SPRING 2017 DANA - The Newark Museum of Art · 2020. 1. 2. · Cultural Trust, the Prudential...

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SPRING 2017

A M A G A Z I N E F O R M E M B E R S O F T H E N E WA R K M U S E U M

DANA

DANAA MAGAZINE FOR MEMBERS OF THE NEWARK MUSEUM

ISSN 2472-9701© Copyright 2017 Newark Museum49 Washington StreetNewark, NJ 07102-3176

DANA is published by the Newark Museum Association as a benefit of Museum membership. It can also be viewed at newarkmuseum.org/membership

Steven KernDirector & Chief Executive Officer

Deborah Kasindorf Deputy Director, Institutional Advancement

U. Michael SchumacherDirector of Marketing

Printing: Hanover Printing of NJ, Inc.Design: Nancy Fischer, Newark Museum

Comments may be sent to: [email protected].

To receive the latest information on Museum events and programs, sign up for our monthly eBlast at newarkmuseum.org/email-signup

Newark Museum AssociationClifford Blanchard, Co-chairChristine C. Gilfillan, Co-chair Robert H. Doherty, Vice PresidentStephanie Glickman, Vice President Kathy Grier, Vice President Peter B. Sayre, TreasurerSteven Kern, Secretary, Director & CEO

Executive Committee MembersJacob S. BuurmaShahid MalikRonald M. Ollie

City of NewarkRas J. Baraka, Mayor

Municipal CouncilMildred C. Crump, PresidentAugusto Amador, East WardJohn S. James, South WardCarlos M. Gonzalez, At-LargeAnibal Ramos Jr., North WardGayle Chaneyfield Jenkins, Central WardJoseph McCallum, West WardEddie Osborne, At-LargeLuis A. Quintana, At-Large

The Newark Museum, a not-for-profit museum of art and science, receives operating support from the City of Newark, the State of New Jersey, the New Jersey State Council on the Arts/Department of State—a partner agency of the National Endowment for the Arts, the New Jersey Cultural Trust, the Prudential Foundation, the Geraldine R. Dodge Foundation, the Victoria Foundation, the Wallace Foundation, and other corporations, foundations, and individuals. Funds for acquisitions and activities other than operations are provided by members and other contributors.

Gallery HoursWednesday through Sunday, noon–5 pmClosed Monday and Tuesday (except for Dr. MLK Jr. Day), July 4, Thanksgiving Day, December 25 and January 1.

Barrier-free entrance and on-site parking available for a fee.

Museum AdmissionAdults: $15; Children, Seniors and Students with valid ID: $8; Members and Newark Residents: FREE

Not yet a member? 973.596.6699General Information: 973.596.6550Group Reservations: 973.596.6690

TTY: 711

For information about exhibitions, programs and events, as well as for directions and parking information, visit us at newarkmuseum.org.

Cover image: Liberty Bowl, 1990. Susan R. Ewing, Oxford, OH. Silver, 4 x 13 ½ x 15 in. Gift of Susan Ewing in Memory of Alma Eikerman, 2004 2004.58

TABLE OF CONTENTS:

1 Message from the Director

2 New Installation:

Style & Status in Sterling: American Silver in the Newark Museum

4 In the Galleries

6 Membership

8 Development

11 Docent's Choice

12 Education

16 Behind the Scenes

17 Impact

18 Museum Support

DANA magazine is made possible by a generous grant from

John Cotton Dana,Founding Director

Spring 2017

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Steven Kern

MESSAGE FROM THE DIRECTOR

This brings me to the subject of funding all the great things we do. The Museum is pleased to be a recipient of a major grant from the Henry Luce Foundation to continue the reinstallation of Seeing America on the second floor and to research and publish highlights of our American collections (see page 9), starting with our Native American masterworks. Upcoming projects also reveal the impact of the imperiled NEA, NEH, and IMLS: The Rockies and the Alps exhibition, the African collection reinstallation, and access and community engagement projects, respectively. I ask that every member and visitor join the Museum in advocating for these valuable federal agencies, which are among the most democratic distributions of support in the country. A country is great when its arts and education are allowed to flourish.

Not just the devil, but also joy, is in the details. Come to the Museum to see why.

The devil, as the saying goes, is in the details. This has special meaning as the Museum breaks ground on the long-awaited reopening of the historic Washington Street entrance, which is captured above at the laying of the cornerstone in 1925. Louis Bamberger is in the center and John Cotton Dana to his left. Indeed, two years of planning went into the current project (see page 17) that will reconnect the Museum directly to sidewalk life. But that is only the beginning, as the new entrance will also assure access for all, create a new outdoor plaza, enlarge space for special exhibitions, provide for updated visitor services, and include new installations of the Museum’s distinguished collections of African art and art of the ancient Mediterranean. Every department has been involved as we prepared, and now implement, this exciting transformation.

While special exhibitions are on hold during construction, there is still much to see and do at the Museum. Late Thursdays have joined Second Sundays in expanding the Museum’s rich programs to accommodate our visitors’ busy schedules. New in the Ballantine House is an installation of the Museum’s silver collection, Style and Status in Sterling. The recent installations of Native Artists of North America and of Seeing America, on the first floor, are worthy destinations.

2 | DANA Spring 2017

This is why museums exist, after all: to remind us of things we’ve forgotten or maybe didn’t even know in the first place. Silver is part of our history, and it is part of our artistic heritage as a nation.

In May 2017, in the original Guest Room of the 1885 Ballantine House, the Newark Museum will unveil its first-ever permanent gallery devoted to American silver from the Colonial period to the present day. The approximately one hundred objects, ranging from tablespoons to massive candelabra, represent the story of silver in America and were chosen from one of the most comprehensive museum collections of American silver in the country.

Nobody has ever needed objects made of silver. Yet silver objects have been made and used and treasured here since Europeans first set foot in North America.

So why would a museum want to create a gallery devoted to the use and production of silver objects for the American home? The answer is simple. Because silver still matters, even if many Americans have forgotten why.

Art nouveau loving cup given to a New Jersey insurance executive to celebrate his forty years of service, Gorham Manufacturing Company, 1905. Silver, 19 x 13 in. Gift of James Hillas, 1967 67.155

One of a pair of candelabra made for the Paris World’s Fair in 1900. Tiffany & Co., 1900. Silver, 28 ½ x 22 x 12 ½ in. Purchase 2011 Helen McMahon Brady Cutting Fund 2011.1.2.10

IN THE NEWARK MUSE UMTwo of the key themes are “Because we love you” and “Showing off.” Silver is a mineral (Ag on the periodic table of elements) and has been considered precious since ancient Egypt and Han Dynasty China (206 BC–AD 220). For thousands of years, silver has been associated with money and power. As a result, its intrinsic value has elevated the prestige of any object made from it and any person who owns it.

If you give someone an object made of silver, you are telling them they are loved; they matter; they are precious. That’s why silver

objects are given to couples to honor their marriage or mark an anniversary. Silver is also given to celebrate the birth of a child, or to honor a long career or a job well done.

NEW INSTALLATION


“Showing off” is a less subtle theme. Because silver had long been associated with cash and therefore represented literal wealth, silver objects are a traditional way to demonstrate personal status. One of the Museum’s founding trustees purchased a massive pair of ornate silver candelabra that Tiffany had displayed in two different world’s fairs.

The exhibition’s simplest themes involve stylistic change over time and the use of silver as an artistic medium. A small timeline of coffeepots demonstrates how silver has traditionally been an indicator of current fashion. Nine beautiful coffeepots show how a single form changed stylistically from the middle of the eighteenth century to the beginning of the twenty-first. Every stop on the timeline will include a snippet of American history to remind visitors what was going on when each piece was made. A unique coffeepot made in New York City by Halsted and Myers dates from the mid-1760s, just after the end of the French and Indian War. Myer Myers was the only Jewish silversmith in Colonial America, and Benjamin Halsted had a silver shop in Elizabeth, New Jersey.

At the other end of the spectrum, a postmodern coffeepot, made in 1999, was a collaboration between New Jersey silversmith Ubaldo Vitali, and New Jersey glassmaker Leonard DiNardo. Commissioned by Movado for the Millennium, it recalls a time when people everywhere were worried about the “Y2K bug” that was going to cause computers all over the world to crash.

Because silversmithing can be an expression of artistic talent, there is a section devoted to silver objects that were intended as works of art. Another section of the gallery will be devoted to objects made of electroplated silver. The technology for electrically transferring pure silver onto the surface of a base-metal object (tin, copper or another white metal) was developed in the United States by the 1840s. This allowed people of modest means to have access to silver objects.

Every major religion has used silver vessels for its worship practices because of the ancient belief that silver was purifying and noble. There are four objects that specifically relate to Christian and Jewish religious rituals.

There is also a small section, clustered on the Guest Room’s carved mantelpiece, reminding visitors that Newark was a major silversmithing city, and encouraging them to visit Newark, City

of Silver and Gold from Tiffany to Cartier on the first floor of the Museum’s North Wing.

– Ulysses Grant Dietz, Chief Curator and Curator of Decorative Arts

Style & Status in Sterling is made possible by: Ruth L. Hutter and Eleonore Kessler Cohen & Max Insel Cohen

On view in the Ballantine House, second floor.

Colonial coffeepot made in the shop of Myer Myers and Benjamin Halsted, 1763–65. Silver and wood, 11 x 8 ½ x 5 ½ in. Purchase 2016 Mr. and Mrs. WIlliam V. Griffin Fund 2016.7

Coffeepot by Ubaldo Vitali and Leonard DiNardo, 1999. Silver and glass, 13 x 7 ½ x 5 ¼ in. Gift of Movado, 1999 99.32

Art nouveau flatware in the “Douvaine” pattern made by Unger Brothers, Newark, 1908.Given in memory of Eugene Unger and Emma Dickinson Unger by their daughter, granddaughter, and great-granddaughter, 1969 69.132L6; M6; P6

Silver is part of our history, and it is part of our artistic heritage as a nation.


Although the city of Newark’s 350th anniversary has passed, the

Museum’s permanent gallery of silver and jewelry remains on

view. Tiffany & Co. may have been Newark’s most famous silver

manufacturer, but the city was also home to a number of important

silver companies as well as the center of a vast gold jewelry industry.

By 1900 sterling silver objects were being mass-produced at modest cost and sold through jewelry stores in every state in the country. During the same period, fourteen-karat gold jewelry had become a staple of modern fashion for both men and women. Newark jewelry workshops produced millions of pieces of gold jewelry annually.

On view in the Vivienne and Stanley H. Katz Gallery, North Wing, first floor.

AMERICAN CRAFT: A NEWARK MUSEUM SAMPLERThe Contemporary Craft Gallery on the first floor of the Museum’s North Wing feature a new installation focusing on American Craft of the last thirty years. Furniture, silver, ceramics and glass objects demonstrate the diversity of the Museum’s landmark holdings in American Craft. Included are masterworks by Native American artists and African-American artists, as well as superb works by New Jersey’s best-known studio craftspeople, such as Ubaldo Vitali and Paul Stankard.

On view in the Contemporary Craft Gallery, North Wing, first floor.

WHEN OBJECTS BECAME ARTThe Walter Scott Lenox Pavilion in the North Wing was reinstalled to highlight the Museum’s century-old commitment to collecting and displaying modern ceramics and glass as art. Art ceramics purchased between 1911 and 1926 are spotlighted, along with three examples of art glass from the 1920s. In 1910 the Museum mounted an exhibition called Modern American Pottery and founded its decorative arts collection with examples from this display. With the completion of the new museum building in 1925, more modern ceramics were purchased. The Museum started buying modern glass in 1912, and added major examples purchased from a 1929 exhibition at Bamberger’s Department Store called International Ceramics and Glass that was echoed by an installation here.

NEWARK: CITY OF SILVER AND GOLD FROM TIFFANY TO CARTIER

Marblehead Pottery, U.S., Vase, ca. 1910. Thrown earthenware with applied slip decoration, 7 x 4 in. Purchase 1911 11.489

Paul Stankard, Fecundity Bouquet, 2014. Blown and flameworked glass, dia. 4 in. Gift of Paul and Patricia Stankard, 2014 2014.37a,b

François Décorchement, France. Bowl/vase, ca. 1928. Molded glass, 6 ½ x 12 in. Purchase 1929 29.1369

Ubaldo Vitali, Anniversary Service, 1984. Silver, ebony, ivory, plastic, 11 x 31 x 15 in. (overall) Purchase 1984 The Members’ Fund 84.1a-f

IN THE GALLERIES

On view in the Walter Scott Lenox Pavilion, North Wing, first floor.This exhibition is made possible by:

The Merrill G. and Emita E. Hastings Foundation.


is at the same time distorted and thus “false”—and the “true” image corrected by the cylindrical mirror, which is actually a reflected optical illusion. What Will Come is believed to be the first anamorphic film.

The subject of the film is the Italian-

Ethiopian war of the 1930s, during which the strength of the Ethiopian resistance took the Italians by surprise. It unfolds as a series of visual fragments—bombs dropping, fighter planes, a gas mask, a globe teetering on legs, a carousel and an image of the artist himself. The haunting imagery is amplified by an evocative soundtrack that combines the shriek of descending bombs, an Italian marching song, a piece by Dmitri Shostakovich based on a Jewish song (and written during WWII), and the sounds of children’s squeals of delight. Exploring links between Fascism and colonialism, the work is a continuation of Kentridge’s ongoing exploration of patterns of oppression and Western European intervention in Africa. The title of the film is based on a Ghanaian proverb, “what will come, has already come,” a reference to the repetitive nature of history, including these patterns of oppression.

– Christa Clarke, Ph.D., Senior Curator, Arts of Global Africa

On view in the Arts of Global Africa Gallery, Main Building, second floor.

William Kentridge’s What Will Come (2007) is an 8-minute, 40-second, 35 mm anamorphic film that is projected from above onto a round table and reflected in the mirrorlike finish of a stainless steel cylinder in the center. The projection is created by Kentridge using his signature technique, begun in the 1980s, of drawing and erasing on a sheet of paper and filming that process frame by frame. In this case, the animated drawings are anamorphic, deliberately drawn by the artist in distortion (which he does by looking into a mirror while drawing) and only deciphered at a certain angle. They are “corrected” by the steel cylinder, which functions as an anamorphic lens, inverting and reflecting the distorted images projected on the table.

Kentridge’s use of anamorphosis—a kind of "picture puzzle" that originated in the sixteenth century—is to “make you aware of the process of seeing and aware of what you do when you construct the world by looking. This is interesting in itself, but more as a broad-based metaphor for how we understand the world.” The viewer sees a pair of images—the true, original image on the table, which

ASIAMUSICAL ARTS OF

An extraordinary range of music echoes throughout Asia. Many varieties of string, wind and percussion instruments and unusual ways of expressing the human voice (like throat singing) remain mostly unknown in the West, even though they have serenaded audiences across Asia for more than 12,000 years.

Musical Arts of Asia, which recently opened in the Asian Galleries, represents music made in service of both sacred and secular traditions of East, South and Southeast Asia. The exhibition features actual musical instruments, as well as prints and paintings of singers, dancers, puppeteers, drummers, strummers, ringers of bells, blowers of horns, and other musical modes. Additional works in ivory and lacquer from China, India, Japan, Korea, Nepal, and Tibet reveal a range of dynamic melodic traditions.

Instruments and visuals in Musical Arts of Asia will be enhanced by audio and video media—a feast for the eyes and ears. The installation is part of the Museum’s ongoing conservation efforts, which require the rotation of fragile objects within its galleries. Works within Musical Arts of Asia can be found throughout the Asian galleries—China, Japan, Korea, Nepal, and Tibet—and can be identified by a unique text label.

– Katherine Anne Paul, Ph.D., Curator, Arts of Asia

On view in the Asian Galleries, North Wing, third floor.

WHAT WILL COMEWilliam Kentridge's

Gisan, Kim Jun’geun (active ca. 1880s–90s), Two Buddhist Monks Playing Cymbals and Drum, Korea, late 19th c. Colors on paper, 8 x 5 in. Purchase 1918 18.50


MEMBERSHIP

Deborah W. Bailey Attilio BisioPhyllis N. BuchsbaumMargery and Frederick CohenJohn S. EddyAlice and Glenn D. EngelLinda and William FarrellLinda Glassmith

Catherine and Wayne D. GreenfederBarbara E. Kauffman and Alan J. HorwitzArline J. Lederman and Edward A. FriedmanJane LevineTara LevyLinda M. LobdellThomas MarloweSusan Mayo and Eugene Cornell

Linda and Joshua MilsteinMary Jo Patterson and David WaldJoan and C. Theodore PinckneyCynthia and Andrew H. RichardsDavid C. SiegfriedJudy and Josh S. WestonJoan and Robert G. White Jr.Elizabeth A. Wolf and Andrew Lee

107TH ANNUAL MEETING OF THE NEWARK MUSEUM ASSOCIATION

Following the business portion of the meeting, Dr. Christa Clarke, Senior Curator, Arts of Global Africa, discussed the upcoming reinstallation of the African Art collection in the Museum's flagship gallery on the first floor, as well as the forthcoming publication of our first catalogue devoted to the arts of global Africa.

After the presentation, members joined Christa in the African Art gallery to view the Museum’s latest acquisition, What Will Come (2007), a video installation by South African artist William Kentridge. (See page 5 for more details.)

At this year’s Annual Meeting, held on February 14, Director Steven Kern thanked and recognized the following newest Membership Fellows for their 25 years of continuous membership.


PATRON LEVEL MEMBERS AND ABOVE: RECEIVE FREE ADMISSION TO MUSEUMS NATIONWIDE

Linda and Joshua MilsteinMary Jo Patterson and David WaldJoan and C. Theodore PinckneyCynthia and Andrew H. RichardsDavid C. SiegfriedJudy and Josh S. WestonJoan and Robert G. White Jr.Elizabeth A. Wolf and Andrew Lee

MEMBERS MORNINGSJune 11, 10 am-noon Rediscover our Dynamic Earth! Susan Petroulas, Senior Museum Educator, will guide you through the interactive family-friendly galleries that teach you all about our Earth’s history. In addition to a mini workshop, join us for “Origins of Life” — a motivational planetarium show that demonstrates that if there was ever a time when science was making its greatest advances, it's right now!

July 29, 10 am-noon Sacred and Secular Sounds: Musical Arts of Asia & Tibetan Buddhist Altar Dr. Katherine Anne Paul, Curator, Musical Arts of Asia, will treat members to a participatory audio and visual feast in the galleries of the Arts of Asia. Play finger-cymbals, strike double-sided drums and feel the reverberating power of the seed syllable “OM” while viewing paintings and sculptures that invoke music.

August 19, 10 am-noon “It’s Alive!” Kinetic Sculpture of Uram Choe Mechanical and mythic monsters are a specialty of contemporary Korean sculptor Uram Choe. Ouroboros—a serpent that swallows itself—as created by Choe is simply spectacular. Curator, Dr. Katherine Anne Paul will unpack the significance of this recent acquisition.

Light breakfast included. RSVP to; 973.596.6686 or [email protected]

Sign up today to receive ALL Member-Only invitations newarkmuseum.org/email-signup

NEWARK MUSEUM TRAVELMuseum members are on the go in 2017! The Museum’s Day Trips offer unique curated experiences. Discover Bamberger’s Newark with premier tour guide, Liz Del Tufo, and author Linda Forgosh. Be among the first to visit the “The New” Museum of the American Revolution (opened April 19) in Philadelphia. You can also explore the Bruce Museum and Brant Foundation Art Study Center, a private museum included in Art News’ list of America’s Top 10 Private Contemporary Art Museums. If you enjoy the outdoors, join us for a trip to Storm King Art Center and Historic Newburgh. The Spring 2017 Day Trip schedule is rounded out with Music at Mohonk—a concert and lecture in the Mountain House, followed by a guided architectural tour. These wonderful trips are available to all Museum members. For details on these and other fabulous Museum travel opportunities, visit newarkmuseum.org/day-tours.

Whether you’re catching a plane, taking NJ Transit to New York or exploring museums in New Jersey, be sure to take your Newark Museum membership card with you. As a member at the Patron level or above, you can visit the following museums for FREE: Brooklyn Museum of Art, Denver Art Museum, High Museum of Art in Atlanta, Los Angeles County Museum of Art, Montreal Museum of Fine Art and hundreds more. For a complete list of participating museums, please visit newarkmuseum.org/reciprocal-programs.

To upgrade your membership today, contact the Membership Department

at 973.596.6686 or [email protected]

MAKE THIS YOUR MUSEUM If you are a resident of Newark, sign up today for your FREE Newark Museum Membership.And start enjoying the benefits including discounts in the Museum Shops and more.

To join, stop by the Museum or call 973.596.6686.

Make plans today to join us for our Annual Tea, hosted by the Newark Museum Volunteer Organization to benefit exhibition and education programs. More than just a tea, it’s an elegant luncheon and an afternoon full of fun. The event begins with an extraordinary presentation, 37 Years of Defining Museum Quality, by Chief Curator and Curator of Decorative Arts, Ulysses Dietz, followed by a delicious lunch. Guests receive a special discount in the Museum Shop, as well as an opportunity to win exciting raffle prizes.

Bring along friends and share this wonderful experience. For information about sponsorship opportunities or to purchase tickets, please call us at 973.596.6337.

TUESDAY, MAY 16, 2017

NEWARK MUSEUM 26TH ANNUAL TEA

VOLUNTEER NEWS Having a Newark Museum Membership. PRICELESS! –Carole, Benefactor Level Member


The Explorers Program at the Museum has become a nationally recognized model for providing young people with the STEAM skills necessary to successfully compete in the twenty-first-century global marketplace. Generous new support from The Provident Bank Foundation and AT&T will play an important role in the continued success of the Explorers Program, which has sent one hundred percent of its graduates to four-year colleges during the last ten years.

Students in the three-year program come from Newark-area high schools and undergo a rigorous admissions process. Upon entering the Explorers Program, the students participate in unique learning experiences including paid internships, small-group instruction, research projects, and workshops on an array of science and art topics and “life skills” classes. As Executive Director of The Provident Bank Foundation Jane Kurek shared, “The Newark Museum’s Explorers Program is a perfect fit for our Major Grants, because it is an initiative that focuses on enhancing the quality of life for those within the community. At The Provident Bank Foundation, we believe that a good education requires strong academic support and curriculum

development, and we strive to give people of all ages the tools and knowledge to succeed. We are grateful to provide support to organizations like the Newark Museum which, in turn, provide valuable services to their community.”

Corporate support is vital to the Explorers Program in underwriting, among other things, STEAM-related workshops and instructors. Michael Schweder, president, AT&T Mid Atlantic said, “It’s so important for students to have strong STEAM skills so they’re well prepared for whatever they choose to do after graduation from high school. The Explorers Program has a long and successful history, and we’re proud to help them offer Newark’s students such a unique learning opportunity.”

The Provident Bank Foundation and AT&T join the PSEG Foundation, which has provided lead support for the Explorers Program for nearly twenty years, as major corporate contributors of this signature education initiative. The Museum is grateful for their generous support. (See related article on page 12.)

The Newark Museum’s upcoming exhibition, The Rockies and the Alps: Bierstadt, Calame, and the Romance of the Mountains, has received national recognition with the awarding of a project grant from the National Endowment for the Arts (NEA). Opening in March 2018 in the Museum’s newly renovated changing exhibition gallery space, this show will feature masterpieces by some of America’s most accomplished landscape artists—including Albert Bierstadt, Worthington Whittredge, Thomas Cole, Samuel F.B. Morse and John Casilear—alongside the works of Alexandre Calame, the leader of the Swiss Alpine school, and other leading European landscape artists.

Drawing on the Museum’s extraordinary landscape collection and bringing in numerous loans from distinguished private collections and museums, The Rockies and the Alps takes a fresh look at the travels of American artists and the European connections that shaped their imagery of the American West. By exhibiting these works of art alongside Alpine herbarium and mineral specimens from the Museum’s natural history collection, as well as prints, photographs, postcards, and tourist guidebooks, visitors can appreciate the full natural and cultural context in which these paintings were created.

This generous grant award furthers the Museum’s and the NEA’s mutual commitment to supporting arts learning, celebrating

America’s rich and diverse cultural heritage, and promoting equal access to the arts in every community.

The NEA joins the PSN Family Charitable Trust in providing major support for this exhibition initiative.

CORPORATE SUPPORT HELPS MAKE EXPLORERS PROGRAM POSSIBLE AND CHANGES LIVES

NEA GRANT AWARDED FOR UPCOMING EXHIBITION HIGHLIGHTING 19TH-CENTURY LANDSCAPE COLLECTION

Albert Bierstadt, Western Landscape,1869. Oil on canvas, 36 ¼ x 54 ½ in. Purchase 1961 The Members’ Fund 61.516

DEVELOPMENT


MAJOR GRANT FROM HENRY LUCE FOUNDATION

Installation view of Surrealism and Abstract Expressionism, second floor, North Wing; Norman Lewis, Untitled, 1953 (center), purchased for Newark’s American Art collection in 2016, is now on view in Seeing America.

The Newark Museum is a leader in early childhood programming, providing thousands of early learners from school districts throughout the state with dynamic art and science educational opportunities designed to develop art, science, literacy and math skills. Thanks to TD Charitable Foundation, students from Newark, Elizabeth, and Paterson public schools are able to participate in these enriching programs free of charge. The Newark Museum appreciates TD's continued support to help make these programs available for its youngest visitors.

TD CHARITABLE FOUNDATION SUPPORTS EARLY LEARNING

(from left) Sonnet Takahisa, Deputy Director for Engagement and Innovation, Newark Museum; J. Scott Beresford, Vice President and Senior Lender, Union-E. Essex Lending, TD Bank; Renee Rattigan, Vice President, U.S. Field Marketing Strategy, TD Bank; D. Nicholas Miceli, Market President, TD Bank; and staff and students from La Vida Child Care Center.

AWARDED FOR EXPANSION AND REINTERPRETATION OF AMERICAN ART GALLERIES

The Newark Museum has received a major grant from the Henry Luce Foundation to expand and reimagine its permanent galleries of American art and to document the collections through two new publications. “The Henry Luce Foundation is proud to provide major support to the Newark Museum for this new work to reinterpret and revitalize their extraordinary American art collections, and to assure that they remain a lively cultural resource for communities in Newark and beyond,” said Teresa A. Carbone, Program Director for American Art, Henry Luce Foundation. The two-year grant will support the American art collections in the Museum’s recently renamed Seeing America galleries, previously called Picturing America. Works from the Native American collection and a diverse selection of African-American, Latin American and European-American art will be featured in a new reinstallation, including a new gallery featuring objects from the Arts of the Americas collection in context with works by American modernists like Adolf Gottlieb, Louise Nevelson, Josef Albers and Leon Polk Smith. The physical renovations will include upgraded lighting and expanded wall space throughout the Twentieth Century galleries. “We are completing the transformation from Picturing America to Seeing America with beautifully renovated galleries, some exciting new works coming out of storage, and new interpretation. This broader view of American art does justice to the diversity and scope of these collections,” said Tricia Laughlin Bloom, Ph.D., Curator of American Art. The Newark Museum is grateful for this most generous support from the Henry Luce Foundation.


Nicki Kessler (South Orange, NJ), docent, volunteer, donor: “We all have done many interesting things in our lives, but being a docent at the Newark Museum for almost 30 years has provided me with knowledge, appreciation of different cultures, opportunities for in-depth exploring and fun times giving tours to so many different visitors. Also, I have gained an understanding of the inner structure of our Museum. Because I have so loved going on trips, seeing exhibitions and attending many lectures, I have been moved to donate to the Museum, which is great and in need of our support.”

Roberta Thaxton (Orange, NJ), planned giving donor: "The Newark Museum has brought cultural beauty, fantastic programs, and great staff into my life for many years. I was introduced to the world of museums when I was seven years old. I was concerned during the recession and began to give periodic donations, eventually deciding to make a planned gift to ensure that the values [the Museum] stands for and the people it serves can continue to benefit the way I do from its people, its art and its ideas. I feel good knowing that I am doing what I can to support such a wonderful place that means so much to me.”

Penny and Jeff Leman (Mountain Lakes, NJ), Founder’s Society members: “We have truly enjoyed our behind-the-scenes exchanges with curators and getting to know fellow members at Founder’s Society events. Over the years since we first joined in 2009, we have found the experience of gatherings at the Museum and in private collections to be exceptional. We also feel good that our membership makes a real difference to a nonprofit we care about.”

Mary Courtien (Summit, NJ), docent, volunteer and traveler since 2005: “There is nothing like traveling with the Newark Museum, period! I have learned so much and have been so inspired. The more I travel, the more I value the rich collections of the Newark Museum. That’s why it has become so important to me to give back to the Museum each year—

through the annual fund or fundraising efforts—to help this wonderful nonprofit continue to educate and inspire so many of us year after year.”

Dr. Algernon Phillips (Newark, NJ), member and supporter of Museum collections: “My history with the Newark Museum goes back to 1947, when I spent many Saturday mornings in the Junior Museum taking courses in nature and in art with a woman I remember well, Mrs. Turnbull. Nothing is as important as a good education, and I’ve cultivated my understanding of the sciences and art history all my life, from 19th Century American to Decorative arts and beyond. For me the Newark Museum is a keeper of great works of art and a proponent of lifetime learning. By funding its programs and supporting its

library collections, I hope to continue a great tradition of educational excellence.”

Barbara E. Kauffman (Montclair, NJ), 25-year Newark Museum member: “As Executive Vice President of the Newark Regional Business Partnership, I am deeply committed to the mission of the Newark Museum. We are fortunate to have a world-class museum at our doorstep, something that every Newarker, whether worker, resident or visitor, can cherish. It is a place to see expertly curated exhibits, attend amazing activities, learn about cultures and artists, and come together as a community. I am proud to have served as president of the Newark Museum Business

& Community Council. Personally, I have brought all of my family members here, including my 91-year-old father, and I buy virtually all of my gifts at the shop. I am proud to celebrate my 25th year as a member, I hope to make it 50 years.”

What inspires you to give back to the Newark Museum? Tell us your story. Share your favorite memory, a noteworthy experience in the galleries or your reasons for supporting the Newark Museum.

Contact us at [email protected] or call 973.596.6491. We look forward to hearing from you!

WHY I GIVEYOU, our Newark Museum supporters, make great things possible. What better way to celebrate our generous and dedicated Members than to let you recall in your own words why the Newark Museum matters.

The Newark Museum has brought cultural beauty, fantastic programs, and great staff into my life for many years. I was introduced to the world of museums when I was seven years old.

DEVELOPMENT


As you approach The Arch of Titus, think of a painting by committee. This treasured piece, completed in 1871, was conceived and produced by three American artists living in Rome.

George Peter Alexander Healy, best known as a portrait painter, settled in Rome in 1866, where he encountered fellow artists Frederick Edwin Church — a student of Thomas Cole’s, the founder of the Hudson River School — and noted landscape artist Jervis McEntee — himself a onetime student of Church’s. Inspired by an idea of Healy's, all three joined forces in painting The Arch of Titus. Healy painted the figures; Church painted the Arch; and McEntee painted the Colosseum.

This monumental collaborative painting, a rarity in American art circles of the day, was the result of the poet Henry Wadsworth Longfellow's having commissioned Healy to paint a portrait when they happened to be in Rome at the same time.

In the right-hand corner, we can see Church seated with pencil and pad, sketching the landscape; Healy beaming over Church's shoulder; and McEntee facing the viewer while gesturing towards Church's hands. Longfellow and his daughter appear under the Arch.

The Arch of Titus speaks to the personal friendships between these three artists, as it celebrates and memorializes the camaraderie of American artists and writers, collectors and tourists in Italy in the nineteenth century. As one stands before this treasure and meets the figures of Longfellow, his daughter and the three artists, we can feel like tourists from a bygone era, looking at the Arch and wondering about the reliefs on the walls. And so, along with a heartfelt fatherly tableau of America's beloved poet strolling with his daughter, we glean a bit of history and a bit of the lives of three master painters who, as chance would have it, came together to create this composite panoramic scene.

– Eleanor Barbash Berman, Volunteer Docent.

On View in Seeing America installation, North Wing, first floor

Thanks to a generous grant from the Bank of America Art Conservation Project, the Museum is restoring a recently rediscovered and rare embroidered deerskin coat attributed to the Cherokee. This beautiful coat expands the scope of the Museum’s Native American clothing collection. After restoration, school groups, scholars and Museum visitors can enjoy seeing it up close. The coat will be ready for display in 2018 in the exhibition Native Artists of North America, the new permanent galleries highlighting Native American Art and part of the Museum’s newly reinterpreted Seeing America galleries.

The Museum began to collect Native American Art in 1910, and the collection includes holdings of Southwestern, Northwestern and Plains material from the nineteenth and twentieth centuries. The embroidered frock coat is one of only about a dozen coats of this kind

presently known in museum collections. Date estimates for this coat range from the late eighteenth to mid-nineteenth century, which is fairly early among Native American artworks and clothing in museum collections. The conservation work consists of cleaning the entire coat, humidification to reduce the deerskin’s brittleness, seam repair, embroidery attachment and repositioning the belt.

A few closely related coats are attributed to the Shawnee and Delaware and provide insight into indigenous arts of the Southeast and Oklahoma, which are poorly understood yet historically important, given the extreme cultural and material losses caused by the Indian Removal Act of 1830.

“Close study of the Newark Museum’s coat through the opportunity of conservation will yield many details of fabrication, materials and design, and add tremendous insight to the understanding of this group of objects,” said Adriana Greci Green, lead curator of Native Artists of North America.

Also restored through this grant is the 1871 painting The Arch of Titus, which has been part of the Museum’s American art collection since 1926. Recently completed and returned to the Museum's Seeing America galleries, the large-scale work by George Peter Alexander Healy, Frederic Edwin Church and Jervis McEntee will be on loan this fall to the Detroit Institute of Arts for its exhibition, Frederic Church: To Jerusalem and Back.

BANK OF AMERICA ART CONSERVATION PROJECT

THE ARCH OF TITUS DOCENT'S CHOICE

George Peter Alexander Healy, Frederick Edwin Church, Jervis McEntee, The Arch of Titus, 1871. Oil on canvas; 84 x 59 in. Bequest of J. Ackerman Coles, 1926. 26.1260


The Newark Museum Explorers have learned that our exhibitions and collections have much to offer. Now, in a series of student-led projects, they are helping to communicate their excitement about the Museum to peers and others in the community.

Support from generous funders has allowed Education Division and Coordinator Jessica Nuñez to enhance the after-school program and support the Explorers in building the skills necessary to “take charge.” In addition to positive mentoring, Museum-based internships and a rigorous college-preparatory program, the Explorers are stepping up to address real-world challenges, with a focus on engaging more teens in the Museum.

The First Year Cohort (sophomores) dives into intensive professional development that sheds light on the Museum’s vast collections. These students learn key audience engagement strategies from Museum mentors. They also participate in field trips to observe and learn new techniques for making museum experiences dynamic and engaging. Armed with these tools, they design an original cross-collection tour, including gallery activities that encourage deeper looking and conversation on the part of visitors. The students’ first hurdle involves pitching their idea and getting approval from the Junior Explorers. Their tours are offered as part of the Museum’s Saturday programming, Second Sundays programs, and during all special Festival Days.

The Second Year Cohort (juniors) designs youth event experiences that are open to students in Newark and neighboring communities. The Junior Explorers handle everything from budget and activities to food and marketing. As hosts, they emcee the events and facilitate visitors’ experiences. This year’s teams planned four different Teen Nights: “Game Night at the Museum;” a summer outdoor movie night; “Love Stinks” (in honor of Valentine’s Day); and the popular “Back to School Night.” All the events take youth into the galleries with hands-on activities created by the Explorers. Thanks to lots of social media and their own word-of-mouth

networks, the last event brought in over one hundred young people. The goal is to provide a great way for the Explorers to share their creative voices and their commitment to the Museum in a safe and inspiring setting—for teens by teens.

The Senior Explorers are working on an exhibition for the Music Room of the Ballantine House. Contrasting the youth of the 1890s with the youth of today, Senior Explorers are currently researching social and cultural trends that might have captivated a young Alice Ballantine. For comparison, they are exploring popular music from the 1890s—the themes, the instruments, and how it was disseminated—with their own musical tastes. In addition, the Explorers are examining what Alice’s bedroom reveals about her life, and what “sneak peeks” into their own rooms convey about their personalities and the time in which they live. In addition, the Senior Explorers serve as mentors in a series of teen workshops ranging from MakerSPACE-inspired topics and planetary exploration in the Dreyfuss Planetarium to more art-inspired digital stories. Workshops will take place starting in April and run for eight weeks.

These projects provide thirty-two 2017 Museum Explorers with real life experiences in a professional setting. The magic happens in how they troubleshoot, find their way, build confidence in their own abilities, serve as powerful advocates for the Museum and, most importantly, form their own agency.

The Seniors will be at the Museum Gala in May and will then host family, friends and funders at their Graduation Day on June 8. We hope to see you all there.

BEHIND THE SCENES: NEWARK MUSEUM EXPLORERS 2017

EDUCATION


SCHOOL AND TEACHER PROGRAMS: NEWARK AND JERSEY CITY PUBLIC SCHOOL PARTNERSHIPS

The best testimonials for our partnerships, however, are the students who bring their families on the weekend to show off what they discovered on a school trip.

The Newark Museum has welcomed school children to the galleries since its founding in 1909, and last year almost 100,000 students and their teachers participated in visits to explore our diverse arts, science and historic collections. Whether giving students the opportunity to connect authentic art and artifacts with content they are studying in their classrooms or providing experiences that strengthen observation and critical thinking skills and/or challenging students to reflect and respond through creative experiments and art making, the Museum has been an important partner in pre-K–12th grade education.

Particularly rewarding are the partnerships that the Museum has developed over time with teachers, school administrators and districts. This year, thanks to an anonymous private grant, 3,000 Newark Public School fourth graders are participating in a custom-designed program that aligns with their New Jersey History curriculum. The depth and breadth of the Museum’s collections—from Dynamic Earth to the newly installed Native Artists of North America to Seeing America and the Ballantine House—provide tangible connections and new perspectives on the past and the present. No matter when in the school year, what point in the curriculum, or what era of New Jersey history—from prehistory to Colonial America, the Civil War, the Industrial Revolution, the Great Northern Migration, the Civil Rights era and beyond—students use the Museum experience to expand upon their school-based learning.

The partnership with Jersey City Public schools has continued for over twenty years. This year, after an introduction to Modern Heroics: 75 years of African-American Expressionism, district administrators decided it was an especially important exhibition for eighth grade students studying Heroes and African American History. They rearranged the school schedule so that every eighth grader could come to the Museum in the fall. Their visits to the Museum galleries involved deep observation and inquiry-driven questioning that encouraged critical thinking. Then, inspired by the work of artist Kevin Sampson, who assembles sculptures as

personal responses to what he experiences in the world using all kinds of found objects, students created boats and vessels that reflected their own journeys and visions. Driven by Sampson’s commitment to process, the students had an opportunity to explore different forms and materials then tell their own stories through a three-dimensional process. Fifth graders from Jersey City are visiting the Museum this winter and spring, and we are looking forward to their creative responses to the diversity of the work of Native American artists past and present.

It is rewarding to see teachers return year after year with new students, and we encourage teachers to come and explore our galleries on their own, and as part of regularly offered professional development programs that focus on using the Museum

to support classroom teaching. The best testimonials for our partnerships, however, are the students who bring their families on the weekend to show off what they discovered on a school trip.

– Sarah Schettig, Manager of School and Teacher Programs


EDUCATION

Checking email. Looking at photos on Facebook. Watching a music video on YouTube. Sound familiar? Most of us use everyday technologies like smartphones and tablets to find and consume information and entertainment. But the Newark Museum’s MakerSPACE is exploring a different approach to technology. In the words of MakerSPACE Manager Ryan Reedell, “We use technology not only to consume, but to create.”

Part exhibition, part workshop and part digital lab, the expanded MakerSPACE is a hub of activity where ideas, materials and processes represented in objects from around the Museum come together for a remix—resulting in experimentation, skill-building and imaginative art making. This spring, every corner of the vibrant space is alive with programs and projects that make creative use of low- and high-tech tools, bringing to life the vision of lively creative exploration that led to the MakerSPACE’s 2016 expansion.

Access to some of those tools is about to expand with the addition of the MakerSHOP, a new workshop located within the MakerSPACE. The MakerSHOP, funded by The Horace W. Goldsmith Foundation, Union Foundation, and the E.J. Grassmann Trust, provides a specialized work space for using heavier-duty tools, like the CNC (computer numerical control) router. This high-tech version of an old-fashioned router follows the user’s instructions to carve, engrave, perforate and embellish wood panels and other materials. Workshop tables will provide ample space for students to gather and learn other sophisticated making skills from professional artist-makers, allowing the Museum to create new workshop and course offerings that delve into the, almost limitless possibilities of next-generation shop tools.

Fifteen students from Newark’s East Side High School are already putting some of those tools through their paces. They meet weekly for a full class day in the MakerSPACE, exploring project-based learning challenges through the “Making the Future” program supported by Cognizant Technology Solutions. Drawing on principles of design thinking, students identify everyday needs or problems and set about creating and building solutions. For inspiration, they draw on examples from the Museum’s wide-ranging collection of art and science objects and use everything from basic hand tools to 3D printers and laser cutters.

No problem is too mundane. For example, one student, frustrated that his soup came out of the microwave too hot, began exploring the galleries to get ideas for a soup-cooling device. By looking closely at a

variety of ceramics, glassware and other vessels designed to hold or heat liquids, the student refined his ideas about form and function, materials that assist in heat concentration or diffusion, and the role of aesthetics in the design of everyday objects.

These aren’t the only students taking advantage of the MakerSPACE’s potent combination of art, science and technology. This spring sees the launch of several new school visit programs offered to students in grades 3 through 6. In one program, students explore gestural drawings and algorithmic art, using simple coding software to command small Sphero robots to help them create colorful abstract artworks. In another lesson, students study different techniques for 3D modeling and create unique sculptures from clay. Then, using a heat process, they transform their sculptures into molds, which can be reused to mass-produce their own action figures, collectibles or even edibles.

The MakerSPACE is just as busy outside of school time—late afternoons and on weekends. With the support of the Institute of Museum and Library Services, every Saturday and Second Sunday, MakerSPACE Drop-Ins offer a roll-up-your-sleeves, creative hands-on experience, such as making a Southwest Native-style coiled pot from materials, other than clay—or creating found art from discarded electronics components, à la Louise Nevelson, whose massive found-object sculptures loom over the American Art galleries. And on Saturday mornings, the MakerSPACE now hosts a teen course on stop-motion animation, part of a series designed by and with Museum Explorers. From Eadweard Muybridge’s running horse to Disney and Pixar, the art of animation has used analog and digital tools to bring stories and images to life on screen. Course participants will be able to conceptualize and produce their own animated short or music video using smart tablets. Inspired by investigations into animated, sequential and narrative art in the galleries, the young animators will work from storyboards and character sketches, building sets, creating characters and using animation software to create their short films. At the end of the session, their work will be presented in a “film festival” during a final exhibition of teen course work in June.

All this activity helps to build excitement for the Museum’s fourth annual Greater Newark Mini Maker Faire on May 6th. The only official Maker Faire taking place in the state of New Jersey, the Mini Maker Faire brings together an eye-popping, mind-blowing, expectation-defying smorgasbord of projects and demonstrations that combine science and creativity—from robotics to sewing, rockets to Lego. This year’s event features Jayde Lovell, host of the ScIQ web channel on the Young Turks Network. Lovell’s high energy, fun approach to communication demystifies the science secrets behind everyday activities. One of her most popular includes inviting audiences to take on physical challenges that reveal the forces of physics in the body, daredevil-style. This year's Mini Maker Faire is sponsored by the PSN Family Charitable Trust and Investors Foundation.

With each program and event, participants and Museum educators discover more and deeper connections between the objects they’re making and those on view in the galleries. As they confront the challenges, frustrations and joys of working with raw materials and complex processes, their appreciation of and respect for the skills of master makers grows. By activating our own senses, hands and minds in the MakerSPACE, we return to the galleries with newly sharpened attention and interest for small details that combine in the remarkable creations on view. As students, makers, artists and Museum educators continue to work and learn together in the MakerSPACE, new channels of inquiry and inspiration open up every day. Join us!

MAKERSPACE NEWS


LATE THURSDAYS AND SECOND SUNDAYSFrom daytime adventurers to night owls, the Newark Museum’s regularly recurring monthly programs have something to offer everyone.

Throughout 2017, the Museum offers Second Sundays, presented by The Horizon Foundation for New Jersey with additional support from United Airlines. A lively mix of performances, tours, talks, and art-making experiences, Second Sundays focus on a theme related to current exhibitions and activities within the Museum. Young families can take a gallery workshop together, then create handmade artwork to take home. Intellectually curious adults can join the ongoing conversations about art and society through artist and expert talks, films, and tours with Gallery Aferro’s living artists, the Museum’s teen Explorers, and knowledgeable volunteer docents. And everyone’s welcome to take part in a drop-in MakerSPACE project or gallery pop-up surprise. Themes vary each month: April—Festival of Native American Art, May—A Musical Mother’s Day, and in June—Art of Mindfulness. Details can always be found on our website.

On Late Thursdays, we turn down the lights and turn up the music for fun, creatively inspired social evenings. Late Thursdays offer a fresh take on the Museum’s captivating collections, as unexpected activities spark new insights and new connections—with art, ideas, and one another. Live performances, artist workshops, and interactive games make the galleries come alive. The Planetarium transforms into Another Planet, as the 360° full-dome highlights digital art and music. Each evening focuses on a different topic or theme, generating a unique experience every time. In April, we reconnected with nature as spring returns with a Green Up evening. We met some of the area’s green entrepreneurs, discovered urban wildlife, and created brush-painting the cherry blossoms. In May, Make a Noise explores the magic of mixing art and sound. Turn found objects into instruments, experience live improvisation, and get the backstory behind one artist’s sound-and-motion artwork. In June, welcome the Summer Solstice with a laid-back evening of warm weather sights and sounds. Make solar-powered art, vote for your favorite sunrise and sunset images from the Museum’s collection, and count down a toast to the sunset on one of the longest days of the year.

Thank you to McElvoy, Deutsch, Mulvaney & Carpenter, LLP for underwriting free admission for this spring's Late Thursdays.

With these monthly programs, you’ll always know when something is happening, yet you’ll see and do new things each time. Put creativity on your calendar, and join us for Second Sundays and Late Thursdays through June.


BEHIND THE SCENES

(fig. 2)

ASIAN WORKS FROM NEWARK MUSEUM COLLECTION ON VIEW IN NASHVILLE

Hundreds of guests attended the opening of Secrets of Buddhist Art: Tibet, Japan, and Korea at Nashville’s Frist Center for the Visual Arts on February 9. The exhibition, which presents more than one hundred works from the Newark Museum’s renowned collection, was organized by Dr. Katherine Anne Paul, Curator of the Arts of Asia. The Frist’s monumental galleries showcase magnificent and rare objects and this exhibition features many never-before displayed works. Secrets of Buddhist Art will be on view at the Frist Center for the Visual Arts, Nashville, Tennessee, until May 7.


IMPACT

A transformative moment is unfolding at 49 Washington Street, as the Newark Museum breaks ground in April to reopen the historic 1926 entrance that has been closed for twenty years. The entrance will be dedicated to the great Newark philanthropist and department store magnate Louis Bamberger. A founding trustee of the Museum, Bamberger’s vision and generosity culminated with the donation of the original Museum building for the benefit of Newark’s citizens.

The gesture of reopening the doors is both symbolic and practical. The time is right to reconnect with sidewalk life as the Museum deepens its commitment to the community—especially our new neighbors from business, residential and higher education. The reactivated Washington Street entrance will also serve as a fitting approach for visitors from across the country and around the world for whom the Newark Museum’s rich collections of global treasures is a destination.

Reopening the doors is just the beginning of this project. From the outside, a ramp will make the front entrance accessible to all. In addition, a grand plaza outside the entrance will provide a new venue for gatherings and performances, also connecting the Museum to Washington Park across the street. Once inside, visitors will be met with new amenities, such as a welcome center in a renovated lobby. Perhaps the most important change inside the Museum will be the redistribution of the gallery space relocating our permanent collection of African Art to the first floor and special exhibitions to the second floor. This places our African collection in the Museum’s flagship gallery adjacent to the American, Asian and Decorative arts galleries. It also improves the Museum’s capacity to present more ambitious exhibitions and to be more competitive in terms of major national touring shows.

The dust will be settling by September, when the Newark Museum will be presenting a fresh and energized face.

MUSEUM’S MAIN ENTRANCE REOPENS AFTER 20 YEARS


49 Washington StreetNewark, NJ 07102-3176

IT ALL STARTS AT THE NEWARK MUSEUM

The Newark Museum is one of the most historic and influential museums in the United States, serving hundreds of thousands of children, adults, and families through exemplary exhibitions and innovative education programs. With nationally and internationally recognized art and science collections that rank 12th in the nation, we believe the Newark Museum has the power to educate, inspire, and transform individuals of all ages.

Since its beginnings, the Museum has relied on support from members, foundations, government agencies, and businesses—including Louis Bamberger, who funded the construction of the Museum’s main building—to make possible all that we offer. For a listing of today’s supporters, visit newarkmuseum.org/supporters-museum.

Not on this list? Donate today at newarkmuseum.org/donate

" UNDERSTANDING THE CITY’S RICH HISTORY BEGINS WITH A TRIP TO THE MUSEUM." – VOGUE.com, February 2017

Each year, events such as our annual Dr. Martin Luther King Jr. Day Celebration attract hundreds of individuals and families from communities throughout New Jersey.

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