Page 1
Page 2
Page 3
Page 4
Page 5
Page 6
Page 7
Page 8
Page 9
Page 10
Page 11
Page 12
Page 13
Page 14
Page 15
Page 16
Page 17
Page 18
Page 19
Page 20
Page 21
Page 22
Page 23
Page 24
Page 25
Page 26
Page 27
Page 28
Page 29
Page 30
Page 31
Page 32
Page 33
Page 34
Page 35
Page 36
Page 37
Page 38
Page 39
Page 40
Page 41
Page 42
Page 43
Page 44
Page 45
Page 46
Page 47
Page 48
Page 49
Page 50
Page 51
Page 52
Page 53
Page 54
Page 55
Page 56
Page 57
Page 58
Page 59
Page 60
8 AFRICAN ART IS ANOTHER RAPIDLY EVOLVING area of the collection and the reinstallation has al- lowed us to create the rst permanent gallery in the Five Colleges for the display of art from Africa. This gallery also connects to Smiths global curriculum enabling us to broaden the diversity of artistic per- spectives on view in the museum. In 2014 Amanda Gilvins African art history class created an explor- atory exhibition about the display and interpretation of the art of Africa. This effort supported the work of a project team including exhibition designer Alan Knezevich and consulting curator Gilvin for the redesign of the third oor Ketcham Gallery. En- titled Transformations in African Art the result is a dynamic space anchored by iconic works and fea- turing a regular rotation of art and themes with the ability to tell many compelling stories over time the rst years installation centers on women and power. ART IN A NEW LIGHT SCMA staff members were sorry to say farewell to William Bill Myers the museums chief preparator for the past 15 years who moved on to other projects during the summer of 2015. Bill founded the Frame Conservation Program and mentored numerous students who enrolled in this undergraduate volunteer training program that combined an introduction to conservation theory and practice with hands-on experience. Graduates of the program have gone on to opportunities at institutions such as the Metropolitan Museum of Art the de Young Museum and Bostons Museum of Fine Arts as well as to Guggenheim fellowships and masters degrees in art conservation from programs across the United States and Europe. Bill made many valuable contributions during his tenure at the museum and his naland perhaps most importantproject was to re-lamp our galleries with LED light xtures. For more than a dozen years Bill and Associate Director for Museum Services David Dempsey closely monitored the technology waiting for it to mature into a museum-quality alternative to costly incandescents. Patience paid off and ultimately they identied the most reliable high-quality lights and coordinated with Smiths Ofce of Campus Sustainability to secure grant money and nancing from electric companies. The benets to LEDs are many they are longer lasting which saves two to three hours each week in staff time spent changing bulbs they generate less heat which is not only better for the artwork but also saves on air conditioning costs and they draw less energy signicantly reducing the museums overall carbon footprint. Thanks to Bills vision and determination SCMA joins a small but growing list of arts institutions lighting the way literally to a more environ- mentally sound and responsible future. MUSEUM REIMAGINED