1 ALLEN MEMORIAL ART MUSEUM AT OBERLIN COLLEGE STRATEGIC PLAN / JANUARY 2023–JUNE 2028 A Deep Heritage, A Dynamic Future: COMMUNITY, CREATIVITY, AND A CULTURE OF CARE
3 CONTENTS INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 MISSION, VALUES, VISION . . . . . . . . . . . . . . . . . . . . . . . 11 GOAL 1: Cultivate Inquiry, Collaboration, and Care . . . . . . . . . . . 13 GOAL 2: Increase our Value to the Oberlin Experience . . . . . . . . 15 GOAL 3: Build the Foundation for Growth . . . . . . . . . . . . . . . . . . . 17 PLANNING PROCESS AND PARTICIPANTS . . . . . . . 18 Two students looking at Pierre-Nolasque Bergeret’s (French, 1782–1863) Honors Rendered to Raphael on His Deathbed, 1806 Oil on canvas R T Miller Jr Fund, 1982 93 Photo by Mike Crupi
4 Visitors enjoy an outdoor event at the Allen. Photo by Mike Crupi. A student makes a selection for Art Rental, a program that began in 1940 in which Oberlin College students and community members can rent an original work of art for $5 a semester. Photo by Mike Crupi.
5 INTRODUCTION FROM THE DIRECTOR Strategic planning provides a moment to take stock—a time to review an organization’s mission and think deeply about its values, as well as consider its history, recent work, and, importantly, the ways in which it envisions achieving its desired impact in the future During 2021 and 2022, the staff of the Allen Memorial Art Museum, with input from students, faculty, administrators, volunteers, and community members, engaged in this essential work This document sets out where we believe the museum should go, and how we intend to get there, in the coming five years Changes in theMuseumField Simultaneous with our development of this plan, the museum field—like society overall—encountered tremendous challenges in the form of health crises, economic turbulence, and international conflicts At the same time, we experiencedmuch-needed reckonings around racial injustice, a new focus on issues of gender equity and accessibility, concerns relating to ownership of cultural property, attention to proper acknowledgment of Indigenous and other groups, changes to higher education, and continuing environmental vulnerabilities due to climate change All this has pushedmany in the art andmuseum fields to think in newways about how to use our platforms and collections to raise awareness and create positive change Many museums, including the Allen, are putting a renewed focus on equity and access as we engage the public and steward the irreplaceable artworks entrusted to our care so that they can continue to inform and inspire future generations Our Role at Oberlin In tandemwith our thinking about these major issues, the staff at the Allen has focused on supporting the curriculum and larger goals of Oberlin College Over the past several decades, the museum has worked to become ever-more deeply integrated into teaching across almost all disciplines at the College—encompassing the humanities, sciences, and social sciences—and within the Conservatory of Music The Allen certainly contributes to Oberlin College having been recognized, for many decades, as a locus of excellence in the arts and humanities—but what students can learn with and through the collection is much broader than the outcomes of a typical course of study in the visual arts Through our work with an exceptional collection spanningmany of the world’s cultures, multiple media, and 6,000 years, the museum’s talented staffmakes of the Allen a site where students can grapple with matters important both to scholarship and to society, outside the traditional classroom In addition, we engage with students in ways both co- and extra-curricular, by facilitating experiential learning, supporting career-readiness, promoting student-community engagement and alumni connections, and encouraging dialogue on sensitive topics While these aspects of the museum’s work align with the College’s educational goals, they also serve its operational ones, bolstering robust admission, retention, alumni engagement, and philanthropy Moreover, the Allen’s national and international recognition in the arts andmuseum fields engages those who may not otherwise know about the College, broadening the entire institution’s reach and potential Supporting the College’s initiatives and priorities (which indeed align with those of the museum field) is important to us, and you will see in
6 this plan an emphasis on work that furthers racial and gender equity and diversity, promotes accessibly and inclusion, encourages care for the environment and our neighbors, andmakes prudent use of resources Two PressingNeeds In order to achieve our goals of being integral to the positive experience of Oberlin students and beneficial to our larger community, the Allen must expand—in both physical space and staff size Thanks to the efforts and stewardship, duringmore than a century, of staff members before us, the collection has grown to more than 15,000 objects, while the only new exhibition space added (crucially, in terms of our ability to present large-scale works of art) is the Ellen Johnson Gallery, which opened in 1977 Since the late 1980s, the Allen’s directors have advocated for an expansion to the east, to incorporate the ClarenceWard ’37 Art Building into the museum’s footprint, enabling the expanded museum to have a single perimeter both for security and HVAC needs More space—for galleries, storage, classes, programs, and offices—would allow the museum to serve our community in the ways that the staff has long desired With dedicated space for changing exhibitions, important—and fragile—collection works could remain on view for longer periods, without the necessity to turn over galleries for temporary exhibitions The creation of specific galleries for more aspects of the collection— African, Islamic, Indigenous American, Asian, and other areas—would be prioritized, with the proper casework to accommodate the light-sensitive works on paper, objects, and textiles that are part of these collections Galleries would be planned with more room for the public—including larger classes or tour groups—and more seating The substantial funds being spent for offsite storage would be greatly reduced, and curators would feel free once more to suggest the acquisition of large-scale works With more rooms for teaching with artwork, the museum could accommodate a greater number of simultaneous classes, and with dedicated program space we could invite in more schoolchildren and community groups, while providing appropriate spaces for lunches, snacks, crafts, receptions, lectures, and special events We envision these new spaces to be accessible, as well, potentially freeing the museum’s second floor—currently not ADA-accessible—to be used in ways that are not geared to the general public Concurrent with the need for these public-facing spaces is a need for more office space for an expanded staff In terms of the museum’s service to the College and community, as well as its collection size, it has been “punching above its weight” for many years, but this efficiency has come with costs—including staff burnout Compared to museums at other liberal arts colleges, the Allen’s staff is small, which limits the museum’s ability to fully serve the College and local communities—and to expand our regional, national, and international reach— as we would wish While we would be glad for expanded Above, left to right: TheWeltzheimer/Johnson House designed by Frank LloydWright is operated by the Allen Photo by Andrew Pielage Gallery Guide Ruby Kim (OC 2024) presents a talk to museum visitors about the installation Bakunin’s Barricade by artist Ahmet Öğüt The Gallery Guide programgives students the opportunity to gain work experience in a professional museum atmosphere Photo by Jonathan Clark (OC 2025) Curator Kevin Greenwood discusses the exhibition Riding the Strong Currents: 20th and 21st Century Chinese Paintings from the AMAM Collection with patrons Photo by Stacie Ross
7 staffing in many areas of our operation, in this plan we are focusing on two key positions: a deputy director and a coordinator of student and community connection The former would assist with the museum’s multitude of administrative, management, and reporting responsibilities, while the latter would take on the increasing work of student co- and extra-curricular engagement, currently borne in part both by the museum’s Office of Academic Programs and Education Department, and add a new focus on connections with alumni In addition, the museummust have an expanded, proprietary, security staff—both to accommodate our weekend hours and enable expansion of our morning and evening hours to accommodate more Oberlin classes, as a way to respond both to changes in class schedules and sizes, and our community more broadly MakingConnections Expanding the Allen in both space and staff is key not only to our daily work, but also to how the museum connects to the community Making the museum’s work both meaningful to, andmore visible for, our audiences are but two of the goals we at the Allen hope to achieve in the coming years Connecting with you—whether you are an Oberlin community member, a student, a faculty or staffmember, an alumnus of Oberlin College, a resident of Northeast Ohio, or a visitor from anywhere in the world to the museum or to our website—is integral to the Allen’s mission Founded in 1917 and now in its second century, the museum—always free and open to the public—has been an important educational resource for hundreds of thousands of visitors, of all ages and backgrounds As you will see in this plan, we aspire to continue the museum’s high-quality academic and public outreach and emphasis on career preparation for Oberlin College students, in combination with changes to howwe use our gallery spaces to present the museum’s global collection, greater interaction and communication with our multiple audiences, and preparations for a much-neededmuseum expansion Critical to our efforts is engagement with, and feedback from, you—whether through personal interactions between you and the museum’s staff and collection, or through improved communication regarding the museum’s offerings—all in the service of creatingmeaningful experiences with the Allen’s extraordinary art Conclusion This emphasis on connecting art and people finds its place above the Allen’s entrance, in the museum’s very stones, where “the cause of Art is the cause of the people”, a line fromWilliamMorris’s 1884 speech “Art and Socialism”, is inscribed Importantly, what bookends that phrase in his speech is an emphasis on hope: “There is our hope: the cause of Art is the cause of the people Think of a piece of history, and so hope!” At this point in the speech, Morris was discussing the inevitable changes that come to all lives, to all civilizations, within his overall theme of the dignity of labor and the necessity for improved working conditions—as well as for art to be seen as a necessary component of a fulfilled human life, something that should be shared by all In our work, we at the Allen look forward to continuing to carry forth the inspiring legacy of the museum’s prescient founders with an emphasis on such ideals as Morris’s: linking art and activism, and connecting art and people Andria Derstine, John G W Cowles Director
8 There is our hope: the cause of Art is the cause of the people Think of a piece of history, and so hope! —WilliamMorris The Allen features buildings by architects Cass Gilbert and Robert Venturi, combining traditional and postmodern styles. The original Gilbert building to the left opened in 1917. Opening in 1977, the Venturi addition on the right houses the Allen’s Ellen Johnson Gallery as well as the college’s art library and art studio spaces. Photo by Ricky Rhodes.
10 Students and staff participate in an exercise during MuseumCareer Insights. This six-part series gives students a glimpse into the inner workings of an academic art museum and career options in the museumfield. Photo by Stacie Ross.
11 MISSION The Allen Memorial Art Museum at Oberlin College inspires curiosity, inquiry, learning, and connection through experiences with original works of art for the broadest audience possible, both on campus and beyond VALUES We are committed to creating and sustaining a welcoming, accessible environment for learning, enjoyment, and the exchange of ideas We value: • Approaches to engaging people with art in ways that honor and amplify many perspectives; • Responsiveness to issues of importance to communities both on- and off-campus; • Acquiring, presenting, and caring for the objects in our collection based on the best practices of our field, and in dialogue with source communities; • Evolution and change based on research, experimentation, collaboration, and ongoing assessment; • Professionalism, accountability, and teamwork to drive the mission of the museum forward; and • Respect and empathy for audiences, collaborators, and one another VISION The AMAM aspires—through innovative acquisitions, exhibitions, and programs—to make its collection integral to the campus experience of all Oberlin students, faculty, and staff, and to be a positive, creative catalyst for engagement and connection in the surrounding community and beyond We will achieve our vision by working collaboratively over the upcoming five years to: • Cultivate Inquiry, Collaboration, and Care • Increase our Value to the Oberlin Experience • Build the Foundation for Growth
13 GOAL 1: CULTIVATE INQUIRY, COLLABORATION, AND CARE We will re-imagine the cultural narratives of our galleries by reckoning with collecting histories, by incorporating new perspectives in interpretation, and by altering our presentations to better represent the relationships of global cultures To achieve this, we will cultivate collaboration, productive dialogue, inclusion, and teamwork among ourselves and our stakeholders Goal 1, ObjectiveA: Revitalize the galleries TACTIC 1: Present timely, topical exhibitions in collaboration with faculty, students, and colleagues, drawn from and expanding our knowledge of the collection TACTIC 2: Test innovative approaches to collection installations TACTIC 3: Solicit feedback from students, faculty, and community stakeholders to inform future gallery presentations TACTIC 4: Collect strategically to acquire objects that expand the stories we tell and that represent the rich diversity of artists and cultures Goal 1, Objective B: Improve accessibility and inclusion TACTIC 1: Add visitor-facing staff, especially security, and invest more time in training Gallery Guides and Volunteer Guildmembers TACTIC 2: Increase the museum’s open hours TACTIC 3: Enhance digital access to the collection and programs TACTIC 4: Provide accommodation for people of all abilities, and engage students in this effort TACTIC 5: Activate the courtyard and grounds of the museumwith campus and community events Goal 1, Objective C: Invest in a culture of teamwork and care TACTIC 1: Implement staff-wide trainings TACTIC 2: Establish regular post-project team assessment and improvement meetings TACTIC 3: Clarify staff roles and annual priorities Goal 1, Five-yearmeasures of success • Students, faculty, staff, alumni, and community stakeholders participate as thought partners in creating new interpretation and re-balanced collection presentations • The AMAM, its collections, exhibitions, and programs, reach a broader audience, because it is more accessible, and staff are more welcoming andmore responsive, both online and in person Top: Curators Hannah Kinney and SamAdams discuss Where Is Consent in Art (Museums)? during a gallery talk scheduled for Consent Month at the college This experimental installation explored the ethics of presenting images of power and sexuality Photo by Stacie Ross Bottom left: A student reads a revised label in the exhibition Divergent Paths During a visit in the fall of 2022 Hunter Old Elk (Crow/Yakama), Assistant Curator, Plains Indian Museum at the Buffalo Bill Center of the West was able to provide recommendations on appropriate storage and an updated tribal affiliation for two pairs of moccasins Photo by Stacie Ross Bottom right: In response to faculty and student requests, the South Ambulatory was reinstalled and is now devoted to art associated with some of the great religious traditions of Asia and ancient works that reflect traditional beliefs about the afterlife Each work is described in extended labels and grouped in relation to important themes Photo by Stacie Ross
15 GOAL 2: INCREASE OUR VALUE TO THE OBERLIN EXPERIENCE We will advance the educational development of Oberlin College students to prepare them for life at and after Oberlin, while building a network for alumni in the arts Goal 2, ObjectiveA: Advance academic study and enhance life skills for OC students TACTIC 1: Support the Public Humanities and Arts Administration & Leadership integrative concentrations TACTIC 2: Further empower faculty to integrate the museum’s collection into teaching and research TACTIC 3: Expand our work promoting student careerreadiness, civic discourse skills, and sense of belonging Goal 2, Objective B: Increase experiential learning opportunities for studentswith themuseumthrough campus and community partnerships TACTIC 1: Deepen engagement with targeted community partners for sustainable benefit to the community and on-going opportunities for OC students TACTIC 2: Broaden the reach of theWeltzheimerJohnson House and continue its restoration Goal 2, Objective C: Strengthen alumni connections TACTIC 1: Collaborate with the OC Alumni Office to host alumni events at reunions, online, and in major cities TACTIC 2: Engage alumni in online presentations or roundtable discussions relevant to AMAM’s gallery revitalization and to careers in the arts Goal 2, Five-yearmeasures of success • A greater number of OC students across all disciplines and class years benefit from the AMAM through classes, course-work, research, internships, Gallery Guide and other positions, career-development, co-curricular discussions, and programs OC students are better prepared for life after Oberlin • By graduation, every OC student has experienced the AMAM • Programs that benefit youth education and development are enriched and sustained through long-termpartnerships between the AMAM and community partners • A greater number of alumni reconnect with OC through experiences with the AMAM Top left: Artist JessicaWeiss (OC 1973) discusses her work during a visit frommembers of her 50th reunion class Kiss, 2021 Silkscreen, wallpaper, fabric, and acrylic paint on canvas Gift of Douglas Baxter (OC 1972) in honor of Jed Pollack, M D (OC 1972), 2022 16 Photo by Stacie Ross Top right: Curator Kevin Greenwood works with Parker Niles (OC 2023) to examine several Himalayan gilded bronze statues Niles wrote their senior capstone on Tibetan Buddhist consecration rituals A symbol on the underside of the statues would indicate they had been properly consecrated Photo by Stacie Ross Bottom: Curator SamAdams holds a study session to discuss an upcoming exhibition on HIV/AIDS Faculty members from across the curriculum offered insight into the subject and how they could incorporate the works into their courses Photo by Stacie Ross
17 GOAL 3: BUILD THE FOUNDATION FOR GROWTH We will ensure that the AMAM can fulfill its mission for many generations into the future by preparing for an expansion that meets increased demands on staff for teaching, exhibitions, events, experiential learning, and community engagement We will make the case for support by creating broader awareness of our impact on students and the community Goal 3, ObjectiveA: Prepare for expansion TACTIC 1: Raise funds for and commission a feasibility study TACTIC 2: Develop a preliminary design that addresses accessibility and environmental sustainability, and promotes broader engagement with art TACTIC 3: Raise funds for expansion and renovation, in partnership with the OC Advancement team Goal 3, Objective B: Communicate our impact TACTIC 1: Collaborate with the Alumni Office and Advancement to post stories, images, and videos that engage others with student experiences in the museum, theWeltzheimer-Johnson House, and the community TACTIC 2: Employ new strategies to reach campus audiences TACTIC 3: Amplify awareness of the AMAM in the national professional community TACTIC 4: Increase visibility of the AMAM’s work in the national and international press Goal 3, Objective C: Ensure long-termsustainability TACTIC 1: Reconfigure the security reporting structure TACTIC 2: Undertake selective deaccessioning to reduce offsite storage expenses TACTIC 3: Raise funds to endow positions necessary for strategic growth Goal 3, Five-yearmeasures of success • The AMAM is poised to expand into theWard ’37 building, with the necessary funds, feasibility studies, and preliminary design • The AMAM’s impact is more visible nationally and better understood at OC, in the community, and in the profession • The AMAM is financially and operationally secure Top: First-year students enjoy a moment together while attending the Shared Art Block Party Started in 2021, the Shared Art Program is required for all incoming students and uses a shared experience of looking at art to start conversations about who we are and where we have come from Photo by Mike Crupi Bottom: In the courtyard behind the Allen, guests listen to live music performed by a jazz band that included several Oberlin alums Composer Caleb A Smith (OC 2019) debuted a composition inspired by a vivid painting in the Allen’s collection by Cleveland artist Michelangelo Lovelace Photo by Mike Crupi
18 Led by Andria Derstine, the John G W Cowles Director, the Allen Memorial Art Museum’s strategic planning process took place between late July 2021 and October 2022 In summer 2021, all members of the staff joined a workshop on Mission and Values, and then participated in departmental interviews to express their priorities for the coming years The Strategic Planning Committee (SPC), comprising three members of the staff, the Director, and one member of the Visiting Committee, met with a consultant more than eight times over the course of fourteen months to discuss strengths and opportunities, drivers for change, and improvements to workplace culture; to share and review research; to write Values and a Vision statement, as well as a newMission Statement; and to formgoals, objectives, tactics, and action steps Four members of the SPC presented research on museum accessibility; teaching galleries at campus art museums; holistic educational opportunities for students in the art museum; and lessons learned from the physical expansion of other campus art museums Faculty, students, administrators, alumni, volunteers, and community partners participated in stakeholder interviews and focus groups in December 2021 and January 2022 with the consultant, who compiled their responses in a report to the SPC Additionally, seven campus art museums of similar-sized staff, budget, collection, and parent institutions were surveyed regarding staff levels, teaching capacity, and several other points of comparison The Director articulated her long-term vision for the AMAM in a Future State paper and discussed it with the Visiting Committee, the SPC, and Oberlin College administrators Meetingminutes of the SPCwere shared with all staff via an internal website, andmost members of the staff were engaged in the process of implementation planning in the summer of 2022 Additionally, the Director kept staff apprised of progress on the Plan periodically at all-staffmeetings The Visiting Committee provided important advice from the outset of the process at their October 2021 meeting with a discussion about the meaning of success for the AMAM They reviewed the Future State paper and the strategic framework at their May 2022 meeting, met in small groups with the Director about refinements, and reviewed the almost-final Strategic Plan in October 2022 David Kamitsuka, Dean of the College of Arts and Sciences, guided and encouraged us throughout the process, and for his support, we are deeply grateful— as we are for his approval of this plan STRATEGIC PLANNING COMMITTEE: Andria Derstine, Jill Greenwood, Alexandra Letvin, HannahWirta Kinney, Katherine Solender VISITING COMMITTEE: Maryan Ainsworth, David Bauders, Douglas Baxter, Fred Bidwell, Robin Black, Andrew Butterfield, Edith Clowes, JimElesh, Carl Gerber, WilliamGriswold, Lauren Haynes, Suzanne Hellmuth, Courtney J Martin, Emily McClintock, Deborah Scott, Katherine Solender, Robert Taylor, James Zemaitis, Driek Zirinsky THOSE WHO ASSISTED SPC MEMBERS IN RESEARCH ON MUSEUM ACCESSIBILITY; TEACHING GALLERIES AT CAMPUS ART MUSEUMS; HOLISTIC EDUCATIONAL OPPORTUNITIES FOR STUDENTS IN THE ART MUSEUM; AND LESSONS LEARNED FROM THE PHYSICAL EXPANSION OF OTHER CAMPUS ART MUSEUMS: Laura Baudot, Associate Dean, College of Arts & Sciences, Oberlin College; Tania Boster, former Director of Experiential Learning, College of Arts & Sciences, Executive Director of the Bonner Center for CommunityEngaged Learning, Teaching, & Research, Assistant Professor, Department of History; Nathan Carpenter, Director of Academic Peer Advising, Coordinator for Strategic Initiatives, College of Arts & Sciences, Oberlin College; Danielle Carrabino, Curator of Painting and Sculpture, Smith College Museum of Art; Erin Coe, Director, Palmer Museum of Art, and Associate Clinical Professor in the College of Arts & Sciences, Pennsylvania State University; Jill Deupi, Beaux Arts Director and Chief Curator, Lowe Art Museum, University of Miami; Pamela Franks, Class of 1956 Director, Williams College Museum of Art; Chelsea Jancewicz, Student Accessibility Services Specialist, Oberlin College; Jodi Kovach, Curator of Academic Programs, Gund Gallery, Kenyon College; PLANNING PROCESS AND PARTICIPANTS
19 Kevin Murphy, Eugénie Prendergast Senior Curator of American and European Art and Affiliate Faculty in American Studies and the Graduate Program in Art History, Williams College; Jessie Park, Nina and Lee Griggs Assistant Curator of European Art, Yale University Art Gallery; Marion Parker, OC alumnus; Shelby Pykare, Associate Director for Career Readiness and Inclusive Excellence, Oberlin College; Andrea Rosen, Curator, Fleming Museum of Art at the University of Vermont; Joel Snyder, President, Audio Description Associates, LLC and Founder/Senior Consultant, Audio Description Project, American Council of the Blind; Laura Sprague, Senior Consulting Curator, Bowdoin College Museum of Art; KendraWeisbin, Associate Curator of Engagement and Interpretation, Mount Holyoke College Art Museum CAMPUS MUSEUM SURVEY CONTRIBUTORS: Ian Berry, Dayton Director, Frances Young Tang Teaching Museum and Art Gallery, Skidmore College; Lily Foster, Associate Director of Museum Administration, Smith College Museum of Art; Pamela Franks, Class of 1956 Director, Williams College Museum of Art; Julianne Gilland, Deputy Director, Colby College Museum of Art; Anne Collins Goodyear, Co-Director, Bowdoin College Museum of Art; Tricia Paik, Florence Finch Abbott Director, Mount Holyoke College Art Museum; Barton Thurber, Anne Hendricks Bass Director, Francis Lehman Loeb Art Center, Vassar College CAMPUS AND COMMUNITY PARTICIPANTS NOT OTHERWISE LISTED ABOVE: Brent Betts, High School Principal, Oberlin City Schools; Becky Bode, Grounds Services Manager, Oberlin College; Brian Browne, Office of Advancement, Alumni Engagement and Annual Giving, Oberlin College; Bonnie Cheng, Associate Professor of Art History and East Asian Studies; Julia Christensen, Associate Professor of Integrated Media Art, Chair, Studio Art Department; Joe Comar, Director of Capital Improvements, Oberlin College; John Congdon, Leadership Gift Officer; Margaret DeWitt, Art Teacher, Oberlin City Schools; Gillian Ferguson ’23, AMAMGallery Guide; Tiffany Giorgiadis, Art Teacher, Oberlin City Schools; Catherine Gletherow, former Associate Vice President for Advancement; Mike Grzesiak, Vice President for Advancement; Joy Harrison, Fifth-grade Teacher, Oberlin City Schools; Wendy Beth Hyman, Professor of English and Comparative Literature; Erik Inglis, Mildred C Jay Professor of Art; Kathleen Jackson, Director, Firelands Association for the Visual Arts; Marilyn and Robert Kasayka, AMAMVolunteer Guild; Chloe Lai ’22, AMAMGallery Guide and student assistant; Emma Laube ’18, former AMAM post-baccalaureate teaching assistant; Key Jo Lee, Associate Curator of American Art, Cleveland Museum of Art; Erin McCarty, Director of Education and Outreach, Firelands Association for the Visual Arts; Christina Neilson, Associate Professor of Renaissance and Baroque Art History, Chair of Art History; Michele Peters, fourth grade teacher, Oberlin City Schools; Charles Peterson, Associate Professor and Chair of Africana Studies, Director of the Lemle Teaching and Scholarship Center; Matt Rarey, Associate Professor of African and Black Atlantic Art History; Liz Schultz, Director, Oberlin Heritage Center; Jenna Stolarik, Lead Gardener, Oberlin Community Services; Peter Swendsen, former Senior Associate Dean for Academic Affairs, Professor of Computer Music and Digital Arts, Oberlin Conservatory of Music; Mary Van Nortwick, AMAMVolunteer Guild; Fred Unwin, volunteer, Weltzheimer-Johnson House; SiobhanWalker ’19, former AMAM post-baccalaureate teaching assistant; Drew Wilburn, Professor of Classics; Luci Williams ’22, AMAM Gallery Guide; Liz Yearsley ’19, former AMAM postbaccalaureate teaching assistant MUSEUM STAFF: Andria Derstine, Julia Alexander (’22-’23), SamAdams (’22), Selina Bartlett, Myra Bowyer, Polly Bratton (’21-’22), Henri Feola (’22), Jill Greenwood, Kevin Greenwood, Megan Harding (’21-’22), Lucy Haskell (’21-’22), Zoe Iatridis (’21-’22), HannahWirta Kinney, Ellis Lane (’22-’23), Sally Moffitt (’21-’22), Michael Reynolds, Stacie Ross (’22-’23), Andre Sepetavec, Lucille Stiger, Christine Super, Alyssa Traster, Kyle Tuma CONSULTANT: AnnWoolsey, integrated planning for museums
20 440-775-8665 email@example.com amam.oberlin.edu 87 North Main Street Oberlin, Ohio 44074