AT THE ALLEN / FALL 2024 / 3 its successful grant-funded conservation, for which we are very grateful to the E. Rhodes and Leona B. Carpenter Foundation. The presentation of ancient works in the ambulatory, too, has been marvelously refreshed by Marlise Brown and Emily French, with a thematic focus. All the installation work was expertly achieved by preparators Andre Sepetavec and Michael Reynolds, aided by the efforts of registrars Lucille Stiger and Selina Bartlett—and as always, supported by Administrative Assistant Jessica Lear and Communications Manager Stacie Ross. Moreover, you’ll notice other terrific changes, including refinished floors in the Nord andWillard-Newell galleries, beautiful new carpet on the second floor, and new lighting in East Gallery. Importantly, the museum’s heating and cooling system—already geothermal andmeeting the LEED Gold standard since 2011—is now connected to the College’s new system through the major work of Oberlin College’s Sustainable Infrastructure Program, work in which the Allen’s security staff, led by Leondist DuVall, played a major role. While we missed having you in the museum, staff were able to continue community connections through a wealth of programs, including for new College faculty and students and at the Frank LloydWright house, overseen by Jill Greenwood, Alyssa Traster, Ellis Lane, and Emily French. And naturally planning continued apace for future projects: looking ahead, the Allen has co-organized exciting exhibitions featuring the work of Claude Monet and June Leaf, which will come here in 2025 and 2026. It’s bittersweet to leave the Allen, an institution that has given more to me than I could have ever hoped or expected so many years ago when I first walked through its doors. I will miss it—and you—more than I can say. But I know that the museum is strong, and getting stronger. Together, we’ve raised funds to endow curatorships, as well as monies for programs, publications, and acquisitions that have broadly diversified the museum’s collection to include more works by women artists and artists frommany cultures and backgrounds. Other good developments regarding increased staffing and expanded facilities are in the works, and the museum’s connection with the broader community is more robust than ever. For all of this, I thank you. And I will look forward, very much, to staying in touch, as we jointly continue to care for this exceptional museum. Andria Derstine John G. W. Cowles Director TANYA ROSEN-JONES
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