio, where it's
polished and perfected. To purchase or view
more, visit TMAstore.org/028937.html.
VOLUME 13 | Issue 2
5
HAPPENINGS
New to the TMA Library
In Taschen’s new $2500 David Hockney monograph, A Bigger Book, we see the British artist’s oeuvre unfurled across immersive, sumosized pages. A Bigger Grand Canyon, Bigger Trees near Warter, A Bigger Splash—even the Toledo Museum of Art’s own A Bigger Card
Players—are all reproduced in splendid color alongside Hockney’s drawings, photo-composites, multi-perspective collages, stage designs,
multi-camera video works, and iPad drawings. The massive book was recently added to the Museum Reference Library’s collection, where
visitors can delight in the visual survey of more than 450 Hockney works. “I don’t tend to live in the past,” the artist said. “Working on this
book, I see quite how much I have done.” The Museum Reference Library is located on the first floor of the Center for Visual Arts; Toledo
Museum of Art members enjoy borrowing privileges.
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| May–August 2017
Summer Camp
By the Numbers
Registration for half-day and full-day
summer camps at the Museum is now
open. Visit toledomuseum.org/learn/
classes to register.
$25k
Available
Scholarships are available. Out
of $40,000 in funding, $25,000
is set aside for summer camp
students, and the application
process is easy.
854
600
Summer
Campers
0
Hundreds of kids participate. In
summer 2015, at least 600 of 854
enrolled students were campers!
51% 49%
The experiences are geared towards
children and teens. While studio art
classes are available for ages 3–100,
more than half of the Museum's
summer offerings are devoted
specifically to camps for students 5–18.
Inside Look
Programs | Scott Boberg
When I first signed on as manager of
programs three years ago, I was tasked
with finding an evening of entertainment
for the Peristyle Theater. Thinking of the
historic legacy of the space, which opened
in 1933, I realized that one of the most
important cultural assets of the Museum
is that remarkable music hall and its
Skinner organ. How then to make this
relevant again?
The answer was to embrace one
of the most powerfully visual forms of
entertainment of the early twentieth
century, silent film, a medium that told
complex stories visually with the music
completing the emotional circuit. I
chose Buster Keaton's The Cameraman
(1928) because the plot was about the
power of visual evidence, a love story
told with Keaton's beautiful, deadpan,
heartbreaking slapstick. This initial
screening led to the ongoing series The
Sound of Silents, supported by Joseph
and Ann Pilkington, which pairs classics
of early cinema with performances on the
Skinner organ. Many audience members
have remarked that it is the combination
of film and live music that really drew
them there, along with the social
experience that the Museum offered.
Throughout my career as a museum
programmer, I always found that a gallery
space filled with visual art was often the
most powerful place to listen to music.
TMA's music series, Great Performances
in the Great Gallery, has had a long history
of presenting classical music recitals,
many of which featured the faculty of area
universities within the splendor of the
baroque painting collection. Sometimes
specific connections were made between
music and art, but for most of the
concerts the simple act of listening in that
visual context amplified the experience
through this multisensory lens.
In late 2015, as part of the Museum's
interest in connecting community with
its collection in new ways, we embarked
on a collaboration with Bowling Green
State University that was deliberate in its
exploration of the parallels between art
and music. Called EAR | EYE: Listening
and Looking, Contemporary Music and
Art, this series features BGSU doctoral
students performing works of music
from the past 50 years in the Museum's
modern and contemporary galleries.
Each piece of music was chosen to be
performed in proximity to a work of art
with which it shared some formal or
thematic relationship. Halona NortonWestbrook, TMA's director of collections,
briefly talks about the work of art, and
composer Marilyn Shrude (director of
BGSU's doctoral program in the College of
Musical Arts) briefly introduces the music,
each giving just enough information to
give the audience something to listen to
and look for during each performance.
We originally expected a modest turnout,
but over 120 people attended the first
concert in the gallery with works by Louise
Nevelson, Alexander Calder, Henry Moore,
and Isamu Noguchi. The turnout for the
program, now in its second full year, has
consistently been high, and we realized
that we were on to something powerful:
art and music, while compelling on their
own, gained something greater in their
combined presentation. Beyond the
multisensory experience itself, audience
members who loved contemporary music
were able to satisfy their curiosity about
contemporary art (and vice versa).
One of the most unique and flat-out
fun multi-sensory experiences at TMA was
one enjoyed by about a dozen participants
on one of our Color Wheels Community
Bike Rides. I hired Toledo blues guitarist
Dooley Wilson to bring his electric guitar
and tiny amp and perform for the riders
while seated in a pedicab. Dooley's
extraordinary yet laid back performance
(he later said it was one of the most
challenging gigs of his career!) brought
together the visual, the auditory, and
the kinesthetic in one glorious, six-mile
rolling celebration of community that
brought new-found appreciation of Toledo
neighborhoods to the riders and a blast
of blues and bicycle bells on that one
beautiful summer day in 2015.
VOLUME 13 | Issue 2
7
VISUALIZE IT
A Material World
Gold, marble, wood—art is a testament to the human
ingenuity that molds these raw materials into magnificent
masterpieces. In this issue, we explore what art is made of.
Ravinder Reddy modeled
this sculpture in clay, then
cast it in fiberglass.
OIL PAINT
The skin of the
magnificent female
in Ravinder Reddy's
Untitled (Head–Gold)
(2003) is hand-gilded
with gold leaf.
Artist Julian Schnabel
painted Portrait of a
Freedom Fighter (1984)
on the fragments of
ceramic plates.
GOLD
CERAMIC
This sumptuous portrait of the
Virgin Mary is made with gold
leaf and powdered lapis lazuli.
Ogawa Haritsu combined
earthenware (made from
clay, like ceramic) with
ironwood to create this
mid-18th century kimono
accessory, a netsuke.
WOOD
Shonibare uses Dutch wax fabric
to question ideas of authenticity.
The material's Indonesian batik
techniques were introduced to
Africa through colonialization.
Fiberglass is one of
several materials used
in Homeless Child 3 by
Yinka Shonibare (2012).
FABRIC
FIBERGLASS
Fiberglass is the basis
of this Ravinder Reddy
sculpture.
The leaded glass of this
Tiffany Studios lamp has
been shaped and painted to
resemble fabric (1913–14).
Kilncast Bullseye glass,
fabric, and mixed
media make up Silvia
Levenson's Strange Little
Girl #7 (2014).
GLASS
Gold leaf decorates this
blown glass work by Dale
Chihuly, called Gold Over
Turquoise Blue Venetian
#528 (1990).
Portrait of a Young Man in
Armor used one of Ancient
Rome's favorite materials
(about 130 CE).
MARBLE
The sculptors of the ancient world used
marble to imitate the pliant, dynamic look
of fabric. Incredibly, they achieved this
without the help of any electric tools.
Oak, tulipwood,
kingwood, casuarina,
and purple heart woods
are combined and topped
with breccia marble for
this Joseph Baumhauer
commode (1767–72).
VOLUME 13 | Issue 2
9
2,500 Years
Later, an
Anonymous
Artist Gets
His Due on a
Continent He
Didn't Know
Existed
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arTMAtters
| May–August 2017
VOLUME 13 | Issue 2
11
Though we
can't be
certain of
the details,
he probably
spent his
days caked
in clay.
Maybe he talked about politics, or Persians,
or his partner with the other men in the workshop.
Wiped the sweat off his brow from the heat of
the kiln and the long hours of labor. Stood,
crouched, or sat—depending on how he liked
to work—and carefully decorated huge vessels
with the tiny flicks of a brush. His work ended
up in the hands of a winning Athenian athlete, or
displayed in the shelter of some dignitary’s home
in a far-off Etruscan settlement in Italy. We can’t
be certain of the details, but we can be certain
of this: the Berlin Painter’s hands moved each
day with the deftness only ancient Greece’s most
skilled craftsman could command.
Who is this mysterious artist, who some 2,500
years after his life ended rose from obscurity to
become a famous-but-anonymous painter of
the ancient world with his first retrospective?
It is the question The Berlin Painter and His
World: Athenian Vase Painting in the Early Fifth
Century B.C., on view in the Toledo Museum of
Art’s Canaday Gallery from July 8 to October 1,
2017, seeks to answer for museumgoers.
“He wouldn’t have even dreamed of the
concept of an exhibition,” said Adam Levine,
associate director of the Toledo Museum
of Art and associate curator of ancient art.
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arTMAtters
“But his contributions have given us so many
insights—into the life of ancient Greeks, and the
exceptional ability and feel these people had for
their craft. More than 2,000 years later he is an
extremely important part of art history.”
Organized by the Princeton University Art
Museum, The Berlin Painter and His World
features masterpieces on loan from 15 museums
and two private collections, including the
British Museum; Metropolitan Museum of Art;
the Museum of Fine Arts, Boston; the J. Paul
Getty Museum; the Vatican’s Museo Gregoriano
Etrusco; and the Musée du Louvre.
“After the defeat of the invading Persians in
490 and 480–479 B.C., Athens was imbued with
new power, wealth, and prestige,” said J. Michael
Padgett, curator of ancient art at the Princeton
University Art Museum and lead curator of the
exhibition, which was shown first at Princeton.
“Vase paintings are a partial window on society
in this period.”
The painted subjects range from athletics
and musical performances to the rich body of
Greek myth and epic. The vessels, though not
very expensive, were still considered fine ware,
and would have been used mostly for special
occasions: symoposia (all-out drinking parties
where aristocratic men celebrated), funerals,
and dedications to gods, among others. They
often carried precious liquids—water, wine, or
oil—and their shapes have had a long-lasting
aesthetic impact.
“For all the virtuosity of artists working
in ceramic today, most people will leave this
exhibition wondering if any new ceramic forms
have been invented since ancient Greece,” said
Levine. “But really almost our entire lexicon of
ceramic shapes was invented by these people
2,500 years ago. Wine cups, water jugs, and the
like more or less look the same.”
| May–August 2017
Though vessels have been excavated in
Athens and other Greek sites (the region was
a hotbed for pottery production because of
the quality of its clay), many more were found
throughout the Mediterranean, indicating they
were a popular export at the time. They were
discovered in great numbers when landowners,
collectors, and others began systematically
excavating ancient cemeteries in Italy in the late
18th century. Many of the vases in the exhibition
were found in Etruscan tombs and sanctuaries,
while others were in the tombs and temples of
Ancient Greece’s Southern Italian colony.
“Archaeologists have been looking for them
ever since, and new ones are discovered every
day, from Spain to Georgia, and indeed in every
country bordering the Mediterranean and the
Black Sea, as well as beyond,” Padgett said.
“They have survived so well because they are
made of fired clay, which is very durable, and
the decoration is executed in a purified clay that
bonds strongly to the vessel surface. Sometimes
even a large vase survives perfectly intact, usually
protected within an undamaged tomb.”
And once the vessels were dug up, how did so
many come to be assigned to the same person,
named the Berlin Painter by the archaeologist
and art historian Sir John Beazley? The great
scholar made study of both red figure and black
figure vases in the first half of the 20th century,
and through connoisseurship (a knowledge
of objects developed through repeated close
looking and analysis), he identified which
Attic vase paintings were by the same hands.
The Berlin Painter was so named after a large
lidded amphora in the Antikensammlung Berlin
collection, now held in the Altes Museum and
Pergamon Museum in Berlin, Germany. (The
amphora is known as the artist’s “name vase.”)
Though the artist signed none of his works,
Clockwise from top left: Greek, Attic, attributed
to the Berlin Painter, Red-figure lekythos
fragment: Woman at an altar, about 490–480
B.C. Princeton University Art Museum;
Bronze statuette of a diskos thrower, early 5th
century B.C., Museum of Fine Arts, Boston;
Greek, Attic, attributed to the Berlin Painter,
Red-figure amphora of Type A: A. Athena; B.
Herakles, about 500–490 B.C. Antikenmuseum
Basel und Sammlung Ludwig; Greek, Attic,
Two-handled mug, red-figure and black glaze:
sketch of mounted Amazon on base, about
450–430 B.C., Princeton University Art
Museum; Greek, Attic, attributed to the Berlin
Painter, Red-figure neck-amphora with ridged
handles: Amazonomachy with Herakles (detail),
about 490–480 B.C., Antikenmuseum Basel
und Sammlung Ludwig. Opening page: Greek,
Attic, attributed to the Berlin Painter, Blackfigure Panathenaic prize amphora: A. Athena
between columns surmounted by roosters; B.
Runners, about 480–470 B.C. Collection of
Gregory Callimanopulos.
VOLUME 13 | Issue 2
13
Greek, Attic, attributed to the Berlin Painter, Red-figure stamnos of special shape: A. Peleus and Thetis, fleeing Nereids; B. Chiron, Nereus, and fleeing Nereids, about 480–470 B.C.
his painting is identified by its details.
“He is known for the elegance of his drawing,
and the dexterous precision with which he painted
both figures and ornament,” Padgett said. “He
paid great attention to the outlines of his figures
in relationship to one another and to the shape
of the vessel.”
“The perfect coloration, this really sharp
bright orange delineated against this beautiful
black glossy background—this was all done in a
period before there were clocks, before there were
thermometers,” said Levine. “They were working
on a potter’s wheel, but the potter’s wheel was
not electrically powered. This was an incredibly
laborious process.”
“The experimentation with this medium during
this period was unbelievable,” Levine added.
“The vase painters were clearly competitive and
pushing each other.”
The Berlin Painter had a profound influence
on contemporary Athenian vase-painters, many of
whom imitated his style. Art historians recognize
works by students and followers, and have traced
the continuation of his workshop, in different
hands, for two generations after he died or
stopped working.
“Unlike some sculptors, such as Myron
and Phidias, whose names and fame lived on
after them, Athenian vase-painters were not
remembered as old masters, and their names
were lost to time,” Padgett said.
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arTMAtters
Since the first published identification
of the artist in 1911, the Berlin
Painter’s oeuvre has grown to some 330
works, making him one of the bestknown artists of his kind. This lavishly
illustrated catalogue features nine
essays by leading scholars who explore
the artist’s work, milieu, influence, and
legacy. For sale in the TMA Store. $75.
Though the man will never be identified by
name (and art historians think he was male with
some confidence thanks to imagery of males in
depictions of pottery workshops and the historical
knowledge of the strict gender roles enforced in
| May–August 2017
ancient Greek society), his work remains one of
the few remnants of the ancient world that gives
contemporary people insight into the lives people
lived long before us.
“Ultimately this exhibition is about the fact
that we were able to discover an artist who was
almost forgotten, because he had a unique
differentiated style,” Levine said. “Everyone has
a style or thing about them that is different—you
don’t know if it’s going to be recognized in your
lifetime or 2,500 years later. The Berlin Painter's
talent was so distinguished we were able to piece
together what he did thousands of years later.
People are fascinated with how people lived in
the past, and this exhibition gives us a peek into
the Berlin Painter’s world.”
The Berlin Painter and His World: Athenian
Vase-Painting in the Early Fifth Century B.C. has
been organized by the Princeton University Art
Museum. Major support for this exhibition has
been provided by the Leon Levy Foundation and
the Stavros Niarchos Foundation.
The Toledo showing is made possible in
part by 2017 Exhibition Program Sponsor
ProMedica and Dina and Hicham Aboutaam,
with additional support from Christie's, Jim and
Gregory Demirjian, and Taylor Cadillac, as well as
generous gifts in memory of Kurt Luckner.
Admission to the exhibition, on view July 8–
Oct. 1, 2017, is free for members and $10 for
non-members.
EXHIBITIONS
LEVIS GALLERIES
Kehinde Wiley: A New
Republic
Feb. 10–May 14 | Free
Organized by the Brooklyn Museum, the Toledo
showing is presented in part by Welltower
with additional support from 2017 Exhibition
Program Sponsor ProMedica and KeyBank.
WOLFE MEZZANINE
Color Across the Spectrum
May 13–July 30 | Free
Pioneering artists since the 19th century have
explored the singular power of color and
its astonishing ability to produce a range of
psychological and perceptual optical effects.
This exhibition looks at color through a
selection of modern and contemporary graphic
portfolios drawn from the collection and
created by various artists, including Joan Miró,
Barnett Newman, and Josef Albers.
GALLERY 18
Kara Walker’s Harper’s
Pictorial History of the Civil
War (Annotated)
June 17–Oct. 22 | Free
See the story on page 16 for details.
CANADAY GALLERY
The Berlin Painter and
His World: Athenian VasePainting in the Early FifthCentury B.C.
CURRENT & UPCOMING
EXHIBITIONS
GALLERY 18
Framing Fame: 19th- & 20th-Century Celebrity Photography
March 4–June 4 | Free
Beginning with a carte-de visite portrait of Abraham Lincoln from the 1860s, when
photography was still new, up through Andy Warhol’s 1970 Little Red Book polaroid, the
exhibition provides an overview of celebrity portrait photography’s expansive reach and
prominent role in shaping today’s attitude towards celebrity.
Yousuf Karsh (Canadian, 1908–2002), Ernest Hemingway. Gelatin-silver print, 1957. Purchased with funds from the Libbey
Endowment, Gift of Edward Drummond Libbey, 1993.80
July 8–Oct. 1
Members free; non-members $10
Clay vessels and statuettes of bronze and
terracotta focus on the art and career of
the anonymous artist known as the Berlin
Painter. The masterpieces are on loan from
15 museums and two private collections.
Organized by the Princeton University Art
Museum, with major support provided by
the Leon Levy Foundation and the Stavros
Niarchos Foundation. The Toledo showing
is made possible in part by 2017 Exhibition
Program Sponsor ProMedica and Dina and
Hicham Aboutaam, with additional support
from Christies, Jim and Gregory Demirjian, and
Taylor Cadillac, as well as generous gifts in
memory of Kurt Luckner.
VOLUME 13 | Issue 2
15
This page: artist Kara Walker photographed by Ari Marcopoulos.
Oppsosite page: Kara Walker (American, born 1969), Crest of Pine
Mountain, Where General Polk Fell from Harper's Pictorial History of
the Civil War (Annotated). Offset lithography and silkscreen, 2005.
38 x 54 in. Edition of 35. Toledo Museum of Art.
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| May–August 2017
A N NO TAT I NG
H IST ORY
I
W I T H K A R A WA L K E R
n Harper’s Pictorial History of the Civil War, depictions
of the conflict were almost quaint: its pages contain
drawings of men waving caps in relief, or toting guns on
boats rowed by enslaved men, or standing behind smoking canons.
The bloodshed presented in these historical military retellings is
sanitized, standing at a safe distance from the terror of reality.
But in Kara Walker’s hands, this 1866 book becomes the
backdrop for the dismembered limbs and dead bodies of African
Americans. Their presentation as silhouette figures makes them no
less unsettling.
The 15 prints in Walker’s portfolio, aptly titled Harper’s Pictorial
History of the Civil War (Annotated) and recently acquired by the
Toledo Museum of Art, will be on display in a new installation June
17–October 22 in Gallery 18.
The prints mark the first time Walker has superimposed her
signature silhouettes—drawn from 19th-century history painting and
colonial portraiture—onto a historical document. The combination,
she explained, provides “the landscapes that I imagine exist in
the back of my somewhat more austere wall pieces.” Those earlier
works, which brought her to prominence in the contemporary art
world, feature figures that approach a minstrel-like feeling in their
subversion of stereotypes. The discomfort is intentional: Walker’s
aim is to provoke thought about black history and the ways in which
it has been retold by those in power.
“Her observation was that Harper’s had largely erased the history
of the African American community and their experience. It shows
destruction, but it’s in an impersonal manner,” said Robin Reisenfeld,
curator of works on paper. “In her work, Walker is steering us towards
another view.”
Each three-foot by four-foot print began with an enlargement,
using offset lithography, of a wood engraving plate from Harper’s
Pictorial History of the Civil War. Each of these images was then
overlaid with Walker’s silhouette figures rendered with solid black
silkscreen. The shadow figures disrupt Union depictions as often as
Confederate ones, some contorted in anguish, others floating above
the fray in a kind of satire.
The provocation is meant to push our buttons. Walker's depictions
of the old South, described by the MacArthur Foundation as “grimly
humorous” when they awarded her a grant in 1997, challenge us
to reexamine the ante- and post-bellum characters that have been
absorbed into the popular culture.
“She doesn’t shy away from graphic depictions,” Reisenfeld said.
“She’s known for her fairly charged view towards race and gender
and sexuality. It’s meant to be a conversation opening, and there’s
not one single interpretation.”
Walker’s work has appeared in solo and group exhibitions in
the United States and abroad, including at the Walker Art Center,
Minnesota; the Whitney Museum of American Art; the Metropolitan
Museum of Art, New York; and the Tate Liverpool. A graduate of the
Atlanta College of Art and the Rhode Island School of Design, Walker
currently teaches at Columbia University and lives and works in New
York.
Kara Walker’s Harper’s Pictorial History of the Civil War (Annotated)
is on display June 17–October 22 in Gallery 18. Admission is free.
VOLUME 13 | Issue 2
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| May–August 2017
MUSEUM STORE
Spring MustHaves from the
TMA Store
Opposite page, on model: Vintage glass handmade earrings, $188
/ Jenny Gorkowski handmade moonstone necklace, $55 / Fringe
necklace, $188 / Handmade bracelets (three), from top: $160, $190, $190.
Top row from left to right: Michelle Walker Pretty Pink Bear, AP
relief print, $85 | Ai Weiwei’s Study of Perspective Tiananmen Square
Souvenir Spoon, $13 | Nomad wallet featuring smartphone charger,
$119. Second row from left to right: Eco cork tie, $26.95 | Lattice glass
basket by Bandhu Dunham, $1,750 | Pink bunny wooden push toy, $32.
Bottom row from left to right: 20 Poems card set, $30 | Wrist Ruler
bracelet, $22.95
VOLUME 13 | Issue 2
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Decades of
Devotion
With 130 years of service between them, the Docents and
Ambassadors have proven that commitment is the most
important ingredient in a museum volunteer corps
C
alling the Docents and Ambassadors "important" is an understatement.
The Docents, as volunteer art educators, guide thousands of visitors on
gallery experiences every year, teaching young and old about the Museum's
vast collection. And the Ambassadors, a dedicated crew of community women, have
brought about Collector's Corner, increased membership, provided sponsorship for
the Masters Series, and masterminded the fundraising events Art in Bloom and Art in
Food. Since their creation (the Docents in 1947 and the Ambassadors a decade later
as the Museum Aides in 1957), these two organizations have played an important
role in shaping the Museum, contributing time and money to its success. This year,
in anticipation of their dual anniversary celebration, we pay tribute and give thanks.
If ever there was an Ambassador motto, "fundraise!" would be it.
Above is an image from a 1969 kick-off luncheon in the Great Gallery.
These popular events usually attracted 300 team members and heralded
the start of a new money-raising campaign. That same year, the group
(then known as the Museum Aides) opened Collector's Corner, a gallery
that sold locally-made art within the Museum.
From their early days, the Ambassadors and Docents have made
annual art enrichment trips. In this photo from 1967, the Ambassadors
pose before embarking on a plane to Chicago.
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| May–August 2017
Opposite page, from left: assistant Docents in 1914; the class of 1980.
"Early Docents were nervous about the challenge at first," said the late Tibble
Rorick Foster, a Docent from the class of 1955, as quoted in the Toledo Museum
of Art Docent history book. "But soon [we] became thrilled with excitement over
the success of the program. It was exhilerating to share the beauty and wonder
of the collection with the children."
Above, a Docent gives a tour in the 1960s.
Trained by Museum staff members in the then-School for Design, the Docents gave their first gallery
tour on November 5, 1947. The first class provided tours to 7,438 school children from 46 public schools.
Membership drives occupied much of the Ambassadors' time and efforts. Here, Irene Kaufman and
the late Dorothy Price adjust a sign signifying their fundraising success. In the upper righthand corner,
Ambassadors Anita Daverio and Mary Kay Anderson pose in a colorful membership drive booth in 1983.
VOLUME 13 | Issue 2
21
PEOPLE
SICCORAH MARTIN
TMA Staff Profile
How did you get your start with the Museum?
Actually, my first experience was volunteering
here while I was a student at the University
of Toledo. I was kind of shy and lonely, and
auditoriums of new people—which is basically
what college is—were intimidating. I was looking
for something to do with my free time, so I got
a list of opportunities from the school and the
Family Center at the Museum was on the list.
What were your first impressions?
I thought “Wow, they have a huge facility
here.” We didn’t have anything of this sort
in Canton. The biggest attraction in the
city is the Pro Football Hall of Fame.
And then years later, you became an
employee here.
After college, I made a list of all the places
that I thought would be great to work at, and
the Museum was one of them. But I actually
never fathomed I’d be able to, because I didn’t
think I had anything to contribute—I’m not an
artist, and I’m not a history buff. But there are
so many different types of people the Museum
needs to make it function, from finance experts
to human resources professionals. The idea that
museums only employ curators or artistic types
is a myth—they’re just one element of a team.
As a human resources manager since May 2015, Siccorah Martin
reviews thousands of resumes every year in search of recruits for the
Museum’s varied team. Here, we discuss how the Canton, Ohio native
got her start, her favorite gallery space, and her recommendations to
people looking to work in the museum world.
What do you think makes a talented human resources person?
I think patience, emotional intelligence, and having a
knack for solving problems. You need to be actively
listening, think of polished things to say, and not be
reactive. Seventy percent of what I do is employee
relations—engagement is the bulk of what I do.
What do you think is the key to engaging?
For me, it’s caring. When you make your business
decisions, when you talk to people, when people
have a need—an injury, or their family has
experienced a loss—showing that you care is
essential.
What is something people would be surprised
to know about you?
If you follow me on Pinterest, you’ll see that
I am a major geek. I love gadgets. I have
multiple tablets, computers, TVs. I recently saw
a toaster that creates images in your toast. Of
course, I want it.
Tell us about your family.
I have one daughter named Jasmine. She will be
five this year.
What have you learned from her?
Multitasking! My daughter’s impatient—she wants
to eat dinner, take a bath, get the art project ready,
all in ten minutes. So I’ve mastered how to move fast!
What surprised you most about the Museum?
My number one surprise was the number of
employees who do actually work here. Between
part-time and full-time staff, it's 300 people.
Was there a favorite moment or interaction
that’s stuck out to you in your time here?
The Masters Series lecture with Johnnetta
Cole [then director of the Smithsonian National
Museum of African Art] was one of my favorite
experiences. She was just really real, and an
amazing orator. She was very candid about
diversity. How do you begin to have that
conversation when the people around you at that
table are all part of the majority? It’s usually so
hard to connect on topics like that, but she really
inspired us.
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| May–August 2017
What were your art experiences as a child?
We didn’t have museums nearby when we were
kids. My mom got us really involved in camps, and
YMCA was our go-to spot. I still love the YMCA,
but it’s so great to have the Museum to add in
the arts to my daughter’s life. I really love that
there is this free resource so close to my family.
What advice would you give to people who want
to work at TMA?
Act fast to apply, then be persistent. We get so many
applications for some positions and we may only look
at the first 50 or 100. And volunteering or taking an
art class is a great way to get your foot in the door—
you make so many connections with staff, and you get
to learn all about us and see if you like us.
Calendar
Things To Do This Season
Film in the Great Outdoors
FILM
Thursday, May 18 | 7 p.m.
Friday, June 9 | 7 p.m.
Friday, August 4 | 9 p.m.
Peristyle | Free–$5
Little Theater | Free
TMA Grounds | Free
The Sound of Silents:
Metropolis
Art House Film Series:
Called to Walls
Film in the Great Outdoors:
The 300 Spartans (1962)
The most influential of all silent films, this
astounding version of Fritz Lang's visionary
masterpiece includes 25 minutes of newlydiscovered, digitally restored footage.
Metropolis takes place in 2026, when the
populace is divided between workers who
must live in the dark underground and the
rich who enjoy a futuristic city of splendor.
The tense balance of these two societies
is realized through images that are among
the most famous of the 20th century, many
of which presage such sci-fi landmarks as
2001: A Space Odyssey and Blade Runner.
Lavish and spectacular, Metropolis stands
today as the crowning achievement of
German silent cinema. The score will be
performed by organist Clark Wilson who
performs a silent horror film each October
in the Walt Disney Concert Hall for the Los
Angeles Philharmonic. Tickets are free for
Toledo Museum of Art members and $5 for
non-members, and are available at the door
or online at eventbrite.com.
Part road movie, part inspirational art
documentary, Called to Walls celebrates the
potential of community-based art in Middle
America. Out of view of the high art world
comes this heartening story of unlikely
partners in working together to celebrate
what makes their towns unique in the form
of monumental community murals led by
Kansas artist Dave Loewenstein.
A small army of Greeks spearheaded by 300
Spartans do battle with the whole invading
Persian army.
Friday, July 21 | 9 p.m.
TMA Grounds | Free
Film in the Great Outdoors:
Jason and the Argonauts
(1963)
This season's Films in the Great Outdoors
series presents some of cinema’s popular
interpretations of ancient Greece. In the first
edition, watch the 1963 film Jason and the
Argonauts. (104 minutes)
Friday, August 18 | 9 p.m.
TMA Grounds | Free
Film in the Great Outdoors:
Clash of the Titans (1981)
Harry Hamlin portrays the Greek hero
Perseus who battles the deadly Medusa in
order to save a beautiful princess.
Friday, Sept. 1 | 9 p.m.
TMA Grounds | Free
Film in the Great Outdoors:
Time Bandits (1981)
A young history buff joins seven dwarves
as they travel through the fabric of time to
different eras, including Ancient Greece.
VOLUME 13 | Issue 2
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CALENDAR
MUSIC
Friday, May 5 | 6:30–8:30 p.m.
Cloister Gallery | Free
It’s Friday! Music:
Dean Tartaglia
Toledo-based musician and songwriter
Dean Tartaglia presents an intimate solo
performance showcasing newly-reimagined
versions of songs from his band Secret
Space's debut LP The Window Room.
Thursday, May 11 | 6:30–8:30 p.m.
GlasSalon | $
Jazz Under Glass with the
Art Tatum Jazz Society
The popular Jazz under Glass series
continues with monthly performances in
partnership with the Art Tatum Jazz Society.
For more information and to purchase tickets,
visit www.arttatumsociety.com.
Sunday, May 14 | 2–5 p.m.
GlasSalon | $7.50–15
Olivier Messiaen’s Catalogue
of Birds
Presented on the occasion of The Biggest
Week in American Birding, the Toledo area’s
annual celebration of the great bird migration,
ten pianists from across America tackle one
of the 20th century’s most challenging works
for solo piano, Olivier Messiaen’s threehour Catalogue of Birds. "Over the course of
the mammoth, seven-book cycle Catalogue
d'oiseaux (Catalogue of Birds), the songs of
77 distinct birds unfold in [...] nearly three
hours of solo piano music," writes Thomas
Oram for All Music. Pianists include Vicky
Chow, David Friend, Laura Melton, Robert
Satterlee, and Thomas Rosenkranz. Tickets
are available at eventbrite.com.
Friday, June 2 | 6:30–8:30 p.m.
Cloister | Free
It’s Friday! Music:
Jean Holden
Legendary Toledo jazz vocalist Jean Holden
and her ensemble explore jazz classics.
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Ramona Collins
Saturday, June 25 | 3 p.m.
Sunday, July 2 | 3 p.m.
Great Gallery | Free
Great Gallery | Free
Great Performances:
Sono Novo
Great Performances:
Gwilym Simcock, Piano
Toledo-based chamber ensemble Sono
Novo performs music of the Belle Epoch:
Impressionist, Post-Impressionist, and
Nationalist music from the period 1875 to
1945. Inspired by works of art in the TMA
permanent collection, the program features
works by Faure, Debussy, Ravel, and Respighi
and explores the relationship between
European music and visual art of the period
when composers were attempting to emulate
in sound what was occurring visually in
drawing, painting, and sculpture.
Both a virtuosic pianist and an imaginative
composer, Gwilym Simcock is one of the most
important musicians on the British scene.
Trained as a classical pianist from his youth,
at the age of eighteen he turned his attention
to jazz and composition, putting his musical
foundation to work in the quest for a new
and original sound. Whether in solo piano
performance, duo, trio, with The Impossible
Gentlemen quartet, or quintet, Simcock draws
his audiences into a new musical world that
moves the mind as well as the soul.
| May–August 2017
Friday, July 7 | 6:30–8:30 p.m.
Friday, July 14 | 6:30–8:30 p.m.
Friday, July 28 | 6:30–8:30 p.m.
Museum Grounds | Free
Museum Grounds | Free
Museum Grounds | Free
It’s Friday! Music:
Alright Ghandi
It’s Friday! Music:
Old State Line
It’s Friday! Music:
Grape Smugglers
Alright Ghandi kicks off the first in the
Museum's weekly series of It's Friday!
music. Pull up a chair (or bring your own)
and enjoy the summer evening with a cool
drink, delicious small plate edibles, and
an eclectic array of music. In case of rain,
concerts aren’t cancelled but simply move
inside! Alright Ghandi, which has toured
through Morocco, Poland, Germany, England,
Portugal, and Switzerland, performs pop
music with an eye to experimentation.
Enjoy a mix of Americana, roots, folk,
country, and old time music.
The Grape Smugglers perform blues, R&B,
rock, and soul music.
Friday, July 21 | 6:30–8:30 p.m.
Friday, August 4 | 6:30–8:30 p.m.
Museum Grounds | Free
Museum Grounds | Free
It’s Friday! Music:
Ramona Collins
It’s Friday! Music:
Sarah D’Angelo
Jazz vocalist Ramona Collins performs.
Sarah D’Angelo performs jazz.
Friday, August 11 | 6:30–8:30 p.m.
Museum Grounds | Free
It’s Friday! Music:
It’s Essential
It’s Essential performs a mix of pop, soul,
jazz, and standards.
Saturday, August 12 | Noon–10 p.m.
Museum and Museum Grounds | $
Music Marathon:
Lou Harrison
The Toledo Museum of Art and the Toledo
Symphony Orchestra, in conjunction
with Bowling Green State University,
present the music of Lou Harrison to
celebrate his centenary year. A composer,
environmentalist, and gay icon, Harrison
quietly began his own musical revolution
over 50 years ago. In his more than 300
compositions for western, eastern, and
custom-made instruments, Harrison wrote
for symphony orchestra, ballet, small
chamber ensembles, and soloists.
Friday, August 18 | 6:30–8:30 p.m.
Museum Grounds | Free
It’s Friday! Music:
Howlin’ Mercy
Romona Collins
Howlin’ Mercy performs blues.
Glass Art Workshops
Friday, August 25 | 6:30–8:30 p.m.
Learn to create glass objects under the guidance of a TMA instructor
during a one-hour workshop at the Glass Pavilion. Open to members and
nonmembers alike, tickets are $30 for members and $40 for nonmembers.
Visit toledomuseum.org/glass-pavilion/classesworkshops for details.
It’s Friday! Music:
Skip Turner Band
Museum Grounds | Free
The Skip Turner Band performs jazz.
VOLUME 13 | Issue 2
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CALENDAR
TOURS
& TALKS
Friday, May 5 | 7 p.m.
GlasSalon | Free
GAPP Artist Gabriel Dawe
Gabriel Dawe, best known for his recent
textile rainbow installation Plexus no. 35,
returns to discuss his latest collaboration with
TMA's glass studio.
Saturday, May 20 | 2 p.m.
Free | Gallery 18
Framing Fame: 19th- and
20th-Century Celebrity
Photography with Curator
Robin Reisenfeld
Exhibition Curator Robin Reisenfeld leads an
in-gallery talk and tour discussing how fame has
been captured and spread through photography.
Friday, May 19 | 7 p.m.
Fridays May-August | 6 & 7 p.m.
Little Theater | Free
Meet in Libbey Court | Free
AIA-Toledo Society:
Archeological Discoveries
at Gebel el-Silsila in Upper
Egypt with Maria Nilsson,
Marie Curie Fellow at Lund
University in Sweden
Public Tours
Though long admired for its Pharaonic
stelae, shrines, and rock-cut temple, the
ancient site of Gebel el-Silsila remains fairly
unknown within mainstream archaeology.
It was previously thought that the site
operated merely as a sandstone quarry,
but few are aware of its rich archaeology,
which incorporates evidence of millennia of
human activity and cultural features. Since
2012 a Swedish-run archaeological project
has worked towards changing previous
misconceptions and aims to increase general
awareness of the site’s unique legacy. This
presentation gives an introduction to the
project, its new approaches, discoveries, and
results achieved so far. The main emphasis
will be on four remarkable discoveries made
during the 2015–2016 field seasons.
Join a docent for a lively discussion and
guided tour through the Toledo Museum of
Art's collection, ranked among the finest in
the U.S.
Thursday, June 9 | 6 p.m.
Great Gallery | Free
Director Conversation: Brian
Kennedy with Roger Mandle
Toledo Museum of Art Director Brian Kennedy
speaks with Roger Mandle, who has had a long
and illustrious career as an art historian and
museum director. He is the former director of the
Toledo Museum of Art (1977–1988), the former
president of the Rhode Island School of Design
(1993–2008), and the director at the Qatar
Museums Authority. He was appointed to the
National Council on the Arts by both President
Ronald Reagan and President George H.W. Bush.
Tuesday, July 11 | 5:30 p.m.
Art Library | Free
Art Book Club | Playing
to the Gallery: Helping
Contemporary Art in its
Struggle to be Understood
Join fellow art and book lovers in the Art Book
Club; this edition is a funny and thoughtful
romp through the world of contemporary art.
Club activities include an early evening book
discussion along with guest speakers and
gallery tours. The Art Book Club is free, but
space is limited and registration is requested.
You must register individually for each event.
Contact the library at 419-254-5770 or library@
toledomuseum.org to register.
Saturday, July 15 | 2 p.m.
Canaday Gallery | Free–$10
Family Center
The Toledo Museum of Art is proud to provide free admission for children
and their caregivers to the Toledo Museum of Art's Family Center, a handson art studio and play area. Located in the education wing near the Plough
entrance, the Family Center is open Tuesdays and Thursdays from 10 a.m.
to 3 p.m., Fridays 3:30–8 p.m., and Saturdays and Sundays noon–5 p.m.
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| May–August 2017
The Berlin Painter and His
World with Adam Levine
Join Adam Levine, associate curator of ancient
art, as he leads a talk in the exhibition The
Berlin Painter and His World: Athenian VasePainting in the Early Fifth Century B.C., which
explores the life and work of one of the ancient
world's most prolific artists. Admission is free
for members and $10 for non-members.
Friday, July 28 | 6:30 p.m.
Friday, August 11 | 6:30 p.m.
Friday, August 25 | 6:30 p.m.
Meet at Café | $15–25
Twilight Tours in the
Sculpture Garden
Explore the Welles Sculpture Garden at
twilight on an adults-only guided tour. All
visitors will be given a flashlight to see works
of art and the TMA campus in a new light!
The tour will kick off with a complementary
drink in the café beginning at 6:30 p.m.; the
group embarks on the tour at 8 p.m. Tickets
are $15 per person for members, $25 for
non-members, one drink ticket is included
and space is limited; reserve your spot in
advance by calling 419-255-8000 ext. 7448
or by purchasing tickets at eventbrite.com.
Sunday, August 13 | 3 p.m.
Meet in Libbey Court | Free–$10
Circle 2445 Presents:
Haute Couture Gallery Tour
What fashions were all the rage in centuries
past? And how did designers and other
tastemakers transmit the latest trends before
the use of fashion blogs and magazines?
Learn how works of art show us what was in
and what was out during this docent-led tour.
Pre-registration is required; tickets are free
for Circle 2445 members and $10 for nonmembers. Space is limited, so book early!
Saturday, August 19 | 2 p.m.
Little Theater and Gallery 18 | Free
Curator Robin Reisenfeld on
the Work of Kara Walker
Exhibition Curator Robin Reisenfeld talks
about the work of artist Kara Walker in
the Little Theater. After the presentation,
Reisenfeld will lead a tour of an installation
of Walker’s work.
Friday, August 25 | 7 p.m.
GlasSalon | Free
GAPP (Guest Artist Pavilion
Project) Talk: John Kiley
GAPP artist John Kiley discusses his work
and participation in TMA's glass residency.
Monroga
EXPERIENCES
Saturday, June 3 | 10 a.m.
Friday, June 16: 11 a.m. to 9 p.m.
Monroe Street Terrace | Free
Friday, June 23: 11 a.m. to 9 p.m.
Monroga
Friday, June 30: 11 a.m. to 9 p.m.
Enjoy a free one-hour yoga session outdoors
in the beautiful setting of the Toledo Museum
of Art’s Welles Sculpture Garden. Local
instructors will guide you through the various
poses. Following the class, watch the Old
West End parade, head into the galleries to
cool down while viewing the collection, or
enjoy lunch in the Museum Café. Participants
are asked to bring their own mat and bottle
of water, and dress in comfortable, stretchy
clothing. Monroga is open to all ages.
Little Theater | Free
Marathon Reading:
James Joyce’s Ulysses
This marathon reading will take 32 hours
stretched over three Fridays, and invites lovers
of literature to enjoy James Joyce’s Ulysses,
considered a masterpiece of modernist
literature, aloud. The event ends June 30 with
a performance of the Molly Bloom Soliloquy.
VOLUME 13 | Issue 2
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Toledo Museum of Art | 2445 Monroe Street | Toledo, Ohio 43620 | 419.255.8000