By Trudy C. Kramer
I am writing to note the departures from the Parrish Art Museum of two remarkable and exceptionally long-standing staff members: Alicia Longwell, the Lewis B. and Dorothy Cullman Chief Curator, who served for 38 years; and Cara Conklin-Wingfield, the deputy director of art education, who served for 29 years.
As director of the Parrish Art Museum from 1980 to 2007, I had the privilege of working closely with them from the start of their tenures and can say with assurance that each leaves an indelible mark on this distinguished institution, having contributed in several significant ways to its mission, honoring the enduring artistic legacy of one of America’s most significant artist colonies, and deepening and broadening the relationship to its communities through the excellence of its programs.
Alicia’s curatorial work was foundational. Her early exhibitions and publications brought attention to core parts of the Parrish’s collection with “Photographs From the William Merritt Chase Archives,” and then “About the Bayberry Bush,” a cherished Parrish painting and one of Chase’s greatest works.
A series of scholarly investigations on the collection followed: “American Landscapes: Treasures From the Parrish Art Museum Collection”; “William Merritt Chase: A Life in Art”; and “First Impressions: Nineteenth Century American Master Prints.”
As our focus on eastern Long Island increased, Alicia gave us insightful views of the region’s fullness with shows devoted to Alice Aycock, Alan Shields, Dorothea Rockburne, Helen Frankenthaler, Joe Zucker, Esteban Vicente, Jack Youngerman, Peter Campus, Jane Wilson and Jane Freilicher, to name a few. Her illuminating thematic shows, “North Fork/South Fork: East End Now” and “Sand: Memory, Meaning and Metaphor,” were blockbusters.
Along the way, Alicia completed her Ph.D. with the book and exhibition on “John Graham: Maverick Modernist,” a Southampton resident whose influence on Abstract Expressionism is legion.
Ever a perfectionist and with a dedicated staff, Alicia diligently oversaw behind-the-scenes curatorial practices as well, including building the collection, proper storage and conservation needs, visits with artists and collectors, the exhibition and publication program, and guest curators, editors and designers.
Notably, she saw to the digitization of the Maren and Werner Otto Fund for the Study of the Art of Eastern Long Island, and a fan club of regulars and newcomers grew around her, understandably eager to attend her lectures on the region’s artistic history and the exhibitions.
From the outset, Cara Conklin-Wingfield responded robustly with educational offerings to the whole of our community. Recognizing the importance of engaging students, teachers and parents, Cara initiated a unique collaboration between the museum and the Southampton School District. With full the support of then-Superintendent Dick Malone and teachers Joseph O’Donnell, John Turnbull and Lily Bergenti, students worked alongside scholars, curators, artists, exhibit designers and Parrish staff to explore subjects related to the school curricula and works of art.
Their impressive results included selecting objects, writing labels and creating publications for full-scale exhibitions, such as “Power and Patronage: State-Sponsored Art in the 1930s,” which explored themes in the Works Progress Administration in America, as well as works commissioned by the Nazi and Soviet governments.
Cara collaborated with the distinguished photographer Dawoud Bey on “Representing: A Show of Identities,” a student-centered artist residency. This initiative later became the model for an annual student artist-in-residence program, engaging some 300 students each year. Artists have included Jeremy Dennis, Lonnie Holey, Alix Rockman and many others.
Because of her outstanding work, the Parrish received national and critical recognition from federal agencies and foundations for developing this unique and innovative model, which has since been adopted by museums throughout the country.
Cara’s strong leadership ability and dedicated staff enabled the creation of programs and experiences that were meaningful to people’s lives and enhanced their sense of community. These included the much-anticipated annual student exhibition, exploding with imagination and installed throughout the museum; partnerships with numerous schools and community organizations; after-school and summer programs; online tours and workshops; a full-day visual arts camp; numerous workshops; hundreds of school visits; and “Access Parrish,” a program bringing the arts to persons with cognitive conditions and women in the Riverhead jail.
Another of Cara’s accomplishments was the initiation of “Artists’ Stories,” an interactive map layered with biographical information, narratives and social networks throughout the region, accessible on the Parrish website. And during the pandemic, she developed a new narrative of artists talking about their lives and their work during this period of unusual isolation.
I and so many others benefited from the presence of Alicia and Cara at the Parrish. They enlarged upon the museum’s sense of place and its meaning as a museum, and they worked with intelligence, purpose and imagination.
Together they have laid an extraordinary foundation upon which the new director, Mónica Ramírez-Montagut, and the next generation can build with an ever-renewed vision for the Parrish and for the community — and I wish each of them great happiness in whatever comes next.
Trudy C. Kramer is a former director of the Parrish Art Museum.
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