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Artists on the Rise and Move; Ohio Program Helps Starving Or Not, Artists Are Hooked on Their Careers

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Artists on the Rise and Move; Ohio Program Helps Starving Or Not, Artists Are Hooked on Their Careers museumVIEWS A quarterly newsletter for small and mid-sized art museums Fall 2013 Elie Nadelman, Woman at the Piano. 1920–24. Wood, stained and painted. In “American Modern: Hopper to O’Keeffe,” Museum of Modern Art, NY 1 museumVIEWS Features Fall 2013 ARTICLES: • Old Soldiers Never Die, They Just Fade Away Page 3 • The Complaint Department Located Here Page 4 • FROM THE AAM Page 5 In Search of Magnetic Museums Page 5 What to Do When Your Museum Job is Terminated Page 5 Playing and Learning Page 5 What Is Intellectual Property? Page 6 • Artists on the Rise Page 7 • Woodblock Prints Tell Ancient Tale Page 7 • Briefly Page 8 • autumnVIEWS Page 10 Top: Frohawk Two Feathers, They Already Got Yo Kids (“Tricked my wisdom with the system that imprisoned my son”), 2013. Acrylic, ink, coffee, and tea on paper. In “Frohawk Two Feathers,” Wellin Museum of Art, NY museumVIEWS Center: Adolph Gottlieb, Untitled (Three Discs), 1968. Maquette: acrylic on cardboard. In “Adoph Gottlieb Sculptor,” Editor: Lila Sherman University of Michigan Museum of Art, MI Publisher: Museum Views, Ltd. Left: Chuck Close, Lucas/Woodcut, 1993 2 Peter Cooper Road, New York, NY 10010 Woodcut with pochoir. In “Closer: The Graphic Phone: 212.677.3415 FAX: 212.533.5227 Art of Chuck Close,” Bruce Museum, CT Email: [email protected] On the web: www.museumviews.org MuseumVIEWS is supported by grants from the Horace W. Goldsmith Foundation and Bloomberg. MuseumVIEWS is published 4 times a year: Winter (Jan. 1), Spring (April 1), Summer (July1), and Fall (October 1). deadlines for listings and artwork are Nov. 15, Feb. 15, May 15, and Aug 15. 2 OLD SOLDIERS NEVER DIE; They Just Fade Away MacArthur’s museum $675,000, taking a lien against its assets. The money was used famous words for payroll while the museum was receiving valuations from auction were memorable houses. The loan was paid off after the Fresno Met’s first sale of assets. for soldiers, On the plus side: a children’s science and math exhibit was bought by but they don’t a children’s museum; a collection of boxed puzzles went to a toy mu- necessarily ap- seum; the museum building is now rented out by the city as commercial ply to museums. space; some staff members and trustees went to the Fresno Art Museum. Museums die. In the face of adversity, they Similarities struggle to sur- Similar, though not yet dire circumstances exist in two cherished vive, they cajole institutions: the Detroit Institute of Arts (MI) and the South Street governments, Seaport Museum (NY). Both are hoping to weather their financial they plead with storms. But both are teetering on the edge of disaster—the DIA, because donors, they a sale would strip its vaunted collection of valuable artworks while advertise, they compromising the museum’s long held imperative that artworks are not enlist the social to be sold except to purchase others; the Seaport Museum, because after media, they cut long years of economic hardship added to by damage from Hurricane back expenses Sandy, lost its main provider when the Museum of the City of New York and pare down said it could no longer afford to run it. staffs. But some- Both the DIA and the Seaport Museum, like the Fresno Metropolitan times nothing Museum of Art, are non-profit institutions; both are housed in buildings helps. owned by the city (the city of Detroit owns the institute and much of It happened its collection; the Seaport Museum leases its building from the city’s to the Fresno Economic Development Corporation). Metropolitan And all three Museum of are important Art & Science local attractions (CA) in 2010, that engender after extensive Bartolomeo Coriolano, Allegory of Peace and Abundance, 1627/1642. much pride. As Chiaroscuro woodcut. In “In the Guise of the Brush,” renovations and to the Fresno, Mt. Holyoke College Art Museum, MA a decrease in Dana Thorpe, the donations. It shut museum’s last down. In fact, the Fresno Met was only one of nearly 30 museums that closed executive direc- their doors in 2009, the last year for which we have statistics, according to tor said, “For the American Alliance of Museums. many people in The Fresno Met began life in 1984 in the former National Registered home the community, of the Fresno Bee newspaper, a 1922 Renaissance Revival building that was this was their donated by the owner. It opened with some enviable treasures such as Ameri- Disneyland.” “It can Indian baskets and a collection of Ansel Adams’ photographs. For a time was a Taj Mahal it thrived, but by June 2008 it had begun a downward spiral: a $28 million and a beautiful renovation, which closed the museum, was $15 million over budget and three museum, but the years behind schedule. demographics The museum finally managed to reopen in November 2008. Attendance were not there to reached record highs that year, but contributions dwindled because of the support it,” said recession. The next year, more than $4 million in debt, the museum began Stewart Randall, cutbacks: its operating budget by 45 percent, its staff through two rounds of former board dismissals, and its exhibitions, closing a prized Chagall exhibition early. president. p Seeking help from the City of Fresno, the museum asked for a loan of $15 million, which the city agreed to guarantee. But the Met was unable to raise money to refinance the loan, and the city took over the building. After that, more staff members were let go, the collection had to be sold, debts had to be paid. The museum hired a lawyer to take it through the agonies of dissolution. After calculating the potential cost and delays, the lawyer, with principals of the museum, decided to pursue an insolvency proceeding (rather than Chapter 11 protection) that is governed by state law rather than federal bankruptcy law. As a result of this choice, museum assets were turned over to an assignee who then oversaw their disposal. It was less expensive, faster, less compli- Rembrandt Harmensz cated, and less liable to objections. van Rijn, Woman Bathing Creditors were able to file claims, after the museum’s notification of its her Feet at a Brook (detail), 1658. Etching, dry point, liquidation. Non-art items were auctioned off; Sotheby’s handled the sale of and engraving. art works that brought about $2 milllion; other auction houses handled the In “From Rembrandt to Bollock to Atget,” balance. Unsecured creditors received 80 cents on the dollar. University of New Mexico At the start of the liquidation process, a group of local patrons lent the Art Museum, NM 3 COMPLAINT DEPARTMENT LOCATED HERE In an article written for The New York Times in August, freelance writer and who stared in return. “What was that about but the experience? former reporter and editor Judith H. Dobrzynski voiced some strong objections to “In the world of commerce, this trend has been going on for decades. the “hands-on” trend that has overtaken our cultural institutions. “Visitor engage- By 1998, two consultants, B. Joseph Pine I and James H. Gilmore, had ment and participation are changing the nature of museums. And not always in coined the term ‘the experience economy’ and were urging businesses to good ways,” barks the article’s sub-head. offer customers a memorable time rather ran a product or service…. “Trying to keep pace, cultural institutions are changing,…offering more of the “In this kind of world, the thrill of standing before art—except perhaps kinds of participatory experiences available almost everywhere else,” she writes. for works by boldface-name artists…and leaving aside contemporary “Museums stage sleepovers in the galleries and dance parties in huge atriums that artists who draw attention by being outrageously controversial—seems were built to be gather- not quite exciting ing spaces. The landmark enough for most Beaux-Arts headquarters people. What’s a of the New York Public museum to do,” she Library on 5th Avenue muses. in Midtown Manhat- According to tan, a sedate research Glenn D. Lowry, institution, may soon “museums must be transformed with the make a shift away addition of a gigantic from passive expe- branch library where the riences to interac- main draws will be meet- tive or participatory ing places and areas for experiences, from teenagers and children. art that is hanging A ground-floor café has on the wall to art already moved in. Who that invites people needs Starbucks?” to become part of Then a concession: it….Shed the idea “Some of these initia- of being a reposi- tives are necessary, even tory and become good. But in the process social spaces.” of adapting, our cultural And in the way treasures are multitask- of qualification, ing too much, becoming Lowry’s impera- more alike, and shedding tives refer mostly the very characteris- to contemporary tics that made them so art museums. But, special—especially art says Dobrsynski, museums.” “I’m not sure of the After describing her thesis or the quali- visit to a contemporary fication. I’ve seen installation by British museums offer artist Martin Creed, Work people the opportu- No. 965: Half the Air in nity to participate a Given Space, in a small in curating exhibi- glass-walled corner gallery at the Cleveland Museum of Art (OH)—it consisted tions, choosing which artworks from their collections should be sold to of a room-full of balloons—she comments, “Work No. 965 occupied only a raise money, deciding whether an altered painting should be restored… small corner of the museum, one previously occupied by Rodin sculptures, but advising on the design of gallery installations, and more.
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