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2019 Annual Report

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2019 Annual Report 2019 ANNUAL REPORT Dear Friends, This has been another year of unparalleled exhibitions and performances, a celebration of what’s possible in our new home and with the support of our community. At the beginning of 2019, we were in the last few weeks of the inaugural exhibition at 120 College Street, Between Form and Content: Perspectives on Jacob Lawrence and Black Mountain College, which was a major accomplishment in its scope and its expansion of community partnerships. Next, we presented an intimate look at the school’s political dimensions, both internal and external, through the exhibition Politics at Black Mountain College. During the same time period, the exhibition Aaron Siskind: A Painter’s Photographer and Works on Paper by BMC Artists revealed the photographer’s elegant approach to abstraction alongside works by others in his circle of influence. From June through August, our galleries filled with sound as part of Materials, Sounds + Black Mountain College, an exploration of contemporary experimental and material-based processes rooted in theories and practices developed at Black Mountain College. We closed out the year with VanDerBeek + VanDerBeek, an exhibition that bridges the historic and contemporary through an intergenerational artistic conversation. 2019 also marked the 100th birthday of Merce Cunningham, and 100 years since the founding of the Bauhaus, which closed in the same year Black Mountain College opened, seeding the latter with its faculty and utopian values. Both centennials sparked global celebrations, transcending geographic and disciplinary boundaries to honor the impact of courageous communities and collaborators. Image credit: Come Hear NC (NCDNCR) | Ken Fitch We joined the world in these celebrations through a special installation of historic dance films of the Cunningham Dance Company at this year’s {Re}HAPPENING, the exhibition BAUHAUS 100, and a virtual reality exploration of the Bauhaus Dessau building, on loan from the Goethe- Institut. Collaborations between Stan VanDerBeek, Merce Cunningham and the Cunningham Dance Company play a key role in our current exhibition, VanDerBeek + VanDerBeek. We welcomed an impressive roster of performing artists this year as well, continuing our Performance Initiative, which began in 2017. Our 2019 performances brought to light Black Mountain College’s international and multigenerational influences, from showcasing contemporary musicians who continue the legacy of experimental music within a global context, to addressing issues connected to the shared history and community of Western North Carolina, and embracing the interconnectivity of the arts that was at the core of Black Mountain College’s philosophy through multimedia explorations. This array of ambitious undertakings attracted the attention of Hyperallergic, Burnaway and Artsy, further establishing BMCM+AC as a forum for dynamic programs that enliven the regional, national, and international arts community, contributing to Western North Carolina’s reputation as a globally significant hub for creativity. We also worked to expand the reach of BMC scholarship by resuming publication of The Journal of Black Mountain College Studies, a peer-reviewed open-access digital publication that continues BMC’s tradition of embracing alternative models of publishing, and strives to present diverse works by writers and artists of varied backgrounds. Our staff evolved this year as former Development Manager, Molly Silverstein, began her graduate studies at Harvard Divinity School. We welcomed Carissa Pfeiffer as Development Coordinator in April. Carissa’s background in library science has opened up new strategies for our permanent collection and research center, laying the groundwork for increased access to these rich materials. In addition, we welcomed two new members to our Board of Directors: Hedy Fischer and Teresa Swan Tuite. Fischer is a collector, traveler, curator and all around cultural pollinator who resides in Asheville, North Carolina and Merida, Mexico. Image credit: Bauhaus ephemera, gift of Regi Weile | Carissa Pfeiffer Her far reaching perspective on global arts and culture resonates with BMC’s international legacy. Teresa Swan Tuite is Executive Director of Student Success at Lenoir-Rhyne University. A graduate of Yale Divinity School where she received her PhD in Religious Studies, Teresa is expanding our partnerships with local universities and national academic circles. Building on past accomplishments and looking to the future, this year we adopted a new strategic plan, which is summarized in this report. BMCM+AC 2019-2024 will guide the next stage of the museum’s organizational development, with the aim of establishing BMCM+AC as an international arts center. The core commitment of our plan is to build the financial capacity and visibility to widen the impact of our efforts to continue Black Mountain College’s legacy, and to share it as much as possible with communities both in this region and around the world. This potential as we continue to grow is only possible thanks to the generous spirit of the community we serve. Please consider donating, becoming a member, or volunteering with us if you have not yet. As a nonprofit, our achievements are the fruit of everyone who has contributed in myriad ways to the ongoing story of Black Mountain College. We are tremendously grateful to our donors, community partners, volunteers, and friends. On behalf of our staff, board, and all who enjoy and participate in all that we do throughout the year, thank you for your part in helping us achieve our mission. As we move forward into 2020, we pledge to be worthy of the trust you place in us to extend this vital legacy. Sincerely, Jeff Arnal, Executive Director Aki Onda MISSION Black Mountain College Museum + Arts Center preserves and continues the legacy of educational and artistic innovation of Black Mountain College. We achieve our mission through collection, conservation, and educational activities including exhibitions, publications, and public programs. BACKGROUND BMCM+AC has experienced exponential growth since 2016 with audience numbers and membership doubling. Since 1993, BMCM+AC has had 200,000+ in-person engagements with a range of local, national, and international constituents, participated in 6,000+ collaborations with artists and other organizations, organized 60+ exhibitions and 1000+ events, created 33 exhibition catalogues, dossiers, and other publications, and gained 17,000+ followers across social media channels. With this expanded growth it is evident that the museum must develop an even more robust way of operating to ensure BMCM+AC’s future. In September 2018, BMCM+AC moved into a permanent home for the first time in its 25- year history. The new 6,000 square foot space has nearly doubled the museum’s footprint and includes 2,500 square feet of flexible exhibition/event space with a seating capacity for 180, a permanent Black Mountain College history and research center, an expanded library and education center with over 1,500 BMC-related texts, and on-site storage for the collection. Image credit: Jesse Kitt | W.P. Jennerjahn (BMCM+AC Permanent Collection) | Barbara Morgan, courtesy of Western Regional Archives, State Archives of North Carolina) BY THE NUMBERS IN THE GALLERY Visitors: 10,500 Active members: 524 First time members: 163 Collaborating artists and performers: 150+ Exhibitions: 6 PROGRAMS Total Events: 40 Lectures + gallery talks: 14 Films@BMCM+AC: 5 Workshops: 5 Performances: 12 Literary events/readings: 3 DIGITAL 5,000+ website visitors 11,000+ Facebook followers 6,000+ Instagram followers (@bmcmuseum and @bmcbooks) 3,745+ e-newsletter subscribers Image credit: Jesse Kitt | Eric Baden | Stan VanDerBeek (couresty of the Stan VanDerBeek Archive) EXHIBITIONS In addition to continuing the 2018 exhibition Between Form and Content: Perspectives on Jacob Lawrence and Black Mountain College through January 12, 2019, we presented five new exhibitions in 2019. Politics at Black Mountain College February 1 – May 18, 2019 | Curated by Connie Bostic, Jon Elliston, Jay Miller, and Alice Sebrell The BMC community faced political differences, both internally and externally, throughout its 24-year history. The college was born in 1933 during the Great Depression, lived through WWII, was deeply affected by Hitler’s rise to power, and closed during the Cold War. Though often viewed today as an idyllic mountain refuge, isolated from tumultuous global politics, BMC took shape in the context of (and in response to) world events. Through a rich variety of media—artworks, images, texts, and audio—this exhibition explored the various political dimensions of Black Mountain College, both internal and external, that shaped the trajectory of the college and its community of people. A digital portal with further resources accompanied the exhibition. Aaron Siskind: A Painter’s Photographer and Works on Paper by BMC Artists February 1 – May 18, 2019 | Curated by James Barron This exhibition of vintage photographs by Aaron Siskind revealed his elegant approach to abstraction through photography. Siskind taught photography at BMC during the summer of 1951 (along with Harry Callahan, Arthur Siegel, and Hazel Larsen Archer). As the only photographer accepted as an equal by the abstract expressionist painters, Siskind’s work remains as powerful today as it was in the 1950s. The exhibition also included selected works on paper by BMC artists John Cage, Merce Cunningham, Willem de Kooning, Ray Johnson,
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