The Neville Public Museum

The Neville Blog

Bringing Holiday Memories of Downtown Green Bay to Life

Wednesday, November 12, 2014

For me, the phrase "Christmas in July" is pretty accurate.  I've been lucky enough to have designed our Prange's Holiday Memories windows for the last two years.  Working on the holiday display is by far my favorite part of the year because I get to flex my artistic muscles and create fun and unique dioramas that make people smile.  

Putting these windows together is no small feat.  Planning this year's windows started as soon as last year's exhibit was up and running.  This year I'm working with our curator, Kevin Cullen, and educator, Kirsten Smith, to put everything together.  After a two years hiatus, the Enchanted Forest is making its triumphant return with the various farm and wildlife critters playing in the snow among the trees and snow babies.  This year you'll also get to see two ideas that I've been thinking about the last few years that happen to be the perfect compliment to this year's extended exhibit-Holiday Memories of Downtown Green Bay.  

As soon as the theme(s) are decided I get to work on the actual design of the displays.  The dolls and other figures are chosen, tested out to make sure they're still in working order, and then the creativity begins.  I lay out the dolls in each of their cases and start to sketch out what the backdrop is going to be.  Then I begin building the scene and determine what kind of furniture or three-dimensional objects the figures can interact with, and what will enhance the backdrop.  I use a modest stockpile of props that I've accumulated throughout the years.  That which I don't find, I decide either to buy, or more often than not, build.  

Once the case is roughly planned out I start refining the sketches and looking at reference photos.  More details are added later once the dolls are in place and I can see what would complement the scene.  Each case takes at least a month of work before they get to the level that you see when they're on display.  

I also like to put a little humor into things.  Sometimes it's a mischievous looking snow baby hoarding a pile of snowballs, or one of the dogs playfully inspecting a picture of a squirrel, or a mouse pilfering a candy cane from the family's tree.  

Getting the opportunity to flex my inner artist and imagination is not the only reason this display is my favorite to work on.  I get a lot of satisfaction seeing people respond favorably to the things that spring forth from my brain.  But it goes beyond the personal satisfaction.  Seeing the way that people react to this exhibit in particular is different from other exhibits.  It's a family experience and it spans generations.  I see grandparents, great-grandparents, their kids, and their kids' kids all come and share a moment that becomes a memory.  People travel from around the state and sometimes even further to remember.  Memories like that, and being a part of triggering and creating new ones, is quite an experience.  

Downtown Green Bay, the Prange's windows, Kaaps, Bruce the Spruce etc. are still in our community's living memory.  By creating the experiences for the next generations, we are able to extend that living memory for another lifetime.  So come out and make some memories this holiday season! 

Maggie Dernehl
Exhibit Technician 

Exciting Things Are Brewing At the Neville Public Museum

Friday, October 10, 2014
The art of fermentation, specifically beer making, has been pursued by human cultures around the world for millennia.  That knowledge and tradition was brought to Wisconsin by immigrant Northern Europeans in the early 1800s.  Beer brewed in Green Bay began flowing in the early 1850s and it has continued to flow for at least 160 years.  It is precisely this history and diverse tradition of beer-making that inspired me to take up the hobby of home brewing while in graduate school at UW-Milwaukee. That hobby quickly turned into a profession when I joined the museum staff at Discovery World and applied my anthropological studies in the pursuit of teaching the public about how to make ancient and traditional fermented beverages.  That series called Ale through the Ages quickly spawned other brewing series, as well as historical brewery tours, publications, etc.   

Since joining the staff at Neville Public Museum in October 2013, I’m proud to say that the museum is fully embracing its own local beer culture.  It’s hard not to, when two craft breweries (Hinterland and Titletown) are located across the street from the museum, and coincidently, the very first brewery in Green Bay (Blesch’s Bay Brewery) was also once located across the street.  As fate would have it, one of the first exhibits I was fortunate to curate was Agriculture to Tavern Culture: The Art History and Science of Beer. The outgrowth of this exhibit were well attended free lectures about beer history, and now we’re about to launch a new slate of brewing workshops called the Neville Cellar Series.  These classes would not have been possible were it not for the generous financial support of the museum’s Foundation, who allowed me to purchase of a 15 gallon top-of-the-line home brewing setup. This equipment has great versatility and can be used to make a variety of beverages (fermented or not) in the months and years to come.

September 10th 2014 marked the first day beer was made at the Neville.  The inaugural batch was a Bavarian Dunkelweizen (lightly hopped dark wheat ale).  It was a good chance to test the equipment and work out some of the kinks.  It was also a good excuse to invite WLUK Fox11 reporter Bill Miston to film and assist in making the inaugural museum brew.  Here is a link to that segment.  

The first of the Neville Cellar Series workshops began on Thursday October 2nd when we made the official version of the Bavarian Dunkelweizen, while learning about the deep tradition of brewing in southern Germany. Two weeks following the brewing session, the class will bottle their resulting beverage and take it home.  Future classes will focus on the ethnic heritage of NE Wisconsin and the fermented beverages that are traditional to those cultures, namely Belgian Farmhouse Ales, Scandinavian Porters, etc. So, stop down and check out the exhibit before it ends (Oct. 26th 2014), and/or, join us in making beer (or soda) during the Neville Cellar Series . Together we can imbibe the rich tradition of brewing in Green Bay, Wisconsin and beyond. 


Kevin Cullen

Adventure Ahoy! Summer Readers' Party

Sunday, October 05, 2014

Avast! There be pirates sailin’ these waters!

On Saturday, October 4th, the young buccaneers of Brown County Library’s Summer Reading Program hijacked the museum for an afternoon of pirate fun. Swashbucklers and landlubbers alike were treated to science shenanigans, handicrafts, and frolics related to water, aquatic beasties, boats, and pirates. There were plenty of activities to pillage and spoils to plunder. Highlights included instruction on how to Talk like a Pirate in 30 Minutes or Less, a special visit by Jonathan London’s Froggy, and a treasure hunt through the museum gallery.

Both the Neville Public Museum and the Brown County Library extend a special thank you to all of the volunteers who helped to make this event a success!

For information on how you can join the 2015 Summer Reading Program and obtain an invitation to next year’s party, please see the Brown County Library’s website.

Night at the Neville - Astronomy, Geology & Film Programs

Friday, October 03, 2014

Twice a month, in the evenings on the first and third Wednesday, the museum comes to life. 

It doesn't involve Ben Stiller or living statues - but the Neville's programs on Wednesday night offer some of the best opportunities around to learn and explore Geology, Astronomy and Independent Film - no movie tickets required.

This week, I'd like to highlight the International Film Series, presented by the Green Bay Film Society. Twice a month on Wednesdays a different independent film is shown in the Neville Theater, free of charge and open to the public. After the film, a discussion is held where the audience can offer questions and feedback, typically fielded by Associate professor of Humanistic and Global studies at UWGB, David Coury.In this case, the discussion was led by the film's main figure and co-director David Soap, as well as producer Kristina Kiehl.

This week's film was The Cherokee Word for Water, a feature-length motion picture inspired by the true story of the struggle for, opposition to, and ultimate success of a rural Cherokee community to bring running water to their families by using the traditional concept of "gadugi" working together to solve a problem.

What really struck me during the screening and subsequent discussion was just how powerful and inspiring a community can be; the Independent filmmaking community, the Native American community (as represented in the film), and the local geographic community. But as casual moviegoers and indie film buffs alike partook in the discussion with figureheads from the Cherokee community, it was clear that the separation between these communities was of little significance compared to their commonalities. 

Film is an incredibly powerful storytelling medium, and one that is becoming increasingly more accessible to small, independent filmmakers and those outside of a traditional studio setting. During the film's discussion it was announced that The Cherokee Word for Water would be made available to purchase directly as a digital download on the film's website, bypassing traditional distribution mechanisms. Through the rest of 2014 and into 2015 the Neville looks forward to partnering with the Green Bay Film Society to bring these stories, as well as their storytellers, to our community in a way that goes beyond what can be had at a theater or via DVD or Blu-ray. Check out the schedule of upcoming screenings here

Hold Your Next Event at the Neville!

Wednesday, September 17, 2014
The origins of the Neville Public Museum of Brown County began in 1915, when nine local women formed the Green Bay Art Club and held a modest exhibit of rare and important objects owned by area residents. 

During our yearlong Centennial Celebration we have a great combination of internally created exhibits including the 70th Art Annual Juried Exhibition, traveling exhibits such as Spies, Traitors, Saboteurs:  Fear and Freedom in America from the International Spy Museum and wonderful partnership exhibits including Centennial Architecture of Green Bay:  Berners-Schober and their Archives-100+ Years of Green Bay Architecture and Sisters in Spirit: Native American Stories in Rocks and Beads with Karen Ann Hoffman and Geri Schrab. 

This is the perfect time to join us at the Neville Public Museum for your next event.  We provide a unique combination of location, service, and environment to make us your ideal place for parties, meetings, corporate events, recitals and more.  For questions on room reservations, please email Jessica Day, or call her at 920-448-7872.  

Please visit for more details. 

New Teaching Collection Opens Opportunities for Object-Based Learning

Friday, September 05, 2014
How can rocks change from one type to another? What was it like to travel and explore Wisconsin 400 years ago? How did Wisconsin’s early settlers use our natural resources? 
Visitors attending the museum’s newest education program will discover the answers to these questions – and more – by analyzing objects from the newly established teaching collection. 

Made possible through the generosity of Schreiber Foods, the teaching collection complements a new educational program consisting of 20 inquiry-driven, object-based lessons that tie into central themes from the museum’s permanent exhibit, On the Edge of the Inland Sea.
Areas of exploration include:

1. Thinking like a Historian
What does it mean to think like a historian?

2. The Rock Cycle
How can rocks change from one type to another?

3. A Landscape Shaped Over Time
How did the Ice Age shape Wisconsin?

4. Plants and Animals of the Ice Age
What plants and animals existed at the end of the Ice Age?

5. Wisconsin’s First People
How do we know about people who lived long ago?

6. Native Americans in the Old Time
How did Native American people live in the Old Time?

7. The Age of Exploration
What was it like to travel and explore Wisconsin 400 years ago?

8. The Fur Trade Era
Who participated in the Fur Trade?

9. Treaty Making
What happened to Native American lands in the early 1800s?

10. Building a Town / Building a State
What did the U.S. government do with the land that it got through treaties?

11. Natural Resources
How did Wisconsin’s settlers use our natural resources?

12. Civil War
How did the Civil War affect the people of Wisconsin?

13. Immigration
How do people make a new life in a new place?

14. Peshtigo Fire
What factors led to the Peshtigo Fire?

15. Mass Production and Domestic Life
How did mass production change domestic life during the Gilded Age?

16. The Age of Invention
How did the inventions of the early 1900s change Green Bay?

17. Native Americans in the Modern World
How has Wisconsin’s history affected its Native American people and their way of life?

18. World War I
How did World War I affect Wisconsin?

19. Culture in Northeastern Wisconsin
What are some of the cultural traditions in Northeastern Wisconsin?

20. Preserving History
How do people take care of Wisconsin’s history?

Supporting these lessons are a diverse array of objects, ranging from a physics model of a glacier, to the teeth left behind by Ice Age titans, to the material culture of the immigrant groups who would later settle in this region. 
Students will explore the surfaces and materials of authentic and reproduction objects; feeling their weight; and manipulating them, as they must have been handled by their past owners. The physical nature of the activity allows visitors to experience a sense of discovery and excitement as they draw connections between the unfamiliar objects they hold and their own base of experiences. Two new Samsung tablets will supplement the teaching collection, with music, videos, and primary source materials such as photographs, maps, patents, and more!

One of the major strengths of this program is that it is fully customizable and can be adapted to suit a wide range of audiences, interests, and learning modalities. Listed below are just a few of the possibilities:

1.  Target Audience: School Groups
In addition to “Thinking like a Historian” and “Preserving History,” teachers can select up to three areas of focus. These areas will be covered in-depth during their visit and include elements of role-play, storytelling, and hands-on experiences for their students.

2.  Target Audience: High School Students
High school students can volunteer to become Junior Expedition Leaders. Through this mentorship program, students will learn a thematic area and interpretive techniques before progressing to provide family programming on Explorer Saturdays.

3. Target Audience: Families
Beginning in the new year, families visiting the Neville Public Museum on the first day of the month will have the opportunity to participate in Explorer Saturdays, interacting with the Junior Expedition Leaders and objects from the teaching collection.

4. Target Audience: Individuals with Memory Loss
Finally, these objects enable the museum to extend its collections to create meaningful experiences for older adults with dementia and their caregivers.

There are plenty of opportunities to get involved with this exciting program! Teachers may reserve the program for their students by contacting Kirsten Smith at 920-448-7851 or [email protected]. Individuals wishing to volunteer as Expedition Leaders can find the Neville Public Museum’s volunteer application here.

Special thanks to Schreiber Foods for their generous support of this project.

Art Annual Retrospective

Friday, August 29, 2014

For over seventy years, the Neville Public Museum has hosted the Northeast Wisconsin Art Annual. Through the years, this juried art competition has been one of the primary venues where local and regional artist have had the opportunity to present their work to the public and have it appraised by critics. For much of the Art Annual’s history, the Neville has made a point of collecting works that it has considered to be representative of the talents of our regional artistic community. This year, in lieu of a juried competition, the Neville has chosen the occasion to present a retrospective of this Green Bay tradition. 

The first Art Annual opened in November of 1942 under the direction of Earl G. Wright and the curator, Nile Behncke. A grand total of sixty-five works of art were shown, falling into one of two categories: oil paintings and watercolor paintings. Living up to its name, the Art Annual took hold as an institutional  tradition, growing larger by the year. By the 1950s, it was not unheard of for the exhibit to consist of well over one hundred works of art, and in 1960, there were one hundred and ninety works of art listed in the exhibit catalogue! As the popularity of the event grew, so did the region from which it drew. In the early years, only artists residing Brown and nine or ten nearby counties were eligible to participate. By the early 1990s, the Art Annual had expanded its territory into the Upper Peninsula of Michigan. As a sign of this continuing success, next year a total of thirty-eight counties in Wisconsin and Upper Michigan will be eligible to participate in the 70th Art Annual!
Since its inception, the Art Annual has remained an important cultural institution in Green Bay. Each year, the artwork selected by the exhibit’s jurors grants the community an opportunity to assess the vitality of the region’s artistic output. In a typical year, approximately one quarter to one third of the total number of artworks submitted is deemed worthy to be presented as part of the Art Annual. As a way to ensure unbiased criticism, jurors are selected from outside the boundaries of the area of eligible counties. These jurors are most commonly professional artists themselves or individuals working in a university or museum setting. The purpose of these outside eyes is to provide a broader context for the art on display and to generate educated feedback for the artists.

The goal of this retrospective is not merely to haul out works of art that haven’t been seen in decades. Instead, the artwork should be considered along with the criticisms of past jurors and the history of the event itself. Since the first Art Annual, where only painting–oil and watercolor–was represented, the event has grown to include a wide range of media, from metal sculpture to ceramics, to prints and the graphic arts, as well as textiles and even jewelry. Critics have often cited this diversity and broadening of scope as a point of praise. Also, more often than not, the technical aptitude of the artists has caught their attention. 

Artists and their work, however, have had their fair share of constructive criticism leveled at them as well. On more than one occasion, jurors have found it necessary to comment on a lack of individual style. Too often, they’ve observed, it appeared that artists had simply chosen to work in a given style without considering the implications, limits, or purpose of that style. This signals two potentially disastrous trends. First, it indicates that artists—as one juror observed—are being inspired by other artists instead of looking for their own unique voice. This, another juror states, leads to the second and grimmer consequence: it produces art that is irrelevant. Overall, jurors have had good things to say about the artwork that the Neville’s Art Annual garners. Accompanying this praise is always a hope that artists will steer away from relying on work that is derivative and instead use their obvious technical abilities to create work that is unique, modern, and relevant to viewers.
As the Neville approaches its centennial, this retrospective hopes to highlight this important cultural tradition. It is our intent to use this opportunity to spark a dialogue among artists and the public about the value of such a tradition at the Neville Public Museum. What is the purpose of such an event? What expectations should the public have, if any, of the art displayed? What expectations should the artists have of the museum, the jurors, and the public? Most importantly, what is at the core of this event—what is its legacy for future generations? 

 Jordan Koel joined the Neville staff in May 2014. He holds both a B.A. and M.A. in the history of art and architecture. Jordan works closely with Kevin Cullen to assist in research, curation, and the installation of exhibits. His interest in the history of art stems from a curiosity about objects that are perceived as standing outside of the ordinary. While Jordan’s most recent research focused on early medieval sacred art, his areas of interest span a wide range of time periods and mediums.    

Neville Museum Membership Benefits

Friday, August 22, 2014
As the new Executive Director for the foundation one of the things that has really stuck out to me in the last month is how few people know all of the amazing benefits of being a member of the museum. I was telling one of my friends about this great program the museum hosted last week called The Talk of the Town and they did not know it was happening. The program was a free event for members only. There are two more receptions for members this year, in September for the opening of the Art Annual and in November for the opening of the Holiday Memories exhibit and all members will be invited. With that information my friend asked me how to join.

Then I was talking to one of my friends about the Cellar Series that is coming to the Neville in October and November where there will be 3 - two day classes on brewing and bottling your own beer. I told him the classes were $20 each if you are not a member and $15 each if he became a member and guess what? He became a member and instead of paying $60 he paid only $45 saving $15 and paying for almost half of his annual membership.

My last recent experience was seeing one of my friends post photos on Facebook. Her and her family went to Chicago to go to The Field Museum of Natural History. A Neville Museum Membership comes with reciprocal admission to 300 ASTC museums and science centers, including world-class museums in Milwaukee, Chicago and Minneapolis. With a Neville membership they would have saved enough money in Chicago to pay for a membership here in Green Bay that would have also given them free admission for 12 months and a 10% discount in the gift shop.

The moral of this story is to get your Neville card today! You don’t want to miss the opportunity to receive advanced notice of all exhibits and programs that will go along with the Museum’s Centennial in 2015! You also do not want to miss out on free VIP member receptions, discounted program costs, discounts in the gift shop and the ability to save money on visiting museums in other areas. And don’t forget to tell your friends and family like I did so they can receive all of the great benefits too!

To sign up go to:

Kasha Huntowski
Neville Public Museum Foundation Executive Director

Rotating Artifacts:An Intern's Experience

Thursday, August 14, 2014

Variety is the spice of life.  Change is always good in museums for a number of reasons.  One, it keeps things interesting for the visitors.  We want to be able to give visitors something new to look at and look forward to each time they visit.  change is also good for the staff, interns, and collections.  the people working on the exhibit get a chance to check on the condition of the collections and the collection pieces themselves need a break from time to time.  Some artifacts can be sensitive to certain lighting or environments, so while they handle being on exhibit for a certain period of time, it's best to put them back into storage so they don't get "overworked."  

One of the exhibit cases that often changes on a yearly basis is the 1920's case in the Edge of the Inland Sea exhibit.  The plan for that case is for the mannequin to be dressed like a "flapper."  the Neville Public Museum has a great collection of textiles which makes dressing in appropriate attire possible.  My first task was to find out what exactly flappers wore.  Every Halloween there are tons of flapper costumes, but that does not mean they are historically accurate.  I learned that flapper dresses were often rather shapeless and/or had a drop waist, hemlines crept up to around knee-length, and the dresses were often beaded and sometimes sleeveless.  I then went on to research flapper's shoes, hats, and accessories.  At that point I could search through the Neville's collections to identify matches.  I pulled several dresses, a couple pairs of shoes, and some accessories.  

After reviewing the selections with the collections manager, our first choice was a beautiful peach-colored dress with white horizontal beading.  Unfortunately, the sleeves were either badly torn or about to be, so it would not stand to be on exhibit.  We instead chose a lace dress with some colored beaded embellishments at the hip.  It dates from ca. 1925 and was accessioned by the museum in 1979.  Next was just dressing the conservation mannequin in the entire outfit chosen and moving "her' back into the case.  As far as positioning the mannequin, flappers were often known for their dancing, and the case's label mentions that dancing The Charleston was popular in the 1920's, so I wanted to make sure it looked like the mannequin was in motion.  I think the finished produce is an accurate and interesting ode to the 1920's, and that change is something to look for often when visiting the Neville Public Museum.

Rene Wilkerson
Collections Department Intern from the Museum Studies Certificate Program at the University of Wisconsin, Milwaukee

Etched in Time

Friday, July 11, 2014
Walking into the Neville’s extensive collection of art and artifacts is, like walking into any other museum’s collection, an exhilarating experience. Around every corner is something unexpected. Inside every drawer, sitting on every shelf, is a piece of history with a unique story to tell. It’s a bit like searching for treasure among treasures. In my new capacity at the Neville, it has been imperative that I familiarize myself with as much of the collection as possible. My involvement with exhibits such as Century of Discovery, A World at War, and From Agriculture to Tavern Culture, had provided opportunities to handle everything from landscape paintings to battlefield maps, from eye glasses to pint glasses, and just about everything in between. One day, though, I stumbled across something I hadn’t known was there.  
Behind an unmarked (and unremarkable) door, I discovered a small room brimming with the Neville’s collection of prints. Admittedly, I have a special affinity for prints. Personal preferences aside, a collection of prints such as the one the Neville possess is a valuable source of history and art. I immediately made a mental note that at the first opportunity I would delve into this collection and explore all it had to offer. Conveniently, Kevin (the Neville’s curator) and I had been discussing what would replace the Artistic Discovery exhibit that was installed in the same gallery as A Century of Discovery. Originally, A Century of Discovery had incorporated a number of paintings from our collection, but since then, two intervening exhibits had occupied that wall space. Now, the time had come to reconnect those walls more directly with the rest of the gallery, and I knew just the thing.             

The task of finding prints that related to A Century of Discovery provided a framework that narrowed and guided my exploration of the prints. My first criterion was that the print be dated to the 19th or early 20th centuries, as to coincide chronologically with the rest of the space. The popularity of prints during that time period meant that we had no shortage of images. The second criterion was that the image be in a condition that lent it to being handled and displayed. When prints arrive in the museum’s collection, they are not always in pristine condition. Corners may be torn, stains may mar the scene, or the image may have simply faded. Whatever their condition, all are equally preserved, however not all are considered ready for display. The final and most difficult task was choosing from among the remaining images a subject—or more likely, subjects—that would form an exhibit that was as cohesive as possible.             

Given that the print collection had been out of the public eye for a considerable period of time, one of my priorities was to showcase the breadth of subject matter that it contained. I also sought to find images that were relatable and spoke to as wide an audience as possible. While studying the prints, I began to mentally form small groups of three or four images that shared a theme. Broadly speaking, the images fell into themes such as labor and leisure, town and country, faith and morality, life near the water, and intimate moments. These themes cut across time and geography and help link our lives to those scenes contained in the prints.             

Where I could, I found instances where these themes overlapped and bled into one another, naturally linking one group to the next. For example, grouped with the images of faith and morality is a scene from Faust, where Mephistopheles appears to make his famous pact with the titular character. Across the doorway of the gallery, among the scenes of leisure (mostly drinking scenes, as a nod to the beer exhibit in the next room), is The Right Road, in which a young artist has his own decision to make and chooses to leave the life of debauchery behind him to pursue his art. Both characters are at a crossroads and must make life-altering choices. This is but one example of ideas and themes crossing between larger groups of images. Each viewer may find his or her own themes and are encouraged to do so as they study the prints on display.             

Finally, besides being aesthetically pleasing images, a print collection such as that on display provides a look at what was considered fine art and, more importantly, how people experienced that art. By and large, printmaking was a method concerned with generating reproductions. A brief look at the exhibit will show that rather than indicating the date of the original work of art—such as Raphael’s tapestry designs or Leighton’s wall painting—the dates of the published reproductions have been listed. Often, an engraver would be hired to copy a famous work of art. From that etching, a publishing company could produce numerous copies to be sold to eager art lovers. Printmaking had long been the primary method with which art and literature were disseminated. During the 19th century, advances in print technology meant that images of famous works became even more easily reproducible and affordable for wider audiences. Perhaps the most groundbreaking of these advancements was made possible by another 19th century invention—photography. By combining the new technology of photography with the centuries old process of engraving, a new means of generating reproductions was invented called photogravure, or photoengraving. This technology had the advantage of capturing details and gradations of tone that were not possible before, however it in essence removed the hand of the engraver.       
While the art of engraving is nowhere near as ubiquitous as it once was, viewing prints like those on display can serve as a reminder about how we view art. Technology, more often than not, mediates our experience of art. Today, we often take this for granted. Instead of a sheet of paper run through a press, we are more familiar with glowing screens through which almost any image can be accessed. The explosion digital technology has displaced the media of only a few decades ago, making things possible that could never have been imagined before. Technology and art have long been linked, and as one advances, the other expands and evolves. The images we encounter—no matter the generation—¬≠and how we experience them are a critical factor in our perception of the world around us. However you may feel about art, old or new, I think it is worthwhile to ruminate for a few moments on your own experience of art and how technology may factor into that relationship.

Jordan Koel joined the Neville staff in May 2014. He holds both a B.A. and M.A. in the history of art and architecture. Jordan works closely with Kevin Cullen to assist in research, curation, and the installation of exhibits. His interest in the history of art stems from a curiosity about objects that are perceived as standing outside of the ordinary. While Jordan’s most recent research focused on early medieval sacred art, his areas of interest span a wide range of time periods and mediums.    

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