SEPTEMBER 11Th: ART LOSS, DAMAGE, and REPERCUSSIONS Proceedings of an IFAR Symposium

Home , Ideogram (sculpture)

International Foundation for Art Research (IFAR) www.ifar.org This article may not be published or printed elsewhere without the express permission of IFAR.

SEPTEMBER 11th: ART LOSS, DAMAGE, AND REPERCUSSIONS Proceedings of an IFAR Symposium

SPEAKERS

• Saul S. Wenegrat: Art Consultant; Former • Dietrich von Frank: President and CEO, AXA Art Director, Art Program, Port Authority of NY and NJ Insurance Corporation • Elyn Zimmerman: Sculptor (World Trade Center • Gregory J. Smith: Insurance Adjuster; Director, Memorial, 1993) Cunningham Lindsey International • Moukhtar Kocache: Director, Visual and Media Arts, • John Haworth: Director, George Gustav Heye Center, Lower Manhattan Cultural Council Smithsonian National Museum of the American Indian • Suzanne F.W. Lemakis: Vice President and Art • Lawrence L. Reger: President, Heritage Preservation, Curator, Citigroup Heritage Emergency National Task Force IFAR SYMPOSIUM: THE ART LOST & DAMAGED ON 9/11

INTRODUCTION

SHARON FLESCHER*

Five months have passed since the horrific day in September that took so many lives and destroyed our sense of invulner- ability, if we were ever foolish enough to have had it in the first place. In the immediate aftermath, all we could think about was the incredible loss of life, but as we now know, there was also extensive loss of art—an estimated $100 million loss in public art and an untold amount in private and corporate collections. In addition, the tragedy impacted the art world in myriad other ways, from the precipitous drop in museum attendance, to the dislocation of downtown artists’ Left to right: Sharon Flescher, Saul S. Wenegrat, Elyn studios and arts organizations, to the decrease in philan- Zimmerman, Moukhtar Kocache, and Suzanne F. W. Lemakis. thropic support of the arts as funds were redirected to help the families and victims of the tragedy. But our focus today, in keeping with IFAR’s mission, will be on the art itself, the loss of which became clear soon after the tragedy.

We’ve gathered eight distinguished speakers from the fields of art and insurance to discuss the art that was lost and damaged on 9/11 and the repercussions.

Left to right: Lawrence L. Reger, Gregory J. Smith. Dietrich * Dr. Sharon Flescher is Executive Director, International Foundation for Art von Frank, and John Haworth. Research (IFAR). The IFAR Symposium took place in New York City on February 28, 2002. The following eight talks are edited from the Symposium proceedings. We thank The Liman Foundation for its support of this Symposium.

9 Diagram of Masayuki Masayuki

1972. Black Black 1972. 1. WTC PlazaWTC 2. Figure Center Trade World the showing buildings 1-7. Authority Courtesy Port of NY and NJ. armature. Photo: Photo: armature. ofAuthority NY Port and NJ. Figure Nagare. Sculpture, granite over Swedish and concrete steel . 1 © 2001/02 o Saul S. Wenegrat. IFAR Symposium, Symposium, IFAR Wenegrat. Saul S. 2002. February 28,

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* It was It completed in there was a large, black granite a steel over and concrete armature. At theAt Church Street entrance tothe World Center PlazaTrade I), Swedish granite sculp ture Japanese by artist Masayuki Nagare 2). and measured1972 14 feet high 34 by feet wide feet Although deep. 17 by lookedit like a solid piece, was it actually a veneer of - IFAR® JOURNAL IFAR® - - - - SAUL S.SAUL WENEGRAT International Foundation for Art Research (IFAR) www.ifar.org (IFAR) Art Research for Foundation International Public Art at the World Trade Center Trade Art the World Public at This article may not be published or printed elsewhere without the express permission of IFAR. of IFAR. permission the express without elsewhere or printed not be published article may This Saul S. Wenegrat is an Art Consultant and the former Director, Art Director, and the former Art Consultant is an Wenegrat Saul S. The following is a description the of art that was incorporated Center into the and Trade was in 2001: place September on 11, the early 1970s; the last—a memorial the for 1993 bombingthe of WTC—took place in 1995. knowledgeable lay people like Jane Engelhard. Basically, the Authority Port accepted their recom mendations. The first art installation place took in Museum, Tom Messer, then Messer, Director theMuseum, of Gug Tom genheim Armstrong, Museum, and Tom then Director the of Whitney Museum. also It included This included Dorothy Miller the of Museum of Modern Art, Smith Gordon the of Albright-Knox Gallery in Buffalo, Sam Miller the of Newark New York/New JerseyNew York/New area, consisting directors of and curators many of the of leading institutions. struction costs be arts to spent for inclusion. It established an advisory knowledgeable group of persons in the arts, mainly from museumsin the 1969, as part the1969, of planning Center, Trade the of World the Authority Port a “percent-for-art” adopted program allocating the percent of one to up con The commissioning process public works, of especially with a government agency such as the Authority, Port and just out art. go buy is very don’t In formal. You down to the World Trade Center after Trade down the to the World tragedy and bring up-to-date you what on is left the of works. tion on 9/11. I’d liketion 9/11. review to on with what the you public works were, who did them, and where they located. were Then I’ll take through you what I found when I went living through two tragedies which occurred the at Cen ter: bombing the and the 1993 recent destruc complete I’ve had the I’ve good fortune working of with a great many important artists in the creation the public works of for Center (WTC), Trade had the and of horror I’ve World Program, Port Authority of New York and New Jersey, which owns which Jersey, and New York of Authority New Port Program, and curated the commissioned Wenegrat Mr. Center. Trade World the artpublic at the Center. * The centerpiece of the World Trade Center Plaza was a colossal fountain designed by Fritz Koenig of Ger- many. The sphere of the fountain (FIG. 3) was a globe- like structure, 25 feet high. Made of bronze, it stood on a black granite base out of which flowed sheets of water. Through its shape, the piece was intended to symbolize world peace through world trade, which was the theme of the World Trade Center.

Between the two Trade Center towers, there was a large, stainless steel piece called Ideogram by a New York sculptor, James Rosati (FIG. 4). Completed in 1974, this twenty-five-foot piece was one of the more interesting commissions on the plaza, because as Figure 3. Fritz Koenig. Sphere for Plaza Fountain, 1969. Bronze on black granite base. Photo: Port Authority of NY & NJ. you moved around it, it took a different shape. It was also one of the most photographed pieces there, since people in the fashion industry seemed to like it

IFAR SYMPOSIUM: THE ART LOST & DAMAGED ON 9/11 and incorporated it into a lot of fashion ads.

Figure 4. James Rosati. Alexander Calder’s WTC Stabile (FIG. 5), also known Ideogram, 1971. Stainless by other names like The Cockeyed Propeller and steel. Photo: Port Authority of NY & NJ. Three Wings, arrived in 1971. It was 25 feet in height and was made out of painted red steel. The piece was originally commissioned for the entrance to 1 World Trade Center on West Street. After Battery Park City was opened, the piece was moved to Vesey and Church Streets where it is seen in this photograph. At the time of the recent disaster, it was located on a plaza in front of 7 World Trade Center.

The World Trade Center Tapestry of Joan Miró (FIG. 6) arrived in 1974. It was not really a commissioned piece. I had spoken with Miró about the

Figure 5. Alexander Calder. WTC Stabile (Bent Propeller), 1971. Red stainless steel. Photo: Port Authority Figure 6. Joan Miró. WTC Tapestry, 1974. Wool and hemp. of NY & NJ. © 2002 Estate of Alexander Calder/Artists Photo: Port Authority of NY and NJ. Rights Society (ARS), New York.

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9. 8. Figure of NY & NJ. Figure of NY & NJ. on to do a piece, a do to on and through she went many differ designs.ent and seemed out, finally None work to she came with up this wall was piece. over It of made up separate35 sculptures that together put were form to this particular image. theAt dedication, she said that her inspiration a flighthad her on to come New York to from Washington. As she looked the at skyline New of this isYork, what she perceived. Hence its name. A black painted wood relief, was it located the on mezzanine of Center Trade overlooking1 World the plaza. The last public art Trade that into work thewent World Center was a memorial fountain the for victims the of bombing.Six killed1993 were people in that bombing, and the fountain was placed right the over area where the off, in went bomb the front of Marriott Its Hotel. Elynsculptor, Zimmerman, our is of panelists one and she will talkthe about more piece. Besides the fountain IFAR® JOURNAL IFAR® also came 1977-8. Black Black 1977-8. (FIG. 7)

Sky Gate, New York, York, New Gate, Sky Sky Gate, New York Louise Nevelson.

7. Louise Nevelson’s Louise had beenin contacted late, in early 1977-78. Ours hung in the lobby of 2 World Trade Center. You You Center. Trade Ours hung in the 2 World of lobby would seen have the on it way the to observation deck. Washington, Center which Trade had seen the World Tapestry and wanted its for new East one Wing. So Miró anddid more, one that was the last tapestry that did. he he finishedhe making work too much it, Miró said, “It’s tapestries. then make going to But not any more.” I’m a call got he from the The National Gallery Art of in The tapestry was and wool of and made hemp out was large—20 feet. was feet 35 by It a unique piece, and after I said, “What?!” in the said, GrandHe Palais “It’s [in Paris] in retrospective, Miró’s yours if want and you it’s made especially he it it, but Center.” Trade the for World little tapestries, which of some shown were in New York. Then a communication I got from his dealer in Paris Center tapestry Trade saying, World is done.” “Your with this tapestry maker in their village, and to got he like decided it. He practice, to and made he 20 about the nuns asked a tapestry.for said any do He didn’t he tapestries. They somebody have in said, our village “We who does tapestries. He’ll So, Miró teach worked you.” nuns who ran the hospital that, “Hopefully daughter my will and if she does, recover, I’ll give any you art work that would like.” you Hisdaughter and did recover, use two my hands.” Then had he a tragedy in his family. His daughter was traveling in Spainand was involved in an accident. was She taken a hospital. to Miró the told down, saying: “When a tapestry, do you really you don’t make yourself, it do any and art I don’t where I don’t painted wood relief. Photo: Port Authority of NY & NJ. © 2002 ofAuthority NY & NJ. Port Photo: relief. wood painted York. Rights of New Estate Society Nevelson/Artists Louise (ARS), possibility doing a tapestry, of and had he turned me Figure speakers here today will be talking about them. One of the more significant tenant collections was Cantor Fitzgerald’s collection of Rodin drawings and sculptures, on view in the North Tower.

After the recent destruction of the World Trade Center, I was asked to join a committee to put together items found at the site for possible use later in an archive or memorial. Together with Bartholomew Vorsanger and Marilyn Jordan Taylor, I was a member of a committee with that grim task. When I went to the site shortly after the bombing, this is what I found (FIGS. 8 and 9). It was a horrible sight. Almost 3,000 people had been cremated at the World Trade Center, and even two weeks after the tragedy, the site was still burning. It was an awful experience. This is what remains of the Calder WTC Stabile (FIG. 10). And this is what remains of the Koenig Sphere for Plaza Fountain

IFAR SYMPOSIUM: THE ART LOST & DAMAGED ON 9/11 (FIG. 11).

Figure 10. Post 9/11 remains of Calder’s WTC Stabile. View of Ground Zero. [NB. The remains were stored by the Calder Foundation, as there was not enough sculpture remaining for restoration. A portion can be found at the National September 11 Memorial & Museum.] Photo: Port Authority of NY & NJ.

itself, a little park was created, so that you could sit and contemplate what had taken place.

Those are the seven public art works. In addition, the Port Authority had over 100 other art works at the World Trade Center including Needle Tower 1968 by Kenneth Snelson; Recollection Pond, a tapestry by Romare Bearden; Path Mural by Germaine Keller; Commuter Landscape, another large mural by Cynthia Mailman; and Fan Dancing with the Figure 11. Post 9/11 remains of Koenig’s Sphere for Plaza Fountain. Birds, a mural by Hunt Slonem. View of Ground Zero. [NB. In November 2017, the Port Authority rededicated the unrestored sculpture at a permanent location in Besides the Port Authority collections, many World Trade Liberty Park, overlooking the 9/11 Memorial.] Photo: Port Authority of NY & NJ. Center tenants had collections of their own. Some of the . . .

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Elyn Zimmerman. IFAR Symposium, Symposium, IFAR Zimmerman. Elyn 2002. February 28, 1993 . 4 / VOL. 5,. 4 / VOL. N o * VOL. 4,VOL. N

On February a bomb set 26, by 1993, terrorists exploded below this site. This horrible act of violence killed innocent people, injured thousands, and made victims of us all. I started sculpture doing outdoor commissions. I was very inspired and geology, by things in nature, and Jap anese and Chinese gardens. I became interested in using rocks and and I had the water, very good fortune a do to project the at National Geographic Society in Washing withton those materials. was learning It a huge the red disk was a brief inscription and the names of the six that people killed were would So, one in 1993. walk and it to up into look the center and see the inscription. Also, there was water a pool that of these elements sat in the on The interior. inscription read: And then there the were names. Many the of victims Hispanicwere Hispanic of or origin, so the inscription was in both Spanish and English. Later trees andshrubbery and brought were placed around two sides. Also, began people throwing coins inside the fountain. I had idea no that was hap going to offpen, so had shut we to the water and install a filter catchto the coins. I think meant it something the to in who worked people the building and knew the people killed,who were and also the to visitors. There so were Center. many Trade visitors the to World did design to I come How something like this? In 1980, was about 18 feet inwas 18 about diameter and feet 3 1/2 high. The fountain itself was very modest. was It anot huge flowing thing from but the water, of center the of red disk, there was a small hole, from which water came andout flowed evenly theover sides the of disk and into a slot. Around - - IFAR® JOURNAL IFAR® - - -

ELYN ZIMMERMAN ELYN International Foundation for Art Research (IFAR) www.ifar.org (IFAR) Art Research for Foundation International The World Trade Center Memorial, The Trade World World Trade Center Memorial, Center Trade World We had a chance meet We to with was a very different experience from (FIG. 2). (FIG. This article may not be published or printed elsewhere without the express permission of IFAR. of IFAR. permission the express without elsewhere or printed not be published article may This (FIG. 1) Elyn Zimmerman is the sculptor of Zimmerman is the sculptor Elyn the * Jersey. and New York of Authority New the Port by commissioned 1993, ing was white granite, and then there was a form that (FIG. 3). (FIG. Essentially, the footprint the of memorial was a thirty squarefoot trimmed in black granite. The interior pav might bring closer people it. to read to In the order inscription, they’d walk to have and it to up inside look with that. with The underlying idea was that there would be an inscrip tion sort. some of I decided try to make to a form that sculptures the on plaza itself, and trees, and those huge buildings, that was it ridiculous think to competing of plaza was really large, and, unfortunately, the amount the for money of memorial wasthe to up not size of the there plaza. already were Moreover, so many large I’d like take to through you the creative process and my reasoning this as how to fountain came into being. The 30 feet 30 feet by the families who had lost their ones. The loved memo rial that I proposed was accepted and constructed. one of a number of artistsone of later invited submit to pro posals a memorial for be to placed the above exact spot where the exploded. bomb The specific chosen site was between Towers One and Two of the World Trade Cen Trade the of World One and Two between Towers severalter, levels down in the parking area. Six people killed,were and than more 1,000 injured. were I was memorial. a terroristIn 1993, car off went bomb a site below What bring you those to projects is very different from bringwhat you an to experience like the memorial for is a typical bombing.the not It 1993 project make to a their studios, and if they the have interest, they can be commissioned large do to projects public spaces. for Working on the World Trade Center memorial Trade project the on Working World in 1994-95 anything Artists done. else I’ve make small works in the back of my mind. I take a lot of pictures and keep a lot of reference files. When the cancer center at the University of South Florida had a competition for an outdoor sculpture next to their new building, I thought of the site as a sanctuary and a place for long-term hospital residents to come outside and sit. So, the form of my sculpture referred back to the plan of the sanctuary at Delphi, but reinter- preted. It includes a fountain and a small pool and a place for people to sit, which is important. It is a very quiet place.

Figure 1. Elyn Zimmerman. World Trade Center A plaza I designed in San Francisco off Market Street also refers back Center Memorial, 1993. Red, gray, black, and white to archaic architecture. I had recently visited the Incan ruins in Peru granite. Photo: Port Authority of NY and NJ. and was taken with the large stonework and articulated blocks they had used. For my San Francisco project, two waterwalls face each other in a garden just off Market Street in front of an office tower.

These projects were all done before 1993, and there were many others as well. They show that I already had this vocabulary of stone and water. Stone has cultural references as monuments and tumulus IFAR SYMPOSIUM: THE ART LOST & DAMAGED ON 9/11 mounds. I didn’t feel intimidated by that; rather, I felt it adds dignity to a work. So, when I started thinking about the World Trade Cen- ter memorial competition, I went back to some of the books I had looked at and thought of these tumulus mounds and how from time immemorial, people captured the experience of passage, entomb- Figure 2. WTC site before construction of ing people who were important in their culture. They would do it the Memorial, looking west. Tower One is on the right. in these mound-like structures. Very early on you had things like Tower Two, on the left. Photo: E. Zimmerman. Stonehenge and those kinds of mound structures. But around the first millennium BC, you get not just mounds of earth but actual constructions of cut stone mixed in with rubble and earth. I was inspired by these. I was also attracted to their minimalist form. I came out of a period in the art world when there was a strong influence of Minimalism. I found these forms very powerful, very engaging. They’re iconic. That’s what I began to think about, and I developed the World Trade Center form. It has a combination of very rough white granite that’s broken into large chunks forming the walls, and it’s topped and finished and held in place by polished granite pieces.

I saw what happened on September 11th; I was there. I live half a Figure 3. Overhead view of the Memorial showing mile from the site, and my studio is there too. We saw the planes go the inscription and the names of the six people killed over and the buildings collapse. One of the first things that came in the 1993 WTC car bombing. Photo: E. Zimmerman. to my mind was that this memorial had been an art project for me. It meant a lot, but for me, it wasn’t a shrine the way it was to the experience. A few years later, I got interested in families who had lost loved ones in 1993. The press recently has been archaic architecture, the very beginnings of archi- saying the same thing—that those families had a double loss: they tecture, and thought a lot about ancient temples and lost their family members and now they lost the memorial to them. sites that incorporated natural rocks and had man- What occurs to me is that you can build a lot of stone memorials, made platforms built around them. I visited the site and if people are determined, they’ll be destroyed along with every- in Greece of the oracle of Delphi, and that stayed in thing else. . . .

15 the E-Team Long View Table-Sink, View Long

(FIG. 1). (FIG. Moukhtar Kocache. IFAR Symposium, Symposium, IFAR Kocache. Moukhtar 2002. February 28, - - . 4 / VOL. 5,. 4 / VOL. N o * Martina Geccelli. Suite 4047.

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1. attempted make to photographic portraits in people of the studio from a helicopter that was hovering the outside in were the helicop membersbuilding. the of E-Team Two anotherter, in the studio space, and lined were people up along the windows their have to portraits taken. In another project ( 2000, photographed abandoned office spaces the at Trade Center that left were in disrepair. complete Martina,For the architecture, the space, and the psychology the of space became her subjectmatter a performanceA project the by art E-Team, also group, dealt with the building itself. In day into the buildings simply because our offices and studios happened be to there, but precisely because they located were in and the Towers Twin our desire was ana to lyze them from with in. Let start me for instance with Martina Gecelli, who in the year Figure LMCC. Photo: 120 x 100 cm. 2000. -

- - IFAR® JOURNAL IFAR® MOUKHTAR KOCACHE MOUKHTAR International Foundation for Art Research (IFAR) www.ifar.org (IFAR) Art Research for Foundation International The Artist Residency Program in the Twin Towers the Twin in Program Artist Residency The This article may not be published or printed elsewhere without the express permission of IFAR. of IFAR. permission the express without elsewhere or printed not be published article may This Moukhtar Kocache is Director of Visual & Media Arts, Lower Manhattan Manhattan Lower Arts, & Media Visual of is Director Kocache Moukhtar

sibilities, context, references of and in world a whole the form visual of also but conceptual and political material. remember to have that every work to did go we not You us, the hundred one “subjects” over and for fifty artists and cultural I will and workers producers. Slowly, high light what has been lost in terms opportunities, of pos I’d like focus to initially what on was lost in terms the of themselves—theTowers architecture, the icons, and, for public performances in the large plaza Center the of Trade thousandsfor audience of members. often . . a venue noted theas of one most city’s democratic public spaces. were opened the to were public. Thousands came people of to the Open Studios each The year. LMCC also organized sculpture, and new media, art photography, installation and selected were a jury by residencies for that lasted six months. the At each period, of end six-month the studios The program was initiated four years ago and provided emerging artists with studio and space 92nd the on 91st floors Artists the of North in Tower. worked painting, Manhattan Cultural Council’s (LMCC) artist residency program in the WTC. visual culture? What is an artist? Who is an artist? What is an art experience? I will try that do to illustrating by the of some projects that executed were during the Lower notions loss what of and or was in lost September on 11th, so doing, explore our notions what of the purpose art of is; its value, its or use. Whatis cultural production? What is and framework in which was it made. In fact, what I would like tonight do to is reexamine perhaps, expandor, our I feel like the representative “unofficial” of art this at Sym posium, only not because the of nature and the value the of art that I will talk also about, but because the of context destroyed on 9/11. One artist-in-residence, Michael Richards, was killed. was killed. Richards, Michael One artist-in-residence, 9/11. on destroyed along with 30 destroyed, also were TradeCenter World the at offices LMCC’s of 150 works art. and approximately ofyears archives Cultural Council (LMCC). The LMCC administered two artist two studio The LMCC administered (LMCC). Council Cultural and Views (World Center Trade ofWorld the Tower programs in the North Authority the Port by temporarily vacantStudioscape) and donated in space with and foundations of a number support from corporations, of NY & NJ, of works hundred art The and several studios were agencies. government * Figure 2. E-Team were open to the public. It was a beautiful experience to (Hajoe Moderegger, watch cinema and art films with the skyline of New York Franziska Lamprecht, Dan Seiple). 127 City visible through the windows. For Picture Motion, Illuminated Windows. Douglas Ross installed motorized blinds on the windows, The appearance as it was supposed to be on the which, in a darkened room, created a stroboscopic effect— World Trade Center. the city looked like a film projected in slow motion. The New York, March 2001. last work that was produced in the WTC studios, on Photo: LMCC. September 4th, was a project by Naomi Ben Shahar. She invited her friends to a party and provided everyone with headlamps. The room was covered with mylar so the city to write their names on lights and the movement of the partygoers intermixed in a the exterior of the Tow- sort of a liquid, reflective environment. ers themselves (FIG. 2).

Many other projects dealt with the specificity of the Trade Center site. In a performance entitled The Land of Far Beyond, Susan Kelly embarked on a pilgrimage up the IFAR SYMPOSIUM: THE ART LOST & DAMAGED ON 9/11 staircase from the first floor to the 91st floor. For My Ameri- ca (I am Still Here), Emily Jacir documented purchases from every store of the Trade Center, which revealed the mechan- ics of power in global trade and production. Taketo Shimada envisioned a project on the escalator steps entitled Meet- ing, for which he would write poetry on the escalator steps describing a love affair that arises after a chance meeting.

Kevin and Jennifer McCoy, new media artists, created a fic- Figure 3. Christian Nguyen. A Thousand Peaks and Myriad Ravines, 2000. Drywall and studs. 180" x 85". Photo: LMCC. tive company called Airworld, which, eerily, has a logo of two airplanes flying in each other’s directions and joined at Countless projects were destroyed. Micki Watanabe’s, the wings. Their company Web site had absurd advertising Floorplan Collage: WTC 91st floor and 15 Park Ave. A proj- banners that critiqued the sterile language used by corpo- ect by Christian Nguyen referencing the Asian panel land- rate America. One banner read Safe Ascent, another, Wel- scape painting tradition, A Thousand Peaks and Myriad come We Are Air. During their residency the McCoy’s also Ravines, had been installed in the Port Authority’s offices broadcast from their studios an FM radio signal that you (FIG. 3). Jeff Konigsberg’s untitled work in progress that could hear if you were driving on the West Side Highway. he had worked on for four months—carving, painting, Another important loss on 9/11 was access to the views, peeling—creating an incredible three-dimensional experi- this particular vantage point on the city. These views and ence out of dry-wall. Simon Aldridge’s minimalist wall that particular vision of the city, its topography and geolog- sculptures that reference skateboard and BMX structures, ical profile provided a unique opportunity for individuals, and Hot Fun in the Summertime, a piece which illustrated whether at work in their offices, visiting the observation his struggle in rendering the towers as light structures that deck or dancing at Windows on the World. Subject matter emphasized verticality but at the same time allowed light to for numerous paintings created in the residency programs, come in and reflection to take place. such as Joellyn Duesberry’s Cloud Over Mid-Town Brook- Just a week before the attacks, Justine Cooper moved all lyn and Manhattan and Sonya Sklaroff’s WTC Series, these of her work from the past two years to the WTC studio. views of the city were also central to many sculptural, Everything was stored there during the attack, including her installation, or performance-based projects. Matthew Bak- three-dimensional luminous sculptures of gene sequences, kom, in 1 WTC Cinema, explored issues relating to the a sculptural MRI of her hands, and numerous photographs building, the city, and architecture in film screenings that

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Figure LMCC. x 48" Photo: 24" wood. Oil on for instance,for smiling One when you’re in someone at Tower and they smilestanding Two the … or back you at in Tower white plastic bag that evening one breath my took as away I was watching the sunset floor. from the I will 91st remem fluttered it ber how forever and fluttered and fluttered. In the last century, expanded we the definition art-mak of ing and artists; think to come have we them of as shamans, healers, activists, social workers, and revolutionaries. What was the loss in terms intellectual of and creative energy and human potential? Why consider as not artists, the chefs, cocktail masters, the Billy, with elevator guy, his funny performances and stories, the window washer and ulti mate romantic the Rocco, of perched top on buildings full amazingof revelations and narratives. could . . he see the curvature the of Earth about from … how where worked he the geeks computer who wrote code and dreamt new of machines and technologies? All them of contributed the to social experience and cultural fabric making the of Center, a uniqueit environment make to art and life. enjoy And in terms the of ultimate purpose art, of which is me to expe riential and phenomenological, we lost random and banal things like the exhilarating the ride the up intense elevator, wind in the plaza that would certain on days lift from you the floor, and the symphony created the by creaking revolv ing doors near the Custom House during rush What hour. allabout the of very private and ephemeral like, moments ing one of theing of one windows, signingmarking or the building from the outside, this is an art also that’s work Office gone. had builtworkers personal altarsand on around their desks with photographs, images and letters. Theseare The gone. views the of clouds such a height, at the sounds the of wind and the of city from that height, all this of is gone. - - . . . ------IFAR® JOURNAL IFAR® - Kara , 1999. 1999. , Justine

Lamine

(FIG. 4). (FIG. 4. her work fromher work the past twoyears in the studio, acrylic, stainless steel, acrylic, steel, stainless 8". W: 96". Ht: halogen. W) Photo: (Base 14" LMCC. from electron micro scopes Hammond also lost manymany, paintings and drawings. Again, she had of stored some Figure Cooper. film, sequence, gene ACE (FIG. 5). (FIG. Showroom Interior, and Voskhod Floor, Concrete stuck outside the building floor the on 91st after remov in the bathrooms and the on basement walls, poems, love manifestos the to world—these are The gone. red wad of chewing gum that performance art group Gelatin had memorial the at third floor basement that the union mem bers had built their for friends and colleagues who had per ished in attack, the 1993 that too is Beautiful gone. graffiti ible loss instanceible for is an estimated 10,000 photographs taken the by official Kennedy family photographer: they beingwere a bank stored at in the buildings. An informal ings, writings and historical artifacts. Many individuals had valuables, jewelry, photographs and documents in safe deposit boxes in banks; these items are One incred gone. World Trade Center’s construction Center’s Trade archive andWorld architec tural history, incredible sources documentation, of draw Beyond tangible art objects opportunities or creation, for I want us think to and evaluate what else was lost 9/11. on I am thinking the of company archives, instance, for the raphy, including piecesraphy, Komar by & Melamid, Tim Hailand, Spence,Daniel and Takashi Kohn, Taylor Murakami. $10,000. Also destroyed offices. works the were at LMCC’s We are still assessing what exactly was estimate lost, we but over art150 works—paintings, drawings, sculptures, and photog valued around at $50,000, and materials totaling approxi mately $20,000. floor, lost On we art the 91st valued work $150,000,at and and equipment materials valued about at The value the of that work the artists lost in the studios on the floor 92nd is approximately $500,000, with equipment including Warehouse International Foundation for Art Research (IFAR) www.ifar.org This article may not be published or printed elsewhere without the express permission of IFAR.

The Art Lost by Citigroup on 9/11

SUZANNE F. W. LEMAKIS*

As curator of the Seven World Trade Center originally served as the corpo- Citigroup Collection, rate headquarters of Salomon Brothers, an investment bank my responsibilities founded in 1910, and the predecessor of Salomon Smith are similar to that of Barney. Investment banks handle big deals; in other words, a museum curator. their clients invest millions of dollars with the company. I oversee the develop- Because investment banking is about client relationships, ment of the art collec- investment banks have traditionally had offices character- tion and its manage- ized by an upscale ambience, suitable to their business ment. However, unlike needs. Salomon Smith Barney occupied close to twenty Suzanne F. W. Lemakis. IFAR a museum, the prima- floors. Seven World Trade housed executive dining rooms, Symposium, February 28, 2002.

IFAR SYMPOSIUM: THE ART LOST & DAMAGED ON 9/11 ry purpose of the cor- back office facilities and very dignified and conservative porate collection is not (but not luxurious) offices to conduct business. These offic- to educate and preserve, but rather, and more importantly, es were enhanced with art, with the most valuable works to enhance the corporation’s image and environment while installed in dining rooms and executive offices. providing visual stimulation for both staff and customers. Of course, the corporate curator is responsible for setting standards for the preservation of the collection, as the col- Figure 1. lection is always considered to be a valuable corporate asset. Robert Henri. Alice Malley, In October 1998, an historic merger took place—Citicorp 1924. Oil on canvas, 31" x 27". and Travelers Group merged to form Citigroup. Citigroup Property of is today the preeminent global financial services company Citigroup. offering a range of services from investment banking, insurance and asset management, to consumer banking, credit cards, mortgage loans, and consumer finance. Among the companies that became one were Citibank N.A., Travelers Insurance, Salomon Smith Barney, Primerica, and Com- mercial Finance Corp. Soon after the merger, I requested that copies of all existing records for artwork, including any photo documentation, be sent to my office so that I could better understand the scope of the merged collection. On As I mentioned, we lost all art and archival records relating September 11th, Citigroup lost over one million square feet to Salomon’s history. Losing the history of this old banking of office space when Seven World Trade Center collapsed firm is a real tragedy. Fortunately, there had been a history in late afternoon. Fortunately, all of our employees (as well written for Salomon’s seventy-fifth anniversary. But, while as all other occupants) in the building had been evacuated copies of the history still exist, future historians will be left earlier, but unfortunately, all our furnishings, records, and with scant original sources for the history of one of the most artwork was lost. important American financial institutions.

Although Salomon’s rivals, such as Goldman Sachs, had well-established art programs, Salomon did not have a com- * Suzanne F. W. Lemakis is Vice-President and Art Curator, Citigroup. prehensive or focused art program. The collection’s mission

These were among . 1 © 2001/02 o Chief Joseph, Nez of a 1926 Elsea 1926 Driggs painting Pink Strelitzia. (FIG. 2) . 4 / VOL. 5,. 4 / VOL. N and a Ralston Crawford painting o Jim Dine. 3. My Dog, VOL. 4,VOL. N New York Bridge,New York

Figure Editions. Pace Photo: Edition of 12. 1980. paper, dated 1903, which the to donated dated he 1903, Salomon col Electrical Energy Number Two. Dynasty camel was among the works relocated.) The most expensive painting in the collection was a large mural that was installed in the of one dining rooms. This mural had Trade been relocated Seven to World ing titled Bartholomew’s St of Church, an Andrew Wyeth water color titled titled the important American paintings in the collection. There was also a small collection nineteenth- of and twentieth-century marine paintings purchased Mr. by Simon. Among the gifts given Simon two were Mr. to FredericRemington bronzes and a wonderful Edward Curtis platinum print Perce lection. These artworks would been have in welcomed any museum, and is it just that pure luck they not were in thebuilding when fell. it return to But the to works that lost. were The dining rooms had, in addition paintings to and prints, some first-rate English and American antique furniture and Asian porcelains. are fortunate (We that a Tang IFAR® JOURNAL IFAR® - - - - a 1911

(FIG. 1), platinum print, 1903. 1903. print, platinum Photo: Citigroup. Photo: Edward Curtis, 2. William Glackens landscape, an Ernest Lawson paint placed them the on new executive floor. Among the artworks “rescued” in this a Robert way were Henri portrait a young Irish of girl from 1924 group’s corporate headquartersgroup’s being were relocated in Manhattan and so accordingly, as removed I, curator, these of some Salomon pieces from the warehouse and A year before 9/11, the executiveA year dining 9/11, before rooms Seven at Center refurbished were Trade andWorld a number of the artworks placed were in storage. Citi Subsequently, Salomoncollection. I am pleased report to that many of his purchases survived, have and is here why: American Art, and a supporter the of Museum the of American Indian. His taste was instrumental in many theof significant artworks that purchased were the for over again:over Charles Simon Simon. was Mr. a managing partner Salomon of Brothers, an art collector, a member theof Board Trustees of the of Whitney Museum of the purchases, and, as I researched the history the of collection, name one man’s was mentioned over and department, headed a very by talented selected designer, the of some art the for premises and handled the art collection. number A other of involved in were people was decorate to the offices in a way that set a comfort andable conservative business; for tone the art chal lenged neither the clients the nor employees. Thedesign Figure Perce. Nez Chief Joseph, Arader, and Donald Heald galleries. Among the prints lost were a number of plates from Hudson River Port- folio, John Backman’s Bird’s Eye View of New York and Brooklyn, 1851, George Caleb Bingham’s engravings of the Country Election and Stump Speaking, and a number of Currier and Ives lithographs. Most of these prints were originally printed in large numbers; many are replaceable, but their loss is very sad.

Among the contemporary prints lost were works by Alex Katz, Bryan Hunt, Wolf Kahn, and a wonderful Jim Dine series (FIG. 3) that decorated the cafeteria. There had been no effort to create a collection of contemporary prints, and the collection had not been expanded until 1999, when I placed five Jacob Lawrence (FIG. 4) and two Romare Bearden prints in the executive area. These, too, were lost.

IFAR SYMPOSIUM: THE ART LOST & DAMAGED ON 9/11 In the private offices there were the expected inexpen- sive corporate office prints by artists that are known to corporate curators but not to art historians. Every Figure 4. Jacob Lawrence. The Builders, 1974. corporate collection seems to have some of these land- Screenprint on wove paper, 30" x 22 1/8". Photo: scapes and floral images done in etching, lithography, DC Moore Gallery. Artwork © 2002 Gwendolyn Knight Lawrence, courtesy of the Jacob and Gwendolyn and screenprinting, and they serve their purposes in Lawrence Foundation. the offices.

Altogether, one thousand one hundred and thirteen works of art were lost by Citigroup on 9/11. from Salomon’s previous offices. The mural depicted Wall Street, including some Salomon bankers. The The lessons learned were very simple: keep good records work, purely decorative, by an unknown designer, was and keep them off site. I am fortunate that we are in the commissioned from a famous wallpaper company. This process of getting an up-to-date imaged-based system, mural was very beloved by the employees, so its loss is so that tracking the collection will be easier. I initi- deeply regretted. ated upgrading of our database and 9/11 has made the upgrade urgent. One always anticipates for thefts and Among lost paintings were some good works by art- fires, but there was never any thought that one terrorist ists such as Carl Schrag, Louis Bouche, John Heilker, act would result in the loss of the whole building. William Thon and a number of paintings by American Realists painted in the 1980s. Like most corporate col- A final note: Since the IFAR Symposium, the rare and lections, three-quarters of the artworks consisted of wonderful Edward Curtis photograph that I showed in prints, both nineteenth-century decorative American my talk has been donated by Citigroup to the Smithson- prints and contemporary works. In fact, over half the ian Museum of the American Indian. The initial contact print collection consisted of decorative American prints for this donation was made at the Symposium. purchased from the Kennedy, Hirschl & Adler, Graham . . .

- 21 depict The

Dietrich von Frank. IFAR IFAR Frank. Dietrich von 2002. February 28, Symposium, by Louise Nevelson . 4 / VOL. 5,. 4 / VOL. N o by James Rosati ] found in the rubble the at Fresh Kills Landfill * by Lancelot Samson, and VOL. 4,VOL. N

WTC Stabile (Bent Propeller) Sphere Fountain Plaza for Center Tapestry Trade World Center Fountain Trade World Sky Gate, New York Ideogram Union Center Memorial Trade World Zimmerman, who is tonight. here • • • • • • • • ing a bronze the from of foot one Rodin sculptures [ Three Shades Statenon Island. I was that told bits and pieces other of works artof are being important how found, but are such items in comparison wedding to rings, identification cards, engraved risks, AXA Corporate Solutions. the AXA company, My Art Insurance Corporation here million thein for pay to loss the of has $17.2 up U.S., put three corporate collections that destroyed were when the fell.towers Amongst them, the corporate collections of Cantor Fitzgerald and Silverstein Properties, including the art‘public’ works that Saul assembled Wenegrat specifically Center site: Trade thefor World The collection owned the by trading company Cantor Fitzgerald predominantly contained drawings, casts, and sculptures the by sculptor French Auguste Rodin. Some of may rememberyou the in the photo versa; the financial markets an have impact on insurance capacity, which I will address. the parent company, My AXA in Group Paris, estimates its share of the $60 billion be to around $550 million, predominantly through its AXA Reinsurance Company as well as its insurer international of commercial - - - - -

- IFAR® JOURNAL IFAR® DIETRICHFRANK VON International Foundation for Art Research (IFAR) www.ifar.org (IFAR) Art Research for Foundation International The Response from the Insurance Industrythe Insurance from Response The This article may not be published or printed elsewhere without the express permission of IFAR. of IFAR. permission the express without elsewhere or printed not be published article may This Dr. Dietrich von Frank is President and Chief Executive Officer, AXA Art AXA Officer, and Chief Executive is President Frank Dietrich von Dr. * Corporation. Insurance an impact the on financial markets, and obviously, vice Why are these $60 billion as up a reserve? put Because all theof insurance policies that affected were the by attacks share a finite reinsurance, a finite liability. pool of This has layers risk. of all It goes into an insurance global pool, one insurance pool that is financed global by investors. part this of primary insurance carrier league. in turn, We, are reinsured large by reinsurance companies, and these reinsurance companies again are reinsured, thus providing or your insuranceor There is a contract, broker. and there is a limited dollar amount in the policy. When have you a loss, basically you deal with the insurance carrier. I am Now thisNow is all confusing, probably because if an have you insurance deal you policy, with your insurance company from property and casualty policies environmental insur ance policies, business interruption insurance policies, life insurance policies, etc. $60-$70 billion in loss reserves are being prima by up put ry insurance carriers, reinsurance carriers, and other pool ing arrangements deal to with insurance claims that range and tourists are flocking the to in site droves, the financial picture the of attack becomes somewhat clearer. Globally, background, least at in the immediate aftermath the of attacks, and rightly nearly six as so. Now, months later, Ground Zero is being cleared possibly ahead schedule, of Given theGiven enormous human aspect thisof insur tragedy, ance and art related matters pretty remained much in the tury, September 11, 2001 will 2001 tury, September remain 11, a historic for event generations come, to especially the for States, United espe cially New York. for still are a tragedy proportions. epic of Like the two devastating wars world in the previous cen As in noted IFAR its invitation, the attacks the on World the in Pentagon Virginia, Center inTrade New York, and the crash the of passenger plane in Pennsylvania and were watches, etc. that symbolize the human tragedy behind, or across the board, and many of these rate increases are rather, ahead of all these monetary losses? blamed on September 11th. It is the cause for such “consumer unfriendly” acts by the insurance industry. I have been asked many times how much art was destroyed on September 11th in total, and I have always The truth behind higher insurance premiums for mean- said, “I don’t know!” We still don’t know, and we prob- ingful coverage, however, is a little more complicated. ably will never know unless accurate record keeping of The global insurance industry—like all financial mar- all perished pieces exists, which I very much doubt. kets—moves in cycles. Insurance experts call a cycle of robust premium rates a “hard market,” just as a cycle AXA Art’s three clients kept accurate records, and of falling rates is labeled a “soft market.” And as in checks to the insured will go out soon. any other capitalist system, the trigger is supply and This straightforward commitment to stand behind our demand. Supply: investors provide insurance capacity; clients prevails throughout the entire insurance indus- demand: claims and losses are frequent and high. try. Insurance companies deal with and manage risk Over the last five to seven years, up to about the begin- on a daily basis, and from an insurance point of view, ning of last year, insurance rates, especially for industri- a total loss is always the most straightforward claim. al risks and, incidentally, for art insurance, fell steadily. In such cases, the insured object is gone or is destroyed The years 1998 and 1999 were extremely consumer

IFAR SYMPOSIUM: THE ART LOST & DAMAGED ON 9/11 beyond repair or restoration—is simply unrecognizable friendly, as annual rate reductions rose to double digits, as a piece of art work. especially in the London Market, still the world’s largest However, since acts of terrorism as a named and insured insurance pool. peril were part of commercial property insurance poli- But then, we had earthquakes in Japan, we had Swissair cies up to September 11th in the U.S, terrorism coverage III, as well as the Concorde loss in Paris, and invest- will be and already is being excluded on commercial ing into insurance capacity became far less lucrative. insurance policies going forward. Hence, reinsurers raised their rates for primary carriers Why? who then turned around and raised rates for their coverage of the “end-consumer,” and all this started well Because there are simply no investors in global insur- before September 11th. With rates now quickly climb- ance capacity left who are willing to put up funds for ing, insurers rush to set up new capacity to profit from the coverage of manufacturing plants, office towers, and the “hardening” market, and the cycle starts again. Yes, nuclear reactors, that is, commercial enterprises in the insurance provides protection for unforeseeable events, U.S., as they believe that another act of terrorism may but it certainly is a business. happen in the U.S. Paranoid overreaction perhaps, but even all State Insurance Departments—usually look- Two heavily destroyed pieces of public art have been ing out for the customer—had no choice but to approve found at Ground Zero: the Calder Stabile and Koenig’s the exclusion of terrorism coverage on U.S. commercial Sphere. I went to see both pieces, which was extremely insurance policies. moving. If we agree that art, and especially art publicly displayed, helps us to connect to the world we live in, A Federal Indemnity Program—the Homeland Insur- these two pieces should definitely become part of the ance Fund—which for six consecutive years would pick design of a September 11th Memorial, and, notably, up all terrorism losses in excess of $25 million to be in their current state. As both works of art have been paid by the insurance industry in the future, is dead- rescued from the debris, their damaged and nearly locked in Congress, and the chances for its creation in destroyed condition will be the perfect vehicle to remind 2002 are dim. the public in the future of what has happened, and, You may have heard or even experienced it in regards therefore, will remain true public art, art for everyone to your own insurance policies: premiums are going up to remember. . . .

Gregory J. Smith. IFAR Symposium, Symposium, IFAR Smith. Gregory J. 2002. February 28, . 4 / VOL. 5,. 4 / VOL. N o * VOL. 4,VOL. N

One of ourOne of clients is a very large Japanese bank, Nomura Securities, works art of which than had more that were 110 damaged. Again, the first priority was get to the works out there.of Why just we repair couldn’t them there? one For thing, the building was contaminated. were we Secondly, concerned about pilferage. The securities company where clouds debris of either seeped or broke through win dows. Many items affected. were FinancialIn 2 World front there of used Center, be to a very large stainless blue steel sculpture [ days Lichtenstein. after Roy by Trade 1992] Two the World Center collapsed, a call I got saying, two- my “Greg, that’s million-dollar Lichtenstein, Roy and has it all this debris it.on What are do?” going to you The first thought was, simple, we’ll“That’s what That’s there.” just of get out it they do—to to me pay figure these simple things out. us took it threeWell, months get to the sculpture there, because all of the technicalities getting of find couldn’t a riggerWe who could get a pass from the andFBI the Office Emergency of Management. During those three months, the used FBI the sculpture as a bul letin board, a Bobcat parked it, and on many other things happened that to beautiful piece. thankfully, But, was it unharmed structurally. get Eventually, to able it were we the of the to it brought out area. foundry We and had it sitting now repaired. in It’s the Nassau County Museum, and looks it great. somewhat diminished. somewhat But lo and behold, there many were other issues: there were neighboring buildings: Financial2 World and LibertyCenter, Plaza. There are many buildings within an area of approximately three-quarters a mile of south and amile north,

- - IFAR® JOURNAL IFAR® - GREGORY J. SMITH International Foundation for Art Research (IFAR) www.ifar.org (IFAR) Art Research for Foundation International This article may not be published or printed elsewhere without the express permission of IFAR. of IFAR. permission the express without elsewhere or printed not be published article may This Art Damaged on 9/11: The Insurance Adjuster’s Role Adjuster’s Insurance The Art Damaged on 9/11: Gregory J. Smith is an Insurance Adjuster and Director. Cunningham Cunningham and Director. Adjuster is an Insurance Smith Gregory J. * Lindsey International. realized that they all were total losses, usefulness my was World Trade Center, there many were Center, losses, Trade many but of World these total were losses. So, as first my an adjuster, thought was, “God, there are losses.” When of be going to a lot I A bad an day for underwriter is a tragedy. Unfortunately a bad an day for underwriter is a blessing like someone for myself, because creates it creates it job, my work. In the “How much art much “How Center was towers in Trade the two World that just have collapsed?” God, this could be something amazing that the insur ance industry has never faced in the As United States.” an insurance adjuster who specializes in art, I also wondered, and while there, I actually saw bothbuildings collapse. Startling. first My thought was family. my about Once I next my theyfound out thought okay, were was, my “Oh edy just yet, because understand I didn’t yet. it When I got office, my to the second plane hit. a restaurant, to I went my officemy and learned amazement my to that was it actu ally a passenger airline. As an insurance I was adjuster, confronted with an interesting a trag situation. wasn’t It like was most that other people’s, the plane was a Cessna; be a commercial couldn’t it airline. newscasters Two were with me. Mine was the that only phone worked. I called On September 11, 2001, I was the on train 2001, On September the going to 11, office when I learned the about attack. first My thought, him many how it. zeros on This put to is unfortunate in because Center, the two case Trade fabulous the of World buildings and many others collapsed. goes finds out, what has out happened, then decides what cost. going to Dietrich it’s and do much to how Frank, von an underwriter, has the checkbook; I write the check. I tell adjuster is the person who examined the damage and wrote a check.you I specialize Only, in the art field. An adjuster Dietrich Frank von has just explained the financing end theof insurance an industry. insurance I’m the adjuster, person in the ever had trenches. a car If accident, you’ve the actually lost a lot of computers and other electronics, tially assumed these items were all destroyed, but there but, thankfully, the artwork was intact. We were finally were also thousands of works that were damaged. able to get the works out with the assistance of the I’ve seen fires. I’ve seen explosions. I’ve seen many types Office of Emergency Management and brought them to of loss. I have never in my life experienced the devasta- restorers. tion that I saw three days after the World Trade Center. There were other claims: one from a book dealer, I went down there to look at that Roy Lichtenstein Head another from an artist. A window in the artist’s studio because my client forced me. I was afraid to go. I didn’t was open when the buildings collapsed, and the cloud of know what was going on in the world at the time, and debris damaged 289 works, every piece of art that that I was definitely hesitant. The devastation took a lot out man had ever created. We had to get all of the art out of of me. The people I was speaking to, even restorers and his studio to a safe haven. It was very difficult, because truckers, looked almost punch-drunk, because they truckers couldn’t get there. Restorers were concerned were all stunned by the dramatic events. It was hard about the air quality and what they were going to touch for me to get people to react. When I asked restorers, (e.g., does this item have asbestos on it?). There were “Where do I go with this?” they would just stare at me amazing issues that arose that I would never have imag- with almost blank faces. It was scary, because these are ined. We knew we couldn’t get the truck in. Thankfully, the people who, a month prior, had I asked them that

IFAR SYMPOSIUM: THE ART LOST & DAMAGED ON 9/11 with the artist’s help, we were able to get a restorer with a question, would have been right on the spot; they had staff of ten people to go down there, and over a period of always helped me in these kind of situations. approximately nine weeks, all the works were cleaned. So, this event taught me as an insurance person that The tragedy presented the insurance industry with when you examine a situation, you have to look for all many other issues, some of which I handled, some of the alternatives to move art. You have to have an emer- which I didn’t. The damaged art works were set up gency plan in place for crises like this. You have to have either under corporate policies or collection policies. contacts with the Office of Emergency Management, You’d be surprised how many corporate people from which many people did not even know existed until this nearby buildings such as 2 World Financial Center came occurred. That one office basically ran the entire show. to me and said, “Oh, just clean that.” Someone with Once you learned about those contacts, they were very a sponge probably making around $4.50 an hour was helpful in getting things done. 9/11 was a tragedy. Even ready to oblige. Thankfully, someone with a cooler head though we thankfully got some losses from it, which is realized that that couldn’t happen. We were called in not a good thing, we were able to help artists and deal- on many cases where we merely facilitated the restorer ers get their items back into saleable condition. We were going down to the site to find out what was wrong and able to help the artists get their lives back. Anything we how we could clean it. There were different types of could do to help made them so appreciative. The one issues, because there were all different types of media, artist I mentioned earlier, whose 289 pieces were dam- so we needed multiple restorers. The truckers had a dif- aged, called me every time a piece was restored and said, ficult time down there. It would take them, literally, “You won’t believe how great that came out!” It made four hours to get through checkpoints in order to pick me feel good that I was helping another person in a time up one painting to bring to a restorer. They didn’t want of tremendous distress, while I was also helping my cli- to do the job because of the hassle of getting in and out, ent, the insurance company. Thankfully, we have relationships with the FBI and the So, in closing, I would like to say that what happened New York City police, and we were able to get detectives to the art works at the World Trade Center will teach us to sit on the trucks to move them through the check- that we have to be prepared for the truly unexpected and points quickly, so that we could get the art works out in be ready the next time to get everything out, and not just an efficient manner. 9/11 was a startling, startling thing in one building, but in all the surrounding buildings. for all Americans. I think the insurance industry ini- . . .

John Haworth. IFAR Symposium, Symposium, IFAR Haworth. John 2002. February 28, - - - - . 4 / VOL. 5,. 4 / VOL. N o * VOL. 4,VOL. N

and then Ed Mayor Koch—certainly in difficult times financially both for the city and state—over million $17 City State andwas New York provided the by New York governments toward the capital the of renovation Custom accommodateHouse to the museum. The architectural firm Ehrenkrantz, of Eckstut & Kuhn did the renova Society, the American Institute Architects, of and others throughwork “What Next?”, is it critical the have to cul tural groups front and center in the rebuilding effort. The building thathouses museum, my the United States Custom House, itself was empty two about for decades. The custom agency itself into the moved Center. Trade World In the there 1980s was considerable public discussion theabout future the of Museum the of American Indian, Several Terrace. locatedonce Audubon at options were the on put table, including moving the institution to Dallas, The Texas. compromise was a remarkable public- private partnership. The United States Congress passed legislation create to the in National 1989 Museum the of American Indian, and currently we are building major a museum the on National Mall in Washington. The Attor ney General’s Office assured in us that New York there also would be an ongoing—permanent—presence in New David RockefellerYork. was a strong advocate the for use headquarters. theof Custom U.S. House as our New York With the financial then of help Governor Mario Cuomo largest central business district in the country, and as are we recover need we ing from 9/11, and celebrate,to honor support this cultural Ascluster. the state, city, Office,Mayor’s the Low Devel Manhattan er opment Corporation, Associa Plan Regional tion, and Municipal Arts - - IFAR® JOURNAL IFAR® - - JOHN HAWORTH JOHN - (p. 14) by Marty by Kriepe de International Foundation for Art Research (IFAR) www.ifar.org (IFAR) Art Research for Foundation International The Downtown Institutional Impact Institutional Downtown The This article may not be published or printed elsewhere without the express permission of IFAR. of IFAR. permission the express without elsewhere or printed not be published article may This Coyote in Love with a Star star that was more beautiful that all the rest. She was so beautiful that Coyote fell in love with her. and hurry of the city by going up to the observation deck to watch the stars as they danced across the sky. Once, when the stars came very close, he noticed one Coyote was right. found He and a job, it was in his field, too. became He the Rodent Control Officer in Center. But he was always home Trade the World sick. On clear nights, Coyote would escape the noise ple going to work. Surely someone with all hisskills could get hired too. everyone rushed out of the doors. Coyote changed back into himself and followed the crowd. Soon he was staring up at two huge towers that stretched to Thethe sky. lobby of the tower was packed with peo one of the flower sellers picked him up and put him in his basket. Safe among the flowers, Coyote board ed the train. When the train reached the last stop, Coyote the trickster hadan idea—he would change himself into a sunflower! did He and, enough, sure John Haworth is Director, George Gustav Heye Center, Smithsonian Smithsonian Center, Heye Gustav George is Director, Haworth John * four is located The Museum ofAmerican Indian. the Museum National Zero. Ground from blocks Fifth [uptown]. Downtown itself Avenue is the third York culturalYork community—with significant museums focused primarily history, on architecture and cultural ideas—is second as a group only our to colleagues on the American Indian First is Who the about Were People and—lookingHere, across the waterway—Ellis Island is Who theabout Came People The Here. downtown New context of New York City historycontext New York of and downtown: own isMy bite” “sound that the National Museum of Here isHere the history” “quick museum my put to in the [World Trade Center] Rodent Control.” Rodent Center] Trade [World Montano. ThisMontano. book published children’s the by museum tells the tender story coming Coyote of New York. to On the is cover a picture with Coyote of the shirt “WTC hattan is the on rebound. Let start me reading by from the story This past weekend museummy had Native American storytellers read capacity to crowds. The National Muse um the of American Heye Center in Indian’s Man lower tions—with considerable national recognition and kudos. HOW THE MUSEUM’S STAFF RESPONDED Though we have federal operating support—allowing us Staff responses to 9/11 on various issues were diverse—from to be one of a handful of NYC museums with a free public perceptions about air quality and security, to how best to admission—there is an expectation that we raise private sec- address individual employee issues and overall staff morale tor funds to support educational programs and exhibitions. in the context of such difficult circumstances. Indeed, staff members at all levels had a broad range of responses! From EFFECTS OF 9/11 ON OUR GALLERIES a management perspective, dealing with those concerns— AND COLLECTIONS along with the urgency of all that was going on last Fall— Fast forward to 9/11: Our building is four blocks from Ground was complicated and extremely challenging. Zero. Fortunately, our facilities staff moved swiftly to clear On September 11th, one staff member was near the World the building systems and close the air vents, thus minimizing Trade Center and was hit by building debris. Another per- infiltration and damage to our collection on exhibit. As an son was coming to work from New Jersey and was in the institution dealing with “organic” materials (textiles, Plains PATH train station at time of impact. Another had a child Shirts and so forth), our concern about dust and possible envi- in a neighborhood school. Others have had terrible com- ronmental contaminants was very high. In addition, because muting problems for months (and still do). Some staff have we are an institution with a Native American cultural base, the lost what counselors might refer to as a “sense of boundaries

IFAR SYMPOSIUM: THE ART LOST & DAMAGED ON 9/11 respect of traditions, including ceremonial protocols, informs and what is appropriate.” Others responded to 9/11 by going the way we work. Major concerns about the air quality in overboard with communication, while still others became lower Manhattan are well reported. We relied officially on the unusually silent. Many people were in a “panic” mode for Environmental Protection Agency reports, which were posted weeks. Overall, the staff has been strong, capable, profes- throughout the museum in the aftermath of the 9/11 attacks. sional and dedicated to the museum’s mission throughout Post 9/11, there was a massive neighborhood clean up, and these difficult months. inside our building, there was an extraordinary cleaning The museum welcomed the staff back with a special lunch effort, as if we were asbestos contaminated (which we were and had regular and frequent meetings, especially those first not). Our landlord, the General Services Administration, few weeks after 9/11. Employee Assistance Program (EAP) cleaned the historic interior on a highly professional level. A services with both one-on-one and group counseling have Seth Eastman watercolor exhibit was on view 9/11 in an open been provided. All of this has been extremely tiring and has area that was, fortunately, out of harm’s way. (The exhibit was tested my own capacities as a museum professional and man- extended thanks to our lending partner, the Afton Press in ager. There have been departmental jurisdiction questions, Minnesota). The Reginald Marsh murals and the Tiffany work complicated by our residing in a building with other tenants in the Collector’s Office was all fine. The Rotunda and Collec- (for example, the General Services Administration, Federal tor’s Office were part of a massive interior clean-up effort. Protective Services, and Bankruptcy Courts). We are still ironing out how best to handle a myriad of policies to address SECURITY emergency responses, fire drills, disaster preparedness plans Our security measures have been stepped up significantly (which take into account both people and collections) and since 9/11. Security officers now do routine bag checks, even the protocols of employee telephone trees, the need for and magnetometers have been installed. We are working quality time for staff with discussions, and, of course, trying very hard, however, to ensure that the visitor experience our best to listen to one another’s concerns and issues. will continue to be positive and engaging. We are training not only the security officers, but also other staff members LESSON LEARNED who interact directly with the public. The Smithsonian has I was asked by IFAR to address what lessons were learned as an extensive design review process to deal with Fire Safety, a result of 9/11: egress and signage—and all of these issues are being given • From watching visitors, I have learned that people really considerable attention. How shall I say this? We’ve always are “paying attention”; they are really looking at our been focused on these matters, but now, even more so. exhibits on a far deeper level with greater focus and con- centration. That’s good!

New York Times,New York CURRENT PROGRAMS AND RESPONSES AND PROGRAMS CURRENT Every night when the stars came out, Coyote waited until the beautiful star came near the observation deck, and then he howled and howled, begging her to take him wanted up into He the to sky. dance with first At her. she just ignored him. But one night, after he pleaded and begged, the star danced over and pulled him and into the they sky, began to dance together. As they danced across he the sky, was so happy he thought his heart would burst. challenges, and certainly, public safety and security are key issues. I envision a future that puts cultural institu tions in the limelight as entities attract to a global audi ence our to neighborhood. Lower Manhattan is very the on themuch rebound; positive cooperation however, every at people of level—from the community board theto board the to room street our to cultural institu tions—is critical assuring to success. In closing, I will again read from a Star : forwardI look days to when all us of will again be so very happy that our hearts will burst. Thank for you inviting this be to me on panel. What now? What programs are planned? This spring, we’ll a significant have program focused the on (complementing the Ironworkers Mohawk current Iro Borders: beadwork exhibitquois Beadwork in “Across Iroquois Life”—which was positively reviewed recently theby panying photography exhibit. The Mohawk Ironworkers helped buildmany NY skyscrapers, including the World and they Center, alsoTrade are involved in clearing Ground Zero. Our Mohawk friends have been coming frequently the to museum these past few months. We also Mexican a major have exhibit opening in the sum a residency a Native American by mer, cultural leader, Walking this Thunder, spring, and a vibrant exhibit frankly, but down the slowed program. 9/11, were by We Must Go On,Show and does, it and will. it In sum, life in Manhattan lower has new and different . . . - - IFAR® JOURNAL IFAR® -

- museums have. I have come to appreciate more fully appreciateto come more I have who has the commitment museum do to and work, especially, who is committed the to public service that role I have learnedI have that staff considerations should always inform it. do and what do we we how • • this space is especially downtown for right now. forward with plans open to this facility in early 2004. theGiven severe losses in public spaces from 9/11— although speak I do with own my institutional bias!— York came throughYork with million $1 in capital funds this current fiscal year (FY 2002), and are we moving Pavilion, which is directly underneath the Rotunda— as a family destination with complete active public pro grams, residencies, and exhibitions. The City of New How about our about programs?How What our about facility? are developing a raw ground—floorWe space—the support from the Alliance Downtown for NY and NYC & Company—is the on comeback trail, though still we way go. to a long have Center viewing platform] their pay to respects; the Stat Liberty of ue and Ellis Island reopened, have andthe downtown community—with tremendous and focused encouraging, though still thanlower the previous year 25%—with about by 25,000 about visitors! indeed, Yes, visitors Trade are coming “The to [World Platform” aftermath off than more 9/11—was by of 50% in both DecemberOctober and was November; however, more ing itself the as of one cultural anchors downtown. Our attendance—due cutbacks to in school visits and the coming about apprehension downtown in thepublic’s years. The National Museum the of American Indian has the become of one most popular family destinations metropolitanin the New York area, clearly establish were anwere annual audience 250,000. about of In reality, attractedwe roughly 300,000 the first 400,000 year, the second and year, least at a half million in subsequent reopen the October doors on 1st. When the museum opened in the 1994, projections ing with enormous “downtown” issues, concerning both and employees public. With from help of our a lot community and staff, the museum however, was to able My downtownMy museum colleagues and I continue deal International Foundation for Art Research (IFAR) www.ifar.org This article may not be published or printed elsewhere without the express permission of IFAR.

The Heritage Emergency National Task Force

LAWRENCE L. REGER*

The Heritage Emer- located mainly south of 14th Street in lower Man- gency Task Force hattan. To date [February 28], we have received was created in 1995 responses from 52 institutions, for a response rate of in recognition that 43%. We anticipate the following figures will vary no one agency or slightly in the final report as the data is analyzed organization can more thoroughly. alone provide assis- As you probably know, with the exception of institu- tance, expertise, and Lawrence L. Reger. IFAR tions located within the World Trade Center com- Symposium, February 28, 2002. resources for the plex, there was a minimum of permanent physical cultural community damage to cultural institutions in the area. 96% of

IFAR SYMPOSIUM: THE ART LOST & DAMAGED ON 9/11 in a time of disaster. Co-sponsored by the nonprofit the respondents to our survey reported no structural Heritage Preservation and the Federal Emergency damage to their buildings, and 88% reported no Management Agency (FEMA), the Task Force is damage or soiling to their collections. Dust, smoke, composed of more than 30 federal agencies and and falling debris were cited as the primary causes national service organizations concerned with pro- of those that did report damage or soiling. Less than tecting the nation’s cultural heritage. a quarter reported subsequent damage or problems It seeks to help museums, libraries, archives, histori- related to the disaster. cal societies, and historic sites protect their cultural However, a full 78% reported their institutions were and historic resources from natural disasters and forced to close as a result of September 11 and that other emergencies by promoting preparedness and their communications systems were disrupted, some mitigation measures and by providing expert infor- for as long as four months. mation on response and salvage. The Task Force also provides information to individuals about what they Since our survey did not concentrate primarily on can do to salvage treasured heirlooms damaged by a economic attendance issues, I will only briefly note a disaster. few findings in those areas:

In October 2001, the Task Force set out to conduct 71% reported that public visitation decreased after an assessment of the impact of the September 11th September 11. Again, this figure so far exceeds the events on cultural properties in lower Manhattan number of institutions reporting damage that we and at the Pentagon. Not only did we want to docu- conclude the decrease was primarily due to problems ment the extent of damage, but also to evaluate how arising from the aftermath of the disaster, including prepared institutions were to deal with emergencies restricted public access to the area, transportation of any kind. Support for this project was provided difficulties, and disruptions in communications. by the Bay Foundation and National Endowment for Comments we received from many respondents indi- the Humanities. cated that economic impact was among their chief Survey forms were mailed to approximately 120 concerns. Loss of income was directly related to the museums, libraries, archives, and exhibit spaces decrease in public visitation, as many of the organizations saw a sharp decrease in admission fees and revenues from shop sales. In addition, many *Lawrence L. Reger is President, Heritage Preservation, Heritage Emergency National Task Force.

VOL. 4,VOL. N

support is structured. Only respondents of 53% said they familiar were with sources gov of ernment financial recovery assistance prior to The most frequentlySeptember 11. recognized sources FEMA were and city (55%) state or agen cies (44%). Only 30% cited the Small Business Administration, believing that non-profit organi zations are ineligible assistance. SBA for 70% the of respondents said their emergency plan should be revised in light September of 11. When asked describe to the most important ele ments a new plan, of the most common answer was create to update collections or a complete catalogue and keep to a copy stored off-site. Oth er priorities included improving communications strategy and revising insurance coverage. management emergency considered Respondents training be to a high employees for priority. 68% said such training would value be of their to staff. is clearIt from the survey that access profes to training management emergency sional should be increased, and further, be made available all to staff, just not those charged with security respon sibilities. Also, standard training curricula should include “continuity operations” of models adapted from business. In the aftermath a September of 11, number of cultural institutions experienced fewer problems with damage to collections than with interrupted communications, lack of public access, and loss business. of The survey that showed most institutions lacked a basic understanding government disaster how of • • • • bilities. is Here a preview areas of the report will discuss: hadthe tools necessarydocument to damage for insurance claims. 10% A mere had supplies equip or needed thement for salvage collections. of thePerhaps most disturbing finding was that only slightly than more half the of respondents had a cur collectionsrent catalogue inventory or (58%). Of thosewith catalogues less than five years only old, described41% them alarm as more complete. Even ing, reported 53% keeping off-site their no copy of catalogues. Had the destruction September of 11 been widespread, more many cultural organizations would been have left with of record complete no what had been lost. encouragingOn a more the note, survey found that cultural organizations recognized many their of previous shortcomings and prepared were take to steps their improve to emergency management capa - -

- IFAR® JOURNAL IFAR® - of theirof plans into effect 56% saidtheir buildings evacuated were in an orderly way 46% said doors, windows, and other openings closedwere sealed or down shut their33% building’s other systems 40% indicated they least at put to able were part • • • • While most institutions had first aid supplies on only 38%hand had September emergency on 11, communications 30%, and equipment even fewer, were takenwere in response the to and smoke fire when the planes first and in not antic hit the Towers Twin the of ipation buildings total such collapse. However, preventive action invaluable later proved when the clouds debris of spilled Manhattan. lower over Given theGiven nature the of disaster, such simple steps as sealing openings and turning off ventilation systems accountedprobably the for lack reported of dam age collections to in the area surrounding the World Center site. InTrade all probability, these measures serious damage previous to due emergency planning and immediate response measures. When asked if there was time to September on 11 implement response plans: September 11. However, that view However, only holds trueSeptember if 11. institutions located were in Center the itself Trade immediatelyor it, such to as adjacent the archives of the Keller Helen International Foundation housed at Street.90 West In a number instances, of institutions located just blocks from away Ground Zero escaped larly, only larly, 42% had staff trained in disaster response procedures. 60% indicated they had anemergency evacuation plan. Several respondents indicated in comments that planno would been have the adequate for events of revealed regarding issues management emergency showed that although most organizations escaped is damage it clearlong-term September that on 11, less than half minimally were prepared any for type Just 44% emergency. of had a written emergency response or emergency communications plan. Simi sawcontributions diverted the to rescue and recov ery Center. effort Trade the at World the Some of most interesting information thesurvey They need to know that, in fact, private non-prof- Some respondents noted that there was little or no its, such as museums and libraries must apply for a SBA loan first before approaching FEMA for the funding for such efforts. Proper documentation and remainder of the damages. And in New York and off-site storage of backup copies should be regarded Virginia, nonprofits affected by the events of Sep- as disaster mitigation measures. The Task Force will tember 11 are now eligible for Economic Injury Disaster Loans as well. examine how it can be helpful in encouraging private The Task Force, working with FEMA, NEA and and public support for this kind of work. SBA, made this information available through our brochure Resources for Recovery. However, Complete results of our survey, together with expand- it is clear that we must distribute it even more ed findings, will be included in a report to be issued in widely. April. I would be pleased to provide copies to those of • Finally, we must find ways to encourage organiza- you who are interested. The website is tions to keep complete and updated catalogues or inventories of their holdings and to store copies www.heritagepreservation.org. off site. With destruction of the magnitude experienced September 11, these catalogues may be the only record we have left of important artistic and historic treasures. . . . IFAR SYMPOSIUM: THE ART LOST & DAMAGED ON 9/11