2012–2013 ANNUAL REPORT

Mount Holyoke College Art Museum

© 2013 Mount Holyoke College Art MuseumDesigned by Allison W. Bell

Photographs by Laura Shea: pp. 6, 22, 37, 40 Photographs by Petergorsky/Gipe: pp. 21, 23,26, 28, 29, 33Photographs by Museum staff: 2, 3, 7, 8, 9,11, 12, 13, 14, 17, 34, 35, 41

Mount Holyoke College Art MuseumLower Lake RoadSouth Hadley, MA 01075

www.mtholyoke.edu/artmuseum413.538.2245

TA B L E O F C O N T E N T S

Director’s Report 3

On View and Events

Exhibitions 5

Public Events 8

Teaching with Art

Highlights of Academic Use 10

Academic Collaborations 12

Class Visits 15

Community Involvement 17

Student Programs 18

The Collection

Acquisitions 20

Loans 27

Collection Research and Publications 30

Digitization and Collections Management 31

Objects Conserved 32

Joseph Allen Skinner Museum

Exhibitions 33

Teaching with Art 34

Community Involvement 34

The Collection 35

Art Museum Staff List 37

Donors and Membership 37

Grant Awards 40

Director’s Circle 41

Financial Resources 41

M O U N T H O LY O K E

C O L L E G E A R T M U S E U M

2 0 1 2 – 2 0 1 3

A N N U A L R E P O R T

L O O K I N G B A C K at the activities of the past year,a pattern becomes evident: 2012–13 was about the

collection. After a series of retreats and much self-examination, the staff decided to redouble its efforts to

research and build the art holdings at Mount Holyoke. Aswe get more involved in our Teaching with Art programs, we

find one undeniable fact emerging—it is the permanent collection and not tempo-rary loan shows that most effectively support the academic life of our faculty andstudents. Realizing this, we have refocused our exhibitions, programs, and most ofour behind-the-scene activities on both better understanding what we have anddetermining how best to share it in the context of classroom teaching.

Faculty and students genuinely benefit from a four-month display of art from anoutside collection, and these special exhibitions are regularly used in teaching, butthe rewards are not equal to what comes with years or decades of teaching withthe permanent collection. Every semester, our faculty members deepen their rela-tionship with the works in our care and share this experience with their classes.They engage students in small group work, and these intimate discussions add tothe complexity of how they teach with our objects. Quite often faculty memberswill note that it matters less to them where a work of art is located physically—that is whether it is on view with the permanent collection or in the teachinggallery—as long as they haveaccess to the many amazing andstimulating works of art in the collection.

To this end, our registrars andpreparators have been busy creat-ing new mounts, storage boxes,and archival presentation solutionsfor thousands of objects. The timethey once spent negotiating themyriad details of borrowing worksof art for special exhibitions theynow spend facilitating the use of

Exhibitions mounted from the permanent collection, such as Encounters: Faces of theAncient Americas, reveal the Museum’s deepholdings.

over 3,000 paintings, prints, drawings, and objects in the context of our teachingspaces—each year! This team also creates digital images of the collection makingit much easier for faculty and students to discover the Museum’s holdings. Thisphotography takes a great deal of time and care, but digital images of nearly6,000 different objects were available online by the end of the year.

During the past 12 months, the Museum’s curators researched hundreds of indi-vidual objects and began the process of assessing the state of the collection. Theassessment sought to prioritize conservation needs and acquisition goals—both ofwhich were decisions that were largely informed by the Museum’s educationalobjectives. In support of the Teaching with Art program, their ongoing researchaids faculty from diverse fields in becoming more comfortable and confident inteaching with art. Curators also put together several exhibitions geared towardteaching and centered on areas of strength in the collection, from ancientAmerican ceramics to contemporary sculpture.

Further, a quick look at our public programs reveals a similar focus. Starting withthe brilliant presentation by sculptor Kenneth Snelson and including a lecture byMHC President Lynn Pasquerella on the newly acquired Kara Walker prints, theschedule was dedicated to talks and presentations that furthered knowledge of therich collections held by the Mount Holyoke College Art Museum.

This was a year characterized by major contributions, both financial and to thecollection. The Andrew W. Mellon Foundation pledged funds to help create a per-manent position to oversee academic outreach, and Susan and Matt Weatherbiestepped up to match that pledge allowing us to create the position of WeatherbieCurator of Academic Programs. The Pierre and Tana Matisse Foundation commit-ted to three years of support for our “The Museum as Catalyst for the CreativeCampus” initiative. The IMLS awarded the Museum a second two-year grant todigitize the permanent collection. Finally, the Arthur M. Sackler Foundationdonated a large selection of pre-modern Asian art, greatly expanding our holdingsin that area. We are humbled and honored by the generosity of these individuals,institutions, and foundations.

With great satisfaction on a productive year, the staff and I proudly offer you theAnnual Report for Fiscal Year 2013.

—John R. Stomberg, Florence Finch Abbott Director

Teaching is at theheart of everything

we do at the Museum,and this year in particular, our exhibitionsand events provided the perfect arena for edu-cation. We organized the following ten exhi-bitions nearly entirely from our permanentcollection and found countless opportunitiesto engage faculty and students.

EXHIBITIONS · FALL 2012

African American Artists and the ExperimentalPrintmaking Institute: The Janet Hickey Tague’66 Collection10 August–23 December 2012This exhibition displayed prints produced atthe acclaimed Experimental PrintmakingInstitute (EPI) at Lafayette College by eightinternationally renowned artists: EmmaAmos, David C. Driskell, Melvin Edwards,Sam Gilliam, Robin Holder, Joseph Holston,Curlee Raven Holton, and Faith Ringgold.These important works were generouslydonated to the Museum in 2007–2008 byJanet Hickey Tague (’66), a former MountHolyoke College Trustee and long-time EPIsupporter.Curated by John Stomberg, Florence FinchAbbott Director · John and Norah WarbekeSub-Gallery

Encounters: Faces of the Ancient Americas10 August 2012–ongoingHighlighting nearly 30 works of art drawnfrom the Museum’s sizable ancient Meso-american and South American holdings, thisexhibition represents the sophistication and

technological achievements of cultures thatflourished from the fifth century BCE untilEuropean contact.Curated by Rachel Beaupré, AssistantCurator · Gump Family Gallery

Against the Wall: Contemporary Art from theCollection10 August 2012–26 May 2013Featuring works of art from the permanentcollection alongside key loans, Against theWall explored some of the myriad waysartists have addressed the wall in furtheringtheir ideas in three dimensions. Highlightsincluded works by Christopher Wilmarth,Abe Ajay, Joseph Cornell, Kiki Smith, andStuart Diamond.Curated by John Stomberg, Florence FinchAbbott Director · T. Marc Futter Gallery

Kara Walker: Harper’s Pictorial History of theCivil War (Annotated)31 August 2012–26 May 2013Juxtaposing Harper’s version of the CivilWar with the artist’s signature silhouettes,Kara Walker’s print suite displays a bitingsocial commentary on the history, and possi-ble continuation, of slavery. The year-longexhibition (extended due to popular demand)celebrated the Museum’s acquisition of thecomplete 15-image suite of prints. Curated by John Stomberg, Florence FinchAbbott Director · Harriet L. and Paul M.Weissman Gallery. The exhibition will travelto the Montserrat College of Art Galleriesand the Fleming Museum at the University ofVermont.

O N V I E W & E V E N T S

5

EXHIBITIONS · SPRING 2013

Brave New Perspectives: This World throughthe Lens of New Media22 January–21 April 2013A collaboration with the Streaming Museum,this student-curated exhibition superimposedfour new media works by internationalartists with questions designed to encouragevisitors to critically engage with the art form.Curated by Maureen Millmore ’13, AndrewW. Mellon Curatorial Intern · HinchcliffReception Hall

Vedute di Roma22 January–26 May 2013This exhibition explored the multiplicity ofviews of Rome that appear in prints pro-duced from the 16th to the 18th century.Etchings from the permanent collection byGiovanni Battista Piranesi and a magnificent1748 map by Giambattista Nolli capturedthe shifting balance between ancient andmodern that defined the Eternal City. Curated by Emily Wood ’09, Art MuseumAdvisory Board Fellow · John and NorahWarbeke Sub-Gallery

Collection Spotlight: Albert Bierstadt and theLegacy of Concern 22 January–26 May 2013Featuring two Bierstadt loans and a newlyacquired Thomas Moran etching alongsidethe Museum’s celebrated Hetch HetchyCanyon, this collection spotlight investigatedBierstadt’s concern with the plight of the nat-ural world and his approach to the West as atheme in American art.Curated by John Stomberg, Florence FinchAbbott Director · John and Norah WarbekeGallery

6

Against the Wall: Contemporary Art from the Collectionstretched the definition of relief sculpture to include suchobjects as Joseph Cornell’s Sand Fountain assemblage.

Hello Is Not A Question: An Andy WarholProduction22 January–26 May 2013This Art Building collaboration was in honorof Andy Warhol’s 50th anniversary as a filmmaker. The installation presented student art-work alongside reproductions of the AndyWarhol photographs in the permanent collec-tion that inspired their investigations.Organized by Ken Eisenstein, Visiting Profes-sor of Film Studies, and Natalie Kulikowski,Art Museum Research Assistant · HinchcliffReception Hall

Senior Studio Art Majors Exhibition17 April–18 May 2013Featuring sculpture, drawings, paintings, andmixed media works of art by Class of 2013studio art thesis students: Keenan Hale,Shelley Picot, Elizabeth Tallmadge, andZiwei Zhang.Hinchcliff Reception Hall

Re:Vision: Landscapes from the PermanentCollection2–26 May 2013A semester-long class project that culminatedin a brochure of student writing on high-lights from the Museum’s works on papercollection, this exhibition included watercol-ors by Paul Cezanne, Charles Prendergast,and J. M. W. Turner, as well as prints byPaul Gaugin and Hiroshige, among others. Curated by students in Visiting ProfessorNancy Noble’s Art History 350: MuseumStudies Seminar · Carson Teaching Gallery

7

TOP: Extended by popular demand, the exhibition KaraWalker: Harper’s Pictorial History of the Civil War(Annotated) captivated Museum audiences.

The Museum’s recently conserved 18th-century map ofRome enticed visitors to explore Vedute di Roma.

Art à la Carte Lunchtime Gallery Talk Series

“Kara Walker: Harper’s Pictorial History ofthe Civil War (Annotated)”Emily Wood, Art Museum Advisory BoardFellow 4 October

“African American Artists and theExperimental Printmaking Institute: TheJanet Hickey Tague ’66 Collection”Ellen Alvord, Andrew W. MellonCoordinator of Academic Affairs 25 October

“The Making of a Museum”Wendy Watson, CuratorGallery talk in conjunction with the 175thanniversary of Mount Holyoke College9 November

“Encounters: Faces of the Ancient Americas”Rachel Beaupré, Assistant Curator29 November

PUBLIC EVENTS · FALL 2012

Lectures

“Against the Wall: Contemporary Art from theCollection”John Stomberg, Florence Finch AbbottDirector6 September

“Kara Walker: Harper’s Pictorial History ofthe Civil War (Annotated)”Exhibition opening and panel discussion with: · Elizabeth Young, Carl M. and Elsie A. SmallProfessor of English, Mount Holyoke College· Patricia A. Banks, Associate Professor ofSociology, Mount Holyoke College· John Stomberg, Florence Finch AbbottDirector, Mount Holyoke College ArtMuseum13 September

“Forces Made Visible”Kenneth Snelson, sculptorThe Louise R. Weiser Lecture in Creativity,Innovation, and Leadership through Art20 September

8

An Art à la Carte gallery talk brought to light the JanetHickey Tague ’66 Print Collection by African Americanartists.

PUBLIC EVENTS · SPRING 2013

Lectures

“‘The most glorious place in the universalworld:’ Rome in the Age of the Grand Tour”Vedute di Roma exhibition opening and lec-ture with John Pinto, Howard Crosby ButlerMemorial Professor of Art and Archaeology,Princeton University7 February

“Everything Else Has Failed! Don’t YouThink It’s Time for Love? And Other Works:An Artist’s Talk by Sharon Hayes”Sharon Hayes, Artist and Assistant Professor,School of Art, Cooper UnionCo-sponsored by Mount Holyoke CollegeFilm Studies with support from the MountHolyoke College Art Museum, Art StudioDepartment, and Amherst College Film &Media Studies21 February

“Aesthetic Disruption and Ontological Doubtin Kara Walker’s Harper’s Pictorial History of the Civil War (Annotated)”

Lynn Pasquerella, Mount Holyoke CollegePresident and Professor of Philosophy4 April

Art à la Carte Lunchtime Gallery Talk Series

“Vedute di Roma”Emily Wood, Art Museum Advisory BoardFellow and Exhibition Curator21 February

“Albert Bierstadt and the Legacy of Concern”Timothy Farnham, Director, Miller WorleyCenter for the Environment and John Stomberg, Florence Finch AbbottDirector7 March

“Hello is Not a Question: An Andy WarholProduction”Ken Eisenstein, Visiting Professor, Film Studiesand Natalie Kulikowski, Art MuseumResearch Assistant11 April

“Whales and Sails: Maritime Treasures fromthe Joseph Allen Skinner Museum”Aaron F. Miller, Assistant Curator, JosephAllen Skinner Museum9 May

Family Events

“Origami for All Ages”A celebration of International Museum Dayinspired by the Vedute di Roma exhibitionHosted by Professor Charlene Morrow,Origamist18 May

9

Student dancers interpreted the concept of tensegrity throughmotion prior to sculptor Kenneth Snelson’s creativity lecture.

HIGHLIGHTS OF ACADEMIC USEOF THE MUSEUM

Digital ArtVisiting Artist Tatiana Ginsberg not onlydevelops her students’ technical skills, butalso prompts them to consider the theoreticalconcepts and possible real-life applications oftheir work during her “Digital Art” course.One assignment that brought Ginsberg’s classto the Museum examined the differencebetween a faithful reproduction and a cre-ative interpretation of a work of art.Students were first charged with the task ofcreating an accurate color print of a work ofart on display in the galleries, challengingtheir observational and mechanical skills.This assignment was then followed by a cre-ative task in which students incorporatedtheir digital product in their own originalwork of art. Through this activity, Ginsbergstretched her students to question whatdefines an “original” and what it means toappropriate another’s work of art.

Classical Indian DanceAs a pathway into the study of movementand pattern in classical Indian dance, VisitingArtist Ranjanaa Devi acquainted her studentswith the broader historical, religious, andcultural basis of the art form. Last fall, Devibrought her “Classical Indian Dance” classto the Art Museum for an examination ofhand gestures and postures in artwork rang-ing from a 9th-century sandstone sculpture

Three years into asubstantial grant

from the Andrew W.Mellon Foundation, the

Museum has become a crucial spoke inMount Holyoke’s academic wheel. Over2,300 students visited the Museum as part oftheir coursework last year, facilitated by 71faculty from across the Valley. Rather thanutilizing art as the backdrop to their teach-ing, these professors embraced the challengeto bring these original objects right into theircurriculum. Long discussions with Museumstaff, object viewings in back storage, andinnovative thinking resulted in an amazingarray of courses and assignments.

We began a new initiative to work with fac-ulty to incorporate creativity skill-buildingexercises in their Museum teaching thisspring thanks to a generous grant by thePierre and Tana Matisse Foundation. Thefirst semester of this three-year program“The Museum as Catalyst for the CreativeCampus” has already had inspiring results—faculty have been willing to embody the veryskills we wish to cultivate in our students.The course examples that follow demonstratesix professor’s original uses of the ArtMuseum and the diversity of disciplines thathave found meaningful ways to connect withits collection.

10

T E A C H I N G W I T H A R T

of the god Ganesha to a Mughal-period illus-tration of the Hindu tale, The Ramayana.

Creative Writing Figural works of art from the Museum’s col-lection became the gateway into developingfictional characters for English ProfessorLeah Glasser’s fall “Creative Writing” class.Students worked in small groups to closelystudy a preselected work of art—including aMilton Avery painting and a Cindy Shermanfilm still—and created a visual inventory oftheir observations. Glasser then segued thisobjective close-looking activity into an inter-pretive exercise, asking her students to listsubjective descriptions of the work of art.Drawing from this intensive visual study andcreative exercise, students then composed theinitial structure of a written character sketchfor a longer assignment.

Drawing for Theatrical Set and CostumeDesignStudents in Costume Designer Jessica Ford’s“Drawing for Theatrical Set and CostumeDesign” course viewed the Museum’s paint-

ing collection with an unusual lens thisspring. Rather than analyze the compositionsor narratives exhibited in each work of art,they examined such elements as texture,color, and drapery to understand variousstyles of apparel. Focused on close-looking,the class was about understanding how fab-rics are physically represented in two-dimen-sions so that students could better draw theirown costume designs. Examples included apainting of an 18th-century French Comtesseclothed in the deshabille style and wrappedwith a lavish dressing gown and a portrait ofa 19th-century French gentleman whoseswathed appearance was produced by thelayering effect of his cravat, waistcoat, andfrock. Armed with sketch pads and pencils,her students became attuned to the specificgarment details and how they workedtogether to create an ensemble.

Propaganda and WarMuseum staff brought together the ArtMuseum and Skinner Museum collections tocreate a staggering installation for Professorof Politics Kavita Khory’s spring“Propaganda and War” class. Khory aimedto introduce her students to the vast histori-cal use of propaganda across cultures to bothmobilize people for war and to disseminatepolitical information. Students examinednine thematic clusters of objects as entrypoints into their discussion topics. Initiallyapproaching their groups with only a writtenprompt to help them consider their reactionto the media, students were then providedwith a textual resource that broadened their

11

Students described Milton Avery’s Discussion as part of acreative writing character development assignment.

understanding. Teams compared materialssuch as a heroic representation of the deathof British nurse Edith Cavell in a GeorgeBellows lithograph to a newspaper articledescribing her execution. Considering modesof mass media, the manipulated image, andthe memorialization of atrocity, Khory’s students amazed Museum staff with theirpoignant observations.

Shakespeare and FilmAt their most basic level, all visual mediapossess the same formal characteristics:depth, space, lighting, and perspective. Lastspring, Assistant Professor of English AmyRodgers approached the Museum with a newidea for how she might introduce these con-cepts to her “Shakespeare and Film” stu-dents. Rather than offer a crash course onfilm analysis, Rodgers wanted her students tobecome more perceptive to detail in the stillimage and develop a basic descriptive vocab-ulary. Working with Museum staff, Rodgersdesigned a “workshop” in the Carson

Gallery using a selection of works of art byartists as diverse as Albrecht Dürer and KaraWalker. Small groups of students then exam-ined pairs of artwork guided by prompts on a visual analysis handout. This activityproved to be the ideal warmup for a paperassignment asking students to analyze a filmvia its structural and visual components.Reflecting on her visit, Rodgers commentedthat her class experience “Reminded me ofeverything collaborative learning can be; fun,invigorating, highly creative, and deeply sat-isfying.”

ACADEMIC COLLABORATIONS

Surrounded by the physical manifestations of thousands of years of creativity, the ArtMuseum is naturally a place where peopleare encouraged to experiment. This year, fac-ulty from the arts and sciences were empow-ered to rethink what was possible in theclassroom and beyond and partnered withthe Art Museum in a rich variety of ways:

Re:Vision: Landscapes from the PermanentCollectionAlthough landscapes are often seen as staticviews of nature, students in VisitingProfessor Nancy Noble’s museum studiesseminar discovered that they are more oftenconstructions formed by the artist and inter-preted by the viewer. Re:Vision was a stu-dent-curated exhibition drawn from theMuseum’s permanent collection and installedin the Carson Teaching Gallery. Experiencingexhibition curation firsthand, students notonly selected the works of art, but also sum-marized their research findings in an exhibi-tion catalogue.

12

Amy Rodgers helped her film studies students develop for-mal analytical skills by first describing two-dimensional worksof art.

13

Homegrown Exhibitions

When the Museum installed the Weissman Gallery last summer with the newlyacquired 15-print suite by Kara Walker, we knew the exhibition would be atremendous success; the community’s response exceeded all expectations. The stirring images in Harper’s Pictorial History of the Civil War (Annotated) spoke to faculty and students alike, and during the fall semester, 13 courses visited theexhibition as partof their classroomlearning.Responding to pop-ular demand, theMuseum extendedthe exhibition intothe spring and wasrewarded with atotal of over 375student visitors incourses from 14different disciplinesover the span ofthe year.

The success of thecollection-based installation provides a valuable model for future exhibition plan-ning. While the print suite is now at home in collection storage, it has made a last-ing impression on faculty and will likely be a critical element of their future teach-ing. Highlights of classes that visited the exhibition include:

“Critical Race Theory,” Professors Lucas Wilson and President Lynn Pasquerella(Philosophy 253, x-listed Critical Social Thought 253 and African American andAfrican Studies 208)

“Race, Gender and Empire,” Professor Mary Renda (History 301, x-listed GenderStudies 333G)

“Black Women’s Creative Production,” Visiting Professor Bettina Judd (GenderStudies 204)

The Kara Walker exhibition stimulated a year of student reflection,inquiry, and dialogue.

Tensegrity: Collaboration Across DisciplinesThis year’s annual Louise R. Weiser Lecturein Creativity, Innovation, and Leadershipthrough Art featured nationally-acclaimedsculptor, Kenneth Snelson, in a lecture enti-tled “Forces Made Visible.” Snelson’s sculp-tures are a marvel of ingenuity, arrangingflexible and rigid elements according to thestructural principles of tensegrity, or “float-ing compression.” His fluid blend of art andphysics was the inspiration for an interdisci-plinary student workshop organized this fallby Museum staff and led by biology profes-sor Caleb Rounds. Eighteen students withmajors ranging from math and computer sci-ences to architecture and art history workedin partnerships—one art student to each sci-ence student—to create tensegrity modelsfrom rubber bands and wooden dowels.

African Art: Object StoriesIn just her first year of a three-year appoint-ment as Five College Mellon PostdoctoralFellow in African Art and Architecture,Amanda Gilvin has already delved deeplyinto the Museum’s collection. In addition tostudying the broad topics of her Survey ofAfrican Art course, Gilvin asked her studentsto examine the primary material housed rightin their own museum. Through researchappointments with Museum and library staff,Gilvin’s 15 students each investigated a singleobject, ultimately offering an oral presenta-tion of their research and a written catalogueentry for a Museum collection booklet.

Hello Is Not a Question: An Andy WarholProductionFaculty, students, and staff from art history,studio art, and film studies came together inan Art Building collaboration that celebratedAndy Warhol’s 50th anniversary as a film-maker this spring. Visiting Professor of FilmStudies Ken Eisenstein partnered with ArtMuseum Research Assistant NatalieKulikowski ’11 to organize a semester of student workshops, film screenings, and discussions. The program culminated in aninstallation of Warhol photographs partneredwith student artwork created in response toWarhol’s imagery.

Teaching Teachers: MHC’s Teacher Licensure ProgramThe Museum continued its relationship thisyear with the Department of Psychology andEducation, hosting faculty and students inApril for a session on object-based learning.The Museum’s education coordinator intro-duced future teachers to the many ways thatobjects can enhance a curriculum, from fos-tering observational skills to strengtheningcritical thinking. Mount Holyoke’s programoffers both undergraduate students and stu-dents pursuing a masters in education theopportunity to gain an initial teaching licenserecognized in Massachusetts and over 40other states.

14

A lobby installation was the capstone of a semester-long celebration of Andy Warhol’s work as a filmmaker.

CLASS VIS ITS FALL 2012

African American Studies 690P(UMASS): New Approaches: EarlyAfrican American Literature. BrittRusert.

Art History 255: American Art andArchitecture. Paul Staiti.

Art History 271: Arts of Islam: Book,Mosque, and Palace. Michael Davis.

Art History 290: Survey of African Art.Amanda Gilvin.

Art History 300: Approaches to ArtHistorical Study. Jessica Maier.

Art History 373 (AC): Materiality andMeaning. Jeffrey Saletnik.

Art History 197 (SC): First-YearSeminar on Collecting. BarbaraKellum.

Art History 100 (UMASS): Survey:Ancient-Medieval Art. Ruth Noyes.

Art History 320 (UMASS): Aspects ofthe Baroque. Ruth Noyes.

Art Studio 116: Art and Contempor-ary Issues. Rie Hachiyanagi.

Art Studio 120-Section 1: Drawing I.Matt Phillips.

Art Studio 120-Section 2: Drawing I.Tatiana Ginsberg.

Art Studio 226: Digital Art. TatianaGinsberg.

Art Studio 246: Sculpture I. Joe Smith.

Art Studio 256: Printmaking I. TatianaGinsberg.

Art Studio 329 (AC): Ideas InfluenceVision. David Gloman.

Biology 145L: Nature HarmoniouslyConfused. Stan Rachootin.

Biology 145L-04: Diversity of Life. SueBarry.

Biology 145L-07: Evolution, Cells, andOrganisms. Caleb Rounds.

Biology 146L: PostbaccalaureateIntroductory Biology. David Gardner.

Biology 160L: Integrated Introductionto Biology and Chemistry. RenaeBrodie.

Biology 321A: Art, Music, and theBrain. Sue Barry.

Book Studies 300 (SC): SeniorCapstone Seminar: Book Arts. MartinAntonetti.

Chemistry 197 (UMASS): First-YearSeminar: Chemistry Technologies ofIndigenous America. Michael Knapp.

Dance 143: Classical Indian Dance.Ranjanaa Devi.

English: 21st Century Scholars Sem-inar in Surrealist Poetry. Wesley Yu.

English 101-Section 1: The Non-Human. Elizabeth Young.

English 101-Section 2: The Non-Human. Elizabeth Young.

English 103: Multilingual Speakers.Mark Shea.

English 201-Section 1: Introduction toCreative Writing. Valerie Martin.

English 201-Section 2: Introduction toCreative Writing. Leah Glasser.

English 204: Verse Writing I. SaraLondon.

English 206: The History of the Essay.Karen Osborn.

English 240: American Literature I.Iyko Day.

English 243: American Gothic.Elizabeth Young.

English 267/Environmental Studies267: Reading and Writing in theWorld. Lauret Savoy/John Lemly.

English 274: Introduction to AsianAmerican Literature. Iyko Day.

15

Film Studies 250: History of WorldCinema. Ken Eisenstein.

Gender Studies 333G/History 301:Race, Gender, and Empire. MaryRenda.

History 101: First-Year Seminar: HowWars End. Holly Hanson.

History 151: Modern Europe. BobSchwartz.

History 276/Gender Studies 206: USWomen's History Since 1890. MaryRenda.

History 284: History, Ecology, andLandscape. Bob Schwartz.

History 301: Martyrdom asSociological Protest. Fred McGinness.

Italian 106: First-Year Seminar: Liars,Pranksters, and Jesters. OmbrettaFrau.

Latin American Studies 287/History287: Latin America: The Apocalypse.Joshua Rosenthal.

Latin 591A (UMASS): Seminar inMedieval Latin. Jason Moralee.

Philosophy 253/Critical Social Thought253/African American Studies 208:Critical Race Theory. LucasWilson/Lynn Pasquerella.

Philosophy 280: Philosophy forChildren. Tom Wartenberg.

Sociology 214: Racial and EthnicRelations. Patricia Banks.

Sociology 216: Introduction toQualitative Research Analysis. PatriciaBanks.

Spanish 240/Gender Studies 240:Women's Artistic Production inContemporary Latin America. TaraDaly.

Theatre Arts 251/Critical SocialThought 252: Histories ofPerformance I. Matt Cornish.

16

CLASS VIS ITS SPRING 2013

African American Studies 200:Introduction to Africana Studies.Preston Smith.

African American Studies 690E(UMASS): Blackness and Utopia. BrittRusert.

Anthropology 275: Research Methodsin Cultural Anthropology. Elif Babul.

Art History 216: Empire: Art andArchaeology of the Roman Provinces.Bettina Bergmann.

Art History 222: Age of Cathedrals.Michael Davis.

Art History 260 (SC): Textiles andFashion in Contemporary Africa andthe Diaspora. Amanda Gilvin.

Art History 310: Unearthed Cities ofVesuvius. Bettina Bergmann.

Art History 350: Seminar: MuseumStudies. Nancy Noble.

Art History (Bard College at Simon'sRock): Global Art: Middle East andAsia. Joan DelPlato.

Art Studio 120: Drawing I: FigureStudies. Matt Phillips.

Art Studio 256: Printmaking I. TatianaGinsberg.

Art Studio 269: JapanesePapermaking. Rie Hachiyanagi.

Art Studio (Hallmark Institute):Photography. Michael Zide.

Biology 145L: Introductory Biology:Animal Bodies, Animal Functions.Sarah Bacon.

Biology 145L: Introductory Biology:Evolution, Cells, and Organisms: TheRoots of Biological Diversity. CalebRounds.

Chemistry 325L: Atomic andMolecular Structure Lab. HimaliJayathilake.

Dance 171 (SC): Studies in DanceHistory. Lester Tome.

Education 300: Developing Literacyin Early Childhood and ElementarySchools. Sarah Frenette.

English 104: Academic Discourse forMultilingual Speakers. Mark Shea.

English 200-Section 1: Introductionto the Study of Literature. Iyko Day.

English 200-Section 2: Introductionto the Study of Literature. Iyko Day.

English 239: When Families Attack.Elizabeth Meadows.

English 312/Film Studies 380:Shakespeare and Film. Amy Rodgers.

Environmental Studies 321A: FoodJustice: Literature, Art, and Activism.Chiyo Crawford.

Gender Studies 204: Black Women'sCreative Production. Bettina Judd.

German Studies 223: Art and Scienceof Revolution in German Cultures.Karen Remmler.

German Studies 224: Tutorial inGerman Culture. Karen Remmler.

Humanities, Arts, and CulturalStudies 0282 (HC): Women, Art, andthe Avant-Garde. Karen Koehler.

History 101/Latin American Studies105: First-Year Seminar: History ofLatin America in 50 Objects. JoshuaRosenthal.

History 101: First-Year Seminar:Information Networks in EarlyAmerica. Christine DeLucia.

History 171: American Peoples Sincethe Civil War. Mary Renda.

History 237: War and Violence inEarly North America. ChristineDeLucia.

History 301: History of Money andFinance. Desmond Fitz-Gibbon.

History 387/Latin American Studies387: Commodities in Latin America.Joshua Rosenthal.

History 662 (UMASS): Museum andHistoric Site Interpretation. DavidGlassberg.

International Relations 262:Transnational Social Movements inWorld Politics. Nicole Doerr.

Italian 103: Intensive ElementaryItalian. Morena Svaldi.

Italian 326: Conflict and War in 20th-Century Italy. Erica Moretti.

Philosophy 373/Art Studio 280:Philosophy of Art: Illustration. TomWartenberg/Barry Moser.

Politics 229: Propaganda and War.Kavita Khory.

Sociology 216: Qualitative Researchand Data Analysis. Patricia Banks.

Theatre Arts 350: Drawing forTheatrical Set and Costume Design.Jessica Ford.

2012–2013 Totals:

95 Unique Courses

142 Total Class Visits

71 Faculty

26 Academic Disciplines

2,321 Student Visits

17

COMMUNITY INVOLVEMENT

The Mount Holyoke College Art Museumoffers educational opportunities for people of all ages, from public lectures and eventsdesigned for adult audiences to student pro-grams and family activities. This year, wepartnered with Mount Holyoke College faculty to host two unique initiatives thatbrought together the college and local ele-mentary schools: “Classics Day” and“Philosophy for Children.”

Classics Day: Organized by Bruce Arnold, anAssociate Professor of Classics at MountHolyoke, “Classics Day” is part of a pro-gram that brings over 300 middle- and high-school students to Mount Holyoke’s campuseach winter. The students participate in arange of activities, including workshops atthe Art Museum about the art and culture of

the ancient mediterranean world. This year,community, student, and staff volunteers ledround-robin discussions on mythology,ancient life, and the images on coins.

Philosophy for Children: College students inProfessor of Philosophy Thomas Warten-berg’s “Philosophy for Children” course par-ticipated in a series of Museum activities forapproximately 60 students from the MartinLuther King School’s second grade. Smallgroups of students with Mount Holyokeguides were invited to examine artwork as avehicle for learning basic concepts of philos-ophy—an activity which is based on Warten-berg’s approach to teaching children throughlooking at storybook art.

Students contemplated artists’ choice of materials, composi-tion, and message in Professor Karen Remmler’s course “Artand Science of Revolution.”

18

K-12 EducationIn addition to these remarkable partnershipswith Mount Holyoke faculty and students,the Museum also offers interactive educa-tional tours for K-12 classes. Each tour iscustomized to suit class and teacher needsand is designed to support curricular goals.Docent-led tours include Life in the AncientWorld: Egypt, Greece, and Rome, a programdesigned to introduce students to the art, culture, and archaeology of the ancientmediterranean world, and Say What You See:Verbalizing the Visual, a museum experiencefor younger learners that aims to enhancecritical thinking, language, and observationalskills. This year, we also welcomed self-guided tours of the permanent collection galleries and exhibitions and accommodatedrequests for topic-specific gallery talks whenapplicable.

Area School VisitsAcademy Hill SchoolHeritage Academy Jewish Community Day

SchoolLeverett Elementary School MacDuffie SchoolMartin Luther King, Jr. Charter SchoolMohawk Trail Regional High SchoolMosier Elementary School Pelham SchoolPioneer Valley Montessori SchoolStoneleigh Burnham SchoolSunderland ElementaryWilliam E. Norris Elementary School

Community Docent VolunteersThe Museum’s volunteer docents are a dedi-cated group of community members whoenrich the Museum with their passion andknowledge for art and learning. Meeting

weekly in the Museum’s teaching classroom,the docents led many of the K-12 education-al programs as well as tours for adult audi-ences, such as local Learning in Retirementgroups.

Norm AubreyValerie ByrnesJerry GoldmanDaphne HallHal HarrisJane HazenPriscilla KisielRuth KosiorekSheila McElwaineMary Alice OsgoodRose SartiMarianne SheehyMaureen SparrowBonnie StretchLouise Williamson

STUDENT PROGRAMS

Education Outreach ProgramStudents teaching students is an extraordi-nary learning structure that can provide amagical experience for everyone involved.The foundation of the Art Museum’sEducation Outreach program, this mentor-ship model brings Mount Holyoke studentsinto local elementary classrooms to leadinteractive lessons on archaeology and arti-facts. The successful program is overseen byan Education Outreach Fellow and is entirelypeer-led, with veteran Mount Holyoke stu-dents recruiting and training new outreachvolunteers. Each classroom session aims toprepare young students for their followuptours at the Art Museum.

19

Society of Art GoddessesThis independent student organization worksalongside a Museum staff member liaison toorganize student-focused events throughoutthe academic year. This year, the Society ofArt Goddesses offered a blend of activities,from academic enrichment events to a festiveend-of-the-semester study break. Their livelyWinter Fair attracted a large audience to theArt Museum galleries for music, crafts, learn-ing, and leisure activities. The year endedwith an interdisciplinary lecture series,Transcending Boundaries, in which guest fac-ulty spoke on a variety of topics related tothe Art Museum collection. The roster ofspeakers included:

“The Art of Indian and Islamic Astrolabesand Sighting Instruments”Indira V. Peterson, Professor of Asian Studiesand Mark A. Peterson, Professor of Physicsand Mathematics 25 March 2013

“Using Light to Investigate Paintings”Maria A. Gomez, Associate Professor ofChemistry3 April 2013

“Art and Science in Giambattista Nolli’sGreat Plan of Rome (1748)”Jessica Maier, Assistant Professor of ArtHistory15 April 2013

Internships and VolunteersIn addition to sponsoring student organiza-tions, the Art Museum is also home to ateam of student volunteers, receptionists,guards, and interns (see Staff List). Theirundertakings range from assisting the collec-

tions management department in buildinghousings for artwork storage to conductingcuratorial research to aid in class visits andexhibitions. This year, the Museum’s twoMellon Curatorial Interns, Yingxi (Lucy)Gong ’13 and Maureen Millmore ’13 under-took a remarkable project studying therecent gifts of art from the Arthur M. SacklerFoundation. The talented pair oversaw theproduction of a collection catalogue fromstart to finish and ultimately created animpressive document that describes the cul-tural and art historical significance of the 17works of art.

The research of two Mellon curatorial interns resulted in ahandbook of the Arthur M. Sackler Collection gifts.

20

ACQUISITIONS

This was truly a banneryear for acquisitions. The permanent collec-tion grew by 150 objects including the pur-chase of two major works, Bartolomeo diGiovanni’s 1498 altarpiece depicting theVirgin and child with saints, and a paintingby prominent Surrealist Dorothea Tanning,Still in the Studio (1979). Both fill significantgaps in the collection and form strategicbridges in the Museum’s holdings of Renais-sance and Modern art. Additionally, themomentous donation of 17 works of art bythe Arthur M. Sackler Foundation includedvery important Asian and Islamic ceramicsand sculpture; these objects had been onlong-term loan since 2004 and have becomea crucial element in teaching with the faculty.

The initiative to attract major donations forthe Museum’s 135th anniversary has been sosuccessful that it has been extended, and weare aiming to complete the project in time forthe 140th anniversary. To date 146 gifts havebeen garnered, all of them taking their placein a collection that is rising not only in num-bers but in quality. This is the crucial aim ofthe Collecting Plan that we have begun workon as well. A staff committee is meeting regu-larly to analyze the current profile of the col-lection, to consider potential deaccessionsand refinements, and to chart future direc-tions in collecting.

The distinctly heightened interest across cam-pus in teaching with original works of arthas led faculty members to suggest expand-ing the Museum’s collection in several areas,for example, Near Eastern, Byzantine,Islamic, and Greek and Roman coins.Significant additions to the Museum’s printand photography collections have also raisedthe level of both collections this year. Giftsand purchases of early modern prints byJacques Callot, Francisco Goya, JacobHoefnagel, and G.B. Piranesi have been bal-anced by the contemporary works of JaneHammond, Petah Coyne, Mary LeeBendolph, and African-American artistsCarrie Mae Weems, David Driskell, and JohnWilson. The development of the Museum’sholdings in the area of African-Americanart—building on the Janet Hickey Tague(Class of 1966) Collection and the KaraWalker suite of prints that were exhibitedthis year—is a direction that we will likelycontinue in the future.

The list that follows presents a more com-plete picture of the works of art that haveentered the collection during this academicyear. Nearly all of them have already beenpressed into service at the hands of facultyand students across the curriculum who havebeen teaching and learning through directaccess to these cultural riches.

T H E C O L L E C T I O N

21

Minted under Abd al-Malik (NearEastern; Arab-Byzantine; Umayyad)Imperial bust type fals, 692-694 CE Copper (AE)Gift of the Honorable Robert H.Pelletreau, Jr.2012.28.1

Near Eastern; Arab-Byzantine;Umayyad imitationStanding emperor type fals, 8th century CECopper (AE)Gift of the Honorable Robert H.Pelletreau, Jr.2012.28.2

Minted under Abd al-Malik (NearEastern; Umayyad)Standing caliph type fals, 694–697 CE Copper (AE)Gift of the Honorable Robert H.Pelletreau, Jr.2012.28.3

Near Eastern; UmayyadAnonymous fals, 705–715 CE Bronze (AE)Gift of the Honorable Robert H.Pelletreau, Jr.2012.28.4

Patricia Tobacco Forrester(American, 1940–2011) Green Nasturtiums, 1965Color etching Gift of Tara and Jeff Santosousso2012.29.1

Patricia Tobacco Forrester(American, 1940–2011) Streaming Cypresses, n.d. EtchingGift of Tara and Jeff Santosousso2012.29.2

Minted under Abd al-Malik (NearEastern; Arab-Byzantine; Umayyad) Standing caliph type fals,ca. 692–700 CE Copper (AE)Purchase with the Marian Hayes(Class of 1925) Art Purchase Fund2012.30

Jacques Callot (French, 1592–1635) Les Martyrs du Japon [The Martyrsof Japan], ca. 1627 EtchingPurchase with the John MartynWarbeke Art Fund2012.31.1

Cornelis Dusart (Dutch, 1660–1704) The violin player seated in the inn,1685 EtchingPurchase with the John MartynWarbeke Art Fund2012.31.2

Felix Bracquemond (French, 1833–1914) La terrasse de la Villa Brancas, 1876 Etching and drypointPurchase with the John MartynWarbeke Art Fund2012.31.3

Giovanni Battista de’ Cavalieri(Italian, ca. 1525–1601); afterMaster of the Monogram '9'(Italian, 16th century); afterGiovanni Battista Franco (Italian, ca. 1510–1561); Antoine Lafréry(publisher)The Adoration of the Magi,ca. 1552–1561 EngravingPurchase with the John MartynWarbeke Art Fund2012.31.4

Bartolomeo di Giovanni Madonna and Child 2013.18

22

Michael Wolgemut, possibly(German, 1434/37–1519) Moses Creating Aaron a High Priestand his Sons Priests, 1491 Woodcut with hand coloringPurchase with funds from PatriciaFalkenberg (Class of 1964) in lovingmemory of Roger Aaron, husbandof Virginia Altman Aaron (Class of1966)2012.31.5

Cornelis Massys (Netherlandish, ca. 1510–ca. 1557) Abraham and Melchisedech, fromthe series History of Abraham, 1545 EngravingPurchase with the John MartynWarbeke Art Fund2012.31.6

Cornelis Visscher (Dutch ca. 1629–1658) Pope Alexander VII, ca. 1650 EngravingPurchase with funds from Gaynor R.Strickler (Class of 1973)2012.31.7

Pietro Testa (Italian 1611/12–1650) Teti Immergi Achille Nell’AcquaDello Stige [Thetis immersing theinfant Achilles in the waters of theStyx], 1648–1650Etching Purchase with the John MartynWarbeke Art Fund2012.31.8

Near Eastern; CrusaderBezant in imitation of a Fatimiddinar of al-Amir, 12th–13th century Gold (AV)Purchase with the Marian Hayes(Class of 1925) Art Purchase Fund2012.32

Minted under Kaykhusraw II (NearEastern; Seljuq of Rum)Dirham of Sun and Lion, 1241–1242 Silver (AR)Purchase with the Marian Hayes(Class of 1925) Art Purchase Fund2012.33

Giovanni Battista Piranesi (Italian,1720–1778) Catalogo delle opere date finoraalla luce da Gio. Battista Piranesi[Catalogue of work brought to lightso far by Giovanni BattistaPiranesi], ca. 1761 Etching and engravingPurchase with the John MartynWarbeke Art Fund2012.34.1

Honoré Daumier (French, 1808–1879) Lés Bas-Bleus: Dis donc, Bichette,1844Lithograph Purchase with the John MartynWarbeke Art Fund2012.34.2

Philippe Culmacher (German, fl. late15th century) Christ the Judge, title page fromPhilippe Culmacher’s Regimen widerdie Pestilenz, ca. 1495 WoodcutPurchase with the John MartynWarbeke Art Fund2012.34.3

Francisco de Goya (Spanish, 1745–1828) Que se rompe la cuerda [May thecord break], plate 77 from the seriesLos Desastres de la Guerra [TheDisasters of War], printed 1863Etching and aquatintPurchase with the John MartynWarbeke Art Fund2012.34.4

Francisco de Goya (Spanish, 1745–1828) Ya no hay tiempo [There is notime], plate 19 from the series LosDesastres de la Guerra [Disasters ofWar], printed 1863Etching and aquatintPurchase with the John MartynWarbeke Art Fund2012.34.5

Jacob Hoefnagel (Flemish, 1575–ca.1630); after Joris Hoefnagel(Flemish, 1542–1601) Plate from the Archetype StudiaquePatris Georgii Hoefnagelli, 1592 EngravingPurchase with the John MartynWarbeke Art Fund2012.34.6

Minted under Hani (Near Eastern;Abbasid; Tabaristan)Hemidrachm of Hani, 788 CESilver (AR) Purchase with the Marian Hayes(Class of 1925) Art Purchase Fund2012.35

Thomas Moran (American, 1837–1926) Mountain of the Holy Cross, 1888 EtchingPurchase with the Art AcquisitionEndowment Fund2012.36

Muirhead Bone (Scottish, 1876–1953) The Trevi Fountain, Rome, 1913and 1928 DrypointPurchase with the Abbie BosworthWilliams (Class of 1927) Fund2012.37

Thomas MoranMountain of the Holy Cross2012.36

23

American Indian; Native American;PomoBasketNatural fibers, ca. 1845 Gift of Melvyn E. Pratt, Jr., andSaisie Pratt (Class of 1941)2012.38.1

American Indian; PomoBasket, ca. 1845 Natural fibersGift of Melvyn E. Pratt, Jr., andSaisie Pratt (Class of 1941)2012.38.2

American Indian; PomoHat, ca. 1845 Natural fibersGift of Melvyn E. Pratt, Jr., andSaisie Pratt (Class of 1941)2012.38.3

Minted under Ardashir I (NearEastern; Sasanian) Drachm of Ardashir I, 223–239 CESilver (AR) Purchase with the Marian Hayes(Class of 1925) Art Purchase Fund2012.39.1

Minted under Shapur I (NearEastern; Sasanian) Drachm of Shapur I, 240–244 CE Silver (AR)Purchase with the Marian Hayes(Class of 1925) Art Purchase Fund2012.39.2

ThaiStanding Buddha, 15th–16th centuryCast bronze, gold, shell, and resinGift of the Arthur M. SacklerFoundation2012.40.1

Chinese (Song Dynasty or YuanDynasty)Guanyin (Avalokiteshvara), 960–1368Wood, gesso, paint, and gildingGift of the Arthur M. SacklerFoundation2012.40.2

Chinese (Majiayao Culture, from Gansu Province)Funerary storage jar, ca. 2800–2300BCE Earthenware; red and black pigmentGift of the Arthur M. SacklerFoundation2012.40.3

Chinese (Han Dynasty)Wine jar (Hu), 206 BCE–220 CEEarthenware; white slip and red pigmentGift of the Arthur M. SacklerFoundation2012.40.4

Chinese (Tang Dynasty) Jar with four loop handles, 7th–8thcenturyStoneware; transparent greenishglaze with clear slip (white ware)Gift of the Arthur M. SacklerFoundation2012.40.5

Chinese (Tang Dynasty)Tomb figurine (yong), in form of acourt official, 8th centuryEarthenware; sancai (three-colorglaze)Gift of the Arthur M. SacklerFoundation2012.40.6

Chinese (Tang Dynasty) Tomb figurine (yong), in form of acamel, 8th century Earthenware; sancai (three-colorglaze)Gift of the Arthur M. SacklerFoundation2012.40.7

Chinese (Song Dynasty) Spherical vase, 960–1279Stoneware; gray-green glaze andblue and plum pigment (Jun ware) Gift of the Arthur M. SacklerFoundation2012.40.8

Chinese (Eastern Han Dynasty)Hill censer with lid, 25–220 CEEarthenware; green glazeGift of the Arthur M. SacklerFoundation2012.40.9

Chinese (Song Dynasty or JinDynasty)Bowl with vegetal motif, 960–1234Stoneware; white slip and black-brown paint under transparentglaze (Cizhou ware)Gift of the Arthur M. SacklerFoundation2012.40.10

Near Eastern; Iranian, possibly fromTepe SialkSpouted jar, 8th century BCE Earthenware; red pigmentGift of the Arthur M. SacklerFoundation2012.40.11

Near Eastern; IranianRhyton (drinking horn), late 1st millennium BCE EarthenwareGift of the Arthur M. SacklerFoundation2012.40.12

Near Eastern; Iranian (Safavid period)Dish with Chinese cranes, early17th centuryEarthenware; white slip with blueand olive green pigment undertransparent glazeGift of the Arthur M. SacklerFoundation2012.40.13

Chinese (Majiayao Culture, fromGansu Province), Funerary storage jar2012.40.3

24

Near Eastern; Iranian (Samanid period)Bowl with inscription, 9th–10th centuryEarthenware; painted in black withslashes of green on opaque white(tin) glaze (splash ware)Gift of the Arthur M. SacklerFoundation2012.40.14

Near Eastern; Iranian (Seljuk period) Tankard with ten royal figures, late12th–early 13th century Stonepaste; polychrome in-glazeand overglaze painted and gildedon opaque monochrome glaze(mina’i ware)Gift of the Arthur M. SacklerFoundation2012.40.15

Near Eastern; Iranian (Seljuk period)Bowl with arabesque design, early13th centuryStonepaste; painted in black undera transparent turquoise glazeGift of the Arthur M. SacklerFoundation2012.40.16

Chinese (Tang Dynasty) Tomb figurine (yong), in form of acamel, 8th centuryEarthenware; sancai (three-colorglaze)Gift of the Arthur M. SacklerFoundation2012.40.17

John Wilson (American, b. 1922) Richard Wright Suite (Down by theRiverside), 2001Suite of six etchings and aquatints Purchase with the Nancy EisnerZankel (Class of 1956) ArtAcquisition Fund2012.41.1–6

Willie Cole (American, b. 1955) Ogun Sisters, 2012 SerigraphGift of the ExperimentalPrintmaking Institute, LafayetteCollege2012.42

Minted under Heraclius (Byzantine)Follis of Heraclius and HeracliusConstantine, 616–617 CE Bronze (AE)Purchase with the Marian Hayes ArtMuseum Fund2012.43

Willie Cole (American, b. 1955) Home and Hearth, 2011 SerigraphPurchase with the Teri J. EdelsteinArt Acquisition Fund2012.44

Adrian Piper (American, b. 1948) Ur-Mutter #2, from the series Ur-Mutter, 1989Photo-montage with silk screenedtext Purchase with the Eleanor H. Bunce(Class of 1926) Art AcquisitionFund2012.45

Persian Pen box, 19th century Papier mache, paint, and laquerTransfer from Archives and SpecialCollections, Mount HolyokeCollege; estate of Helene BrousseauBlack (Class of 1931)2012.46

Chantal Joffe (English, b. 1969) Megan in a Green Coat, 2012 Oil on canvasGift of Jeffrey and Julie Lavin Loria(Class of 1986)2012.47

Minted under Michael VIIIPalaeologus (Byzantine)Hyperpyron Numisma of MichaelVIII Palaeologus, 1261–1282 Gold (AV)Purchase with the Marian Hayes(Class of 1952) Art Purchase Fund2012.48

David C. Driskell (American, b. 1931) Doorway Portfolio, 2008Portfolio of 12 reductive serigraphs Partial gift of Curlee Raven Holtonand purchase with the Ann NelsonBehrman (Class of 1954) ArtAcquisition Fund2012.49.1–12

Ellsworth Kelly (American, b. 1923) Citron [Lemon], 1965–1966Lithograph Purchase with the Elizabeth PeirceAllyn (Class of 1951) Fund2012.50.1

Ellsworth Kelly (American, b. 1923)Cyclamen II, 1964–1965Lithograph Gift of Phyllis Hattis2012.50.2

Kinke Kooi (Dutch, b. 1961) Woman, 2000 Colored pencil on paperGift of Barbara H. Lloyd (Class of1964)2012.51.1

Milena Dopitova (Czechoslovakian,b. 1963) Untitled [Shampoo Bottles]Black and white photograph printedon pink paperGift of Barbara H. Lloyd (Class of1964)2012.51.2

Mary Lee Bendolph (American, b. 1935) Mama’s Song, 2005 Color aquatint etchingGift of Renee Conforte McKee(Class of 1962)2012.52.1

Mary Lee Bendolph (American, b. 1935) To Honor Mr. Dial, 2005 Color aquatint etchingGift of Renee Conforte McKee(Class of 1962)2012.52.2

25

Thomas Nozkowski (American, b. 1944) Untitled #1, 2006 Aquatint, etching, and drypointGift of Renee Conforte McKee(Class of 1962)2012.52.3

Harvey Quaytman (American,1937–2002) Untitled [Red & Black], 1988Aquatint and screen print Gift of Renee Conforte McKee(Class of 1962)2012.52.4

Jake Berthot (American, b. 1939) Untitled [Blue], 1994Oil on masonite Gift of Renee Conforte McKee(Class of 1962)2012.52.5

Kenneth Snelson (American, b. 1927) Wing 1, 1992Stainless steel and wire Gift of the artist2012.53

Robert Adams (American, b. 1937) Four Broadsides, 2009Suite of four offset prints Gift of Jock and Suzanne Reynoldsin honor of Jean DieffenbachHellmuth (Class of 1942)2012.54.1–4

Vittoria Sella (Italian, 1859–1943) Crevasses and Seracs on the GlacierBlanc, Grand Sagne and Ecrins,August 13, 1888, printed 1942 orbeforeGelatin silver print photographGift of Wendy Watson and JohnVarriano2012.55

Minted under Antoninus Pius(Roman; Imperial)Aureus of Faustina the Elder,ca. 155–161 CEGold (AV) Purchase with funds from Susan B.Matheson (Class of 1968) in honorof Wendy Watson2012.56

Algernon Wallner Moller (American,b. England, 1867–after 1920) African American Couple in aCotton Field, Thomasville, Georgia,ca. 1885 Albumen photographGift of Paula and Mack Lee2012.57

Henri van der Stok (Dutch, 1870–1946) Orpheus Playing for the Animals,1920–1925Woodcut Gift of William P. Carl2012.58

African; BamanaJidaga (jar), 20th century EarthenwareGift of Charles and Blanche Derby2012.59.1

African; South African; ZuluChild's belt, 19th centuryBeadwork and metal Gift of Charles and Blanche Derby2012.59.2

African; South African; ZuluLove letter necklace, 19th century BeadworkGift of Charles and Blanche Derby2012.59.3

African; South African; ZuluLove letter necklace, 19th centuryBeadwork Gift of Charles and Blanche Derby2012.59.4

Giacomo Lauro (Italian, 1561–1645) Prints from the series AntiquaeUrbis Splendor [The Wonders ofAncient Rome], 1612–1641 EngravingLouise Fitz-Randolph Collection2013.1.1–23

African; MendeDance mask, early 20th centuryWood and metal Purchase with the Art AcquisitionEndowment Fund2013.2

J. J. Grandville (French, 1803–1847) Resurrection de la Censure, 1832 LithographPurchase with the Ann NelsonBehrman (Class of 1954) ArtAcquisition Fund2013.3.1

Lodewijk Schelfhout (Dutch, 1881–1943) Le Soleil [The Sun], 1918 DrypointPurchase with funds from PatriciaPerkins Andringa (Class of 1966)2013.3.2

Pablo Picasso (Spanish, 1881–1973) Joueur de diaule et faune [Doubleflute player and faun], 1956 Earthenware with white body andno glazeBequest of Marjorie R. Kaufman2013.4.1

John Piper (British, 1903–1992) San Marco, Venice, 1961 Color lithographBequest of Marjorie R. Kaufman2013.4.2

Nancy Campbell (American, b. 1952) Tegakari, 2005 ScreenprintGift of the Estate of Marjorie R.Kaufman2013.4.3

Utagawa Hiroshige I (Japanese,1797–1858) Okitsu: Okitsugawa [Okitsu: theOkitsu River], from the seriesTokaido gojusan tsugi no uchi[Fifty-three stations of the TokaidoRoad, also known as the FirstTokaido or Great Tokaido], 1831–1834 Woodcut; colored inks on paperGift of Jane Buck Hellawell (Class of1949)2013.5.1

26

Katsushika Hokusai (Japanese,1760–1849) Ryudo shoto [Pines and Waves atthe Dragon Cavern], from the seriesRyukyo hakkei [Eight Views of theRyukyo Islands], 1832–1833Woodcut; colored inks on paper Gift of Jane Buck Hellawell (Class of1949)2013.5.2

Georges Rouault (French, 1871–1958) C'est par ses meurtrissures que noussommes gueris [It is by His woundsthat we all are healed], from theseries Miserere, 1922 plate; 1948print Aquatint, drypoint, and etchingGift of Jane Buck Hellawell (Class of1949)2013.5.3

Afruz Amighi (American, b. 1974) Last Sky, 2012Aluminum and base metal chain Purchase with the Teri J. EdelsteinArt Acquisition Fund2013.6

Zwelethu Mthethwa (South African,b. 1960) Untitled, from the Hope Chestseries, 2012 Digital c-printGift of Susan Abert Noonan (Classof 1982) in honor of her sister,Janice E. Abert (Class of 1982) forall she does for MHC2013.7.1

Carrie Mae Weems (American, b. 1953) I looked and looked to See What soTerrified You, from the LouisianaProject series, 2006 Digital printPurchase with the Elizabeth PeirceAllyn (Class of 1951) Fund and theMadeleine Pinsof Plonsker (Class of1962) Fund2013.7.2a–b

Jane Hammond (American, b. 1950) Idol Worship, 2013 Monoprint with hand coloring andcollagePurchase with funds from SharonMurray Lorenzo (Class of 1970) inhonor of Eleanor Neill (Class of1927), Susan Hansen Murray (Classof 1979), Tracy Storer Cast (Class of1986) and Grace Elizabeth Ehlers(Class of 2011)2013.8

Martin Parr (British, b. 1952) Life’s a Beach, 2012 Bound volume of four-color photographsPurchase with the Elizabeth PeirceAllyn (Class of 1951) Fund2013.9

Lin Tianmiao (Chinese, b. 1961) Focus print 06–606A, 2007 Silk, cotton threads, foams, andprint paperPurchase with funds from AliceGodfrey Andrus (Class of 1963) andEnid Lasko Kay (Class of 1963) inmemory of Candace Curlee Dumont(Class of 1963)2013.10

Dorothea Tanning (American, 1910–2012) Still in the Studio, 1979Oil on canvas Purchase with the Warbeke ArtMuseum Fund2013.11

SpanishBill of Exchange, 1791Paper and ink Gift of Ellen M. Alvord (Class of1989)2013.12

Hendrik Martensz. Sorgh (Dutch,1609/11–1670) A Seated Man Smoking a Clay Pipe,ca. 1640 Black chalk and brown wash on vellumPurchase with the Jean C. HarrisAcquisition Fund2013.13

Barbara Takenaga (American, b. 1949) Day for Night, State I, 2012 Aquatint, sugarlift, white ground,and burnishing with hand paintingon paperGift of the Class of 1966 in memoryof their departed classmates, 50thReunion, May 20162013.14.1

Barbara Takenaga (American, b. 1949)Day for Night, State II, 2012 Aquatint, sugarlift, white ground,and burnishing with hand paintingon paperGift of the Class of 1966 in memoryof their departed classmates, 50thReunion, May 20162013.14.2

Honoré Daumier (French, 1808–1879) The Amateur Guitarist, 1840Hand-colored lithograph on paper Gift of Jane Gronau in memory ofGertrud Schocken Kuttner2013.15

Dorothea Tanning Still in the Studio, 2013.11

27

Minted under George III (British);Minted under Carlos IV (Spanish)George III countermarked 8 realesof Charles IV, 1796–1820 Silver (AR)Purchase with the Marian Hayes(Class of 1925) Art Purchase Fund2013.16

Petah E. Coyne (American, b. 1953) Mt. Koyasan, 2012PrintGift of the Mount Holyoke CollegePrintmaking Workshop2013.17

Bartolomeo di Giovanni (Italian,active 1488–ca.1500) Madonna and Child with SaintsJohn the Evangelist, Benedict,Romuald, and Jerome, 1498 Tempera on panelPurchase with the Warbeke ArtMuseum Fund, the Belle and HyBaier Art Acquisition Fund, the JohnMartyn Warbeke Art Fund, theMarian Hayes (Class of 1925) ArtPurchase Fund, the Susan andBernard Schilling Fund, the ArtAcquisition Fund, the Henry RoxPurchase Fund, the Teri J. EdelsteinArt Acquisition Fund, the NancyEisner Zankel (class of 1956) ArtAcquisition Fund, and the Jean C.Harris Art Acquisition Fund2013.18

Artist unknown; formerly attributedto Sanford Gifford (American,1823–1880); formerly attributed toAlbert Bierstadt (American, 1830–1902)Mountain Landscape, 19th century Oil on paper mounted on paper-boardGift of Nancy Young Duncan (Classof 1955)2013.19.1

William Trost Richards (American,1833–1905) Coastal Scene at Sundown, 1880Watercolor on paper Gift of Nancy Young Duncan (Classof 1955)2013.19.2

PeruvianTextile fragment with fish designset into a modern silver boxSilver, wool, and natural pigments Gift of Sarah A. Nunneley (Class of1963) in memory of Faithe ShawNunneley2013.20.1

Peruvian; Chancay or Chimú (LateIntermediate Period)Weaving basket and tools, 1000–1476Plant fibers, wood, and corn husksGift of Sarah A. Nunneley (Class of1963) in memory of Faithe ShawNunneley2013.20.2a–nff

INCOMING LOANS

John Willis (American, b. 1957)Victoria Chipps, of the Horn ChippsLineage of medicine men, on herninetieth birthday with her great-granddaughter, 2012Peiziographic pigment archivalinkjet printed on HannamuelePhoto Rag paperPromised Gift of Richard S. andJeanne Press2012.L4.1

John Willis (American, b. 1957)Eugene Reddest preparing theC'anupa (the sacred pipe), 2012Peiziographic pigment archivalinkjet printed on HannamuelePhoto Rag paperPromised Gift of Richard S. andJeanne Press2012.L4.2

John Willis (American, b. 1957)Vern Sitting Bear and his niece'spet wolf, 2012Peiziographic pigment archivalinkjet printed on HannamuelePhoto Rag paperPromised Gift of Richard S. andJeanne Press2012.L4.3

John Willis (American, b. 1957)The Mass gravesite at WoundedKnee, 2012Peiziographic pigment archival inkjetprinted on Hannamuele Photo RagpaperPromised Gift of Richard S. andJeanne Press2012.L4.4

Julie Mehretu (American, Ethiopian,b. 1970)Landscape Allegories, 2004Portfolio of seven etchings withengraving, dry-point, sugar-bite,and aquatint on Somerset whitetextured paperLent by Jennifer Vorbach, New York2012.L5.1–7

GreekTetradrachm of Ptolemy VI, 180–145 BCESilver (AR)Private Collection2013.L2.1

GreekDrachm of Ptolemy III Eugertes,256–226 BCEBronze (AE)Private Collection2013.L2.2

South AfricanKrugerrand, 1979GoldPrivate Collection2013.L5

EgyptianFunerary stele for Nekht-HorLimestonePrivate Collection2013.L7.1

Egyptian Cartonnage mummy mask of acrowned girlPlasterPrivate Collection2013.L7.2

28

EgyptianCoffin base ornament representinga standing divinity (Isis?)WoodPrivate Collection2013.L7.3

EgyptianCanopic jar lidTerracottaPrivate Collection2013.L7.4

EgyptianIsis feeding a childBlue stonePrivate Collection2013.L7.5

EgyptianUshabti of Padi-WsirGreen faiencePrivate Collection2013.L7.6

EgyptianMummy maskWoodPrivate Collection2013.L7.7

EgyptianVaseAlabasterPrivate Collection2013.L7.8

EgyptianCup and mortarCeramicPrivate Collection2013.L7.9

EgyptianGrain mummy with gold faceResin and goldPrivate Collection2013.L7.10

EgyptianSlave figureWoodPrivate Collection2013.L7.11

OUTGOING LOANS

Now Dig This! Art and Black LosAngeles 1960–1980 Hammer Museum, CA: 2 October2011–8 January 2012MoMA PS1, NY: 21 October 2012–11 March 2013Williams College Museum of Art,MA: 20 July–1 December 2013

Raymond Saunders (American, b. 1934) American Dream, 1968Oil and collage on canvasGift of the American Academy ofArts and Letters (Childe HassamFund)1970.300.I(b).PI

________________

Robert Motherwell: Beside the SeaProvincetown Art Association andMuseum, MA: 20 July–30 Sept2012

Robert Motherwell (American,1915–1991)Beside the Sea with Fish and Chips,1977Collage with acrylic on canvas boardGift of Jeffrey H. Loria in honor ofJulie Lavin (Class of 1986)2005.23.2

________________

A Feast for the Eyes: Traditions inStill LifeLebanon Valley College, PA: 31August–21 October 2012

Janet Fish (American, b. 1938)Kraft Salad Dressing, 1973Oil on canvasGift of Mr. and Mrs. RichardBarancik1983.15

________________

Romare Bearden: A Black OdysseySmithsonian Institution ExhibitionService (SITES)Reynolda House, NC: 13 October2012–13 January 2013Memphis Brooks Museum of Art,TN: 2 February–28 April 2013Amon Carter Museum, TX: 18 May–11 August 2013

Romare Bearden (American, 1911–1988)Home to Ithaca, 1977Cut paper collageGift of the estate of Eileen ParadisBarber (Class of 1929)1997.14.39

________________

Romare Bearden Home to Ithaca1997.14.39

29

Very Like a WhaleFolger Shakespeare Library,Washington, DC: 16 October 2012–6 January 2013

Jacques Callot (French, 1592–1635)La Pendaison [The Hanging], 1633EtchingPurchase with the Nancy EverettDwight Fund1959.36.M.RII

ItalianAlbarello, ca. 1560–1570 Tin-glazed earthenwareJoseph J. Hammer Collection, Giftof Roy A. Hammer2002.3.2

ItalianAlbarello, ca. 1560–1570Tin-glazed earthenwareJoseph J. Hammer Collection, Giftof Roy A. Hammer2002.3.3

ItalianSpouted Jar, probably 17th centuryTin-glazed earthenwareJoseph J. Hammer Collection, Giftof Roy A. Hammer2002.3.7

ItalianAlbarello, late 16th centuryTin-glazed earthenwareJoseph J. Hammer Collection, Giftof Roy A. Hammer2002.3.13

________________

Teaching with Art: The PersianImageWilliams College Museum of Art,MA: 2 February–18 August 2013

Persian Album page, late 16th century orlaterWatercolor on paperPurchase with the John MartynWarbeke Fund1966.1.A(c).PI

PersianTwo figures by a tree, 17th centuryPaper manuscript leafPurchase with the John MartynWarbeke Fund1966.2.A(c).PI

Rovhani (Persian)King Khousro and Queen Shireen,20th centuryMiniature painting on ivoryGift of Richard S. Zeisler1967.7.A(c).PI

PersianCamel driver, 18th centuryInk and gouache on paperGift of Dorothy Cogswell1972.9.A(c).PI

PersianBattle scene from Shah-nameh,19th–20th centuryInk and gouache on paperGift of Dorothy Cogswell1973.10.A(c).PI

PersianWoman holding a jarInk and color on paper, 17th centuryBequest of Helene Brosseau Black(Class of 1931)1991.4.49

PersianWoman standing with a flask and cupInk on paper, 19th centuryBequest of Helene Brosseau Black(Class of 1931)1991.4.75

PersianMan with a falcon, 19th or early 20th centuryInk and color on paperBequest of Helene Brosseau Black(Class of 1931)1991.4.76

PersianWoman standing by a floweringpink rose bush, late 19th centuryInk and color on paperBequest of Helene Brosseau Black(Class of 1931)1991.4.156

________________

Frohawk Two Feathers: You CanFall, the War of the MourningArrows Visual Arts Center of New Jersey,NJ: 26 April–30 June 2013

Frohawk Two Feathers (American, b. 1976)Apollo in Irons. (“I need a newnigga for this black cloud to follow,‘cause while it’s over me it’s toodark to see tomorrow.”), from theseries It’s Yours, 2012Acrylic, ink, coffee, tea on paperPurchase with the Belle and HyBaier Art Acquisition Fund2012.19

PersianCamel driver1972.9.A(c).PI

30

This important and growing numismatic col-lection was widely used in teaching through-out the year, including such fascinatingcourses as “History of Money and Finance”and “Empire: Art and Archaeology of theRoman Provinces.” In support of this height-ened use, the Art Museum Advisory BoardFellow, Emily Wood, led a focused study onthis extensive holding and oversaw the acqui-sition of key examples of Roman, Byzantine,and Sasanian coinage.

PUBLICATIONS

The Museum produces a range of cataloguesand educational brochures related to its exhi-bitions and events. This year, these includedcollaborations with faculty and students anda celebratory publication in honor of our135th anniversary.

Mount Holyoke College Art MuseumNewsletter, Fall 2012, 20 pages.

Mount Holyoke College Art MuseumNewsletter, Spring 2013, 20 pages.

Kara Walker: Harper’s Pictorial History ofthe Civil War (Annotated), 2012: An exhibi-tion catalogue featuring essays by JohnStomberg, Elizabeth Young, and PatriciaBanks.

Re:Vision: Landscapes from the PermanentCollection, 2013: An exhibition cataloguewritten by student curators in Art History350, a Museum Studies seminar designed toexplore art museum history, missions, meth-ods, and procedures, taught by VisitingProfessor Nancy Noble.

COLLECTION RESEARCH

Balancing the needs of both classes andgallery installations, the curatorial staff andinterns researched a diverse range of perma-nent collection objects over the course of theyear. Our accomplishments were largelyguided by the three-year goal to develop aformal Collecting Plan and the stated objec-tives of the IMLS digitization and catalogu-ing grant focusing on works of art on paper.

The Museum’s print, drawing, and photogra-phy collections make up its largest holdingsand are the works of art most frequentlyused in classes. Curatorial projects in thisarea ranged from researching Ansel Adams’portfolios to cataloguing kabuki theaterprints and landscape drawings by distin-guished artists such as J. M. W. Turner, JohnMarin, and Charles Burchfield, all of whichwere used in teaching. The Museum’s unveil-ing of a newly constructed gallery devoted toexhibiting works of art on paper alsoprompted in-depth research on two distinctcollections: 17th- and 18th-century printsrepresenting views of Rome and Italianchiaroscuro woodcuts.

Advancing the Collecting Plan project, anumber of consultations with outside scholars informed our research this year.Specialists in Asian and Iranian ceramicsadvised curatorial staff and two Andrew W.Mellon curatorial interns on their researchon gifts from the Arthur M. SacklerFoundation. Additional sessions were heldwith specialists in Islamic art, Japanesescrolls, African art, early European panelpaintings, and Islamic and Medieval coins.

31

Hello is not a Question: An Andy WarholProduction, 2013: A digital brochure repre-senting student artwork created in responseto selections from the Museum’s Warhol collection. The brochure and installationwere part of an Art Building celebration ofWarhol’s 50th anniversary as a film maker.

Engage: The Mount Holyoke College ArtMuseum, 2013: A 182-page book illustrating135 celebrated objects from the Museum’spermanent collection and essays byChristopher Benfey, Aaron F. Miller, John R.Stomberg, Steven J. Tepper, and WendyWatson.

DIGITIZATION AND COLLECTION ACCESS

The effects of having high-quality digitalimages of the Museum’s collection accessibleat the click of a button are felt by theMuseum’s community on a daily basis: facul-ty search the online collection for inspiration,students discover new topics for researchpapers, and Museum staff look for candi-dates for installation. The list is endless.

Having now completed three years of twoback-to-back IMLS grant-funded projectsfocused on collection photography and cata-loguing, the Museum staff and the communi-ty alike are reaping the benefits. As of 31June 2013, the online collection databasepublicly displays approximately 8,500objects with images (many with multipledetailed views) and over 6,000 records withcompleted cataloguing fields. This year, digi-tization focused on new acquisitions, worksof art slated for publication or class use,

maps, drawings, prints, and photographs.Nearly 150 highlights from the SkinnerMuseum collection, including examples of19th- and 20th-century domestic life andNative American objects, were also pho-tographed by the professional photographersStephen Petegorsky and Jim Gipe as part ofthe IMLS grant this year.

The photography project also coincided withongoing efforts to enhance the Museum’scataloguing records and to update the datastandards for entering this information. Withcontrolled vocabulary and formatting, datafields like the maker’s name and date of theartwork will be more readily searchable.These two projects work in collaboration tomake the collection accessible digitally forprofessional, scholarly, and personal use.

COLLECTIONS MANAGEMENT

With an ever-growing number of classesusing the Museum, collection managementstaff members continue to seek out new waysto safely facilitate faculty and student accessto works of art. This year, the collectionmanagement team worked to upgrade thehousings of works of art on paper and deco-rative arts. These improved storage solu-tions not only provided the objects withextra physical protection, but also increasedthe ease and efficiency with which they couldbe moved for classroom display.

Student interns also worked over the courseof the school year to systematically reviewthe Museum’s print collection as part of theIMLS grant for digitization and cataloguing.While recording missing measurements in the

32

Museum’s electronic collections database, they also replacedeach print’s protective cover sheet with a new transparentpaper. This paper will enable staff to quickly and easily iden-tify the prints without unnecessary handling.

Albert Bierstadt (American, b. inGermany, 1830–1902)Tuolomne Meadows Oil on canvasLoan from a private collectionTreated by the Williamstown ArtConservation Center2010.L4.1

Albert Bierstadt (American, b. inGermany, 1830–1902)Bears After a Storm, 1878Oil on boardLoan from a private collectionTreated by the Williamstown ArtConservation Center2010.L4.2

Ouyang Xingkai (Chinese, b. 1950)Shen Jinqiu, born in 1921, nowlives in No. 26, Xiangyangping,Hongjiang. He is a Chinese medicalpractitioner with 70 years of work-ing experiences. He learned frommany famous Chinese medicalpractitioners when he was young.He travels almost every mountainto collect herbal medicines andthen processes and displays them inorder, 2011Color inkjet print on paperGift of the ArtistFramed at the Williamstown ArtConservation Center2011.10.1

Kara Elizabeth Walker (American, b.1969)Harper’s Pictorial History of theCivil War (Annotated), 2005Suite of 15 offset lithographs andsilkscreens on Somerset texturedpaperPurchase with the Susan andBernard Schilling (Susan Eisenhart,Class of 1932) Fund and the Belleand Hy Baier Art Acquisition FundFramed at the Williamstown ArtConservation Center2012.14.1-15

OBJECTS CONSERVED

GreekBlack-figure skyphos with Herakles,Athena, and Hermes, ca. 500 BCEEarthenware with added red andwhitePurchase with the Nancy EverettDwight FundTreated by the Williamstown ArtConservation Center1925.3.B.SII

Georg Braun (topographer, German,1542–1622); Franz Hogenberg(engraver, Netherlandish, ca. 1540-ca. 1590)Byzantium nunc Constantinopolis[Byzantium now Constantinople],from the Civitates Orbis Terrarum[Atlas of Cities of the World],1572–1574Etching with hand coloringBequest of Helene Brosseau Black(Class of 1931)Treated by Louise Baptiste, Paperand Map Conservator, Boston,Massachusetts 1991.4.84

Abraham Ortelius (Flemish, 1527–1598)Turingia; Misnia [Thüringen andMeissen, Germany], 1584Engraving with hand coloringBequest of Helene Brosseau Black(Class of 1931)Treated by Louise Baptiste, Paperand Map Conservator, Boston,Massachusetts 1991.4.655

Giovanni Battista Nolli (Italian,1701–1756); Domenico Pronti(Italian, active late 18th century)Nuova Pianta di Roma, 1748 (theNolli map), 1795 (the Pronti prints)Engraving on paper laid down onJapanese paperBequest of Helene Brosseau Black(Class of 1931)Treated by Louise Baptiste, Paperand Map Conservator, Boston,Massachusetts 1991.4.681.a-j

33

Joseph AllenSkinner’s unique col-

lection of objects has beenpart of the Mount Holyoke community fornearly a century, and yet the Museum contin-ues to reveal exciting new potential forteaching and scholarship. Throughout the2012–13 academic year, faculty and studentsalike were attracted to the curious mindset ofthe eclectic collector and discovered the out-standing resources housed in his collection.The Joseph Allen Skinner Museum holds an

important place in the campus and surround-ing communities and the nature and depth ofthis relationship continues to grow.

EXHIBITIONS

One of the most valuable aspects of theSkinner Museum is the fact that it representsSkinner’s vision for what a museum shouldbe and the message it should communicate toits audience. The gallery space largelyremains a record of where Skinner and hiscurators placed the objects in the 1930s and1940s. Recent exhibitions, however, havefeatured some important individual storiesby highlighting the significance of single arti-facts away from the visual cacophony of theMuseum itself.

These object spotlights or micro-exhibitionshave taken place in the lobby of the ArtMuseum and are an ongoing project to pro-mote knowledge of the Skinner Museum andits collection. The three objects chosen thisyear all had fascinating stories to tell: acreamware pitcher made in England betweenthe Revolution and the War of 1812 withpro-American imagery designed to appeal tothe market of the young Republic; a Poly-nesian whale-tooth necklace acquired in Fiji;and an 18th-century doll, “Jenette,” that displays the disfiguring wear from more thana century of love from numerous generationsof South Hadley children.

T H E S K I N N E R M U S E U M

British; EnglishPitcher, ca. 1810Refined earthenware (creamware)SK 2006.487.INV

34

TEACHING WITH ART

The Skinner Museum buildings and its col-lection saw increased use by Mount Holyokeand Five College faculty and students as partof the Museum’s Teaching with Art programthis year. Highlights of the diverse group ofcourses utilizing the Museum and collectionincluded classes on American history, art his-tory, film, Italian language, and museumstudies. Faculty members taught with every-thing from a single artifact to assemblages ofitems, and from thematic groupings to theSkinner Museum in its entirety as an objectof early 20th-century collecting.

In addition to tours and classes held at theSkinner Museum, many sessions at the ArtMuseum were augmented through the addi-tion of material culture brought over fromthe Skinner collection. These items, alongwith the impressive holdings from the ArtMuseum, are creating new teaching opportu-nities across the campus, especially for histo-ry and social science faculty.

Faculty Outreach In March, the Skinner Museum hosted aHistory Department seminar to expose inter-

ested faculty to the extensive 18th- and 19th-century documentary archive in the Skinnercollection. Based on faculty feedback, threeof the most intriguing documents were digi-tized including a 1753 exercise book fromYale, a 1758 diary, and a second diary from1812–18 that were all written by localMassachusetts ministers.

InternshipsThis year, the Skinner Museum hosted twointernships. Chelsey Talbot from PlymouthState University’s College of GraduateStudies, Heritage Studies Program, assistedMuseum staff with various curatorial andcollections management duties. In addition,Marco Disantis, a high school student fromBerkshire Hills Music Academy (at the site ofJoseph Allen Skinner’s South Hadley home)carried out a series of research projectsfocusing on the Museum collection.

COMMUNITY INVOLVEMENT

K-12 EducationThe Skinner Museum staff is also devoted toK–12 education. This year, the Museumhosted tours for fifth graders from LeverettElementary and the third grade classes fromMosier Elementary. As the Skinner Museumis further developed, tours and other K–12programs focusing on local and Americanhistory will be an important component ofthe overall vision for the collection.

Community ProgramsIn addition to being open to the public withfree admission May–October, Wednesdaysand Sundays, 2:00–5:00 pm, the Museumwas available for tours on request.

35

Collaboration between the Museum andother local historical institutions is ongoingwith successful outreach events such asMay’s Art à la Carte Lunchtime GalleryTalk, “Whales and Sails: Maritime Treasuresfrom the Joseph Allen Skinner Museum.”

THE COLLECTION

Collections ResearchWe have made significant progress in study-ing the collection of more than 6,000 objectsthis year, with extensive research spurred onin many cases by increased class use. High-lights of the maritime, Native American, anddocument collections have received particu-lar attention, resulting in the creation ofmore than 500 individual object files andamendments to nearly 4,000 database

records to date. Many other files have beenupdated with locations of manufacture ormakers’ marks, rendering the objects signifi-cantly more searchable for faculty, students,and researchers.

An ongoing initiative of the Museum is toutilize the expertise of outside consultants tobetter understand the collection. This year,visiting experts included Robert Cheney,Director of Clocks, Watches & ScientificInstruments at Skinner Inc., Amanda Lange,Curatorial Department Chair and Curator ofHistoric Interiors, and Ned Lazaro, AssociateCurator of Textiles and Collections Managerfrom Historic Deerfield, Inc.

In the past, database entries had primarilyconsisted of the original Skinner catalogueinformation. We are now preserving this datain the records and also enhancing it withnew research to create a more detailed cata-logue entry. With these additions, onlineviewers can access both the information thatSkinner and his curators intended for theiraudience as well as modern, more accuratedescriptions.

Loans The Skinner Museum loaned a group ofmore than a dozen objects to the SmithCollege Mortimer Rare Book Room for theexhibition A Place of Reading: ThreeCenturies of Reading in America, curated byCheryl Harned, a student in the UMASS Five College Graduate Program in History.Running from 28 February to 28 May 2013,the show featured books and prints from theAmerican Antiquarian Society alongsideSkinner Museum artifacts:

A resource for the Five Colleges, the public, and local K-12 schools, the Skinner Museum captivated visitors of all ages.

36

Collections ManagementAmong the major challenges to further integrating the SkinnerMuseum into campus life is confronting outdated facilities,under-researched collections, and pressing conservation needs.This ongoing process is by necessity a slow one, guided by thethoughtful budgeting of time and other resources. This year,we took significant steps to continue to advance these goals.

Photography: One of the year’s most noteworthy developmentswas the professional photography of more than 150 Skinnerobjects funded by an IMLS grant. For the first time, high-quality images of some of the most significant artifacts fromthe collection are available online for teaching, research, andpublication. This digitization initiative is ongoing, and newobjects are photographed as they are requested or used inteaching by faculty and students.

Lighting: Facilities Management completed their installation of new LED track lighting and the rewiring of antique lightsources in the church. For the first time, visitors can properlyview many of the objects that were long obscured by shadows.

Philip Matthews (British)Mug, 18th centuryPewterJoseph Allen Skinner MuseumSK B.12.K.26.1

AmericanCandleholder, 18th or early 19thcenturyIronJoseph Allen Skinner MuseumSK B.13.J.15.6

AmericanCandleholders and candle, 19thcenturyBrass and waxJoseph Allen Skinner MuseumSK B.13.N.15.8

EuropeanBetty lamp, 18th or early 19th centuryBrassJoseph Allen Skinner MuseumSK B.13.N.24.1

EnglishInkwell, early 19th centuryEarthenware with lead glazeJoseph Allen Skinner MuseumSK B.14.F.40.1

AmericanInkwell, 19th centurySoapstoneJoseph Allen Skinner MuseumSK B.14.V.40.1

AmericanLetter opener, 19th centuryIvoryJoseph Allen Skinner MuseumSK G.D.4.1

AmericanArtillery shell, mid 19th centuryIron, lead, and canvasJoseph Allen Skinner MuseumSK L.D.3.1

UnknownHanging spout lamp, 18th centuryCopperJoseph Allen Skinner MuseumSK 2006.143.INV

Friedrich A. Richter (German)Set of anchor stone blocks, late19th or early 20th centuryWood and chalkJoseph Allen Skinner MuseumSK 2006.526.INV

GermanFlask, early to mid 18th centuryGlass and pewterJoseph Allen Skinner MuseumSK 2006.601.INV

UnknownWallpaper, 18th centuryInk on paperJoseph Allen Skinner MuseumSK 2006.1090.INV

AmericanFlag bunting, mid 19th centuryCottonJoseph Allen Skinner MuseumSK 2006.1092.INV

EuropeanEyeglasses with holder, 17th orearly 18th centuryGlass and woodJoseph Allen Skinner MuseumSK 2006.1317.INV

UnknownEyeglasses, 1800-1820Brass and glassJoseph Allen Skinner MuseumSK 2006.1330.INV

SwissPocket watch, 18th centurySilver, brass, glass, and coloredenamelJoseph Allen Skinner MuseumSK 2006.1359.INV

Nevada, United StatesGold OreQuartz, goldJoseph Allen Skinner MuseumSK 2006.1391.INV

37

Art Museum Staff

John R. StombergFlorence Finch Abbott Director

Ellen Alvord ’89Andrew W. Mellon Coordinator ofAcademic Affairs

Rachel BeaupréAssistant Curator

Linda Delone BestCollections Manager

Debbie DavisManager of Museum Advancementand Finance

Laurie DePinoMuseum Guard

Jane GronauEducation and Public RelationsCoordinator

Cheryl HarnedCuratorial Researcher, Joseph AllenSkinner Museum

Brian KiernanPreparator

Jennifer LindAssistant Collections Manager

Aaron F. MillerAssistant Curator, Joseph AllenSkinner Museum

Gail ParkerSenior Administrative Assistant

Laura Shea ’06Digitization Specialist

Sue SormantiMuseum Guard

Wendy M. WatsonCurator

Emily Wood ’09Art Museum Advisory Board Fellow

Student Receptionists & Guards:

Annick Brett-KearnsKatharine DeLamaterFitsum GelayeEskedar GessesseKeenan Hale

Donors and Membership Lists

Two hundred thirty-three donorsmade contributions to the Museumduring the 2013 fiscal year. Of these, 35 gave at the Director’sCircle level ($1,000–$2,499) and 39 gave at the Benefactor level($2,500 and up). Additionally, theMuseum received three generousgifts at the $100,000 level andabove:

• Anonymous: for the purchase and installation of a Dale Chihulysculpture on campus.

• Patricia and Edward Falkenberg: to establish the Patricia and EdwardFalkenberg Lecture Fund to supportan ongoing lecture program.

• Susan and Matthew Weatherbie:to establish the Weatherbie Curatorof Academic Affairs Fund to matcha grant from the Andrew W. MellonFoundation for the endowment ofthe Museum’s Curator for AcademicPrograms position.

The Museum is grateful for the continued support of its patrons and thanks the many donors whoenhanced the Museum’s collectionthrough gifts of funds and of art (For a complete list of art acquisi-tions, see page 21).

Fiza Khatri Priyanka Krishnamoorthy Lali MuthusamyEmily NimptschShannon Pace Mallory Roarke Emily Rueggeberg Katherine SumiCarla Tamayo

Art Museum Interns:

Emily Carduff, Pierre and TanaMatisse Curatorial Intern

Yingxi (Lucy) Gong, Andrew W.Mellon Curatorial Intern

Lydia Malone, Education OutreachFellow

Maureen Millmore, Andrew W.Mellon Curatorial Intern

Eleanor Morse, CollectionsManagement Intern (partial volunteer)

Skinner Museum Interns:

Marco Disantis (Berkshire HillsMusic Academy)

Chelsey Talbot (College of GraduateStudies, Heritage Studies Program,Plymouth State University)

Chantal Joffe (English, b. 1969)Megan in a Green Coat, 2012Oil on canvas Gift of Jeffrey and Julie Lavin Loria(Class of 1986)2012.47

38

BENEFACTOR ($2,500 and up)

Mr. Norman AbbottMrs. Patricia Perkins AndringaAlice G. AndrusAnonymousWilliam ArmisteadMr. Norman E. Aubrey, PhDMs. Astrid Rehl BaumgardnerMrs. Leona N. BrochinAlice Mohler DeLanaMs. Julie Herzig DesnickMs. Ellen J. Ellison, CFAMrs. Patricia FalkenbergLinda K. FriedlaenderMrs. Fredric B. GaronzikMs. Christiana N. GianopulosMrs. Beverly Parks GreenbergMrs. Frank E. GumpDr. Evelyn Jasiulko HardenMrs. Ludmila Schwarzenberg HessMrs. E. L. KayPhyllis Lee LevinMrs. Sharon Murray LorenzoJulie L. LoriaRobert MarcusMs. Susan B. MathesonMs. Susan Abert NoonanMrs. Patricia Kreiner PerlmanMrs. Katharine T. SmithDr. Judith K. Stein, MDMs. Gay Richards StricklerSusan Stevens SullivanMrs. Janet Hickey TagueSusan and Gaetano VicinelliMs. Jennifer VorbachSusan and Matthew WeatherbieShelby White

DIRECTOR’S CIRCLE($1,000–$2,499)

Mrs. Virginia A. AaronMs. Janice E. AbertMs. Joyce C. AhrensMr. Compton AllynDavid Remember Baker, Esq.Ms. Jane A. BarthDr. Stephanie BelingMs. Melissa Bowen-ReesMrs. Mary B. BuchanMs. Renee CaryMs. Beth A. ChernichowskiMs. Constance L. Christensen

Mrs. Jane N. BeattyMs. Ellen J. BernsteinMrs. Eve Z. BinghamMrs. Duncan W. BrownMs. Lisa A. CarlMs. Jennifer M. Casunduan-SumiProfessor Joan CirutiMrs. David E. ClinkenbeardMs. Amy K. DriscollMrs. Patricia Hope EdmondsMs. Polly C. EhrgoodMs. Martha M. FerryMrs. James J. GoubeauxMrs. Barbara M. GrayMs. Inge HeckelMrs. Clyde W. Henry, Jr.Mrs. James D. KenneyMrs. Eleanor C. KlepackiMrs. Erwin H. LeiwantMs. Naomi V. LindahlRosamond E. Mack, PhDMs. Judith W. Mann, PhDMrs. Dorothy R. McCullochSusan McGreevyMs. Kristin A. MortimerDr. Louis Petcu & Dr. Nancy

WestermannKathryn L. E. RabinowMs. Ellin RosenzweigTheodor & Linda Schmidt-ScheuberMs. Kathleen I. SharkeyRobert B. ShilkretMrs. Nancy L. SimonMrs. Sandra R. SmithJean Longstaff ThompsonMrs. Juli S. TowellJulie Charlotte Van CampMs. Nancy A. Van HornMrs. Lynn Hayden WadhamsMs. Mary Ann WeissDr. Dana Feldshuh WhyteProfessor Kenneth L. and Louise

WilliamsonMs. Anne Leinster WindhamMrs. John F. WoodhouseMs. Jane A. Zimmy

FAMILY/DUAL MEMBER ($50–$99)

Ms. A. Elizabeth AnemaMrs. Jameson A. BaxterMr. Jesse E. Brownback, IIIJoyce C. BuckinghamPeter & Valerie Byrnes

Mary Beth Topor DanielMs. Ann DuncanMrs. Robert F. FriedlanderMs. Nancy Chambers GoffMr. & Mrs. Thomas N. HazenMs. Gail Hunt ReekeMs. Rebecca L. KeimMrs. K. Priscilla KisielMr. Dwight MasonGregg C. McCartyMs. Anne K. MercoglianoMs. Deirdre Daley NectowMrs. Julia G. PerlmanMs. Mia A. SchlappiMr. Lawrence B. SiddallOdyssia A. SkourasKathy SupleeMrs. Rebecca M. ValetteJohn VarrianoMrs. Neil W. WallaceMrs. Thomas G. WeaverDr. Anita Corman WeinblattHarriet and Paul WeissmanMr. and Mrs. David Wilson

PATRON ($500–$999)

Mrs. Carl E. DarrowDorothy Metzger Habel, PhDMs. L. Jane HurtMichelle Lappas KotaraMrs. Winifred B. LowellMr. and Mrs. Joseph M. Topor, Jr.Mrs. Elizabeth Zukoski

SPONSOR ($250–$499)

Ms. Ann Neuberger AcevesMs. Ellen M. AlvordLinda Delone BestMrs. Daniel K. ButlerMrs. Martin CohnCornelia C. Terry FergusonMrs. Barbara Reck HastorfMs. Jane Buck HellawellBarbara H. Lloyd, PhDMrs. Margaret G. MathiasMs. Christine L. RochMs. Jennifer B. WarburtonMs. Rosalie Siegel Wolarsky

CONTRIBUTOR ($100–$249)

Mr. Brian T. AllenMrs. Elizabeth F. Bachman

39

Ms. Mary E.P. CommagerMr. & Mrs. John M. FoleyMrs. Gretchen FoxMr. Wayne D. GassMr. James W. GipeDr. Anna GonosovaDr. Harold E. Harris, Jr.Ann Iselin HarwoodVirginia F. JohnstonMary E. KatesBarbara KolbMr. & Mrs. Thomas LakeMr. & Mrs. Carl LeamanElise A. MarifianMrs. Samuel P. McCollomWill J. MillardMr. & Mrs. Elihu H. ModlinMr. John C. OsgoodMr. Stephen PetegorskyDr. Lilian M.C. RandallMr. and Mrs. Robert H. RomerDr. Michael RosnerMs. Susan E. SaxeMrs. George T. ShawMr. Zachary SnowMs. Sally B. StrazdinsMs. Alice F. TetelmanMr. John WaldmanMrs. Thomas J. WatersMrs. Nancy L. Zuraw

INDIVIDUAL MEMBER ($30–$49)

Elinor S. AzenbergLisa Unger BaskinDr. Susan B. BetzerMs. Amy Florence BriggsMiss M. Elizabeth BrothersMiss Nancy L. ColemanCatherine H. ConnorMrs. Wayne H. CowanMs. Dorie CranshawMs. Barbara L. CummingsMrs. Marilyn C. DahlMrs. Joan DavisonDaniel and Anna DindalMrs. Jane Fleck EcclesMs. Pearl H. EdwardsMr. Stephen EllenburgMrs. Maura F. FickettMs. Jacqueline Rachel FinneganMs. Ellen M. FoleyMr. Arnold FriedmannEllen B. Friedrich

Margaret E. and David F. GallagherMs. Susan D. GerberMrs. Philippa GooldMary HallMrs. Anne Gay HartmanMrs. Ann Ginsburgh HofkinMrs. Claudette Brancato HollenbeckMs. Amy S. HughesMrs. Rosalie B. KelleyStephanie G. KlugMiss Michele M. A. LaPalmeDiana Wolfe LarkinDr. Douglas LewisGail F. LlewellynMrs. Rose Criscitiello Longo, RN, MNMrs. Harriett Chutter MathewsMs. Sheila McElwaineMrs. Natalie B. McNerneyMrs. Claire MeadMrs. Margaret C. O'BrienMs. Pamela O. OrczykMelissa McCandless PalmerMs. Helen Mar ParkinMrs. Patricia Leahy PrestonMs. Linda SchrankBonita S. SennottMrs. Ludlow Bixby SmethurstJoan C. SteigerMartha WatsonMrs. Anne Wuichet WellsMs. Emily L. WickSarah Gardner Wise

STUDENT/YOUNG ALUMNA '08-'13

Ms. Caroline L. GillaspieMs. Courtney D. KaufmanMs. Natalie Clementine KulikowskiMs. Lauren Parda KusekMs. Nora S. LambertMs. Tiffany LayMs. Alexandra Molnar

And special thanks to the foundationsthat support the work of theMuseum:Leon Levy FoundationPierre and Tana Matisse FoundationAndrew W. Mellon FoundationTower Foundation

Art Museum Advisory Board

Susan (Hedlund) Vicinelli ’64, ChairChristiana N. Gianopulos ’83,

Vice ChairNorman F. AbbottPatty Perkins Andringa ’66Astrid Rehl Baumgardner ’73Lisa (Carbone) Carl ’81 Beth A. Chernichowski ’73Alice (Mohler) DeLana ’58Julie Herzig Desnick ’73Amy K. Driscoll ’94Ellen J. (Danaczko) Ellison ’80Patricia (Altman) Falkenberg ’64Linda FriedlaenderAnne (Greer) Garonzik ’64Beverly Parks Greenberg ’62Ludmila Schwarzenberg Hess ’67Nora S. Lambert ’07Sharon (Murray) Lorenzo ’70Julie (Lavin) Loria ’86Judith W. Mann ’72Robert MarcusAnne K. Mercogliano ’04Susan (Abert) Noonan ’82Mia A. Schlappi ’86Odyssia Skouras ’54 (Honorary

Member)Judith Stein ’75Gaynor (Richards) Strickler ’73Pamela B. Stuart ’70Carolyn (Czaja) Topor ’58Jennifer (Josselson) Vorbach ’78

Ex-Officio members:John R. Stomberg, Florence Finch

Abbott DirectorChristopher Benfey, Andrew W.

Mellon Professor of English and Acting Dean of Faculty

Bettina A. Bergmann, Helene Phillips Herzig '49 Professor and Chair of Art History

Eleanor R. Townsley, Professor of Sociology and Associate Dean of Faculty

Patricia VandenBerg, Executive Director of Communications and Marketing

MaryAnne Young ‘81, Director of Development

40

GRANT AWARDS

Andrew W. Mellon FoundationAn initial grant of $500,000 was awarded tothe Museum for the period of 1 January2009 through 30 June 2012 to strengthenstudent and faculty engagement with theMHCAM collections. Continuing to supportthis program, the Mellon Foundation award-ed a second grant of $500,000 during the2012 spring semester. $150,000 of the sec-ond grant was designated to fund the salaryand benefits of the Coordinator of AcademicAffairs position through 30 June 2014. Theremaining $350,000 was to be used as amatch to create a permanent endowment forthe above-mentioned position. Long-timeMount Holyoke College Art Museum sup-porters Susan (’72) and Matthew Weatherbieaccepted the challenge in spring 2013 andagreed to donate the required $650,000 tomeet the match requirements. The resultingendowed position will now be titled theWeatherbie Curator of Academic Programs.

Leon Levy FoundationThe Leon Levy Foundation granted $10,000to support two fall 2013 exhibitions, In theGuise of the Brush and Conversations.Highlighting the Museum’s permanent collec-tion, Conversations will present an art histor-ical dialogue between contemporary painting,sculpture, prints, and photographs. In theGuise of the Brush: The Italian ChiaroscuroWoodcut will feature the Museum’s recentacquisition of Bartolomeo Coriolano’s Fall ofthe Giants (1638/41) alongside prints anddrawings that contextualize the invention ofthe chiaroscuro woodcut.

Institute of Museum and Library Services(IMLS) The Museum received notification in July2012 that it was one of the 152 out of 470applicants selected to receive a rare repeatgrant of $148,599 for the period of 1 August2012 through 31 July 2014. Continuing the2010–12 grant project, the Museum’s secondaward supports the ongoing digitization andcataloguing of the collection with a goal ofdigitizing 4,000 objects during the grant peri-od. During the first year alone, over 2,400objects have already been photographed andmade publicly available online. IMLS grantfunds will be used for equipment, supplies,software maintenance, contracted photogra-phy professionals, and partial funding of thesalary and benefits for the Museum’s staffdigitization specialist.

41

Pierre and Tana Matisse FoundationA three-year challenge grant totaling$169,500 for the period of 1 January 2013through 31 December 2015 was granted bythe Pierre and Tana Matisse Foundation tosupport the Museum’s new initiative, TheMuseum as Catalyst for the CreativeCampus. This program will focus on devel-oping new approaches to using art in ateaching context through four major proj-ects, including:

• The reinstallation of the permanent collec-tion galleries and the publication of a newbook on the Museum

• The creation of a special exhibition (withcatalogue) featuring a strength of theMuseum’s collection

• The development of a new educationalmeta-goal with art and innovation at its core

• The preparation for a new digital andprint handbook of the collection

DIRECTOR’S CIRCLE

Philadelphia was the annual art tour destina-tion for Director’s Circle members on 3–4May 2013. A total of 32 donors and theirguests enjoyed visits to four private collec-tions as well as behind-the-scenes tours at thePhiladelphia Museum of Art and the RodinMuseum, The Barnes Collection, The FabricWorkshop and Museum, and thePennsylvania Academy of the Fine Arts. Ahighlight was the gallery talk by AmyDriscoll (’94), and her husband Brian Clancy,at the Pennsylvania Academy of the FineArts. Deep gratitude is owed to MountHolyoke College Trustee emeritus LeslieMiller (’73), who was instrumental in sched-uling museum tours and securing access toseveral private collections.

FINANCIAL RESOURCES

The Museum ended FY13 with healthy bal-ances in operating reserves, however, thesereserves will be utilized to support salaries inFY14 and beyond as grant support for sever-al key professional staff and student internpositions expires. Museum staff will continueworking diligently with the College’s Officeof Advancement to seek and secure endow-ment and grant funding in order to maintainappropriate staffing levels.

A second grant from the IMLS continues to support thecrucial digitization and research of the collection.

Grants from the Andrew W. Mellon Foundation and the Pierre and Tana Matisse Foundation sponsor richlearning experiences for Mount Holyoke students.